it comes to new music. I have touched on the issue before, and the pitfalls one can experience- where reviewers and fans focus too much on the youthfulness of an act. I have witnessed many new acts and bands come through and be focused on too wholly because they were young. Critics often drool over these artists, proffering them as modern-day idols: simply because of their age. Back in the '60s, there were a lot of young bands, such as The Beatles, that were very young: yet were very good, right away. Solo idols such as Bob Dylan were also tender of years; instilled with an instant sense of authority, quality, and- I hate to use the word, but it seems apt- genius. Throughout the decades there have always been examples of sapling talent coming through: fresh-faced and eager, with a hint of naivety. Predominantly, the youngest new musicians tend to be in their early-20s: few teenage stars make a big impression early on. As much as I am impressed by the ambition and focus of musicians so young, I often wonder as to their future. Here in the U.K. we have Laura Marling: the modern epitome of a tender talent, making mature and epoch-making steps. Although she has relocated to the U.S. (in order to pursue a new creative lease of life), she is an example of a young talent that has old, wise shoulders, and is an exception that proves my rule. I tend to find that a majority of young artists- especially solo stars- tend to make underwhelming first steps: releasing some so-so songs; an okay-ish album, before being forgotten about. I am 30 (almost ashamed to say it) and am still refining and defining my 'voice' and style. It is axiomatic that the best experiences of your life come a little later along the line: thus making the best inspiration for great songs. Because of a number of factors: a lack of living, a limitation of worldliness, the subjects and thesis of the songs offered by young artists, can be someone homogenised and predictable. If you are lucky enough to make some small impressions right away- making sure that intrigue levels are high- then you have a chance to improve as you go along- managing to forge a long and prosperous career. There seems to be a lack of ambition and potency from the young acts and bands: leading to quite a predictable entropy. What with the music industry being fickle, as well as over-populated, in order for any new act to strive and survive; those initial steps are crucial. From the perspective of the music-lover and reviewer, a focused and relentless microscope is always pointed in the direction of the new talent: hungrily waiting to see what treasures can be unearthed- if any at all that is. For all the four and five-piece bands I have encountered; all of the solo artists I have heard, as well as the rest, an apparent factor comes through: age is important. If the talent coming through is young- teenage/early-20s- then the focus can have negative effects. Too much pressure is put on the shoulders, and a lack of experience and acquired knowledge can mean that the artist has a limited life-span. I am not sure how the issue is going to be rectified and counter-acted, given the sheer size and vulnerability of the marketplace. It is vital to advise caution to a new act: make them aware that some of your best work/ideas can arrive in their late-20s and 30s; experience and getting older can equate to musical supremacy. Too often too many begin their creative life too young; with too much enthusiasm, only to burn out too soon. I mention these points, because you arrive at the feet of new talent- whom are very young- that have the potential for long-term regard and glory. Those artists- whom make big first steps- are the ones that need the most consideration and care: to ensure that they are recording some great music years and decades from now. I have come across some truly wonderful young stars-in-the-making in the U.K.- Kiran Leonard springs to mind, with his multi-instrumental mandates. I suspect that now, as well as the near future, critics and fans should cast their eyes across to the U.S.

It is imperative that younger artists- that have a genuine and worthy talent- are allowed to flourish and grow in the marketplace. The U.K.'s press and overall scene needs an overhaul: someone to regulate the current codes of practise, to ensure that positive change is made. It seems that whatever is being done- or not done- at the moment, is working against new music: not giving a lot of due attention to artists in the long-term. In the U.S., it seems that young talent are given a fairer shake; a better and more diligent sense of care and support. There are a lot of (teenage) bands that are plying their trade in the big cities- New York, L.A., Chicago and Miami- that are making big waves, and winning the patronage of the local inhabitants- as well as a wider community. The cities and towns of the U.S. tend to be less suffocating and subjugation towards creative expression and mobility: musicians are treated more fairly, and given more time to prove themselves. The streets and localities are also more inviting and inspirational. Cafes, bars and music venues are more varied and welcoming; meaning that inspiration is easier to come by. When those artists make their own sounds- buoyed and inspired by the local sounds- their respective work tends to be more quality-assured and convincing: displaying a sharpness and awareness that perhaps a majority of U.K. acts do not. For as long as I have been saying that it is better to be more experienced- and older- when recording music (making sure that you put your best feet forward straight away), I am keen to promote young talent, whom I see as having a great longevity. Radkey are a U.S. trio, whom may be foreign and unknown to many here. Teenage brothers Dee, Isaiah and Solomon are making some great sounds at the moment. They are a punk band, hailing from St. Joseph, Missouri- a state that does not often spring to lips when thinking of great U.S. talent. Situated between Iowa and Arkansas, Missouri has historically been the home to terrific jazz and blues acts. The likes of Scott Joplin put Sedalia on the map; but throughout the '40s and '50s, areas like Kansas City were hotspots for the music of the time. Into the '80s bands like the Blue Moons put garage and rock into the consciousness; shifting the music demography. Where as Branson is still an epicentre for country music, St. Louis is fostering a much-needed alternative. Hardcore bands and rock idols are making their home in the Midwestern climbs; invigorating the young wannabes, and providing inspiration. Our trio probably can relate to what is happening in St. Louis, as their sound has more in common with the hardcore bands, than it does with the country and blues edges, of other towns. The brothers grew up listening to the likes of The Ramones and The Who- pulling together English influences as well as American. The boys have been playing together since 2011- having taught themselves everything they know- and have been playing local gigs; to appreciative and receptive crowds. In 2013 they have already performed at the SXSW showcase: enlivening and scintillating the festival-goers there. They are still in their musical infancy, yet are making some impressive headway, given their combined years (the lads are aged between 15 and 19). Where as home-grown talent such as Strypes (possibly the stupidest band name ever) are recapitulating and rebranding the '60s R&B and pop; the U.S.'s Radkey are bringing a sense '80s hardcore to the present-day. Softer sounds and voices may be in the back of the boys' minds, but their list of influences leans heavily on the...well, heavier: Nirvana, Iron Maiden. The Ramones, Wolfmother etc. My reticence and scepticism regarding young talent (and their long-term potential) is taking a bit of a bashing- in a good way you understand. It seems that youth and inexperience does not always equate to a demarcation and cessation of quality, as Radkey are proving. Bolstered by an impressive cannon of influences and icons; combined with a welcoming and cosmopolitan local scene, it is not a surprise that the lads have been on the minds of many festival promoters. They have managed to supersede and break out of Missouri borders, bringing their music to N.Y. as well as SXSW- in fact they have some international dates coming up soon. The trio have just played dates in England, and it is will not be too long until they are needed back here- well I hope it will not be too long! In the U.K. we have plenty of new bands- and fewer young bands- yet the U.S. influence seems to be more present here. As well as providing an insight into another country's music culture: one which is proving more welcoming of new music; it is important to have as much diversity present as possible- in order to inspire and motivate new groups and acts here. The Radkey boys have brought Cat & Mouse to our waiting ears- a track that lives up to its chase-and-retreat name; energy and to-and-fro abound.

The initial guitar rush and twang may bring to mind some images of Whatever People Say I Am, That's What I'm Not-era Arctic Monkeys-cum-Wolfmother. It is immediate and persistent, driving and striking; dropping missiles of electric strings into the landscape, and infusing the track with an instant indie and punk edge. As the percussion joins the scene (as well as some Brianstorm-esque evocation), there is a delicious fusion of U.K. indie; U.S. and '70s punk, as well as hardcore too: all combined to brew up a barn-storming and flailing dance that hooks you in, and implores your feet to do some moving! The wordless build-up lasts only 16 seconds or so; yet by the time the vocal arrives, a huge amount of intrigue and expectation has been amassed. Dee's tones are not menacing or bellowed; there is no metallic thrash or Grunge growling to be heard. If anything there is a measured calm. The dark and baritone croon seems more at place in a stoner rock milieus; yet proffering words like: "He had you in his gate/He let you get away..."- it seems to fit perfectly and seem wonderfully suited. At times it is hard to decipher the words; intelligibility and clarity take second fiddle to mood and sound: the boys seem to want to project energy and slam first; subjugating other concerns. It may be a sign of inexperience or an intentional ploy (to draw you more into their sound), but it is the vocal tone, rather than the lyrics; which strike fastest and harder. The song's themes stray closely to the song title's implication. A game of cat and mouse is afoot, and whether it is with malice-of-forethought; someone is being toyed with. Whether there is personal relevance and first hand experience, it seems that the protagonist (let the unnamed Mouse) "get away for fun". If the compositions tried-and-tested template (with some unique touches thrown in) draws in the band's influences and heroes, then the vocal is more complex. The malevolence and dark croon bring to life the song's words; making sentiments like "He's coming for you" hit the mark pretty hard. The Guardian compared the voice to Dave Vanian, but to my mind, the voice is more unique and rarefied: no obvious names jump to mind. Although the song's heart has some spiked blood to it; and inspires an anxious and nervy story, the boys still manage to infuse plenty of fun into it. A hybrid between The Ramones and The Kaiser Chiefs seems to seem through in the chorus- if you can imagine such a love-child! In spite of the limited years between the boys, they summon up a hell of sound! The percussion is persistent and dominating; drawing to mind a young Dave Grohl (it will be interesting to see how Solomon's stick skills develop into his 20s). Guitar and bass work trips on a razor wire; fuzzy and infectious the one moment; brutalised and pugnacious the next. Our hero keeps promoting a chilling question: "Are you scared?"; speaking to an anonymous heroine, whom is constantly in fear of a metaphorical mousetrap. Our Missouri boys keep the mood brooding and menacing: between the Jim Morrison-cum-Iggy Pop vocal lasciviousness and the fractious and infectious sonic technicolour, the energy and intrigue never gives in. Our hero manages to play the part of the villain (although to be fair he is villainous narrator, rather than perpetrator) expertly- one could see him recording his vocal with a pair of shades and gel in his head; a sly grin on his face. Protestations including: "You better run" are dolloped out; imploring the song's Mouse to find solace and shelter- although the intention may not be the most sincere. Whether the central theme of the song is love-gone-bad or something more violent, the imagery and scenes that the band summon up will get under your skin. Everything has a shadow following it; there is a constant sense of movement and chase- at times you are sucked inside the song and feel like you're being perused. At the 2:00 mark the lyrical menace abates, as a rumbling and bullet-ridden explosion is elicited. The guitar and bass twangs and slaps, but it is the drums- psychotic, menacing and Grohl good- that make the biggest sound. As much as Dee is a stirring and memorable vocalist and axe man; and Isaiah a stunning bass player (and vocal support), it is Solomon's riffled drum work that will be a huge future-prospect. With some feint heavy metal edges, and a lot of '80s hardcore; it (drums) is a key component and force. Just when you think that the middle eight will be defined by the percussive majesty, a bloodthirsty and electrifying guitar arpeggio is pulled out the bag: it is fairly brief but undeniably impressive. Atmosphere and reinforcement are the bywords that define the track's final moments. Wordless chorusing of "Woahs" and "Ohs" are summoned: duplicating and triplicate; rising ever up to create one last menacing grin. With some feedback and electric hold, we come to the end.

Minor niggles aside: the vocal needs to be higher and clearer in the mix for instance, there is little to fault here. The young brothers have an impressive authority and conviction- given that they are in still in their teens. From the handful of available songs they have produced, they also have a nimble and surprising range. Their barometer is dead set on heavy and stormy weather, but it is the way they can move and surprise- within these confines- that marks them out. Songs and sensations go from the shores of Grunge and metal, through to hardcore and punk: everything is tried and experimented with to present a more memorable and diverse whole. Few established bands (or solo artists) have such an impressive sound, which makes Radkey's youthful vigour all the more impressive. My caution regarding age and inexperience remains to be assuaged. Too many bands and artists have faded out or had their careers ended by their 20s- simply because they have expended so much energy trying to stay current and relevant in people's minds. Wonderful moves and songs can be discovered when you get into your 30s (and 40s upwards). Think of legends such as Bob Dylan and Queens of the Stone Age. The former produced Blood on the Tracks in 1975 (when Dylan was 33-years-old). It is considered a masterpiece of break-up albums; and remains one of its author's very best and most memorable albums. The latter's latest album (...Like Clockwork) may be their strongest yet. It arrives 15 years into the band's careers; with the frontman (Josh Homme) now in his 40s. As much as the debut moves are the most important, longevity and future prospects are almost as vital. I suspect that the Missouri three-piece will not have to worry too much. With a sound that is both relevant and a little under-valued, they will be able to fit seamlessly into the marketplace, and ensure future dividends. In the U.K. we are familiar with some of Radkey's shades and edges: many bands try to do what they are doing; few are successful. They will be welcomed warmly here- and are, as they have a lot of fans in the U.K.- and will have a dedicated fan base willing to stand by the guys. It may be early days, but I predict that the brothers will have a successful and varied future. Cat & Mouse is just one piece of their puzzle. Within the space of a few songs, the boys have accosted the attentions of a wide range of music-lovers and sectors. The Cat & Mouse E.P. is a testament to a band whom are ambitious and striking: its five tracks cover a lot of ground and genres. Their native U.S. has taken them to heart- a little now, but it will be more fervent into 2014. The U.K., Australia and Europe will surely follow suit, and future E.P.s and albums will see the boys gain legions more supporters. Each of the band are deserving of praise. From the crooning, intoxicating and emotive vocals; through to solid and succulent bass work; via some sensational drum and guitar work, they have a talent and commitment that will be rewarded highly. Cat & Mouse is an intent and hard-hitting punch, and is a song that will remain in the mind for a while- especially because of its dark and shadowy menace. There are no subjective tones to my predictions- even if their type of sound falls right into my wheelhouse. I have witnesses and born testament to many young bands- each proffering a different sound and mandate. If the trio keep their heads and minds focused; keep the quality rate high, and get out on the road as far and wide as possible, they will be able to relax a little. Those tentative steps can seem like you are walking a tightrope; yet the debut E.P. is a solid foundation that will ensure deciduous flowering and glory. They may be unfamiliar to a lot in the U.K. (and farther afield)...

BUT that is all going to change soon enough.

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Official:

http://www.radkey.net/

Facebook:

https://www.facebook.com/radkeyband

Twitter:

https://twitter.com/RadkeyRock

SoundCloud:

https://soundcloud.com/radkey-band

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June 26, 2013

musicmusingsandsuch

Uncategorized

Elena Ramona- Rise- Track Review

June 26, 2013

musicmusingsandsuch

Uncategorized

Elena Ramona

Rise

9.4/10

Greek-born Stathaki has a fondness for multiple genres, including dub-step; yet turns in a celestial track of personal relevance and eulogistic regard: guranteed to impress.

Availability:

Rise is available at:

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

The official video for Rise will be released shortly.

Photo taken by Jessamine Cera; whom is also creating the song's official video.

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NEW female artists and talent, are probably under the microscope...

more than any other type of talent. First moves and the initial steps of each new talent, are watched and studied carefully- trying to hint at what being offered up. Over the past few years, there have been various different types of female talent that have come through: each one earning a fair amount of attention- whether it is good or bad. At the forefront of the folk and acoustic movement, are the likes of Laura Marling. She defines the pinnacle of what you want from any talent (male or female): sharp and fascinating lyrics; a strong and unique voice, and an ambition and quality that is hard to top, and even harder to fault. There is not a great deal of genre diversification: little cross-pollination; more of a consistency. To my mind the likes of Marling, as well as her ilk are the modern-day embodiment of the likes of Bob Dylan and Neil Young: updating their sound and style, and proffering the same degree of (early-career) quality. It is the consistency of these artists (from album-to-album) that is also impressive- in fact they seem to get stronger as their careers go on. Away from the fascination and continued quality of this sector and genre, there is the more traditional 'pop' core: the likes of Lady GaGa and Rhianna can be seen to be leading the way. It is never my favourite genre, as there tends to be a less-consistent quality of output from the participants. An austere critical reception, as well as some balkanisation, means that these artists are never fully beloved and regarded. It is impressive that they manage to inspire and motivate young talent to record; they have a fairly common sound that it easily replicable, and is an obtainable style of music. I guess these artists are always going to speak more directly to- and inspire more heavily- women; and young women, due to their messages and themes. The quality tends to be quite variable with the likes of Beyonce turning in songs that can be quite universal; as well as superseding any preconceptions-Dangerously In Love contains a fair few tracks that will appeal to all music-lovers. When considering the likes of Lady GaGa and Rhianna (as well as Katy Perry) the quality and strength tends to less evident; songs and albums occasionally get some support and merits, but are largely seen as quite throwaway and insubstantial. From my perspective there are not enough genuine elements and great songs- it is vital to appeal and win more than the young female vote. The issue of femininity tends to pervade and dominate this scene- and I have never understood why. In 2013, there is still a large amount of equality and injustice towards women- especially in the workplace; although it is not an issue in music. It is an art form (like acting) that is free and open to all. There is no subjugation or discrimination, and anyone can (and is welcome) record music. Popularity and pay are not issues (as it is dependant on sales, and not gender-defined) and there are no barriers placed on women in music. Simply if the music is good enough, then you will get fans; if it isn't you won't. Restrictions and limitations arrive when you make music that is not up to par- when critics are waiting to write you off. There are the same rules applied to the men as well, and success and failure does not discriminate. It is understandable that these artists will use their music to try and inspire young women; but with this you are always likely to alienate the male market-essentially half of the voting public. If the music was fantastic then you would embrace it regardless, yet there are aspects lacking. Lyrics and ideas tend to be too narrow and unadventurous; some of the lyrics and words can be quite insipid or juvenile and there is not a great deal of depth to them. Beside which, a lot of the example's stars tend to be more concerned with image than the music itself- again appealing solely to the female audience. Another sector of female artistry concerns the remainder. Within this sector are a great range of artists: those whom are usually willing to be diverse and ambitious. From soul and endeavouring pop acts, through to rock and indie acts; it is a core that is on the rise. The likes of Adele and Lianna La Havas are amongst the pack, and are showing that a powerful voice, as well as a talent for stunning song writing, can win support right across the board. There are always a lot of eyes trained to the new female artist, simply because of this: there are far fewer of them. If you look at the music magazines and broadsheets (as well as music websites), they are usually filled with male talent: both solo and in terms of bands. I am not sure why, but I guess the band market is the largest sector, and they tend to be male-only, or male-dominated. In that respect, there is a lot of ground and support the new female artist can gain: if they make the smartest early moves. The likes of The Voice are giving a bad message to new musicians. The participants of those shows are usually fame-chasing wannabes whom do not want to make music the honest way: there is literally no other reason to go on these shows. A lot of the participants tend to mimic other artists and come off as second-rate. If you take Leah McFall (runner-up of this year's The Voice), she goes to prove my point. She is merely a Christina Aguilera/Adele/Mariah Carey hybrid, and has no individuality or substance. Proffered and raised on a pedestal (by a fickle and under-educated viewership) she contains no original elements, and will suffer the same outcome as the majority of talent show contestants: make an album with dozens of writers and producers; come off as sound exactly like another artist; have no creative mobility; fade from the scene pretty soon, before being forgotten about. Hopefully these shows will die a speedy death, as it seems that the shows are inspiring the wrong type of ambition. My point is, that the new talents whom do things honestly: write their own tracks; make their own way, and work hard on their original voice, are the ones whom are going to last the longest. Whether they are great lyricists and folk-orientated, or have a wide-ranging ambition in terms of genres and styles, then the market is going to be more receptive and welcoming.

Elena Ramona (or Elena Stathaki, to give her real name) is a 23-year-old artist, whom is amongst a growing band of talent that are bringing their own voice and identity to music. She is based in Guildford, Surrey and I have known her for a little while now. Being a local artist, I have charted her progression and- excuse the pun- rise, for some time. Elena is inspired by the likes of Beyonce and Rhianna, yet has a wide-range of idols; from Maria Callas to Joss Stone. The diversity of influence is hardly a surprise, given her upbringing and musical training. Growing up on the island of Skiathos, she wrote and sang songs as a young child; fostering her love for music. Whilst at boarding school, Elena appeared in many plays; honing her eventual vocal identity. After moving to England and attending the Academy of Contemporary Music (in Guildford, where she obtained a diploma in Vocals and High Vocals), she gained valuable contacts and friends (many of whom she has kept, ever since she started at the A.C.M. in 2008); which helped to foster her love of music and desire for the spotlight. Over the past few months I have reviewed and featured a few other Surrey-based solo talents, including Chess (Fran Galea) and Emma Nadine Stevens. Between those two artists, a great swathe of folk, pop and soul is covered. Each has a unique style and set of songs, but there is one constant to be found: they worked hard to get where they are; and have done so by having a unique and individual talent. Elena is another artist whom is long-overdue some attention and praise. I noticed her work several months ago, and one thing hit me straight away: her range and diversity. Not being beholden to recording pop songs and more 'mainstream' tracks, her passion for the like of opera, rock, dance (and even dub-step) has meant that she has worked with a host of very different artists. She collaborated with sub-step artist Backspace on the track Addiction: a track which has amassed over 14,000 YouTube views and a lot of fervent praise. I know for a fact that Elena has been working on the operatic side to her voice, and is a hungry artist whom is not content to stand still and restrict herself to one genre or style of music. Her voice has a power and ability that few other's posses: capable of employing soulful prowess; sweetness and operatic lust. In the mainstream there are very few solo artists as a whole, whom seem capable of having a long-term and focused career. Either their voice is too thin and ineffectual, or their songs are far too predictable and limited. For every new solo talent that comes through each week; very few will survive in the long run. Elena Ramona seems intent to make big waves and use her talent and abilities to enjoy a lucrative and rewarding career in music. Her background of classic training, a great music school and exciting and varied collaborations, has put in her good stead: giving her a confidence and step that few others can attest to. Elena Ramona is not a pop artist that is pure image, and too overly-concerned with being a fashion statement. There are no Gaga-esque theatrics and shock tactics: she is an honest and down-to-earth woman; one who loves meeting new people and connecting. Her natural friendlessness and reliability enhances her image as an artist and will draw in a lot of female fans- whom will be inspired by her personality as well as work ethic. In terms of her sound, she has a diversity and ear for quality and range that will draw in a great deal of male fans. Myself, I am prone to heavier sounds and experimental music: that which- for want of a better phrase- "pushes the envelope". Elena Ramona's endeavouring and variegated palette draws my ear in, as she has a deft ability to weave different styles of music into her cannon; going from operatic power to delicate seduce within the space of a line. She has a stunning and quite startling beauty as well (it'll be those Greek roots) and an incredible and alluring sex appeal that marks her out as a modern-day idol: one whom can win a wide range of hearts. All of this well-travelled musical background has lead Elena Ramona to the present-day. She is still in her early-20s, yet our heroine has an ambitious and busy future ahead of her. There are plans for a future release, and whisperings of future songs to come. Elena has been in the studio and making some fascinating moves for the last few weeks; and Rise is a track that is both personal relevant and a milestone for her: a piece of work that highlights the young artist at her very best. She has worked tirelessly and long in order to get her music and visions recorded- I know from talking with her how happy she is with her progress. I have been lucky enough to survey and a review a wide host of varying and diverse talent: each with their own stamp and style. Elena is an artist whom marries a huge vocal talent, with a touching and personal set of lyrics: tied around a swelling and evocative sound- with some fantastic production values. Our young heroine has had a difficult and challenging last few years. She has had to face the realities of life on a shoestring; working continuously, and bidding her time in order to achieve and realise her dreams. The story behind her single Rise has an air of tragedy. Elena's father died of cancer and the track is dedicated to him- and inspired by him. It's themes and lyrics revolve around her father's influence and passion: it is a remembrance of a great man, and what he meant to her. It is a bold and brave step from our star, whom has forgone issues of love and issues-of-the-bed, to concentrate on something more original, meaningful and emotional: paying tribute to a hero of hers, and doing him great justice. It is not often I get to form a personal relationship with an artist- prior to review- but I know how much the song (as well as her music) means to her. Her touching tribute is not a forlorn or introspective tear-jerker. It has an upbeat and invigorating warmth and energy to it; one that will seduce as well as provoke: tied around a coda that is tender and heart-warming. Our young heroine is putting Surrey; the south, and new talent on the map. Pushing away from the fallowness of the modern scene: employing an ambitious spirit with an original flair and direction, Elena is looking towards a long-term career and regard. With her great promise, memorable music and jaw-dropping looks; she is a young woman that can effortless fit into the current scene: and with a ready-made and natural openness she is a young artist that will speak to (quite literally) fans of all ages, genders and musical persuasions. Having overcome personal tragedy, setbacks and obstacles, and doubts and hardships; it is fitting that Elena is poised to make a surge for momentum and memorability: with a track that is filled with conviction and passion. Our heroine is keen to tease and intrigue as much as possible: there are plans afoot, but no firm details yet- building suspense and intrigue further. Rise is the opening gambit, in what is sure to be an incredible future prospect.

Before going into depth about the track, it is worth giving kudos and special mention to Martyn Corbet. He was the co-producer of the track (and also recorded it); and is a major inspiration, according to Elena. He is someone without whom it may not have happened, and it is his production values and touch that can be heard on Rise. The two of them met in 2011; Martyn helped Elena gain confidence and ambition- leading her to cover Eagle Eye Cherry's Save Tonight. Having written/produced an original dub-step piece together- Addiction- they continued to enjoy working with one another. Elena- hungry to expand her ambition and move into pop- joined with Corbet to bring Rise to life. The initial, romantic piano parable is tender and touching: summoning a soft and touching mood ahead of the vocal entry. When our heroine begins; her voice is passionate and soft- with hints of modern-day U.S. stars such as Rhianna, but imbued with a very natural tongue. Early words speak of childhood; or how her career and dreams began: "Just a little girl and a tape recorder" flows into ambition and a dedicated persistence: "Keeping my spirit shining bright". The emotive and simple piano line augments the words, as well as creates a calm and gentility: one that blends perfectly with Elena's voice. On the subject of that voice. It is hard- not that you would ever particularly want to- to think of obvious comparisons. Its core has roots within the modern scene- it is a fresh and relevant sound. Where as the likes of Leona Lewis and many contemporary U.S. solo females may linger in the back of the mind; in the initial stages, it is difficult to invoke a particular name. The combination of Elena's native accent, as well as her natural voice, drags you away from any obvious names; instead making you focus on the words themselves. "Thank you/From the bottom of my soul" is how the chorus begins: a message to her family and father; paying tribute to their support and influence. Elena's voice lifts and contains some added sweetness: an audible smile can be detected. Themes of thanks and consideration make up the majority of the chorus; with a special message paid to her father: "You taught me how to rise". When the words have been delivered, piano is employed; keeping the mood consistent, whilst bringing images to mind: emphasising the lyrics visuals, whilst offering a playful coda. The following verse builds upon the chorus's messages; paying homage and due to her father (and family), whom have "kept me on track" and "Rooted me down". Whereas a majority of modern songs deal with the negativities and cynicism within love (although there are exceptions); Rise proffers from its tender core, and espouses honest thanks and appreciations. It is hard to see fault with any of the lyrics, either from an emotional or intellectual standpoint. The balance between quality; quantity and potency is struck well: the words are simple and affective; with a consistency and consideration present throughout. Elena's voice is kept tempered and focused: possessed of a U.K./U.S. pop core, but also other facets too. At times the voice has country-tinged edges; when Elena's voice quivers during "You saw in me...", there is an element of blues and soul: there are hints of U.S. idols such as Alicia Keys. In the way that the song presents its key themes and cores ("You taught me how to rise" is probably the most meaningful) our young heroine makes her feelings and message felt. No need is there to deviate or to present too many words (thus distilling the song's essence): the verses are touching and thought-provoking, whilst the chorus has an uplifting and redemptive coda (and a catchiness to it). From the 2:00 marker, Elena's voice is replicated: providing wordless chorus and interjection- backing her central performance. This adds extra potency and atmosphere; and emotional sway. Towards the closing moments the chorus is introduced once more; a final thanks and praise dedicated to the song's focal hero. The overall impression one gets is one of satisfaction and surprise. Rise is a song which is surprisingly selfless; infused with warmth and genuine sentiment, that you cannot fault its intentions and themes. With an evocative and impressive composition- both serene and sparse- the main focus on Elena's voice, which is solid throughout. Her more operatic and dramatic tones will get an airing very soon; but here the emphasis is on tenderness and passion: making the meaningfulness of the words stand out. With a tiny sprinkling of the likes of Leona Lewis and Rhianna apparent, Elena's vocal strengths lie in its originality and dexterity: able to go from a softer and seductive whisper, to a powerful rise (during the chorus). Martyn Corbet's production galvanises and shines the sound: making everything crystal-clear and concise. Each word and note can be heard concisely; with the emphasis placed on the voice- it is placed high in the mix, so that it stands out strongest. The duo work well together, with Corbet possessing a clear understanding of mood and clarity: he ensures that the track is tight but not too polished. Overall the track is an intriguing and impressive cut from a young talent whom has plenty more to say. The music video for the song is forthcoming, and from what I have heard about it; it will be a fitting testimony to the song's values and spiritedness (a great deal of feathers are involved!).

From Rise's evidence, our Greek-born heroine has an undeniable ability to tap into the sound of the modern-day scene. Her anthem has a utility that can see it nestle alongside her idol's sounds; yet has a personal and uplifting message that means it defies any conventional barriers or limits. In a modern scene that concentrates too hard on the vicissitudes of love- something that seems to be the sole theme for some artists- it is unusual and refreshing to hear that Elena's first solo step is a bold one. Whereas she could have presented a typical love-gone-wrong tale- in order to fulfil a preconceived demand and predictability- instead a more meaningful and personal song has been created: something will win a lot of impressed nods of approval. There is some exciting whispers of future release, and it will be interesting to see what directions and sounds Elena Ramona chooses to include. Knowing that she is similarly at home amongst operatic and pop sounds, as well as dub-step avenues and balladry, it seems that she is not limited for options: and that sense of emotional and creative range is something that is important to her. Too many new acts will think about a future that involves several similar-sounding songs- normally concerning love and relationships; break-ups and the like-without considering diversification of theme, sound or direction. Our heroine has been working hard and thinking about her future with a smile and consideration: imaging what could be, and what the next track(s) will sound like. Although Elena has a passion and fond regard for her idols and influences, the striving for originality (in terms of her songs and sound) are as important anything; so where as new mainstream artists such as Tom Odell are being reprimanded for their lack of emotional depth and range, Elena is going against that; keen to explore as many possibilities as she can: pushing her voice and keeping her identity true. Rise is a track which lays down the (intriguing) groundwork: the expansive and striking voice; the professional and accomplished production; emotive and subtly composition, and impressively mature and accomplished lyrics. Given the tough subject matter (paying tribute to her late father), the issue is dealt with, with a great deal of reverence and restraint: no histrionics or over-emoting; just a measured and passionate performance. With Martyn Corbet's helming and guidance, a tight and impressive song has been produced: one that has been receiving a hell of a lot of plaudit and appreciation. Whatever is in the pipeline (our star is keeping cards close to her chest, to build suspense and curiosity), it is sure to be an intent and confident work; whether it follows Rise's themes, or goes in other directions, is to be revealed. I had begun by listing the typecasts and categories that female solo talent usually falls into: the mature songwriter; the pop princess; the cross-pollinating genre-crosser. Our gorgeous Greek has an already-mature and tempered song craft (a rarity for any new artist in their 20s); a girl-next-door-cum-Siren allure, and a potential portfolio that will see many different colours, shades and movements. She fits into the two brightest and most-prosperous categories, whilst able to elicit influences from her pop heroines. The first steps are always the most interesting- and most difficult from the artist's perspective. Getting it 'right'- by being utilitarian as well as original and diverse- is an alchemy that is much-required yet seldom-found. Elena Ramona has created a song that is has already impressed many; will impress many fans-to-be and potential labels alike; and- I am going to go out on a limb here; quite confidently- pays great homage and tribute to the song's muse: her father. This year has been a busy and exciting (as well as fraught and challenging at times) for Elena, but one which has served to foster her ambitions and push her further on. Further consecrations and hallmarks will be met with excited minds and focused eyes: each curious to hear what will arrive next. Whilst many of her contemporaries use subterfuge to achieve their limited goals; Elena is ambitious and determined to realise her potential: and do so honestly, letting only her talent and voice do the talking. It is still early days (where twitterpatted plans are made), but I know how much music means to Elena- and how hard she has worked to get where she has gotten to today. Our heroine has a very steadfast and all-inclusive mantra: " I want to touch a chord in everyone's hearts with my lyrics and music". With a selfless attitude, and bustling talent, she is an artist whom will have...

A very bright future ahead.

________________________________________________________________________

The official video for Rise will be released soon. For further updates:

Facebook:

https://www.facebook.com/pages/Elena-Ramona/323928237668916?fref=ts

Twitter:

https://twitter.com/elenaramona90

SoundCloud:

https://soundcloud.com/elenaramona90

__________________________________________________________________________________

June 24, 2013

musicmusingsandsuch

Uncategorized

The Chase- You- Track Review

June 24, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The Chase

You

9.4/10

The romantically-explosive five-piece bring their blend of classic English majesty and current-day U.S. rock forth. Prepare to jump right aboard.

