Feature- Crystal Seagulls

FEATURE:

Crystal Seagulls

 

The high-flying boys whom will be making big impressions over the coming few months. 

The new E.P. by Crystal Seagulls will be available in January.

Toetapper is available through

https://soundcloud.com/crystalseagulls/toetapper

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The unsigned four-piece are ending a year that has seen them play the Isle of Wight.  It will not be long until a label snaps them up.  Based on the evidence here, it is a long time overdue.

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IT is once more back to the diatribe of today's band market...

It has been a while since I have focused my thoughts on this subject.  It is not one I enjoy revisiting for nefarious reasons; I just find it fascinating how the market seems to evolve and mutate- within the space of a few months.  Just yesterday I featured a host of six different artists- four solo acts, and two very distinct and diverse bands.  I was amazed by the range that the solo acts contained.  From the soulful, sexiness and diversity of Chess, through to the intriguing and pulsating sounds of Nightwolf; there was a captivating anthem from Lydia Baylis and a gorgeous and devotional track from Elena Ramona.  Each of the four acts have either an E.P. or L.P. our, or in the works.  Being acts in their 20s, they are still in their infancy, yet have a hearts and heads filled with huge ambitions and plan-making.  At various times I have reviewed each of the four solo stars, and am always taken aback by how determined and strong they are, with regards to fulfilling their goals.  As a songwriter myself, I have always seem to been overcome by reality and the limitations and roadblocks that are thrown up- and how difficult it is record and write.  The solo stars have to do everything on their own (well the majority of things anyway), yet seem to always make it work.  Songs are recorded, E.P.s finished and live gigs are planned and hypothesised.  I am keen to add my support and promote them as much as possible, as the solo market is one of the most tightly-packed and competitive ones there is.  If you cast your mind to the current 'mainstream', there contains a mixture of established and recognisable stars- Lady Gaga, Tom Odell, Rhianna etc.- whom between them have their fans, but have a brevity of quality and guts.  There is another more 'underground' sector of solo artists whom have a greater degree of quality and are much more hard-hitting and bold- the likes of Tom Waits and James Blake can be labelled in this food group.  The third- and largest- sect is that of the up-and-coming newbies.  For every nauseating twee-voiced waster you hear on John Lewis adverts (inevitably butchering a well-loved track), you have a large voice that are genuinely worthy of praise and further scrutiny and attention.  It takes a lot of foresight, resolve and bravery to stay faithfully in love with your musical machinations: so many can fall at the first hurdle.  If anything the smallest percentage of legendary and memorable albums are produced by your solo artists- certainly true in the current climate.  I am not sure of the reasons, and whether this is because of the financial hardships, or the lack of collaborative creative input- it could be a number of things.  I am pretty confident that the new lone artists I have recently featured will be huge successes regardless of market forces and limitations- they have the talent to be able to carve out long-running careers.  Eyes and ears always seem to be more primed towards the band market.  In terms of the classic albums of the '60s and '70s, it has usually been bands whom have produced the greatest works.  This trend and track record was enforced and cemented during the 1990s, when the likes of Blur, Oasis and Supergrass were amongst a bulk of household names enlivening the music world.  Over the past 15 years or so, there has been a distinct dip in overall quality.  The heady rush of Britpop has long since subsided, and the brand new musical diversity that was fresh in the '90s, has been recycled and misappropriated in the current day.  There is less room for mobility; fewer opportunities exist to be genuinely pioneering, and most of what can be said (that is original) has already been said.  With this in mind, I have been simultaneously depressed and excited by what I am hearing.  Within my recent feature I concentrated on two bands: Issimo and Universal Thee.  The former are a northern two-piece, containing the inter-gender splendours of Marc Otway and Abi Uttley.  Marc is a multi-instrumental composer, whom has written a large chunk of the band's material.  His lyrics sway between tender-hearted romance, sharp insight and wit, and universal truths.  I have been impressed and pleased by his songbook, which has shown so much quality and concision.  As well as being a bold and stunning lyricist, his compositional qualities have made a huge impression.  As a vocalist, he has an engaging and authentic croon: a rich tone that is warm and well as witty.  His heroine and cohort is Abi Uttley.  She is a gorgeous and sexy front woman, and someone is as warm and friendly as she is alluring.  She is a modern-day pin-up and has won plaudits, awards and kudos as a musician.  In addition to be a skilled actress, Abi has marked herself out as an original and stunning singer and writer.  Her voice is a diverse mix of cheeky northern humour; captivating soulfulness and sex appeal; stunning power and fortitude; as well as being a versatile weapon.  The duo make a perfect match, and have produced a string of wide-ranging and memorable tracks.  Their song Things About You perfectly exemplified their majesty.  It is a cheeky and humorous two-hander, that tells tales of vanity and a mismatched romance; the two trading barbs and jokes in a soulful and swinging track.  This is a group whom are earmarked for huge things in 2014.  The second band are a Scottish group, fronted by husband and wife team James and Lisa Russell.  The banner of Universal Thee have been stamping modern anthems for a while now, and have been making a name for themselves within the quarters of their native homeland- receiving applause and attention from all across the U.K.  In a sense they have the same sort of potency and thesis of U.S. legends Pixies: there is a similar punch and potency in their track Aranis Natas.  I have not heard a band as immediate as them for many years, and their ear for a great hook has impressed me wildly.  I know from speaking with Lisa, as well as James, that the business means a lot to them, and that success and recognition are vital to them- as well as acting as influential role models for upcoming bands.  Too many critics, reviewers, fans and labels look towards southern climbs for the next 'up-and-coming' group: yet Universal Thee have cast eyes and attentions (much) farther north.  The band are tight, focused and ambitious and the coming months will see new releases and gigs abound- which will see them taking their songs across the U.K.  My abiding point is that between these two incredible acts, it has given me enough reason to regain faith in the band market.

Crystal Seagulls are a band in search of a label at the moment, and will not have too long to wait.  It is probably true that this year has been exemplified and personified by great bands making great albums.  To my mind the best and most impressive work has been stamped by established U.S. acts- most notably The National and Queens of the Stone Age.  Those American boys have produced two distinctly stunning L.P.s.  The National boys' brand of downfall humour and intelligent lyrics have been a dominant facet in the music industry for several years now.  Trouble Will Find Me was a gilded collection of anthems for scorned lovers, downcast dreamers as well as everyone in between.  The Q.O.T.S.A lads album ...Like Clockwork catapulted them back into the critical black.  From the rather lukewarm reception to Era Vulgaris (which I maintain had at least five or six classic Queens' numbers on it), there was a universal vibe of positive that received their current album.  Homme and his crew notched up a remarkable achievement of slow-burning crepuscular gems; a few classic hard-hitting anthems, as well as some soulful and slinky numbers.  It is an album that I have on repeat, and boldly claim to be the best album of this year.  The U.K. has produced a few great albums, yet it has been the U.S. counterparts that have made the biggest noise.  New bands such as Crystal Seagulls are making strides to changing the established order.  In this country, we are producing the bulk of hungry and potentially-giant new bands: all of whom have their unique sound and sensation.  Crystal Seagulls are a quarter of north London boys, whom have been climbing the music ladder with very little ego.  Although members Jim, John, Elz and Ben hail from the landscapes of Birmingham, London, Cheshire and Hertfordshire, it is within the capital that they now reside.  I have given a lot of recent attention to bands located within Scotland as well as the north of England.  There have been few from closer to home that have really spiked my attention and sharpened my thoughts, yet our endeavouring four-piece have made me rethink things.  A couple of singles have been released, and they have played a prestigious set at the Isle of Wight.  In addition, their music has been spun on over 30 different radio stations (at home and abroad), including BBC6.  It seems that a lot of bands of the moment- especially in Manchester and Liverpool- are influenced by current heavyweights such as Arctic Monkeys.  In fact, a great deal of bands seem to counterfeit and mimic these bands, under the impression that a vicarious replication will see residual profitability enforce their own music.  Modern sounds have perhaps overtaken historical genius, when it comes to influencing new bands.  Crystal Seagulls are amongst a small group, still indebted to, and in awe of, the great past masters.  In addition to some modern influence (Oasis), our heroes are inspired by the likes of The Jam and Bob Dylan, and you can hear that mix of anthemic punch and melodic beauty in their back catalogue.  The next year is one that promises some treasure and profitability.  Off of the back of the plaudits of 2013, the quartet are finishing off their new E.P.  There is a bit of mystery and intrigue as to what will be contained within, yet two tracks in the ether will feature on that set.

I have previously reviewed their single Time (http://musicmusingsandsuch.wordpress.com/2013/06/29/crystal-seagulls-time-track-review/).  During that review, I expounded the virtue of the unique motif, stating that that (Time): "As the pleasing and light-hearted composition announces and twirls in the background, up front there are words of apprehension and exhaustion".  That track impressed me, as the lyrics were sharp and memorable ("Attention craved/Intent forgot") and displayed a tormented and eventful backstory.  If this is an indicator as to what the E.P. contains, then it will be a splendid set.  The band have a multitude of confidence and vigour, and have shown themselves to be bold contenders for mass public attention.  As well as Time, I have been listening a lot to Toetapper.  This track will feature alongside Time on the E.P.- in addition to two brand-new songs.  The title (Toetapper) certainty seems apt, given the fiery intro. that leads the track off.  With some punk flavours, elements of The Jam as well as smidges of The White Stripes and Supergrass, it is a pogo-bouncing, fist-pumping and smile-inducing beginning.  In the sense that one can identify small threads from other bands, the abiding sensation is of the London streets, and a fresh and vibrant coda from an endeavouring young band.  The song wastes no time in getting off to the races and infuses a sense of intrigue and invigoration into the opening seconds.  The sensualised marriage of late-'90s U.S. garage, paired with mid-late-'90s U.K. rock sends your senses on a wild voyage.  Feet are certainly tapping as you await the song's initial words.  When the dark guitar rumblings and hard-hitting percussive slam subside, tales to "swell the brain" to "ease the pain" are unfolded by John- there is an immediate sense of atmosphere and vivacity as the band paint some very detailed imagery.  The boys are a tight-knit and focused band, and the track has no gaps or holes: it is a tight and concentrated anthem.  In the midst of the rambunctiousness and sway there is a flavour, perhaps, of early-Arctic Monkeys as well.  Perhaps in the riff and percussive slam detections can be made, yet the vocal is altogether a lot stronger and lighter.  Turner tends to be heavy-voiced with a slight drawl, where as our heroes are a lot clearer and emotive.  Our protagonist has clearly seen a lot and endured some heartache, as he paints pictures of fallout and recrimination, as well as introspection and examination.  The boys have a handy clarity when it comes to their words, and treat listeners with respect.  A lot of bands tend to write too personally; they never let the fans in.  Within Toetapper there is a desire to pull you into the scenes and avenues that the band paint.  The song is constantly moving and exciting and is a tune that the band have performed extensively- including at the Isle of Wight.  It is a track that you could well imagine being a lead-off single as it invites repeated listens- as well as an ambitious music video.  The mark of a great song is one that can compel, intrigue and seduce, yet appeals to the visual thinker: those that formulate multiple music video ideas, inspiring as they are by the words and sounds.  The four-piece play their parts wonderful, injecting as much force and potency into the track.  The percussion is rapid-fire and strong; the bass and guitar infuse danger, heartache and energy into every second, as the vocal sends clear and sharp messages out:  "Well you/What did you say?".  It is unclear whom the unnamed beau is that has got our hero so enlivened, yet it is clear that notable  impressions and shadows have been left.  Around the 1:30 mark there is a lovely little sustained buzz that reminded me a bit of No One Knows by Queens of the Stone Age.  It arrives after a carnival of emotion and prophesising and acts as a reprieve and rest bite.  The listener is able to draw breath and imagine what is to come next, having absorbed the previous 90 seconds of storytelling.  After a brief drumroll and guitar build-up, the sojourn of rest is over, and our protagonist steps back onto the mic.- presumingly having had enough time to wipe the sweat from his busy brow.  Speaking of a need not the surrender and deceptive sweethearts, our Seagull boys once again ramp up the tension.  Tales of clichés "behind the bikeshed" and final thoughts of past events, our quartet go in for a final fling.  Guitars strike and punch; the percussion continues its pummelling; bass bounces and contains as our frontman's repetition of "Well you/What did you say?" ramps up the anxiety, finger-pointing and anger.  The subject of the song should probably think again if she were ever to upset or interrupt our hero, as she is laid bare and put to rights.  As an infectious closing coda ends the song, Toetapper is laid to rest, and a great burden weight is lifted and buried.  As they did with Time, Crystal Seagulls have managed to whip up a firestorm of memorable music in a short time frame.  Clocking in at 2:15, Toetapper is a concise and measured track, and one that will burrow into your brain- and not shift for a good long time indeed.  It is unsure if it will be in the first or second half of the (forthcoming) E.P., yet it is likely to be a prominent fixture of future gigs.  As I mentioned, it has featured highly in their sets over the past few months, and is a song that they have a clearly affinity for, and identity with.  The boys will not have to wait too long until a wave of anticipation is build up...

I have had the pleasure of reviewing the chaps twice (Yours For As Long As You Keep Me available at: http://musicmusingsandsuch.wordpress.com/2013/05/27/crystal-seagulls-yours-for-as-long-as-you-keep-me-track-review/).  Both times I have been inspired by their focus and emotional range.  They manage to mix humour and fun with emotional honesty and directness.  I am excited by what might be contained within the E.P., as the band have proven themselves to be a huge force.  I know how important it is for the boys to be influential as well as respected.  They have put a lot of hard graft and time into crafting their sound, and their spot at illustrious gigs is no accident: it is the reward for the effort they have put in.  They are similarly a group that deserve a lot more attention than they have been getting.  At  the time of this review (01/12/'13, 15:00) the lads have 1,724 'followers' on Twitter; a band of 889 'likes' on Facebook- as well as a loyal following outside of social media channels.  I feel that the past few months have been important to the guys, and they have managed to attract new fans with their incredible live performances.  Over the past few days they have been performing in London, and gathering acclaim and adulation.  I suspect that they will be getting requests from venues through the U.K. very soon, as well as international calling.  It has been nice to revisit Crystal Seagulls, and distract my mind.  Life is a funny thing, when it comes to music.  Me?  Well I am probably a compendium of musician-in-waiting clichés: clinical depression with suicidality, anxieties, a  horrid home life; insomnia, possible M.S., unrequited love; loneliness and financial problems: I am seemingly every tormented troubadour there has been from the past 40 years.  As much as the thoughts on my brain and the girl in my thoughts, it is new musicians that are keeping me focused (to an extent).  The likes of Issimo and Universal Thee have been providing me with salivating glimpses into the band market, where as my solo stars have been giving me food for thought.  In spite of everything, be it large or small, I have been burying my head in music and lyrics.  I always look to take something from every act I review- as well as the bands I am fondly in love with.  The main advantage of reviewing and assessing new acts has its big advantages.  I get to hear the splendour and ambitions of the acts- sometimes long before anyone else.  It is always refreshing and interesting to see what each of the acts can come up with, and where they want to be heading.  From speaking with musician friends, I have got a great sense of what the realities of being a musician involve.  Whether you make an E.P. (or album) through crowd-funding or by your own personal finances, it is always a hard and arduous struggle.  I have seen in the pages of social media the plight that the artists face.  It is an unfortunate reality that you have to suffer a depressing day job to fund what you really want to do.  Personal relationships take a back seat, and the strains of modern life are emphasised and duplicate.  There is always a focus and drive amongst the acts, though.  The end goal is to make the E.P./L.P. that they have in mind- whatever toll it takes or what it costs.  I have always been full of admiration as it is frustrating and tiring to be in that situation.  Music has that odd distinction I guess.  You can be in a 'regular' job and not have to suffer to get 'personal fulfilment'; yet something that is more enriching and vital comes with debilitating obstacles.  It is strange that it should be so oppressive, although the open-door policy that the music world promotes can be the explanation behind this.  In an industry where everyone is welcome, it is harder now- in 2013- than at any other time to really make a mark.  Fickleness and changing fashions can bury or elevate a band with nary a thought for consistency or fairness.  I live in hope that we may live to witness the same sort of quality and diversity that arrives between 1988-2001.  The birth of Britpop, the Grunge movements as well as incredible dance music provided the music fan all the tantalisation they could handle.  It seems that it is unlikely that we will ever revisit the giddy heights witnessed then, yet with bands like Crystal Seagulls emerging, there can be a valiant attempt made.  I have reviewed the likes of Second Hand Poet, Issimo, Universal Thee, Nightwolf, Chess, Elena Ramona, Lydia Baylis, as well as scores of international and home-grown acts alike.  It is probably going to take a while for the resurgence to take place, yet I am seeing enough to suggest that a sea change is afoot.  Hopefully the days of cloying boy bands and irritating reality T.V. acts will be short in numbers, and it is encouraging that so much ambition lies within new music.  Our London-based heroes are in their infant stages, yet have all the hunger needed to succeed in a cut-throat and overcrowded market.  Their clinical and tight songs have already captured a fair few fans, and I am sure that their fanbase will rise sharply as they prepare their E.P.  If they are still looking for a label, I hope that they will not have to search for too much longer.  Too many musicians get too much (undeserved) attention and respect, so it would be great to see a deserving act get their just recognition.  The next year will see some great new acts come through the barriers, and I hope that they fight hard to win votes and compete with the established guard.  Toetapper and Time have given a glimpse into what Crystal Seagulls are plotting, and the next few weeks will see the realisation of their fully-fledged ambitions.  Until then, enjoy what the boys are offering and become immersed in their tales of love, life and pretty much anything in-between.  Become initiated and familiar now, as 2014 will see the four-piece transcend from bedroom idols into fully-fledged stars.  If labels are looking for a great group sure to set the scene alight, then look no further...

The lads are primed and ready to dominate!

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Follow Crystal Seagulls:

Official site:

http://crystalseagulls.com/

Twitter:

https://twitter.com/crystalseagulls

Facebook:

https://www.facebook.com/CrystalSeagulls

SoundCloud:

https://soundcloud.com/crystalseagulls

YouTube:

http://www.youtube.com/user/CrystalSeagulls/videos?flow=grid&view=0

iTunes:

https://itunes.apple.com/gb/artist/crystal-seagulls/id558476976

Feature: A Day In The Life of A Musical Youth.

FEATURE:

A Day In The Life of A Musical Youth.

Words by Sam Liddicott. 30 November, 2013, 08:00 GMT.

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As 2013 draws (nearer) to a close, I investigate six very different musical stars.  I look into what they are currently working on; what this year has brought them- and what is in store for 2014.

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MUSIC has been on my radar, shining brightly.  In fact, it is a radar it itself....

Twitter and Facebook have been awash with music-themed protestations; manifesto and raw ambition.  I have been wrapped up inside of lyrics and music: obsessed by its variable meanings and mysteries.  I know of many different musicians, all of whom are making big plans for the rest of the year (and 2014).  And whilst it is exciting making your first (and subsequent) steps in the industry, it is also quite nerve-wracking.  The amount of money, time and energy needed to make your mark in the modern scene, can take its toll.  I see many status updates, expounding the anxieties of fulfilling musical ambitions; the way it can devour and enslave.  I have been very proud to see- in spite of the hardships- the affected artists are all keenly hardworking; all with their sites set firmly on the horizon.  The five different music acts that are detailed below, go to show the ambition and fortitude that is displayed amongst the eager young musician sect.  Over the last few months, I have heard many new tracks as well as plans for E.P.s and albums: the artists all excitingly campaigning for votes and listens.  It is the hard work and steadfast resolve that is shown by these artists, that gives me so much thought and inspiration.  Having found it a little hard to ease myself from the vicissitudes of procrastination, the effort and enthusiasm that the musicians have shown, has compelled me to make plans of my own- and aim high and as far as possible.  We are in the tail-end of 2013, and it is a year that has seen much activity and mobility amongst my keen musician friends.  They are a great example of how a lot of planning, hard graft and passion can lead to great results.  The following year is going to be exciting for each and every one of them.  It is probably fitting to see what is happening with them now, and reflect on the events and highlights that 2013 has produced...

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ISSIMO:

Northern stars with their eyes on the heavens.

PERHAPS it was an inauspicious introduction to the music of Issimo...

I encountered Abi Uttley.  Having appeared in Coronation Street, she caught my eye playing a vivacious and brassy character.  Sexy and full of life, Abi came across as an engaging and alluring figure.  Through her music, there is plenty of similarity.  The sexiness of her voice, the engaging and stunning looks she possesses is perfectly complimented with the multi-talents and fortitude of her partner-in-crime Marc Otway.  At the present moment a music video is very much in their minds.  The latest single Pretty Simple is going to be released early next year, and the duo are in the midst of recording the promotional video.  On the evidence of their track Things About You, the twosome have lost none of the compelling glory that captured my imagination.  It is a predictably-incredible slice of brilliance from a duo growing in stature and confidence.  They have recently supported Mark Moriss, and have been playing live across the north of England, as well as farther afield.  Abi's voice is a mixture of seductive soulfulness: capable of dropping your knees and making hairs stand on end.  There is also a sweetness and coquettishness to some of her delivery; in abundance there is power and potency, as well as a host of variable moods and turns.  It is quite an incredible facet, and one that makes her above most of her peers.  Her natural beauty and sex appeal are tied with an engaging, warm and bubbly personality: marking her out as a logical poster girl for every new musician starting out at the moment.  There is no air of pretence or faux celebrity about her: she is genuine and has a burning passion for what she does.  Marc Otway shares many similarities.  He is incredibly hard-working and devoted, and has recorded many solo songs (as well as Issimo numbers).  Dapper of dress and possessed of a rare talent, he is a perfect sweetheart to Utley's enticing Siren.  Otway is a multi-talented and prodigious musician, whom can pretty much handle any instrument you throw at him.  His song writing is mature, intelligent and poetic, and future years will mark him out as a writer as celebrated (and striking) as the likes of Alex Turner.  He mixes motifs of modern life, and mixes them with tales of love to deliver a incredible and diverse workbook.  Both he and Abi have been honoured to have played Latitude this year: a hell of a notch on their musical love bed.  Gathering positive and salivating reviews (including myself), I have been settled and uplifted by their rise to prominence.  Phil Cass of Cuckoo Records has been keeping his eye on them- I hope they are signed to the label next year.  Our intrepid two-piece have been enlivening and thrilling the environs of Yorkshire, the cities and towns of the north- as well as taking their brand of uplifting music to many a-venue.  I can see 2014 being a clear-cut banner year for them.  London will be hungry for them, and I am confident that an E.P. or album will be in the works.  In a music scene where quality seems to be divorced from quantity, it is a rare treat to witness an act that are so deserving of praise.  In the past few months, the intrepid duo have marked themselves as a potential U.K. White Stripes equivalent.  Whereas the gender alignment has been transposed, our northern stars bear many familiar birthmarks.  The voices of Abi and Marc blend superbly: our heroine has a vocal prowess that says so much in so few words.  Otway is an incredible musician and can summon up the style, sensation and emotion of a five-piece act all by himself.  The tableaux and stories that the two write are diverse and consistently stunning.  Their themes change and their lyrics take you in various different directions (and convey a host of vivid scenes), yet their quality is unimpeachable.  Keep your eyes peeled in the next few months, as Otway and Utley will be names engraved to the tip of their tongue.  I cannot wait to imagine what their debut album will sound like, or whether they are planning a string of singles or E.P.s.  Two things are for sure.  For one, they will be playing many gigs, and will be commanding the attentions of festival organisers and fans alike.  The second (point) is this:

THE future will be very bright- as well as busy.

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Things About You is available at:

http://www.issimomusic.net/listen.html

Follow:

Official:

http://www.issimomusic.net/

Facebook:

https://www.facebook.com/issimomusic

Twitter:

https://twitter.com/ISSIMOMUSIC

YouTube:

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

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CHESS:

Smart-moving Queen topples the King: takes the night.

When it comes to new talent, Chess (Fran Galea) is certainly making huge waves.

It was Chess that got me into music reviewing in the first place.  It seems like only a few weeks ago that I was reviewing her previous E.P. Babygirl.  I was stunned by the quality of that collection.  Not because I was stereotyping all young artists as ineffectual; it was for a very different reason: there was so more confidence contained within.  Chess has since moved on to complete her 2nd E.P., Tuxedo.  The two releases are testament to a young artist whom is eager and ambitious.  The Maltese-born artist has covered a lot of ground in the months between E.P.s.  Babygirl had influences of the likes of Christina Aguilera, Etta James and some of her male heroes: Michael Jackson and Prince.  The trio of tracks were templates of honest emotion and love: tied together with inspiration messages and uplifting codas.  Together incredible projection, the debut set was a stunning example of the talent that Galea possesses.  After the release of Babygirl last winter, Chess has been promoting it and gaining plaudits from fans and the media- in the U.K. and Malta alike.  Gigs in London have followed, and our gorgeous young heroine has embarked on a campaign of personal endeavour.  The as-yet-unreleased E.P. (Tuxedo) takes off where Babygirl finished: there is essence of the positivity and uplifting lyrics, as well as a fierce talent at work.  However, the new E.P. promises different directions.  There is a harder edge and more sexiness and soul.  In the way that Michael Jackson followed the sweetness and edge of Bad with the harder and more diverse Dangerous, Chess has completed an accomplished 1-2: she has retained her core talents and components, yet infused elemental strikes and new influences into the melting pot.  I shan't- and can't- give too much away, but have been fortunate enough to hear the E.P. before most others, and can confidently say this much: it is a tremendous achievement and will see the 21-year-old very much in demand over the next year.  The results are hardly serendipitous, as Fran has worked exceptionally hard to make it happen: raising money through Kickstarter, as well as tirelessly writing, planning and location-hunting.  A new video is being shot...well, pretty much as we speak, which will introduce Tuxedo to the world.  Chess has been plotting her moves carefully and has spend a great deal of time and consideration making sure that the music we will hear is of the highest order.  Miss. Galea has a natural charm and smile that will melt most and a stunning beauty and sex appeal.  She is capable of turning heads and hearts, and has proven herself to be a prolific and thought-provoking songwriter.  It is certainly going to be an eventful and exciting next couple of months, as Chess continues her evolution and rise for the top.  The embryonic moves showed what a voice and artistry was contained within; and current footsteps further enforce this, as well as making a bold statement: Fran is ready to conquer the scene.  Within Surrey (Chess is based in Guildford) there a few names that are poised to crack the big time- and it is clear that Chess is amongst them.  Having enjoyed a taste of the London gig scene, I would expect that bigger and more prolific dates and gigs await.  I have known of several lesser-talented musicians (of a similar age) performing in the U.S. as well as across Europe, so it would be fitting if our young star was to be seen on American and European stages in the coming months.  I know that Fran has some anxieties and nerves ahead of Tuxedo's release.  She has put so much hard work and personal time into its development, that there is a maternal concern as to how it (the E.P.) will be perceived.  The following sentiment need not be expressed, yet I will do so anyway (as the world awaits her new music):

MISS Galea: the very best of luck!

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The Babygirl Remixes E.P. available from:

http://chessofficial.bandcamp.com/

Follow:

Official:

http://chessmusic.co.uk/

Twitter:

https://twitter.com/chessofficial

Facebook:

https://www.facebook.com/chessofficial

SoundCloud:

https://soundcloud.com/cesca18

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UNIVERSAL THEE:

All-encompassing makers of beautiful music.

When one thinks of bands and acts beyond the climbs of London...