Availability:

You is available at:

http://www.youtube.com/watch?v=hsth3NjnMxA&feature=player_embedded

Their latest album, Slings & Arrows, is available at:

https://itunes.apple.com/gb/album/slings-arrows/id487340544

__________________________________________________________________________

TAKING gambles in the music industry can take many different forms...

with consideration to bands, and newer acts. From the off, eyes and ears are focused to your sound, look and projection- a lot of time critics are waiting to pick acts apart. I have long harped on about originality- or lack thereof within the market- and it is harder now, more than ever, to set yourself apart. International acts seem to have an easier time of it, when it comes to original sounds and making an impact. Recently, I have been summarising the potency of new bands from the likes of Sweden, Canada and EIRE. It is always refreshing and exciting hearing great acts from other nations. With the media being overly-concerned with the home-grown act; as soon as a foreign sound gets through, it is always fascinating. European acts and talent from the likes of Sweden are producing intelligent and punchy music; mainly indie and disco/dance-flavoured vibes. Across Canada and the U.S. there is a bit more of a variation: from rock and indie clout; through summery, simmering pop; and all the way through to folk. As great as it is to hear some international groups, one suspects that more need to come through. Not to topple our acts, but to provide influence, support and alliance: creating a more vibrant and diverse market. In the U.K. there are no barriers with regards to making music. If you are based in the bedroom; gigging in the garage; or if you are a fully-fledged studio act, there is an outlet and audience waiting. Problems occur along the way, invariably. Due to the sheer mass of talent coming through, weaker bands and acts tend to die out or get buried. Some never really hit their stride, and spent a career in a creative quagmire: always fighting against the tide. For all of the fly by night groups; all of the second-rate acts, there are some incredible and exciting talent lining up- imperiously waiting for patronage and due respect. There are some key considerations and formulas that are present, when summating a great band's appeal. Lack of constrictions, both in terms of geography and creative movement is one aspect; so too is the particular band's influences. For all the horrors and errors that you see with regards to incorporating influence: leaning too heavily towards another band, and sounding too similar; if you add just the right touches to the mix, then the results can be quite something. To my mind, if you have all other considerations sewn up, and there is just one consideration left; you often leave one question out there: if I am going to mix and incorporate a few different sounds; then what should they be? It is always wise to include some influences of Australia, as well as Europe: in terms of the great sounds of the '70s- and yes-'80s; bolstering that to some modern-day shades. The best mix is, and always will be; combining U.K. and U.S. Currently the U.S. have the best acts and bands around (The National, Queens of the Stone Age etc.); yet historically it has been the U.K. which has turned out the greatest music. The U.S.A. are showcasing stoner rock and psychedelic sounds; sharp and fascinating lyricism in terms of the words and sound; as well as terrific movements from new and established bands. I have my eyes firmly focused on the shores of Q.O.T.S.A, The National, and Laura Marling (honorary American-elect); as well as the new breed such as The Technicolors and The Open Feel. The nation is producing a wave of exhilarating, inspiring and awesome music. There is also a huge bank and reserve of phenomenal music, that is distinctly unique: it belongs to us. As far back as the '60s where the likes of The Beatles ruled; through to the explosive range and peerless-ness of the '90s; through to the modern-day clan, our nation has produced the greatest music there has ever been. This is especially true when considering the band market, and there have been few challengers from the U.S., by comparison. So it seems that if you are a band whom have your sound worked out; you have your kinship cemented and are confident in your skins; then the final consideration seems axiomatic: mix together older U.K. and new U.S.- in order to put that cherry on the icing.

There a few bands out there named The Chase. One hail from Arkansas; and another is from France- although they may not be, as I don't speak French (joke, by the way). Blighty's example are far better than their namesakes; employing a sound which has been making waves and winning plaudits since 2004. Like a lot of great bands, the line-up changed a bit; until the final, current formation was cemented in 2010. The guys consist of guitarist and vocalist Michael Turvey; rhythm guitarist Harry Street; bass player Luke Jerome; Ralph Humby's percussion, and saxophone, backing vocals and keys from Ben Riley. It is a galvanised and solid band of brothers, that are not lead by dictatorship or an imposing centre. Unlike U.S. giants such as Queens of the Stone Age, the intrigue and dominance does not come solely from the front-man; and neither do most of the creative decisions. The Chase have a greater collaborative spirit, and have shown themselves to be very business-like and wise, with regards to their output and designs. As well as am impressive official website, which is easy to navigate and very informative, they have a full and dedicated online coverage, that makes it easy to track the guys down. Together with this eye for detail, they have a terrific ear for blending sounds and influence. Our boys have a love of the current- and fairly recently defunct- bands such as The White Stripes and Kings of Leon, but also have a passion for the classic English acts such as Small Faces, The Who and The Jam. As you can probably tell (from the aforementioned) the guys have a penchant for the more electrifying and harder end of the spectrum: they favour more masculine and dominant sounds; choosing heady rush and rock spirit, in order to create their signature sound. With a large online following, and a great live reputation, it is safe to say that they are definitely on the right course. They understand how overcrowded and jam-packed the current scene is- and just how many musicians have no place being where they are. Tying in their level-headed business aesthete: getting out onto social media, and drawing in worldwide support; the band also took their sound as far and wide as they could on the road: exciting and winning over clans of fans from all around the country- as well as the globe. Combined with a core sound which is at once steeped in history, and fresh and essential; they are fully-deserving of their status and situation. Their debut album 'Ever, Never or Now?' was released back in October of 2010, and saw them met with acclaim and high regard: critics and media were fast to promote the merits of the endeavouring five-piece. Their follow-up L.P. Slings & Arrows, was launched at a home-coming gig in Southend and met with huge local pride. Reviews in the media, as well as on iTunes has been rapturous, with listeners impressed with the urgency and authority that lies within; songs that marry the polemics and D.N.A. of U.S. and U.K. young and old; tying it together around lyrics that speak to everyone. The boys are sharply-dressed and cool, and look very much the part: no awkward band portraits or nervy imagery, just confidence and conviction. This comes through in their tracks, and it gives the impression that the quintet have been doing this for decades- rather than a few short years. Plans for the future vary, but resting and relaxing do not count amongst them. A third album is on its way, and promises treasures aplenty; touring and live dates are also on the calendar, and the quest to recruit as many fans and followers will carry on unabated. Their summer schedule contains some illustrious and sought-after gigs, and the lads are preparing by playing some more low-key venues at the moment- combining their new tracks with classics from Small Faces. The weight and potency that was produced by their Slings & Arrows album is still very much present; with the single You, causing quite an excited stir. On YouTube, the video for the song has amassed over 10,000 views, with 171 'Likes' (and no 'Dislikes'-quite a mean feat!). For a website that contains so many contemptuous and sex-starved morons, spilling hate and bile in the 'Comments' section to every video; The Chase have received nothing but glowing praise and support. Having steered clear of the pitfalls and cockroach traps of YouTube, our five lads should be proud (of many things). They have managed to rise above the parapet of critical disregard and naivety; circumvented the will of the most jealous of new bands, and managed to strike out on their own; calibrating their sound and potency by the month. Where so many bands have failed: going in too hard with little sense of direction or long-term future; a poor and bare-boned business plan; a derivative and cliché sound; the five-piece from the south of England have; well... done rather bloody well. As anticipation rises for the third L.P.; it is You's hallmarks, swathes and subtleties that I have been investigating...

The opening salvos and moves that You pervades, is awash with youthful energy and potential. Anyone wanting to hint at initial influence may have their minds taken to the camp of The Stereophonics as well as Arctic Monkeys- but will have a hard time making any solid comparisons with regards to a song or album companion- such is the immediacy and sound of the intro. A few brief drum beats join with a striking and blazing riff: one that sways and hits, but is not too heavy-handed or distorted- instead refreshing and intriguing. When our front-man's voice arrives; it is a slightly easier job when hinting at possible comparable/similarities. As much as I have been on a quest to tirade against any obvious mimicking; our hero, however has some very distinct personal shades. Sounds of Liam Gallagher and Alex Turner can be heard; joining a Manchester and Sheffield divide together, to present a vocal that has mid-90s Britpop-cum-modern-day indie/alt. If your senses and intuition pulls you towards thoughts of a Definitely Maybe/Suck It and See hybrid, the vocal mood and lyrics will drag them clean away. Whereas the aforementioned may mix cutting cynicism and tales-of-the-modern-street with '60s-esque pop thesis; our boys have something modern and more relevant; and something that is both upbeat and impassioned. Our hero speaks of tales from the heart: "I miss your face" and "you're always on my mind". There is a sincerity and earnestness to the sentiment, which when tied to the uplifting and spirited backing, augments the song and unveils a smiling and energised stride. The unnamed paramour that is alluded to, is causing our hero to ask why a pretence is kept up; why the two are apart and fooling themselves- our hero "see no sense" as to the logic of it. There is no spite; no diatribe against love and no sense of bitterness (that a vast modern core would project): there is an honesty and tenderness that is at its core, that is hard to ignore. The sense of longing and belonging is emphasised in the chorus, which is the embodiment of a good-time vibe; a heady rush of a summer-ready anthem. Our front-man goes to sleep thinking of the anonymous heroine- someone whom is causing more of a stir as the song progresses. The band performance is tight and emotive throughout, with the bass and guitar providing a controlled and elastic centre; whereas the percussion counterpoints and ballasts with some persistent punch and energy. In a way the group have more in common with the British groups of the '60s, displaying the same infectious spirit and heart as the likes of The Beatles- with enough Small Faces in there too. Thoughts and revelations are kept on the positive and romantic side, as our hero sings: "I just need to see you smiling"; the themes and verdancy of the song shares more with the 'Madchester' and London bands of the early/mid-'90s (crosses between The Bluetones' Expecting to Fly and The Charlatans' The Only One I Know come through). It is the ear for melody and catchiness (not in a bad way; a very genuine one), that The Chase get their messages across. When the chorus comes back around, it seems as if the guys are constitutionally incapable of being down; of portraying anything negative. Our hero is caught up in the sunshine of the mood, proclaiming (to his unknown beau): "You're the only dream I have". The way in which the composition- with its classic '60s sound-cum-modern-day U.S.-via '90s Britpop- displays an unbeatable energy and enthusiasm, the vocal does not come off as too doe-eyed or sweet-natured. The vocal display is authoritative and convincing, but has enough northern England edge to the tones to make it both romantic and harder-edged: giving the song a much more relatable sound. With some impassioned and empowered guitar work showing its hand towards the closing moments; the momentum and wave of energy gets a new lease of life, to keep you hooked to the end.

I have been delving deep into the music archives lately; expanding my palette, and reintroducing my brain to some rather incredible sounds. Lately the cut-and-paste plunderphonics of Australia's The Avalanches have stuck in my head. Their debut (and only album to date) Since I Left You is in need of a long-overdue follow-up, as the tracks and innovative spirit that lies within are in dire need today. Aside from the title track and Frontier Psychiatrist, there are a wealth of variegated and fascinating cuts, that to my mind, have yet to be topped- in terms of their effect and potency. Full of summery son, hip hop twists and sound collages, it is a testament to a hungry young group, whom seem to encapsulate the spirit of the time- late '99-'00. I mention it because the amount of hard work, dedication and attention to detail that must have gone into that L.P. are apparent in every note. Even the early-mid '90s pop and indie pioneers loaded their anthems and albums with such due care, that it is hardly a shock that they were so adored and emulated. Over the last years- not that music is being 'phoned-in'- but there is less attention and consideration given to the intricacies, nuances and aftertastes of music: what can be achieved- at that moment and retrospectively- if that extra ounce of effort is put in. Pushing the envelope is not enough. You have to stuff it with fireworks and shove it in a bonfire, just to get- a somewhat fickle and homogenised- media to pay attention and keep you in mind. The Chase's trump card comes in the form of simplicity. Where as lesser bands and lesser minds may see simplifying music as a regression; it is the pure-hearted honesty and openness of You, which is near-ineffable. Attempts are made to recapitulate the glories of '60s/'70s U.K. and modern-day U.S., yet few successfully do. In the band market there is still an over-reliance on sound, force and power in every track: little thought is given to subtlety. It is the hook-laden joy of the track, as well as the earnest openness and romantic heart which gives the song its stripes. The band are tight and focused throughout, adding layers of richness to the track, and not spooning in various components too liberally: everything is given due consideration for atmosphere. The southern boys are very much a band of men, yet many would say You is the type of number a boy band would normally attempt. If the central heart and blood flow suggests similarities it is the projection and quality of the track that steers you away from such sloppy comparisons. There are no saccharine touches, no cloying lyrics; and a complete lack of naivety: it is simply a great and memorable number. For too long there have been too few bands from the south of England, whom have caught my ear. Many of the current best reside in the north as well as Yorkshire (and Scotland) yet London and the south tends to be under-represented. It is refreshing that The Chase are making waves to putting the southern counties back on the U.K. music map; with their unique brand of song. With a new L.P. on the horizon, it will be interesting to see which direction the 5-piece take. Whether they will stick with their tried-and-tested sound; or expand to incorporate heavier underpinnings and a certain swagger, is to be seen. They should have no fear, as the Slings & Arrows set show that the life they have in them, is fertile and in need of progeny. The remainder of the year will see the boys tour and bring their current songs to audiences far and wide- as well as ready themselves for their next record. For the moment take a listen to You, and all it offers, as the band's trajectory will be an exciting and busy one:

AND much-deserved too.

________________________________________________________________________

Official:

http://www.thechase-online.co.uk/The_Chase_Official_Website/Home.html

Facebook:

https://www.facebook.com/thechaseonline

Twitter:

https://twitter.com/thechaseonline

YouTube:

http://www.youtube.com/thechaseonline

SoundCloud:

https://soundcloud.com/thechaseonline

__________________________________________________________________________________

June 23, 2013

musicmusingsandsuch

Uncategorized

Nancy Elizabeth- The Last Battle- Track Review

June 23, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Nancy Elizabeth

The Last Battle

9.7/10

Wigan-born Cunliffe summons a riot of beauty, from a track that is Dancing music...straight from her sleepless, thought-provoking nights, to your brain.

Availability:

The Last Battle is available at:

http://nancyelizabeth.bandcamp.com/track/the-last-battle

The album Dancing is available at:

http://nancyelizabeth.bandcamp.com/album/dancing

___________________________________________________________________________

IT is the subject and issues around the female voice that once again...

comes to mind; today particularly. I have gone into detail before about the limitation one faces when encountering a solo voice: the build-up and inevitable limitlessness. The men have a job on their hands trying to supersede and avoid expectation and lazy comparisons; with many being penned in and written off within a few moments of their careers beginning. For the female artist, there is a similar pressure. I think in 2013 there has been as little mobility and curiosity given towards the female voice, than there has been ever. In the last decade, as well as the '90s, there was always fervency and excitement to be found. The 1990s especially was a decade that- debatably, but to my mind definitely- produced the last great waves of dance and trance music. Within the shallow shores of trance and dance, diverse and unique vocalists such as Sophie Ellis Bextor and Sonique, sound-tracked some of the most memorable tracks of the decade. Established singers such as Elizabeth Fraser (from Cocteau Twins) were lending their hypnotic tones to incredible dance numbers (Fraser provided lead vocal on Massive Attack's Teardrop). The dance and trance movement- that hit its peak at around 1998/'99 (and into 2000 too)- was only a small segment of the market. Away from such idiosyncratic music, there was a burgeoning and inspiring pop and folk scene; in fact there was a lot to get excited about. It was a decade that saw established legends producing great music alongside brilliant new artists, and to my mind it was the female acts whom were at the pinnacle. Whilst it was the bands whom were creating the best songs and anthems of the decade, it was the new female voices that caught my attention. As the years progressed, bands and the band market became more favoured- possibly in reaction to the greats of the '90s such as Blur, Oasis and Pulp. Over the last few years there has perhaps been little to shout about, with regards to the solo market. There has been Laura Marling, Adele, Amy Winehouse and Lianna La Havas: varied and unique in their own way; each proffering a different sound and style. For all the modern-day icons and influences, there is precious little in the way of future potential- those artists whom you could see being around 10 years from now. Too often is the tendency for the new artist to underwhelm. Their words may be personal and concerning the usual themes: love-gone-wrong, determination; ambition and the realities of relationships; yet the sound and vocal tends to be less-than-impressive. When hitting upon a sound that is both memorable and unique, greater ambition has to be shown. Many of the female voices at the moment tend to be too sweet-natured: quite cutesy and pleasant, yet lacking in either bite or etherealness. Likewise the abiding sounds stray within the acoustic/folk/pop mould- little mobility is shown with regards to mixing genres and pushing boundaries. To my mind, the most impressive female talent tends to be those whom show consideration for every facet. Laura Marling- I have mentioned many times here- is the epitome of the modern-day female icon: stunning wordsmith; unique and powerful voice, and an electioneering and exciting sound. A great deal of R 'n' B and soul talents display a powerful set of pipes, and marry this to themes that are relevant as well as original. Outside of the obvious examples, the best female voices are hard to come across. I have reviewed several recently, including The State of Georgia and Sophia Bastian (and a few others). I feel that the market and public will always favour the bigger and more powerful voice: that which can elicit immense power and potency, whether it is through sheer force or raw emotion. When searching for inspiring female talent, the media perhaps is not overly helpful. Great websites such as The Girls Are promote female artists fervently, yet aside from that there is still a male-dominance apparent. Although, when one does discover a great voice and talent, it is a rewarding experience indeed.

Nancy Elizabeth has a stunning and knee-trembling soprano voice, that has won her many fans. It was My Brightest Diamond's Shara Worden- a similarly crystalline vocal idol- whom was one of the last female singers to really invigorate my senses and get me excited. Nancy Elizabeth (or Nancy Elizabeth Cunliffe, to give her full name) has a voice that is as impressive, yet her sound palette and ambition is even higher and harder than the American's. She is a multi-instrumentalist whom has been playing for many years now. Hailing from Wigan, she has been wowing crowds and capturing supporters since her first E.P., The Wheel Turning King was released (in 2006). Over the past five years, Nancy Elizabeth has been very busy indeed. Her first L.P., Battle and Victory was released in 2007, and was well received critically; drawing favourable comparisons with contemporaries such as Joanna Newsom. The follow-up L.P., Wrought Iron gained even more praise; many pointed towards the sparse sound, layered instrumentation and stunning vocals as hallmarks; promoting the likes of The Guardian to feature and profile our heroine: giving her invigoration and impetus to keep pushing and bringing her music as far and wide as possible. On her official website, Nancy Elizabeth states that she has been most of her 20s playing pretty much everywhere and anywhere; from a derelict Mexican church, through to a run-down pub in Paris- oh, and a gig at London's Barbican Theatre. With great demand and a growing fan base, the pressures and relentlessness of performing became overwhelming, with our heroine retreating to the vicissitudes of home- where she remained ensconced and began work on her current L.P. Dancing. Having spent so many years recording and performing, it was only natural that rest bite and relaxation was in order. Nancy Elizabeth spent many sleepless nights listening to music; becoming fascinated by vocal harmonies- perhaps not relaxing then, but certainly inspiring. Within the walls of her cold and small Manchester flat (her words, not mine); surrounded by guitars, amps and instruments, the young artist become immersed in what was to become Dancing. The L.P.'s title was inspired by our heroine's last-night tendencies: awake in the early hours she became acutely aware of time's passing; a physicality was very present. Perhaps the album's epiphany and inspiration came from Nancy Elizabeth's own personality and desires. She is a young artist unconcerned with incongruous photos and imagery of herself. The designs and landscapes contained within the album's artwork were created by her, and depict scenes and sights that sum up what the album is trying to say- the music is very much the primary concern. Likewise, whilst the L.P. does contain electronic samples and passages, it is not a traditional dance album; instead it enhances and utilises our heroine's extraordinary voice, and combines with innovative and exciting compositions and sounds. Over the course of the 12 tracks that comprises Dancing, a lot of personal relevance, as well as mystery, are presenting in the song titles. Desire, Early Sleep and Shimming Song seem to project different sides to our heroine; whilst Mexico and Debt have very literal suggestions. I have been aware of the track Simon Says Dance for a little while, and know that it has gained some huge praise and plaudit from various sources. It is not a shock that Nancy Elizabeth has been earning impassioned words. From the hard days (and nights) spent in her flat: solitary and cold; small and familiar, a great deal of inspiration has been found. The L.P. shows a natural progression in terms of the overall sound, but the album sounds more personal and ambitious than her previous efforts. The album displays a lot of longing- mainly personal- and Simon Says Dance's line about "a flame burns inside my belly" goes to show that there is a strengthened and steely resolve in our heroine's heart. A great deal of the all-time legends produce some of their greatest work, in relation and as a reaction to separation and heartbreak. Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue display some of the greatest- as well as deeply personal and introspective- work of the lyrical legends; and unsurprisingly these albums are considered to be amongst their best work.

"Won't wait in a cage/'Til someone comes to rescue me" is perhaps one of the most haunting and personal lyrics on the album, and are the first words of the L.P.'s lead-off track The Last Battle. The song itself begins with a gentle acoustic strum, alongside Nancy Elizabeth's seductive wordless vocal. It has the evocations of a medieval battlefield or an Elizabethan feast. The atmosphere and stillness (the calm before the storm as it were) presents the former; whereas the latter seems appropriate when considering the tranquil sigh one hears. It is if our heroine is a queen, watching from afar; surveying a battlefield. Or she could well be the central focus: maybe a Joan of Arc representation? The sway and intoxication of the intro., with the exquisitely pure vocal and tender guitar, is a smoke that wafts and envelopes- and one which sets a peaceful and romantic tone. As the influence of a gorgeously-picked harp is played in; the vocals double and are triplicate: creating a small choir that augments the haunting and gentile aroma and mood-scape. Up until 45 seconds, one is subjected- or more accurately rewarded- to the sound of the ethereal chorusing; a mesmeric and tender armoury that makes you sigh and smile somewhat. It is pretty difficult for the casual listener; if they were to grasp for any potential 'influences'- there is a little of Joanna Newsom's magic to be detected. Such is the unique and idiosyncrasy of Nancy Elizabeth's template, that you really can't focus too hard on anyone else. Its harp and soprano coo subsides slightly, to make wave for an energised and upbeat acoustic/electric guitar combination. The tone has indie/pop edges- there is a The Bends Radiohead-cum-Oasis-cum-The Killers. In the same way that the operatic and soothing sway brought certain images to mind, it is the second half of the intro. which makes you think of something more modern- the inside of our heroine's Manchester flat; as she sits alone and imagines. The vocal that arrives is more measured and composed than the wordlessness of the start: the tone and presentation has a measure of folk; yet Nancy Elizabeth's voice is sweeter than your average example of the genre. Our heroine is in a cage; although she says "I'd stay there/But I can't let myself be weak"; her voice seems determined and matter-of-fact: not overwhelmed or emotional. Where as the musical backing is enlivened and the vocal is pure and unflinching; the themes and words have a surreal and dream-like nature to them. Talk of the devil- female no less- are elicited; the succubus has "been pulling the wool over my eyes for all this time". The words come, and the intention and message is plain to see. Where as lesser talent would stick with a single vocal line, and not deviate too far; Nancy Elizabeth weaves other vocal patterns in the mix; sprinkling a weaving and snaking coda in; one which rises and falls, creating a vocal sway that is extremely effective. Our heroine is "longing for someone to care for": there is a sense of loneliness and emptiness that you can detect. Between the Siren vocals and dancing guitar there is a sense of romanticism, yet Nancy Elizabeth's tones and words suggest a heart that is yet to find peace and satisfaction: there is the suggestion that too much pain has been experienced for too long. The words themselves are as impressive as anything- even if the voice is the most immediate facet- displaying a maturity and intelligence one hears from the likes of Laura Marling. Snatches such as: "love is letting you go love/Not tying you by my side" and "Hard to tell it from control/Because they look so alike"; shows an endeavouring originality and voice. There are no sloppy metaphors or over-used themes of love; no obvious and worn similes or histrionics: the lyrics are intriguing and vivid, making you imagine and project some rather strange and wonderful scenes. In every song I always wait for a moment that will take you totally by surprise; keep you on the edge of your seat, and quite frankly, knock you back. In the case of The Last Battle this occurs at the 2:50 mark. Having completed a sensual and imploring coda of "(I won't be the devil's whore) no more, no more"; our heroine's voice sways and seduces, before a sea change occurs. Drums play powerful and rhythmically; portraying an army approaching. Nancy Elizabeth weaves her vocal lines into a tapestry: higher "ahhs" are mixed with lower "ohhs"- presenting a chilling and beautiful blend. Whereas the intro. had its instantaneous effect and potency, likewise the current passage has its striking charms. You are captured and pulled under by the gorgeous vocals; carried along by the pulsing and bouncing percussion. Just as you think we are going into battle; swords and horses; blood and pain, there is a calm unveiled. Our heroine returns to the theme of "Won't wait in a cage/'Til someone comes to rescue me"; the voice still possessed of all of its magic and potency; swaying and playfully twisting and turning- and bringing the song to its conclusion.

I reviewed Joe McKee yesterday, an Australian solo artist whom has had an illustrious and successful past. From his roots as a frontman, he moved to London to change scenes (he was born in Brisbane); yet decided to return to the Darling Ranges of his native soil; captivated by its majesty and peace. He seems like an artist whom prefers tranquillity and does not favour too much bustle and hassle. His voice (on the track Darling Hills) presents a mesmeric and luscious baritone, that tempts and draws you in; making you acutely aware of your surroundings, as well as those which his song present. Coincidentally, Nancy Elizabeth has a similar predicament. From her time spent touring and being caught up in the day-to-day anxiety; she has retreated to a safer and more familiar haven, to produce something quite staggering. Even if there is little money and a less-than-idyllic backdrop to her predicament, it seems that the four walls she calls home inspire the greatest thoughts and movements. In the shadow and poison of insomnia, she was able to utilise the time; turning her thoughts to music, and creating an L.P. that is brimmed full of serenity, passion and intensity: a record that does not stand still and does what few others can claim to do. Nancy Elizabeth's personality, predicaments, work ethic- and yes her voice- bring to mind the greats such as Kate Bush, Joni Mitchell and Patti Smith: she has drawn comparisons with Joni Mitchell fairly frequently. The legendary female stars of the '70s and '80s found that there seemed to be a causal link between a more secluded life, and musical alchemy. Where as the likes of Bush, Mitchell and Smith had their romances and highs; their greatest music was enforced by breakups, ghosts (metaphorical of course as ghosts don't exist) and longing. In the case of Bush, surreal and dreamy scenes are worked into Nancy Elizabeth's songs, and it is the ingredients and flavours that are put into the boiling pot, that makes her album such a success. The lyrics speak of love, love-gone-wrong, dreams, nightmares; mythical predicament, wars and battles and so much more. A multitude of instruments are worked into the palette to augment and invigorate tracks, giving them a huge ambition and unique sound. It is our heroine's voice which is the calling card and golden nugget. It is an instrument that is pure and crystalline, yet has a power and passion that few can boast. The likes of The Girls Are have highlighted at just how majestic Dancing is, and The Last Battle is a perfect example of how good she is. Little consideration is usually paid to intros. yet here it is filled with so much promise, intrigue and potency, that the song instantly makes its mark. The themes of rising up; shaking off the shackles (cages, the devil in this case) and determination come to the fore: there is an abiding sense of wanting to break free and find space (with some longing and sensitivity present). It is a gorgeous song filled with striking and atmospheric instrumentation, and that stunning voice ruling the kingdom. It is a track that you can't compare to anything else- or any other artist- yet has some lingering qualities of Newsom and Mitchell. As I write this (the morning of Sunday, 23rd June), the U.K. has witnesses the finale of another series of (the God-awful) The Voice. It was won by what's-her-face? (she is blind I know). The show's winner was a predictably lamentable and irrelevant sob story- it seems being blind is enough to get you votes in a singing contest. Such is the sappish and stupefying nature of these shows and its voters, that some woman's predicament and disability superseded talent and potential. Apparently it should have been won by some other woman; to my mind sounds like a bag of cats being put through a ceiling fan. In fact she sounds like a bizarre Christina Aguilera/Leona Lewis/Minnie Ripperton hybrid, and is as deplorably irrelevant as the show's winner. My point is that these shows ('talent' contests) foster this type of irrelevance. Even the artist whom apparently 'should' have won it, is nothing more than a copycat of other artists. Her voice is stolen (and hardly appealing or unique); I doubt she could write anything memorable or original if she tried, and she has a personality and projection that means she will be dead and buried in the water within a few months. The paradox is always the same: artist comes; writes album (with 15 producers and 25 writers); doesn't play any instruments; has a boring L.P. cover; sounds exactly like existing artists; gets forgotten about all too soon. It is the stupidity and credulousness of the broadcasters, the public, as well as music fans that these shows are allowed to exist, survive and annoy. My point is that if you want to find someone genuinely worthy; a talent whom is doing things honestly and inspiring people- and is not a hideous fame-chasing cretin. Nancy Elizabeth is a hard-working, tireless and ambitious talent, whom is a hugely impressive writer and singer, and one whom is original and captivating. If you haven't immersed yourself in the wonders of The Last Battle and Dancing...

DO so now... it's one of the best albums you will hear this year.

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Official:

http://nancyelizabeth.co.uk/

BandCamp:

http://nancyelizabeth.bandcamp.com/

Facebook:

https://www.facebook.com/nancybeep

Twitter:

https://twitter.com/nancynancybeep

YouTube:
http://www.youtube.com/playlist?list=PL646361ED72B6F960

SoundCloud:

https://soundcloud.com/nancynancybeep

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June 22, 2013

musicmusingsandsuch

Uncategorized

Joe McKee- Darling Hills- Track Review

June 22, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Joe McKee

Darling Hills (Dot Dash Recordings)

10/10

Striking Australian brings you the wistful grace of the Darling Ranges; combined with a well-travelled mind; culminating in a song of rare beauty and epoch-defining potentiality and pulchritude.

Availability:

Darling Hills is available at:

http://www.youtube.com/watch?v=1EtS-5_xh48

The album Burning Boy is available at:

http://www.amazon.co.uk/gp/product/B00D66MGY8/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1634&creative=6738&creativeASIN=B00D66MGY8&linkCode=as2&tag=propemusicd05-21

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THE arrival of a new male voice, can cause a wide range of emotions...

from the media and fans alike. Whether this vocal talent is a brand new talent, fresh on the scene; or one whom has gone from a band leader to a lone wolf; there is always a great deal of consideration and hyperbole provided. I am always attuned to, and interested in, the prowess of a great voice; and what components and ingredients go into making one. Historically, there has always been a choice of vocal idols. Whether you prefer the potency and raw power of Chris Cornell, Axl Rose, Roy Orbison, or the king of them all Freddie Mercury; or if the beauty of Eva Cassidy, Kate Bush and Thom Yorke is more your thing: there is plenty out there to investigate. One of the biggest problems with this generation, is that there seems to be a lack of interest in the past. Attention spans and focus tends to concentrate around present-day; or if you are really lucky, a couple of years back. Most are seemingly unaware of the likes of Janis Joplin, Nina Simone or Leonard Cohen- blank faces and haughty derision usually awaits. This lack of understanding and myopic fandom is responsible for a lot of miasma in the current scene. A great deal of female solo talent either present themselves as, or are compared with your Aguileras, Careys, Houstons or Winehouses; your boys tend to be 'the next' Jeff Buckley or Alex Turner. There is a little variation, but predominantly one can trace roots to an existing singer: making your listening experience seem second-hand and stifled. It does not help that the media seem to sweat with hysterical joy at the sounds of a man who can sing in falsetto; or a woman who has a gin-soaked or belting set of pipes. As much as the over-reaction and false praise is grating; it is also giving wannabes and rising talent a bad message: if you want our praise, throw away an original voice. Greater reward and accrued success will come more readily and more deservedly, when you strike an original chord. Naturally sprinkling some influences into the pot does no harm- in fact it can enhance a voice. It is also okay to be a little endeavouring: defying convention and having a wide-ranging and unfettered voice. Perhaps reintroduce strands of under-appreciated vocal idols such as Tim Buckley, Bjork or Scott Walker: be a bit more daring? However it is to be achieved, there needs to be an about-face when it comes to the voice. In spite of some familiar edges, troubadours such as Matt Corby are reappropriating a genre that is coming under some scrutiny. For all of the dewy-eyed adulation the likes of Tom Odell and Ed Sheeran get; Corby is more deserving of praise. With a wide-range and powerful set of lungs; that can go from a gravelled roar, down to a seductive whisper: it is much more of what is needed on the scene. In fact, it is the likes of Australia, which are producing some of the most diverse and memorable modern talent. Having given the world some of the greatest music of all time, the nation is also producing some terrific and heavy-sounding bands, brilliant female talent, and worthy male voices. The U.K. seems to be a little stifled at the moment, with regards to creative diversification. The mind-set is either firmly planted on fostering below-par solo talent, or generic-sounding bands. One suspects that a large amount of genuine wonder is being lost; dropped through the cracks; simply due to lack of attention and underwhelming social and media channels. It a shame, I guess, yet we here can take notes from the likes of the U.S., Europe and Australia. The latter has an almost stereotypical bonhomie and sense of relaxation: at once endearing, but also business-orientated. The lack of subjugation and suffocation has allowed indigenous talent to move and gain creative space; yet at the same time the more favourable records label/media source to artist ratio, has allowed for greater and more long-term fostering and consideration. The likes of Corby have been given the opportunity to flourish and grow; due to the fact that there is less caging-in and repression. As much as the U.S. and Canada are producing some of the finest bands of the moment, our northern and Scottish climbs, as well as Australia, are bearing forth the most exciting and meritorious talent.