There can often be a temporary mental block.  It is systematic and endemic of a lack of musical education.  The pages of Facebook and Twitter are aware of the presence of Universal Thee: although far too many are unaware.  The Edinburgh-based band are supported by two supporters of mine: Lisa and James Russell.  The patriarchs of one of the best bands on the scene have been relentlessly positive when it has come to my music writing: in turn they have encouraged me to continue writing and being far-reaching when it comes to my ideals and aims.  In the past few months, I have been lucky enough to review and absorb several of the band's songs- which make up an impressive and mighty back catalogue.  Robin Spivey, Andrew Perrie and Kevin Haddow complete the quintet, and the five have been plying their trade- and delighting crowds- in their native homeland.  As well as the Scottish crowds, the husband and wife-led band have also been invigorating crowds throughout the U.K.  The band are synonymous with a quiet-loud dynamic: the likes of which Pixies and Nirvana have popularised and canonised.  Our Scot warriors are capable of penning beautiful melodies, as well as hard-hitting anthems: underpinned and augmented by the multifarious vocals of the inter-gender kind.  As well as the likes of Queens of the Stone Age being considered as influences, Universal Thee have been leaning towards a gentler, folk-ier sound as-of-late: hoping to mingle more soothing tones amongst their core tones.  A grand tour and debut L.P. are mooted for early-2014, and it arrives as a tail to a musical beast that has been growing by evolution: stronger and more developed with each passing song.  As well as previous tracks including Wolves of the Netherworld (love the title!), the band have been planning the video for Aranis Natas.  That song continues from where their previous work lead; displaying all the trademarks and hallmarks of the group: swirling and crunching riffs; compelling and intoxicating vocal duet.  To my mind the song is the epitome of the Doolitle-era Pixies.  You can hear Black Francis/Frank Black and Kim Deal in the way that James and Lisa combine: there is a similar growl and power from James; a comparably fiery spark from Lisa.  The song has elements of modern-day Q.O.T.S.A., as well as Pixies: it bridges the '80s and '00s with ease.  I have been fascinated and tickled pink by the band's innovative titles: they can go from the humorous (Bear In The Hospital), ambiguous (Bone Collector), to the neo-Byzantine.  The quality that shines through is axiomatic, and one senses that it will not take much for the everyman Scots to transcend the local scene with ferocious menace.  They have a chest filled with glorious sounds, beauty and grace, as well as ear-catching memorability.  The tracks that I have heard are a salivating glimpse as to what the forthcoming album will hold.  I would urge that you head to their SoundCloud page and investigate further.  In addition, they need a few more 'Likes' and 'Followers': so please do so.  I tend not to (or not at the moment), give my thumbs-up and gold standard to too many musicians.  Universal Thee employ the gilded threads of some of their heroes, yet act as a ballast to a consecrated individuality that is a rarity in the current climate.  The likes of Edinburgh are initiated to the swagger and seduce of the quintet- how long before the rest of the U.K., nee world, follows suit?  With some liberal affection and some level-headed distributing, the band will see their hard work pay off.  The south will embrace them with open arms, and their transatlantic sound means they could well be playing the clubs of L.A. and New York this time next year.  With new singles being teased and a new L.P. in the near-distance, it is time that a lot more people are in tune to the beat of Universal Thee.  They have seduced me wholly, so I am in no doubt that a horde of like-minded folk will soon be cast asunder and compelled by their sonic spell.  I have no hesitation in my mind saying this:

THE next few months will be some of the best that the quintet have ever had.

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Aranis Natas is available at:

http://www.reverbnation.com/universalthee/songs

Follow:

Twitter:

https://twitter.com/universalthee

Facebook:

https://www.facebook.com/universalthee

Reverb Nation:

http://www.reverbnation.com/universalthee

YouTube:

http://www.youtube.com/channel/UC-C70-KSoSJXgNifHO_Ip_A?feature=watch

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LYDIA BAYLIS:

An artist who has inspired me more than any, caps off a bounteous 2013.

In my recent review of Lydia's single Life Without You...

I may have come over as a little tumescent- in terms of the written word.  I apologise to her, but the effect was profound as well as it was genuine.  Such was the uniformity of Baylis's charm, that it is helpless to resist.  In interviews she is the epitome of friendliness and vicariousness: coy as well as charming.  Her voice (spoken) is at once light and sunny, as well as being silky and husky.  Lydia is also possessing of immense beauty and has an encapsulating smile.  Whereas a lot of modern musicians comes across as quite boring or inarticulate (in interviews), Baylis is cognizant and engaging: she always seem to be in a good mood and keen to gives as much to the interviewer as possible.  My first experience of Lydia was whilst listening to her track Mirrors.  Its combinations of rippling and lacustrine guitars and orchestral lustre meant that the song was a statement that defined Lydia's intentions.  Her voice is an instrument of curious intrigue: both soft and powerful; alluring yet empowered.  That track sparked my interests, and compelled me to investigate more of Baylis's history.  Lydia studied history at Oxford and grew up several miles from where I was born.  There is a lot of chatter around Surrey, Hampshire and London concerning Lydia's music: many are hotly-tipping Baylis to be a permanent fixture of the festival scene.  She is an artist that can just as easily play a set on Later With Jools Holland, as well as headline a summer festival.  Over the last few months Lydia has engaged in the Coffee House Sessions: playing at various different cafes and venues to students around the U.K.  I would urge you to check out the videos and reviews concerning those performances, as it is clear that Baylis has a clear love of performing, and is a compelling artist to watch.  Near the top of my wish-list for 2014 would be the opportunity to interview Lydia, as she comes across as a mature and focused young woman whom has all the necessary ingredients for a luminescent and long-lasting career.  When Lydia was growing up there were influences of the '60s and '70s masters such as Joni Mitchell and Fleetwood Mac were oft-heard.  Baylis is keen to state that she would not try to emulate or appropriate any of the tones of those particular artists: she has a very individual and unique stamp.  It is clear that a high quality of music was presented to a developing child, and it has reflected itself in Baylis's current work.  The single Life Without You was possessing of an inspirational and f***-you coda: our young heroine experienced heartbreak and sadness, yet has a very potent and direct message (to her former sweetheart).  Lydia has confirmed that she is drawn to subjects other than love-gone-wrong.  Within several of her tracks there are darker and more anxious themes: influenced by the works of Virginia Woolf and the Bronte sisters.  Mirrors contained enough brooding and irascible wonder to show that our heroine has a shades of darkness in her soul.  It is refreshing and inspiring that an artist can cover so much ground and contain so much range- upbeat and light songs mingle alongside more shadowy mandates.  Lydia will have a busy 2014 ahead of her.  Her Mirrors E.P. was met with critical acclaim and heaps of praise throughout the social media channels.  It has recently been remixed (and is available on iTunes): it displays the affection that collaborators have for her music, and the results are appropriately fascinating.  I am confident that the album A Darker Trace will be met with even fonder approval.  It began (life) in 2012, and is a project that is will soon come to full fruition.  After a string of recent performances, there is a definite demand for her music and voice: many are keen to hear as much as possible from her.  As a lyricist, Baylis is mixes literary touches with personal openness, and marries that to some cinematic and widescreen (perhaps thanks to production cohorts Richard Cardwell and Owen Parker).  I have been beleaguered by a recent spate of hollow and insipid 'talents' whom have approached the music scene with nary a whimper.  I stated in my last review (http://musicmusingsandsuch.wordpress.com/2013/11/14/single-review-lydia-baylis-life-without-you/) that Lydia had inspired me to write quite a few lyrics.  I have gone out and bought a new lyrics notebook (yes I am a geek); I have also designed a photograph that I cannot get from my head, and made strides in a song that I am writing.  It may seem improbable that one artist can have such an impact on another person, yet that is what Baylis is capable of.  She is still taking her tender, infantile steps in the music business, but has shown what a class act she is.  There is no good reason not to check out her music, share its majesty and eagerly await her forthcoming work.  I will not end this particular piece quite as flirtatiously (is that the right word?).  I am keen to meet Lydia and give personal thanks, as she has brought about reinvigoration in me.  For those whom are looking for an ideal paragon and common muse, then they would do good to investigate Baylis with considered passion.  If songs such as Mirrors and Life Without You have demonstrated anything is...

THIS young talent will be a huge fixture very soon.

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The Mirrors Remixes E.P. can be purchased from:

https://itunes.apple.com/gb/album/mirrors-remixes-ep/id663578254

Follow:

Official:

http://www.lydiabaylis.com/

Twitter:

https://twitter.com/LydiaBaylis

Facebook:

https://www.facebook.com/lydiabaylis

YouTube:

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

SoundCloud:

https://soundcloud.com/lydiabaylis/

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ELENA RAMONA:

A stunning talent and huge prospect to watch in 2014.

Elena is someone that has impressed me more than most as-of-late.

When I interviewed her recently, I was struck by how enthusiastically she spoke of music- and how much it means to her.  I was bowled over and overwhelmed by how naturally she talks about music and what inspires her.  In addition to possessing stunning beauty, Elena also has a down-to-earth quality: she is a ubiquitous artist that wants to be identifiable because of who she is naturally.  There is no façade or costume design with Elena: she strives to be the embodiment of an everyday and modern-day role model: someone who speaks to young woman and all other sectors, just by being completely natural.  Within Surrey, she is building a name for herself as an artist to watch with great interest.  Elena has been working hard to ensure that she brings life to her musical imaginations.  Her single Rise was meet with a wave of adulation and fanfare.  People were struck by the quality of the song, as well as the clear and simple messages that were being put forth.  At the moment, Elena is preparing the music video to her latest single, and has been speaking excitedly about her forthcoming E.P. (Hold On).  Although it is has been a steep and endless climb, Miss. Stathaki is not a woman who is ever ready to quit or compromise.  She promises that her E.P. will be a collection of varying themes and sounds.  In the past, Elena has been involved in dub-step as well as pop, and has marked herself as a boundless performer and writer.  The E.P. will contain some sexiness and sweat-inducing lasciviousness; there will be some honest and heartfelt directness, as well as mystery and motivation.  It is clear that friends and family mean a great deal to her, and have compelled Elena to work hard to achieve her dreams.  She has a drop-dead-gorgeous beauty and a vote-winning personality that means she will draw in a huge number of supporters and fans.  At the moment she is a one-woman army of publicity, promotion, planning and perfection.  Everything that is being done and plotted is done so with as much sweat as love.  Elena has been speaking with desire when it comes to her music video present: she is excited to be able to release videos as well as her tracks.  In the present climate, there are so few musicians that are prepared to put in the hard graft: in the age of reality T.V. most expect success and fandom to put on a plate ready-made and pre-heated.  The future of the Greek-born starlet will be bright, because Elena is unflinchingly direct and strong when it comes to her own music.  I know from speaking with her that success means a great deal.  Elena has put a lot of her money, as well as time towards making music that she wants too: on her own terms with no public funding.  There is a homemade and predetermined logic to Elena's music.  She is making sure that she differentiates herself from her peers and contemporaries, and wants to separate herself from the rest.  Rise showed what a mature and talent songwriter she is; showing that she has a voice that is as compelling as it is memorable.  Whilst it is easy to compare most current artists to a pre-existing idol, Elena seems to resonate with originality: it is near-impossible to compare her directly with anyone else present or past.  She is a woman that is doing things on her own terms, and does not want to be compared with any of her local contemporaries.  The past year has seen Elena mature in terms of her confidence and talent.  She has told me that her producer Martyn Corbet has helped her to hone and develop her voice.  Before lengthy recording sessions were conducted between the two, Corbet insisted that our heroine practise and make her vocals as strong as possible.  The results that have been shown in Rise (as well as subsequent recordings) have shown that Elena is getting better and better.  It is a busy whirlwind for the 23-year-old at present.  Whilst she balances her daily job (in retail), by night (and days off) she works on music videos; lyrics and songs are written; the future is planned.  The E.P. Hold On is not too far away, and it will act as testament to, and summation of, a bright and vibrant talent whom will be beyond compare.  There will be a myriad of diverse steps, as well as surprises and quality.  I hope that London venues prick up their ears, and give Elena a chance to shine in the capital: making it easier for her to win a London-based fan base.  I am sure that the release of her E.P.- as well as the coming year- will mean that she is in hot demand.  As much as anything..

I am confident that 2014 will be Elena Ramona's year.

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Rise is available at:

http://www.youtube.com/watch?v=M8smsMbqXxo

Follow:

Facebook:

https://www.facebook.com/pages/Elena-Ramona/323928237668916

Twitter:

https://twitter.com/elenaramona90

YouTube:

http://www.youtube.com/user/TheStathaki1

SoundCloud:

https://soundcloud.com/elenaramona90

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NIGHT WOLF:

Ambitious maestro is filled with crepuscular menace, brave ambition and a beautiful heart. 

THE past year has been quite a hectic one for Ryan Wilcox.

The man behind the Nightwolf has been collaborating, writing and conspiring with a breathless canter.  I encountered the Nightwolf moniker a few months ago, and was fortunate enough to (be able) to review Watts the Time Mr. Wolf- the previous E.P. from Wilcox.  I was mesmerised by the fusion of different sounds and styles.  Our curator seemed deftly able to be able to weave together pulsating and jumping piano rolls; dark and cinematic orchestral waves as well as menacing dub-step (steel toe-capped) kicks.  Amidst mini-operas about financial decay in the U.S. there were hard-hitting anthems.  It was clear that the man behind the menace had a tender heart and creative mind-set.  As 2013 closes its curtains, a final glimpse of light emerges from a restless talent.  Hot off of the heels of 'Watts' arrives Night Wolf Presents The Co-Lab Vol. 1.  Move It On ()featuring Elsadie Smith) opens the current E.P.  With a throbbing and stirring beat, Smith coolly intones: ""Just move it onto me"; her voice displaying sexiness and a seducing charm.  It is a slinky number that parabonds classic strands of Destiny's Child and En Vogue; tying in some of-the-moment R. 'n' B.  Smith is a alluring and engaging voice, showing hints of modern singers such as Rhianna and Ciara; but having a distinct and memorable personality.  The song's title is used as an infectious coda: repeated by our heroine to create a hypnotic pull.  The steady and punching beat that backs the voice lynchpins the two vocal stages.  As Smith departs, a staccato and syncopated rap enters- its darker hues contrasting strikingly following a sweet and light vocal.  It is a syncopated stream-of-consciousness that implores: "Focus on the destination".  It is a great location to begin our travelogue.  As with Abbey Road or Rated R, Work Rate (featuring LIV The Pilot and J.A. (Soul Rhymaz) immediately follows the opening track.  With no room for breath, J.A. continues his prophetic mandate, as a twinkling electronic tapestry is woven.  J.A.'s voice has elements of Tine Tempah, containing a similar tone and delivery.  The song's messages deal with the potency of a redemptive spirit; how you can get through the worst days if you focus: the power of ambition, music and fortitude can keep you strong.  The arpeggio electronics (and beat) propel the song and create a bow-wave of force, perfectly supporting the twin vocals.  With a dominating and stormy electronic heartbeat, Sucker Free (featuring J.A. (Soul Rhymaz) will be familiar to anyone affiliated with Nightwolf's previous E.P.  The sound of modern Britain; the hard street life and reality of modern youth is laid bare.  The sonic backdrop acts as a physical presence: it glares and stalks; beats and retreats to create a sense of (violent) reality.  The vocals are once again rapid and powerful, as J.A. (once again) spits truths such as: "you're such a wannabe".  The vocal trips and waits; stutters and rolls to keep the atmosphere engaging and compelling.  The penultimate track Enemy List (Remix) (featuring Gregory Style and LIV The Pilot) begins as a soulful and stunning track.  The sonic elements are well-composed and subtle.  The vocals take prescience as you are drawn into the smooth and tantalising vocal delivery.  Towards the end of the track a coda of "run away" is delivered: implored as a direct message, a paen to choosing the right path- it is at once inspiring and chilling.  Downgraded (featuring Centrist) brings the E.P. to a close.  It is a swansong that begins its embryonic climb as immediately as anything Nightwolf has produced.  With classic strings and pummelling electronic beats duet-ting, there is a different element at play.  The emphasis is on the sonic atmosphere (sans vocal interjection).  The strings bow and constrict, romantically swaying as a savage- yet restrained- beat crackles into view like a boa constrictor on the hunt.  That light-dark contrast symbolises the song's majesty: your mind and heart is drawn in, and your breath halted.  It is a perfect way to end a scintillating and fascinating E.P.  I have known Ryan Wilcox for a few months now, and know how much music means to him.  A great deal of attention and consideration have been put into the E.P., and I hope it reaps (its just) rewards.  Few artists are as daring and prolific as Nightwolf, and the future will be busy and exciting indeed.  Given what we have just received- and what has come before- it begs the pertinent question:

WHO knows what is to come?

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Various Artists- Night Wolf Presents The Co-Lab Vol. 1 is available via:

http://www.digital-tunes.net/releases/night_wolf_presents_the_co_lab_vol__1

Follow:

E.P. Launch:

https://www.facebook.com/events/537238406361069/

Facebook:

https://www.facebook.com/nightwolfuk?directed_target_id=0

SoundCloud:

https://soundcloud.com/nightwolfuk

Twitter:

https://twitter.com/ryanwilcox6

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Biography: Second Hand Poet

 

Second Hand Poet:

 

 

Second Hand Poet is the moniker of Jamie- a Surrey-based musician sure to make huge waves very soon.  The music scene around Surrey and London is producing some notable and exciting prospects for 2014, and Second Hand Poet ranks alongside them.  Jamie's acoustic tales have captured many hearts and minds, and will continue to win support throughout the coming years.

   I experienced the magic of Second Hand Poet through the appropriately-named Bedroom Acoustics (I reviewed one of its tracks, Little Sun: http://musicmusingsandsuch.wordpress.com/2013/05/20/second-hand-poet-little-sun-track-review/).  That E.P. demonstrated a sound that was sparse and captivating.  There was no clutter or over-production: the songs came through clean and pure, and you could picture yourself, sitting in the room with him.  It was a live E.P. that layid down the foundations that have been firmly built around.  Our hero has since gone onto play The Boileroom (in Guildford) (http://secondhandpoet.bandcamp.com/album/boileroom-radio-live-session), performed at acoustic nights throughout London, as well as being interviewed for Boileroom Radio.  A local folklore and legend had been laid down, and the personal themes and poems displayed a sensitive heart with a resilient and optimistic soul.  Within the Bedroom Acoustics E.P. was a haunting sound characteristic of Nick Drake's Pink Moon, and there was a flavour of the '70s, married to a modern-day coda and ambition.  The voice that radiated from the songs was a unique and unheard-of instrument, and earmarked Second Hand Poet as an original voice (in a homogenised scene).  Second Hand Poet has recently played Oxjam in Clapham (supporting a fight against poverty), as well as playing shows around London and Surrey.  There are more tantalising dates to come, but the main focus is the debut album.

   In an appropriately homemade fashion, Second Hand Poet is making the album 'D.I.Y': there are no shiny gimmicks or needless over-done polish: the album will pick up where the (Bedroom Acoustics) E.P. left off and give our young hero a full-length disc to display his craft.  The 12-track L.P. will be debuted in December, and will promise much to love: the same haunting and breezy mix of the E.P., as well as a whole host of fascinating tales of modern and personal life.  Cards are being kept close to Jamie's chest, as the details and touches are still be added and amended.  The track Lost At Sea is a glimpse of what to expect.  Its intro is a cacophony of flowing beauty; it bounces and flows.  It brings to mind Nick Drake (circa Bryter Layter)-cum-Think Tank Blur.  Romantic interplay between acoustic guitar and piano sets hairs on end, and images where "fish dance" are scored by a far-off and effecting vocal performance.  There is blood on the rock; the sea crashes and home seems far away.  The song is based around a dislocated tale: a wife sitting at home not knowing whether her husband (serving in the navy) is alive or dead.  You can hear the ache and anxiety in the vocals; the sonic backing adds chills and beauty to each word.  Second Hand Poet's vocals is a symphony of drama and tenderness: there is no need for histrionics as the plaintive and direct delivery strikes hard.  It is the combination of effecting vocals, backed by beautiful finger-picking and delicate piano, that makes the song such a triumph.

  Based on the evidence of Lost At Sea- and knowing what I have witnessed during Bedroom Acoustics-  there will be some much-anticipated talk and excitement when the debut album arrives.  Second Hand Poet has been making impressions on the local scene and reaching out to as many people as possible, and the following year will see a lot more from the bright young talent.  In a generation and decade where there are few genuine and worthy talent out there, Second Hand Poet is deserving of a wide audience and considered ear.  Check out what is already on the official BandCamp page (http://secondhandpoet.bandcamp.com/track/heaven-knows), and follow Second Hand Poet on Twitter (https://twitter.com/SecondHandPoet); as a bedroom-dreamt, modern-day acoustic star is preparing an L.P. (and future) that promises much rewards...

 

And that's a first hand guarantee!

Feature: Kate Hollowood

FEATURE:

KATE HOLLOWOOD:

A future prospect to watch very closely.

Words by Sam Liddicott. 16 November, 2013, 09:00 G.M.T.

_____________________________________________________________________

As the year nears its end, I focus on an actor whom has her sights firmly set.  I look back on a diverse and important year; signalling what is to come in 2014.

________________________________________________________________

I can remember clearly the first my first encounter with Kate, and the word that stuck out:

'Force'.  It seems a perfect word to sum up the essence of Kate Hollowood.  An actor whom is a meteorological whirlwind of focus and foresight.  In all the time I have known her, she has never quit on her goals- nor will she ever, I hope...

  That word (force) came to my attention via her blog post called Music: Its Power' (http://mylittleponderings.com/2011/01/15/thepowerofmusic/).  That blog post was posted back on 15th January, 2011 (It was seventeen days after that blog entry was posted, that I found Kate).  Within the post, Kate talked of her passion for music; how she daydreams to it; how it soundtracks her life, and how- certainly at the time- it gave her some (much-needed) hope.  It was a particular phrase that struck me:  "Music has always been a passion but in the past two years, it has become more a way of life".  For me- at the time, and more so now- music is very much a "way of life".  Not in the sense that it is my steady job: more that it fills my mind completely.  For me, it is something that dominates my passions and desire; and- like Kate said- it is a passion that is hard to live without.  It may seem like a digression (given the fact that Kate is an actor); yet sums up this feature perfectly.  Before I'd even found out anything more of Kate- her interests, job, favourite song, what she sounded like- I was already hooked.  It was that one blog post that compelled me to go after her; to mail her and say how much it meant to me.  The post showed so much openness and honesty; so much genuine passion as well as a vulnerability as well.  It acted at once as a perfect metaphor for Kate as a person; and as an actor: there is modest present as well.  On 1st February, 2011, I mailed Kate (via Facebook), telling  her how struck I was by her words, and- given what I had read in her previous blog posts- how impressed I was by her fortitude, bravery and focus.  I had never done this with anyone else: never felt so bound to pay tribute and kudos in such a way- it was a moment that changed my life...

   It has been thirty-three and a half months since I sent that email.  Kate and I have been in communication ever since, and to this day have not met face-to-face; but do you know what: it is not something I would ever rush (to resolve).  From such a serendipitous initial encounter I have found so many common threads; so much shared familiarity with her, that has meant that I want the friendship to last for as long as possible: it has meant that much.  The reason for this feature was not to say "look how great my friend is; isn't she great etc...".  She is (of course); but my intentions are two-fold: to demonstratively show what a talent we have in her; as well as leave you with an indelible and crucial coda (which will arrive at the very end).  Through various different stages of my life- mainly through studying in Cambridge- I have had the pleasure to see a fair few actors )who have gone on to appear in Downtown Abbey and The Inbetweeners amongst other things) blossom.  I remember watching them eagerly, thinking about where they would be years in the future, unsure of what path their careers would take.  In retrospect, it is hardly surprising that they made it big and are having such an illustrious time.  When I watch Kate's performances (and look back at the experiences she has been through), I am in no mind that similarly brilliant opportunities are awaiting.  The industry (acting) is phenomenally tough to crack (and flourish in), yet windows open for those whose focus is strongest and most inflamed.

   My mind- even now- floats back to that blog post (Music: Its Power). As I type now I am listening to music (a kick-ass selection of Radiohead's finest); I am thinking about it (lyrics are springing to my mind); I am singing (in my best Thom Yorke-esque impression).  It is rare in this age- a digital age- that a human being has such an instantaneous connection with another; often connections are subjugated; forced down in favour of banality and the trite 'connection' usually only occurs when meeting in the flesh.  It was from Kate's impassioned manifesto that I learned a few things.  She was- and subsequent blog posts proved- that she was someone who was determined to succeed; someone keen to connect with as many people as possible, and above all: someone who would never let obstacles stand in her way.  Marilyn Monroe said: "Fame doesn't fulfil you.  It warms you for a bit.  But the warmth is temporary".  Kate is someone who wants genuine respect: to inspire and encourage others.  It is what she has worked at for years; and something that she will work tirelessly towards.  In her there is a genuine talent; someone worthy of close introspection.  I have had many a conversation where Kate has modestly downplayed any adulation I have given.  I know how much her career means to her, and how high she sets the bar for herself.  The past few years have seen her make an impact; change events and leave some sizeable footprints.  Foundations have been laid down, and we have in our midst a talent that has proven a lot already, and has a limitless amount of firepower and potential waiting to be unleashed.  Let us get down to business then...

   Kate Hollowood is a (recently turned) 26-year-old actor, hailing from Dorset.  Having attended the Arts University College at Bournemouth, she has achieved a great deal since graduating.  Her acting work has taken her all across the world, and spanned several continents.  As I type this, she is currently on her way to South Africa, and I am wondering if Kate will be embarking on any acting projects whilst out there.  There is something alternatively quintessential English, yet at the same time international about Kate.  Her voice is perhaps as soothing and calming as they come.  She has a great talent for accents, but her natural speaking voice is warm and intelligent.  Obviously music is a source of happiness and inspiration for Kate, and I have heard few that are as passionate about it than her.  She has a great affection and respect for lyrics, and is a big fan of The National, yet has an ear for a wide range of genres and bands.  Our young idol also displays an enthusiastic and detailed eye for photography, and has a keen visual eye and imagination.  Through Instagram updates and Facebook posts, Kate has captured many a beautiful and stunning image, and I feel that directing is something that would come very naturally to her (would be quite a double major).  In the months I have known her, she has faced a deal of stresses and pains of the heart (both physical and emotional); yet has soldiered doggedly through, making sure nothing gets on top of her.  It is her positive attitude and energy that enforced her ambition and hardy work rate.  In addition to extra circular interests and pursuits, modelling is also another string to her bow.  Her heartbreaking beauty is something that is emblematic, and her smile incredibly infectious.  Kate divides her time between London and Dorset and has a love of the bustle of city life, yet is possibly at her happiest when encapsulated by the coastal splendours of Mudeford and Christchurch.  There is a utilitarianism in her personality as well as her abilities that means as a person- as well as an actor- range and diversity will be synonymous bedfellows.  Many actors can be typecast and honed in by limitation, yet Kate has an adaptability that will see her moving in many different- and multifarious-directions.  It is early days (still) and the infant steps are starting to evolve, yet a great swathe of land has been covered.

    Kate's showreel is something that shows the range of our young heroine (http://www.youtube.com/watch?v=JczdeHpvv9M).  As well as appearing in a number of different advertising campaigns (for the likes of Arena Flowers: http://www.youtube.com/watch?v=EpZQ5SEF9Jg and Comedy Central: http://www.youtube.com/watch?v=oJMcJiMbaAE), she has also leant her name and talent to the likes of The Underwater Realm and Toploader (she appeared in the music video for their single Never Stop Wondering: http://www.youtube.com/watch?v=C-6_0YIQ6-w).  It is not just her work in advertisements, music videos and T.V. spots that has impressed me: there is a whole host more!  Recently I smiled broadly as I witness Kate on BBC One's Doctors.  There she played a 'promiscuous' and flirtatious patient, Ellie Barratt.  Appearing over the course of two episodes (http://www.youtube.com/watch?v=dycMogl-3zc and http://www.youtube.com/watch?v=4o450CtVsLg) Kate's performance was solid and scene-stealing, and was an important foothold.  I remember discussing (and praising) her performance on Doctors.  As well as being a little nervous about seeing herself on-screen, I sensed some doubt in Kate's mind.  Modest to a tee, she had nothing to fear.  The feedback and praise received from social media demonstrated what a great job she had done, yet I know one thing for sure: she wants to challenge bigger and bigger projects; stage shows and hard-hitting dramas.  It is always great seeing the lighter side of Kate, whether it is in Doctors; as the heroine in advertisements; or in music videos.  As much as that smile can intoxicate, the straight-faced side of our heroine can be equally if not more- powerful and potent.  Kate has appeared as Sarah Goddard in the Internet-based series Steffi, as well as the forthcoming Still Waters (appearing alongside John Hannah).  There is one character that strikes me; one role Kate has inhabited that has struck me hard: Myra Hindley.