Having spent some significant time as part of Snowman, Joe McKee is a name that may be familiar to quite a fair few- he is certainly a beloved name in Australia. Our hero's sense of identity and ambition is enforced by the mellifluous majesty of the Darling Ranges. Sometimes referred to as Darling Scarp, they lie south of Perth; are noted for their tremendous beauty. It is a low escarpment, and extends to the south of Pemberton. Dams such as the Wungong Dam and the Canning Dam are to be found; as well as bauxite mines, railways and quarries. It is probably a quintessential destination for one who wants their mind to be inspired, relaxed and seduced. For those whom are aware of, and in love with Melbourne, Sydney and Canberra, the likes of this Perth wonder. Because of the area's very hot summers, the Darling Scarp has been affected by huge fires as of late. In early 2011, a massive fire plagued the area for four days: forcing many to evacuate and seek refuge elsewhere. McKee originated from here- and barring a sojourn in London- has spent most of his days here; nestled within the quixotic and intoxicating beauty that the landscape has to offer. A long-held belief and tristesse of mine, has concerned the correlation between location and quality. In areas and countries where there are tightly-packed and busy communities, anxiety and hostility can be experienced- causing a drop in music quality and ambition. Where there are wider plains; greater distance as well as more inspiring landscapes; the mind is free to wander and imagine: causing a much stronger and free-range creative output. It is perhaps not a coincidence that McKee has been praised for his music- given where he spends most of his free time. As well as a productive spell in London, McKee has drawn influences and sights from his native Australia, and injected them into his work. His work with Snowman was widely praised- especially 2009's masterpiece The Horse. The mesmeric sounds and limitless ambition lead the band to London; where they gained fresh inspiration and a chance to record Absense. After the band went separate ways- some to Europe, some stayed in England- McKee was a lone wolf: one filled by the majesty of London, and remembrances of home. Having tried to forget about Perth, McKee invariable returned there, where he recorded the 10-track opus Burning Boy. Under the auspices of his illustrious past and extraordinary talent, McKee has a lot to work with. Where as his band regency was noted for driving and pulsating rhythm sections; the solo McKee portrays and teases and unexpected and lush baritone- one that is causing a quiver amongst the music press. Where as your average solo man: think Ed Sheeran for example, turn in 10 or 11 variations on the meditations of love and personal strife, McKee has a golden nugget in his satchel. Where as a lot of our talent (as well as U.S. solo stars) are too beholden with filling E.P.s and albums with tales of love and wrong-side-of-the-tracks-romance; McKee has more in common with the likes of Bon Iver. McKee draws from the experiences of his landscape: Open Mine talks of Western Australia's recent gold rush; where as the title cut has a more vulnerable edge. The range of themes and the dexterous nature with which McKee presents his songs, shows a talent whom understands keenly how a terrific set of lyrics, and a brilliant voice; will get you noticed and remembered: take note beige middle-of-the-road acoustic core! Burning Boy was released back in May, yet has lead to a huge swell in social media fans: 855 'likes' on Facebook; 566 followers on Twitter (at the time of this review). Rolling Stone Australia dubbed the album "A near masterpiece"; whereas The Australian called it an "accomplished debut". The Guardian recently included McKee in their (misnomer aside) 'New band of the day' segment. Online music sites such as Beat Magazine and Mess+Noise have heaped praise on the L.P., highlighted McKee's encapsulating pipes and his superb set of songs. He has looks ready-made for the market. He is a handsome chap; where as like Corby he has a liberal amount of facial hair (including an astonishing beard), and a stare that will bore into you, he is the antithesis of the boy band Muppet: all hairless femininity and weak-limbed effete. He is A Man; recording songs of beauty and stirring resonance: the effect is one that will see him being welcomed back in London- as an inhabitant as well as a touring musician. One suspects that it will not only be Australia and the U.K. whom will be vying for McKee's attention: the likes of the U.S. and vast swathes of Europe will soon be attuned to Burning Boy's nuances and rewarding layers.

As well as the title song; Flightless Bird and Blue Valeria; which have struck and captured me with their beauty and variegated plumage, it is Darling Hills which lingers longest in my thoughts. The album is not available on Amazon until July 1st; yet the songs are available online- or most are. Blue Valeria's success and wisdom drew in a lot of new (and existing) fans; and if Darling Hills is shared liberally; many new fans will take McKee to heart too. For all the press and adulation that the title track has garnered; I was struck by the autobiography and tender passion that is evident in Darling Hills. As you can tell by its title, it has geographical significance, and a great deal of personal relevance to 29-year-old (maybe 28; he was born in 1984, although I am not sure which month) McKee; whom was given a great investigation by The Guardian. I am often ambivalent (read: angry) towards Paul Lester (who writes the daily page); he often seems glib and fatuous with regards to the talent he features; sometimes bordering on the hate-filled. With McKee (whom he praises liberally), he is spot on. Highlighting his intelligent song craft, which as hallmarks of '80s greats such as Prefab Sprout and Go-Betweens. His songs are imbued with sensitivity and orchestral majesty; mixing lick-lipping string sweeps, with spacious piano codas. To my mind, Darling Hills is the epitome and summation of all of the positive attributes and seductive D.N.A. that Burning Boy promotes.

The atmospheric and heady rush arrives immediately. Cinematic and epic strings; lush and romantic sweep in. Where as the likes of contemporaries such as Lana Del Rey employ swaying, dark string sections; Darling Hills' intro. has more in common with the work of The Cinematic Orchestra: it shares the same immediacy and stirring quality. McKee's vocal arrives; both tender and striking. It has a quality of Jim Morrison: there is that weight and potency; with an echoed/reverb effect to the voice. Our hero appears far away, with the song sounding like it was recorded in a tunnel; or empty valley- such is the sound of the voice. This gives the track a dreaminess, as well as emotional cadence that emphasises and augments the mood. Early thoughts and confessions point towards the beauty and majesty of where he is: "Darling Hills/Rolling in the dust". Our hero's voice is backed and supported by a gentle-picked and sighing guitar; tenderly played, summoning up some bare-boned beauty and evocativeness. McKee's voice floats in the atmosphere; like the breeze it gently blows; caressing the words and it gives the listener the feeling he is actually in his Brisbane haunt: him and him alone, letting its natural wonders roll over him. Everything about the song and its projection would suggest a devotional love song- in a way I guess it is- as it seems like McKee is calling out to a lover. Scenes and thesis mix sensual and vivid imagery with delicate regard ("I dream of your/Burning skin"). It is the way that McKee brings you into the song, and gets you to appreciate the beauty he sees; that makes the song so captivating. It seems near-impossible that he recorded the song upright, in a studio, with a microphone; as you would think he was relaxing in the Darling Ranges, surveying the landscape, playfully teasing the grass in which he lays. As much as I have mentioned the older legends, and referred to Jim Morrison/The Doors; McKee has a Thom Yorke-cum-Jeff Buckley hybrid: not to employ an over-used comparison (as I hate to do so); yet it is that stillness and etherealness that was synonymous with these icons, that can be heard in our hero's voice. The emphasis is very much on the word; letting it speak its truth and draw you in. Musical backing is never too heavy or overwrought- quite the opposite in fact. Gently plinking piano plays like soft rainfall, where as the articulation of strings is designed to elevate the emotion and tenderness; whilst embodying sunshine, moonlight, romance; joy, wistfulness- it manages to bring all of this to mind. The mix of the romantic and geographical mix perfectly, blending a heady and drunken kick, that will melt and seduce. McKee's talent- amongst many- is to calm your mood and mind; no matter how you are feeling. The vocal is poured like chocolate, and has that enriching tone to it. Critics and reviewers may not have alluded to some (possible) influence, but there is a touch of Nick Cave. In fact there is a little of Matt Berninger from The National. Like these vocal wonders, McKee's (voice) has a similar conviction and headiness. Unlike Berninger, McKee's vocal is not rooted in sadness or introspection (quite as much); his words are not as oblique, and are more literal and romantic: "Through the trees/I can hear your voice". So hard is it to find any link- direct or not- to any other artist, that you sort of hint at 'maybes': hearing a tiny bit of him; a whisper of them- the originality is what gives the song its purity. In the accompanying video for the track, we see images of the water; the ocean and rivers tumble with riparian smile; our hero lays down, eyes closed: the images are his thoughts and dreams, and a calmed peace seems to be present. Acoustic guitar and piano melt into one another; the guitar occasionally goes out in front, creating its own gravity and beauty, before dropping back slightly. In the way that the blues and jazz legends of the '50s and '60s could leave you spellbound with the voice and carefully-considered instrumentation; McKee does likewise. So much attention and hysteria has been paid to his country mate Corby. Matt Corby's strengths lay in his power and guttural roars; where as I feel he is lacking when it comes to the more sedate and romantic side of things. In fact, over the course of Corby's E.P.s and singles, his voice has not wavered too much from its core- it is great but you get the sense that he will need to expand it if he brings out future albums or E.P.s. McKee has proven he has a similar power and masculine power; yet he has the stillness and devotional spirit that Corby- as of yet- does not posses. Similarly the way strings are carefully employed; adding extra layers of intrigue and beauty, are something that Corby has not quite mastered. I only use the comparison to show that McKee deserves a similar attention and appreciation. Darling Hills is a paen to the nature of home: where the heart and spirit is. It would be axiomatic to say that the vocal and lyrics are convincing: this has been noted by everyone whom has heard the song. The sense of tenderness and stillness is what makes the song stand out. When you marry the words: part love letter to McKee's native climb; part romantic calling out; and tie it together with the stirring and gorgeous composition that all of the various parts make a magnificent whole- one that sticks in your mind for a long, long time.

I have been a little down on U.K. talent for a while now. From listening to Darling Hills and Burning Boy, perhaps we suffer an incurable ailment: we just don't have the scenery to inspire. Even if you travel to the hills and countryside of Yorkshire or Scotland; nestle in the busy cities, or take a trip through to a quiet environ, one thing will be apparent: it is not quite as majestic as Australia. I suspect that if a U.K. solo artist were to reside within the Darling Ranges, a similarly touching and beautiful song could have been produced. McKee has drawn in his influences from London and his time spent here, and brought them into a track that is very much Australian. It represents and speaks of the beauty of where he calls home; what many of us can only imagine in our minds. With these thoughts and evocations in our hero's head, it is perhaps not surprising that a song of this quality and vividness has been made. Let us not give all of the credit to the landscape and inanimate objects: the lion share of plaudits go to McKee himself. As a writer his lyrics here- as well as throughout Burning Boy- are striking; able to mix metaphors, literal, tender passion and starkness together. There are few genuinely great lyricists on the scene at the moment. For the obvious indie-flavoured examples, the leaning tends to be on negative aspects of love, or a tristesse on modern life: the city streets, dangers and heartaches etc. McKee instead has taken a different approach and is speaking about what he knows and where he comes from. Little consideration is given to the negativity of break-ups; there are few examples of resentment in a relationship, and the constant power struggle. There are few evocations of the harshness of modern life and the horrors and realities of where we live today. Greater leaning is put onto the shoulders of tenderness, positivity and remembrance: these are key themes that are enforced throughout the L.P. In that sense there is an air of Patrick Watson: a Canadian artist whom has a majestic voice; and someone whom projects gorgeous and evocative tableaux. The composition of Darling Hills is measured and tender: strings, piano and guitar don't force their way in; they simply back up our hero's central voice. To that note, it is the vocal turn that is most impressive. Devoid of any obvious comparison, it is a unique instrument that says more than anything else on the track. At once relaxing, tender and romantic; the next pure and aching. That breathy and unforgettable baritone washes over you and pulls you in: such is the potency of the song that you let it, gleefully. Perhaps my reticence of the U.K. scene will abate in time, but our current crop can learn a lot from McKee. Over the course of Darling Hills, I have been jotting down notes and lyrics; ideas and thoughts. For a while I have been attempting to hone and complete a love song: a paen to a particular muse; yet have been unable to locate all of the appropriate words. I have come a lot closer to satisfying my thirst, and how many songs can you say influence you so immediately? Darling Hills is certainly no fluke- far from it, as this track is relatively under-reviewed. Where as the likes of the title track have been garnering most attention, it says a great deal when other tracks on the album hit just as hard. In fact the consistency of the album goes to show just how strong McKee's talents are. Most acts and solo artists turn in an album with at least one or two filler tracks- yet if you survey Burning Boy, there are none to be found at all. I hope that McKee plays London very soon, as I will have to come and see him and experience Darling Hills live. It is a track that not only takes you to where McKee speaks; but makes you want to move there and experience the beauty first-hand. Given what we know of the new music scene...

HOW often can you ever say that of a song?

________________________________________________________________________

Official:

http://joemckee.co/Joe_McKee/home.html

Facebook:

https://www.facebook.com/pages/Joe-McKee/179357768741590

Twitter:

https://twitter.com/Joe_McKee

YouTube:

http://www.youtube.com/channel/UCARthoqsLtDncVsGCKrtzHA?feature=watch

__________________________________________________________________________________

June 21, 2013

musicmusingsandsuch

Uncategorized

The State of Georgia- Reaper- Track Review

June 21, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The State of Georgia

Reaper

Synesthesia cover art

9.6/10

Leeds-based majesty, bursting with otherworldly wonder. Miss Jakubiak's moniker may suggest weird evocations of The Peach State; with a song title of morbid seduce. The only certain truth is this: prepare to be mesmerised.

Availability:

Reaper is available at:

http://thestateofgeorgia.bandcamp.com/track/reaper

The album The State of Georgia is available at:

https://itunes.apple.com/gb/album/synesthesia/id591951681

___________________________________________________________________________

TODAY my mind is occupied- once more- with questions of Yorkshire...

as well as band formations. I have alluded to Yorkshire in recent reviews, and my mind keeps coming back to the subject. Ever since I encountered the likes of Cuckoo Records and its current stable including Little Violet, Annie Drury and Amber States; I have been waxing lyrical about the nature of talent that can be found in the county. Even between the clan of musicians in the aforementioned label; as well as some great bands and acts like Issimo (based in Bradford), a positive tsunami of potential future-talent is arriving. It is not just the concentration of quality: it is also the unexpected diversity as well. Outside of Yorkshire there is not a lot of swing music and doo-wop being produced- aside from established acts such as Caro Emerald. Between Little Violet and Cissie Redgwick, there are others whom are promising some golden evocations of the '20s-'40s. Some fantastic folk and indie bands are making moves around Wakefield and Sheffield, and blues rock; reminiscent of the 1960s/'70s and The White Stripes are being championed. Of course there is a lot more still: stunning solo pop; jazz and blues solo work, as well as electro pop tunes afoot. It should perhaps not come as a bit shocker that a lot of range and challenging music is present in Yorkshire. Between the inspiring and gorgeous landscapes, through to charming towns and cities, there is less hostility and suffocation, than in built-up areas such as London. I have been trying to find a correlation between music productivity and quality, and location; arriving at the conclusion that where you are based and what is around you, has an affect on your output and inspiration. It seems that the further north you travel, the best sounds you will hear. Being based in the south I always try and defend the acts based here; yet feel that there is a bit of a glut and cessation of incredible music: perhaps a mass relocation is required? Anyway, The State of Georgia are proving my point (about Yorkshire) pretty well; and it is the 'formation' and make-up of the band, that gets my thoughts racing. In the market at the moment, new acts tend to be somewhat unisex. By this, I mean that the groups are either all-male or all-female (usually the former); where as solo talent tends to be a little underwhelming or predictable. By and large, if you hear a solo artist; their voice or sound does the talking: rarely both. If you are faced with a band, their tones are a little predictable; lacking in any ethereal touches. When I encounter female talent, whether solo, or with backing certain thoughts crop up. I wonder about the song writing, and whether the themes will be deeply personal and predictable, or whether poetic and surreal elements will be introduced: think of Laura Marling as the current epitome of how this should be done. Does the talent have the song writing chops of your Marlins, P.J. Harvey, as well as older idols such as Joni Mitchell, or will their lines and thoughts be too twee; too familiar, and composed of little focus or remembrance. Another thought concerning the overall sound comes to mind- including the vocal performance. It is too easy to copy the likes of Mariah Carey, Whitney Houston, Amy Winehouse and Adele: going for huge vocals and emotion, supporting lyrics that tend not to be overly quote-worthy. It is a practise that is being done more and more; and with cockroach traps such as The Voice encouraging this sort of deplorable artistry; finding something captivating is becoming harder. If you are more folk-influenced; acoustic guitar, twangy/gravelled vocals may be preferred; wrapped around sharp narrations of love and itinerant travelogues, taking in smoky bars, windswept deserts and smoky-eyed harlots. Away from the compartmentalisation and balkanisations: the 'cool kids' competing against the 'U.S.-wannabes'; my ear and mind's eye always looks for something more haunting; more cerebral and much more affecting. Finding such hallowed and rarefied sound is a challenge; but the rewards are so much more satisfying. With the likes of Anna von Hausswolff turning in haunting epics and Kate Bush-esque anthems, people are turning their attentions and focus to this side of music. If you are capable of unleashing a staggering voice; tying in U.K. and U.S. influences, and producing a majestic and mythical sound; then a great deal of fascination will be created. If you are capable of doing this, and are based in Yorkshire; well, it sort of ties my two points together quite succinctly...

The State of Georgia consists of Georgia Jakubiak; the Siren-esque and alluring front woman and centre. Augmenting and supporting her bewitching sounds are Dave Knowlson on drums; Mark Crossley on guitar and 'Graingerboy' on syths. Our heroine comes out of Leeds, and is a gorgeous and striking young woman; intelligent and likeable. She is not your overly-cutesy or anodyne pop idol, nor the elusive and overly-shy folk artist. With a confidence and passion for music, she is instantly relatable and populist; not giving too much away (in terms of biography), yet giving just the right amount away- ensuring that fascination and intrigue are sustained. Mixing alternative pop sounds with ethereal and haunting movements, Jakubiak and her talented men are embodying a rostrum of new talent, whom understand the importance and relevance of getting a song inside of your head; and not letting it shift! Like Sweden's von Hausswollff, whom mixes her Kate Bush-esque voice, alongside sweeping and anthemic organs and funereal moves; The State of Georgia have a similar eye for sweeping and epic songs, as well as more intimate and no-less-fascinating numbers. Jakubiak counts Bush as one of her influences; putting her alongside Tori Amos, and the U.S.'s Regina Spektor. Our heroine has a voice that you can compare to the aforementioned legends: she possess the same degree of beauty and otherworldliness. This year has been a busy one for The State of Georgia, beginning with the release of the 10-track album Synesthesia. The word 'synesthesia' relates to a neurological process, whereby stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. Sound-colour synesthesia transforms music and sounds into fireworks, colours and shapes; the individual experiences quite an overwhelming and memorable experience. It is perhaps an appropriately-prescient name for the album, which covers huge territories over 10 tracks; sweeping and romantic strings (The Beast) mix with balletic piano (I Can't Help Myself); distorted vocals (Earth Angel) can be heard with Hound of Love-esque grandeur (Hitched). There is barely room for breath; steps vary in terms of length and direction, and the abiding sensation is one of impressed breathlessness. From Deaf Dumb & Blind's scattering and exhilarating opening rush, through to Harmony Song's multi-layered and haunting vocals, it is a record that is alive with ambition and potency. Our heroine and her musical comrades do not let predictability become a factor, as each track portrays a different personality and projection; meaning that by the L.P.'s plaintive and captivating final moments, a great deal of longing is left, leaving one thinking: when can I hear more? Deaf Dumb & Blind was released in December of last year, and has gained a raft of new fans for Jakubiak; whom is collecting a growing swell of fans through social media. Live performances are being spoken of with sighs of delight, and a solid reputation is forming. It is no small part due to the attention and passion that has been put into each song; the craft and solid ethic that has made each track memorable and unbreakable. The State of Georgia have a knack for a memorable title, as well as a talent for an original and striking album cover. On the cover of Synesthesia, our front-woman is drawn in black-and-white three times. With one representation covering the mouth; another the eyes, and the third the ears, there is a lot of curious intrigue and mystery contained within. Aside from red lipstick and red nail polish, the scene is awash with greys, blacks and whites and it is a stirring and intoxicating image; one that leaves you wonder what it means, and what was being said, considering the very studied and carefully-composed tableaux. It is details like these, which most solo acts and bands negate, that gives Jakubiak and the boys an huge edge. As I delved further into the nuances and layers of the album, it was the fourth track- Reaper- which compelled me to sit down, and take stock.

It is with a creeping, mood-setting arpeggio piano coda, that begins Reaper's intentions. Displaying some of Kate Bush's sonic influence; in the way that beauty and tension is teased from the piano: notes stutter, flow and stop- creating a strange and striking atmosphere. The capturing piano suggests a lot of what is to come; as well as building images in your mind. In the way that the into. builds and seduces; flies and dives, there is somewhat of a romantic evocation- in my mind at least- that is rain-swept and cold; our heroine steps out of the light of a doorway; a perplexed and inscrutable look on her face. The potency of the mood which the piano creates, summons up filmic scenes; dark and light paradoxes, and epic sweeps, all at once- without a single word having being sung. It is the combination of 1985 Kate Bush, and the majesty of Tori Amos' From the Choirgirl Hotel: the seductive charm-cum dark-edged storm that embodies the title; causing an intoxicating aroma. From the elliptical and tenderness of the piano comes quite a sharp rebuke. We are presented with a pause; your ears strain, wondering what is coming next; and then it hits: a thundering and tribal drum smash that continues (toned down slightly), enlivening the senses and making you sit upright. On Portishead's Third, the band juxtaposed the ukulele-lit track Deep Water, with the menacing and psychotic Machine Gun. It is a shift that is quite as sharp, but from a calming and mood-setting beginning; the introduction of a pervasive and punching percussive smash is quite a (pleasant) surprise. The drum and piano pair with one another; moving inside of each other's sound; augmenting the tension and beauty and keeping you hanging on- wondering just what is going to happen next. After 1:39 of some masterful build-up that ranges from syncopated diving; a sudden track stop (worthy of Queens of the Stone Age); swaying and seductive breaths, and balletic dance. You are pulled in all sorts of directions; as a projection shines from your mind. The rain-addled street and its neon lights causes our heroine to run through the street; in the dead of night, searching for a shelter from the storm. Reaching upon a charming but under-lit bar, she walks in; wipes the rain from her face, and approaches the barman. The song has such an evocative sense, that when the opening line approaches: "I don't do things by halves if given half a chance"; a second scene begins to make its way to the brain. If the enchanting intro. reminds you of Kate Bush at her very best, the vocal has a different sensation. There are the breathy lows, yet Jakubiak is more composed; keeping her voice straighter and more serious, in order to make her words stick clear in the mind. The lyrics switch between ambition and passion: "I play so we can dance"; and unflinching honesty: "I don't fear the reaper so I definitely don't fear you". There is a strong and steely eye that our heroine possesses; she is someone whom wants to do what she does best, and not let anything get in the way. Whether the governance of her dissatisfaction is aimed towards a lover (former or current), friend or whether it is purely fictional; a sense of conviction, as well as anger can be heard: the emotions definitely come from a very real place. As with the rush that was experienced at the end of the song's intro, another explosion is elicited as our heroine asks: "Who ooooo do you think you are? ". As firm and impassioned as Jakubiak's voice is, there is a sweetness and softer edge to it. Where as Amos and Spektor are influences, our heroine has a similar quality to her voice; yet makes her tones and style very much her own. The band are army-like in their assault. Knowlson is consistently powerful and potent; able to keep a relentless pace going through most of the track. The bass and guitar work is tight and solid; adding flecks of electricity and fire into the mix. In fact The Cribs' Ryan Jarman plays guitar on the track, lending his reputable indie edges; adding an extra layer to the song. When the "Who ooooo" codas are presented; Jakubiak elongates and coos; holding the notes and rising ever up. It is when the line's second half ("do you think you are?") is delivered, that some U.S. inflection and shades come through; its sound and evocativeness has a mixture of the modern-day indie scene, as well as '70s/'80s female pop. After the rush and persistence of the previous verse; where our heroine was filled with scorn and accusatory intent, another piano line is upon us; proving a sea change and calm (after the storm). It is said that our heroine is "possessed by the devil of music", and she "won't stop 'til I'm dead". The lines are delivered with calm; everything is matter-of-fact and composed, without the need for histrionics or over-emoting. In the current scene of the female songwriter, there are few whom have a similar ear for conviction and potency. Too many songs are either overly-twee or sedative: there are too few that actually invigorate and intrigue as much as Reaper. For the likes of Florence and the Machine and Adele- contemporaries whom mix powerful voices with multi-layered compositions- their lyrics and themes usually stick too closely to love and first-person narratives. Jakubiak and the boys back up the ghostly, echoed vocal (starting at 3:45) with a propulsive and spirited backing: crepuscular and stormy, with lighter edges. Just when you think you are settling in for a calming ending, the haunting vocal ramps up to the point of bursting; before the chorus is brought back in; riding to the end of the song. The overall impression that is left is quite indelible: the feeling that something genuinely memorable has been performed. Like contemporaries von Hausswolff, The State of Georgia has a talent for building up huge atmosphere and emotion from the very beginning. Where as the Swedish counterpart employs organ and a Gothic crawl, Jakubiak uses piano; weaving and tempting notes out. The lyrics are diverse and original; drawing in a sense of rebellion and steadfast. The chorus- with its acidic finger-pointing- is perhaps the most memorable facet, employing a catchy pop sensibility, yet enlivened with the mystique and flavours of Jakubiak's idols Regina Spektor and Tori Amos. The composition is completed with power and strength; tenderness and feather-light which combined and juxtaposed, creates a big impression.

Reaper is a track that takes your thoughts to some rather unique places. My bar/heroine/stormy tale sticks clear- though I am not sure of an ending. The song's strengths lie in the way that it can remind you of some of the '70s and '80s greats; mix it together with a modern relevance, yet have a very unique and original voice: one that deserves to be heard and heralded widely. The State of Georgia's Synesthisia is chocked to the brim with myriad sounds and diversions; packed with nuance and memorability. Jakubiak is an impressively strong talent, whom mixes intelligent and sharp lyrics, with an educated ear for melody and evocation. Her voice is striking: lilting and seductive when required; able to rise and belt in the upper reaches, which can be ranked amongst some of the best voices today. The album will stand up to a lot of repeated listens, and shows a young woman with an ambitious agenda. Her band are by no means second fiddle. Each member is tight and professional, able to inject a huge amount of mood and colour into the palette. I was especially pleased by the percussive work in Reaper; synths and guitars come alive and at the forefront throughout many tracks; and guitar, bass and piano have their moments to shine throughout. For all the hoopla surrounding current and established talent from Kanye West to Laura Marling; it is nice to see a new act whom are capable of stealing your attention. The State of Georgia fill a niche in terms of their sound and range, and have turned in an album with no filler: just challenging and great music. For too long there has been a reliance on giving too much airtime and consideration to the undeserving. The U.S.-named; Yorkshire-based talent will be busy throughout this year; and I hope that another album is in the back of Jakubiak's thoughts. For now, take in the power of Reaper and investigate The State of Georgia further. It is music that will speak to everyone, yet...

BE equalled by few.

________________________________________________________________________

BandCamp:

http://thestateofgeorgia.bandcamp.com/album/synesthesia

Facebook:

https://www.facebook.com/thestateofgeorgia

Twitter:

https://twitter.com/stateofg

MySpace:

https://myspace.com/thestateofgeorgiamusic

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June 20, 2013

musicmusingsandsuch

Uncategorized

The Technicolors- Sweet Time- Track Review

June 20, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The Technicolors

Sweet Time

9.5/10

Sounds awash with musical sophistication and a blend of incisive song writing, and rock swagger- mean the Arizona four-piece will linger long in the memory.

Availability:

Sweet Time is available at:

http://www.youtube.com/watch?v=Gz47Fde2AJM

The album Listener (Deluxe Edition) is available at:

https://itunes.apple.com/us/album/listener-deluxe-edition/id571243587

___________________________________________________________________________

SOUNDS and sensations from the U.S.A. are subject to a rigorous...

inspection at border control and customs. For the serious music lover, as well as the casual observer, we in the U.K. need a varied diet, in order to grow and tempt the palette. The majority of sounds and acts that we are subjected to, tend to be British- with a few exceptions here and there. Whether it is northern rock and indie; Yorkshire swing and electro pop, or London-based urban grit, most of the focus still errs in favour of home-grown talent. It is understandable that it is near-impossible to keep an eye on all of the new bands and acts springing up throughout the world; yet emphasis should be placed on quality; and by broadening one's horizons, a great quality can be found. It is quite obvious that the U.K. has its share of potential future-stars. The ambition and intention is all there and in place, but for every act that promises some fascination and closer scrutiny, there are a mass and horde of similar bands and solo artists, whom have very limited appeal and stock. A big problem that our musicians have, is that ambition and potency are passed over, in favour of force or diversity. Too many rambunctious and fervent indie acts are present on the scene: we can do with quite a few less in all honest. A lot of acoustic solo acts are around, and there seems to be an influx of rock/indie bands that tend to sound like one another. Once you form a band and put out an E.P. or album, or whatever you make as your first move; importantly, you have to do your research. Being in the position I am in, I am able to draw a Venn Diagram of 'likeable acts' and 'challenging acts', and tell you which (of the seldom few) names forms the intersect. I can also tell you which of the new acts, sound like another act. I tend to find that after a little while, an indie/rock act from Manchester says more-or-less the same as an indie/rock band from Wales. The songs may have slightly different themes, yet the abiding sound and tones tend to be too close for comfort. It is those groups whom are willing to be different, and toy with genres; mix sounds and influences; as well as push the creative envelope, whom gain the most impassioned regard. Over the last few months there have been a fair few acts that have understood this. From some '50s doo-wop and swing sounds of Yorkshire, through to stoner rock-cum-psychedelic movements from Scotland, it has been a pleasure when discovering unexpected joys. The U.K.- as impoverished and struggling as we are- can still pull out all of the stops and inspire the young musician. We have the proud history and past glories to draw from; inject them into some modern-day motions, and elicit a fascinating and heady brew. The overall and worrying issue that I can see, if that there are few international and foreign influences to be heard in this country. Occasionally publications like The Guardian will point to a new European or Australian act; I may happen upon a group from Canada; and be compelled to read more about them; but by-and-large there is little consideration given to acts outside of the U.K. It seems quite insane when you think about the predicament we are in. With Twitter and Facebook giving so many people, the chance to connect with so many other people; it seems so easy to do it there. Yet when it comes to music: connecting the fan to different bands; reviewers to international flavours, and such; here we have the big problem. It is axiomatic that there are some phenomenal treats to be found throughout Europe, Australia, and beyond, yet how will we ever hear about it? One day I will figure out a way to galvanise the social media strands, and evaporate the balkanisation that exists; creating a source where bands from all countries can find a willing audience. It seems simple! On the website, we have a big map of the world. If you want to find a band from a particular country or city you would click (the city or country) on the map. From there you can funnel the results by genre, and find a list of the bands and acts present here. Or, if you want to do the reverse, and search by genre or acts that are influences by X, Y and Z; you would be able to find out that way; having various sections of the map highlighted accordingly (so you could then narrow down the results yourself). It seems like such a time-saver and would not only make people like me a lot less anxious and perturbed; but would assist the songwriter- like me- find band members and influential contemporaries. I sigh and rant of course; yet my point seems to be relevant and of-the-moment. If I hadn't come across The Technicolors via Twitter- quite surreptitiously mind you- it is debatable whether I would have come across them so soon- a fact that annoys me greatly. Anyway, circling back to my mind thesis: we (in the U.K. and beyond) and missing out on a lot of talent, from a fertile and prosperous musical landscape...

To my mind, it is the U.S. which holds the most weight, in terms of the best non-U.K. music. From the Midwestern territories, through to L.A. and Seattle, along to New York and New Jersey; it is a nation that promises even more than our very own. Over the last 60 years or so, the U.S. has produced some of the greatest music ever. The best lyricists, most daring acts and most impressive current bands all emanate from America. With the proliferation of social media, there is no real excuse for ignoring U.S. acts and bringing them to the ears of us here in the U.K. As much as there is a homogenised scene and stifled ambition at our shores, the Americans seem to have a lot more clout and mobility about them. The Technicolors are a four-piece whom have struck upon a rare combination. For all the acts out there that have rock swagger; and all those whom have a sharp ear for classic song writing; there are few that marry the two, to proffer a stronger whole. Brennan, Michael, Nico and Kevin hail from Phoenix, Arizona: something that may confound many in this country, and bridle them somewhat. Territories like Nashville are only apparent to many, due to the music scene, and many here will not even know where Arizona lies; and what significance the state has. Apart from the likes of Authority Zero and Dead Hot Workshop, the state has had its fair share of musical representation. Towns and cities such as Tuscon have given us a lot of punk and indie music, from The Bled right through to The Deadbolts. Phoenix, however, is a positive mecca for musical innovation and potential. From the '80s hard-core punk scene and the likes of Meat Puppets, through to more modern-day bands like Jimmy Eat world, Phoenix has seen a great many bands rise from the city's embers, and inflame the music world. The hard-core punk scene, as well as metal have been prevalent and well-covered: a wide range of genres are represented and given fair assessment; and given Phoenix's proximity to California and the Western Coast; it is not surprising. A lot of Hispanic influences are experimented with (as New Mexico is a neighbour), and bars and joints from Albuquerque to Santa Fe are inspiring Phoenix bands. The Technicolors have an appreciation for the local scenes, and have kept some punk and rock cores; blending that with sharp and intelligent song writing. Inspired by the likes of George Harrison and Roy Orbison, the band have an appreciation for British influences such as Led Zeppelin too; meaning that they will have a natural second home over here. The band's 22-year-old front-man Brennan Smiley produced the band's album Listener: a concise and authoritative record that shows the bands strengths and ambitions. Throughout 2011, the boys spent a lot of time playing in Arizona: enthralling the native crowds, and honing their sound. Bringing their big songs and big sounds to tiny bars, their reputation grew; many were enthralled by the sheer volume and passion of the band, which soon saw them in demand in California. The young band divide their time between touring and recording: dedicating little time to taking breath; devoted as they are to the art and business of music. They are aware that you need a relentless work ethic and a tireless energy in order to succeed, and this has contributed towards the respect and adulation many hold for the band. A wide range of influences go into their song writing: defined by quotable and insightful lyrics and brilliant swagger and beautiful melodies. Bruce Springsteen, Thin Lizzy and Tom Petty are key idols for the guys, and a sense of anthemic punch and stomp can be drawn between these legends and The Technicolors. More modern idols such as Oasis are important for the quartet, but a majority of their heroes played in the '60s and '70s, and were defined by their brilliant song writing. The band's debut album has been described as: "The result is a mature collection of effervescent rock songs that echo late night summer drives as a young vagabond who doesn't focus on the destination rather choosing to enjoy the journey at hand". The track- and single- Sweet Time has been garnering a lot of praise and consideration; being seen as a typical slice of quality from the band, whom seem incapable of putting a foot wrong. The song goes to highlight the band's mandates and ambitions: deftly weaving together tiny hints of influences; but very notably bringing their unique and original brand of music- fresh from Phoenix, to you.