  This is a woman who has been portrayed by the likes of Maxine Peake; had biographies and documentaries dedicated to her; as well as on-going news focus and scandal.  Even 11 years after her death, Hindley is still portrayed on-screen and stage: many are keen to try to understand the mind of one of the U.K.'s most prolific murderers.  Kate played the role of Hindley back in 2011, in the self-penned play, We Made It Happen.  Showcasing at the Southwark Playhouse, it was a production- and performance- that received positive reviews and proved what a fine dramatic actor Kate was (and is).  Since then Kate has also appeared in Myra: a short film where again she portrayed Hindley (http://www.youtube.com/watch?v=Lszl7HE2SiU).  I know how proud Kate is of the film, and how much time and effort she has spent honing the characterisation of Hindley and given her unique take on a much-discussed figure.  If you look at the film (above), it is scary just how convincing the portrayal is: there is something quite terrifying and unsettling; yet gripping and compelling.  The role of Myra Hindley is something that I am sure Kate will be giving life to in the near-future.  A drama or film similar to See No Evil would be a tantalising prospect.  What Miss Hollowood has in mind with regards to a third outing, will be wonderful to see.

   Perhaps even more impressive than her chilling turns as Hindley, is Kate's activism for gay rights.  Last year Mike Buonaiuto directed the short film Invisible Parents.  It was a film that helps promote equality for gay couples hoping to become parents.  In a 21st century society where racism, sexism and homophobia are rampant and- sadly- too common, it is a campaign that has helped to redress the inequality gay couples face (when it comes to adoption).  Kate leant her voice to the film (http://www.youtube.com/watch?v=aeBy_q4i40s) and tirelessly promoted and supported the campaign; as well as giving the film's images and scenes emotion, life and huge resonance.  Over the last few weeks, the film #LoveAlwaysWins has been viewed over 900,000 times on YouTube (http://www.youtube.com/watch?v=6AeqOFo7MRw&feature=youtu.be).  In spite of some truly disgusting and shocking YouTube comments, the campaign is striving to overturn a hard fact: that animalism and prejudice is still so widespread.  It is still illegal in Russia for gay couples to publicly show their love: a shocking fact in a modern-day society.  Russia will be hosting the Winter Olympics next year, and have a lot of growing to do.  As well as a homophobic ignorance, the country has been the subject of negative press due to racism in football as well.  #LoveAlwaysWins has received support and praise from the likes of Stephen Fry, and features Kate as one of the leads.  I was immensely proud of her, and- judging by the hoards of positive comments on Facebook and Twitter- many others are as well.  The issue of gay rights is something dear to Kate's heart, and something important to many millions.  So many actors are overly concerned with shallow endeavours and hollow projects, Kate has spent a lot of time and effort promoting and supporting worthy causes: something that has earned her an enormous amount of respect.

  The woman behind the characters is someone I admire hugely.  She is someone who is incredibly modest, with a restless ambition.  Our shared love of the likes of The National and Arcade Fire have fuelled many a pleasant conversation, and it is Kate's passion for music which has inspired a lot of musical inspiration in me.  She is someone who loves to encourage ambition and drive in others and has spent a great deal of time and energy helping friends (actors and non): spreading their messages, promoting their causes and pushing their ambitions farther and wider.  I have written a comedy with Kate in mind (as my blog post The Equality State highlighted); and have a grand music video idea (that she would be perfect for).  It is the talent that she has laid down, allied to the faith she shows in others; tied with the limitless potential, that has inspired me- and many others- to up their game; put their minds to use and write their little behinds off- with our heroine in mind.  With her immense beauty, down-to-earth and all-encompassing personality as well as her modest and drive, Kate will be working hard and striking high: a determination that will reap rewards and plaudits.  I know how hard she has worked this year; how many auditions she has been to- she has worked harder than anyone I know to make her voice heard.  The body of work that she has put out prove a tantalising glimpse of what the future holds, and what dedication she has to her craft.

   Of course all of my effusive words and proclamations are not to be taken lightly.  Over the last thirty-three months I have watched Kate go from an ambitious young actor, to someone who has done a great deal of important work- and helped a great number of people.  In a world- and an industry- with so much unspectacular talent (most of whom take their opportunities for granted), I am excited to see exactly what Kate achieves throughout 2014.  Whether it is starring roles in huge comedies and dramas; opportunities in the U.S., or appearances on the London stage: we can only guess.  She herself has clear goals.  I know how much the business means to her, and how strong a love she has for what she does.  Acting is not just a job (to make ends meet): it is something that she wants to dedicate her life to, and be as busy as possible.  I have known of very few actors whom have such a versatile adaptability.  The facets that Kate has in her arsenal, mean that future opportunities will come flooding in.  In the U.K., we are producing some quality dramas, and getting a lot more prolific and confident with regards to new comedy.  I hope that a mixture of theatre, drama and comedy will be featuring on Kate's C.V. in the coming years, and it will be exciting to see what is forthcoming and what adventures are ahead.

   Our heroine has already proved her versatility and set our her stall.  I would not be too surprised (far from it) if she were to appear in something as gritty (and mind-bending) as Breaking Bad; a huge long-running comedy, as well as some terrific films: her previous work demonstrates her versatility and abilities.  So keep your eyes peeled dear readers- as well as hungry casting directors!  It was Kate's blog (and her post Music: Its Power) that brought her to my attention; and now her to yours.  It is always worth taking risks; to connect with people and giving credit where its due.  If it hadn't been for that afternoon in February 2011, I would not have met Kate (and missed out on a great friendship).  Too many people are overly concerned with celebrity movements, fame-chasing and self-absorption.  There are a lot of great actors out there that will be coming through the ranks, and Kate is someone who will be making big impressions very soon.  I hope that broadcasters, directors and T.V. companies (at home and abroad) prick up their ears and open their eyes (and minds), as here is a young talent with the ability to do pretty much anything.  Acting means a great deal to Kate, and it is a passion and career that she is devoted to: and one which she wants to grow and grow- as the months and years pass.  If reading this compels or influences you in any way, it should be towards the realisation that leaps and risks should be taken; thinking and attitudes should be reassessed: it can lead to incredible things.  I know the subject will read this and demur (modest to praise); yet the plain truth is this: I have followed her trajectory for a while and immensely proud.  Many, many others are as well.  I am in no doubt that my prophecies and predictions will be fulfilled: you only have to look at what has been to know exactly what will come.

   I shall leave you with a final quote from Kate's Music: Its Power post, that perfectly distils our subject.  It described honestly her feelings about music- in January 2011, as of now- yet can equally be attributed to her desire to perform.  I hope that there will be a lot more blog posts coming from Kate very soon, as I have always found something personal and relatable in her postings.  Her infectious and undeterred resilience and determined soul will bring its rewards.  In terms of Kate's passion for music; her strength and fortitude in life; as well as her goals and desires towards acting, perhaps no one but her can say it better:

"It’s a passion and a need that I don’t think I would be able to live without".

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All blog quotes are sourced from:

http://mylittleponderings.com/

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Follow Kate:

Twitter:

https://twitter.com/k8hollowood

Facebook:

https://www.facebook.com/officialkatehollowood

Official Site:

http://www.katehollowood.com/

Official Blog:

http://mylittleponderings.com/

YouTube:

http://www.youtube.com/user/kisses2usir

Spotlight:

http://www.spotlight.com/interactive/cv/5495-7861-4508

Single Review- Lydia Baylis: Life Without You

Lydia Baylis

Life Without You.

9.7/10.0

Life Without You is available at:

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

The E.P. Life Without You is available via:

https://itunes.apple.com/gb/artist/lydia-baylis/id308029239

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The London-based young sensation has been providing a breath of fresh air (into a stagnated market); her current footsteps promise to leave indelible (and staggering) indentations.  The effect one is left with: heartbreak.

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ALAS dear reader, for it has been a while since I have done this...

So forgive any waffling or dewy-eyed ramblings.  I have postulated- on more than one occasion- the reasoning behind my blogging celibacy.  I have been aghast recently by a number of things.  In the course of my duties- as a blogger; as a friend- I have always been surprised- both good and bad- by the imbalance of appreciation.  I have given a lot to many- through words, deeds or material wealth- and received (from a few) very little.  On the other hand, I have been fortunate enough to be on the receiving end of some very generous words- from people I have never met.  It seems that music- and music writing- is as unpredictable and inscrutable as music itself.  For all those I have spent a lot of (wasted) time on, I feel angry; for those I have given scarcity to (yet feel honoured) I feel very proud: the point is on its way.  I am in the process of nailing down my music ambitions and credos.  Being a 30-year-old, one would expect- in musical terms- an evolutionary development.  For me, I am the amoeba crawling from the swamp.  Because of personal misfortune- depression, lack of finance, neurological issues etc.- as well as some musician-in-training clichés- nervousness, self-doubt, needless perfection, my canvas has remained (for now) blank.  Today, in fact, I am taking a (brave) step: advertising for band members.  I have been writing since I was 18, and have been 'honing' my voice for just as long.  I feel proud because of what I can do, you see.  I consider myself to be above-average as a lyricist (no Alex Turner or Bob Dylan but no slouch) and an ambitious singer (insanely so); and all the ideas are in place: the band name; album cover design; song titles; most of the lyrics, too.  I always feel regret by procrastination- it makes me feel sombre.  As much as I know what I can achieve- and what I want to- I am held back by financial, psychological and logistical limitations.  I am working hard to rectify this, but it leads me (not balletic) to my main thesis: the determination of others.  I have always been impressed by the ambition and steely-eyed drive of new musicians: it seems to be an art form that brings out quite a heroic foresight.  It seems that many (new musicians) would sacrifice their home and hearts to do what they love: writing and performing 'their visions'.  I have never been of the attitude: "Why the fuck them and not me"- I have always been immensely proud.  In my itinerant travels as a blogger (and music obsessive) I have reviewed, surmised and theorised a great many bands and solo artists.  And while there has been a disparity of quality and a variable see-saw of memorability, there has been a gravitational constant: the determination of the associated artists.  I have reviewed dub-step artists, pop purveyors; the European disco-cum-rock machinations of Swedish goddesses; as well as U.S. rock manifestos.  I have always felt about ambivalent towards one particular sector of new music: the band market.  I have been concerned that too many, for too long, are too concerned with sounding like too many others.  In the north: Manchester, Liverpool, there has been homogenisation.  With the success of current thoroughbreds such as Artic Monkeys, many bands have tried to- bafflingly- emulate their potential through borderline-plagiarism, and at the very best shown a total lack of innovation and personality.  So too, many groups (in the north), have attempted to recapture the magic of Oasis and the '90s heroes: not with feint brushstrokes but sodding tins of grey paint.  I can understand the appeal of influence; every band or artist is influenced by someone and there is a temptation to employ a little similarity.  The issue is thus: if you are trying to be someone else, why bother making music at all?  The likes of YouTube and iTunes are awash with historical music: you can access '50s and '60s rarities and modern-day wonder: there is no need or desire to hear a counterfeit.  My concern is not geographically universal: there are areas (of the U.K.) where there is a pioneering diversity.  Up in Scotland bands such as Universal Thee, solo artists such as Steve Heron and main stayers alike are flying a very bold flag.  Down near my way (in Brighton) there is elliptical and calypso multifariousness courtesy of sunshine pop and bonhomie- without a hint of sarcasm or irony.  Calliope would be proud of some of 2013's musical entrants.  In spite of my subversive mutterings I have been taken aback by the sheer force of some acts.  I shall not name-check (check my previous reviews), but bands and solo acts from the U.K.- as well as the U.S., Europe and Australia- have rekindled my faith in originality.  I have been endlessly trying to pull a double-edge sword from Camelot for a while now; it is entitled: 'The Fate of the 21st Century Solo Artist'.  Unlike a band, solo artists have to helm the workload by themselves.  With your average group the stresses and anxieties are divided triplicate (into four; or five-fold).  Your lone star has the responsibility of making all the moves; shouldering all the weight, and putting all of the creative energies forth.  In the modern scene, there are quite a few solo artists: each of whom are putting their own stamp on the landscape.  The XY D.N.A. is represented by some spectacular progeny: wunderkinds such as James Blake and Jake Bugg; less-than-spectacular moppets such as Justin Bieber: there is 'something for everyone'.  For the XX there are the glib and unremarkable: Lady Gaga and Katy Perry spring to mind; as well as the perennial market leader: Laura Marling.  With the spate of X-Factor cretins spraying their lipid residue all over the airwaves, a lot of genuine and deserving talent gets overlooked.  In any solo artists the market needs- and expects; I also desire- a number of imperishable ingredients: great words; variegated sounds and a beautiful- ethereal or entrancing- voice.  I have been depressed by the large number of bland and anodyne voices: many of whom have sound-tracked John Lewis adverts (take a bow Thoroughly Modern Milly).  It is a rarity that you are truly staggered by the alchemy proffered by a solo artist.  The music market is a sardine can at the moment: bright new things tend to follow the projection of population growth.  I admire the statements, bromides and song sheets that are produced, yet if there is little to linger in the memory, the poor subjects risk being buried- and forgotten about.  In a respect it is bands that lead the way with regards to the upper echelons.  The best albums of this year (aside from Laura Marling's latest) have been band-made; the great musical forces of all time (with a slight majority) tend to be bands: it is a safer and more glamorous lifestyle for the wannabe musician.  I have always been admiring of the human whom forgoes company and fraternity- making music the way they want it.  If the patron abides by the golden rules- making music that is truly memorable- then they can grasp a much-needed foothold in Music Mountain- and remain at the peak for considerable years.  As I type I am listening to three different bands.  The video for Radiohead's Jigsaw Falling Into Place sees Thom Yorke- one eye half-closed; head a-wobbling- proclaiming "Words are a sawn-off shotgun".  The Beautiful South's Paul Heaton is seductively crooning: "Either you are simply beautiful/Or I am simply dumb" (in the much underrated Dumb).  Nirvana are rattling Pennyroyal Tea riffs, via a coda of: "I'm on my time with everyone".  There is no shared lineage between the three disparate acts, yet there are two very relevant points.  The diversity outlined by the three groups summon up crepuscular and mind-altering majesties.  The defunct Hull-based legends are fronted by a genius wordsmith: witty, sarcastic and endlessly quotable.  The Seattle grunge idols were fronted by a idol with an admirable attitude towards music, and what is considered a 'credible career path'; whilst the (hopefully no defunct) Oxford icons are synonymous with gorgeous vocals, monumental songs and endless creative scope.  The tectonic plates are not mutually exclusive to the band market: solo artists have been remiss in their recruitment.  There are too few that push the envelope (for want of a better phrase); there is little vocal diversity; too few quiet-loud dynamics, and an overall sense of 'playing it safe'.  I shall return to this point later, but a second point is to be made: the lyrics quoted could be attributed to, and be affiliated with the personality, intent and musicianship of one: Lydia Baylis.

Before I get down to the bedrock, I want to make a frank admission: I am incredibly jealous of Lydia.  There are a number of different reasons. For one- and with nary an ounce of hyperbole- she is possibly the most beautiful human I have ever seen.  Although it bears no relevance to music itself, she is an entrancing and heart-stopping portrait.  With flowing blonde hair and an infectious smile, she has the looks of a '50s and '60s U.S. movie idol (Marilyn Monroe or Audrey Hepburn) yet has a very modern beauty.  She is the kind of woman that is devoid of any arrogance and can drop jaws with very little effort.  It is perhaps peripheral to my objectives but it is worth noting: here is a heroine that can seduce, psychotropically.  I shall put my testosterone into Alice's (of Wonderland) Shrinking Potion and say this: her personality is even more mesmeric.  I have not met Lydia in the flesh- I would be rendered a babbling Hugh Grant-esque floppy-haired mess if I did- but I have read (and heard) several interviews Lydia has done.  Very few solo artists whom have a gorgeous voice have an 'appealing' speaking voice (Paloma Faith and Adele spring to mind).  It is not me being a Home Counties snob, I just find it important for music idols and forbearers to be as influential through interviews (and in the flesh) as they are in their music.  Lydia's speaking voice is honeydew and caramel; calming and soothing.  If you listen to any of her interviews (http://www.youtube.com/watch?v=mK9avt9SBN8 and http://www.youtube.com/watch?v=438kazm_d-w); you can not help but smile.  Lydia always seems to have a smile on her face and speaks passionately about her music.  Unlike many of her peers, Baylis has a remarkable intelligence: there are no 'umms' 'ahhs' 'like' or faux positivity: the artist is a down-to-earth and everyday icon.  Baylis has the starling beauty and personality that can sway undecided voters and dedicated acolytes alike.  There are a few solo artists (sorry to mention her again...) like Laura Marling whim display a similar intellect and wit; yet I have always been left a little cold by Marling: she seems very detached and unconcerned with the act of winning new support- there is a dislocation abound that I hope can be abated as she has relocated to L.A.  Lydia Baylis is a British songstress with an arsenal of ballistic weaponry.  As well as her chocolate voice, she comes across as very humble and coquettish in interviews.  She is a confident and strong woman, yet someone whom has split sides: she has a pre-deterministic game plan, yet goes with the flow; she is sweet and positive yet has darker tones in her lyrics.  She has a personality and appeal that is capable of ubiquitous election victory: someone who can draw in the metal heads and rock-lovers as well as those familiarised with the paragons of jazz and soul.  There is a great sense of reality about Baylis.  She wears leather and cotton; she speaks fondly but modestly: there are no shock tactics; no fake plastic trees and no twerking.  Baylis recently gave a short interview to Channel 4, in reaction to the various Miley Cyrus controversies: her twerking disgraces as well as her feuds with Sinead O'Connor.  I have no sympathy for Cyrus: many feel sympathy towards her.  Cyrus is a grown-up (supossed to be), whom can make her own decisions.  Smoking pot on stage, bending over in front of Robin Thicke (possibly the most nauseating dickweed on the planet) and taking pot-shots at O'Connor are not befitting of a- supposed- role model for women: she is a disgrace.  She is one of several solo female acts that are setting back women's rights 10,000 years.  Her U.S. counterparts such as Gaga are no less to blame.  There is too much 'look at me' histrionics and attention-seeking: too little focus on music.  It is important to forge a personality when you enter the music world, yet the likes of Cyrus have no business being anywhere need it.  Luckily, Baylis has a head on her shoulders enshrined with maturity and a clear mantra: 'Music is the focus'.  The latchkey child of a 'media personality' is not an issue: Baylis is genuine and dignified.  With the emperor's new clothes being strewn over the charts and airwaves, Lydia is a refreshing sea breeze that deserves huge adulation and longevity.  As well as audio interviews, I have been reading several other interviews (she has recently given).  When chatting with The Huffington Post (this summer), Lydia (with her "wonderfully throaty" voice) discussed many things with David Spencer.  One of the things I am jealous about (with regards to Lydia) is her youth: she is in her early-20s, yet is confidently assured and focused.  She explained to Spencer (when quizzed about why it has taken her 24 years to record an E.P.) that: "You have to have a conversation and dialogue going on about what you want to sound like".  Lydia has spent her adolescence and music life honing her voice: perfecting and moulding it; she has been making her initial moves to lay the foundation: the foreplay has been teased and shivering.  The results of Lydia's labours are scintillating.  Her E.P. Life Without You contains themes of love and life; and- as she explained to The Huffington Post- "darker music".  Baylis went on to explain that she is influenced by the likes of Joni Mitchell and Fleetwood Mac, as well as having a great love of the current scene ("I love watching live music").  Lydia has been speaking with Female First as well.  In June, Lydia discussed the process of recording: "The recording is interesting because you do have to sing the same thing again and again and again and then sing it like you mean it; by the time you have sung the same line for the seventy fifth time you are like 'I don't care anymore' (laughs)".  She also recalled (fondly) her father's love of music and how Van Morrison and David Bowie were common muses: her honest and confessional lyrical style has been enforced by these heroes.  Lydia has also explained how social media can be a mixed blessing: how Twitter etc. can be useful providing you are in the right place at the right time.  I can emphasise fully with that assumption.  Twitter, Facebook and SoundCloud are a great way of pushing music into the ether; but it is hard to connect with too many people: unless your 'followers' or 'friends' listen and share, music can often go unnoticed.  Lydia is an artist whom is going to be around for many years to come.  Her father served during The Falklands War, and experienced hardship and horror during the campaign.  After coming back to England, it was a few years later that Lydia was born; in the Hampshire town of Aldershot (being Guildford-born myself, I am familiar with the surroundings).  Within the environs of Surrey and Hampshire, Lydia was only 2-years-old when the family relocated to Germany.  In fact, Lydia's early life was a little nomadic and born of frequent relocation.  Having spent time in Russia, Lydia returned to England where she studied (until the age of 18, when she left school).  It was not too long until Lydia was on the move once more, and spent time in New York: she was lucky enough to perform in theatre productions; whilst there she fell in love with the city- and has made frequent trips back there.  The second-born Baylis child eventually went on to study history at Christchurch College, Oxford (I studied history up in Cambridge, so can appreciate her fascination with it).  Perhaps it is unsurprising that Lydia is so worldly (and wordy).  She has studied and lived in various different countries; straddled Europe, North America and Asia, and has a prestigious degree from a phenomenal college to her name.  It is the mixture of encompassed nationalities (and environments); married with a constitutionally British soul, that has epitomised and driven her musical ambitions.  Lydia's debut album 'A Darker Trace' will showcase the potential of Baylis.  The tracks contained on the album mixed meditations on love and modern life, but also channelled the works of the Bronte sisters and Virginia Wolf: darker subjects and anxieties lingered within several of the tracks.  My favourite track from the album is called Into The Water, and was influenced by the works of Virginia Woolf (https://soundcloud.com/lydiabaylis/08-into-the-water).  It is a touching and haunting track that is helmed by Lydia's incredible voice.  Backed by a stirring and emphatic backdrop she tells of: "The stones inside your pockets/Make confusion melt away" (a reference to the suicide of Woolf).  The debut album marked Baylis as a major talent to watch and highlighted a range of influences and styles.  I was first made aware of Lydia's music through her song Mirrors: another terrific and atmospheric hymn.  The route to here and now has seen a steady and promising trajectory; Lydia has incorporated her past (her musical influences as well as upbringing); fused it with her very distinct personality; sprinkled some literary greats (into the pot) and come up with a new E.P. that is alive with wonder and layers.  Before I get to the single Life Without You I will make two more points- if that is okay?  My green-eyed envy extends concentrically to another subject: her Coffee House Sessions tour.  With A Darker Trace being almost completed, Baylis has had an opportunity to take songs to the public: mixed together with some choice cover versions she has been road-testing and displaying her sonic plumage to the noble public.  Lydia is still arrange the tracks for her debut album (she wants them in the right order; I am a man who listens from start to finish and getting the tracks sequenced just-so is vital in order to achieve maximum evocation); but the E.P. is a beautiful introduction to a wonderful talent.  Lydia has been touring venues such as Curiositea (sic.); performing to public and student audience- and receiving a whole heap of adoration.  I have been fascinated by the idea of performing in coffee shops, tea houses and cafes, solely because of my music idol: Jeff Buckley.  Back in 1992/3 Buckley was a sensation around Manhattan and the Lower East Side of New York.  Performing in venues such as Sin-e and CBGB, Buckley would often play to audiences of a dozen or so- yet the recordings captured are truly staggering.  If you get a chance to get a hold of his double-disc release Live at Sin-e, do so: it is a testament to a sensation talent with the voice of a love-struck angel.  When Buckley's spine-tingling falsetto floated over songs such as The Way Young Lovers Do, Sweet Thing and Calling You, I would lean into my speakers: wishing I was there; that I could applaud; that I could fall in love.  Lydia is- perhaps vicariously- turning into a potential musical sweetheart (for me):  someone whom has a lot in common with myself, yet a person I can aspire to be.  The caffeine-fuelled travelogues are still in progress, yet festivals and prolonged tours will be something Lydia can enjoy before too long.  Anyway, I digress.  The final reason why I am jealous of Lydia is her tremendous cannon of music: Life Without You ranks amongst the very best...

The title track to her E.P. has hallmarks of, and is a bedfellow to previous songs such as Mirrors and Into The Water.  With a staccato and syncopated juddery beat, the intro. clatters and broods.  To my ear there are echoes of Portishead's work during Third.  In the same way as Machine Gun and Hunter propel and beat box, there is a comparable fascination and quality within the first few seconds of Life Without You.  As well as having some comparable Portishead markings, there is a soussance of synth pop and mid/late-'90s club music: a veritable cauldron of bubbling emotions.  Backed by the bouncing and perpetual beat-and-electro-combination, Lydia portrays heartache: "Love won't make you stay".  Within the first minute the mood is slightly subdued: the emotion and sadness are evident.  Within the contemplation and recollections, Baylis is tender of voice, emotion and conviction at the forefront.  In the video, Lydia- at first- has an upside-down-smile; her eyes are cast downwards and her smile missing at sea.  When the chorus rises above the waves the atmosphere changes.  The smile comes into life, and the mood of our heroine is lifted (and more enlivened).  Lydia proclaims (to her unnamed former-beau) that life without (you) is like "every other day".  Our heroine has said in interviews that the single is one of the most confessional and direct songs she has ever written.  There is little literary reference; no mysterious and ambiguous tones- her words cut to the core and are forthright and honest.  It is unclear whom has affected Lydia's inspiration, but it seems that her former suitor is better forgotten about.  Baylis explains that she is "slowly falling away"; and that although her mind has been eaten away, she reveals one thing: "I don't want you this way".  It is hard to call to mind a direct comparison- when considering Lydia's voice.  There are some slight hints of current artists such as Florence Welch, yet the tones, intonations and evocations are very much Lydia's: you would have to be spectacularly annaly-retentive to compare her too closely with anyone else.  It is the unique and spectacular voice that emphasises her mandates.  The production is sleek and tight and the musical backdrop is subtle yet punctuating: adding extra meaning and punch to her words.  The video features our heroine in a number of different settings.  She appears misty-eyed with mascara running; stylishly dressed with a frown, as well as standing in the sunlight, casting her gaze asunder.  The visuals show Lydia as a contrast.  At one moment (when the lyrics suggest a heavy heart) she can be seen in a bath, tears running and her thoughts very much pointing towards the bleak.  As the song rises and the mood lifts (in the chorus) she can be seen dancing gleefully:  a smile evident on her face.  It seems that whatever happened during the failed romance has lead to better things.  As the chorus reintroduces itself, Baylis states that: "I'm finally making my own way".  She seems to be a stronger woman for the experience, and although there have been scars left, the abiding dictate is thus: no one will get me down.  Lydia's voice floats and annotates; it mesmerises and strikes.  Whereas many contemporaries fail to inject any emotion or plot into a song, our heroine unveils a multitude of turns.  When the lyrics indicate heartache and anxiety, Lydia's voice is appropriately mesmeric and heartfelt.  As the mood lifts and a positive coda is unveiled, her voice is hugely atmospheric and uplifting.  As much as the sonic backing does its part superbly, it is the central voice that lingers in the mind: Baylis's voice is tender and soft, yet powerful and potent.  Our heroine confirms that tears she has cried have long since dried; she is in a better place (emotionally) and has overcome the fallout from a bad situation.  It is not just the lyrics and voice that encapsulate during Life Without You.  Before the 2:42 marker we have just witnesses a wonderful musical passage that connects the verse to chorus: it is soothing at once, yet cinematic (as well as the electronic notes I swear I could hear some strings forcing their way into the soundscape).  In the video, our heroine is seen in a bath cradling and clasping her knees.  When we move into another room (with Lydia dressed in white) her head starts off bowed, before looking up to camera (as the chorus comes to view).  Satisfied grins and merriment have replaced sadness and self-reflection.  The story of the song has taken us on a spellbinding course.   To begin there was turbulence and discontent as Baylis painfully trod over the embers and broken shards from a broken love story.  As the track progresses there is redemption and an emotional rebirth: happiness seems a very real prospect.  Baylis combines a natural charm and seductiveness with a talent for memorable lyrics.  The chorus will not budge from your brain for months, as the repeated lyrics of "feels just like any other day" and "finally making my own way" surmise and summate the mind-set of our inspired heroine.  Baylis lets it be said that any doubts- any fear or tears- "belong to yesterday".  By the end of the song you are very much left in no doubt that Lydia has emerged from a chrysalis with strengthened wings.  The anonymous ex-love has done her wrong and caused her a lot of pain, yet she has not let it get to her- far from it in fact!  In the way that the song is honest and direct, it is also openly honest and universal: nearly everyone can relate to Baylis's words and experienced.  Whereas A Darker Trace and (the E.P.) Life Without You will deal with suicidality and depression, the messages put forth here are clear: darkness can lead to (greater and stronger) light.  The lyrics are memorable yet not too cluttered.  There is great concision and a taut ear for storytelling that means there are no wasted words: instead a great impact is made with as few words as possible.  The combination of an uplifting and catchy chorus, as well as stunningly-tender vocals during the verses, are incredible twin pillars.  The overall sound is very much unique to Lydia.  Her tracks such as Mirrors and Into The Water show what a diverse palette she has.  Our heroine is as adept and skilled during paens of love-gone-wrong as she is when recounting the horrid fate of a beloved literary figure.  It is the diversity and originality that Baylis offers that sets her aside from her peeps.  I dare say- very soon- she will be receiving the same acclaim as the likes of Laura Marling and Adele.  Lydia has a huge talent for evocative and inspiring words; which she ties together with a stunning and planet-straddling voice.  When this is fused with interchangeable and sensational sonic tapestries the effect is blinding: not something you can say about too many people.  Life Without You is a suitably brilliant representation of a brilliant E.P.  Baylis has spent a lot of time and energy getting the songs just right and on the evidence of the title track, she has a lot of praise and appreciation coming her way.  Baylis confirms that the track (Life Without You) was therapeutic to write and perform, and you can  hear the burdens melt from her shoulders.  The song will speak to young women, as Baylis is a heroine whom has galvanised her spirit and resolve in the face of acrimony and heartache.  Men and women alike will be inspired by the core message and the scintillating vocal performance, which casts itself in its own light.  In my previous reviews I have always been able to compare a song or band with another: I can always clearly hint at influences within a track.  Baylis takes the themes and colours from Joni Mitchell and Florence Welch without sounding too similar to either: she incorporates the strongest facets and ensures that the central voice is very much her own.  In a year- and decade- where originality is hard to come by and distinction is even rarer, our heroine has pulled off a wonderful trick: she creates music that is beyond compare yet instantly relatable.  I finished viewing the video to Life Without You with a huge smile.  I was constantly enamoured of, and rooted for Lydia; entranced and pulled in, and have been listening to the song on repeat for a long time now.  It is axiomatic to say that Lydia is a talent that will be picking up awards and playing festivals for many years to come; so I will leave you with this: seek her out without delay.

In the past I have reviewed a lot of talent from Leeds-based record label Cuckoo Records.  Their stable is abound with electro-swing wonders as well as folk pearls and I hope that their ears prick up, as the likes of Baylis would do them very proud.  I am a boy with a vinyl soul, 8-track heart, radio face and digital mind, and Lydia appeals to each contour.  She has evocations and reminiscences of '60s and '70s legends such as Joni Mitchel and Van Morrison; she has the intelligence and passion of literary great such as the Bronte sisters and Virginia Woolf, and a sexiness and vote-winning personality that is unequalled.  The Pentacostalism that one experiences when hearing her speak; and the diluvial awe one gets from hearing her sing mark her out as a major future prospect.  The current state of music can be seen in the same terms as Schrodinger's Cat: there is uncertainty and ambiguity with every passing second.  There is never going to be a time period that rivals the early-late '90s: where a flood of variable talent ruled the scene.  There is as much Schadenfreude as there is admiration: artists have a tough time establishing themselves and making their name.  In spite of the disparate range of quality and sustainability, artists such as Baylis should be held tight to the chest.  Music can be seen in terms of the a mechanics matrix interpretation (when speaking of The Uncertainty Principle) as equally as you can see it as a Kobayashi Maru scenario.  Lydia's words and songs have renewed faith and ambition in me.  Whilst listening to her music and hearing her interviews, I penned a few lyrics:

"The third-rate joke; second-hand smoke and first-class bitch/I've blown them all to scratch an itch"

"Well you're unafraid to chase ghosts/Because they won't come back to haunt you"

"I got a Christmas card from the local morgue/Speaking of New Year plans and enquiring about my health"

"I'm the murderer in the romantic comedy/The mime artist in the film of the great war/The extra in the lavish musical/Hangman in the epic story of the lord/You can laugh at my condition/If you think it makes you tall/Although my scream is never heard/My silence says it all"

"My final words were the very same as my first/Silver nights in satin regard oh how I long for you!"

"As the angel of Battersea she'd heard every line in the book/But the cover to the rules of love is never judged by its looks"

"For us wallflowers hanging in the Tower of Babel, I didn't have a choice/I know too well I was born with the burden of a platinum voice"

"My mother tongue slipped undone to sing the farewell midnight kiss/In the distance between the Jasmine Chorus and the edge of the abyss"

"Love and faith are double-blind /Their truths the diving rods/When bad point towards the vengeful man/When good a loving God".

There are many more (I won't inflict them upon you), but it makes a point: an artist that good should be idolised.  She is my ideal woman; the perfect counterpart; and the most sought-after collaborator.  I have formulated a music video I am besotted with that would be perfect for her: although it will probably never happen.  She has inspired me to write new songs and complete an album's worth of material.  The fact that I am band-hunting this week; continuing a design of a huge music café/bar, as well as willing myself into the studio is because of her: so too is this review.  I hope it does not come over as too effusive or sickly; for it is not my intention.  I have spent many a day giving too much praise to those undeserving; too much time has been dedicated to those whom proved to be unremarkable in the long-run.  The Drake Equation can be applied to music: there is a wonder that extends beyond our own consciousness that postulates what sort of extra-terrestrial life is out there.  Humans are always searching for further meaning and seeking not to feel so alone.  As a music-lover, writer and singer I have always felt the need to find connections with a musician that seems similar to me: that has the same ideals and similar ambitions.  Lydia Baylis is a woman whom is as inspirational a writer and artist as she is a human.  I hope that anyone who reads this are compelled to study Baylis at greater length.  Myopia is a common side-effect of a jaded and fickle industry and it is prescient and essential that the best talent is given their dues.  The ensemble within Life Without You is testament to a truly focused and communal talent: someone whom can attract fans from all walks of life.  There are a lot of barriers and obstacles the new musician faces.  Market forces and trends are unpredictable and subject to entropy and profitability.  Predicating the future musical climate is as difficult as predicting the future meteorological and financial climates.  There are a lot of bands on the scene: some spectacular; most not so.  The solo market is similarly-inconsistent: there are some truly great artists, yet most seem rather unspectacular.  I have always been more in awe of the established acts and most of my record collection contains the likes of Queens of the Stone Age, Queen, Bob Dylan, Kate Bush, Radiohead, Pixies, Nirvana, Nina Simone, Tom Waits etc.  I have fallen in love with London Grammar and am fondly ensconced within the camp of James Blake, yet am a man whom feels that music peaked (and saw the last great wave of wonder) towards the late-'90s/early-'00s.  I feel that a re-appropriation is in order; that a recapitulation of the '90s sea change is forthcoming.  Baylis is a talent that is the definition of engaging: her smile and words can melt you; her song entice and overwhelm.  The Welsh-born starlet is going to a fixture of the festival scene and- I know this is an ambition of hers- will appear on Jools Holland's 'Later...' in less than a couple of years.  These are not hollow proclamations and predictions: I know great music when I hear it.  Over the last few months I have heard a great many words spoken by Baylis and encapsulated her audio profferings into my brain.  Her songs have inspired me and made me grin with Cheshire Cat proportions.  Baylis has some cafes and coffee houses to conquer, and is putting the finishing touches to her debut album.  Her E.P. is a bold and stunning statement and not a self-fulfilling prophecy: it is a stepping stone that cannot be faulted.  Baylis will be bringing her voice and thesis to many venues over the coming months, and she will be attracting the attentions of many publications and reviewers.  I hope I have done her full justice and represented her fairly.  Absorb her beautiful words within Life Without You and investigate her back catalogue.  I will leave these final words for miss Baylis:

Diolch i chi!

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Interview quotes from The Huffington Post sourced from:

http://www.huffingtonpost.co.uk/david-spencer/lydia-baylis-interview_b_3819800.html

Interview quotes from Female First are extracted from:

http://www.femalefirst.co.uk/music/interviews/lydia-baylis-interview-298651.html

Follow Lydia:

Official site: http://www.lydiabaylis.com/

Twitter: https://twitter.com/LydiaBaylis

Facebook: https://www.facebook.com/lydiabaylis

SoundCloud: https://soundcloud.com/lydiabaylis/

YouTube: http://www.youtube.com/user/LydiaBaylis

MySpace: https://myspace.com/lydiabaylis

Tour dates available at:

https://www.facebook.com/lydiabaylis/app_308540029359

Interview- Elena Ramona

 

 INTERVIEW:

Elena Ramona: 'I want to make an impact... be a bit of a legend in my own right'.

Words by Sam Liddicott. 03 November, 2013, 13:00 GMT.

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The Greek-born 23-year-old 'Rise' sensation reveals the title (and themes) of her forthcoming E.P.; her future ambitions- and how simplicity is the key to her success and memorability.

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Elena Ramona: Surrey-based songwriter Elena Stathaki is poised for the future.

Photograph: Martyn Corbet

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AS I sit stirring a half-drained cappuccino and ruminating on life- my mind wanders ....

There is a sense of nervousness and trepidation as I prepare to meet Elena. I have known her for a while now, and spent many (happy) hours in online conversation- yet never met her face-to-face. Through Facebook (and Twitter) conversations, I have felt a connection and admiration of Elena: her passion for music and her individuality are a breath of fresh air, considering the manufactured and plastic nature of a lot of modern music. She has always been appreciated and enamoured of anyone willing to appreciate her music, and spread her gospel. Having reviewed her last single 'Rise', I found myself an instant fan of her music. The ensuing plaudits and feedback that that track received from online channels must have been pleasing for Elena; and I was keen to pose that question to her. Arriving at our interview, Elena is dressed casually; there are no layers of make-up and distractingly-overpowering perfume. In the flesh she is incredibly striking; possessed of a startling beauty and a very cheeky smile, it is very relaxing being in her presence. In conversation, Elena is incredibly down-to-earth; someone whom you could chat to for hours. Her natural warmth and friendliness will separate her from many of her peers.

My initial question focused upon Elena's forthcoming E.P.: how was it to write, record and prepare her innermost current ambitions. Leaning back, the question is given a little consideration: "Quite stressful" has been the experience, yet it has been a necessary process of perfectionism.; some sections have had to be rewritten, and ideas changes. With a smile, Elena stresses that it is "definitely happening". She was keen to state that she did not want to rush a release. Elena has made sure that her first E.P. is one that is distinctly 'her' : time has been taken to make sure that the quality is of the highest standard. Elena realizes that by unveiling her work in stages: interview; review; E.P. etc., there will be a gradual build-up; and hopes that the overall effect will be more potent ; that her music will reveal its charms and will remain in the memory for a long time.

The E.P. is to be entitled 'Hold On', Elena tells me, named after one of the tracks from the release. Also included within the three-track release will be 'Rise'. When I ask what one can expect from the E.P. Elena has a think, but then sits straight up. The overall sound of the E.P. will be "very different to Rise". That track, she states, is a "ballad/ pop song"- simple and effective. To compliment 'Rise' there will be a track which is "upbeat and poppy" and well as a more "emotional/sexy" number. It is obvious that a lot of hard work and focus has been paid to 'Hold On'. As exciting as her first step is, Elena emphasizes that she has not gone "too crazy". She does not want to make her work too diverse and fragmented; whilst the E.P. promises range and surprises, the abiding coda is one of personality and individuality. Elena explained that she is happy with the overall sound of the E.P. and how it is coming together ("I am where I want to be right now"). Elena's voice is all her own: a distinctive and personal tone will run through the E.P.

As we relax into conversation a bit, I ask about 'Rise': whether she was surprised by its success and popularity (to date the music video has gained 1,696 views on YouTube). There is no hesitation as she answers: "Yes". Elena did not expect to make a video for it, and was taken aback by how much the song resonated with people. Happy that it "meant a lot to people", it has provided her with impetus to go on recording and aiming high ("It shows that there is a fan base out there"). Regardless of the success of 'Rise', Elena points out that her career is in its infancy. She has been singing for only a year or so, and has not as yet been gigging.

I was made aware of Martyn Corbet a few months ago. He is a close friend of Elena, and- as she attests- someone who was the "only person that believed in my passion". Elena slyly grins and points out that Corbet was pretty firm with her, with regards to getting her voice and talent to its peak. Before embarking upon the E.P., Corbet advised Elena "go away and practice for 3 months". Having collaborated with and produced Elena, her friend was eager to make sure that she was at the peak of her power before setting down songs on tape. Elena used the three months (or so) to work on her vocals, hone her talent and make sure that she was fully ready to record. It is clear that Corbet's influence- as a producer and friend- has meant a great deal to her. He is someone who clearly has a lot of belief in the budding star, and is as determined as anyone to make sure she gets the credit she deserves. I am keen not to interrupt as Elena praise Corbet's legacy and influence. He is an important figurehead for her that has helped to mould the music that Elena is making.

The coffee shop starts to empty slightly, as we approach 3:45pm. I notice that the rain outside has abated, and there is a relaxing stillness about us. Elena is a genuinely positive and good-natured conversationalist. She is someone who is happy to talk about her music, and provide as much information as possible (she was worried she may have talked too much- I was quick to point out that she did no such thing). It is a comfortable conversing with her. Answers are full and complete, and fascinating titbits and factoids are interspersed with personal recollections and insights. The voice that encapsulated and seduced 'Rise's wonder; is one that sounds like no other. There is no histrionics nor emotional overacting: it is straight-forward and stunning. I was fascinated to know where that voice came from; whom influenced Elena's sounds and consciousness. The Beatles are an influence for Elena. She explained that growing up in her family home on Skiathos Island, her mother used to play 'Yellow Submarine'- a song that she adored for its childish silliness. She goes on to say how much she respects what The Beatles did and achieved: a magnum of gilded songs that were simple, memorable and life-affirming. It is the way in which the '60s legends managed to burrow into your skull, that Elena hopes to achieve with her music. 'Rise' was built around a repeated coda of "Thank-you"; a sentiment that sums up the song's themes, and one that remains in your memory for a long while. It is the way in which effectively simple tunes and lines can get into your brain, that Elena hopes to accomplish with her music. Her lyrics have a brevity and directness that she hopes will be quoted and talked about for years to come. If the sound or words are too complicated or cluttered one runs the risk of being passed over. As well as the Liverpool quartet, a wide-range of artists are beloved and remembered fondly. Pink Floyd were big names in the Stathaki household.

I was very keen to know what Elena has planned for the rest of this year- as well as 2014. She is keen to get E.P. number two (and three as well) released "hopefully by next summer", and says that she "wants to play as much as possible and collaborate with as many different people as possible... I want to get my name out there a bit further".

After we finish the recording we, linger for a while. Elena is a bluster of adorable smiles, humour, intrigue and layers. She talks fondly and openly about her personal life and family. I listen fondly as she paints pictures about her childhood in Greece. She is a very honest person whom wants to embrace as many people as possible. In spite of setbacks, heartaches and a lot of hard-work, her diligence and determination are starting to pay off. In spite of our pre-existing friendship, I have gleamed and learned more about Elena in our interview than I had done previously. We discuss the local scene (in Surrey), and it seems that as far as the future goes, Elena may be setting her sites far and wide when it comes to gigs. But as she has stated on many intervals, we are witnessing her first steps. In the coming months we will be seeing and hearing a lot from Elena, as she begins to reveal her songs to the world. In a way she has little in common with her contemporaries, as she favours a natural look; being who she is all day- not hiding behind cosmetics and fake clothing. Our heroine wants to appear as a role model to young women, men and everyone else. It is not a publicity trick; nor a cheap ploy. It is who she is, and who she will always be. By being genuine and natural she appeals more real and relatable; so if you see her in the street you can say:

THERE'S 'El'!

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Elena Ramona's single 'Rise' is available at:

http://www.youtube.com/watch?v=M8smsMbqXxo

The E.P. 'Hold On' is available shortly.

Follow Elena Ramona:

Twitter:

https://twitter.com/elenaramona90

Facebook:

https://www.facebook.com/pages/Elena-Ramona/323928237668916

YouTube:

http://www.youtube.com/user/TheStathaki1

PSYCHOACOUSTICS Bar/Café:

 

I have been having quite a think- when it comes to music.  On my own terms, I have managed to write a double L.P.'s worth of material.  The diversity and range is, well... ambitious.  I am happy with all the titles; the lyrics, and- although I can't read or write music- the compositions.  There is little in the way of pretention (Moi?!).  My voice is shaping up to be quite...um, 'interesting' and for all purposes, the foundations have been laid.  I keep wondering where the band are going to come from.  Where is the money going to come from.  Where, in fact, is the impetuous going to come from?  It easy enough to sculpt a song; a voice; an action plan, yet when practicality and reality rear their twin behinds; they often fart clean in your face.  I have wished it is easier to find band members and connect.  I hope that in the next couple of years I will be in a studio; a list of songs recorded, and all of my (music) ambitions satisfied.  It is always the case, mind, that a little help is needed.  Similarly- and for a fair few months- I have had three 'fantastic' music video ideas rattling around my skull.  Two are quite ambitious (in terms of scale and possible cost); whereas the other is simple- yet effective.  I know a few local musicians in the midst of making videos, yet the budgets- as one would expect- are reigned in (and directors already attached).  I find myself wondering: where are my ideas to go?  I don't want to bin them as are exciting me greatly, yet there are few opportunities, networks or portals to place my ideas.

 

Above all, I have found myself unable to relax.  I frequent coffee houses in order to absorb an atmosphere as well as inspire my mind to write.  It is often the way that one cannot find a local coffee house that is not awash with infantile screaming, irritating throat clearing, coughing, irritation and shiver-inducing cackling.  I am not against conversation- far from it, yet feel that coffee houses- as well as bars- should be havens of chatting, ideas and relaxation.  People in their diluted form seldom have manners or outward consideration; causing patrons such as myself to depressingly stare from the window wondering: where is there a place for people like me?

 

I have tried to find a way to tie all the ambitions, considerations, concerns and tentacle together: to place them under one roof.  My personal music ambitions will continue unabated, and hopefully Psychoacoustics can run in conjunction with, as well as foster all of my dreams.  Below is the 'plan': the layout and strands that will be the venue for the basis of the master plan.  I am hoping that enough public appeal and need will mean that the transition from 'ideas' to 'reality' will be smooth- as well as short on obstacles...

 

Logo:

The logo will depict a gorgeous woman in a black dress.  In her left hand is a blue rose, whilst in her right, is a microphone.  There is a microphone stand in front of her, whilst we see a spotlight shine to the side of her face; whilst drops of rain are overhead and on the other side of her face.  She has brown fair and green eyes, with red lipstick.  To the side of her is a gramophone, as a vinyl plays.  She looks focused but relaxed; enjoying and entranced by the music playing.  The main logo will be centred, whilst either side of the logo will be 'Psycho' and 'Acoustics' in red lettering.  The letters will be in a stylised font, but easy to red; with the letters bordered in white to give a modern and striking design.

 

Intended Destination:

Hoping to have the premises located either Piccadilly Circus, Covent Garden or Soho.  Due to the size of the building it will need to be located in these areas; and are also locales that attract huge amounts of tourists and attention- providing the most possible custom.

 

Building:

Inspired by Café De Paris, the building will be very large as well as decedent.  The premises will comprise two floors; with the intension of each being large enough to contain all the incorporated properties of the business (see below).  Hoping to have it opened no later than 2018.

 

Opening Hours:

Mon-Fri:

8am to 12pm.

Sat:

8am to 12pm (when gigs are performed it will be extended to 1am).

Sun:

9am to 9pm.

 

Staff:

Around about 50 in total.

 

Policy:

It will be over-18s only: no babies or children allowed.  Dress code is not strict and open to the public.

 

Funding:

I know of websites similar to Kickstarter that provide funding opportunities for businesses.  I hope to pitch a business plan and raise as much of the funding from there.  Aside from a business loan, I am hoping to raise as much of the remainder of the funds myself.  I am not sure of the exact cost of the entire business, yet hoped that over the coming few years the entire amount can be raised.

 

 

Ground Floor:

 

Bar and Kitchen:

As you enter, to the left of the premises is the bar.  The bar will be very modern with a wide and long counter, in order to allow maximum custom.  The bar logo will be emblazoned above the bar, and will be unique.  As well as serving coffee (and tea, hot chocolate etc.) alcohol will also be served.  There will be a range of beers, wines and spirits- as well as an extensive cocktail menu.  The menu will be extensive.  There will be breakfast, lunch and dinner options- with a dessert menu.  The range will include British, American, Mexican, French, Chinese, Thai, Italian, Australian and Spanish food; from savoury to sweet.  The kitchen will be next to the bar, and will serve food from opening through to close.  There will be themed dishes and cocktails that will incorporate band names, lyrics and album titles etc.

 

Seating: 

There will be a large amount of sitting, to accommodate around about 100 people.  The seats will consist of sofas, leather sofas and chairs, as well as wooden chairs.  It is designed to be a relaxing and comfortable environment; it will not be cluttered or compacted- space and openness is a huge key.

 

Jukeboxes and Speakers:

This is one of the main features of the business.  The music will be the epicentre of the bar/café, and will be a constant.  As you enter, to the left and right hand corners; to the back left and right corners; as well as in the centre, will be two digital jukeboxes.  It will be free, where anyone can select a song.  There will only be allowance for one song per customer; with a continuous playlist being selected.  The jukebox menu will be interactive, so you can select a song by searching; or find by genre/decade etc.  There will be access to over 500,000 songs, and will include every genre and style.  There will be screens in the centre of the room (overhead) that will show which song is next- running order etc., and everyone will be able to hear the music.  There will be four speakers suspended from the ceiling- on each corner of a chandelier.  The music will not be so loud that you cannot converse, yet will be crisp and true.  Using latest technologies it will be possible to blend the sound of music and conversation so that neither becomes too distracting.

 

Stages:

As you enter, to the right hand side of the building is a small stage.  It will measure 15 by 20ft, and will host intimate performances.  At the back of the building will a main stage.  It will be 25 by 30ft, and will have a retro feel.  There will be a blend of modern, gothic and American; giving the stage a unique feel.  The stage will host larger gigs; whereas in front of the stage, will be an orchestra pit that can host 30 musicians.

 

Décor:

The décor will be a main attracting.  On the walls will be paintings and landscapes depicting famous album covers, music photos, as well as band portraits and designs.  It will encompass a large range of artists and there will also be canvases on the wall.  There will be modified street signs and portraits, giving it a retro and classic feel all at once.  There will be a white wall as well, where lyrics can be written and designs drawn.  The entire interior will mix modern and vintage, with artefacts and designs reflecting this.  It will not be like Hard Rock Café where it is a sort of music museum or attraction; it will be subtle and will play second fiddle to the key components.  Overhead will be several chandeliers as well, providing a romantic feel.  At night these will be on, and soothing lighting will bathe the interior.

 

Access:

There are two methods of access from the ground to upper level.  There will be a staircase to the right of the entrance; in addition there will be a small lift giving disabled access (and to allow transportation of equipment, stock etc.)

 

Upper Level:

 

Store:

This is a store with Rough Trade in mind.  The store is split into different sections.  There is an extensive store that offers music by genre, decade etc. and has a large stock- similar to HMV's largest stores.  As with the lower level of the bar, there are paintings, designs and artwork on the walls- and ceilings.  There is also band merchandise and memorabilia, signed memorabilia, as well as musical instruments.  The idea is that there is everything under one roof that a musician, music fan or music lover could want.  There is a charming décor that mixes '90s Seattle, modern-day U.S. as well as Rough Trade.  It is homely as well as modern and cutting-edge.  As well as being an all-inclusive store there is a profit-share initiative.  Schemes will be set up to allow a small percentage of profits going to independent record stores, as well as local bands.

 

Charity Office:

There will be a small office, next to the store, which will house the Psychoacoustic charity.  It will employ around 10 people, and is a charity which aims to raise money for musicians, struggling bands and children from difficult background persue their goals.

 

Consoles and screens:

This will incorporate everything from the Psychoacoustics music website:

http://musicmusingsandsuch.wordpress.com/2013/10/.  There will be about two dozen consoles arranged within the middle of the floor.  These allow direct access to the website.  As mentioned, the website aims to make it simple to create music, music videos; collaborate online and distribute music.  It incorporates all of the best features of the major music websites, and offers so much more.  People will be able to access the website through the consoles.  There will be two large walls which will display music videos, or can alternatively project images from any of the consoles- for instance is a music video has been created, it can be instantly projected.

 

Studio:

Dominating one half of the level will be the studio.  It is a medium-sized studio that will offer all the benefits and technologies of the biggest studios.  It will encompass a studio, rehearsal room, control room; as well as lounge and bedroom.  There will be an in-house engineer, producer and representatives and offer rates that are very competitive.  The hope is that is will appeal to new bands, but also drag in big names and established acts.

 

Garden and Tranquillity:

In the centre of the level will be a small garden.  There will be a water feature, as well as plants; aimed to relax and inspire.  There will also be a balcony, that will provide a small garden as well as seating.

 

Décor:

There will be chandeliers as well on this level, but a more toned-down feel.  There is impressive lightning and a warm and relaxing vibe.  Again there will be leather chair and sofas- located near the consoles.

 

I am still in the initial stages, yet see everything in my head: the look, the sounds and smells and all besides.  I am open to idea as there are many whom would frequent a place like this.  What do people want?  What needs including?  I know if is going to be costly, but hell, it shall be done.  Above all..

 

Would people come (and make return visits)?

 

X

Psychoacoustics: A More 'Musical' Future?

 

Psychoacoustics: A More 'Musical' Future?

 

FIRSTLY...

 

FOR a fair while I have been (somewhat) procrastinating.  A combination of pernicious self-hatred and depression have somewhat anchored my ambitions.  In order to focus my attentions away from variable horrors; grand ideas (most of them musical), have seemed like a worthy (if possibly, temporary) panacea.  I have been formulating and building a comedy series- The Equality State- attempting to make all my ideas coalesce.  As much as that has been giving me something to focus on; to create a T.V. series that is new, original, and above all, ambitious; has given me something to distract my mind towards.  As much as anything, my excitement has been spiked by a common muse: music.  It is axiomatic to say that it (music) is a mistress which provides fertile dreams; but I have seen a gap in the market.  I have been rapidly- and excitedly- writing my own material.  An album's worth of original material has been penned; topped off with a bizarrely-ambitious and huge swansong, Vanity Mirror.  The band name is decided; the album title (and cover) is in mind and fully-formed; the ideas, promotion and sounds all lodged in my brain.  As much as I have been laying groundwork: deciding upon ideas; honing my voice; diversifying my cannon of work etc., another thought comes to mind: I need people to make it happen.