Sweet Time begins with a rush and swagger, that proves its intentions straight from the off. With a scintillating and sexy riff, which has some classic blues edges, as well as some early-career Oasis, it is an intro. that is hard and passionate, and will get you standing to attention. When the percussion joins in on the act, it begins composed and measured; adding some weight, yet not encroaching too much or seeming too intense- it is a blend that shows shades of Led Zeppelin, circa Led Zeppelin IV. In just over 20 seconds, a lot of ground- both musical and emotional- has been covered; and a solid base has been formed. When our front-man makes his presence know, his voice is authoritative, yet relaxed: it is has a cool, laconic edge; an original and striking voice that has the delicate wisps of Liam Gallagher and Gaz Coombes, yet does not remind you too much of either. Initial thoughts show some doubts and implore: "Last night I just about took your hand/I wish I would". Certain words are elongated; others given special consideration; bringing the words alive and adding emotion and relevance to certain sentiments (the word "brilliance" in the 3rd line is a particular example). If you beat and swing of the song portrays a band with some classic roots- where bands would not perhaps have the strongest grip on lyrics- the simplicity and intrigue that The Technicolors summon up, show a band whom can give the best of both worlds. For all my talk of the song having some classic and bygone roots, Sweet Time is a track that seems very much of-the-moment: fresh and electric, with themes that are as relevant today as they have ever been. From the initial bursts and rush that the group whip up, they take the pace down, allowing our front-man to show his softer side. With a delicate and quivering falsetto, it is said: "It's alright if you don't quite believe me/But only if you come a little closer to me"; the words are delivered with conviction and dignified restraint. In the way that kicking swagger-cum-sensitive edge blend seamlessly; gives the track a ready-made mobility, that could see it scoring a tense, taut T.V. drama, or a U.S. comedy-drama. The pervasive sense of bidding time ("I'm right here waiting to breathe"), and waiting for the girl to make her moves and mind up; are augmented by dirty and licking riffs, tight and solid bass, and clattering, punchy drum work. Our front-man's voice is not limited to the potent single thread of sheer power: it has an impressive high; notes are bent and sparked, and the sense of movement is unerring. It is unsure who the object of the song's affections is, yet she is causing quite a stir in our hero's heart and mind ("So take me if you please/Yeah I think you should"). It is clear that there is a little hesitation in the heroine's mind, regarding commitment and making a move. Our hero is standing firm and waiting for her: the song's title seems to be delivered with a carefree abandon (although whether sarcasm is intended, I apologise). The hallmarks of a great band, and a great song, is the ability to mix mystery with directness; marrying hypnotic sounds with delicate and softer touches. The Technicolors have a knack for blending these facets together effortlessly; the abiding sound is alluring as well as to-the-bone. If the nature of the vocal confidence, as well as certain elements draw your mind to the shores of Oasis; then it is the barbed riffs that will take your mind away from the Manchester boys. Whereas Oasis had a habit of 'borrowing' heavily from past master such as T-Rex (with regards to riffs), our Phoenix boys have a far stronger originality. The guitar sounds are rooted in the U.S., and have a combination of '70s style and modern-day bliss: the result is unexpected as well as exciting. It is always a difficult and precise job, when it comes to lyrics. Too many bands use too many words; fewer use too little. The Technicolors do not employ too many different thoughts, instead repeating lines like "If you hold your breath" and "come a little closer to me": making these sentiments stick in your head, and project vivid scenes as well. Sweet Time's strengths lie in its structure. The initial moments of the song are bustling and stuffed with energy. The song gradually defragments and becomes softer, so by the closing stages the track has more of an indie flair. In the same way that Elbow's One Day Like This ends with its infectious coda ("Throw those curtains wide/One day like this a year would see my right"); Sweet Time has a similar epic and stirring finale, anchoring the notions: "If you hold your breath/Then maybe you'd see I'm right here waiting to breathe". The delivery is given a considered approach; the boys still keep the mood invigorated, but a touch of romantic longing and heart-tug are to be heard. Our hero has a voice that aches and implores; strikes and hugs, and that combination of soft and strong gives the song an extra layer of effectiveness. By the closing stages, the tale has been told, and one wonders whether the situations are resolved. The anonymous girl is being spoken to, yet one wonders whether the words made their mark; did things work out in the end, or are there lingering questions marks? Such is the strength of the track, that it leaves you wondering; but you are satisfied with either explanation, as the charm and smile of the track wins you over.

Many will reach for Oasis comparisons, declaring the song has a '90s feel; yet there are bits of Wolfmother in the vocals too. It has been a comparison that many fans and reviewers have made, yet it is not an overwhelming issue; it is not something that you will keep jumping to. One of my pet peeves is a lack of originality: bands and acts that tend to just want to copy someone else out there. The Arizona quartet have a long and varied list of idols; and in the same way that some of Led Zeppelin's 1970/'71 work can be heard in places (predominantly in the intro.), likewise it is not too heavy-handed or pertinent. The group have a fond and dedicated passion for music; combining swagger with intelligence and consideration; so it is only natural that some familiar shades will be detectable. Above all, the sounds and spirit of Sweet Time, have a unique and valuable sound, that shouldn't be cheapened by too-obvious comparisons. The Listener album expands upon the bands mandates; stretching their sound and adding all sorts of different colours and moods into the pot. The guys have a huge following across social media- a regard that is not purely U.S.-born. Many other nations and sectors are latching onto their appeal, and becoming assimilated with their sharp and memorable songs. The swaying and potent riffs and compositions will appeal to the modern-day indie/rock fan, as well as champions of '70s and '90s greats. Intelligent and sophisticated lines will strike a chord with those whom favour cerebral edges to their music. When you join the two- perhaps polemic- strands, then (as well as it being a rarity), a whole wave of fans are won: both young and older. I naturally assume that the future for the band will see another album(s); as well as a lot of touring. The boys have a sound that will seem second-nature to the U.K., and I hope that they play a lot more over here. It is the likes of Australia, South America and Europe that will also clasp the band's motifs to hear. The sounds will be familiar to the inhabitants here, and The Technicolors will have a ready-made audience waiting- providing that the media can spread the word effectively, and help give the boys their dues. It seems that a majority of the U.K.'s new bands are favouring heavier sounds: forgetting about aspects other than potent projection and rock stomp. In that sense, there is a bit of a stagnation happening; one that is crying out for some international assistance. The U.S. is probable the largest music market, and is possibly the fastest-growing market too. It would be great to see The Technicolors ply their trade in the U.K., and bring their blends here. With so much emphasised put on young bands and acts here, some U.S. talent would ease the burden for our fledgling artists. The four-piece are going to be around for some time, and it is probably wise...

TO grab tight, and let their music take a hold.

________________________________________________________________________

Official:

http://thetechnicolors.com/

Facebook:

https://www.facebook.com/thetechnicolorsmusic

Twitter:

https://twitter.com/TheTechnicolors

SoundCloud:

https://soundcloud.com/the-technicolors

__________________________________________________________________________________

June 19, 2013

musicmusingsandsuch

Uncategorized

The Castro's- Cracks- Track Review

June 19, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The Castro's

Cracks

9.1/10

Liverpool's four-piece have an energy and excitement, that is almost near-forgotten in today's sounds; and could pave the way for big future success.

Availability:

Cracks is available at:

https://soundcloud.com/thecastrosuk/cracks

The E.P. Roads is available at:

https://soundcloud.com/thecastrosuk/sets/the-castros-ep

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LIVERPOOL and the band market at the forefront of my mind today.

For a long time now, I have been suggesting/banging on that there are issues with new music- depending on what region that act originate from. This year, I have seen a resurgence and rise from Scotland; the likes of which has not been seen: it appears that the best and brightest are to be found in Scotland. The freedom to roam; lack of city constraints, and a blasé attitude of the media, has given the talent here room to move; as well as a desire to impress. Focus seems to be honed on London: it has been for decades now. With every passing month, the media waits with baited breath, watching to see what wonderful music the capital will produce- yet it never really seems to materialise. I shall not riff on my over-worn theme, but it is still noteworthy that there is an obsessive need to put London above every other region. With an expanding market, that largely consists of bands, in all parts of the U.K.; differing and diverse groups are springing up. Manchester has produced a great deal of these new acts, but to my mind, the talent there seems to be stuck in a rut: with a lot of the bands hanging onto another group's influence. The swathe of Arctic Monkey/Oasis-type bands has left be a little annoyed frankly. I appreciate the appeal of these bands; and find that they are going to be relevant for many years to come, yet do not see the point of emulating them that closely. Originality and diversity is as much an issue now as it has ever been. During the '90s there was some over-familiarity; yet when you consider the range of music, it is alarming at just how much was on offer. With the likes of Oasis and Blur doing battle, Britpop's warning parents were inspiring like-minded acts to strike up their own majesty, with the likes of Suede and Pulp churning out some unbeatable anthems. Dance and trance music was being cemented and solidified. Massive Attack were creating dangerous and exhilarating sounds; fusing genres and producing music that will remain timeless. Those boys paved the way for late-'90s/early-'00s dance and trance artists such as Spiller, Sonique and Groove Armada- as well as a liberal assault of one-hit wonders. Legends and older idols were still going strong, and pop music in general was in a good state. Bands were capturing the spirit and fever of the time, and infusing that energy with relevant shades of the past: drawing in some '60s majesty, as well as '70s and '80s touches. Today, we the public- as well as the aspiring musicians- are faced with a bit of a glut. It is the more established acts whom are producing the finest sounds, and the new act are faced with daunting challenges. Because of the comparative lack of excitement, difference and epoch-defining music, the overall scene is stuck somewhat. There is a diversity; yet not one that contains as many dissociative and unique strands; but worse still, is that the ambition is not there. With the sheer number of groups (as well as solo acts) forming- seemingly there are several dozen new bands by the week- there are artists out there, whom are capable of instilling a sense of resurgence. When we look to cities and towns where this may happen, one consideration has to be Liverpool. Whilst Manchester is lacking behind Yorkshire and Scotland's diversity and potency, Liverpool is making waves. From the early-'60s, when the likes of The Beatles called it home, the city has been capable of turning out some gems. Through The Zutons, The La's; right across to Cast, Lightning Seeds, as well as Miles Kane and The Coral, Liverpool (as well as The Wirral) has been at the forefront. As well as producing some of the best acts of the '90s, and '00s; the city is playing host to some of the strongest acts of the moment; those whom are capable of bringing about a sea change: dragging music back to the '90s, when it was genuinely inspiring and exciting to hear what was on offer. I'm not entirely bereft of compassion for current music- far from it in fact. It is just baffling, that in a year that is modernised and developed as any we have ever seen; with the resources and retrospect on hand; that so few new acts are making huge impressions. I have theorised that the sheer quantity of numbers has been responsible for distilling and subjugating a lot of potential, yet it seems that there is still opportunity. As well as a lack and unfocused media scene, poor and under-used chains in social media; lack of appropriate music sites, and a repressive market; it is a tough chore for sure. If you hold out long enough, you find some potentiality.

The Castro's intrigued me, by their name alone. I am never a huge fan of bands that begin with 'The': there have been too many past, and too many present. That said, The Castro's- with their intriguingly-placed apostrophe- do draw images to mind. If you Google 'Castro's' you will get some 'interesting' search results; and to my mind it sounds like a Cuban bar or curious haunt one would find in the underground of London. Evocations of dark and smoky doorways, strange-looking patrons, and a red and blue neon lights bring to mind a charming, if volatile location. Cigars would be on tap; Latin music would be on the jukebox; and bearded barmen would nod as you walked in. Perhaps I am over-thinking things, but the band's name, as well as their music (and song titles) draw to mind so many oblique and filmic images, that they create fascination with nary a note being elicited. Our Liverpool quartet, consisting of Mike, Peter, Daniel and Oliver have the classic formation: each member has their instrument and does their role; keeping a true and rock/indie sound at their core; whilst never over-stuffing their sound with needless wallpaper or trinkets. Perhaps it is Fidel Castro's ethics and ethos that has inspired about a comparative musical drive and aggression. The boys have been heralded by critics, whom state that their sound is ahead of its years; their live performances are tight and energy-packed, and they are a group whom are ear-marked for future fame. On their Facebook page, the four-piece claim their interests include 'Music, chicken, drink & girls'. Maybe my Cuban-themed bar parable is not too far-fetched: the boys seem like they would be right at home there. The list of influences that the band have, is wide and varied; including the likes of Gary Numan, Kasabian and The White Stripes. It is the variations and energies that the different influences have, that The Castro's infuse into their sound. Over the past few weeks and months, the boys have been busy indeed. The E.P. Roads, has gained a lot of attention and praise. A sense of keen design and imagery is important to the guys; their covers are awash with quaint and humorous imagery: Cuban themes, charming scenes, and plenty of appeal. Their songs too possess such strengths and swathes, and it is these pillars that has seen them build a sturdy foundation. The E.P. 3 tracks surmount and capture the band's ambitions and sound perfectly; whilst paving the way for some exciting future moves and potential. Whatever axiom, aphorism or statement you can levy at the band, the one thing that rings true, above all else is: how tight and alive their music is. It is a component and facet that is not overly-evident in the current scene; and something that should be noted by any up-and-coming band/act.

Roads' second track Cracks, is a song that spares no time in getting under the skin. From a frantic and tumbling percussion clatter, it kicks off straight away, sparking with energy and invigoration. The drum beat has a jerking and dancing energy; and when the guitar joins the scene, the combination provides a big rush of excitement; providing a memorable and striking intro. With a brief hint of debut album-Arctic Monkeys, the sound has indie roots, and marries the quality of the Sheffield boys, yet contains its own drive and potency: something that a lot of Manchester-based bands have neglected to do. The guitar rattles and rumbles, rising and braying at intervals; backed by bass and percussion which are solid and foreboding too; with so much relentless force and energy, that a calming vocal influence is needed. When our front-man comes to the mic., his voice is strong and infused with a natural energy, yet never overwrought. Themes such as "we've got nobody" are unveiled; our hero and an unnamed companion also are not making problems for anyone either. It is the sheer rush and momentum of the track that grabs you; as the guys keep the mood very much alive throughout. Our front-man sings with confidence and conviction, and has "nothing to lose". I suspect that the theme and intention of the song is to portray a relationship paradigm. An anonymous beau is present in the song's themes, standing beside the hero: the two of them fighting against the world and fending for themselves. Ward's voice has tones of the U.S.; both present and past, and tying that together with a sonic rush that is very much U.K.-based, the combination is very affective. His voice has some shades of Eddie Vedder and his Pearl Jam work. There is a similar sound to the voice as well as a comparative passion and strength. Ward's fellows give a sense of urgency and electricity through, providing a rampant and overwhelming roll and rock throughout. The key themes and mandates about having "nothing to lose"; and having "nobody" are employed throughout, providing a sense of anxiety as well as free-spirit, that at once has you rooting for the front-man and his plight; and at the next wondering where he is going and what will happen. If there was ever a sense of uncertainty and doubt in some of the lyrics, then the way that they are presented, give the impression that there is little fear or reticence in our hero's heart. The Castro's do not waste words or change course needlessly, keeping true to the song's core and making sure that the words strike you hard, and stay with you. The song is a little over 2 minutes, and it leaves you wanting more. From an intro. that throws so much weight into the pot so early on, the pace and energy never abate; instead the song has elements of Grunge and Detroit blues rock; where artists would never let the momentum drop: think about The White Stripe's Fell in Love with a Girl. There is a little bit of eponymous- album- The Libertines, as well as Pearl Jam, yet there are only the faintest of touches. Above all the song does not stand on anyone else's coattails; choosing boldness and originality as the key themes. The track wins you with the tight and focused composition. Each of the boys are superb and unwavering, and give the track so much muscle and spark; backing up our front-man whose pure tones and gravelled edges add emotional weight into the mix. If I had one reservation it would be that, at times, the vocal was hard to understand, and some of the words got lost. Whether it is a production issue, or the sound around Ward became too imposing I am not sure, but it is a tiny niggle. The merits and huge strengths of the song, far outweigh any drawbacks at all, and Cracks is a song that, as mentioned, will leave you wanting more of the same. The band tease the listener by not expanding it out, yet if it were any longer its impressions would not be as large: thus ensuring that the absolute perfect balance has been struck.

I am always encouraged by bands that are willing to be different, as well as ambitious. Too often one or the other are achieved, and the second is neglected. It seems that Liverpool has a similar ambition to that of Yorkshire and Scotland, with regards to producing the brightest new talent. There seems to be little restriction or barriers that are being faced, and the bands and acts are showing that it is possible to make great music; without having to compromise, or pretend to be someone else. The Castro's reputation is growing, and it is not surprising to see why. Their live performances are packed with power, energy and authority, and the band are tight and memorable. Their sound is not one that you will hear a lot. Indie and rock movements are being made, but it is the way that different sounds and styles are seamlessly fused; creating a stunning whole, that is very much belonging to our four-piece. A future of stardom and vast popularity awaits, and it would be good to see the guys take on an L.P. It will be intriguing to see what they would do with 7 or 8 tracks more. Vedder comparisons are not unjustified, and whether there would be any emotional, yet epic anthems in the boys' back pockets, is to be seen. They would be able to enliven the scene, and keep their fans dedicated and excited with such diversions, but of course the choice is all theirs. The band market is becoming more packed by the week, with each competitor promising much: with very few managing to remain in the mind for too long. Our boys have laid some impressive groundwork, and will be building on it this year. Their E.P. is abound with confidence and ideas, and shows that they have plenty of options when it comes to future releases. I hope that I get to see them as well, as their live reputation has been well documented. Summer is going to promise meteorological and musical uncertainty; so it is best you do yourself a favour; not be fair-weather, and stick to a group whom will always...

GIVE what the public want.

________________________________________________________________________

Facebook:

https://www.facebook.com/TheCastrosUK

Twitter:

https://twitter.com/thecastrosuk

SoundCloud:

https://soundcloud.com/TheCastrosUK

YouTube:

http://youtube.com/thecastrosuk

__________________________________________________________________________________

June 18, 2013

musicmusingsandsuch

Uncategorized

Everywhere- Eddie- Track Review

June 18, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Everywhere

Eddie

9.2/10

Swedish quintet offer up wave-breaking percussion, delicate piano; set to themes about 'a plan that completely backfired'. Intrigue and fascination follow.

Availability:

Eddie is available at:

http://www.youtube.com/watch?v=gKBTtOW7vMQ&feature=youtu.be

___________________________________________________________________________

BEING one that does not subscribe to, or believe in a predetermined...

universe, predicting musical trends and sensation is a hard task. I have always erred on the side of caution and pure science. As much as I believe that the world is determined by random events, and there is no control over people's action- there is no fate, destiny, God, or karma- things that happen in the future are impossible to predict, and dictated by human events and interaction, not some predestined structure or path. There are some that stick to falibilism; some approximation; others agnosticism, but for me, it is insane to think that everything has been worked out in advance. It is a cosy theory to believe in fate and destiny; thinking that everything that occurs- be it bad or good- was meant to happen, and it will lead to bigger things. Being one whom has had a lot more bad occur in his life, reality and logic beats those kind of theories clean out of you. I have no time or consideration for people whom stick to the notion that things happen for a reason, and control is ultimately down to a higher being or force; not human beings. It is a naive and flawed assumption, and has massive holes that you cannot ignore. Truth, and to a lesser degree, solipsism are the best courses of belief, as they offer facts and certainty, rather than theories and uncertainty. If one lives their lives in control of their own future, and does not hold out for some cockamamie idea of a higher power or spiritual force, then things will be a lot better for everyone. This is a paradigm that can be applied to the music business. There seems to be an unbinding sense, amongst media, critics and fans, that great new music is the result of a predetermined path; that the current state of music is pulling strings, and causing a wave of new and exciting talent. Too little consideration and wisdom is being applied to hard work, and a solid work ethic. Music, as much as any industry, is subject to a great degree of fickleness and volatility. Fans change their mind and opinions with each blow of the wind; critics can raise a band on a pedestal after hearing their debut; knocking them into a tar pit upon its follow-up. Unrealistic expectations, ridiculous standards and belligerence seem to dictate the mandates and themes of modern critics; each of whom never seem to be satisfied. A lot of the problem with current music, is that the first moves are often underwhelming and unambitious. In 2013, after decades of varied and diverse music, it is not good enough to simply be cautious or even great- thinking that that will get you noticed and highlighted. Too often I have felt that new musicians thing that the universe will look after them; that because they put effort into their songs, naturally that will see them through. As will success in life, musical plaudit relies a lot of genetics as well as luck, but above all, imagination, incredible hard graft and determination is needed. Acts and solo artists will be buried and forgotten about if their sapling moves are not spectacular: how many of the greatest albums of this year were made by brand-new acts? International air, and a welcoming landscape goes a long way to fostering creative brilliance, and a sense of movement. I have encountered a lot of U.K.-based acts that have suffered from reduced imagination and potency, because of the stresses and anxieties of the city. London is not producing a huge host of great music, in part due to the bustling and vulnerability nature of the city. It is not a coincidence that the best music (in the U.K.) emanated further north; into Scotland, and more arable and less congested climbs. If a busy city is willing to support musicians and provide them inspiration, then great creativity can be fostered. New York artists such as Sophia Bastian and Chalk And Numbers are based in New York; enlivened by the huge array of music cafes, bars and venues the city has to offer: this leads to a resurgence of creativity and determination in them. I feel that London, and even Liverpool and Manchester are not making great strides to inspire inspiration and creative energy; where as other European neighbours are.

Sweden is a fascinating country, that is an ideal location for the struggling or new musician. Aside from the busier locales, the nation has inspiring landscapes and gorgeous scenes, that can invigorate and relax. Hailing from Stockholm, Everywhere are a band that are proving my points. Although they emanate from the nation's capital, there is no sense of anxiety about their ambitious and sound. They have worked hard and fervently to put their music together, and haven't relied on existential force and guidance; choosing to knuckle-down and work hard. The band are noted for their uncompromising desires, and the boys strive to hit hearts and minds hard. The five-piece are looking to redefine the term 'indie'; taking it away from its current definition: bands that can portray interesting sounds, yet seem to be lacking punch, imagination and diversity. The band consists of front-man Max Berga; pianist Filip Severinson; drummer Alexander Heige; Marcel Karlsson on lead guitars, and Mikael Ingegaard on bass. One gets the sense that a huge amount of time and effort has been spent honing their sounds; and it is perhaps not surprising that recently the group have supported Palma Violets and Django Django. I have witnessed a great raft of European talent coming through lately, from Everywhere's countrymates Club 8- with their bright and infectious disco gems- through to some great folk movements coming out of EIRE. There seems to be a different set of rules and expectations in Europe, as opposed to the U.K. Here, due to the huge mass of new acts, there tends to be less need to redefine genres and lazy tributing; too many bands and artists that sound exactly like someone else; too few spectacular and epoch-defining sounds; and above all, poor bonds in social media. Often I have stumbled upon a great act by accident. In an information age, there is still a great weakness when it comes to connecting bands and fans; reviewers and great music. There is no one website that offers an extensive and unimpeachable connection between music and fans; and none that offer connections for a new musician, hoping to recruit a band. It is wholly achievable and feasible, yet has not been achieved in the U.K.- and it really does not to happen soon. Also here, critics and a lot of band managers provide little long-term care to a group. Many acts get lost in the cracks, as fickleness and lack of consideration take effect; managers, labels and representatives tend to put initial effort in; yet seem less concerned with taking care of their artist, and ensuring that their every step is watched carefully. Our Swedish wonders have a terrific label and management behind them, and have not been buried amongst a wave of new acts and artist, each trying to claw their wave to the surface. This lack of subjugation and pressure has made them focus inwards; concentrating on their sound, and driving themselves to achieve and win over a large fan base. Reviewers have noted, universally, that their sound is incredibly tight and focused; and that their live performances are spectacular and memorable. Their tracks tend to be original as well: in terms of theme and sound. Too many bands paint generic pictures of love-gone-bad-what-shall-I-ever-do? themes; bereft with mundane platitudes and pedestrian lyrics. Everywhere have a keen eye for sharp lyrics, drawing in personal experiences (that differ from the norm); tying it together with their electrifying sounds and colours, to create something striking and bold.

The history of Eddie is an interesting one. Berga wrote the song, after his girlfriend got sucked into the murky and cut-throat world of fashion; basing the song around her events; where she was (unfortunately) 'used and abused'; resulting in a 'plan that completely backfired'. The track was recorded within the majesties and uncertainties of Los Angeles: a city that is a popular destination for recording artists, in terms of inspiration and incredible recording facilities. Our song in question begins with some rather pervasive and persistent drums; joined with distorted and ghostly guitars, and taut bass. I detected some hints of early-career Supergrass: a mixture of I Should Coco and In It for the Money's adventurous spirit, with a little of Supergrass' brooding nature. Where as a lot of bands would begin with clattering, noise and as much punch as is possible, Everywhere sprinkle the mood with subtlety, delicacy and an ever-building weight that gets stronger and stronger. Atmosphere is summoned and a sense of mid-late '90s alternative rock, mixed with some modern-day indie styling; mix beautifully. The intro. provides anticipation and intrigue; you are never sure what is coming next; compelled as you are to hang on to every note. When the vocal comes in, it is not rushed or overly-urgent- it is begins restrained and brooding. Our front-man tells of "All this time spent with you"; his voice dripping with conviction and intent, recalling that it has been worthwhile, but also "so frustrating". The thoughts and evocations are supported by that percussive flair, which works away in the background; unflinching and perseverant, eliciting a solid and weighty strike. Tension builds in the track, as our hero says: "Show them what you've got"; which invariably involves a striking message: "Take your skirt off". As the song is inspired by our front-man's ex-girlfriend, and her ill-advised foray into fashion and modelling; your mind is taken there: on a studio floor, in front of cameras, a reluctant and nervous woman being ordered to 'perform' for the camera. Berga's voice has an emotional weight to it, where you are not sure if he feels sympathy for his former love, or a little contempt: there is a matter-of-fact poker-faced quality initially that adds mystery to the words. Just as you are enveloping your senses in the measured calm and seduction of the music, the chorus explodes into life. Berga's voice growls and ignites, proclaiming: "Eddie!/Get out of here!", his voice trembling slightly; now bursting and bellowing with emotion and foreboding. The band are up to the task as well, infusing the mood with rumbling percussion, tight and measured bass and guitar, and impassioned piano. As it is advised that the ill-fated heroine: "Go hide your tears", the band whip up a sparkling and heady gallop that digs and wallops in equal measures. Berga has some refreshing influences- intentional or not- in his vocal tones; bit of early-Placebo as well as a hint of Ash, mixed with up-to-the-moment indie evocations. Whereas Everywhere's contemporaries are too concerned with force and rabble; Berga gives a more considered approach, quivering and softly prophesising during the verses, whilst unleashing a pained Jim Morrison-esque bellow during the choruses. It is a blend that lifts the track and keeps it constantly fascinating. There is no need for histrionics or trying to sound like someone familiar; his tones and projection is his (and the band's) own, and supersedes any expectations you would have of an indie-style track. A little bit of Simple Minds/U2 lurks underneath the skin of the sonic sway, which heralds more thought-provoking words: "What could have been/If you had moved/To your hideout" is sung, inflected, twisted and tempted, so that every word hits the mark. As the song progresses, there is a sense of empathy and sympathy to proceedings. Whether it was the intention to portray the heroine as a sympathetic character is unsure, but you find yourself rooting for her. The chorus has a drive and urgency to it, which makes you imagine our hero running in, grabbing her by the hand, and taking her home as soon as possible- whether this is deliberate, once again, is down to Berga. The chorus is particularly strong musically; as the band employ a tempting and tantalising piano line that adds some light and romance; bolstered by and differentiated from the clashing drums and harsher guitar and bass. Our front-man seems to be watching events unfold from above, seemingly viewing events as they happen; seeing everything as it unravels. "If you can't find your way out of here/Then maybe those flashing lights/May lead you there" sums up the song's core values and intentions; it invokes the chaos and prurience of the fashion world; marred and dressed in proclivities. You get the sense that the heroine, throughout, regrets her decisions and is seeking a fast way out; restrained as she is by the seedy figures that try to control her. It is the urgency and potency with which the band present their words, that gives such vivid life to their tales: bursting with sights, smells and sounds that put you in the mind of our author, as well as Eddie. There arrives a (albeit) brief rest bite; the mood is calmed and sedated, as Berga composes his thoughts. "If it ain't right/If they don't care" and "What comes to mind/It does seem fair" are sung, hooked to the coda: "Those flashing lights/May lead you there"; suggesting that maybe there is not total sympathy in our hero's heart- self-fulfilling prophecy and finger-wagging mixes with cautionary tale and incendiary warning bells. It is the sense of mystery that continues; making you wonder, and asking yourself questions: how much is this is a song of judgement? How much of it suggests empathy for our heroine? How does our hero feel about what has happened to her? At the 2:24 the scene changes; harder-edged and heavier guitars grumble and burst in, rolling like an avalanching snowball; before the striking and clashing percussion joins in, welcoming the arrival of the chorus.

As well as the unique subject matter of the song, Everywhere are a band that understand the importance of projection and emotion. The band are consistently tight throughout, and are able to tempt a great deal of atmosphere and intrigue. Percussion is dominant and impressive throughout; clattering, rumbling and firing relentlessly, yet able to temporise and seduce when needed. Similarly piano codas have a driving quality to them, and add colour and light as well as darker shades too. Bass and guitar are impressively strong as well as impressively understated. They hold the track firm and give it a solid backbone, yet never become too dominant or overwhelming. Each of the boys plays their roles perfectly, and never do too much or too little; instead everything is finely balanced and wonderfully composed. This creates a fresh and original song, that will not have you making comparisons with any other act out there. Indie bands tend to be too guitar and drum-heavy; rarely able to present compositions that are musically rewarding as well as intelligent; still there is an emphasis towards force and meandering riffs and diversions. The fact that the track sticks in your memory is part down to the great band performance, but also down to Berga, whom has a strong and enthralling voice. His tones have the slightest flecks of '90s U.S. (Placebo) as well as '80s Scotland (Simple Minds), yet has a strong and native accent that is all its own. It is an instrument able to almost whisper in the verses; pull you in and calm your sense; yet climb and fire during the choruses. The lyrics are impressive as well, capable of painting some sharp and- at times- unsavoury scenes, as well as tie that in with a chorus that has both an anthemic sing-along quality, as well as a more emotional and thought-provoking depth. In my mind, I was following the words; building up scenes in my mind- trying to picture what our heroine looked like, and how she moved. The sense of flashing lights and chaos is persistent and the key theme; building a sense of fear and uncertainty. I would like to imagine that the heroine was a likeable woman who made a bad choice, and got a lot worse than she deserved. At times the lyrics suggest that our hero feels sympathy and sadness for her; yet at intervals there may be some lingering resentment and reticence. Such is the power of the song writing and performance that one may be over-thinking or throwing red herrings into the mix. What is clear is that the Swedish five-piece have a clear knack for melody, musicianship and evocation; able to breathe life into a genre that is in danger of mass homogenisation and a drought of inspiration. The band's E.P. is due for release later in the year, and the guys will be entering a market that has a lot of players and contenders, all hoping to remain in the public consciousness for as long as possible. Most will fall and fail of course; whilst many more will have a limited lifespan. If Stockholm's Everywhere keep their ethics and morals strong and unpolluted, then they will be able to inhale rarefied air. First steps are the most important, and if you put a foot wrong, it is incredibly difficult to climb back. The band are relentless and hard-working; knowing that success is not destined nor will be handed to them: this leads to tracks like Eddie. It is a track that will appeal to the indie sect, as well as capable of cross-pollinating and drawing in different sectors of music-lovers. Alive with emotion, intrigue and melody, it will stick in your mind and leave you wanting more from the boys. But fear not...

THEY'LL be more soon, and it will certainly worth the wait.