   A lack of finance has shackled my deepest wishes.  As much as I long for a music-orientated future, I have realised how expensive it all is: even to record just the one song.  It would probably require many thousands (of pounds) to realise my blueprints: to make them real.  In lieu of a generous benefactor (or lottery win) it seems that the future plans will be very much on hold.  It is a shame, but something I will never give up on, and will find the money to do it- however long it takes, and no matter how many organs I have to sell.  In the midst of the fog of reality, ideas have come to mind.  These ideas concern business.  Music business.  Charity as well.  Let me explain...

   In previous blogs, I have formulated an all-encompassing music website: one which integrates all of the benefits of the existing market; but one which offers so much more (details can be seen below).  It require money (a lot), yes; yet with that one thought, came a tangling thread of possibility; a brand if you will: Psychoacoustics.  It would be a brand and idea that is designed to inspire musicians, old, young and impoverished alike- as well as raise money for worthy causes.  Below is what I want to do...

 

'The Business Model':

 

False economy and macro management of the music industry, has meant that there are far too many bands and artists going unnoticed; too many small labels and studios struggling.  The idea is not to create an imperialistic faceless brand: I do not want to become Bill Gates or Richard Branson.  The idea is to parlay as much as the existing market together; making it easier for new and existing musicians to make themselves heard.  Psychoacoustics will be a singular brand that will have a base in London.  I am hoping that an impressive, if small headquarters can be set up in central London; somewhere between Soho and Covent Garden.  The business will have a distinct logo, a 'face of'- and have several musicians/bands etc., acting as 'ambassadors' to the company.  It is not exactly going to be Google or Microsoft in terms of empire; yet will be the central hub that maintains and manages the various arms of the company.  The hope is that that there will be a few dozen employees, including volunteers, whom will assist with the day-to-day running of Psychoacoustics.

   As well as being inspired by some local- and U.K.-based- musician friends (see bottom of article); I have been invigorated by a European pal: Chloe Jane Sparrow (

https://www.facebook.com/pages/Jane-Sparrow/324260300959130); a woman whom is fanatical and in love with music.  I started to review artists and bands because of her wonderful blog: http://sparrowjane.wordpress.com/.  She is a tremendously generous and skilled reviewer, whom has turned me on to some wonderful acts, from all around the world.  It was her passion for new music that encouraged me to form my own blog.  As well as being chief editor for NYMY Magazine, Chloe has kept her ear to the ground; seeing what is hot and inspiring in the world of music.  Being so young, she has impressed me with her busy and entrepreneurial spirit; managing to create an impressive kingdom, and is someone whom will have huge future success.  I mention her- as I will be mentioning others too- to show that there are a lot of keen and hungry young talents out there; keen to be heard, and deserving of your time.  Miss Sparrow is a key example of someone whom is beautiful and tenacious, and has a genuine passion and love of multi genres of music.  It was whilst perusing her blog, and listening to her 'suggestions' that I have decided to take the first steps.  I am lucky to have friends and connections that spark ignition in me: people whom I hope I can work with closely in the near-future; so to her (first): Merci beaucoup pour tout (excuse my rudimentary French) x

   Below is a summation- albeit lengthy- of what I want to create.  I am already 'unofficially' the 'founder' of Psychoacoustics- shall have to rubber stamp it!  I know it will take money, but if there is interest amongst any that read my words, I will labour day and night to collate the necessary cash to get the seeds planted; to make the initial baby steps promising ones.  So bear with me, be patient, and above all, let me know what you reckon.  In a generation with more music than ever; where so many new acts are born, raised and fostered (by the public); it is vital to encourage the good and great; manage them and importantly: make people aware of their existence.

 

'The Five-Prong Attack':

 

The Website:

 

Idea of the site:

There are quite a few music websites at the moment, between the iPhone, Facebook and the Internet. Most of them offer roughly the same things- music sharing, free downloads, and Internet radio access. There are a lot offering the same things, and quite a lot of things are not being considered. The idea of Psychoacoustics, is to pull all the existing qualities of these sites, together, as well as offering new features, and great networking opportunities- for free. The plan is to top Spotify, iTunes and the biggest sites, by offering what they do, plus much more besides. Specific areas and pages on the site will be named after musical figure, albums and events. For instance, a lyrics section will feature Bob Dylan’s name and be themed around here. It is sort of like a music Disneyworld- different zones and characters. This makes it more interactive and interesting than most music sites and is engaging.

Interface:

By accessing

www.psychoacoustics.info, (website currently under planning/construction), you will be able to access the site. From there, there will be a home page. On the home page is a main design. It is an animation of a studio, called Psychoacoustics. It is designed like Abbey Road, and there is constant movement on the page. There will be a bank of about 200 different musicians, who will walk into the page and interact with each other; leave and enter the studio, and keep the user amused. The icons as well as the animation will be colourful and interesting and better designed than most of the music websites out there. The icons and options displayed on the homepage are as follows:

Chat:

There is a chat/Skype option where you can interact with any of your contacts or friends. This can be done via a Facebook-style message service, or Skype. When you add contacts- like Facebook or Twitter- you can chat with any of them at any given time.

Mail:

Your personal inbox; you can mail your contacts, as well as any musician or venue.

Search Engine:

This is a bespoke, specialist search engine. It is similar to Google but responds to questions and searches effectively, returning only relevant websites. It also can record via and audio, so if you were searching for a song title or name of song, it would be able to locate it. The search engine is able to answer specific music questions and ties together information and resources from Yahoo, Google and Bing.

Updates/Events:

This is a diary of important music events and updates specific to the user.

Music Player:

You will be able to create a playlist or jukebox of up to 2,000 songs.

Personal Profile:

You can create your own avatar, and enter all of your information. It is similar to Facebook, but more detailed, and upload photos, videos, and designs. I will go into more detail later, but on your personal profile, is all of your information, favourites, and links. The profile works like Twitter and Facebook but more in depth with fewer faults. I have described the social side of things in a previous mail.

1. Studio and Rehearsals:

This is an animated studio and rehearsal rooms (about 3 studios with control rooms and one rehearsal space). Unlike sites where there are a list of features, you access the features via icons; so for instance you would click on a T.V. or a guitar to access the relevant feature. The tab on the interface is red, and will consist of different shades of red. The specific names and designs for each feature are to be decided, but are as follows:

Music video:

Here you can pitch ideas for music videos to bands, acts and labels. You can protect your idea and sell it for money or use it to gain points and exchange for a reward in the future. There is also a music video store, where you can access any video from any song, and search by genre, artist or time period. Also, there is a software where you can put ideas into and create videos through animation, film or various other techniques and apply them to your own songs.

Album cover:

Here you can view any album cover, and search for it like the music videos. The features here allow you to design covers using animation, photography or a photography edit where you can mix and edit images and merge together to create incredible designs. From here you can publish them or share, or pitch ideas to bands looking for ideas.

Photography:

This is like Instagram where you can upload photos or designs and edit them, using hundreds of options. Here too you can search for photographers and view images, websites and famous images from music history.

Music video player:

This utilises YouTube where you can view music videos for free and have a favourites list, or share the video to social media.

Song dissect/mix:

On this page, you can take any song- from rock to classical and dissect it. You can see what notes are played, and what instruments are played. This helps when writing songs and can learn easily about music. Also you can take sections of various songs and mix them together, and edit the sounds to create new songs.

Entrepreneur:

Here there are guides, links and ways to set up your own record label, festival, or music magazine. You can interact with others online, and get funding in order to set up your own business, and then network on site to attract users and business. Also you can invent new music ideas and instruments; design them on this page and pitch them.

Broadcast:

There is a software where you can design and broadcast your own podcast and radio station. Broadcast over the site or YouTube, play your own songs and broadcasts and get fans and followers as well.

License:

On here you can sell songs to T.V. and film companies and productions.

Band sites:

I will explain more on the registration but when bands and artists sign up they can create their own website and include a wealth of information, and make it easy to promote and get fans.

Sounds:

This is a sound library with thousands of sounds, effects and mixing options.

D.J:

If you are a D.J., here you can mix tracks, scratch and broadcast your own set, via the site and promote your gigs.

Home Studio:

This is a software where you can record vocals, instruments and effects and then send your songs to fans or broadcast the tracks online. There is also software for tuning instruments as well.

Recording and Production:

This allows you to record songs professionally and easily, and provides every technology a modern studio would. You can record vocals and instruments, mix and layer them, and create a professional sounding track. From there you produce the tracks, and broadcast them, and burn them onto C.D. It also allows for album covers to be printed and gives links to sites where you can buy C..D. case and additional software.

Rehearsal and Live Room:

These are simulations of studio spaces where you can play live or rehearse. Via Skype you can jam with the rest of your band or solo and be seen by contacts and have your performance saved and shared. There are options for recording. There are guitar, drum, piano, vocal and orchestra options where you can simulate any guitar or piano etc. and get the most realistic sound possible. Unlike software where it is flattering, here you have to know how to play. Like Wii it reacts to touch and you can simulate yourself playing, as if it were real. From there you can either mess around or record the sounds, or join with others or your band members, and jam together. You can tune the instruments and it is as good as the actual instruments. You can do the same with vocals and record as many tracks as you like, and access different mics, and effects. It is able to work with recording so you can record full songs and albums using this. it is not to replace real life but more act as an easy way to share and record demos for when you are in the studio.

2. Bar and Venue:

The venue is downstairs of the studio and the bar upstairs. It is animated like the rest of the site and acts as a portal for socialising and broadcasting. The tab for this is green and appears with different shades of green on the interface.

Radio player:

You can access tens of thousands of digital stations from around the world and stream them live, as well as access archive broadcasts and songs.

Links:

There are links to all music magazines and publications, as well as music websites as well.

Donate:

Like PledgeMusic where you can donate to get album made, and respond to pitches. Artists can offer rewards or treats, and get a % of funds raised. Can network and swap and record vocals or write as well.

Share:

Due to revenue coming from advertisers and labels, the site can pay royalties to artists whose songs are downloaded, and means that songs can be downloaded free, but artists get paid.

Food and Drink:

Links to music venues, as well as music bars and cafes, anywhere in the world, and you can get alerts of any local to you as well as any events that are happening, and share them on the site.

Leagues and Competitions:

There are various leagues for new bands and directors etc. that are updated and points given to the winners. These charts reflect download amounts, most hits as well as popularity too and there are leagues and competitions for new and unsigned bands.

Music Fantasy League:

This is like football fantasy, but you choose a 5-piece band. You have to choose at least one drummer, and one singer, and can choose from any musician from history. You also select 2 songwriters as well and an album and song. There are various points awarded to each depending on how many times they have been downloaded and mentioned, and there is an overall league that updates each week.

Read and Write:

You can publish blogs and reviews of bands and gigs, and albums and publish them and share them, as well as gig reviews and album reviews.

Social:

There is a dating website and connection site for musicians, as well as connect and promote music charities. There are event postings and updates for your local area as well as internationally. You can also tie all of your contacts and friends in from other social sites into this one.

Connected:

Once you have created a profile you can search for potential band members or venues. When bands or acts register, like a dating website you answer various questions such as favourite music, bands and albums. If you are looking for someone you can either type in a search and the site matches people for you, or you can click on a map. From here you can click on any country or city and search for any member located in that area and contact them. There are sections where you can connect bands and venues, labels to acts and band members and bands together. If you make a successful match, you gain points that can be exchanged.

Actors:

This links actors to bands looking for people for music videos, and also can join actors together, who can share links and tips with regards to music, and best contacts and agents.

Contacts:

I have explained all of the social side, but the site works more like Twitter where you can ‘add’ any band or musical act, and follow their progress and updates. There is a LinkedIn style site too where you can connect with employers or contacts and build up a network of fans and followers which gives you greater opportunities.

Live:

You can broadcast live shows and gigs and stream concerts here and share them.

3. Living Room:

This tab will appear shades of yellow. The living room will consist of a sofa, chairs, jukebox and notice board as well.

Music download:

Like Spotify you can download any track for free, and either play them, or create your own playlists and sections. You can compile songs into albums and burn a C.D., or you can share songs via your phone or social websites. There are also links to Spotify and iTunes, as well as music apps too.

Promotion and Distribute:

You can listen to recommended music depending on your mood or find any new music depending on your tastes. You can then share them via social media, or you can promote new bands and artists, and share acts with promoters and venues, as well as labels. It works like ReverbNation but more in depth, and gives tools to find new music, as well as share and get your own voice heard easily.

Jukebox:

You can have a playlist of up to 2,000 songs, and play them, whenever you like.

Reference Library:

You can view information about every band, artist or album released. It is like Wikepidia where you can find out anything about music, and gives info about bands, videos, links and merchandise; which allows you access to new music, old music you may have forgotten about, and can access any information whenever you want.

Music Trends/Stats:

There are tables and graphs that show music trends, sales figures and stats relevant to you, that are updated daily.

Charts:

These are all of the charts from home and abroad, updated weekly, with links to all of the songs featured.

Search engine and lyric finder:

The search engine is also available here, but is a lyric finder, where you can type words or lyrics and it finds the song. Also you can input audio or video if you are unsure of the song or artists, and it will find out for you.

Pitch Zone:

If you have spare lyrics or ideas, you can pitch them and trade them with artists. You can earn points for anything that is bought from you, and you can pitch and find ideas for songs. Also you can pitch music, so if you have no lyrics you can match them, and also collaborate with people on site and join your music and lyrics together. From there you can create songs together and share them.

Music Notation and languages:

There is a software where you can learn music and translate your music into musical notes, so that it makes it easier to write music. There is a link to a language site where you can learn any one of 30 different languages for free. This makes it easier to communicate with international contacts as well as write and sing in a different language.

4. Bedroom and Kitchen:

This tab appears as different purple and the bedroom has a bed, wardrobe and table, T.V. etc.; the kitchen is a smaller room connected to the room.

Updates:

You can access all of your updates, information and messages here- as well as directly from your personal profile.

T.V. zone:

This allows access to dozens of music T.V. channels as well as archived videos and shows as well, and relevant T.V. shows and performances.

Links:

There are links to music teachers, studios, websites and bars and venues; everything anyone could want.

Creative Zone:

You can chat with anyone; share ideas, stories, gig reviews as well as photography and videos etc.

5. "Acoustic Vinyl":

This is a specially designed shopping site. The animation is designed like a large Rough Trade store and the tab will be a specially designed one.

Music:

Search by genre, period or artists and find music from them to buy. It pulls together Amazon, iTunes and all music websites so you can compare prices for the album and gives you the most choice you can imagine.

DVDs and Merchandise:

You can search for DVDs and merchandise from any band. This gives you links to shopping sites as well as band sites, so again you can find the best deal.

Others:

You can purchase band and festival tickets, music books, apps and instruments. You can also purchase gift cards too.

Stores:

There are links to shopping websites as well as info for independent stores, with website and address details.

6. Join/Log-In:

This tab is in shades of black and grey.

Registration:

Different registrations. For casual user, browsing, solo, band, promoter, venue, label and other. They ask for different details and different lengths but all very simple and easy.

Log-in:

It allows a simple log in and a feature where you can log in to all of your music and social accounts at the same time.

7. About Us:

This tab is going to be detailed in shades of orange.

Studio history:

There is information- fake of course- of how it was set up in East London in 1969, and the story behind it. There is a ‘mock’ Vevo-style video and video history of the studio and founders. It is comical and is also like a guided tour.

About the site:

This is a serious description of what the site aims to do and how it will evolve.

Press and links:

This displays any links to relevant sites and partners, as well as software sites so you can create your own music website.

8. Music Player:

This tab will be in shades of blue. This ties together all of available and your downloaded music so you can play it on-going and create smaller playlists.

9. Advertise With Us:

This tab is in shades of pink.

Adverts:

This is a separate page where all adverts from sites, and venues can be displayed. This means it doesn’t interfere with your profile or browsing but can access it any time from this site. Advertisers and sites pay to be published on the site. There are contact numbers and an online form if you want to advertise or subscribe.

10. Contacts/Links:

This tab is in shades of whites and grey.

Contacts:

This details all e mail and phone contacts for every department.

Enquiries:

Up to 6 different contact email and phone numbers depending on the query

Address:

This is the address of the H.Q. and map.

Social media:

This gives links to the Twitter and Facebook sites, as well as YouTube.

Feedback form:

Provide feedback on the site.

Suggestions box:

If you have any ideas for futures or designs, then let us know and will take into account.

FAQ and Troubleshoot:

If you have trouble with any part of the site there is support. Also an FAQ if you have a question and can report abuse or any issues day or night.

 

Designs and Features:

 

Points system/Profile:

As well as a detailed profile, on top of everything there is a points system. For every event you promote or song you share, a certain amount of points are awarded. When certain amount of points are awarded, you get a reward. These will mainly be cash prizes and increase in amount. For 100,000 points, a ‘Fantasy Package’ will be awarded, where you can meet any musician or have any experience you want paid for by the website. The profile will be displayed like an album cover, where there are track listing relating to each section (1-10), and details of everything you have done. There are also graphs displayed that represent your progress and updates.

Avatar and animation:

When you register you can create your own avatar, to give it the feel of a video game. You can personalise and update it as much as you like. As I said each section is named after a musician or album, to include everything from The Doors, Bohemian Rhapsody and Abbey Road. There will be animated of musicians interacting in each section, and great designs, to give the whole site a feel of a game, or as I mention, a sort of musical Disneyworld.

Ambition:

The idea is to raise money to improve the site constantly, and give royalties to all musicians whose music is downloaded. I want to top iTunes and Spotify and have everything any music lover or artist could ever hope to want. As a singer, who is curious about my vocal range, there are tools for that, recorders, and I can locate a band easily, as well as produce music video ideas, and record songs.

Access and use:

Available on P.C., and can be downloaded to iPhone or your T.V. This means that anyone, anywhere can access and use it any time. There will be a virtual keyboard to type, and can be touchscreen, so if using it on T.V. makes it a lot faster.

 

The Record Label:

 

Named Psychoacoustic Records, I am determined to create a small record label that will give a warm home to some great talent.  In my previous role as music reviewer, Scottish band Universal Thee were one of my favourite 'subjects' (see them at

https://www.facebook.com/universalthee).  I have been communicating with their lovely members James and Lisa Russell for a while now; having been bowled over by their brilliant and original sounds.  Between the three of us (as well as the band as a whole) we summated that there is a lot of great talent that emanated further north- Scotland especially.  Most of the musical money; including the big labels etc. are based in and around London.  I have been blown away by the sheer quality from bands such as Universal Thee- a stunning band that are starting to get the attention they deserve!  In addition wonderful bands like Issimo (fronted by the phenomenal lead Abi Uttley, and multi-talented wonder Marc Otway), as well as talent such as Nightwolf, Katsuo, Lisa Marini, Steve Heron and Jade Barnett have been featured amongst the pages of my blog.  I have mentioned these illustrious musicians as they are the epitome of the modern-day idols: those nauseated by the cheap X Factor fakery and noxious fame; talents whom let their voices do the speaking and are deserving of a huge audience.  They are all going to be huge one day very soon, and it is artists such as these I am trying to recruit. 

   Of course there are hundreds of small record labels- some fail; some succeed- that are trying to do the same as me.  I want to set up a label not restricted to the U.K.  As much as I want to entice the likes of Issimo, Universal Thee, Steve Heron etc. to the books of P.R.; I want to look farther afield: to the U.S., Australia, Europe and Africa- aiming to help those who have a stunning talent, and need a record label to help them out.  I have been speaking with, and reviewing for, Phil Cass' brainchild, Cuckoo Records:

http://www.cuckoorecords.com/.  With the help of a couple of his friends and music colleagues, he has raised and built up a brilliant Yorkshire-based music label.  They have some stunning talent on their books- including Cisse Regwick, Annie Drury and Raglans- giving a voice to some superb northern (and Irish) talent.  There are precious few southern/London-based labels that share the ethos of Cuckoo': encourage a wide range of genres and talents; with the intention of sharing their brilliant sounds to a wide audience.

   In conjunction with the studio (below), the label would initially attempt to attract a dozen or so local artists.  The long-term aim is to tie and bind international and local acts under one roof: to provide assistance (both financial and creative) to the patrons and participants.  Not only that, but provide opportunities for the acts to work with each other and generate publicity and gigs for each other too.  It is hoped that I can find premises either in Surrey or London- but I will mention that more later.  There are a lot of merits one can assign to and ascribe, with regards to the big labels.  They provide a home for some superb artists, yet I feel that too many have limited quality control.  I don't want an X Factor/The Voice parasite in the team; no generic and faceless U.S. act: just concise and staggering bands and artists.  Bigger labels such as Rough Trade are the exception that prove the rule; as it seems that there are few smaller labels that have their voices heard.  I hope those labels can kick the dust aside and break through.  I want to to assist them, and work alongside them.  I have an idea for a band of course, and it seems logical to parabond the twin desires of music-writing and talent-hunting.  I have an idea for a logo; I have some names I want to approach; and have a location in mind- who wants in?

 

The Studio:

 

Whereas the idea of a record label is to provide a business for new musicians; and a website would encourage an easy way to make great music; a studio is a physical home that can bear witness to some great moments.  I am going to mention several other musician friends, but Luke Oldfield (of Gypsyfingers) has a glorious haven in Little Halings Studios (https://www.facebook.com/littlehalings).  Luke has managed to make a great success of the studio, and lured some top names to the studio: I have watched on with admiration.  One of the reasons that it is so idyllic is its location.  Surrounded by arable and bucolic splendour, it is synonymous with peace and tranquillity.  Because of this, bands and artists are able to create sounds in beautiful peace: thus leading to a more harmonious and less anxious end-result.

   It will be styled with Little Halings' merits in mind: a wonderful location to record in.  I am off to London either the 28th October, or 1st November: as a reconnosense mission.  I know for a fact that there are ideal buildings in London, facing closure.  Around central London and in east London are former shops and old buildings with no current purpose.  I will not be a big studio: not an Abbey Road-style mecca; more a cosy yet attractive base.  On its outer shell will be psychedelic and psychotropic adornment: something akin to a Beatle-esque mural; not gaudy, but striking and stand-out; front and central will be the studio name and logo.  Inside it will be more modern, but not sterile.  Housing a veritable smorgasbord of homely comforts, there will be a few bedrooms, living/communal area, as well as a garden, reception; forming a circumference around the centrepiece: two adjoining studios, complete with control rooms and rehearsal space.  Its design and layout will be different from anything else; its purpose: to provide a cocoon for a handful of artists (with the sister record label as well as guests); tied to a centralised and focused motto: Create an environment that inspires great music, affordable and accessible to all.

 

The Music-Themed Bar/Café:

 

Okay- not strictly related to 'new music' or talent-hunting; more of a new type of bar.  I have long bemoaned the plight of the coffee shop (the multinational one anyway).  It used to be the case that you could grab a coffee, in a relaxed environment; and relax.  Unfortunately it seems that they are glorified nursery.  Aside from the fact that babies and children have no business being in a coffee shop; the associated and combined noise is enough to cause an aneurysm.  I have no quarter with conversation; on the contrary: it is just noise and irritation that gets my goat.  It is a sad reflection of the times that most public spaces are being child centric; or at the very least, all encompassing.  There are few places one can go to unwind without the looming threat of juvenile delinquency and petulant screaming.  In the U.S. there are a lot of music cafes and bars, yet in this country there are relatively-few.  If you travel to London, Leeds, Manchester, Glasgow etc. there are a fair few: although that said, there aren't as many as there should be in London.  The idea is simple: have a spot that is devoid of irritation and calamitous infancy; instead a wash of music and conversation greets the willing patron.  It will be have the Psychoacoustic name, yet will try to marry modern as well as 'retro' and vintage flavours.  It will be a spacious bar that will serve coffee as well as alcohol.  The décor will be a mixture of jukeboxes and music players- where anyone can select what they want to play.  There will be a small stage for live performances, as well as two floors.  The stage will be downstairs, where as upstairs it will be slightly different.  Here there will be a lot of music memorabilia: photos, scenes, souvenirs and instruments from famous bands and acts.  There will be lyrics written on the wall, a space where you can create music of your own, as well as a communal wall where anyone can write and share inspiration.  There will be vibrancy as well as calming touches; sofas and comfortable seating areas, but above all, a clear credo: a space that appeals to the musician, with none of the unnecessary noise or disruption.  It will have a combined feel of a bar and coffee shop and will try to combine charm with modern sharpness: the combination will be a unique bar that hopes to attract many.

   Of course places like Planet Hollywood exist; yet are a bit gaudy and touristy (sic.).  There are plenty of pre-existing music bars and cafes, yet most are smaller and less well-heard of.  My intention is to create- at first a one-off-a name that can lead to global representation and franchise.  I do not want something faceless and corporate: more a bar that is unique and fascinating, yet can be transferred and incorporated by an international market.  I feel that there are few venues or spaces one can sit and talk; write; listen to music; create music, as well as have a quiet drink or see a gig: all under the same roof.  It may seem like pie-in-the-sky thinking, yet is not beyond anyone's reaches.  The design would be easy enough-given time; and it would be something- I hope- that would attract a wide range of people- from all around the U.K.  I hope so, anyway....

 

The Charity:

 

The final tentacle of my five limbed squid is a charity: a benevolence that helps to prosper musicians, and non-musicians alike.  Let me elaborate.  There are a few charities around which aim to provide funds to the new musician- not many mind.  The idea is to filter and tribute the profits and finances gained from the other arms of the business, and funnel it into the charity.  Of course it will not receive ALL of the profits: there are staff, expenses and other costs that needs to be dealt with, yet will (hopefully) benefit from a sizeable chunk of revenue.  The charity will aim to provide funding to new musicians: those struggling, as well as those finding it hard to fund their projects.  In addition, finance will be assigned to worth music-related projects: invigorating struggling venues; providing support to record labels as well as independent record shops and larger chains alike.  Aside from music digressions, it will have an intention to provide support to a multitude of other charities.  The idea is that an assigned percentage of donations will go to charities, such as cancer charities, those whom support the elderly etc.; yet will also aim to benefit many others.  I would hope that the charity could entice established as well as new musicians to act as ambassadors and supporters: whom would help to raise funds for the charity- as well as raise awareness for worthy causes.

   All of us have experiences tragedy of life: either first hand or indirectly.  Whether a relative has died of cancer, or a local business has faced ruination; there are many things and events that can shape a human being for the worst.  Of course we have established charities and great causes, yet few that are music-based.  It is hoped that not only Psychoacoustics' profit-share benefit a multitude of charities and ventures; but it would inspire multinational companies, organisations and huge bands to kick in some funds; help raise revenue and assist in rejuvenating people, causes and lives.  There is a lot of focus based around self-involvement and self-enrichment; yet small mind is paid towards those less fortunate.  This would be a way of helping to raise money, yet also be involved with music and musicians.  The idea is that the charity would have a website and you could pledge an amount.  Like the Psychoacoustics website, one could download and access music- at a cost; the idea being that as well as purchasing a track or album a small amount would go to the charity- thus benefiting the associated musician as well as others.  Gigs would be organised and events (runs, bake sales etc.) would be hosted; with the intention of encouraging as many different people- from all around the world- to donate their time and effort to symphonise a more stable future.  Who could object?

 

'The Ambition and Long-Term Goals':

 

Inspire others (myself included):

 

I have about 5 or 6 great (well, pretty good) music video ideas in mind; yet nowhere to put them.  I am looking to find a song that can fit the images.  There are a lot of different emotions and thoughts that occupy my mind; yet there seems to be little change of having them heard.  If it's easier to connect, to make music, to find a voice etc. then it is easier to create as well as inspire others.  I am aiming to give an outlet to as many as humanely possible.  Music is the singular-greatest thing in existence: something that unites as well as divides.

  

Raising money for musicians and charity:

 

Sorry- almost at the end!  I want to mention two different musicians, if I can?  The first is Fran Galea (https://www.facebook.com/chessofficial?ref=br_tf), A.K.A. Chess.  I became aware of Fran a while ago and was instantly struck by her ambition, as well as her great taste in music.  A fellow worshipper of Michael Jackson, Prince and Freddie Mercury, here was a woman with a great eye for quality.  I had the pleasure of reviewing for her; her E.P. Babygirl included.  I was struck by her voice: at once powerful and dominating, the next sleek, seductive and romantic.  Her sheer range and power could not be denied; nor her quality or desire.  She is a hungry artists whom is doing her native Malta proud.  I have spoken to her (verbally) only once; yet have been in frequent communication; keeping a keen eye on her progress.  Fran also teaches too, and has dedicated much of her young life to realising her dreams and doing what she loves to do: making music.  I have watched with nerves, Chess' plight, with regards to raising money.  Previously, Fran has been able to raise money through Kickstarter: relying on the generosity and support of some loyal fans.  In addition to working incredibly hard to raise money, she has worked tirelessly to have her music heard.  It is a sad realisation that in order to record music and realise ambition, a lot of money is needed- a huge amount in fact!  Recently the funding for Chess' forthcoming Tuxedo E.P. has completed (well done again!).  As I speak music is being created; ideas bursting forth, and a young musician is preparing to make her next moves in the music world.  Fran is very excited- if nervous- about the next few months.  There is expectation, yet above all, there is personal expectation.  She wants to create something memorable, and something that is true to her and shows how good she is.  I am a big fan of Fran and Chess and will continue to lend my support: as a listener, funder and reviewer.  She is a very down-to-earth and lovely person, and someone whom is deserving of accolade and huge attention. 

   The second person I want to mention is Elena Stathaki.  She is based in Surrey, yet hails from Greece, but is someone whom has a very different voice, ambition and personality.  I have been lucky enough to recently review Elena Ramona (https://www.facebook.com/pages/Elena-Ramona/323928237668916) and her wonderful single Rise.  It is a wonderful song that displays the young artists talent and gorgeous voice.  I am very jealous of her in fact.  She is working her backside raw to raise money to make music- she has an E.P. coming up.  I know from speaking to her, that an E.P. is in the works; songs are taking form, and big plans are afoot.  She is not wanting to give too much away, but one thing can be confirmed: the ensuing release will be fantastic.  Aside from being pretty damn close to my dream woman, she has a very admirable attitude to music.  She wants to work as possible to make her own music; to bring her sounds to a wider public, and to realise an ambition she has had for...well, ever.  I will do all I can to help her, and am keen to be involved with her music in the future: as a reviewer, and fan.  I know she will a huge star and do not need to blow smoke: it is waiting to happen.  I know that Elena has worked tireless to make music and to raise awareness, and feel that there are still too many unaware of her sounds.  I hope to meet her in the future to help foster her ambitions, yet for now the main thing I have noticed is how much she loves music.  Her mind is taken up with what the future holds and what she can achieve: I get the feeling that few things in life are more important.

  I know many others that have been working hard.  I have mentioned Lisa and James from Universal Thee; Abi and Marc of Issimo; Alex, Ryan, Luke, Jack of Jingo, Chloe and a host more (my previous reviews will show you how many new acts have struck me).  I see cases of local talent whom are hungry and headstrong with regards to making music, yet are having to work themselves to the bone to make it happen.  It is admirable that such effort and passion is put in; yet one feels that it should be easier for tremendous talent to make their dreams a reality.  I am hoping that the website will make the business of making music easier; as well as providing links, fans, venues and support to artists; so that they can dedicate more time to making music.  I hope to attract some aforementioned local names to the record label, studio, as well as the charity: to make it less costly for them to record and provide a future home for their future developments.

   There are many musicians out there that toil away; too many worthy people that have to work too long and tirelessly- many of whom never manage to record anything.  I am hoping that finance can be raised to provides huge support to artists, as well as connects them to a global audience, as well as a multitude of adoring faces.

 

Make necessary changes:

 

From my own perspective, I have found recording music a task.  I know full well what my voice can do: dear God how I want to back that up.  I suppose I can write a good lyric; if I haven't quite mastered the whole 'traditional song writing' formula.  I have ambition to record music, yet find that a combination of nerves, lack of money and energy have rendered my boldest intentions a mere orphan.  I know that there are a lot of bedroom idols; a great deal of bands and acts that are wanting to poke their head above the parapet: yet are struggling to find a grip.  There is plenty of money out there, as well as potential.  I am aiming to create a brand that makes it easier for music to be made; making it easier for worthy people to record music- as well as bringing as much music as possible, as far and wide as I can.

 

Reality Check?

 

Lot of dreaming huh?  Surely not possible?  Well...yes and no.  Sure it is true that each facet and chain of the link will require money- a hell of a lot.  That is true, and where does one even get the money from?  A good question as well, but one that can be readily answered.  The initial hope is that the idea will appeal to many: that it will strike a chord with as many as possible.  With a less-than-hectic social life, sans girlfriend, I have a lot of restless energy that needs satisfaction.  I do not see any of it as a distraction, nor an idea that will ever become boring.  The premises will be out there somewhere; the need is there; the website can be created and realised; and a charity set up, it all comes down to two different things.

   Demand is one thing.  On Facebook I have few 'friends'- slightly less on Twitter.  Getting the word beyond this blog and my Facebook page is going to be a task in itself.  If it strikes the ear of even a few people then it will be worthwhile, yet its future success and creation can only exist if there is a larger market awaiting.  I will try as hard as possible to spread the word and get some feedback.  It is so often the case that people are only willing to pay attention when something is complete: they will only consider a website when it is live; a bar and studio when build and a record label when it is set up.  It is a sad reflection on people's attention spans and considerations for others, yet is fair enough I guess. 

   The second, and most ominous beast, is money.  Just recording one track can require hundreds of pounds, so surely realising all of this will require hundreds of thousands?!  Well...yes.  The plan is to not do it all at once.  The first stage is going to be set up a website.  I have most of the designs in my head and know what I want it to look like.  The record label is at the forefront as well, and will spend as much time as possible trying to get the funds raised.  I can think of ways and means to do that- it may take a lot of personal sacrifice, mind.  The initial goal is to see if people would ever be interested or gripped by a Psychoacoustic concept? It is not one man's bid to become a multi-millionaire; more a way of galvanising the music industry and providing a support to new musicians.

 

AND FINALLY...

 

It may be one hell of an ambitious plan: why would I do it any other way?!  The idea of me posting is to see if anyone would buy into it.  Wold there be a hungry market?  Would it flourish many years from now?  It will take a lot of money to get everything off of the ground: which is a curse that is a hamstring to most people.  My Big Question is this:

 

Who would want to see this happen?

 

Let me KNOW...

 

X

"The Equality State"

Where as my last blog was a bit of a window into my personal doubts; issues etc., this is more forward-thinking and positive- alas, not about music... would have been a hassle to create a new blog site for comedy!

I have been exhilarated by Breaking Bad.  I am sad that it ended, and cannot believe it existed- seemed to be a wonderful fever-dream: the likes of which we may never see again.  Comedy shows like The Simpsons, Family Guy and such are past their best, whilst others like The Big Bang Theory never seem to tire.  As much as I muse on these events, one thing springs to mind: they are all American.  The U.K. is capable of producing great work.  There has been some terrific comedies and dramas, but the U.S. always seem to lead the way.  We can do drama very well- not quite Breaking Bad great, but great none the less.  Because of the comparative lack of money, it is often harder to be ambitious.  I believe that the U.S. has more money and a bigger creative industry, but not the greater talent.  We have some of the best actors, funniest people and finest directors in the world.  As I am typing this, I am watching a classic episode of The Simpsons.  I am always amazed at how many jokes the writers could jam into a single page; let alone an episode.  Comedies such as The Simpsons, South Park and Curb Your Enthusiasm are cornucopias of intelligence and outstanding break-neck comedy.  Dramas such as Breaking Bad are a dramatic equivalent: astonishing performances, terrific writing and compelling stories.  In this country, we seem to be a bit quieter.  In terms of comedy, we have been a bit hit-and-miss.  I love The I.T. Crowd; I love The Thick of It.  If I were to cast around for my favourite British comedies, most of them would be from the '80s and '90s: there are few modern equivalents that excite or inspire me.

I had the pleasure of being part of The Cambridge Footlights for a couple of years and have seen some terrific talent go onto appear in shows such as The Inbetweeners, Downtown Abbey and Him and Her.  I have always admired the drama and comedy of this country, but feel that we may be stagnating.  In terms of comedy there are too many studio-based variations on the a theme: two many family-based comedies that are gentle, but not exactly gut-busting or adventurous.  We have produced a few gems, but it is still the U.S. that leads the way- by a long way.  I have been wondering why.  I suppose we have less money;  but above all networks such as The BBC are the only station that commission unsolicited comedies: there is still an aim towards inexpensive, family-friendly comedies.  It has always annoyed me, because the finest comedies of the moment are as far from this as possible: they are ambitious and unique and take risks at every turn.  For years there have been attempts to replicate the majesty of early-'90s The Simpsons; classic South Park; cutting edge Curb Your Enthusiasm, Seinfeld and the like: yet few success stories.

Anyway, below is an idea: something that is an animated comedy: something that this country never really dabbles in, but is much-demanded.  It will be posted through the doors of the BBC; it will go to a few production companies, but I have the feeling it may rely on a Kickstarter-like financial campaign, tied to a willing and ready production company.  I admire any new comedy, but have been thinking about animation.  The Simpsons, Family Guy and South Park are three of the best comedies of all time.  It allows you to be as ambitious as possible; it costs relatively little; it takes a few hours to record each episode, and allows you to bring to life anything your imagination comes up with.  There are a few animation companies in this country that are looking for projects.  I have been meaning to make a show for two people: Raph Shirley and Kate Hollowood.  The former is an old Footlights colleague whom is an everyman with impeccable timing; a superb comedy talent.  The latter, a fine and brilliant actor whom is a versatile and very funny human.  Both can knock comedy out of the park; and both will appear in many in their careers.  I have been excited by the prospect of creating a comedy that can grab a foothold and make an impact- see below.

Once it is written, I will be thinking of ways to make it a reality: whether it is a Kickstarter campaign, a pitch to the BBC; a project that needs to go to an independent company- but most of all, I want to know from people: is it something that people would watch and would be popular?  I hope to make it as terrific and funny as possible; to have great lighting and beautiful scenes.  Take the cinematic beauty of Breaking Bad, and cheekily incorporate some of its themes into an animated comedy; have some of the adult humour of South Park, the sharp pace of The Simpsons, and a British sensibility.  A tall order perhaps, but like music endeavours, the ambition is all there...would it be something that could make it?

"The Equality State"

Pilot episode

(29 minutes):

"London, Wyoming"

Desired Cast:

Kate Hollowood

Raph Shirley

Sarah Solemani

Male- major role

Female- minor roles

Male- minor roles

Desired Soundtrack:

No One Loves Me & Neither Do I- Them Crooked Vultures (Theme)

Lotus Flower- Radiohead (Opening track)

Familiar Feeling- Moloko (Final scenes and end credits)

Synopsis:

The pilot focuses on two different couples in their 20s, who come together; during Hallowe'en of 2013.  Their coming together will have a huge effect on each other; that will change their lives and cause huge waves.

Alice Yorke is a Jehovah's Witness, she is down on her luck and a mother-to-be.  She has just learned she is pregnant and tries to balance her daily life, coping with it.  She goes door-to-door in east London; trying to spread 'the good word'.  The local citizens are not so accepting, and as she meets some weird and wonderful people, she starts to doubt herself.  As the sun rises over east London, Alice and her 'colleagues' try to change people's minds; before a huge song-and-dance number breaks out: D.E.N.I.A.L.  As a hard morning drags on, Alice returns to her Canary Wharf apartment she shares with her boyfriend.

The boyfriend in question is a one Stefan Buckley.  He has recently been fired as a teacher, and spends his days obsessed with Radiohead; smoking, drinking and preparing for an upcoming court case: a harassment charge made by Thom Yorke.  The two sit down and discuss the future possibility of becoming parents; both knowing that they do not have the money or security- or stability- to be able to handle it.  They weight up their lives, and recollect how and why Stefan got fired: both aware that they need to change their lives.

Over in Camden, P.C. Natalie Mercury is on the beat- and on a crime scene.  She is a controversial and 'bent' police officer, and has been in trouble constantly.  From drag racing The Red Cross; wrongful arrests, parking in disabled spaces and tampering with murder scenes, her boss is fuming.  Natalie arrests some 'freedom-hating terrorists'; lays down the law and not strictly playing by the rules- not realising they are Hasidic Jews.  When they complain, she tells them to 'tell someone who cares'; as there is a smash cut to her Chief Inspector's office; as a stack of complaints and written warnings are piled on the desk.  She is given one last chance, and told she is on very thin ice.

In a local hospital, her high-flying and dashing boyfriend Dan Bush is experiencing a typical day.  In the clinic he is dealing with some strange and depraved patients, whilst dealing with the advances of a gorgeous co-worker; as well as fending off a tyrannical boss- who is rather violent and angry.  In his spare time, he manages a successful band (Famous Atheists)- as well as looking after his sick and cantankerous parents (two 80 year olds).  After a rough money, he catches a quick break at his flat; located opposite a kebab shop in Camden.  He meets Natalie there, as the two discuss a recent event: Dan proposing the previous night.  With Natalie's job at risk and pressures in Dan's life; Dan starts to feel the strain; as Natalie makes lavish- and very unusual plans!  As they prepare for the evening's Hallowe'en party, the day ticks on...

Alice deals with the effects of morning sickness; choosing inconvenient and embarrassing places to fall ill.  The day continues, and the four prepare for the evening.  As the guests arrive in various costumes, Alice's niece is round as they have to babysit her.  She is a very 'mature' and strange 4-year-old and causes all ends of issues; not helped by Stefan teaching her how to smoke.  The party swings on, as each of the couples confide in each other; and their various doubts.

As the morning arrives, the four go separate ways.  Alice is left to clear up the mess and carnage of the night before; before having to go onto the streets, in a desperate attempt to bring the word of Jehovah to Elephant and Castle and Hackney.  Dan has a nightmare morning as his colleague makes a pass, and his fellow doctors tease him about settling down.  Natalie is fired for letting a drunk meth-head drive her home after the party- in a police car.  Natalie has her badge, car and clothes stolen, and is now out of a job, being pursued by angry criminals, with the Met. Police angrily demanding the return of the stolen assets.  Stefan spends his morning trying to invent the perfect hangover cure; looking for a new job, as well as being embroiled in a battle with a neighbour- with disastrous  consequences.

The two boys meet up at a local bar- Homme's; they discuss their situations and both feel trapped.  They are making plans for the future when Stefan gets a phone call with terrible news- he may only have 8 months to live.  The two girls meet at an Australian bar in Soho.  With Natalie fired and Alice dislocated and lost, they both feel a change is needed.  After both drinking a well-known cocktail; Natalie still has drugs- taken from a local gang.  After dropping them in the cocktail; she accidentally takes a sip.  The effects start to take a hold; leaving her sedate and ecstatic.  As the girls make their way home on the tube, they see the depression of London life; the inequality as well as the beauty and fascination.  As Alice finishes her day, arriving at the door of a chavy couple, Natalie calls.  Suddenly a master plan is struck, and the girls strike upon a way out of their problems.

Stefan and Dan have a heart-to-heart and asses the news.  Stefan decides that he has been a disappointment to Alice, and decides to make a list; a sort of Bucket List, where he will do as much as possible- as well as achieve as many goals as possible.  The girls realise that Natalie has stumbled upon an addictive and potent invention.  The two set up premises in the empty basement of the kebab shop (opposite Natalie and Dan's flat), and come up with a name: The Equality State.  It refers to the effect the cocktail has where everyone- rich or poor- is levelled and equalled: everyone feels the same.  It also refers to Wyoming, a U.S. state which is mountainous and sparsely-populated.  It seems like a metaphor for their business, and how they customers will blend into London life.

As the police close in on Natalie and Dan's flat and the walls close in, Natalie still uses her pull and power as a police officer to round up customers and make money and connections.  Stefan and Dan begin a list of 30 'to-dos' or tasks; starting with number 1- with the help of Dan's band, Famous Atheists.  The two forget about work and life.  Dan does not mention that his colleague made a pass, as well as his doubts about the wedding; Stefan does not let Alice know about his illness.  Meanwhile neither girls mention their business venture, as well as Natalie's firing, and Alice's doubts about motherhood.

In the closing scenes, Alice and Stefan talk about the future, and possible abortion.  Outside an inappropriately-named abortion clinic, as the rain lashes; the two realises that they want to stay together and need a future to hold onto.  Knowing that each of their lives will be very different and turbulent, they continue as they are: making sure neither knows of each other's fate.  Natalie and Dan spend the night together; neither revealing truths, but promising to stick together.  As Moloko's Familiar Feeling plays, the conclusion plays out.  The girls find that they are being pursued.  Alice has her colleagues, as well as some of her 'faithful' chasing her; angry at her betrayal and revaluation; as Natalie finds that her flat is taken over by the police; keen to find her, as some disgruntled criminals also close in.  Stefan has a court case; illness and fatherhood to think about, as Dan's colleague announces her intentions- leaving each pair with much to ponder.  The screen splits as each of the couples go separate ways.  Stefan and Dan head to Essex to fulfil the next 'task'- both trying to escape from life; unaware what ramifications could be in store.  Natalie and Alice have a huge queue of customers, as word spreads.  As the siren's flash across the street and the flat is turned over, the girls both join hands and smile; realising that London will be changed, and that their lives will never be the same again...

The idea of the comedy is to cheekily reference Breaking Bad, as well as have potential for multiple episodes.  The show focuses on the two couples, but has a whole host of peripheral and secondary characters from episode to episode.  As the girls' lives untangle and progress, they find that their discovery is attracting a lot of attention; as the two balance trying to earn money, but stay clear of the law.  Dan and Stefan bond and try to fulfil Stefan's wishes, but both couples have a hard time hiding the truths from each other: at the end of the pilot cliff-hangers are unveiled and a few surprise twists as well.

I hope it gets made; I hope it lasts; it may not, but will try my hardest- surely there is room in the market :)

Music: How Everything Comes Back To It.

Sunday. 

 

A day of rest.  A day to reflect.  A day of...

 

Well, stress.  The last day of escape before a return to (working) reality.  The roads are crammed with idiots; the streets littered with slow-moving people; above all, a creeping sense that in less than 24 hours, you'd wish you'd made more of the previous day.

 

There has been a creeping sense of doubt coming to my mind recently.  Later I will be posting a blog about a new comedy (I have devised); something that is causing some excitement in my mind.  My working week has become a lot harder as of late.  A combination of increasing stress, growing pressure and personal circumstance have made the thought of another week almost unbearable.  My brain has been letting me down.  Dizziness, migraines, falling down, mood swings; deja vu, trouble walking have made me think something is badly wrong.  If you live with clinical depression and insomnia, you hope that nothing else impinges upon your life; you hope for enough positives to impose some sort of balance.

 

I have been very proud of some of my friends as of late.  At work, I have some very nice and supportive colleagues; who make the stress and sense of fear manageable- and there is a lot of fear.  I have some musician contacts whom have followed their dreams, and put voice to microphone- creating songs, making plans and raising anticipation.  I deeply admire that: that ability to do what you want to do in life; not what you think you should.  My actor friend, Kate Hollowood, has had some recent success- and has inspired a blog that is to come later...

 

As I sit here and think of others; buying gifts; hoping couples are well; that people I know are fine, and that everyone I know is good.  A combination of ill health, uncertainty, and a lot of stress and growing fear and sadness have sharpened my mind.  For all of the terrifying neurological gut-shots; clarity creeps in.  I have been thinking more of companionship: you get to a certain age where being single is not the most logical and sensible option.  I have been making plans for other things: save for a holiday; move out; treat others, and above all- make plans for the future.

 

I have never thought too hard of the long-term.  Having come out of a year-long spell of unemployment, the only priority was finding work.  Now I have, I find myself thinking ahead.  I want to be near London; to move on- I want to be in an environment where I am secure; where I can thrive, and essentially where I feel safe and happy.  I have been very unhappy for many years, and want to change that: I want to make the most of what time I have.

 

Music has always been an obsession: a mistress; a lover; a sister; a loyal friend.  Some will know that I have been reviewing music (on and off) for a while now.  I have witnessed many different acts and bands come in: ranging from Swedish electro, to London punk.  Few people know the other side of the story: me as a musician- well an 'aspiring' one at least!

 

I have been writing music since I was 18 (12 years now); and have a double-album's worth of song titles, designs, names, lyrics and ideas.  I yearn to find 4 super musicians to complete the band; to help put life to the songs.  I have been working on my voice.  Whether it is a side effect of a deeper trouble or a strange (if pointless) talent; I can stretch the thing quite far.  I have always been obsessed and enamoured of the voice; from the likes of Kate Bush, Freddie Mercury, Otis Redding, Bjork, Thom Yorke: I adore 'em all.  Rather than be inspired by them, I have sort of trained my voice to sound like them- all of them.  Being a 6"3 white guy from the Home Counties it may sound incongruous to have the tones of Kate Bush or Howlin' Wolf in your armour; unnatural and strange.  That is what has always compelled me to do it.  No other singer has tried to make their voice that, well- flexible.  Whether it leads to ostracising looks and fear, be damned: it makes me excited.  I don't want to hone or reign it in; every weird robusto soprano; contralto; falsetto; bass and tenor movement excites me; I want to sound a bit like London Grammar, Mazzy Star, Tom Waits, Pavarotti, Chris Cornell- whoever.  It gives you range, and possibility, and it forces people to listen.

 

What is the point of all of this you may wonder (or not)?  I guess it is a call to arms.  I have been watching friends go through hell; some through doubt; have had a woman on my mind for too long- causing sleepless nights.  I have had stress, near-death misses and fear and horror over the last few months.  As the week unfolds I am glad that there are people that like me, appreciate me and will look out for me; yet cannot shake the fear and sense of instability, illness and sadness.  I am 30 now, and feel there is little time to follow my dreams, if I don't start making plans.  I feel that you should do what you want to do in your own life, and not exist in uncertainty and fatigue.  I have witnessed a few of my favourite people growing and encountering success.  In work, relationships and life in general, big strides are being made.  People that were formally unhappy and lonely, have managed to turn things around.  The 'relationship' 'financial' and 'personal' boxes have not been ticked by me yet: I want to them to be. 

 

I only have 3 goals over the next year: find the money, bravery, enthusiasm and luck to be able to make music: if only one song, to show what I can do and what I can accomplish.  I want to be less alone; to have someone to help foster my ambition, and finally, I want to feel safe- not happy (it may be a stretch), but secure and safely ensconced.  Having a job has afforded me the chance to earn money to make plans and look ahead.  Whatever I am doing at the moment is not working out; and whether it is impossible or not, I want to be where I am now, to where I want to be: to have everything in its right place, and to be part of a happier world.  It all comes down to music: I am listening to it now; it distracts me; it inspires and is compelling me to get back to reviewing again...

 

The simple message is this: if you are the type of person whom has ambition and wants to set the world alight, then do it now: too few people do and have that impetus.  I hope everyone- who wants to- gets there.  A lot of people I know are doing that, and I want to join them- very soon...

 

Because one simple change... can change everything.

 

P.S.- new reviews to come soon; new blog to come in a few hours.

Music, Lyrics and Voice: Sam Liddicott

It has been a fair while since I have put finger to key; to write about music....

There are two (unflinching) reasons for this.  For one, I have been introverted by work transition, financial difficulties and personal ups and downs: all things music reviewing-related have taken a back seat.  It is the minor key of a major symphony: a lack of inspiration.  Not so much from me (I have been writing my own stuff quite expeditiously and unabated); the lack of inspiration comes from others.  As much as I enjoyed trying to find new acts and artists- in a hope to give them some spotlight- after a while the creative stagnation, lack of originality and over-familiarity become too much of a burden.  It became quite laborious to find new things to say about the emperor's new clothes; to be sagacious and effusive about musicians; many of whom were saying the same thing as dozens of their contemporaries.  It is easy to become jaded and fatigued (whilst reviewing music).  With the birth of new acts (seemingly) running parallel to the growth in human population, sifting through the seas of sounds does become arduous.  I am always filled with admiration each time I see a new act enter the scene.  It is a brave thing to do, and- considering what a fickle and unpredictable mistress the music industry can be- something that I envy (more on that a bit later).  My bane and primary malady emanated from a deep-set and troubling realisation: there was precious (little) spark.  Sure, many made a noise; created electricity; kept the senses primed, but when it was all over: where was the memory?  The mind and body may have been (briefly stimulated) but the lingering sensation was oft one of quasi-afterglow: not a cherished and unforgettable memory.  It is true that the last decade has introduced very few plaudits: no contenders for the greatest album, song, band or a act of all-time (with a few exceptions).  It was the roaring '90s which saw the last real and relevant wave of fascination and majesty.  Since then, there has been the odd masterpiece; a few good men and great women; a novella of pointed lyrics- but very few sounds have stuck in my mind.  My last blog post examined the lack of huge ambition in the music industry (http://musicmusingsandsuch.wordpress.com/2013/07/07/new-music-the-death-of-grand-ambition/).  I theorised that there has been scant purveyance of mind-blowing and gravity-defying music: too few attempts at grand multi-part epics; far too many simple and uncomplicated songs.  It is simultaneously depressing and prescient that my favourite album was created in 1994; my all-time favourite song was pressed in 2003; my favourite singer died in 1991, and the band whom I admire the most disbanded in 1970.  The '00s have unveiled a paradigm shift away from adventurous originality and variegated and polemic invigoration, and towards a consecrated and immobile predictability.  I have postulated- and will continue to speculate- as to the reasons why behind the how; the where between the when of how things have ended up how they have.  The bottom line is this, though: the ambition and daring is not there... not that I've heard.  A single song- in its most homogenised and spendable form boils down to three core components: the lyrics; the music and the voice.  There are boxes within the headings; sub-headings within the bullet points, and a checklist within the checklist that has been unfulfilled and under-examined for too long now.  Perhaps I am over-simplifying and displaying some naivety and fecklessness.  I do- however- feel that the catalyst for a resurgence; a sea change towards divinity is not out of reach (far from it, in fact).  With a wealth of consumer finance, talent and potentiality, it is simply a matter of time before a revelation occurs.  If one were to examine the three pillars of a song's architecture, it is easy to see how (and where) changes can be made; re-appropriations can be formed- and how music's somewhat inconsistent name can earn back its reputation...

Music: 

"Without music, life would be a mistake."

This is an element of song writing and composing that is overlooked.  It has been the established guard that has created the biggest splashes when it comes to stunning musicianship.  The likes of Queens of the Stone Age have upped their game and come up with some of their strongest moves; acts such as Laura Marling and The National have continued their Di Maggio-like winning streak; deftly cranking up the quality meter (all the way) to 11.  Many new bands and solo acts overlook the importance of writing encompassing and surprising music: something that excites, seduces and surprises.  I have heard a few solo acts whom have had a decent voice; yet their strengths are outweighed by lazy and uninspired songs: the chief culprit has been one dimensional compositions.  It is not a case of cramming every instrument, genre, style and sensation into every song- far from it.  The thing that amazed me about the recent releases from Queens, Marling and The National was not the consistency; it was more to do with the quality.  Between those three acts, over two dozen albums have been pressed; yet their ability to confound, supersede and shock is inspiring.  It may be asking a lot to expect that level of consistency from all new music; yet it is surprising that there is not the ambition to rival the greatest acts around: how many brand new music acts go in that hard and passionate?  I cannot name one single album or song that has left me drooling and grinning (except for tracks by the aforementioned).  I have a lot of nerve saying this (as my songs are on paper at the moment, rather than on tape), but it can be as simple as an original and intriguing song title.  When I was writing my not-yet-released-or-recorded-or-started album, the most important step was this: strike memorable note.  Get the band name right.  Make the album title compelling.  Make sure the song titles were largely unique, and interesting.  I was hoping that just by having the track listing (see below), fascination and wondering would be elicited...