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Official:

http://everywheretheband.com/

Facebook:

https://www.facebook.com/everywheretheband

Twitter:

https://twitter.com/Everywhereband

SoundCloud:

https://soundcloud.com/everywheretheband/eddie

YouTube:

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

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June 17, 2013

musicmusingsandsuch

Uncategorized

Sophia Bastian- Breaking- Track Review

June 17, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Sophia Bastian

Breaking

9.7/10

Gorgeous New York-based soul wonder has a psychotropic voice that will sway, stagger and leave you on a potent, heady high: Breaking Good.

Availability:

Breaking is available at:

http://www.youtube.com/watch?v=zu9v7nAG5as

The E.P. Sophia Bastian is available at:

https://itunes.apple.com/us/album/intro-breaking/id408547344?i=408547356&ign-mpt=uo%3D4

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COBWEBS have been building up in my mind for a while now...

in part, due to music; and its nesting instincts. For the last couple of weeks, Queens of the Stone Age's latest album has been cemented in my brain and stereo. It is not a shock why. The songs keep on revealing nuances and subtleties I had not picked up on upon the fledgling listens. Being a band that I have been in awe of since the mid-'00s, I have spent a lot of time performing retrospective listening and admiring, and have jumped upon ....Like Clockwork. For all of the slightly underwhelming music from the current scene, it was frankly a relief that Josh Homme and his men still posses the power to confound and inspire. As much as that album will be in my thoughts for many months to come, it has raised some deeper questions in my mind. Having thought about the current climate, I first of all wondered: will the talent show 'stars' of this decade, form the basis for future music and sounds? After giving The Voice (or The Voice U.K. as it is bafflingly called) a fair shake of the dice, my initial reticence and hesitations were all justified. Aside from the nauseating and repellent judges; will.i.am seems to be from a different planet, and is to music what Mussolini was to international peacekeeping. Jessie J. is as repellent; self-obsessed and a rather repulsive figure. The duo form a half of a judging panel, apparently handpicked to decide upon the best and brightest singers of the moment. Alongside The X Factor, whom I harbour an equal hatred towards, my negativity is part of a larger malaise. As much as the world needs stunning new talent and voices; they sure as hell aren't going to come from talent shows. Aside from the fact that the shows are designed to attract the credulous; those whom are hungry for fame- and not self-respect or influence. Aside from Rebecca Ferguson, who can be seen as the exception that proves my rule, none of the winners from the shows have ever turned in anything worthy or even palatable. I hope these shows die a much-needed death, as there is a disturbing trend forming. Every 'talent' that appears on the show is moulded to sound like an existing singer. For the girls, Mariah Carey, Christina Aguilera and Whitney Houston are still the favoured idols; for the lads, a composite of old soul greats, as well as modern-day rock stars. Individuality and potential is already beaten out of the participant- yet there is a bigger problem. It seems that musicianship; writing your own songs, and chiselling a likeable and universal personality are foreign terms, and the resultant projection sees a built-in obsolescence and entropy. It is a relevant point with regards to Sophia Bastian, an artist whom has a talent and voice that are difficult to top, and yet is capable of appealing to, and drawing in, a legion of diverse music fans and lovers. Her work ethic and codas are the antithesis of what is favoured in the mainstream; and is why she will find larger and lasting success. My second issue is concerning range within music. For all my love of QOTSA and that style of music, it is ensconced within my thoughts so firmly, because quite simply: there is nothing alternative that really appeals. Still there seems to be a tendency to either promote and herald guitar bands or variations there on; or favour the solo artist, whom usually stray towards acoustic and folk waters. Of course there are exceptions and differences, but for the most part new bands tend to be predictably unadventurous and not in the lease bit captivating. Female artists have shown greater mobility and ambition with regards to diversification- yet still there is an over-reliance to project yourself as a sweet-voiced and girl-next-door acoustic solo artist.

Sophia Bastian dovetails my two points together quite elegantly. She is not a talent show winner, nor does she seem to associate with those shows, or display any sort of patronage for them. Her artistry and focus is based very much around making her own music, on her own terms, and doing so the honest way. In pictures, she is every inch a modern pin-up. Both statuesque and sweet, she has a somewhat profound beauty and striking sex appeal, that will inspire new female talent, as it will enflame the male audience. Bastian is based in New York, yet spent a lot of her youth in Europe. In interviews she seems to want her music to come across as real and honest. She favours diversity and substance in her songs, and has a trusting nature to her, that sees her believe in the goodness of people; yet she has a reserve and natural shell that is aware that the music scene contains many fickle and dishonest people in it as well. As a mixed race artist, she has embraced the music of white and black artists. In terms of Bastian's inspirations and influences, the likes of Stevie Wonder, Billie Holiday and Nina Simone are in there; as too are the likes of the U.K.'s very own Portishead. On paper it may seem like an odd anomaly, given the list of names that have come before. As much as Bastian admires the works of Ray Charles and James Brown, she attests that the music of Florence and the Machine and Fiona Apple are as important. The sounds of the school yard, as well as the music of her youth has enforced this diverse mix of idols. From her travels and time in Europe, Bastian has picked up on the varied mix of music that was present there in the '90s, and has tied this together with older icons, to form the core of her music. Clearly soul and the soul legends are huge idols and important people to her, and if you listen to her E.P. Juvenile Blues, this shines through. The songs within are crammed full of blues and soul touches and styles; displaying as much authority and majesty as the greats of the past, but updating their sounds for the present-day. Bastian has a fond love for a raft of different genres; something that was honed and instilled in her from an early age; enforced by the fact she lives in New York. In Interviews she has stated that New York is very much her identity. It is a city where there is live music every night; ranging from underground clubs, to jazz cafes and charming bars. It is a busy and bustling metropolis that offers 'something for everyone', and is a positive haven for aspiring and established musicians alike. Bastian's time in The Big Apple has built a sense of urgency in her. Songs are written around personal experiences, yet are written with passion and consideration too. Her love of performing has probably been aided by the myriad of music in New York; live performances for Bastian can sometimes be nerve-shredding but always memorable for her: each gig is a separate and unforgettable moment for her. There is no homogenised limits to Bastian; and there are no obvious influences that define her sound. Unlike the talent show puppets, our New York girl has a freewheeling appreciation of multiple genres, and draws this together with her love of soul, blues and reggae, to create songs that are a swirl of intrigue, passion and above all, quality. The travelling soul has picked up a lot from the road, and the countries she has visited. A lot of great fans have been met; a great deal of fascinating locations have featured on her itineraries: promoting a fevered passion for song writing and performing that has taken her to the current day. It was her recent track GloryBoxed, that has gained Bastian a host of praise and adulation. As may have guessed from the title, it is a tribute to Portishead's 1995 single, Glory Box. The nature of Portishead's song concerned sexuality, and the video for the track saw singer Beth Gibbons in a 1950s jazz club; on stage and being watched by an audience in drag. The track's sensuality and mystique was something that Bastian used in GloryBoxed. She has kept the stirring composition, and brought her own set of lyrics to the party; marrying the two together to create a modern and fresh sounding track that has mid-'90s trip hop and electric elements; tied together with soulful and ethereal wonder. The aforementioned gem is the swansong to Bastian's self-titled E.P., and forms one of seven tracks on the record. The E.P. has warranted huge praise from iTunes reviews, as well as the media: all in love with Bastian's incredible songwriter and stunning voice. Sophia Bastian is the summation of a stunning young woman whom has worked hard to get where she is; and that reflects in the tracks. It is the second track from the E.P., Breaking, that has caught my ear, and is a concise and ambitious cut that shows where Bastian has come from, and where she plans on heading next.

"I get so angry/Every time I hear your name" are the words that open Breaking. It is a mandate that is acapella and striking. Our heroine delivers the words intensely and intently; infusing the early seconds with some strong emotions. These pointed words are joined by a subtle but enlivened percussive line; that teams with funky strings, unleashing a dancing and punchy mood that has blues and jazz evocations right from the off. Bastian carefully considers her words and delivery. At once a line can be syncopated and jerking; the next smoothly flowing and seductive. Maximum emotional weight is provided, which means that each sentiment burrows as deep as is possible. Where as lesser artists may stick to a rigid and unchanging pace and delivery, Bastian keeps her words fresh and invigorating. Early themes peak of games within love; an anonymous beau is being chided and rebuked; he is willing to be in the relationship, and be loyal; yet predictably when he is needed the most; our heroine states: "You reclaim your distance". The man seems to only want it easy and his way, as it is said he only will "take on low resistance". At the sapling stages of the track, some notable aspects present themselves. Bastian has a voice that is at once stunningly original; yet has layers of some of the greats. Detected in the mix is a little of Amy Winehouse: a similar style of projection is elicited; so too are some of her blues tones. Adele's power, as well as Gabrielle Cilmi's lower, slightly gravelled tones are lurking within too. As much as there are modern influences within the vocal tones, a little of Billie Holiday's smoky and haunting shades are present too. Bastian is able to employ some elements of the all-time greats both modern and past, yet keep the overall sound very much her own. Her voice is smooth and whispering, with power and force combined; resulting in a heady blend. Bastian is breaking her heart on this bounder; this reject; this man of disrepute. As her voice strikes and seduces, the music propels and keeps the mood energised and electric. Percussive and guitars have a soulful and jazz-tinged jump to them, with the romantic sway of the blues, that augments the words and well as voice. As much as it is "sad but true"; that so much heartache has been caused, our heroine has a tear in her soul. In the video for the song, Bastian is bathed in red: red-painted walls and red lighting are employed, whether to denote the heart or blood; or a bleeding heart is unsure, but it gives the video a romantic but urgent sense. Bastian appears relaxed and stunning; appearing in the shadows with her eyes cast down and her mind occupied by the man she once (or still does) love. It seems that both parties are playing it cool and trying to not lose their heads. Bastian lets her words stride and trip, ensuring that each word and line is imbedded into your mind. As much as a sense of composure and calm is required and sought, our heroine is breaking her heart, and struggling against a tide. Backed by evocative and stirring brass and the continuing jazz/blues atmosphere, an impassioned soundscape is summoned that adds sadness and power to the song's cores. The Adele/Winehouse parables will arrive back into your mind when Bastian's voice rises and crackles. There is a bit of the former's intense power and the latter's whisky and cigarette-drenched emotion; and a notable consideration to the soul legends of the '60s and '70s. As the chorus is reintroduced and struck, Bastian's voice rises and falls; enveloping your senses with its potency and heart-breaking intensity. You get a sense of conviction from the words: lines are delivered that make you think she means every last painful word. In the way that the '50s jazz icons as well as the soul greats ably did; our heroine possesses a rare ability to make common themes of love-on-the-line seem both fresh and steeped in history; it goes beyond and above what her contemporaries are attempting. There is also a sense that there may have been mistakes made in the past. As much as Bastian's heart is being broken, she states that it is "my fault that I do"; giving the impression that her man may have caused similar pain once before. Just before the 2:00 marker, a musical coda is proffered. Our heroine steps away from the mic., letting her backers strike a pose. Brass, percussion and strings are subtly and tenderly deployed. They calm your brow and allow your heartbeat to slow, following on from the intense and powerful protestations that have come before. When Bastian returns to the stage, she is briefly temporised and reflective. "Nothing moves me like your caress", it is said. Our heroine seductively and fondly teases her words; remembering what it is about her man that causes the intense feelings within her. Just as Bastian's voice is kitten-like and dripping with sexiness, it shifts and mutates into a empowered and galvanised. Her words speak of reluctance and uncertainty: "I don't have it in me", she sings; repeating the lines and linking them with wordless quivers that send a shiver down the spine. In fact, the wordless cries and evocations that follow produce a gravity and effect, that says as much as the words that it follows. When the chorus is delivered once more, Bastian's voice is alight with passion and dripping with pain. The conviction with which the likes of Nina Simone and Ray Charles used to infuse their songs with, is equalled by our heroine, whom carries the song to its conclusion, with a sense of longing and torment. It is unsure how things worked out: whether the two reconciled or came together; or whether the bonds are broken and irreparable. Such is the mystique and mystery, we may never know; but it is clear that a weight is on Bastian's heart.

Breaking is the sound and theme from a woman whom has seen her share of pain, and wants to find happiness, but seems like the relationship with the song's 'hero' will never be a smooth one. Sophia Bastian is a name that will be familiar to most very soon. Although she is based in L.A., she has an affection for the U.K. and will hopefully be here more often in the future. Breaking is a memorable and stirring song about one woman's experiences in love, and will be relatable to everyone. As much as the words chart Bastian's feelings and experiences, the themes and sentiments are not too personable that they alienate any listeners. There is a perfect blend of personal narrative as well as universality, that means the song will be familiar and fascinating all at once. The musical elements are evocative and tight. A mixture of jazz and blues sounds, fused with '60s and modern-day soul, is especially pleasing, but it is Bastian and that voice that are the star of the show. Many interviewees and media sources have proclaimed at its effect; fans and followers have also noted, making it axiomatically-redundant of me to say: it is wonderful. As I have mentioned, there are traces of the powerful and emotional tones of Adele, Amy Winehouse, Nina Simone and Billie Holiday, yet its core is very much Bastian's. It is not just the nature of the voice: at once sexy and alluring, the next heartbroken and pained; it is what she can do with it. Certainly lines are smoothly delivered, relaxing you and have a sedating and mesmeric quality. With nary a warning, that same voice can contort into a burdened beast of an instrument: never too overpowering, possessed with just the right amount of strength and conviction. Certain notes and wordless vocalisations are bending and held; similar to the work of Woah-Nelly!-era Nelly Furtado. Youthful innocence mixes with mature and experienced words, making the overall experience impressive indeed. Bastian is an artist whom will gain cross-pollination and inter-gender appeal. With stunning and captivating looks, she has a potent sex appeal that will strike a strong chord; she has the strength and determination of spirit that speaks to the young female market; as well as a varied and authoritative power that will spark the imagination of all. Being a young male whom prefers the heavier side of music, in all its indie/stoner rock/Grunge manifestations, I have been seeking an artists capable of providing a link from the past masters; through to the late-'90s/early-'00s, through to modern day. The fond affection Bastian has for the greats such as Charles, Simone, Holiday and Brown, as well as modern wonders such as Apple, Portishead, as well as Winehouse and Adele, does just this. There is a great and balanced mix between classic soul and modern-day sounds; between jazz and blues edges and reggae too. The Sophia Bastian E.P. is an acute and pragmatic collection of stunning songs, which chart our heroine's loves, fears and hopes; which blends personal songs with multi-genre moves; creating an ambitious and impressive collection. Breaking is a stirring and emotive song that can win hearts, minds and souls, and provides an insight into the wonders that the E.P. holds. It is worth seeking out the N.Y.-based chanteuse, as her stock is on the rise, and people are latching on to just how good she is. I always end by wondering what the future holds for the artist. In Bastian's case I am sure an album or another E.P. is probably on her mind, and following from the success of GloryBoxed, it could be tantalising to say the least. The combination of soul, reggae, blues and trip hop influences could spell and incredible future prospect. In the same way that singers such as Martina Topley-Bird have a voice that can score grime and trip-hop tricks, as well as blues and soul numbers, so too does Bastian. Topley-Bird is one of the most versatile and impressive singers of the modern day, and should Bastian decide to take a similar direction, then the future will be very busy for her. I hope that she is in the U.K. more, as I am yet to see her live, and would love to experience that first-hand. So few modern singers have a similar affection for soul, and are capable of penning songs that have the same striking quality. Whatever is next on the horizon, one thing is certainly crystal-clear:

IT will be memorable, indeed.

________________________________________________________________________

Facebook:

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

Twitter:

https://twitter.com/SophiaBastian

SoundCloud:

https://soundcloud.com/sophiabastian

__________________________________________________________________________________

June 16, 2013

musicmusingsandsuch

Uncategorized

Chalk And Numbers- Things You Do- Track Review

June 16, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Chalk And Numbers

Things You Do

9.8/10

Brooklyn indie duo have some similar shades to a well-known current U.S. boy-girl duo; yet supersede them with their glorious sounds of the '60s.

Availability:

Things You Do is available at:

http://chalkandnumbers.bandcamp.com/track/things-you-do

The E.P. Parade is available at:

http://chalkandnumbers.bandcamp.com/album/parade-ep

_________________________________________________________________________

TODAY there are a few things that have come to mind, when focusing...

on boy-girl duo Chalk And Numbers. The first point concerns the compositional nature of bands. For a start: duos are a rarity in any era. If you look back as far back as the '50s, bands have always consisted of four or more people. Throughout the '80s and '90s two-pieces become a little more common; yet it seems that there is still a reticence amongst new musicians to pile as many members into the pack as possible. I guess if your music is on the 'heavier' side of things: heavy rock, Grunge, even indie, then you may well need extra hands in order to elicit the sounds that you require- although this is not always the case. If one were to study the like of The White Stripes, a Detroit-based blues rock duo; it was without extraneous bodies and input that they managed to bring their explosive and incredible sounds to the world. You have to wonder, given the groups that have followed: were they a rare exception? There is still an over-reliance on the four or five-piece construct, and because of that, the associative sounds tend to be packed and dense. On the flipside, solo acts may have potential and a true talent, yet their palette may be too sparse or inactivating. Duos are a pleasing compromise, where you have the potential for bigger sounds and ideas, yet there are no so many members that you fill compelled to pack songs with too much; simultaneously ensuring that there is focus to the music. I hope that the problem of bands being too restrictive and predictable, is something that lessens in the next few years; as it is when you think differently and are not beholding to unwritten band laws- concerning the number of members in the band- that some wonderful results are presented. It is something I will return to, but for now, there is another point worth raising: U.S. music. For those of us in the U.K., there is a slight famine taking place. We here are raised on a rather stodgy staple diet of home-grown flavours and foods: bands and solo acts that have their hearts in the U.K. (even if their sounds have foreign influences). Occasionally, if you are lucky enough; you may happen across a new act that emanates from a warmer climate or fascinating landscape. Over the past months I have featured sounds from Europe (particularly Sweden); Australia, and EIRE; yet it is the acts from the U.S. whom have given me the most food for thought. Historically, they have always been the main rival to Britain, with regards to the all-time best music. As much as they have given us some of the greatest legends, their new music is also producing some potential future-greats. Whether it is the fickleness of the media, or the weakened ties that bind social and music media; it is uncertain. One thing is clear, mind: us in the U.K. are missing out. I have bemoaned the nature of finding great new music; how you seem to stumble across these acts by serendipity- rather than having them brought to your attention. Later on I shall go into more depth about the good ol' U.S.A., but the final point concerns the 1960s. Having born some of the greatest ever acts such as Bob Dylan and The Beatles, it is a decade that is talked in admiring tones; yet when it comes to reinterpreting and representing the sounds of that era, few music acts seem to be doing it. Where as here we have the likes of The Strypes, whom have a certain air of 1963-era The Beatles to them, there are not that many others that are attempting the same kind of sound. Whereas originality is a key pillar, and it is essential to dissociate yourself with any obvious references, the '60s was a decade that created psychedelia; power pop and swathes of diverse sounds- that have stood the test of time. I hear a lot of groups and acts whom employ '60s threads in their music, yet they seem to do so wistfully and infrequently- scared almost at being too heavy-handed and unoriginal. To my mind the '90s was responsible for the best and most diverse music ever: a decade that was awash with polemic sounds, and some of the best music of the modern era. The '60s is a close second, and neither decade (really) is re-appropraited and re-examined by modern-day artists. It is pleasing when an act comes along, whom seem to understand these themes I have raised.

The first thing one should say about Chalk and Numbers, is that they have some D.N.A. in common (I think) with a fellow U.S. act: She and Him. Chalk And Numbers has a tall and cool-dressed, sharp male influence, and a gorgeous and sweet-voiced female member. The two duos each have a fond affection for the melodies, potency and majesty of the '60s; and both too have a stellar reputation when it comes to their songs and presentation. The Zooey Deschanel-led duo have been making albums for a number of years, and have built their name around the pillars of strong song writing, a powerful chemistry as well as a consistency that seems unerring. The 33-year-old Deschanel is a songwriter whom employs the majesties and influences from the 1960s, and updates the sound for a modern age; wrapping her dulcet tones around the songs, backed and augmented by the guitar work and production of M. Ward. It is perhaps ironic, then, that my featured duo are Chalk And Numbers, and not chalk and cheese; as numerical similarities are not the only things the two partnerships have in common. Where as She and Him hail from Oregon: a state in the north-west of the U.S.A., with Portland being seen as the most environmentally-sound and beautiful parts of America (Portland is referred to as 'Rose City'). That state is built around busy and modernised city-scapes: sleek towers and business-filled skyscrapers, mingle alongside beautiful towns and pleasant and verdant mountains. Our Chalk And Numbers duo hail from Brooklyn; perhaps not the most obvious destination one would assume the two-piece to hail from. For an act whom project gorgeous '60s styling. Brooklyn is the most populous of New York's five boroughs (above Manhattan, The Bronx, Queens and Staten Island). It is a tight-packed and multi-ethnic community that stands by its motto: "In Unity There Is Strength". For those of us whose only exposure to New York comes about from watching CSI: NY, Friends, and U.S. television, there may be an assumption that Brooklyn has a threatening or uncertain air about it. The population is largely white or black (42.8% for the former; 34.3% the latter, as of 2010's census figures). There is a large Asian population too, and the communities of Brooklyn are very loyal and centralised: a majority of those employed work within the borough. Brooklyn contains Coney Island, the Botanic Garden; Soldiers' Arch and Park Slope also live here. Inside of the diverse neighbourhoods; from the large Russian population, through to Chinatown and a gentrification that sees a large Jewish and Pakistani community cohabitating with a large immigrant sector; it is a borough that is the definition of unified. It should hardly be a shock that a decade where community and harmony were bywords, that it should inspire '60s influences in Chalk And Numbers. Tall, bespeckled and dashing Andrew Pierce is our hero; gorgeous and mellifluous-voiced Sable Yong. The duo have a fond affection for one another, that comes across in the music. The duo also have a passion for some of the 1960s/'70s greats. Dusty Springfield, The Zombies and The Beach Boys are idols of the duo; and these influences can be detected in their Parade E.P. Their song writing is sharp and filled with vivid imagery. Where as contemporaries such as Lana Del Rey present too much of the girl-meets-boy-removes-red-dress-rides-in-a-fast-casr-needs-to-get-money-fast-because-here-lies-a-broken-girl themes; rock bands of New York tend to be too vague and generic with their ideas; it is perhaps Californian influences that come to mind. Bands around Burbank, Pasadena and Los Angeles are more adept at portraying True Purple shades; peaceful and uplifting sounds and a cohesive and focused coda. Songs on the E.P. such as Boy, Pretty Colors (sic.) and So Much For The Bay are part of a 5-track odyssey that marries the Flower Power drips of the 1960s, and galvanises it with a fusing of modernity and sleekness. It is perhaps apt that the duo's work has been dubbed "timeless" by Filter; "dollop of wonderfulness" by The Guardian (whom actually manage to get it right for once); and "Delicious" by Irish Times. Our intrepid heroes spare little time cheapening their social media sites with needless backstory and too much biography. They are a duo not content with being seen as 'throwaway': keeping their websites tight and fascinating, and letting the tunes shout the loudest. As I drank in the praise that the two have levied, and took the flower out of my (male) hair, I span Things You Do.

This track is the swansong of the E.P., and is the shortest track as well (clocking in at 2:38). The duo believe in uniformity: many of their photos see them in black-and-white/black-and-red clothes- usually striped-and they have a chic-geek-cum-effortless cool vibe about their style and designs. This sense of consecution as well as free will is evident immediately. Things You Do builds on a foundation of flourishing and delicious electric strings. It is part debut album-era The Beatles, with hints of psychedelic-era bands such as Strawberry Alarm Clock. The guitar sways and strikes harp-like, backed by a propulsive and measured percussion. It sounds like it could soundtrack a kooky indie film; as well as having hallmarks of a epic undertones: a potential Bond theme perhaps? It is a brief intro. that elicits so much grin and smile, with no strum und drang. There is a razor-sharp modernity and sleekness to the sound, yet it is bubbling with classic '60s touches and sounds. Our heroine Yong has a voice that contains a little of Deschanel's harder edges; yet has some influence of 1962 Carole King and a dollop of girl groups of the 1960s like The Shangri-Las. Our heroine has a great way with words. Lines are not overtly-linear: some are delivered swooping and syncopated; some straight-laced and punchy. It is a facet and calling card that bring vividly to life the lyric's themes. Early evocations about tug-of-wars within love are highlighted. An unnamed paramour is treating love like a game; it is not one "Although you try to play". The words are given consideration and almost onomatopoeic regard (when the line "Consuqneces that tumble on through" is sung, the word 'tumble' is tumbled from Yong's tongue). The guitar work is striking throughout. Signs of Hank Marvin's almost Wild West twangs are fused into the mix: always light and evocative; yet never impinging or imposing in any way. Likewise, the percussion is considerate as well as bolstering: it keeps the pace and energy very much alive, yet never creeps too far high in the mix. With there just being one female voice, it is quite stunning that the evocativeness and chorus of a full group is presented. As much as our heroine elevates lines such as "You can wonder what it means to you" higher than any other singer would; it is Pierce's words that are equal partners in the success story. He can mix lighter and feather-light kisses with more cynical and forbidding lines: "You can poison all the others around". Where as the themes and mandates talk of love-gone-wrong, with a side order of nerve-shredding mystery, the music does something quite extraordinary. Where as most writers and musicians would tie some shadowed words with similar sonic evocations, Pierce is a master of the '60s girl group pop-cum-psychedelic edges; managing to evoke elements of The Shadows, as well as The Zombies. It is this positive Henry Mancini-esque ability to shift and integrate different style into a cohesive whole, that adds clout to Yong's silky tones. It is perhaps the chorus that strikes the hardest chord; having an infectious bounce to it, with our heroine wrapping her tongue around the words, around the music: like an intoxicating slinky-Matryoshka doll hybrid. It is the byplay and affection between the two players that adds an additional layer of quality to the song. It is a kinship that has an asexuality: they have the byplay of siblings almost, that adds authority to their sweet-sounding protestations. If one thinks that the emotional and gender transposition of The White Stripes is the key facet that 'makes' the song: think again. At the 1:26 mark, electric guitar is deployed to slither and snake; twisting and twanging with abandon and adding an extra smile to the lips. The guitar ramps and swoon; as the rattling percussion gallops behind. It spends its time creating as much atmosphere as possible, before Yong returns with words of "Don't you know it's true". An intent and repeated chorus of "Think about the things you do" is unleashed, making the anonymous beau take note, and learn from his (many) mistakes. In spite of the song talking of a man-done-wrong parable, there is an innocence at its core. There is no sense of vengeance or bile-filled lines; no cussing or feuding- very much contained of '60s peace; but with an instructional message throughout. The chorus is spoken once more before the end, with it being said that all the things that (the man) has done wrong: "They'll catch up with you in time".

Things You Do, as well as the Parade E.P., are notable due to the utilitarian and borderless appeal of their sounds. Whether your patronage is focused towards dub-step or county, there is something for everyone within the songs. As much as I have belittled bands for not being considerate when it comes to unifying clans of music lovers: trying to get them out of this culture of compartmentalisation; it is refreshing that the Brooklyn duo are making waves in this regard. Each of their E.P.s five tracks are chocked with influences of classic 1960s song writing. The duo have said that they record everything in analog and use lo-fi equipment and technique to get an authentic feel to their music. The songs sound like they could have been recorded in Toe Rag Studios (in Hackney). The White Stripes recorded Elephant there, and that record is a testament to the benefits of recording music that is not beholden to studio trickery and too much polish and gleam. Where as Oregon's She and Him produce records that sound a little too modern-sounding (in terms of the polish and shine that each song is given), Chalk And Numbers revert to past decades, yet never regress. The song writing and ambition is as much 2013, as it is 1963. It is well worth seeking them out- the music is free after all! As much as I have carped on about the '60s: the girl groups, the legends etc., the music on display only hints at the nature of these components, yet never appropriates them strongly. Originality, freshness and the idea of a unique voice enforces the music: influences are incorporated in order to variegate the songs. Song influences range from umbrellas, through to doomed romance. Pierce manages to vary his themes, and the fact that sunshine pop and country-tinged sound line up alongside moodier and more insular numbers, is a testament to his talents as a songwriter, musician, and producer (Dennis Pierce co-produced). Yong is a modern pin-up, with girl-next-door beauty and sex appeal, and a voice that has a girlish charm as well as seductive sense of foreplay to it: at once the voice is come-hither; the next coquettish. A great deal of ground is covered over 5 tracks, and one can tell that a lot of work and effort has been put in, as the E.P. is boundless in its energy, creativity and ambition. The way that Pierce and Yong combine gives the tracks their gold stars. Clear affection and understanding negates and invigorates the mood, and gives the already-terrific songs an extra cherry on top. I hope they can get over to London very soon, as the U.K. (as well as Europe and Australia) will welcome them with open arms and a long-term fan base. They have 712 'likes' on Facebook, and 139 followers on Twitter. With the likes of pop cretin Justin Bieber amassing millions of credulous- and one assumes deaf- fans, it is a crying outrage that our New York twosome have a comparatively-meagre base. I suspect there is a predominant-U.S. core to the current audience, but they should fear not. Parade is a confident E.P. that is universal in its appeal, and will win them a lot, lot more followers and lovers. It will be great to see what they do next: another E.P.; an album; a worldwide tour maybe? They are playing a lot of U.S. dates, and there will be venues such as The Roundhouse and Electric Ballroom (both in Camden) that would be packed to the rafters. With the likes of The Guardian paying homage to their wonders, it shouldn't (I hope) be long before the intoxicating aromas, make their way from the East Coast; and waft to the U.K./France/Western Europe; across to Italy and most of Europe, and emanates into Asia and Australia (as well as Africa). It is because the songs are so strong that they will not have barriers when it comes to finding fans and venues willing to take them on board; so Chalk And Numbers:

WHAT do you say?

________________________________________________________________________

Official:

http://chalkandnumbers.bandcamp.com/

Facebook:

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

Twitter:

https://twitter.com/ChalkAndNumbers

SoundCloud:

https://soundcloud.com/chalkandnumbers

__________________________________________________________________________________

June 15, 2013

musicmusingsandsuch

Uncategorized

Los and the Deadlines- Watch It Fall- Track Review

June 15, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Los and The Deadlines

Watch It Fall

9.3/10

International squadron have had a busy touring schedule and past; hardly surprising given their live reputation and stunning sonic palette.

Availability:

Watch Me Fall is available at:

http://www.youtube.com/watch?v=h66V2k5sqAE&feature=youtu.be

The E.P. Metro Talk is available via:

https://itunes.apple.com/gb/artist/id546248397?affId=1736887

___________________________________________________________________________

The comingling and blending of different nationalities within a...

band can either be seen as low-yield bonds; a risky experiment, or a bold and daring move. I have been moaning on- well protesting- about the homogenous nature of bands in today's scene. Too often; whether a group is from the north, south or wherever; the members of said groups tend to be from the local area: all too tend to be of similar race, age and background. I can understand the reticence with regards to mixing foreign cuisines. Even if the amuse-bouche seems to be a wise concoction, strains can occur over time- if the members are from different walks of life. It is a myopic mistake that has probably starved the world of some great music and excitement. Terrific legendary bands have always mixed international sounds into their albums and songs; and a lot of great new bands coming through have struck a golden chord. Recently I have been privy to reviewing the sounds of HighFields: a band whom has a great mixture of nationalities. In that illustrious group, members hail from the likes of Norway, Jersey, South Africa, Canada and Singapore. It is not a coincidence that the music that they are producing is some of the best of the moment. When you draw in a diverse and wide-ranging influence of sounds into your group whole; the results can be as exciting and diverse as any of the best bands of all time. Where as the majority of new bands have a set format: meet at school/college/a local bar; gig together and form friendships; cement your band. This is the bedrock for the band formation paradigm; where groups of friends whom live near one another, form a common bond; and decide to bring their music to the masses. Great results have been seen from this mould, and the friendships, kinships and close ties that bond the members can enforce a strengthened unit and lead to a harmonious working relationship. When you consider the task that falls at the feet of the band mixing foreign members: will cultural differences enhance the sounds or cause frictions? How will relationships go, and will they last? Will we have similar musical tastes? If you consider all of this; these types of questions can be stumbling blocks. Groups such as The Mars Volta have mixed American and Puerto Rican heritages into their sound; I have seen London-based bands mix European and Australian players together; as well I have heard of Irish groups with Scottish members. The abiding sense I get from these variegated bands is this: the music seems more vital and authoritative. There is rarely a need to fit into a preconceived local scene; nor play to expectations or parody another band- in the hope that that will equate to success. Countries, ecosystems, economies and communities always thrive and grow stronger and more assiduous. A blend of differing histories and experiences can help improve a person's outlook on life; and teach them a lot that they didn't know before. If you apply this approximation to music, then the same is true. Different genres and band influences are brought to the party; points of views tend to be more unique, and a sense of galvanisation is formed within the group.