Death of the Sweetheart - 'Marriage: The Beautiful Revenge'

Black Majesty Blues- 6:19 

Ultraviolet Robot- 4:24

Emma Cool and the Boston Dance Party- 5:20

I Fall To Pieces- 5:13 *

Minnesota- 4:11

Six-Figure Surname- 1:54

In The Word of the King- 3:23

We Have Seen Better Days- 4:16

Last To The Trigger, First One To Shoot- 3:30

The Uptalk Epidemic- 5:11

Vanity Mirror- 8:02

Running Time:

51:42 minutes.

Barring one cover version (I Fall To Pieces), the idea was to have a selection of songs that covered huge swathes of ground, but above all, stuck out.  Track names were inspired by friends (The Uptalk Epidemic); rejected song titles from another band (Ultraviolet Robot) and a fevered and surreal dream (Emma Cool and the Boston Dance Party).  When you hit upon an unusual song title, oddly, the musical ambition becomes bigger and bolder.  I have come across some great song titles from various different acts; yet there is an over-reliance to phone it in: choose the mundane and the predictable, in the hope that it will not alienate too many people.  I think that one of the secrets to longevity and future-demand is a diverse sonic palette.  If you take a band like Radiohead, think how much ground was covered on albums such as Kid A and OK Computer!  From one song to the next, there is such a wealth of land covered.  I feel that so many new acts are instilled with fear and anxiety.  Due to the huge influx of new artists, combined with a small and finite budget; there seems to be trepidations to push the envelope.  For bands, there is perhaps more scope to make some noise, yet there seems to be hesitation.  Even with guitar, bass and drum, a myriad of moves and directions can be summoned.  Some new bands such as The Strypes (stupid band name aside) have employed elements of '60s pop and punk; combined it with something modern and fresh, to create a more impressive whole.  I guess the first song, debut E.P. and initial album are- as well as being the most never-wracking- are also the most important.  As crucial as it is not create a unique 'sound' and identity, as well as be original; it is even more crucial to make a huge mark.  And the plain fact of the matter is this: if you don't make bold moves with regards to the music, you won't be remembered in years to come; you won't inspire legions.  One of the reasons why I went into a music reviewing hiatus, was the fact that so many solo acts and bands sounded so similar.  A lot of bands were ripping off other (well-known) groups; whilst a great deal of solo artists came across as dull, ordinary and unspectacular.  There are notable exceptions to name, but most of the most stunning acts were European or from the U.S.  With regards to the U.K. swathes, too many limitations were evident.  It does not cost a huge fortune to employ a string quartet; use a range of guitars; throw in some ghostly church organ; maybe mix some blues and classic elements together?  I am not sure where the exact problem lies.  It could be that the sheer overpopulated music scene is subjugating genuine pioneers.  It may be that there is a need to replicate what is considered 'popular' or 'fashionable'.  It might be something as simple as a lack of ambition and talent; yet I doubt it.  I just feel that the reason that most acts show little range and ambition is that they are scared they will fail.  Whilst it is imperative to hone your sound, and make impressions (in order to be in demand), the price of fulfilling of the market need comes at the expense of bravery and innovation.  Who the hell cares about what the general public want?  The likes of One Direction and Justin Bieber command more respect and patronage than credible and wonderful bands.  The charts are a redundant insult, and the vast majority of the music-buying public are fickle and uneducated.   If I had a pound for every time someone said they are "too young to remember..." I'd be crapping banks.  I'd said 90% of modern music; and by that I mean 'mainstream' stuff is insipid and homogenised.  If you have to work three jobs to be able to afford an orchestra; if you have to sell your own blood to be able to create a phenomenal epic, then why wouldn't you!  Music is like the perfect partner: someone and something that keeps you awake, you'd do anything for, sacrifice yourself for; knowing that the rewards and sense of comfort and safety was worth it.  If people stopped giving a damn what people thought and what critics want; rebelled against the charts and the verminous boy band/crappy pop scene mould that seems to be an incurable ill, then something wonderful will happen.  Imagine what it was like in the '90s.  With the likes of Oasis and Blur battling it out, each creating anthem after anthem; a dance wave that was genuinely gobsmacking; acts such as Jeff Buckley and Britpop darlings causing your average muso to salivate and ejaculate at the faintest string or note, it begs the question: isn't it essential that lessons be learned?  There is a need now more than ever, to recapitulate the feverdream decade; to make this generation proud and inspired...and it doesn't take much.  Listen to a wide range of (stunning) music; don't be afraid to try and equal them; get the song titles right and original, and more than anything remember: a phenomenal song begins with a phenomenal composition.  So stop playing it safe, and take a risk.  By all means stick with guitar, bass and drums; but be bold and daring.  If you do, then a new wave of peerless music will be created, and more importantly something much-needed will happen: the sappy, retched boy bands and mainstream core will dissipate (along with their irritating and moronic fan base) and music will once and for all belong to the worthy: isn't that what we all want?!

A quartet of brilliant compositions:

Strawberry Fields Forever (1967)- The Beatles: http://www.youtube.com/watch?v=9r4mJ3aEhHo

Stairway To Heaven (1971)- Led Zeppelin: http://www.youtube.com/watch?v=8pPvNqOb6RA

Unfinished Sympathy (1991)- Massive Attack: http://www.youtube.com/watch?v=Nc1SdL3_Xmg

To Build A Home (2007)- The Cinematic Orchestra: http://www.youtube.com/watch?v=QB0ordd2nOI

Lyrics:

"I still don't belong to anyone - I am mine" 

Lyrics are my dream girl.  The woman at the back of my mind, whom makes me smile and keeps me awake at night.  The one that can blow my away with a smile and will never disappoint me.  It is a lust and fascination that few people I know, share.  A good friend, wonderful woman, and one of the finest human beings I know shares the passion.  She is someone who recites, shares and is in love with a brilliant lyric: it is one of the main reasons why I admire her so much.  In a larger sense, the lack of this phenomenon is troubling.  In the music world there are some notable wordsmiths such as Alex Turner: a man whom has a consistency for quote-worthy lines, memorable snapshots and stunning poetic works.  When you think of the greatest lyricists, you may head to the shores of Bob Dylan, Leonard Cohen, Morrissey, Neil Young, John Lennon and Joni Mitchell.  Over the last couple of decades, artists as diverse of Bjork and Pixies have offered up some rather fascinating and impressive sets of lyrics.  Whilst the former can weave tales of innocence, beautiful landscapes and childlike fascination; the latter have a knack for the darker side of life: inbreeding, rape, murder, hatred and repression.  Neither act alienates or confuses: both inspire legions of adoring fans and are synonymous with brilliance and originality.  I am not sure what percentage of modern songs are written about love, but I am going to say that it is a vast majority.  Every song or side of love is new: every human being has a different experience, with a different person; from the perspective of a unique mind.  And whilst that is an axiomatic truth, the more worrying truth is this: how many songs do you ever quotes lines from?  Historically there are going to be a lot, but recently: how many bands and solo artists inspire your mind and take your breath with their penmanship?  I adore Matt Berninger's ability to make the morose and depressive beautiful.  He is a man whom dishes out tales of love and longing and imbues them with vast intelligence, wit and fascination; such as:

"Famous angels never come through England England gets the ones you never need I'm in a Los Angeles cathedral Minor singing airheads sing for me"-

England (High Violet)

"Karen, put me in a chair, fuck me and make me a drink I've lost direction and I'm past my peak"

- Karen (Alligator)

"Jo I'll always think of you As the kind of child who knew This was never gonna last"

- Sea of Love (Trouble Will Find Me)

Over the course of six albums, The National's lyricist has peaked a mountain of adversity, trouble and anxiety; and he keeps climbing, determined to conquer the insurmountable.  In my mind, he is in the top three modern lyricists.  The other two would be Laura Marling and Alex Turner.  Below are my favourite two examples for the two- each lyric demonstrates why they are so ahead of their peers:

"Late into the evening They would take each other screaming Looking darkly to the back of her eyes A careless beast was bleating"-

Salinas (A Creature I Don't Know)

"He greets me with kisses When good days deceive him And sometimes with scorn And sometimes I believe him"

- My Manic And I (Alas, I Cannot Swim)

"Fake Tales of San Francisco Echo through the room More point to a wedding disco Without a bride or groom"-

Fake Tales of San Francisco (Whatever People Say I Am, That's What I'm Not)

"In my imagination you're waiting lying on your side, With your hands between your thighs"

- 505 (Favourite Worst Nightmare)

I could recite on and on from these holy trinity, but my point is made: a terrific lyric can elevate a song to sainthood.  I began writing poetry when I was 10; I was published by aged 16 and have a notebook filled with lines and lyrics; like some sort of huge geek, and you know what: nothing gives me purer pleasure than writing lyrics.  There seems to be a correlation between depression and loneliness and lyrical majesty (perhaps Alex Turner is the exception).  If you look at the likes of Dylan, Cohen and Morrissey; each of these folks have suffered and gone without sex, love, happiness and satisfaction for large chunks of their life.  Break-ups, pain and suicidality has inspired some beautiful and mesmeric lines.  I am not suggesting that those well-adjusted, happy or fulfilled cannot pen a line- far from it, in fact.  It just seems to be a trend and observation, as most of the greatest lyrics- and as you can see from the above- do not resolve around depression, hate or emptiness: the tormented mind digs deep to introduce something striking and bold.  The greatest poets, writers and philosopher's of all-time could be considered insular, lonely and depressed.  From my perspective, when you have no arms to wrap around you; few truly contended days, and an upsetting inability to be able to 'fit in' and be a 'normal person', the brain buckles down and the words come out.  In a way, lyrics and poetry are a way of communicating where conversation fails: a way of getting out your most honest thoughts and purest emotions without becoming too vulnerable.  Music is a sociability that brings greatest rewards for the shy, upset and reclusive.  We inferior beasts yearn for love and passion and to wake up with a smile on our face; too few good days arrive and too many dark thoughts creep into our mind.  We are people; we are brave and this is how we communicate.  I am not comparing myself with the greats (the nerve would be galling!); yet I get things off of my chest and disguise my pain through lyrics; and I wouldn't have it any other way.  Too few modern idols pay attention to the vitality of a superb lyric.  It is the soul of a song, and get the words right, and you can pretty much win any heart or mind.  There is precious little to recommend about today's crop of lyricists.  If you subtract the likes of Marling, Berninger, Turner and the much-admired stalwarts of the golden pen: how many other greats can you name?  The blank page can be a terrifying place, but is also an opportunity to create something spectacular.  As vital as it is to be adventurous with regards to composition; making sure that the words are precise and memorable is of equal importance.  There seems to be too many clichés; far too many unspectacular thoughts and half-finished intention.  I am always keen to seek out a great writer, and feel that if there were more great lyricists, then more would be inspired to make music and let their inner most desires, demons and witticisms come to life.  I have been searching my own annals and notebooks for three personal (if not my best work) examples.  They are not my sharpest observations, but examples that make me smile:

"From the dust of the letter scented in lilac dew/The sun touched your face to fool the moon/Well fate's just a word that lovers blame/When the god of music stops playing too soon" - Minnesota

"I got a Christmas card from the city morgue in July/Talking of the weather and enquiring about my health"- Six-Figure Surname

"I'm the murderer in the romantic comedy/The mime artist in the film of the great war/The extra in the lavish musical/Prophet in the epic story of the lord/You can laugh at my condition/If you think it makes you tall/Although my scream is never heard/My silence says it all" - Last To The Trigger, First One To Shoot

"My dying words were the same as my very first" - Vanity Mirror

"It doesn't take a cardiologist/To know that abandoned ships will rust" - Infamy As Child

"You want the kind of love your mother used to love/A common muse for the chosen few/I'm a wallflower in The Tower of Babel/So how could you ever know how much I need you?" - Infamy As Child

A foursome of lyrical awesome:

Tangled Up In Blue (1975)- Bob Dylan: http://www.youtube.com/watch?v=ZN4GcOOSfuA

Hallelujah (1994) Jeff Buckley (comp. Leonard Cohen): http://www.youtube.com/watch?v=vIw0ewEsNHs

My Manic And I (2008) Laura Marling: http://www.youtube.com/watch?v=92QkdzlxeGs

England (2010) The National: http://www.youtube.com/watch?v=8Hl6GnmvMMA

Voice:

"He who sings scares away his woes."

I shall try and keep the last step of my musical trifecta, brief.  It is hard because here is a subject that I am more obsessed with than any other: the human voice.  You can keep your fine breasts, killer legs and pert bottom; if a woman has a voice that is seductive, calming or sexy, I can be reduced to a quivering jelly of a man.  In my mind (and in a perfect world) the woman whom shared all of my ideologies and theories about music; together with a similar musical taste; and has a gorgeous speaking (or singing) voice, would be damn-near perfect!  I have always been curious by the capabilities of the human voice.  Having watched endless animated comedies and having performed on a Cambridge stage many years ago; I have heard and witnessed comics adopt a host of accents and personas in order to amuse.  On a base level, vocal disguise adds mystery and a certain edge to a human.  It gives you the option to be someone different; somebody bolder, better and less fearful.  If you extrapolate from that what you will and apply it to music, there is a similar impetrative.  Many singers are shy and anxious; in actual life they may seem timid or nervous, yet singing allows a different side of them to be heard: the person whom they want to be; see themselves to be; an identity that is inaccessible in every other form.  As much as I have bemoaned the lack of keen wordsmiths; a paucity of innovative composers; my biggest peeve and concern is thus: the scarcity of truly great singers.  Historically- once again- there have been plenty of wonderful vocal forces- but what about today?  It would be incongruous to say that there are no truly great singers today (and by that I mean new singers; not pre-existing singers whom are still performing).  The likes of Adele and Amy Winehouse are- to my mind- the two greatest female singers of the past 10 years.  In the modern milieu and arena there are a few brilliant singers.  Male newbies such as Sam Smith and Matt Corby seem likely successors to a vacant throne.  Where as demigods such as Antony Hegarty seemed to define male vocal brilliance of the late-'90s/early-'00s; today the mantle is up for grabs.  I have heard few candidates whom provoke the same sort of reaction and visceral combustibility (as Hegarty).  For the female market, there are a lot of pretty wonderful singers, yet few that remain long in the mind.  For both men and women, there is a growing trend when it comes to singer.  Whether the voice is soulful, powerful, transcendent or unique a couple of exclamation points hove into view.  Even if the voice is unique and has a certain potency to it, you often wonder how long will the public react to it?  The greatest singers of all time have either had a huge (emotional as well as literal) vocal range; for those whom have a comparatively-limited range (Otis Redding for example) a sheer force and power has personified their lustrous wonder.  In 2013- and in fact for the past decade or so- there have been few new singers whom have- or do- posses a wide and multifaceted range, combined with an emotional conviction and unbelievable power.  Sans Adele, Winehouse et al.; answer me this: can you name five singers (from the last decade) whom you can say rival the all-time greats?  Perhaps it is because I adore the voice; or because I'm a borderline anal obsessive, but I can't help but wonder whether we will live to witness a vocal idol whom can rival the likes of Freddie Mercury, Jeff Buckley, Kate Bush, Marvin Gaye (or even the disreputable scumbag, Axl Rose).  Great lyricists are admirable and to be applauded; bold music innovators are to be commended highly; stunning and untouchable singers deserve the secret to eternal life.  My attention seems diffuse; I hear a great voice, become enraptured in its charms, only to lose interest by album number two.  I crave to bear witness to an artist whom carries a gilded songbook; one whom can compose varied, wonderful melodies and possesses a towering, platinum set of pipes.  The last female to do all three consistently is Bjork.  She is still performing, yet one suspects that her album-making days are limited.  I feel that the last male to be able to achieve this (again with unabated longevity) is Thom Yorke (of Radiohead).  Bjork has the extraordinary lungs; a voice that can go from a seductive whisper to an impassioned belt.  Her lyrics and music can range from imperious to romantic; giving the eager listener endless joy and fascination.  Likewise Mr. Yorke has a voice that can be quivering and vulnerable; yet can transmogrify in all directions; arriving at an animalistic scream.  A sharp penman, he can weave tapestries of loneliness, love and mysticism; wrapping it together with multi-layered and intricate compositions.  My favourite vocalist of all-time is Freddie Mercury.  His voice is a peerless and untouchable force of nature: something that is oft-admired yet never equalled.  An underrated songwriter, he has managed to inspire millions, yet seems to be under-represented in terms of modern-day wannabes (maybe a good thing; I'm not sure).  Jeff Buckley and Kate Bush complete the other two nominations.  Bush has an ethereal and child-like tone that can overwhelm and conquer hearts and minds.  Her range is phenomenal; her emotional ground vast and geographical diverse; her glorious pipes a thing of beauty.  Mr. Buckley is- to my ears- the possessor of the most beautiful male voice since...well, anyone.  Songs such as Hallelujah, Corpus Christi Carol and Dido's Lament demonstrate just how heart-stopping his voice can be.  Yet he was also the owner of a voice that could knock you down with its power; have you leaning into the stereo to be in the studio with him, and a twisted tongue that can turn a straight, tattooed, butch bruiser of a man into a sighing, swooning post-coital woman- cigarette in mouth, stains of the bed sheets.  If you look at the 'All-time Greatest Singers' lists; consistencies are to be found.  The likes of Mercury, Buckley, Bush, Axl Rose, Robert Plant, Aretha Franklin, Marvin Gaye, Elvis etc. are to be found.  Some polls include modern idols such as Amy Winehouse; older gods such as Roy Orbison, Chris Cornell and Paul McCartney.  I scan the electronic pages looking for a modern example (between the year 2000-today), yet come away disappointed.  Modern talent shows compound the problem.  Presided over by vapid judges whom parade desperate fame-hunting morons, each copycatting an existing singer; none of them worth their weight in horse manure.  Their nauseating sob stories and talentless minds brainwash an audience (mostly young women between 11-18) that this is the epitome of the modern-day singer: this is the best we can hope for,  Perhaps there are- again- legends-in-waiting that can extinguish my cynicism: writing songs as I speak, ready to unleash their firestorm voices onto the waiting public- I may be a little too hopeful.  There is so much potential and possibility that a singer can achieve and proffer.  There is too much focus on having a 'singular and unique' voice- something that is a signature sound- that there are limitations and an inbuilt obsolescence.  Why can't a singer have a voice that is capable of operatic glory; Grunge rawness; seductive beauty and all-conquering elasticity?  Again, I think it is fear (as opposed to a lack of talent) that is negating this drought.  On a planet where seven million humans call home, surely there is at least one human being that can allay my reticence, and dispel a large and unwieldy public dissatisfaction?  It would be arrogant of me to say I could be that one: the who-gives-a-crap purveyor whom stretches their voice in all directions, regardless of what people will think and how it will be perceived.  I can say, however, that I have that ambition.  I feel that getting the music side of things right- being a restless composer capable of endless shades and styles- is paramount and the biggest first step.  Someone who can get some original song titles together; songs that posses lines of grace, wit, raw emotion, vast intelligence (not in the same song necessarily, but over the course of an album for example) will be ahead of the game.  Throw in the third and final facet of vocal prowess: an instrument that can do and say anything- in order to match the associative lyrical and musical imperialism, and you have yourself a solution.  It is not that far-fetched to think that if one new artist could achieve this (I can name no new artist whom truly achieves this), this could inspire a wave of a followers to do likewise; and before you know what, the barrel-scrapers and here-for-the-hell-of-itsers (sic.) are relegated and buried, and a retrograde phenomenon is born: a new '90s for the 21st century.  I have a list of all the things I want to do with my voice- and can do now.  Attached to existing singers, the list below is something I want to disseminate over the course of an album: not in a copycat way, but take the elements from the singers and pull them together.  I see the voice as a paint colour chart; as a cocktail list.  My speaking voice is okay, I guess.  Deep, convincing and- I have been told a few times- sensual.  If I translate that to music then it comes across as rather directionless; pleasant enough, yes, but not a world-beater.  I have such an ambition when it comes to words and music, that the voice has to be, not just an equal; but better.  On a paint chart you have hundreds of different names for colours; yellow, blues, greens and reds given unique and weird names.  It is amazing to think how many variations one can choose for something as simple and basic as paint.  In the same way, cocktail menus have a similar charm and mystery.  All sorts of innuendo-laden, bizarre and eye-catching names are given to various alcoholic brews; a menu filled with flavoursome-cum-decorative allure.  I think every singer should aim as high as possible.  By identifying what your voice is capable of, you can push and stretch it; build it up and make it as varied as possible.  If you can achieve a great deal with the voice it causes a chain reaction: the musical palette adapts and matches the ambition, creating a wealth of diverse and wonderful songs; the words range greatly too: soulful and romantic lust mingles with raw-throated belt; pin-sharp falsetto cohabits with feminine beauty and tenderness.  Why would anyone not want to?

Male pop/rock: Jeff Buckley, Freddie Mercury, Michael Jackson, Tim Buckley, Tom Waits, Roy Orbison, Hayden Thorpe, Thom Yorke, Josh Homme, John Lennon, Paul McCartney, Jim Morrison, Roger Daltrey, Sam Smith, Matt Corby, Matt Bellamy.

Male Grunge/heavy metal: Robert Plant, Ron Halford, Axl Rose, Chris Cornell, Frank Black, Ian Gillian.

Male soul: Prince, Marvin Gaye, Otis Redding, Smokey Robinson, James Brown, Antony Hegarty. Male miscellaneous: Captain Beefheart, Pavarotti, Howlin' Wolf, Screamin' Jay Hawkins.

Female pop/rock: Kate Bush, Eva Cassidy, Bjork.

Female soul: Nina Simone, Aretha Franklin.

Female miscellaneous: Yma Sumac, Claire Torry.

Other: Between 900-950 other voices/singers (male and female).

Octaves (estimate): 5-6

3+1, of singing fun:

These Arms of Mine (1962)- Otis Redding: http://www.youtube.com/watch?v=jqVrNK4uiB4

The Great Gig In The Sky (1973)- Pink Floyd: http://www.youtube.com/watch?v=GeWavBBeVmE

The Show Must Go On (1991)- Queen: http://www.youtube.com/watch?v=4ADh8Fs3YdU

Human Behaviour (1993)- Bjork: http://www.youtube.com/watch?v=KDbPYoaAiyc

The aim of this blog was not to showcase any of my wild claims and over-ambition (I'm negotiating here); moreover it is to show what needs to happen in order for progression to occur in music.  Stagnation and insipidness are bywords for a majority of new music.  A band or solo artist may posses a charm, a sense of immediacy and a fascination; yet after a while those initial plus points equate to immobility and predictability.  There is so much disposability and fickleness within the industry that I would love to see someone (or many) come along whom can rival the greats: those whom have the potential to last for years and years; get inside your head and wet the tongue.  Music need not be complicated.  A song boils down to the three pillars of music, lyrics and voice.  There is a lot of mobility and potential within these spheres, yet the ability to be able to succinctly dominate all three is not as hard as one might imagine.  Listening to music that you would normally not do so; trying to do something different with your voice; taking pen to paper and writing down each line that comes to mind (however small) are all vital and admirable necessities.  Away from the legends and established greats, the new music scene is awash with pretenders and hard-working musicians- whom have to share stage space and airtime with some rather loathsome cockroaches.  The lists of the greatest singers, lyricists, musicians, bands; solo artists, songs and lines are dominated by older acts.  You get a fair deal of late-'90s/early-'00s examples- if you are really lucky you may get some relatively-current entries too.  That said, there is still a dominance of '60s, '70s, '80s and '90s acts; little has changed over the past 10 years.  Check out the lists and search your mind and C.D. collection and I dare you to defy me.  A few modern artists can fascinate- I have mentioned the likes of Q.O.T.S.A., Marling and The National- but my record collection is largely composed of your Queen, The Beatles, Led Zeppelin, Bob Dylan, Radiohead, Kate Bush and Nina Simones: music that never disappoints and remains timeless.  I have reviewed- in these very pages- some incredible new acts: ranging from Swedish disco-electronic acts; U.S. rock acts and home-grown brilliance.  I am in regular contact with a lot of brilliant new U.K. acts, all of whom I am hopeful will dominate the music scene in 2014.  My disappointment is not aimed towards them- not even for a single second.  They are acts giving me renewed hope; I guess my depression is aimed towards the great majority: the music that you and I hear on a daily basis.  I am annoyed at myself that I have not put voice to tape and proved my own self-worth: although I have obstacles, and trust me, I will get there soon enough!  I am 30 years old now, and have been song writing for 12 years (or so).  I still do not think I have hit my peak, and constantly work to hone my lyrics to make them as staggering and inspiring as possible.  Many people get lyrics tattooed onto their bodies: I want someone to do that with one of my lines/songs.  I cannot compose or play music (or read or write it); yet keep compositions, riffs and melodies in my brain; my ambitions are hugely over-the-top yet it is not something I am going to sublimate and temporise.  My voice is- as well as being bizarre and strange- something I want to keep as it is: varied and a strange child.  I will not stop and be content until the first album I release is something that is as a result of blood, tears, sweet, pain and endless endeavour.  I think every artist and new act needs to come in that hard; to aim for the all-time greats (in terms of the greatest songs, albums and voices etc.): not be content to do what is expected, but to aim for what is uncommon.  I'll end my rant and thesis, but I hope that it gets through to someone at least.  I love music more than anything in the world, and have a knot in my stomach: I think I may live to see the day where all of the all-time greats have passed, and in their place are comparative minnows.  I hope it is just the wet weather talking, but only time will tell!  I am hoping to return to reviewing very soon, but feel compelled to work on my own material; try to figure a way I can summon the money, band mates, confidence and determination to realise my long-held dreams and ambitions...

Personally... I cannot wait to join the (overcrowded) scene.

X

New Music: The Death of Grand Ambition?

New Music: The Death of Grand Ambition?

Queen

Will the 21st century bear witness to a song that can rival Bohemian Rhapsody?

I am departing from my (daily) routine of music reviews- due to a variety of different pressures and obstacles.  Until I can muster up the fortitude and resolve to reinvigorate some passion for reviewing, I am concerning myself with some personal questions (regarding music)- and this is one that is of the most-urgent concern: what happened to ambition in music?  Until as recently as a few weeks ago, I was contented to seek out new music; separate the proverbial wheat aside, and proffer their majesties to those whom were interested (usually just the band/artist themselves).  A series of recent (and current) events has soured my disposition and energies.  Due to a serious financial funk (debt in fact); health and emotional issues; an welcomed and unsettled home environment; loneliness; creative frustrations, I have had to focus my mind elsewhere- people have ended their own lives, having witnesses fewer set-backs and heartaches.  In light of my current burdens, I have changed my ambitious sights; turned my creative energies towards personal preservation- as opposed to assisting others wholeheartedly.  There are a few disappointing issues (one faces) when seeking out and reviewing new music.  For one thing, it is near-impossible chancing upon great sounds.  Most of my 'leads' were obtained from the likes of The Girls Are and The Guardian- I probably owe them a wealth of debt.  Having had to spend so much time and energy trying to find good music, I asked myself: why the hell is it so difficult?!  There are no websites (or music-based ones) that provide connections to new bands and artists in need of reviewing: nothing geared towards the likes of me.  As much as I have bemoaned the lack of good music websites (they all have serious flaws to be honest), I have also been trying to get my own music website up-and-running; getting it off of the ground level. As much as there is a difficulty when trying to find (great) new music; it is even harder trying to get assistance with regards to launching a website.  If you do not have thousands of pounds and a huge knowledge of web design, it is phenomenally hard to make ambitious web sites a reality.  I accept that finance is needed (with regards to building a webpage), but that is not my biggest woe.  Recently I have mailed student-based web designers; professional design consultancies- even acquaintances and trusted people in the know.  Weeks and months have gone by, and not a single human being has responded to me- not even with a bare-minimum "Thanks but no thanks".  In music; in business and in life a lot of people are incredibly selfish and narrow-minded.  Perhaps my standards are high, but if someone like me (whom has a lot of details worked out for my music website) approaches someone- even a Facebook friend- asking for some basic advice, it is common courtesy to respond: why do people feel the need to be so unlikeable and unprofessional?  It is not as though my website proposal is unfeasible; nor is it a huge money-maker: it is for the benefit of new musicians, music-lovers and a whole wave of people- and fills a desperate, desperate market need.  Between getting angry at people's lack of manners and help; and the difficulties of finding new music to review, I have gone a bit 'off' of the idea of assisting others and making their lives better.  It sounds cynical and cruel, but so few people are willing to help out those deserving, I am wondering why I do it so much?  I don't believe in anything as asinine and ridiculously unscientific as karma or fate, but I do believe that there should be some give and take- with some 'give' aimed at my shores.  As well as personal issues and a lack of wider appreciation, I have been influenced by two others factors.  The first thing is that too few people are willing to help out new musicians.  Over the course of my reviewing career (so far), there has been few occasions where my work has been shared.  Sure, the band and artist is thankful (although in some cases they are not); but few people 'retweet', 'share' or promote my reviews- meaning it is usually only the artist themselves that read them.  I work 4-5 hours a day and write over 2,500 words (on an average review)- is it too much to ask that a few people spend 5 seconds spreading my work wider?  It is the lack of common consideration; self-absorption and selfishness that irks me most.  I spend as much time as possible helping others raise awareness about their music, charity work, personal needs etc., so it appalls me that there are few genuinely unselfish people out there.  In addition to- for want of a better phrase- wasting my time reviewing music, my biggest concern is this: there are not enough great new artists out there.