Los and The Deadlines, cool name aside, that mix eclectic sounds and- as they attest on their official website- bring "ear-soothing" as well as "ear-pounding" sensations to your brain. The boys; consisting of vocalist and guitarist Alex LoSardo; guitarist Niels Bakx, bass player Agostino Collura; and drummer Alberto Voglino. Having formed back in 2011, success and demand came about pretty quickly. The group have played some pretty prestigious venues including The Southbank Centre and the O2 Millennium Dome. If one were to hint at why the band enjoyed such a steady projection to prominence, one should attend one of their shows. Noted for their high-energy and lively performances, the group have a stellar reputation in the live arena, bringing their music alive and giving people their money's worth. Looking at photos of the band, and you get a sense that they could be a '90s Grunge band or modern-day U.S. band like The Foo Fighters. Beards, cool hair and sharp fashion are hallmarks of the four-piece; whom project a breezy and casual vibe- making them more approachable and fascinating. Little is know about the individual members, in terms of their origins and musical tastes; but the sounds elicited by the quartet have warranted some heady comparisons. As well as counting them amongst their influences, the boys have been compared to the likes of Queens of the Stone Age, The Mars Volta and Foo Fighters. James Brown and Rage Against The Machine are also idols for the group- highlighting what diverse tastes they have. Being a fan of The Mars Volta, I have been surprised at how few new bands are inspired by them, and aim to infuse their sounds with that of the progressive rock legends. Between all of the influences I have mentioned, an abiding sense of passion, energy and high-octane intrigue are common; each has a way of getting into your brain and unleashing a psychotropic sense of wonder and potency. Similarly Los and The Deadlines have those objectives. Drawing all of their various idols together, as well as assembling their different nation's sounds and styles into the pot; the resultant sound is one that is unique and exhilarating- bursting with flavours and wonderful avenues. The chaps are based in London and have been bringing their mandates and manifestos to the capital over the last few days and weeks; as well as planning for a busy future. Last year, the E.P. Metro Talk was release, and met with huge acclaim and adulation. The five-track release showcased the band's strengths and ambitions, and has ensured that they have a growing legion of fans. Over Facebook more than 2,000 people 'like' the band; they have over 200 Twitter followers, and an army of supporters from far-flung places and cities alike; all intoxicated by the band's keen chops and electric kicks.

Having achieved a modest amount of views on YouTube, the video for Watch It Fall details a collection of clips from the band's gigs; fondly looking back on the wonders and achievements of 2012. If the video has not pulled in too many views (just yet), the song itself has been warmly received; and is not a surprise to see why. The initial few seconds mix The Mars Volta and Queens of the Stone Age. There is a great deal of the former's experimentation and winding electric guitars; as well as the latter's current-day bold experimentation and brutalisation. Before the vocal storms in, a frantic firestorm of arpeggio guitar is unwound, and the relentless pace and sense of danger lingers over the track. With the front-man imploring: "Give 'em more", backed by twiddling and twirling guitars: part Red Hot Chilli Peppers; part The Mars Volta-cum-Grunge, it is a pulsating sound that keeps the tension high. This is augmented by bass and percussion, which, when combined, strike and storm with maximum intensity and intention. Where as certain bands like The Mars Volta and progressive rock bands, tend to employ lyrics that are oblique, Byzantine and surreal; Los and the Deadlines are more direct. Themes of the unusual are in there too; but messages such as "Buy it all for a bit of hope" strive for a more emotive punch. As the players play- mixing brute force with some endeavouring, channelling undertones- a chorusing of "Right...left...right!" is chanted; with militaristic force and power. As much as there are touches of the U.S. pioneers in the guitar work, the overall sound and style of the track is more rooted elsewhere; modern-day U.K. as well as Europe. With some disgruntled and desert-infused tonnes of Josh Homme, our front-man has some Californian notes, but his voice is more forceful and swaggering, with a bolder kick to it. Where as the QOTSA leader- now at least- is favouring some delicate falsetto as well as filth-ridden/sexy-as-hell vibes, our leader here- and the band as a whole- have punk edges that injects Watch It Fall with sharper teeth. It is perhaps their riffs, and sonic detours that are most impressive. The percussion remains forceful and persistent throughout; employed with great power and drive; yet the guitar and bass lines snake, twirl, rush and roll in all sort of ways. It shows an endeavouring and ambitious creative mind at work, when a band can create a multi-part and highly mobile number, that does not lose its focus or gravity. When the chorus erupts- probably the most apt word- the band burst at the seams; our hero practically steroidal as a whirlwind of sound augments thoughts such as "You say it's my fault". With some foreboding scenes and some nervy protestations our protagonist yells: "I've seen everything"- his pipes awash with gravel, grit, gasoline, gin and barbed wire. The chanted and punched coda, is a weapon that is deployed again more extensively after the 2:00, providing a sea change that sees a shift to the darker and more hypnotic. The backing is still bustling and alive with static and sparks; and once the vocal chants have erred, those threads rolls and tumble: guitar, bass and drum build up and down; up and down, hinting at some progressive rock edges. As a whole the song very much has an anthemic tone. Certain sections are chant-worthy; whilst the ever-mobile nature of the music keeps you hooked and invested. I hope that the band get into the studio and release an L.P. soon. Songs such as Watch It Fall would benefit from some crisper production and polish. It would nice to hear Alex's vocals in better clarity, slightly higher and crisper in the mix. If you listen to an album such as '... Like Clockwork', the incredible songs are boosted and given breath by the terrific production and a bit of polish, and Los and The Deadlines' tracks would gain a similar majesty, with some of those consideration. Watch It Fall is a solid and compelling track. Vocals are domineering and enflamed; as well as being impassioned and potent. Guitar, bass and percussion are consistently sharp and fascinating. Each member is tight and powerful; infusing a huge amount of force and wonder into the track. Lyrics are sharp and interesting and kept focused and literal- for the most part- making the words meaning more tangible and relevant. As a whole the song trips and fights through various shifts and phases; winding and biting at various intervals, that will surely win over the most stubborn music fan.

My point about multi-nationality and variation within a band is proven here. The various backgrounds and personalities do not juxtapose or devise one another; they blend seamlessly and brilliantly, to create a stronger whole. Los and The Deadlines are a tight and memorable band, and on the strength of the remaining tracks off of Metro Talk, I am not shocked that they have such a following. It will be great to see where the boys go from here, as they have a huge arsenal and range to experiment with. Whether they stick with the stoner rock/prog. rock leanings (with those Grunge and punk edges), or employ some more melodious edges is yet to be seen. As the likes of Josh Homme's crew have demonstrated so deftly, is that revisiting the past as well as toying with mood and melody, mingling sweet balladry with sex-laden jams can result in a stunning record. It would be great to see our boys go the same way; stick to the sound they have cemented, but incorporate some other key elements into the fray; augmenting and emphasising what they are duly capable of. It is not a band that is dominated by the front-man; it is a democracy that has meritocratic and egalitarian values, where each of the members is equal. This shared affection and consideration is clear in the music, and it is rare to hear a band that are so confident. A goldmine will be struck when a group can mine and create the sounds of the likes of Queens of the Stone Age, Foo Fighters, The Mars Volta, and make it sound like their own. Los and The Deadlines are very close, and if they continue down the path they tread, and grow in confidence, then we could have a band that can stand alongside the U.S. giants; which is sorely needed in a climate that is dictated by mediocrity. Take a gander at the quartet's songs and it will give you a sense of a young band that are hungry for longevity and success. Should the lads keep their head and focus their sights, very much into the distance, then they will be creating some cracking songs for a long while. Too often great bands have been passed over, in favour of the inconsistency of the mainstream. It is with the power of social media, and a continued following...

THAT the four-piece will be able to prove how good they truly are.

________________________________________________________________________

Official:

http://www.losandthedeadlines.com/

Facebook:

https://www.facebook.com/losandthedeadlines

Twitter:

https://twitter.com/LosDeadlines

SoundCloud:

https://soundcloud.com/losandthedeadlines

YouTube:

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

__________________________________________________________________________________

June 14, 2013

musicmusingsandsuch

Uncategorized

LAC- When I'm Around- Track Review

June 14, 2013

musicmusingsandsuch

Uncategorized

Track Review:

LAC

When I'm Around

9.4/10

Acronymically intriguing; Michael Davies' LAC alter-ego has a curiosity, which is surpassed only by that of his incarcerating, ignoble punk strut.

Availability:

When I'm Around is available at:

https://soundcloud.com/lacmusic/when-im-around

The E.P. Borstal Boy is available at:

https://itunes.apple.com/gb/album/borstal-boy-ep/id656190644

___________________________________________________________________________

THE task for the male solo artist, is one that has Herculean undertones.

For the past decade or fifteen years, there has been a little bit of a struggle when searching for stunning solo male acts, or strong frontmen, that you could pin your hopes to. Since the mid-late '90s, the job of presenting yourself as truly original and diverse has become a lot harder. In the sense that so much music has already been sung: so many styles; genres; sensations and anthems have been recorded; by each passing year, the nature of originality and potency becomes difficult to define as well as supersede. Talent shows do not help: in essence they are the antithesis of originality; with hopeless fame-chasing wannabes being moulded to sound like certain existing artists. Outside of that, there is a lot of solo movement. Some can be seen as quite pleasing; shades and tones within a voice or set of lyrics that suggest something promising, but by-and-large, how many artists can we say that about today? Whilst female solo artists such as Laura Marling are producing great strides and albums, that are filled with maturity, striking themes and an abiding air of quality and conviction; aside from her, there are not many whom promising the same. For the men, there seems to be no natural leader, setting the bar and showing how it should be done. It is true that some are rising up now, and are capable of yielding crops years down the line; in the here and now, there is a greater issue: no one in modern music today; in the male solo artist division, is capable of taking your breath away. I may be missing someone, but having my ear practically cemented to the ground, I know what is out there; and I am aware of Bon Iver, Matt Corby, Jake Bugg and a myriad of differing talent; but I still arrive at the same conclusion: there is no one that truly inspires me in every aspect. If the lyrics are tremendous; the voice comes off as lacklustre or unspectacular. If an artist has a great voice, the words are too narrow-minded, and they are there is little true range to their palette and subjects. It is frustrating, and in all honesty, I am not sure who or how the pandemic is going to be cured- in the female genre as well. Recently I have featured some great solo artists that I hope will make their way into public consciousness; yet fear that due to the growing market, and the hardships of trying to promote your sound, it may not be fully realised, or they may have to downscale their ambitions. Still, eyes are trained towards the band market, as a sense of strength in numbers dictates the public consciousness. This year has seen legendary and established bands making biggest waves, and there seems to be a trend emerging: diverse and innovative bands with a strong frontman/woman tend to draw in the biggest bucks. I have been downhearted at the amount of new acts, where the sound, singer and lyrics are awash with cliché, sloppy iambic pentameter; vague resulting in esoteric appeal and an inherent (un)planned obsolescence. For success, immediate impressions and lasting success- aside from terrific and encapsulating song writing- you have to have a captivating and worthy (literal) voice; a sound that is stunning and meritocratic; tied and binding by a collective whole, that is inspiring and capable of historic and of-the-moment prosperity and fascination. U.S. acts such as The National, Queens of the Stone Age- as much as I have mentioned them recently- have these facets, as do the other bands whom are currently making huge impressions in 2013. Uniqueness and differentiated sounds are as vital as anything too; and were a band to crack this, then their future is almost safe- regardless of prevailing winds and economic outcomes.

On paper, Michael Davies, A.K.A. LAC may seem somewhat the anti-hero. In a recent profile writing by Paul Lester of The Guardian, there seemed to be as much back-handed praise as there did derisive snickering and sarcasm. The Guardian is a publication I have always had an issue with. As useful as they are for introducing new talent to my eyes, when I read their profiles and articles about said artists, the majority of the time there seems to be a modicum of insincerity and Trojan Horse venom behind their intentions. Paul Lester is the man responsible for my umbrage and discourse. A middle-aged- and one can only assumed- failed musician, he spends his professional days, seemingly searching for new bands and acts; so he can simply employ his own twisted brand of subterfuge. Lester proclaimed that LAC is unlikely to "Be the daddy", summating the appeal of LAC: you'll like it only if "you like shouty bloke punk". Aside from Lester being a credulous and musical illiterate buffoon, there is a great malaise at play at the paper. Their reviewers are subject to more derision and negativity that they put in their reviews; usually a few lines long and going to no lengths to give an overall opinion or anything bordering on insightful. Factor aside my reticence and hang-ups with The Guardian, my abiding point is, that they have missed the point: LAC is not a band-fronted by a man- whom should be passed over; cast aside, and dispelled- as Lester has done so reverently and confidently. I shall crib from that aforementioned article, as the facts about Davies' past are the only factual aspects; so let me tell you about him. Davies spent some time in a young offenders' institute at aged 15; a cellmate hanged himself, and it was the Spartan resilience, augmented by painful experiences that inspired Davies to go into music. Having gown up in an area of south-east England, that, in Davies' own words: "depressing". The music of LAC is intended not to scare or even inspire a raft of musical acolytes and tributes; more represent the reality and harshness of certain sectors of society, and the problems and hostility that is an ever-present threat. In the way that Plan B and a great deal of Grime artists- as well as rap artists- present the streets and city life in all of its mangled and dystopian glory: like The Divine Comedy-cum-Irvine Welsh. The three-track E.P. that has been created by LAC, whom are: band leader and vocal laureate Michael Davies; backing vocalist and bass boy Damion Sheppard; and pots and pans man Andrew Mardle. Situated between Oxford and London, and drawing in collective experiences and day-to-day life, the E.P. Borstal Boy is deeper and more layered than its title would have you think. Being a man whom is at the mercy of, and reliant on, the (dreaded) Jobcentre: in all of its hell, horror and vileness; themes and songs speak to me as literally as they do figuratively. It is not an E.P. reserved for punk fanatics; nor working-class bands such as myself. If you negate Paul Lester's repressed sneering and insincerity, and listen hard, the music works on so many base foundations: it has huge energy and excitement; it is modern and relevant, as well as being great music. Whilst LAC may be near Google-proof- and locating all of the social media pages is a task in itself- when you listen to the music; preconceptions and judgementalness (sic.) are gunned down, stomped over, and buried- see what I did there?

When I'm Around is- to my ears- the standout from the trio of tracks off of the Borstal Boy E.P.: the title track and Dead Generation make up the other two. If certain stuffy newspapers compare the songs to being interlopers and encroaches: deflecting any hint of praise, and preferring cynicism; then take it from one whom knows music better and more intimately: it will strike chords. In fact the initial stages of the intro. will project images of The Libertines' Up The Bracket: a sort of Time for Heroes-cum-Begging begins its gestation. At once the mood has touches of the early-'00s punk attitude that the boys in the band popularised; as well as flavour notes from mid-career The Clash. That pummelling, almost militaristic percussion assault; and the way it mixes- and spars with- a familiar electric strum brings to mind the modern and iconic punk pioneers, and gives the track authority and ambition in the early stages- with just the right amount of remembrance. As the intro. opens up and stretches its legs, so too do the guitar and bass: sprawling and striking in a move that is simultaneously self-actualising and literal. You get the impression a prison riot or street brawl is being sound tracked; awash as the song is, in vibrant and spiky riffs. If you were to compare the sound to another band- and I won't do liberally to avoid cheapening the band- then there are some early hints at an influence of early-career The Jam; mingling alongside that Libs. vibe. That coalescence of '70s punk and modern-day youthful energy marries well- promising no imminent divorce or disagreement. The energy is too not forbidding or menacing thus far: it is light enough to draw in indie and rock fans, yet has an edge and perseverance that suggests spittoons will soon be needed. There are also some undertones of The Who to be found. One can imagine that a great deal of the band's records, as well as other '60s and '70s legends, are to be found in the homes of Davies, as well as his band mates. A lot of turf has been covered and won by LAC within the brief intro., and when the vocal arrives, you are already on board with their sound and ambitions. Tales of "me and a mate called Pete", give you an impression as to the narrative and direction the lyrics will take; and the boys that are running around "smoking cigarettes", paints a tableaux of lads-on-their-uppers; swaggering around town and- whilst offering no hostility (early on)- classic and reliable themes are presented. In the same way as The Libertines infused their albums with stories of f*****-up parties, semblances of abnormality and Death on the Stairs; LAC continue the (neo-)punk theme; and like Messrs' Doherty and Barat, a tangible and explicable sense of fun is present. The song's strong efficacy gets you listening sharply, and following our protagonist's plight. Our hero talks about the changing times; his voice dripping with intention and clout- suggesting parts Lydon, parts Strummer. The guitars rumble and spring as the percussion and bass thrash, solidify and stomp.

As our hero is "Putting myself on the map", the pace and energy of that riff, as well as the percussive and bass augmentation keeps the song intent and relentless. Yes, Mr. Lester, portions of the song may have a punk shoutiness; with Davies and Sheppard duel and swagger their vocals together, summoning a rabble that is not supplementary or a nuisance: instead it is elicited to bolster and emphasise the themes of the track. Whether there is any regretful missive at its core, our protagonist never shows it; as all that is happening- good or bad- is inevitable "When I'm around". As much as the song is designed to display autobiography as well as honest (as well as home) truths; it is also meant to project a fun and lads-about-time swing; it is infectious in its own way. If you try and compare LAC to The Clash, Sex Pistols or The Jam; they may come up short: the boys are not trying to emulate them. They fit very much in a post-Libertines mould, and take elements and weapons from their war chest, and add in some explosives and chemicals that are very much their own, and born out of first-hand experience- which creates the potent bang of the track. The boys yell and 'nah nah nah' boisterously; instruments smashing and marching, and concoct a boyish and impish chorus; before the track comes to its end.

LAC may not win over too many hardened critics like Lester, not galvanise the compartmentalised groups of music fans whom tend to 'like what they like'. For me, whom has never been a fan of '70s and '80s punk, and preferred more modern stabs at the genre, it is a song and sound that appeals to me. The key themes include modern relevance, realities of street life as well as modern life, rather than subjects more cerebral. In the way that The Libertines combined cigarette-strewn scenes of inhospitable and unsavoury climbs, LAC and Davies anoints When I'm Around with some comparable weight. It may take a few more E.P.s or albums before our hero matches the dizzying heights of Carl and Pete (and co.); yet Borstal Boy is an E.P. that promises intention and future-potential. The tracks are crammed with menace as well as fun; the riffs and compositions are always focused yet have a slightly drunken sway to them. Above all the band are tight and focused. Percussion is powerful and masculine; the guitars and bass display some familiar movements, as well as originality and potency, and the vocals from Davies are always authoritative and meaningful; contained youthful edges of a young Weller, yet different enough that you wouldn't even notice it. In a 2013 landscape where punk is hardly a common theme or thread, LAC fill a niche and market that is crying out for contenders. Too much indie and generic rock is present. Some of the bands, and especially new bands show signs of potential and star appeal- The Family Rain come to mind; and blues rock is on the up as well. In the same way that swing and doo-wop is being updated and revitalised; sounds of the southern states of the U.S. are being experimented with; it seems prescient and vital that an (almost-forgotten) core has been neglected. Punk was a genre that has influenced most bands today in some form, and there is a need for a more direct approach, when reappraising and reintroducing the genre. Bands infuse flecks of punk here and there but never delve too deep into sound. LAC are going to busy working on future songs, and are along the right lines now. Between the three boys, and Davies especially, there is a wealth of colourful- and often painful- history and backstory, that gives the songs their unique edge. They have cemented a sound and intention, and just need to expand on this and produce a full-length release. I hope the likes of The Guardian will not chase away potential buyers; as it seems that the profile piece they completed does injustice to the group. Yes, there are shouty and chaotic edges; beer-stained highs and cigarette-puffing middles; yet no lows. It is music that sets out and achieves what it wants to do: recreate punk's mandates and appeal to a modern crowd. It does pretend to be anyone it is not. It will be interesting what moves LAC make next. Hopefully many new songs will be forthcoming and more people will get on board. Even if you are unfamiliar with or not hugely in love with punk in general, you will find much to recommend. In a year where there is precious little diversity or force...

OUR endeavouring trio are out on their own.

____________________________________________________________________

Facebook:

https://www.facebook.com/LACBandUK

Twitter:

https://twitter.com/LACBandUK

SoundCloud:

https://soundcloud.com/lacmusic

__________________________________________________________________________________

June 13, 2013

musicmusingsandsuch

Uncategorized

Little Love and The Friendly Vibes- Sunshine- Track Review

June 13, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Little Love and The Friendly Vibes

Sunshine

Fun Pop cover art

　9.2/10

An Edinburgh band in need of a Twitter account; as their brand of 'Fun Pop' could see them gain a lot of attention, as well as hearts.

Availability:

Sunshine is available at:

http://littleloveandthefriendlyvibes.bandcamp.com/track/sunshine

The E.P. Fun Pop is available at:

http://littleloveandthefriendlyvibes.bandcamp.com/

___________________________________________________________________________

'SCOTLAND' and 'sunshine' are diverse terms that can cause polemic.....

to-and-fro. When one thinks of Scotland, perhaps sunnier weather, at least, is not one of the first things that spring to mind. Amidst cliché, stereotype and preconception, a lot of the U.K.- as well as a large percentage of the world's population- know very little about Scotland, and what is on offer. It is true that climate and good weather is subject to unpredictability and entropy: but so is that true everywhere. It is true that very few music fans and media outlets give enough credence and passion towards Scotland, and the music that it present here. Recently I have been subjected to revelling in the myriad joys and invigorations within the music of Universal Thee, Steve Heron and Ded Rabbit. Here are just three examples of a growing wave of great music that is emanating from Scottish climbs. Commonly, one assumes- quite falsely- that the best new music and most prodigious sounds herald from London- how often have I been mentioning this? Whilst it it is true (to a degree) that the capital is giving birth to some brilliant new bands and acts, by-and-large, there are very few brilliant artists and worthy songs/albums coming from London. I have been at a loss to explain this phenomenon, as London has all the right climate conditions: a huge population and huge diversity; a great deal of record labels and studios; the inspiration of the bustling city life. In the past, I have perhaps hinted that the reason behind the comparative lack of quality in music, can be explained by the stress and anxiety present in London. With there being little room to move, and large and busy crowds pretty much... well, everywhere; one is often starved of the necessary space and energy needed to create fantastic music. Historically at least, the best music has arrived from other areas aside from London. Liverpool, Manchester, Seattle, Minnesota and Oxford have spawned some true legends, and there is evidence to suggest that these areas are more conducive to create wonder. As much as the busier cities can suffocate creativity, if one travels further north, then something quite different is occurring. Yorkshire is perhaps the best example of a county that is promoting and fostering huge range and mobility; bearing witness to a great range of music that has ambition as well as a sunny disposition. If anything, Scotland are producing music that is even more ambitious, and has an even bigger grin about it. This may shock a lot of those in the rest of the U.K.- although I am not sure why. The sounds- by and large- tend to be breezier, less anxious, with greater weight and appeal. In the future months and years, there will be (one hopes) a turning away from the big cities such as London; to Scotland. The music industry is undergoing suffocation and fatigue, where the majority of new artists and bands seem to be bereft of many new ideas: a lot tend to be too indebted to their idols. Individuality, mobility and diversity seem to be more prescient bywords for Scottish artists, and it is the music made by them, which is being studied carefully; as the successful artists are making waves all over the U.K. as well as further abroad.

In Edinburgh, Little Love and The Friendly Vibes are making their name because of their bright-eyed and cheerful tones; a style of music that has been dubbed- and lead them to name their E.P.- Fun Pop. Having formed in 2011, there were several line-up changes and substitutions amongst the ranks, in order to cement the final line-up for the band. The group came about and were consecrated on sturdy pillars: catchy melodies, quirky guitar hooks; as well as a mix of comedy and punk. The tracks that the group write are light-hearted with a big heart, and are infused with fun and memorable lyrics and imagery. It is perhaps unsurprising that the band have been labelled as a 'Fun Pop' group, considering some of their influences. U.S. legends The B52s are influences, and The Magic Numbers are also named as icons for the Edinburgh band. Both of those groups are synonymous with bright, breezy and joyful songs: the former perhaps, are the epitome of the term. As much as there is heart and tenderness beneath the band's skin, they have been noted for some of their more raw lyrics and sentiments. Our group, consisting Euan, Graham and Stephen, are fans of the likes of The Velvet Underground and The Undertones; some evidence of these bands make their way into some of the more cutting and honest themes. It is the mixture of fun and comedic overtones and a hint of raw honesty that has lead to positive reviews and glowing feedback from many media outlets and fans alike. It is not surprising that their music has been taken to heart and so positively received. In a time where there is still an over-reliance on heavier and more cynical sounds; Little Love and The Friendly Vibes are the antithesis of this, and pioneers of a more all-inclusive and positive sound. The E.P. Fun Pop, is the summation of the band's sound, talents and (sometimes difficult) development. Their artwork and websites are awash with bright colours, swirling patterns and egalitarian shades and designs, that you cannot help but to be charmed by. In the future the band should consider a Twitter account, and an official page too, as they are deserving of drawing in a great deal of fans and supporters. I have connected with U.S. and Australian bands, whom have connected with others and had their sounds heard a long way from home. Little Love and The Friendly Vibes have a sound and palette that is as ready-made for the Californian coast, as it is for the clubs of Sydney; as well as European cities. Such is the utilitarianism and universal tones of their mottos and codas, that it won't be too long before they are a name on most peoples lips. With the tendency still erring towards guitar bands, sour undertones and heavier sounds, it is refreshingly and rewarding when discovering groups that are willing to (gleefully) rebel; infusing the music scene with vitamin C: ultimately ensuing that a murky and overly-familiar quagmire is not created. Fun Pop is four tracks of pop fun, and was released in September of last year. Featuring Barry George as well as Rheanna Bryson, our trio have been gathering a loyal band of followers and fans; each of whom is keen to promote the good words and sensations that the E.P. offers. Due to pecuniary constraints, the group's E.P. has an almost homemade appeal and sound. The songs were written by Euan, and produced, recorded and mixed by Graham; and the entire band has pitched in and doubled up almost, to ensure that a) the E.P. got made, and b) it was the sound that they wanted and craved. In the future the group are dreaming of recording an album, and expanding their mandates and stories; in essence fully realising their potential and hoping to draw in new fans and support. For now their E.P. gives as much an indication of the band's potential as anything: chocked full of lights and shade; quirky and sedate; harmonious and reflective.

It is the E.P.'s second track, and former single, Sunshine, that has been gaining some of the most fervent feedback and exhausted plays. The song opens with a guitar and drum march. The electric guitar strides and kicks, before a percussive punch punctuates the line. It is a coda that is repeated, before the two blend together and rattle and roll with intention and strength. Within a brief intro., a great deal of anticipation and intrigue has been built up; as one wonders what direction the song will take. A repetition of "Why love everything about you?" is proffered by our frontman, his voice seemingly swaying and nodding; infused with '6os psychedelic-cum-sunshine pop-via-Britpop-era-swagger. When he asks: "Why love everything that you do?" there is a seeming haughty disregard in Euan's tones; as it seems that there is a backstory and a bit of history that is being exorcised and exalted within the lines. It is not sure whom the song's central figure is: a former love? A current friend? Many questions are raised- the song is largely composed of questions in fact- and it is wondered whether things are better now: it is questioned if the status quo is the best thing for the two. In the way that our frontman asks questions and sets the scene, the band create atmosphere and a relentless pace, which keeps the song upbeat and energetic throughout. Throughout there is an abiding feel of the '60s, both in the sound of the production and the nature of the song- a little punk-edge is present, but largely flavours of that era and time can be heard within the track. As well as there being '60s evocations, some of the guitar sounds and riffs remind me of '90s blues rock, as well as mid-'90s Manchester too: there is a heady blend. It is true that the band have a talent for melody, and when "Why love everything about you?" hits, you cannot help but to realise that it has a festival-ready remembrance: a great sing-along quality that is the staple of a modern anthem. Whereas other songs on the band's E.P. may have greater lyrical positivity, Sunshine has a pervading sense of the upbeat. Any lines or choruses that suggest cynicism or derision are presented with a flair and confidence that win you over; augmented by a tight and measured band performance that adds potency and force, without impeding on the foreground too heavily. Whether the song has been inspired by a break-up or uncertainty within a relationship, we may never know, but it seems that there are few recriminations in our frontman's core. There seems to be few strains within his heart; the message's evocations and potency is befitting of the song's title. As that infectious coda has been unleashed once more, the vocal subsides, before a short outro is unleashed. Combining some chugging guitar and firm percussion, as well as some solid bass work; it wraps things neatly up, managing to present a small flourish and smile right at the end.

Little Love and The Friendly Vibes are a trio whom have big ambitions. I can tell that they are hungry to record an album very soon, and it is a desire that will be bolstered by public consumption. It is imperative now, as much as it has ever been, to promote and support bands and acts that 'differ from the norm': those that are not concerned with sounding exactly like someone else. Their E.P.'s four tracks are each fairly short (Typical Teen runs in at 1:56); and they have mastered the art of producing short, sharp and memorable bursts of songs. Were they afforded the finance and professional studio space to emphasise and polish their sound a bit more; as well as get an album's worth of material laid down, then they will soon find themselves at the mercy of the festival organisers and venue managers: each keen to get them on the bill. Each member of the band plays their role superbly. Vocals are fresh, uplifting and bold one moment; with a little cockiness and spit the next. The tones are original and varied and you are never left thinking of any other singer. Guitar, bass and percussion is employed expertly and played solidly; again pervading an original sound that is filled with equal measures of force and sunshine. For an E.P. that runs in at less than ten minutes, the group's tracks cover a lot of ground and promise much reward. Few bands spent much consideration with regards to concentrating their sound, and being concise. E.P.s are usually a little long and stuffed; acts and bands are too concerned with saying as much as possible, through fear of being forgotten about if not. Sunshine is a track that sticks in the brain because of the sound, as well as the catchy lyrics. Like Muse's Time Is Running Out, it employs relatively few individual words; instead taking its potent chorus, and weaving it into your brain. As soon as they can get a Twitter account and official website sorted, and reach as many people as possible, then success will not be far away. Websites such as Kickstarter are bound with musical projects- less impressive- which get funding and allow new acts to get albums recorded. If that were a route that the Edinburgh clan were to take, then it might see them in the studio laying down an L.P. very soon. Although there should be no fear. From looking at their Facebook page, they get plenty of great feedback, and have live dates ahead. At the time of this review the band are priming themselves in preparation for recording new songs, and figuring out their next moves. With an arsenal that is as fully-loaded as it is unique, they will be able to carve out their own path; providing that they can get the funds to help them realise this. Sunshine is a great example of a band that have plenty of potential; a great deal of ambition, and are asking just one thing in return:

THEY need you.

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Facebook:

https://www.facebook.com/littlelove.official

BandCamp:

http://littleloveandthefriendlyvibes.bandcamp.com/

ReverbNation:

http://www.reverbnation.com/littlelove

SoundCloud:

http://littleloveandthefriendlyvibes.bandcamp.com/track/sunshine

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June 12, 2013

musicmusingsandsuch

Uncategorized

June 12, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The Shallow Seas

God of Fire

9.6/10

Canadian band of brothers; "three upstanding gentlemen", bring their infusing rock wonder to your door.

Availability:

God of Fire is available at:

http://theshallowseas.bandcamp.com/track/god-of-fire-2

The E.P. Into The Barrow is available at:

http://theshallowseas.bandcamp.com/

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INTERNATIONAL flavours, and foreign sounds, is a diversity.....

that seems subjugated and mandated heavily, on the shore of the U.K. I have long-suspected that in Britain, the music media concerns themselves too overtly with home-grown talent and influence. It is myopic and frankly stupefying to think that the best new music in the world today solely emanates from the U.K. We have a great deal of hungry and agile artists, each of whom proffer diverse and adventurous steps. A wide range of genres are covered, and the long-forgotten likes of doo-wop and swing are being reinvigorated, and given retro reconsideration. Our northern rock and indie acts blend hard-edged grunge overtones, with some more subtle and sophisticated movements. Towards Scotland, there are blues and pop artists whom are promising greater gleams of gold; purer diamonds with fewer rough edges. In fact, were one to sift through the murky and muddy waters of commercialism; negate their path through the sludge of generic and unwanted musical players, then there is a lot of good waiting to be discovered. The bigger issue is, that there is too much below-par and whelming mediocrity; most of which is being put on a pedestal, and proclaimed as the best thing since...well, you know. In my blog, and one these pages, I have been reviewing artists that have been missed by the media's glare, and managed to elude the spotlight. It is those artists whom are the ones to watch; as it seems that what is being promoted by the music pages and press, is certainly nothing to get excited about. It is the best and brightest from the last decade that are still able to elicit the biggest headlines, and gain the most ardent approval and ardour. This year, Queens of the Stone Age, The National, Laura Marling and Daft Punk have turned in the most celebrated albums; each one received (and continues to receive) overwhelming praise and adulation; and it makes one wonder: where do the new acts and artists fit in? In 2013 so far, a few brand new talents have managed to make some sort of dent and impact; yet by-and-large there are a lot of sapling steps and fledgling moves, but no real challenge to the established guard. This is understandable I guess: it is hard to be that good right out of the blocks. I suspect that and know for a fact that were one to turn their heads and attention to foreign climbs and over international waters, then a semblance of restoration and reappropriation is tangible. Recently I have been championing many international acts. Multinational composites and Swedish disco-pop outfit have been amongst them, as well as Australian rock warriors and Irish folk joy. It is across the U.S. and Canada that fresher and bolder sounds are being created. L.A. is unveiling some sunshine-infused pop and electronic acts; The Open Feel are amongst them. Even in the short spaces that lie between Burbank and LAX (well, 29 miles), multitudinous range is to be found. In New York and Seattle traditional rock, punk and grunge sounds are still available; yet have been updated and redefined to draw in the 21st century crowd. in-between the divide in the Midwestern region, less anxious and more seditious pleasures are being experimented with: which result in invigorating folk/rock hybrids. Further north, and The Great White North we arrive at Canada.

I have always been a big fan of Canada and their musical heritage. Whilst they are subjected to a lot of ribbing and teasing by the U.S.- America needs to cool it somewhat the Canadians have always had a different approach to music. The heritage and mixed landscape; French quarters mingle alongside vast beautiful plains, enforces the creative mind of the musical participants. Legends such as Neil Young, Leonard Cohen and Joni Mitchell hail from Canada, and are to my mind, three of the best songwriters of all time. Were Bob Dylan to be discovered Canadian and you would have a holy quarter right there. Factor out cosmic farts such as Celine Dion and Michael Buble, then the country has a rich background. If it weren't for Justin Bieber almost single-handedly threatening to tarnish Canada's good name, then more ears and eyes would be focused here. It is those legendary '60s and '70s solo legends, that have had a big impact on the modern crop of musicians. Young's folk brilliance, Cohen's darker and poetic edges, and Mitchell's lighter but no less potent sounds, have been elongated, de-emphasized and blended into the palettes of the new young elite. The Shallow Seas are a band that are a convivial wrecking ball of intention. Having amounted a modest Facebook following, and a more impressive Twitter support; their online appreciation and fandom is expanding. Jasper, Vincent and Steve are our intrepid trio, and have been on the scene since 2012; bringing their psychedelic/blues rock/garage rock and classic rock blend from their native Toronto, all across Canada and North America. Whilst their online biography remains bare-boned (one suspects they are letting the music paint the words), the group have an impressive online coverage, making their music readily available, as well as ensuring that there is plenty of anticipation for the future. The three-piece's E.P. Into The Barrow, released in March, is a 5-track opus which deftly distills the band's essence and influences into a hotchpotch of myriad sounds and electricity; bolstered by a tight and consistent performance throughout. whilst the band have some exciting (fairly local) dates in the pipeline and a busy future lying ahead, they have a sound and ready-made appeal that could and should be passionately embraced by the U.K, Europe and Australia. Their rock blends, with blues, psychedelic and classic tones are present on these shores, yet not too overly-familar or overindulged. Us in the U.K. could certainly do with some Canadian influence; and one suspects that once the media here get a taste; they will then become less fixated on the beige middle-ground, and appreciate outside of the box- which is a long-overdue necessity, trust me!

Into The Barrow's second track God of Fire, is a track which caught my attention. Whilst Songbird, I Smell Smoke, Bad Feeling and Many Faces display all the merits and colours that the band have spent years honing, it is the rumbles and kicks of God of Fire, which excites the most. It is a track which begins with some slightly fuzzy, hazy and fiery electric guitar strums; evoking reminiscences of '60s legends such as The Kinks as well as punk icons such as The Clash. A jumping and swaying electric strum is met with a pattering and pounding percussive roll, which has classic rock intentions as well as hinting at the blues rock of the '90s (think of Detroit's The White Stripes-cum-The Clash). Energy and pogo strut is favoured in the intro; which is intended to inflame and intoxicate: the effect is one that makes you want to get up and dance for sure. With a razor's edge as well as more utilitarian swathes, the sound is original and fresh, yet has those components which harks your mind back to past eras and bands. The propellent swathe of sound is slowed down to allow our frontman to enter the fray. His voice is steeped in modern energies and annunciation, yet is not a voice that you can readily compare to anyone elses the band have an authentically original coda. Early words speak thus: "The river runs through your veins"; bristling guitar augments and supports the imagery and emotive vocal, as our hero proffer: "Feel the tingling sensation". Vivid and bold imagery is projected quite deftly: probably not surprising given the song's title. The band want to consecrate and realise what they are trying to say, as well as build imagery in your mind. The voice that sermonises and stands above the atmosphere variegated; at once energetic and youthful, the next, more lip-licking and come-hither. The band as a whole show their tightness and intuit, when the verse ends and they whip up some fire. psychedelic brimstone guitars; part Hendrix, part The Stooges marries; at once menacing and intense, the next hypnotic and embracing. The percussion keeps the spine tight and taut, and keeps the mood levelled and restrained, whilst the kicking riff makes its mark. As the next verse arrives, speaking of dragons, mysticism and sensations "For now and evermore"; the energy and potency does not drop- the band keep the fascination high throughout. As our frontman takes a brief pause after his latest thesis, a further wave of sonic clout is unfurled. The low and anomalistic rumblings have heavy rock and punk overtones, whilst the wah-wah riff- a jerkwater berg on fire-has elements of Eddie Vedder, Kim Thayil and Eric Clapton: you can almost hear those gods of the shred pricking their ears to The Shallow Sea's harbours. The group have a great kinship and galvanised sound, which manages to draw in elements of blues, rock and psychedelia, yet never lose focus. Guitar, bass and percussive work is exemplary; able to burst at the seams one moment, and restrain and linger the next. As I mentioned, the energy and excitement never really let up, and never does the sound appear cluttered at all. Each player plays their part expertly and are able to whip up a potent brew in under two and a half minutes.

It has been a few days since I 'discovered' The Shallow Seas, and happened across their Into The Barrow E.P. The guys have a sound oft-promising but seldom-delivered in the music scene. A great deal of bands (and especially new acts) tend to struggle when mixing blues and rock sounds, tending to make their tracks too long or unfocused. The trio from Toronto have a talent for conviction when needed. Although Many Faces runs in at 07:49, and I Smell Smoke is 04:14, the songs never outstay their welcome or become unfocused: everything seems just right in hindsight. It is true that a lot of British acts are doing their utmost to make an impact in an overcrowded and fickle scene; yet of the vast scores that go to war, few make it through alive (as heroes). The media in the U.K. are culpable of being amongst the world's most fickle; setting unrealistic expectations of new music, whilst simultaneously being quick with the boot at the slightest slip or transgression. Of the new acts I have heard recently, few originate from London: the largest cities seem to have a glut of appropriate talent; dropping the ball somewhat. It is away from the bustle and city life that one finds the best sounds and sensations in the U.K. Until a better and more economic way have been found, to separate the wheat from the chaff, one thing is for clear: look abroad, please. As well as the great European flair, and U.S. strikes, elsewhere there are plenty of great bands and acts whom can win your thoughts. If Canada has not seemed like the best musical holiday destination; then think again. Historically the country has produced some of the greatest songwriters of all time, and in the modern age (aside from the nauseating pop muppets), there is plenty of potential and lustre. The Shallow Seas are, ironically, in deep and dangerous waters: ensconced in a music scene that is awash with venom and hostility. Their sounds and sights supercede expectations and should ensure that they have a long and rewarding regency. For fans of blues rock, '60s psychedelia, punk, as well as classic rock, there is much to offer here. Their tracks are filled with stark metaphor, striking imagery, and plenty of personable heart and sensitivity. Words, themes and intentions are wrapped around the electric storms that the band summon; meaning that one comes away breathless but pleased. Their music is free, and will probably not shift from your head for quite a while. And in truth:

HOW many bands can you say that about?

________________________________________________________________________

Official:

http://theshallowseas.bandcamp.com/

Twitter:

https://twitter.com/theshallowseas

Facebook:

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

SoundCloud:

https://soundcloud.com/theshallowseas

YouTube:

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

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June 11, 2013

musicmusingsandsuch

Uncategorized

The Staves- Facing West- Track Review

June 11, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The Staves

Facing West

9.8/10

It would be axiomatic to say that the trio's voices are stunning. The Watford girls' folk rock melodies will leave you spellbound.

Availability:

Facing West is available at:

http://www.youtube.com/watch?v=pFtAz6Xnn5U

The album Dead & Born & Grow is available at:

http://www.amazon.co.uk/gp/product/B008ZVNC2E/?ie=UTF8&camp=1634&creative=6738&creativeASIN=B008ZVNC2E&linkCode=ur2&tag=warnermusicuk-21

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THE art of the voice; vocal blending and eliciting the maximum.....

amount of emotion and evocation, from the voice alone, is extremely difficult. In today's music scene atmosphere and mood and conjured up primarily through sound: pure force some moments; paradigm-shifting sometimes. When considering how to go about grabbing an audience, bands and solo acts are always faced with the same issues. Originality is a concern: how can you make your music and words be recognised, without being lumped together with too many other artists? It is an aspect of music that I have provided a lot of derision and anger towards; with regards to a lack of originality. A second concern, or problematic, lays at the creative feet as well: how to use the talent I/we have, and utilise it to its most potent potential? For a lot of the bands on the scene at the moment, vocals are given little overall consideration, when considering these issues. I have been concerned recently that a great deal of band leaders, and singers in bands (as well as solo acts) are treading familiar ground, when deciding on a vocal course. In the north, and around Manchester and Liverpool, there is still an unnerving tendency for bands to play it too close to their idols. The number of times I have heard a vocal emanate forth, that was the spitting image of Alex Turner, Liam Gallagher or Ian Brown (for instance), has left me bewildered. Whilst there is a temptation to employ natural and well-tested weaponry into your arsenal, if it has been heard numerous times before, then how are you going to capture the imagination? Bands in Scotland and the south of England have been less culpable of this bludgeoning. I have been invigorated and tantalised by Scottish acts such as Universal Thee, Steve Heron and many of their contemporaries. Down towards the south- and if fact in Yorkshire- folks such as Rose and the Howling North, Marc and Abi and Annie Drury have been presenting motifs infused with unique strands. Considerations as a whole, away from the vocal parapet, are given to sonic evocations and presentation: creating energy and wonder with the music itself. Riffs and heavy percussion is abound in the indie/rock markets; lilting guitars and piano flourishes can be associated heavily with pop/folk; whereas the best of the rest try to marry the two facets into their overall sound. It seems that vocals are used primarily as a way to get the words across. I may be missing out of some wonders and stunning singers, but from what I have collated and reviewed, the same old story is told- which gets a little bit depressing. Vocal harmonies, and folk rock choral are a much-needed and very underrated element. The likes of Crosby, Stills and Nash; the '70s legends, showed that by blending their incredible voices together, they could add extra weight to their songs. Whilst each member has an incredible voice separately; it is when they are infused together that the best results are unveiled. Of course the trio are still performing today, and contemporaries such as Fleet Foxes are also great examples of the male folk-vocal parable. Aside from the obvious examples of the breed, one has to dig very, very deep (in today's scene as well as historically), to find groups that can match the aforementioned legends.

Although, with all that said, you get groups that make it through; meaning you do not have to dig all that hard. The Staves have been in the back of my mind for a while now: flicking to the surface over recent weeks. I have been a follower for a while, but have only just started to give concentrated study to their songs. The three piece have been performing together for quite a few years now. The three girls are all alluring and incredibly striking to behold; especially Jessica, whom is one of the most stunning women anywhere- not just music. Jessica, Camilla and Emily Staveley-Taylor have been playing local gigs since they were teenagers (today Jessica is 25 years old; Emily 29; Camilla is 23); playing open-mic nights at pubs in their native Watford. From the fledgling days of performing together, they pricked the ears of money, and caught the attention of record execs. and music-lovers alike. The Staveley-Taylor household was awash with music, from Bob Dylan to Crosby, Stills and Nash; and, although their parents are not musicians, they clearly instilled a fond love of music into the sisters. Having grown up in an environment that was bathed in '60s and '70s folk magic, it is unsurprising that the girls took their messages to hard and wanted to follow in the footsteps of their musical idols. In interview they come off as self-depreciating and filled with bawdy and good-natured humour alike (occasionally it has bridled American audiences; not attuned to our English sensibilities). Their writing process is alternately truncated, unpredictable and tumultuous. Songs are conceived, written; sometimes reworked and reimagined; before eventually a final product is arrived upon. It is a process which seems to suit the trio, and yet is something that they are still working on: trying to increase any wrinkles from their work patterns. The Staves run a democracy as well: whomever writes the lion-share of a track, gets the chance to sing it. Whilst comparisons have been drawn with the likes of Fleet Foxes, Mumford and Sons and Laura Marling, the girls find being compared to others, somewhat odd. They- as well as I- share a love of Laura Marling, and are flattered to be mentioned in the same breath. Whilst, at this present time, they are embarking upon their own U.S. tour, taking in the likes of Seattle and Los Angeles later this month, they feel just at home playing in England. On their Facebook page they list some of their influences: Ryan Adams, Paul Simon, Joni Mitchell and Martha Wainwright rank amongst them. As much as they are inspired by them, yet have their own unique sound and style, they quote Jim Jarmusch, whom states: "Nothing is original... originality is non-existent". However you assuage any misgiving about the likes of The Staves, and surrender to their charms and heady blends; I guarantee that you will- no matter how hardy and determined you are. For all the '60s and '70s folk groups such as Crosby, Still and Nash and modern-day equivalents, there have certainly not been many that have hailed from the U.K., and the girls are doing us very proud indeed. They spoke with The Guardian last November, saying that- due to the group being very much leaderless- choosing the likes of track listings and band photos was exhausting and stressful. In spite of the day-to-day decisions, they have worked tirelessly, and bring their sounds and sensations as far and wide as possible: gaining themselves huge international ardour. Their sounds may hint at American climbs, and more rural locales; hardly a shock considering their musical background, but something they are keen to state is fictionalised: they have no desire to live in log cabins in Vermont, nor do so now. Off of the back of a couple of E.P. releases, as well as some high-profile live appearances in the interim, the album Dead & Born & Grow, was released last November. Tracks such as Mexico, and Wisely & Slow have already gained huge praise; with the girls alternating as the lead singer. It is the Camilla-fronted track Facing West, that is on a lot of people's lips and minds right now.

On YouTube, the song has already amassed 419,000 reviews (at the time of this review); with most commentators highlighting the track's ethereal beauty and otherworldly prepossessions. Building up from some breezy and smiling ukuleles, the track begins with a reverent breeze and wandering soul. It is a mesmeric proposition which builds from there; as soon as the vocal arrives, you are already relaxed and swimming in the song. Early evocations of: "A room with a window facing west/Towards the sea" suggests a peace-filled and sedate landscape (Somewhere in the U.K.? Sunnier, foreign climbs perhaps?), Facing West is possessed of a tender and passion-filled heart. The vocal is pin sharp and crystalline; certain words are elongated and syncopated, reminding me slightly of Shara Worden of My Brightest Diamond. Like the U.S. singer, The Staves' commander-elect has the ability to make you pull your ears towards the speakers; desperate to get closer and nearer to where she is. Imagery of seaside tranquilly and sunsets fills your thoughts, as you can imagine our heroine sitting by a pier, feet draping over the edge; gazing towards the ocean and letting its tranquillity take her mind. The way that the girls combine in the chorus, elicits reminiscences of the likes of The Andrews Sisters, Caro Emerald and a plateau of doo-wop, swing and '40s/'50s vibes. The Staves update that sound for modern times, yet still have wonderful shades of harmony groups of old, as well as the folk masters of the '70s. When the voice blend and weave in and out of one another, the line "I don't think I can do this anymore" is sung; hinting at some anxieties, fears and doubts perhaps? Whether the girls have based the themes of the song around personal experience: the nature of home; love-gone-wrong, or something else, the conviction that is behind the line, takes you slightly aback. For all the diamond shine of the vocal purity, there is heartache and uncertainty underneath, which gives the track broad emotion and a great range of moods. As well as All Things Will Unwind-era My Brightest Diamond, there is a little of I Speak Because I Can Marling; wrapped around sparks of Deja Vu-esque Crosby, Stills, Nash & Young: one can experience the same shivers you get from hearing Teach Your Children, for example. Every word is backed by the ukulele and guitar: kept measured and subtle; employed to augment the majesty of the vocal. Into the second verse, and the sense of longing as well as dislocation, pervades. An unnamed beau is left to "watch me as I come/Walking through the door", as our protagonist, and Siren sisters choose to "take the high road that he walked/Once before". Throughout everything, there is a lingering sense of mystery and intrigue: are we hearing something akin to a break-up, or is something more contended lurking at heart? Whistles, wordless vocals and coos are played in after the second verse, adding to the serene and stillness of the track, and helping to add wind to the sails, of the sailboat in your mind (or is that just me then?). Our heroine, has a final thought: "Show me the path down to the shoreline 'case/I don't know if I can do this anymore"; Jessica and Emily back Camilla's lead exquisitely, really making your hairs stand on end. I mentioned- half-jokingly- that they had a Siren quality, but is it is not fat-fetched. The trio's voices are alluring and sensuous, and can bring boats to the shores that our heroine walks towards. As the song ends and trails off into the dusk, its beauty has captured you wholly. Facing West is a mandate from a trio that are assured, confident, tight and incredibly memorable. For those whom usually would not 'go for' this type of music and song; think again: it transcends reticence and pre-conceptions. As well as being a perfect antidote for any sour disposition or rainy landscape, the song is filled with so much tenderness, gentleness and purity that it is impossible not to be transfixed by its gravity, and transported to warm and pleasant climbs.

I have studied the Dead & Born & Grown album, and several things ring true. The girls have a sharp ear and eye for lyrics; infusing their songs with detailed and evocative scenes (In The Long Run is one of my favourites), whereas, in the case of Tongue Behind My Teeth and Mexico; here are flipsides to love and the issue of trust: the former, a scathing and vengeful track aimed at a wrong-doing man; the latter an honest and open love song filled with tenderness. Songs bursting with changing landscapes and dangers (The Motherlode) mingle alongside tales of moving on and waiting for good to occur (Gone Tomorrow). Like Marling, The Staves are skilled and applaud able lyricists; where as Marling may err towards the more oblique and detached, The Staves are more direct and honest; yet able to mix metaphors and mystical and historical landmarks (check out the album's swansong Eagle Song). The music is delicate the one moment, and emotive and epic the next; yet does not rely on huge electric strings and percussion: guitar and light strings are favoured and liberally integrated. Overall, striking and earnest words, combined with gorgeous and touching compositions team to create 12 stunning tracks. I know the girls ache and have sweated hugely over the track listing, but in the case of the album; they have got it right! They have managed to arrange the tracks so that a perfect emotional balance is struck, so not too many 'slower' songs follow one another; they are arranged so that pace and momentum are just right, and intrigue and attention is held right until the end. Obviously one cannot- and should not- ignore the voices of all the girls. Each has their own unique style and timbre, able to give certain songs their own special weight and appeal. As strong as each of our trio are when acting as soloists, it is when the harmonies are created, that the grandest shivers and smiles are created. In today's scene, there are plenty of female singers with soft, gentle and stunning voices; yet most are let down by either pedestrian and predictable songs (take a bow Gabrielle Aplin); or weak lyrics or below-par elements. This year sees Laura Marling galvanise her sound to its absolute peak, having relocated to the U.S.; K.T. Tunstall has turned in her strongest album yet, and the aftertastes and smoke of Adele still remains strong in most people's minds. So few new groups in general (not just female-only) tend to be underwhelming or incapable of remaining in the memory; yet The Staves are a band whom leave indelible marks in your brain: you will be hearing the vocal chills of Facing West for weeks to come! They have travelled (figuratively and literally) a long way in a few short years, and have won hearts and minds in the U.S., as well as on our shores. It will be interesting to see what moves are made next. Whether another album is beckoning; a possible E.P., or whether the girls will take a break; recollect their thoughts; rest their tired bones, and figure out their future plans. So tempting must it be to ride the current crest of fervour they have amassed, and rush back into the studio (after their tour of course), yet Facing West, as well as its sister album, is a record that stands up to repeated onslaughts and listens, and will reveal new layers each time you listen. The Staves have few like-minded contemporaries, and certainly no close competition, so it is advisable that you a) investigate thoroughly Dead & Born & Grow, and b) get used to them being around for a long time to come. In a year and era where new acts are given little short or long-term consideration by record labels, and fans; and where their appeal and sensation is often fleeting, it is refreshing and pleasing that The Staves will be around for many years to come. Take a note new talent; because as the girls have deftly proved:

HITTING the right notes, can ensure a permanent place in your heart.

________________________________________________________________________

Official:

http://www.thestaves.com/

Twitter:

https://twitter.com/thestaves

Facebook:

https://www.facebook.com/TheStaves

SoundCloud:

https://soundcloud.com/the-staves

YouTube:

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

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June 10, 2013

musicmusingsandsuch

Uncategorized

Alex Hepburn- Under- Track Review

June 10, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Alex Hepburn

Under

9.4/10

Her life may have begun in the U.K., but Hepburn's voice drips with '60s U.S.; her heart seem to belong to France. You can forgive the travelling soul, when you hear that voice, as it speaks to everyone.

Availability:

Under is available at:

http://www.youtube.com/watch?v=Wq8BqYus40A&feature=youtube_gdata_player

Together Alone is available at:

https://itunes.apple.com/fr/album/together-alone/id619184026?affId=2202514

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FEMALE voices that take a break from the parable of the U.S.....

shores, circa the 1990s, are a rarity it seems. In the climate of the reality show fixations- which seem to show no slowing signs- a great deal of focus is still placed on moulding talent to fit around a pre-existing voice. A lack of certain imagination does seem to exist amongst young talent. In the way that shades of your voice are enforced by your influences, as well as the records of your parents, there is still a sad predictability. For us boys, the over-familiar and clichéd evocations of Jeff Buckley seem to be the status quo. It depresses me that a good 70% of new male artists whom break through, are either compared to, or indebted to, Mr. Buckley. It is understandable that his voice strikes such a chord amongst this generation. His voice was a force of nature, infused with angelic beauty and devotional whispers; capable of climbing through the stratosphere and summoning up an immense amount of majesty and power. The problem is this: he cannot be equalled. Not even close. In fact, should one spend an inordinate amount of their life trying to mimic him exactly, they would not equal him, because quite simply: he got their first. I understand that a great deal of the time it is not a conscious ploy on behalf of the young male singer; a great deal of time the media does seem to be rather rash compare them thus; powdering their reviews with nonsensical and incorrect hyperbole. The likes of Tom Odell and Matt Corby have been compared to Buckley, yet neither get anyone close. The former elicits a modicum of Buckley's stillness and beauty; whilst the latter can produce a swathe of power and guttural roar, that suggests a little bit of our U.S. hero, circa-1994. Buckley had a (almost female) beauty and pin sharp falsetto that remains unimpeachable and untouchable. Stepping aside from the plain facts, my point is boils down to two things. Firstly, it is lazy and futile to try and 'be' 'The Next Jeff Buckley'; the original is better and who would waste money on a tribute act? A lot of media hoopla and false expectation has emphasised the issue, and a second issue bugs me: there are so many other terrific artists to be inspired by. As a singer, I am influenced by the likes of Roy Orbinson, Freddie Mercury, Rob Halford, Chris Cornell, Antony Hegarty, Prince, Bjork, Tom Waits... well the list goes on and on. It would be refreshing and striking to hear a lot more shades of the 1960s and '70s, as well as deeper tones; more powerful belts; as well as blues tones. Whether my thesis/ramblings will ever capture anyone's imagination is to be seen: I doubt it, somehow. The issue is as prevalent amongst the female market as well. Seemingly every talent show, music academy or voice coach seems to want to make every female singer Christina Aguilera, Mariah Carey, or, if we're being really adventurous... Amy Winehouse. The Aguilera/Carey blend is one that has shifted units, and inspired a myriad of female artists since the '90s, yet suffers from the Buckley paradigm: we've heard it so many times before. By aping these talents, instantly you begin to distil their essence and show a stunning lack of imagination and talent: anyone can mimic; few can be original. If you look at what great female artists we have been subjected to: Kate Bush, Nina Simone, Janis Joplin, Eva Cassidy, Billie Holiday, Patsy Cline, Adele even, one has to wonder: why not show more desire towards these icons? Past decades have been awash with originality; not just in terms of the voice, but as well as the music and thematic as well. From 2000, there has been a diminishing number of bands and acts whom have managed to take your breath away. If as a solo artist- or band leader indeed- you want to capture the imagination, then you need to look further back, to the greats of the '60s-'90s, and listen to what you are missing. As much as anything, by employing some colours of certain greats, you are providing a missing link to the past; as it seems that a lot of terrific past wonders are being forgotten about, and relegated to dusty boxes in basements. I am at my most inspired and invigorated, when I hear a voice or band, that manages to instil hope in my bones. I love hearing the soulful power of a black '70s artist , in the lungs of a modern-day solo act; as well as detecting hints of swing-era influences in the notes of a young female artist. This brings me- perhaps inelegantly- to the feet of a young woman, whom I was unfamiliar with, as recently as a week ago.

The first thing to note is: Alex Hepburn seems to be deeply in love with France. In fact, when searching for a link for her album, Together Alone, I could not find a link to a U.K. iTunes page (the French iTunes link was the first I came across); her website is awash with French phrasing and impassioned love notes; and our Francophile seems to be as much at home amidst their shores, as she does in England. She seems fluent in the language, and was wondering whether she was inspired by the country, from a musical standpoint. A lot of the jazz and blues artists of the '50s and '60s (and the 1940s) spent a lot of time in France, and took great inspiration from the nation, when harnessing and creating their sounds and voices. I shall return to this point later, but for now, a little biography on the London-based Siren. The first thing one notices about Hepburn is her looks. She seems to be possessed of the sex appeal and allure of a rebellious screen icon of the '40s-cum punk idol. Strikingly and stunningly beautiful, she is fresh-faced but has a smoky elegance about her- often she appears in photos cigarette in hand. Navigating away from the prurient- until later- Hepburn has a fascinating backstory. Born to Scottish parents, she is a soul/rock/blues artist, whom has garnered much praise for her sharp lyrics, cross pollinated sounds, and genre-bending majesty. Above all it is her powerful and belting voice that has won most praise, and a facet that captured me hard. Comparisons with Janis Joplin have been levied. It is true that Hepburn possesses measures of Joplin's power and range. She (Hepburn) has a voice that one can usually not earn unless they have smoked 10,000 cigarettes and drunk 400 litres of whiskey. Her album has been out for a few months, but from listening to the tracks, one can also detect timbres of soul and blues greats such as Etta James. A lot of U.S. wonder is steeped in Hepburn's voice, and as powerful as her lungs are, she also has a tenderness and sensitivity that balances it out, and shows a more venerable side. Her personal website, as well as being bejewelled in French greetings, is an informative and professional page. Few new artists negate the need to provide information to their fans. Hepburn's website is a mix of mint green (or another shade; I am a man after all- green is green), and bold lettering. There are plenty of candid photos and portraits of our déesse, and the combination of striking fan pages, and her unique sounds have clearly won a sea of fans. Her Facebook page boasts 37,968 'likes (at the time of this review); whilst her Twitter account has 72,987. As well as travels and pilgrimages to France, Hepburn has a busy 2013 on her hands, what with touring demands and promoting her album. As much as anything that bothers me in this world (that range from Justin Bieber to the way people pronounce '2013'), one thing that is near the top of the list is this: why the hell have the U.K. not latched onto her wonder? In the way that- yes I am mentioning my idol again- Jeff Buckley was embraced hardest by the French (and us Brits), whilst being largely-ignored by his native American fans, Hepburn's appeal seems to be- for now- rotted in Europe. The 26-year-old's Together Alone peaked at number 2 in Switzerland, as well as hitting number 3 in France. I have scoured in vain, sifting through Google, trying to grab some titbits from U.K. and U.S. reviews of the album: as well as her sound and previous E.P. Alas, I was left empty-hearted and in chagrin, as it seems that the British have not clutched Hepburn to their bosom as hard as (the sage and wise) France and Europe. This is baffling to me, as Hepburn has a voice and talent that is as much ready-made for U.S. markets as it is for the British crowds, as well as Australians (considering the likes of Gabriella Cilmi have managed to find a musical home in the U.K.). I can guarantee that Hepburn's magic will go under-valued for only a sojourn. Historically blues/jazz/U..S rock voices have always been adored in Europe first, before making inroads to the U.K., U.S. and distant climbs, so our heroine should have no fear. Her single Under, once disseminated and digested widely, will see Hepburn get her just reward.

When perusing the track listing from her album, one gets the sense that there is some personal dislocation, as well as rebellion and sexual tension in our heroine's blood. Titles such as Miss Misery and Hold Me point towards tenderness and longing, as well as anxiety and anger. Bad Girl and Reckless have barbed wire and hard-edged punch at their core, and Love to Love You has some softer tints. The album as a whole points to a young woman who seems very happy in her skin, but at heart has needs, desires and as much inner turmoil and resentment as the rest of us; as she channels it into a 12-track opus that is a tight summation, as well as sprawling adventure; filled with intriguing and innovative movements, memorable and variable lyrics, and at the front- under the spotlight: that voice. Under is a song which is gaining a great deal of admirable sighs; having amassed close to 7 million views on YouTube, with well over 35,000 'like's; it clearly speaks to a vast audience, and is a great accomplishment from a hungry young artist. In the video for the song there is a little street noise and near-silence to begin, but the song itself makes its intentions known imminently; with Hepburn's voice proclaiming: "Don't bury me/Don't lay me down"; delivered with ferocity and impassioned undertones. Backing her is an elliptical and flourishing piano coda, that bristles with romanticism, as well as pop energy. At the heart of the song is romantic strife and tension. In a sense the tracking is a paen to the agonies of relations as well as personal fears. Hepburn addresses an unnamed beau; stating: "Only you can send me under". All of the time Hepburn's voice is etched with a racked torment, but lifted by a fevered and pugnacious power. In the video, Hepburn appears, rosy-lipped, smoky-eyed, and anxious of countenance. A distinctive smoked and gravelled kick mandates that forceful vocal, which suggests some edges of the likes of Pink, Gabriella Cilmi as well as the modern pop scene; yet has grander proclamations of '60s legends such as Joplin and James: her throaty and- I'll say it- sexy vocal prowess is equivocal to Janis Joplin. In the track's beat, sway and composition there are up-to-the-minute and current cores; the production is crystalline and zambonied; lines such as "I die/Every time you walk away" are pure and undistorted; the voice is right up front, given some augmentation by the piano and percussive strum and drang. Hepburn is a dexterous seminator of lovelorn and imploring heartache, able to project deathly metaphors and bare-boned sensitivity, within the space of a line. Evocations of demons, turmoil and multitudinous voices saying "Nothing's gonna be okay" have added burden to our heroine's shoulders; yet everything has a composed control to it; no ululation or histrionics, just emotive beauty. The sonic landscape is abiotic and parental, allowing Hepburn to tell her tale. If one gets the sense- from the fledgling stages of the song- that our chanteuse is moribund, think again. Lines that tell of graves, burial and struggling are not intended to be dystopian or Morrissey-esque, instead employed as a tristesse to her paramour; imploring him not to give in, let go, or leave. Very much is there a sense that a good thing has been created and consecrated, and seeing it degrade would see reckless and insane. Hepburn is a writer that can mix the polysemic with literal; infuse them together in order to create maximum resonance. In spite of some shadow-chasing she is defiant; stating as she does: "I'm still breathing". The song is redolent of a lot of the current crop, and contains a familiar weight and sound that will appeal to fans of pop and rock alike; yet supersedes pop's denizens and progeny, but pistol-whipping such a momentous passion and vocal fortitude, that it will draw in fans of harder sounds, and the likes of me (whom ranks Queens of the Stone Age and Soundgarden amongst my all-time favourites), imbued as it is, with an unquenchable thirst and unslakable ambition. Where as many contemporaries would festoon their lyrics with cloying cliché and hyperbole, Hepburn keeps feet planted, and mixes a Pink-cum-Beyonce-esque defiance, with soulful sensitivity. Although the chorus is possibly the tuniest (sic.) and most memorable facet; steeped in Lessons to Be Learned-Cilmi and I'm Not Dead-era Pink; the verses, with all their honesty and earnestness, will dig deeper and stay with you longer. It is difficult to say whether satisfactory resolution and peace was obtained by our heroine. In the video, the male subject (a tattoo-laden chap), is aloof and intimidating in equal measures. As the final moments of the video draw to a close, the 'hero' stalks towards Hepburn (who is in the shower), fists clenched and with malice of forethought. It seems that, to a small degree, the man she loves wants to keep hold of, is perhaps undeserving of such consideration. This gives you pause for second thoughts: is the song more about a young woman, scared for her safety at the hands of an abusive partner? Maybe a mixture of the two; lyrics have a retro-ambiguity and oblique mystery, yet at their most direct moments, are crystal-clear. Turbulence and unrest are certainty evident, and Hepburn seems to want to fight on regardless.

Whether you are new ears, or all-too-familiar with Alex Hepburn, there are indisputable and inalienable truths that cannot be disputed. Her voice is her calling card and most potent blend. It portrays a great deal of emotion and fortitude. I mentioned that it is the type of voice that you obtain through smoking and drinking fervently, yet Hepburn has acquired this by birth right. With its highs that suggest the likes of Janis Joplin at her prime: Cheap Thrills and Pearl regencies; mixed with some '60s jazz and soul, it is very much an instrument belonging to a glorious bygone era, yet steeped with modern touches that will be embraced by a modern audience. On the strength of Under, as Together Alone as a whole, Hepburn is a restless and ambitious songwriter, whom is as much at home writing about love's fraught emotions, as she is when talking about subjects less personal. In that way, she has a mobility and utilitarianism as a songwriter and artist; nary content to stick to one subject, but project a range of emotions/palettes. The production and sound on Under is modern and polished, yet not too polished, that gives it a pleasing conviction. Percussive and classical edges do not impinge on the atmosphere: they play away in the background, adding and bolstering when required; employed to create a mood, and let Hepburn's voice speak the loudest. Here is an artists whom will speak to a mass, that is not female-only: she will draw in a lot of male listeners, and undecided voters. It is hard to tip-toe around or ignore her looks: she is one of the most beautiful and striking women I have seen, yet has such a voice that 'irrelevant' subjects take a backseat to her central talent. Songs on Together Alone have a great deal of pop and 21st century elements, yet marry that with rock, blues and soul vibes that give the record an ambitious and variegated feel. I hope that Hepburn is able to transcend the language barriers, international borders, and high-walled genres, and reach as many people as possible- certainly in the U.K. there is a market need and audience waiting for her. In a year where the U.S., Australia as well as northern Europe (and Scotland) have been producing some of the best and most imaginative music, I think that Hepburn (still in her mid-20s) is going to make some headway when putting Britain back on the musical map. With so much online love, and a seeming second-home of France determined to hear as much from Hepburn as possible, the future will be rosy indeed. I am confident that the a lot of new attention will come her way, in light of Together Alone's growing success, and building word-of-mouth. Whatever 2013/14 holds: a new album; E.P. or touring, one thing is for certain: Quite a few as-yet uninitiated will be saying....

C'est magnifique.

________________________________________________________________________

Official:

http://alex-hepburn.com/

Twitter:

https://twitter.com/AlexHepburn

Facebook:

https://www.facebook.com/ALEXHEPBURN.OFFICIAL

YouTube:

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

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June 9, 2013

musicmusingsandsuch

Uncategorized

John Newman- Love Me Again- Track Review

June 9, 2013

musicmusingsandsuch

Uncategorized

Track Review:

John Newman

Love Me Again

9.2/10

A refreshing change: a voice you can't readily compare to an existing artist. Should the young man's ambition be fully-realised; he could make serious waves.

Availability:

Love Me Again is available at:

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

Love Me Again E.P. is available at:

https://itunes.apple.com/gb/album/love-me-again-remixes-ep/id640379985

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THE male voice, or 'instrument' as it is often referred to as by the....

music media, is something that often fails to impress. The state and health of the beast is rather grim: sallow of skin; a pale counternance, and a weakening of the limbs, which has seen it being looked at with worried eyes. Previous generations have been little-concerned with trying to emulate their idols too closely. From the '60s onwards, the greatest acts, as well as new music would sometimes stray into too-familar waters. Even as recently as last decade, many new acts have tried to enforce their own tones and make their own moves- which has helped make their music seem fresh. Something happened in the last 10 years or so, which has caused chagrin and heartache for me. As someone practically obsessed with the voice, and all that it can acheive, it has been especially alarming: where is the originality? In Lullaby, Chuck Palahniuk stated that "Anymore, no one's mind is their own". Coco Chanell said thus: "Only those with no memory insist on their originality". In literature, film and theatre it is a lot easier to have a unique voice. Personal experience, as well as imagination dictates themes and stories; and there is so much scope and range that very few examples occur where you can accuse an authour of aping someone else (too closely). I am not sure why music is not able to comply to the same standards. Every new solo act or band that comes along, with some excpetions, seem to be too concerned with trying to sound like someone else. The fickle and hysterical media do not help the issue, mind. When a brand new star comes forth, there is an instant need for them to label and compare: attest that the voice and sound you hear is 'The Next...'. Subsequently, there are very few artists today that you can original, or be inspired by- knowing that they have taken steps to be different from the rest. In a way the style of voice or sound you adapt, is negated and influenced by your idols and favourite music. The current generation tend to have a fairly short attention-span. What is new and current (or a few years old) seems to be in the minds of most; which means that you tend to hear a lot of very familiar music. If I hear of one more band being compared to Arctic Monkeys I may just give up completley. Similarly if a male voice is (lazily and incorrectly) labelled as 'The Next Jeff Buckley' I will kill the journalist whom wrote it. As well as the media being too quick to unfairly elevate new artists and stroke ego, a simulatenous burgeoniung of new moves and thoughts are present. The male voice is probably more to blame than the female one. For the female singer, there seems to be a bit more mobility (although there are too many Christina Aguilera/Adele wannabes). Although there are fewer solo artists and bands, there is less homogenisation. Current talent is tasked with inspiring the next generation, and are responsible for trying to dissprove the theory, that the best music we have ever heard, has already past. With so much reference, technology and potential available to the sapling musician, there is little excuse for dropping the ball; playing it safe, or ripping someone else off.

John Newman is a 23-year-old, but seems to have understood the importance of showing some insight. His voice and sound has been labelled as a force of nature; many have projected Newman as a larger-than-life figure. There may be some truth to this. As well as designing his own clothes, writing his songs, and scripting his music videos, he is a U.K. version of will.i.am. Although Newman is very likeable, where as will.i.am is an odious tit who is possible one of the biggest jokes in the music industry. Newman has spent the past year writing material and touring, Love Me Again is the summation of a lot of hard work and determination. Newman was born in North Yorkshire, in a household that was awash with soul and Motown sounds: something rare in '90s Yorkshire. Whereas most of his friends would be listening to modern music, Grunge and britpop, Newman was experiencing and being exposed to a lot of sounds from '70s and '80s Detroit, as well as the '60s and '70s U.S. soul movements. A lot of Diana Ross and James Brown were heard, but Newman- into his teenage years- exposed himself to the likes of Damien Rice. Having built a makehsift D.I.Y. studio in his house, he began toying with what he could acheive as a musician, and making his first steps. Newman eventually moved to London, on the back of some personal dislocation and tragedy; determined to start again and acheive what he had wanted since childhood. Amongst the bustle of the capital, he was subjected to some exciting local music, and built up some great contacts. Newman dislikes silence; he feels least alone when there is sound and music, and this is represented in his music, which is bursting with life and energy. Having overcome a fair few roadblocks and personal setbacks, the young artist has come a long way, and acheived a great deal given his 23 years. It is the background of soul music and Motown blitz, that has set Newman apart. Where as a lot of young talent listen to more modern sounds, or very obvious artists; their style tends to mimick that. Beacause of the proliferation of black U.S. music, Newman has arrived off of the back of a rare and fascinating upbringing. Very few solo artists cite Otis Redding and Marvin Gaye as influences: some of the young black soul artists do, but very few white artists. They are artists whom have inspired generations and are as relevant today as they have always been. By unintentionally rebelling against cliche convention, and embracing a style of music that is under-used and under-valued in 2013, Newman is already a step ahead of his contemporaries.

You can tell from Love Me Again, that a great deal of attention has been paid to every note and sound. The track is chocked full of detail and style, and seems axiomatic, given the dilligence Newman has paid to music. The furtive notes of the song build off of the back of brooding atmopshere. Electric low rumblings strike and grumble stoutly, summoning up gravity and potency. As the tension mount, and electric guitar sounds rise and layer the atmopshere with uncertainity, there is a palable sense of anxiety and unnerve. By the time Newman's vocal arrives, there has been little chance to consider which direction the song will travel in. His voice initially is spiky and hard-hitting: evocations of modern grime and R 'n' B artists. Although galvanised with soulful edges, there is a forceful punch to the voice. His words, early on, speak of wrong-doing and confession: "I done wrong", it is stated; our protagnosist asking whether this is something a devil would do, as "I shook the angel in you". In spite of some early doubts and frank admissions, the tone changes to something more motivated and reinforced; as our hero has risen above the crowd, his mandate very much cemented: "Nothing I can't do". Fron 0:42 on, there are classic strings unleashes, which come in hard and passionate; they transform into funky disco/funk guitar sparks; in turn they are punctuated by a drum thud- they perform a brief call-and-response dance with one another. Newman's voice is reinvigorated and augmented following the short musical coda; filled with full-bloodied belt and dripping with soul: signs of Redding's gravelled edge, and Simone's striking power marry one another seemlessly. Our protagnosist needs to know "Can you love me again?"; this question is posed again and again, imploring (to an unnamed beau) whether trust can be restored, and whether paramour can be resestablished. In spite of the- perhaps anxiety-filled- decelerations, the mood is jubilant and dancing. The music bursts into life, and a clash and fire of upbeat swing is unleashed; subtle blasts of horn and persuassive percussive edges give the chorus a Motown feel- one that is very much tailor-made for today. Whilst the questions seems to need an answer, in order for our protagonist to be contented, there is no sign of torment or fear. He struts and extrovertley decalres his words, accompanied by an infectious beacking; before stepping aside momentarily, and letting the music do a little talking. Knowing that the verse packs an emotional and authoriative weight, it is employed again, as the chorus comes back in. It is an effective deployment, as additional words or deviation would seem unfocused. The remorseful tone of the verse, speaking of demons and heartbreak, is juxtoposed by the redemptive positivity of the chorus. By the 2/3 mark, the tone and pace changes. A brief calm arrives, with muted horns and percussion keeping the ears strained, before a vocal explossion arrives. Our protaganist is empassioned and shouts- soulfully, mind: "Do this again". Unusually for my ears, and for the 2nd time in two days, I hear a little bit of Ride on Time by Black Box. It remains one of my all-time favourite songs, and the piano roll that is ellicited bears some ressemblance, that will make late-'80s/early-'90s folk such as me, smile. As we go back into the chorus, this '90s dance tone, combined with the soul flavours, creates an intoxicating blend. The video to the song has warrnted some speculation and controversy. It features Newman in a music hall or northern club, on stage, performing the song. A band backs him as revellers; fresh-faced dancers, twirl and jump to the song. Its two leads, a rather cool-looking guys and a very gorgeous girl (whom alone has got as much YouTube love as the song itself), flirt; kiss and, well... are mown down by a van in the final seconds. There is personal relevance and backstory to the ending of the video, which has courted some disgruntled feedback. Newman is not a man whom shies away from boldness and personal projection, and is a worthy accessory to the track itself.

As much as I have been bellying the lack of quality and uniqueness amongst the young musicians of the U.K., I have at least been given some respite today. Newman is a new name to my mind and ears, yet has provided me with fresh impetuts and inspiration. As someone obsessed with the voice and the potency that can be delivered, Newman's voice is something quite startling. Draped in golden velvet, as well as posessed with huge power, he is every inch a modern soul icon. I can detect some feint hints of Redding and Franklin, mingling alongside one another. One can see shades of Damien Rice as well as Paolo Nutini (he shares the duo's grizzled romanticism). Similarly, and like Nutini, our young hero has a knack of injecting joyous musical evocations into the mix; breathless horn blasts and a good-time feel is the abiding flavour one tastes, long after the track has ended. He has quite a keen eye for lyrics, and economy as a songwriter. The verses are filled with biblical imagery, regretful confession, as well as open-heart honest. Very few would be able to take those themes: revocations and apologetic proferring, and pair that to a chorus, which is the emodiment of the upbeat and empassioned: there will be few other songs you will hear this year that will be as memorable. You find yourself singing the chorus after you have heard the song; being looked at like some kind of lunatics by passers-by. Given what I have read about John Newman: his personal health issues, self-contained demons, and struggles, he is deserving of attention and vast subscription. He is not a whiny X Factor cretin: all sob story and woe-is-me credulousness. Here is a young man whose objective is to make music, realise his dreams, and bring his sounds to the masses. A tumulteous and determined sky has been flown, and a smooth landing acheived. It is early days for sure, but being someone who- all modesty aside- knows his music, and knows a talent when he hears one; the man Newman will be in much demand in the future. On Facebook, Newman attests that more songs are in the pipeline, and his creative mind has been working overtime; in order to capitlitse on Love Me Again's impressive clout. I can well see an aolbum's worth of material in the opffing, but should an E.P. be seen as the best logical next step, I will be fascinated to see what sounds and moves he makes. Pious broadhseet ediors, 'trendy' music magazines, as well as the hardcore music lover will take a lot away from Love Me Again, and Newman's path to the here and now. He himself says: "When it's silent I think too much". Good news:

HE won't have time to think too much, probably for the next decade or so. ________________________________________________________________________

Official:

http://johnnewman.co.uk/

Twitter:

https://twitter.com/johnnewmanmusic

Facebook:

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

YouTube:

http://www.youtube.com/user/Johnnewmanmusic1?feature=watch

SoundCloud:

http://soundcloud.com/johnnewmanmusic/tracks

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June 8, 2013

musicmusingsandsuch

Uncategorized

The Capsules- The Cycle Starts Again- Track Review

June 8, 2013

musicmusingsandsuch

Uncategorized

Track Review:

The Capsules

The Cycle Starts Again

9.3/10

U.S. 3-piece offer stylish colours, exciting avenues, and late-night wonder.

Availability:

The Cycle Starts Again is available at:

http://www.thecapsules.com/music.html

The album Northern Lights & Southern Skies is available at:

https://itunes.apple.com/us/album/northern-lights-southern-skies/id589452164

___________________________________________________________________________

MUSIC from America, tends only to reach the ears of us in the U.K....

occasionally. Well, in terms of new music no less. Music press have a tendency to promote from within, and the likes of Europe, Asia, Australia and North America can feel left out. Of course there is great music in South America and Africa, but such is the bustle and hustle within music, that newer bands are often forced to work themselves to death, simply to get their names heard. I have long asked why there isn't a specialised website that deals with music; pure and simple. The likes of ReverbNation and Spotify have their uses and supporters, but to my mind, nothing on the Internet offers an all-inclusive and comprehensive service. It would be something along the lines of offering all the existing music websites have to offer, but making it much easier to hear about great new (as well as established music) from all around the world: tailored to your needs and desires. One imagines it would be easy, but would require a lot of planning and dedication. Something needs to occur along these lines, as too often I have stumbled upon a band or solo artist by pure serendipity; wondering where the hell they have been all of my life. This is not a phenomenon reserved purely for international acts: too often I have almost missed out on a great new act whom live only a few miles from there I live. For there to be a proper communication between bands/acts and fans, as well as the market as a whole, better and more advanced communication links need to be established. If you look beyond the confines and ensconces of your front door, there is a wealth of treasure to be found- if you look hard enough. I have witnesses some brilliant music from the likes of Sweden, Australia, Norway, as well as Scotland, and always am concerned that too many people are missing out. The task for the new band is how to best gain fans, and build a dedicated base, in order to have long-term appeal. Websites, and the Internet as a whole is the best method in this ultra-modern age; yet too few are being recognised, whilst others slip through the cracks. I mention it because it is in the U.S. that a great deal of excitement is happening. Obviously- as well all know- some of the world's best music has emanated from the good old U.S.A: Dylan, Young, Nirvana, Cohen, R.E.M, etc. Although the U.K. are probably a bit more active and superior in terms of quality, in sheer terms of range and diversity, it is hard to beat the U.S. competitors. Throughout the West Coast; down through California, and travelling further in land into L.A., a myriad of spectral intrigue can be heard. California is producing a lot of sunny and romantic music, as well as strong guitar bands. Into L.A. and Burbank, harder-edged and more indie-flavoured music can be heard. If you traverse right over to the East Coast, then Miami pop, electro and rock music is as good as any out there. Aside from the obvious big cities such as Seattle and New York, there is a swathe and mass of land uncharted and undiscovered in music terms. For those of us in the U.K.; many of whom may not be aware of the musical geography of America, it is the Midwestern region that is proffering some of the most extraordinary music of the moment.

The trio of The Capsules hail from Kansas. The Sunflower State is located almost smack-bang in the centre of America. Its population is largely White American and the entire state has a population of under 3 million. Aside from the band Kansas, not a huge amount of music has heralded from the state. It is true that a great deal of brand new bands, each of whom promise something new and invigorating, hail from the Midwestern states. There is less stress to be found here- away from the big cities. A combination of open space, beautiful landscapes and a sense of freedom can do great things to the creative mind. As wonderful as the music from the larger cities is, there is always a sense of anxiety to the sounds, as well as greater cynicism. Julie, Jason and Kevin are the endeavouring trio, and a growing band of online followers. On their Facebook page, they claim that they "a tendency for sleepless nights". It is the insomnia and somnambulistic states that have enforced and brought about the themes and mandates, for their album Northern Lights & Southern Skies. Their sound has a delicacy and tenderness that is appropriate for a trio whom want to "gain a bit of insight into the experiences of love, loss and longing". The group began life employing guitars and a more 'traditional' sound; but for the new album have used fewer guitars; instead incorporating more electronic influences as well as keyboards, in order to summon up as much emotion and spectral as possible. Jason and Julie began started writing together in high school; and subsequently fell in love and married. With the common bonds and shared musical passion, the duo embraced upon a recording career. They formed the band Shallow, and it was a fan of their, Kevin Trevino, whom fell for their sound, and is now The Capsules' drummer. Over time a wealth of fans flocked to see the group, and this has gained them some heady exposure; amongst the list of artists they have supported, included are The Flaming Lips and Mercury Rev. Included in the group's list of influences is the likes of Radiohead, Muse and The Cure, as well as U.S. influence such as The Jesus and Mary Chain. Today the group are based out of Texas, and have cemented a sound that is not often heard in the current scene- or certainly not as potently. On their 10-track album, there is a wealth of diverse and fascinating material, and intriguing titles abound (Our Apocalypse and Test Drive the Other Side are especially striking). It is encouraging that the band offer up biography about where they come from, and who they are. The tendency today is for most to share very little: fearing that disseminating too much information, will make themselves seem disposable and low of mystique. It is a hard balance to strike: giving just the right information away, whilst letting the music do the rest of the talking for you.

It is hardly surprising that the band, whom have a keen eye for design, colour and feel that The Cycle Starts Again. It is a song from their previous collection, Long Distance Dedication, and highlights their key components and patterns. Its life begins with plaintive and atmospheric guitar: plucked and punctuated to elicit maximum curiosity. In the early stages of the intro., there is a feeling of Radiohead's Kid A work, and has that same sort of mixture between subtle guitar shades, solid percussion, and electronic evocations, that summon up a lot of energy and emotion. It is perhaps the percussion that breathes most life into the song, early on. Bass and guitar notes are levied to keep the track taut and measured, and keep to a set rhythm. Around them the drum pervades and endeavours; unleashing some hard beats as well as softer patters, that, when combined creates a heady brew. In a way one can draw some comparable with modern-day The National. In the way that they have a keen ear and sense of melody, musical atmosphere and potency, likewise The Capsules evocate a certain wonder. The cyclical pattern of the intro., which seems to expand like a snowball after each cycle, is a pleasing sound that hints at arable flavours of spring, as well as something more forbidding. It is a line and tumble that builds and builds; the tempo and energy truncates and dissipates a smidge, before a sharp-minded percussive beat heralds the re-introduction of the passage. From an introduction that lasts under a minute, a great deal of ground is covered. Radiohead's innovative mid-career moves mingle with The Jesus and Mary Chain undertones, beneath a groundwork of modern-day indie splendour. The introduction has a ready-for-movies quality: it has an adaptability that could see it scoring the opening credits to a romantic epic, or taut psychological thriller. If you are waiting to hear a voice like Matt Berninger, Thom Yorke or Matt Bellamy; then you would be in for a surprise. Not just because the voice is female, but because of the nature of it. The voice is mixed slightly lower in the mix then you would like to, as there is a passionate and seductive quality to it. Julie's voice is at once feather-light and breathy, as it is emotive and intent. Early themes: "As far as I can see/The sun is fading", are announced and projected with a wistfulness and romanticism that suggests a peaceful mind. Shadows are cast over our heroine, and if lines such as: "The paths we're taking/Don't ever have to end" suggest something akin to acceptance and understanding, then the way the lines are delivered prove this theory. There is no heavy-handed musical accompaniment: the strings and percussion keep focused and never wander or intrude; they augment the foreground nicely. At one point the way a couple of lines are strung together and delivered, reminded me of Linger by The Cranberries. In my mind comparisons to Imogen Heap and Leigh Nash can be seen, but such as is the tone and effect of the voice, that is supersedes the latter's lightness and Christian pop/rock tones, and is more appealing that the former as a whole. Every line is delivered with tenderness and a certain stillness; certain words and notes are heard and elongated- going to show the band's eye for detail and projection. Themes and details of romance and obstacles faced are given scrutiny; but, as it is said: "Just like the night/They'll be another day". As the track progresses, the song's title becomes more relevant, as it seems that our heroine has been through some doubts and personal setbacks with regards to love and progressing, yet seems to know that it will not be the last time these issues occur- a sense of acceptance and philosophical edge are enunciated. As the song progresses and comes to its end, the feeling of familiarity, deja vu and acceptance are enforced and built on; each time our protagonist's voice remains calm and tender, with an emotive-cum-matter-of-fact quality. As the words end, Jason and Kevin's arpeggio strings and firm drum keep focused and tight; continuing the solid foundation present since the first notes.

I do hope that the U.K. media, as well as social media, starts looking across the Atlantic Ocean as soon as possible. Too narrow a focus is given towards home-grown music, and their ilk; yet little relevance and attention is paid to talent farther afield. Some of the best new music I have encountered over the last few months has originated in international plains. European and Australia are producing some fantastic guitar-based music, as well as disco and breezy pop. The U.S., however, seem to be ahead of the curve with regards to consistency and diversification. Ever since the '90s, the U.S. have produced some of the strongest talent in the music business, and seems to have continued unabated. The Capsules have been producing music for a while, and have outputted an impressive array of songs, releases and movements, that suggests that their future will be long and promising. It is good to hear them, and I shall have to do some retroactive investigation and listening. Too long have we had to rely on word-of-mouth in order to stumble across some great new music; well it should change from now on. I love a lot of the U.K.'s new talent: depending on where your compass is set, depends on what style of music you can experience. There is a range of sounds, from retro-swing, through to jazz, pop, indie, and electronic music; each artist seemingly intent on being remembered for a long while. There is, however, too much of a quagmire, with regards to originality: too few are different from the rest of the pack, making it especially difficult to wade through the muddy waters, in order to uncover gold. As much as the likes of L.A. and New York are outputting some strong and intent bands and acts; one has to look away from the obvious locales, and see what is on offer further inland. It is when we do this- as well as supplement international talent into our diets- that we will become better educated, more enlightened, and more importantly, experienced a lot of unexpected pleasures. The Capsules will be a band I will be keeping my eye on, as the song writing is strong and impressive. The compositions are intriguing and fascinating, mixing between '90s and early-'00s English influences, as well as electronic-themed motifs. Percussive measures are filled with merit; matching the likes of The National for potency and memorability. Guitar, bass and string sounds are alternately swaying and romantic; the next melodic and endeavouring. It is towards the electronic side of things (with loops and otherworldly aspects) that they are focused for the brand-new album. It is worth investigating and listening to carefully, as- if you neglect the band- you will be missing out sorely. The Capsules are here...

AND ready to impress.

________________________________________________________________________

Official:

http://www.thecapsules.com/

Twitter:

https://twitter.com/thecapsules

Facebook:

https://www.facebook.com/TheCapsules

________________________________________________________________________________

June 7, 2013

musicmusingsandsuch

Uncategorized

Arthur Beatrice- Carter (Cut)- Track Review

June 7, 2013

musicmusingsandsuch

Uncategorized

Track Review:

Arthur Beatrice

Carter (Cut)

9.7/10

They claimed in an interview that maybe they should be a guitar band; on the strength of their new track, they should have no fear.

Availability:

Carter (Cut) is available at:

http://soundcloud.com/ululation/carter-cut

___________________________________________________________________________

THE band market is one that is busier than ever, yet is...

strangely underwhelming, on the whole. This is more true of the new talent rather than the established order, but there is some caution that needs to be excursive when approaching any new band. At the moment, the majority of infant bands tend to err towards guitars and guitar sounds. It has been the staple and mould that has been present since the '50s, when rock and roll bands introduced the phenomenon. From the '60s through to present-day there have been some wonders and legends that have made some pretty outstanding music, but in 2013 there are few surprises that anyone can levy. Established acts such as The National and Queens of the Stone Age have gone to show that, given the right inspiration and talent guitar music can be unbelievable. The former have won fans by combining their subtle and mesmeric compositions, with incredible lyrics and memorable melodies. The latter are possibly one of the last and best guitar bands; capable of surprising and exciting fans 17 years after their formation. These examples are exceptions: very few other guitar bands have this degree of quality, and it seems now that the vast majority of what we term as 'guitar bands' seem to be bereft of innovation and talent: too many simply appropriate an existing group's sound, and are incapable of shocking. I suppose that the '90s was the last period when guitar bands and music had full and fresh breath. When the likes of Blur and Oasis ruled the airwaves, you can feel the quality, even though the latter have a bit of a reputation for stealing riffs and melodies! My point is that the best moves and lines have already been performed- it seems. Given the unreliable nature of the genre, the listener, reviewer and prospective musician is forced to turn their attentions elsewhere. Innovation and originality are as needed now as they have ever been, and for that band willing to push their boundaries and get it right; the rewards are multiple and golden. Recently I have been astonished by some new groups. Many have guitars at their base, but infuse electronic sounds, jazz movements and toy with sonics and sensations, to elicit a more invigorating whole. If you free yourself from the shackles and limitations of the guitars-bass-drum formation that most bands employ, and challenge preconceptions, then it is a lot easier to unveil and proffer graceful, memorable and thought-provoking music. Bands are also subjected to being too rigid when it comes to gender and nationality integration. There is a shocking lack of inter-gender bands: the boys stick with the boys and the girls pair with the girls: nary are new groups willing to step aside from confines produce the best results. By blending male and female voices, influence and ambitions, you can often expand your pallet, give yourself more options, as well as appeal to a broader demographic. By mixing different personalities, genders and localities into a band's arsenal, you are instantly forging a path that is not just suggested, but required, when trying to be different and successful. It sounds like a rant, but from one whom writes himself, there is too little mobility when faced with new bands: what will the best new sounds sound like?

I mention this, because Arthur Beatrice stated in an interview with This Is Fake D.I.Y., that "maybe we should have been a guitar band". That would never be good enough for the band: just take a look at their name! The band's name- I can assume- is a transposition of Beatrice (or 'Bea') Arthur: sadly deceased former 'Golden Girl'. She was an actor whom famed for her sitcom work in the '70s, and inspired a generation of actors. She was an illustrious and famed theatre star, and lived an inspirational life. The group themselves have been around for a little while, and have managed to cultivate a dedicated following, as well as an individual sound too. The four-piece comprises Orlando, Ella, Hamish and Elliot. The boys are trendy and sharply-dressed, projecting an image of coolness, as well as sophistication; the girl is gorgeous: model/film star looks and a smoky and alluring sex appeal. Our quarter believe in- and have been subjected to- a perfectionist tendency: crafting and working on their sound, in order to achieve the best sound they can. They themselves state that "It's a big vice for us", but have also hinted that "it's worked". The band member Elliot explained this, with regards to their debut album: a record that was re-mastered over and over. I can emphasise with this work ethic. Having been writing for the best part of 12 years, I have recycled, reinterpreted and reworked many a song; honing lyrics, starting from scratch and chiselling away: before anything has been recorded. You can tell from interview that the group hate the idea of being seen as 'throwaway': something that afflicted a lot of groups from the 1980s and '90s. On their official website- tongue-in-cheekily called 'online-prescnce.info'- image and detail are of big importance. There are black-and-white images: some distorted photographs; some are paintings, as well as lyric samples. Arthur Beatrice are a group whom follow no-one (literally, if you look at their Twitter account), such as the way they operate, the codas they live by, and the resulting sounds. Anyone willing to break away from the guitar sect show bravery. I suppose from an evolutionary standpoint, electricity and sound combined muster masculinity and intention; and there is a translucent and obvious ambition (by all-male bands primarily) to be the most exciting and the loudest; and gain some superiority. Anyone willing to climb to the top of the tree through intelligence and innovation, You have to move forwards to move forwards.

The band are averse to confessional social media outpourings as well as band biographies; attesting that the group hate the way that acts become throwaway and comestible the more you know. As much as I can agree to disagree with regards to meeting in the middle, you cannot deny the strength of the only thing that matters: the music itself. Previous comparisons have been suggested between the group and Wild Beasts. I suppose from the opening moments of Carter (Cut), one can detect that. The way that the percussive rumble mixes with a feint tint of percussion has some common ground with Two Dancers Wild Beasts. That percussive tumble is a striking and memorable opening. Part tribal protestation, part indie proclamations, an electric and exciting atmosphere is presented which certainly makes you sit upright. Dark and brooding piano swoons melt into the mix, before Ella's voice arrives. Her voice possesses a smoky seductiveness. There are parts Laura Marling; wisps of Sophie Ellis-Bexter, and early-career k.d. lang. As much as there are small influences tucked away, the abiding feeling is we are hearing a very unique and fresh voice. It is soothing, calm and strong; possessed with some classic U.S.-cum modern-day U.K. tones, and is a voice that could be perfectly at home in the midst of a jazz or blues track: there is that authoritative and utilitarian nature to it. When the words are proffered; tales of lovers coinciding; scepticism towards fate, and a mandate that proclaims: "So never tell me that I think of you". Each word drips with conviction and lust, and the track is delicately measured. A couple of lines are delivered; a very brief piano evocation acts as punctuation and mood-emphasis, before another couple of lines are delivered. It gives the track the quality of swooning and swimming; romanticism and introspection. When a vocal duet is unveiled mid-way through the 1st verse, it sounds like a lover's call: heroine and hero singing in unison. Initially the mood is fairly sedated and light, matching the lyrical tone, as well as augmenting the overall mood. Before the 1:00 marker, percussion crackles, as the piano passionately dances. Oddly there seemed to be reminiscences and truncation of Ride on Time, as well as a '90s dance feel-cum-electronic bliss. It is a passage and colour that is uplifting and energised. It may be a stereotype or over-exaggeration, but few new bands have great lyrical depth or talent- in fact few bands at all do. Usually vocal and audio merits are highlighted to counteract for some below-par words. Parables such as "The evening is an open sea" and "where the air will cut me dead", invite bold and vivid imagery and scenery. The words are filled with striking metaphors; poetic flourishes and intelligence. There are guitar bands and acts that can pen a good set of lyrics, but the themes and narrations tend to be single-minded and (as well as being pedestrian at times) vague. In the way that the music pushes and pulls and dances; and the vocal seduces and strikes- the song seems belonging of a past (and better) era. In 2013 a great deal of similar-sounding songs are performed by solo artists: it is a rarity to hear bands that have such an eye for detail, precession and sheer feel. In the way that the conjoined vocalisations add weight and power to the track, they also offer a more pop-orientated edge- acting as a juxtaposition and change from the more soulful nature of Ella's lone voice. Arthur Beatrice have a comparable quality to a lot of the all-time great bands. As well as the cerebral and literary lyrics and stunning vocals, there is a restless and surprising amount of audio shades. The piano is an instrument that is used- early on- to be romantic and calming, but also employed to add tension and tautness, as well as sheer swagger when required. As well as some stirring piano work, the drumming is constantly tight and proficient. A steady heartbeat dominates most of the track, but there are a lot of occasions where the percussion matches piano for majesty: creating a similar impassioned swing. Our heroine offers: "And so I come/Barren like"; her voice suggesting a tear of emotion, but full-bodied and resilient. There is some obliqueness in the lyrics that means that some of the words meaning and intention are open for interpretation; whilst other lines are direct and unambiguous. It is a pleasing and familiar one moment, whilst mysterious the next: "And all I'm aiming for/The locking in" begins a confession that ends with: "Just anything/But dust and settling". Whether there is some personal dislocation on behalf of our heroine, or a particular catalyst that has influenced her words, it is hard to say- but fascinating to listen to. When some of the most anxious words are delivered, so too are the most exhilarated and rampant audio overtones. You never are dragged down and depressed by anything; nor are you allowed to smile too broadly: such is the 'hinterland' nature of the track. When the song ends you are left wondering whether Ella found peace or satisfaction, and has answers to some very emotional questions.

The group say that they've- with regards to influences or comparable bands- "never found natural partners". Few groups (or solo acts) past or present have such a (maybe fastidious?) precise attention for perfection. It is inspiring that here are a group whom have a natural restlessness that means that the songs you hear are the result of hours, days (and months possibly) or precise detail, honing and trial-and-error. In a modern climate there is a tendency for songs to feel off-the-cuff: rushed off; either to meet a market or public demand, or under-considered. For new acts there is an inherent and prerequisite burden. Due to the market expanding more by the week, it is imperative that you make your mark as soon as potently as possible. This can result in acts putting out E.P.s and albums too soon: in turn this can lead to criticism and harsh critique. I suppose there is a short-lived window for most bands, but Arthur Beatrice have shown that; if you take your time and spend time and effort on songs, the results speak for themselves. I feel there should be less anxieties and stresses for any new act. The likes of Laura Marling, The National and Queens of the Stone Age (producers of the three strongest albums this year, to my mind) show that even 5 or 6 albums down the road, some extraordinary movements can be made, if due attention and consideration is given to your work. These examples perhaps did not produce their best work early on, but showed that, through displaying innovation and ambition, the public will clasp you to their bosom, and consequently inspire future success and progression. I am not sure what the album will feature and sound like, with regards to genres and sounds: whether there will be more Carter (Cut) gems; or other styles and sounds used, but there is a hot anticipation as well as galvanised confidence that the results will be spectacular. Those that have seen the four-piece play live can attest at how good they are, and what they can achieve in the future, so it will be exciting to hear what they have to offer. They are a band whom are part of a rare sector of the music industry not obsessed by and concerned with guitar sounds. They go to show what can be achieved when you don't think like everyone else. New bands (and solo acts) should take notes. For diversification and regenerations to occur, bold moves and tactics need to be employed, and in the case of the guitar-heavy core that exists, it is nigh-on essential: take inspiration from our quarter. 2013 will be a busy and rewarding year for them, and for all my words, one thing is crystalline: they will have a very long-term future. And that...

IS really all you need to know.

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http://online-presence.info/

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SoundCloud:

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Interview quotations sourced from thisisfakediy.co.uk interview:

http://www.thisisfakediy.co.uk/articles/neu/arthur-beatrice-maybe-we-shouldve-been-a-guitar-band/