Everyone I have reviewed does their bit for music- with varying degrees of success and passion.  I have examined some Surrey-based solo artists whom are doing the county proud.  There are great bands and acts whom have a keen sight for quality and endeavour: willing to rise above the homogenous and predictable core- offering up something truly unique.  I am aware of the huge irony at the moment- nobody will read or share this article- but I am raising a genuine concern.  We are in 2013, and are fortunate enough to have witnessed the greatest music of all-time; the best bands and solo artists; the most wonderful albums- as well as having experienced a wealth of differing genres and movements.  There is all of this resource to hand; we have so much past music to be inspired by; yet by-and-large the aspiration and ambition being offered up is... underwhelming.  In the last year I have heard of a small amount of acts whom are actually doing something bold and exciting- most are great but hardly worthy of huge excitement.  My bedrock point- and base argument- can be boiled down to this: when was the last time that an 'all-time classic' was witnessed (in terms of an individual song)?  I have been flicking through music polls and charts; looking at what people consider to be the best songs of all time, and one think occurs: the vast majority of the tracks are older than 15 years.  I shall go into more depth below, but I am wondering what is causing a lack of glorious music.  There are some brilliant songs to be heard, yet no-one approaches a song (today) and exclaims: "This is one of the best tracks I have ever heard!".  It seems odd, given that you can create whatever sound or song you want- there are endless possibilities available to the truly-ambitious.  Financial pressures have been consistent within the music industry- music is comparatively inexpensive to produce.  For the new artists there is an acute awareness of how much recording costs: hiring a studio; buying/leasing equipment (if needs be); producing and mastering the final product etc.  Even if one has a 'home studio' then costs can still be apparent- I know this from talking with a couple of Surrey-based solo artists- yet producing something approaching a masterpiece need not cost much more than producing any other track.  I think that the direction that a potential 'future classic' is going to emanate from, is the band market.  My trouble with bands revolve around the lack of individuality and differentiation.  There are still too many Arctic Monkeys-lite groups; too many dull Indie bands; too few great and daring acts: where are the modern idols lurking?  Historically some of the all-time best songs (and albums) have been created by bands (if you look at the 'best of' polls); so it seems that we should be getting the whiff of a potential all-time great forming: but is that really possible in 2013/'14?

To my opinion, the greatest track- but not my favourite- of all-time is Bohemian Rhapsody.  Everything about the song 'ticks the boxes'.  There are epic guitar solos; strange and thought-provoking lyrics; majestic vocal layers- all centred around the wonderful performance given by Freddie Mercury.  It was Mercury whom wrote the track, and practically brought the song to the rest of the boys fully-imagined.  It is under 6 minutes long, yet covers so much ground; strikes so hard, that nothing else needs to be said.  It is a song that is unimpeachably ambitious and flawless- peerless in its sound and emotional effect.  It is widely considered to be- if not the greatest song ever- within the top 3 greatest tracks of all-time- it should be in everyone's top 3!  That track was released nearly 40 years ago, and yet few comparable tracks have been created.  Bohemian Rhapsody is pretty unique and individual: it is not a track you can try to emulate without ripping it off.  Muse have made a few attempts at being a bit Queen-esque: infusing some of their tracks with Bohemian Rhapsody elements- coming off pretty short by comparison.  Songs that are not imbued with epic strides and multi-part layers also vie for the top spots (of the 'all time best' lists).  Imagine is a track which is beautiful and timeless: born with a direct and universal message of peace and hope.  Tracks such as Like A Rolling Stone are synonymous with sharp-tongued lyrics and incredible electric fireworks.  Even a song such as Life on Mars? are comparatively simple- although it does twist and turn a few times.  Between the respective artists' reputation, ambition and quality, the aforementioned songs are defined thus: they are phenomenal and unique, yet not unbeatable.  It seems that the 'epic'- the 4/5 part multi-segment odyssey- is what is needed when trying to challenge the top spots.  Aside from Bohemian Rhapsody; A Day in the Life, Good Vibrations and Stairway to Heaven are consistently considered as the all-time best songs- especially Stairway to Heaven.  These 'epics' are not considerably long- Stairway to Heaven is a little over 8 minutes long.  The reason that these types of songs are unanimously popular and classically timeless, is that they are restless; constantly engaging and emotionally-stirring.  Most of the grandest songs ever tend to have originated in the '60s and '70s (one or two took place in the '80s).  Imagine was released in 1980, and since then, how many truly stunning songs have been created?  Tracks like Live Forever, Smells Like Teen Spirit and One were all created in the (glorious) '90s, so my question is this: what has happened over the last (15 or so) years?  My favourite songs (and ones that will always remain in the memory longest) are the huge epic and sweeping tracks; and the last time that we witnessed such an example was 1997.  When Radiohead unleashed Paranoid Android, it was met with open jaws and drooling mouths.  It contorts, bites; spits and yells.  It is a song which turns direction; takes your breath away and is always unexpected and unpredictable.  It is longer (in terms of running time) than Bohemian Rhapsody, yet is considered as the modern-day equivalent to that golden theme: it is the best challenge to the crown since 1975.  Yorke and co. had realised what a gem they had created.  It is a song which takes years to rehearse (in order to play live), and has never been equalled...but why?  Paranoid Android came out 16 years ago, and there has not been a single track since, that has ever ranked alongside Radiohead's OK Computer stand-out.

Many new acts and bands aim too low: there is too much fear, reservation and hesitation.  I have been scratching my head, when trying to theorise why we have not heard a song with the same majesty and fascination as Paranoid Android.  Perhaps because of Radiohead's situation (they had a bit of money; were on their 3rd album; had a weight of public approval to inspire them) that means they were uniquely-placed to write such a track?  Is it simply a lack of finance that is holding ambition back?  Breaking down that track, one wonders if that is the case.  Songs like Bohemian Rhapsody, Paranoid Android and A Day in the Life are synonymous with attention to detail and time-consuming effort- as much as they are huge budgets.  The tracks may call for huge orchestration; multitudinous vocal tracks as well as a lot of instruments into the pot, but when you consider Bohemian Rhapsody (in particular); the biggest two truths are this: the talent of its creator, as well as the ambition behind it.  If this song has not existed, the cost of theoretically 'making' it are not huge compared with your average 6-minute song).  If you are a band then the biggest cost is studio time.  That said, if you have the song worked out; rehearsed and 'perfected' in your heads, then it would not necessarily take more than a few days to record- presuming you worked your arse off and buckled down.  Similarly Paranoid Android is 'obtainable' as well.  These are songs that are not enforced by huge budgets and resources out of the reach of us mere mortals- they are perfectly possible, considering that far more complex tracks have been created since.  If it is not cost, then the problem stems from two possibilities: a lack of talent and a fear amongst new talent/media expectations.  There are a number of great singers out there at the moment; there are some superb lyricists; there are some great bands with a keen sense of sonic adventure and range: how many acts or bands tie together all of these facets?  Radiohead are still existent (although past their prime), and it seems that there is plenty of scope with regards to writing the next grandly-ambitious epic?  Since 1997, there have been few songs that have ever troubled critical 'best of' lists.  In terms of emotional simplicity and directness, as well as all-sweeping majesty, no artist has turned in a single song that has featured on the list.  To be able to (realistically) create a truly staggering song you would need a tremendous and attention-grabbing voice; a phenomenal and unexpected composition behind it, as well as a distinct and unique sound.  I fear that there are few bands out there (or solo artists) capable of producing such a masterpiece.  If you have a wide and varied voice; an agile and ambitious mind, as well as a keen ear for quality then you can come up with the goods- money be damned.  There are websites like Kickstarter that means money is not a (huge) issue: the biggest problem is lack of ambition.  There is a fear amongst acts- especially brand-new ones- that subjugates ambition.  They think that if they crank out an 8-minute huge epic of a track- complete with huge riffs, orchestration and warped and wonderful avenues- that they will be laughed at; written off and buried.  The best music this year has been produced by the likes of Queens of the Stone Age and The National.  These are established U.S. acts whom are comfortable in their skins- and do their thing better than anyone else.  In the solo market as well as the new band core, I have not heard of anyone whom is trying to pen a future epic.  It saddens me somewhat; as it would be such a sumptuous and brilliant treat to witness a breath-taking and 'mind-blowing' song: something that sucks you in and intoxicates you completely.  The media tend to like their acts and artists 'just so': they favour bravery and ambition, but are hesitant of anyone whom challenges the established order.  16 years have passed since Paranoid Android came along, and if you consider the greatest tracks of all-time: how many are from the past 15 years?  I am going to say 1 at the most (if you know your music then there are in fact 0 that are worthy of a top 10 place).  We have more advantages and opportunities now than we ever have.  There are more artists; a greater number of potential partners-in-crime, and a growing need for something truly breathtaking: but do you ever think we will live to hear a contender for Bohemian Rhapsody.  The modern market is aware that simply ripping off an established epic will win you no points: you have to try something different.  I just worry that new music is synonymous with boundaries and predictability.  It is fantastic to hear of a great lyricist or a pleasing voice, but damn it to hell: when will we witness a track that is talked about in fervent tones; pulled apart, examined and drooled over (for decades to come)?  It may beg one question in your mind: if you know best, why not write one yourself?

 

The point is valid, but the sentiment is moot.  The 'moot' part arrives because of my situation.  Having no money and no short-term potential for musical collaboration, it is not a realistic prospect; yet there is a 'but...'.  I have not idly been sitting criticising and moaning: I have been writing.  I have spent months writing a song which challenges the orthodox order, and is something that differs entirely from the current scene.  It is composed of 8 or 9 differing parts; orchestration and multi-layered vocals are in the mix; as well as huge intrigue and augmentation atmosphere.  The title is there; the lyrics are in the mix, and all the various components are in place.  I know what each vocal section will sound like; what the lyrical themes will consist of and how it will sound.  If I claimed what I could do with my voice; what I could write and what the song is capable of, is another case.  I wouldn't bother writing so much and spending so much time on a single song if I did not think I could live up to my ambitions: huge and varied vocal swathes; different and fascinating lyrics and an overall epic and sweeping sound.  It is all on paper and in my mind, and just needs some band members to add the colour to the palette.  Of course a song such as mine cannot be realised for free: between finding a band, recording and realising the track it may run into £5,000 or so; yet here is the thing: if I have to sell my kidney on the black market I will make it so.  I have been writing music since I was 18; dreaming of being in a band since I was 20, and salivating over the possibilities of creating a huge multi-segment epic for years now.  If it takes months of trial and error; months of rehearsal or whatever, then that's what will be done.  Even if you don't win everyone- or even make a mistep- then who cares?  How many new artists attempt such a thing?  I don't care that I have written another song; and understand that a few more 'traditional' numbers will have to be in the public consciousness beforehand; but that does not mean I am not going to work my heart out to make my realisations so.

I have heard too many simple tracks; too many songs that are impressive but not all-time classics.  That is not to say that the song I am working on has the potential to rival any of the greatest songs ever; although there is not empirical proof to the contratry: it is only when it is recorded and released that judgments can be made.  My point is this: if I am willing to try- life situations and hardships in consideration- then why are new acts and bands not trying to?  If you don't have the potential or talent then that is fine.  If you have even the slightest inkling, ambition or leaning towards creating something monumental then why not go for it?  Screw the media; screw expectation and if you can afford the time and money, then why would you not go for it?  The best you can do with a new song (in this climate) is having people remember it for a few months or so.  If you take a chance- even if it fails- then why would you not take a stab at recording a track that has the potential to be talked about in years (and decades) to come?  Musicians need to be braver and more conscious of market needs.  There is still too much fear, and a fear of what other people think- as oppossed to what they want and need.  The reputation of modern music is not great; and the fact that a worthy rival to Paranoid Android/Bohemian/Stairway etc. has not been created, speaks volumes.  With a burgeoning and packed scene, there is too much emphasis on creating songs quickly and cheaply: every artist and act has a disposability; a distinct lifespan and a lack of huge surprise.  Maybe it is just me, but I would wait 5 years to hear a song that was truly staggering than listen to dozens of tracks that are unadventuorous by comparison.  This is where my depression and lack of motivation has stemmed from: as much as I respect a lot of new acts; I don't feel that any can blow the market away with a biblical track.  Maybe it is alchemy, and in 2017 such a song will be realised, but the hard truth is this: it seems very unlikely.  I hope that I am wrong.  I hope that a band (or artist) is crafting a meticulous and memorable epic, that will be on the 'top 10 songs of all-time' list.  I also hope that I can reconcile my drawbacks and ambitions: find a band whom are on my wavelength and will campaign tirelessly to summon up a track with epic- and perhaps underserved credentials.  It is 2013 and more risks have to be taken...

This is more of a plea/challenge than it is a derisive mandate.  The world has witnessed enough pleasing love songs; we have heard too many Indie 4-minute tracks about love/loss and the like: even though there is some diverse and wonderful other music out there.  It is not a coincidence that the likes of Stairway to Heaven, Bohemian Rhapsody and A Day in the Life still are at the tops of the lists (with regards to peerlessness): the public wants to hear something exciting; scary and mind-blowing.  I would not be upset if I heard a dozen bands each take a stab at producing a modern masterpiece: as long as they were not rip-offs or soundalikes.  In fact if a song as touching or epic as Imagine or Like A Rolling Stone were proffered I would be equally enamoured and relieved.  I can only do what I can do (axiomatic and tautological as it seems); so I hope that others take heed and note- but I am aware that the message may never stick or be spread.  I think my fears and anxieties stem from the state of modern music.  There is a lot of music being produced, yet so few people share great songs and help great artists.  I try to do it with as many people as possible; yet your average social media user has little consideration with propagating the best interests of new and worthy musicians.  The media promotes fear and limitations; so there needs to be a rebellion against this.  Maybe once grassroot issues are ironed out: no truly great music website; selfishness; too much music clouding your thoughts etc, then maybe a resolution and resurgence will be possible.  I hope that the huge wave of new music is not burying and burning the potential for a new grand epic: a track that truly stands out because of its ambition and multi-part flair.  It only takes one artist/band to do that; to put a track out there that gets people talking.  Once you do that, then a wave of inspiration and ambition is created, and- so long as there is not a sheep mentality with regards to creativity then an improved and strengthened scene will be created.  As much as I love the '90s and the music that was offered, I feel that we need to challenge its majesty: it has been 14 years since 1999, and I fear that things will never be as good.  We all need to champion a unique voice; a sharp and intelligent lyricist, as well as a unique and quality band.  That is all possible and on-going, but at the same time we need to produce a track(s) that confounds and inspires: something that is as ridiculously grand as Bohemian; as epic as Stairway; and as twisted and angry as Paranoid- or maybe a combination of all three.

When this happens- and if it does- the ramifications and results will be spectacular.  I hope that I live to see the day, as a huge prize await those willing to take the risk: we need to get out of the homogenised and limited nature of ambition and quality.  People should not be intimidated by the all-time great songs- thinking that they cannot be equalled- as the musicians whom created them were human, and the songs were not superhuman.  It just takes trial-and-error; effort and a desire to aim that high.  If bands don't have that spirit from the off, then why bother?  Every new act should have lofty sights: thinking that they are capable of turning out one of the best songs of modern times.  In a market where many come, and few are remembered, the task at hand is clear...

Snow Ghosts- Murder Cries- Track Review

Track Review:

 

 

Snow Ghosts

 

 

 

Murder Cries

 

Snow Ghosts

 

 

 

9.6/10

 

 

 

 

Hauntingly-named; atmosphere-driven; solemnity proffering from Tones and Cartwright's moniker: intrigue-aplenty guaranteed.

 

 

 

 

 

Availability:

Murder Cries is available at:

http://www.youtube.com/watch?v=fzy6dE46vm8

The album A Small Murmuration is available from July 8th, but can be streamed at:

http://www.spin.com/articles/snow-ghosts-a-small-murmuration-album-stream/

___________________________________________________________________________

MY discourse will not stray too far from the nature of bands (tomorrow...

 

it will be back in full force).  Today, moreover, I am curiously hooked on the idea of duos.  It is somewhat of a rarity to see a two-piece making music together: well, in this country at least.  Across the U.S., and especially in Europe, the idea is not so foreign: there seems to be a boy-girl compositional set-up.  It is a bit of a surprise- to me at least- that there are not more examples of the form.  If we consider the current likes of She & Him- a U.S. duo fronted be actor Zoeey Deschanel- the formulae is producing some wonderful chemistry: critics and fans are fully on-board with the two-piece's unique brand of '60s/'70s power/sunshine pop revitalisation.  Deschanel has- as well as superseding expectations about actors-turned-musicians- proven herself to be a talented and merit-worthy pen smith: able to blend swooning melodies and sharp and impressive lyrics.  Any more members (to She & Him) would spoil the mood; too many cooks and all; three's a crowd etc... I feel that the burden for the solo artist is quite great: they have to shoulder all of the creative effort themselves; the existence can be quite a lonely one too.  By pairing with a like-minded musician, a creative paramour is created that can herald some superb and focused results.  Simon and Garfunkel are perhaps the most obvious example of a duo whom go to prove my point.  Aside from their break-up; the music that the two produced during their career remains some of the best there's ever been: it is the combination of the two's individual talents that make it such a wonderful sound.  Modern examples such as Outkast are keeping the flame burning in support of the duo; yet it seems that-aside from the U.S.-heavy examples- there are not many current U.K. examples.  I have been puzzling my mind as to why there are so few duos in this country.  I have reviewed one or two over the last few months- including Bradford-based twosome Issimo- yet tend to notice that music acts are divided between two defined sects: the solo artist and the band (predominantly 4 or 5-piece).  The band market is bursting at the seams at the moment; hardly able to contain its own weight- and we find that there is a lack of quality control.  For all of the Indie bands out there (yep- I am off on my daily rant) it is hard really to distinguish the great from the sub-par: it is a meritocratic scene that tends to focus too heavily on specific genres.  I feel that being in a band (with 3 or 4 other members) there are inherent goods and risks.  On the plus side, there are plenty of creative participants: each of whom can offer their own ideas and suggest different sounds and avenues.  There is little emphasis on one particular members; it seems that the creative and day-to-day weight is shared amongst each member- which means that there is not an intimidating spotlight shining in one particular person's eyes.  The negatives can be multitudinous.  For a start, relationships can break down.  Even the most tight-knit and bonded band can suffer entropy and obsolescence.  At the same time; going into an over-crowded market means that you have to work that much harder to make an impression- no matter how good your sounds are.  I do worry slightly with regards to music in general (a bold statement I know).  There seems to be too much predictability and preconceived ideas when it comes to new musicians.  Solo artists- on the whole- fall into various categories.  For the most part the sound and flavour of a solo offering is either folk/acoustic-based; or else their mandates lean towards pop, soul and the like.  Certain voices are heralded and celebrated; some solo artist's lyrics are championed: sometimes you get lucky and the two are married together.  I am tending to notice that few surprises are to be discovered, when one investigates a new artist/band.  If a voice is striking, then the emotional range or overall ambition is lacking; if a band has a terrific sound, then their lead is charisma-lite.  With a wealth and abundance of technology and previous sounds to borrow from (and be inspired by), it should be easier now- as much as any time- to foster ambition and grand designs.  The fact that there have not been many challenges to the all-time greatest tracks begs one thought: do we have the ambition and talent in the U.K.?  I have found that the best and most exciting sounds have been coming from foreign lands.  Between the U.S. (and North America) and Europe (particularly the Nordic nations), a great variation and mobility has been offered up.  I have been surprised by the pick 'n' mix offerings that one can experience.  Sharp and tangy electronic sounds nestle alongside fresh and ripe bubble-gum disco.  If you dig deeper you can find flavoursome and delicious Indie-pop treats, as well as darker-shaded Gothic artists.  From the likes of Open 8, NoNoNo, Say Lou Lou; through to the majestic Kate Bush-esque sounds of Anna von Hausswolff, the nation of Sweden has been showing the way with regards to diversification and surprise- many of their best artists are duos (Say Lou Lou for example).  I have long said that U.K. artists need to take inspiration from European examples: not copying their example, but learning from their authoritative and far-reaching music.  I find that, when eyes are trained further to unfamiliar (but fantastic) shores; new inspiration and a fresh creative lease is available: this can lead to a whole wave of pioneering and variegated new acts.  You may wonder why I am making this particular point (today)?

 

Having been in existence for the last three years, our featured duo are making the right sort of impressions.  Aside from the fact that there is a glaring lack of two-piece artists, I was fascinated by a lot of the (in this context) small details.  Their ethereal and thought-diverting name suggests something quite otherworldly and ephemeral (although the music itself is far from ephemeral).  The history and derivation behind Snow Ghosts is a fascinating one.  Ross Tones is a Bristol boy (although he lives in London at the moment), and performs as Throwing Snow.  In a modern music climate, where a great majority of music can have some predictable and homogenised roots, the sounds that Tones proffers, offers up myriad delight.  Bristol has been synonymous with primal, dark and fascinating sounds for many a year now.  The legends that are Portishead call the place home.  It is that trip-hop/experimental outfit whom- to my mind- are one of the best bands of the past 30 years.  Even their most recent album (Third) displays as much of the innovation, bravery and surprise as their early work did.  The sounds contained within Third goes to show how much fascination and wonder can be created, by being bold and adventurous- the act shows no signs of slowing, and I hope that another L.P. is imminent.  It is Tones's trip-hop passion and conviction that has marked him out as a local idol: he has garnered many impressive plaudits from fans and critics alike.  As part of Throwing Ghosts, Tones weaved dub step, hip hop and boogie: something that you cannot say about too many acts.  I know that there are many 'pioneers' and multifaceted artists at the moment; yet I find that they are still underground talent: how many music magazines and publications regularly promote trip-hop, experimental and Portishead-esque artists?  Tones combined with Augustus Ghosts' Siren Hannah Cartwright: the two combined formed Snow Ghosts; and the rest, as they say is something-or-other.  Many music magazines have noticed that there are a few acts and artists whom have the words 'snow' and 'ghost(s)' in their name- but one can guarantee that none of them sound quite like our talented duo.  The duo have unleashed their debut album A Small Murmuration: a collection that promises a host of wide-ranging genres, sounds and styles.  The duo claimed that they wanted the album to sound as cohesive and together as possible (rather than a sprawling The White Album-type L.P.).  As much as I hate musicians (and people in general) describing their music/experiences as a 'journey' (experience does not have a geographical or travelogue nature; and it is a word/phrase that is cloying, cliché and a little overly self-important).  Regardless, the duo's musical summation certainly has the appearance of a crystallisation; a transmogrification or beautiful coming-together: perhaps referring to them as musical paramours is more apt (or more pretentious perhaps?).  The duo appear in monochrome, sepia and black-and-white photos (their band palette and uniform consists of light and darkness); appearing as heroes of a new wave of experimental and prodigious new sounds.  The gloomy and down-turned expressions (that is sometimes projected in some of their shots) is in keeping with the Portishead/Massive Attack trip-hop-cum-experimental mould: the sounds are quite sombre and moody (at times) so one would not be constantly beaming and grinning.  In spite of the great qualities and majesty each member had with their respective outfits; it is when they combine that their ambitions and potentiality is augmented, galvanised and emphasised.  Although the album is only available to stream at the moment (see the link at the top of this review); it will be fully-fledged and readily-available as of Monday (July 8th). Spin magazine has recently profiled the duo; having witnessed and absorbed the album, they can attest to (as can I), it's interchangeable and ever-mobile manifestations: ranging from dynamic drum and bass; crepuscular fireside parables; through to charming and lasciviously-driven folk movements.  As part of Augustus Ghost (still in business and going strong) Hannah Cartwright comes across as a modern pin-up/idol.  With an intelligent mind, agile creative and stunning talent; she blends her beautiful pipes to the moody and intoxicating aromas of her music.  Being somewhat good-looking (read: gorgeous and alluring) she extrapolates those merits and aspects; blends them into Snow Ghost's bubbling boiling pot, and lends some very crucial aspects.  Cartwright has an understanding and intuition when it comes to atmosphere.  From the macabre; esoteric; sleep-deprived and lustre-filled, she is a multi-talented composer- one whom brings her knowledge and past experiences to the new venture.  Bristol local legend Ross Tones has a weight of conviction- born from his impressive back catalogue- and binds them together with Cartwright's shades.  When the two combine- regardless of the differences and divergences from their pasts and present- a strange and beautiful love affair is created.  There is a keen affection for one another- both musically and personally- and this kinship and mutuality is what gives the debut L.P. such a conviction, tightness and spectral quality.  The duo have spent two years honing and perfecting their songs: pragmatically digging down and hunkering into work; making sure that the final product is the best it can be.  As much as I have been exhausted as-of-late by wanderlust- searching fervently for a great new act to become passionate about- I have found solace and redemptive light, in the form of Snow Ghosts.  I am not the only one whom has been seduced and startled by the pair's dynamic sagacity.  On Twitter and Facebook, followers and coming thick and fast; glowing and lust-filled comments and praise has been heaped at their feet- something that will triplicate and evolve as the album arrives.  Before I get down to examining and wrestling with Murder Cries, a few more points are worth bearing in mind.  The first (negative-positive juxtapose) issue concerns recent reviews (of the album).  One of the reasons that a lot of acts are passed over or dislocated, is because of the lack of critical awareness: reviewers whom are narrow-minded and miss the point entirely.  Some reviewers have stated that the L.P.'s organs are too dysfunctional and distorted: dark and alienating to your average listener.  Although these reviews have- by-and-large- been intelligent and cohesive, they have focused on some (unwarranted) negatives.  Some have offered that the album is too humourless (how many albums does one laugh their arse off to constantly?); claiming that it is a tad morbid and dangerous.  The point of the album is to project a slightly eerie and resplendent ghostliness; but this is a gleaming talisman in the bigger picture: the quality is consistently brilliant; the sounds relentless ubiquitous.  As much as anything, the biggest plus has been given little credence: the songs have a great range as well as cross-pollination.  The Guardian (as much as I disagree with a lot of their reviewers) hit the nail on the head.  Paul Lester noticed the L.P.'s hints of folk metal- a connation of polemic styles- as well as stentorian and impressive sounds.  It was noted that the variegation, wide-ranging motifs as well as variegated styles- when fused together and nestling alongside one another- creates a harmonious (strangely) and sumptuous whole.  Many people will not fall in love with the album (and duo) because it is not 'their cup of tea'; yet criticising an act for showing ambition and being adventurous is a cardinal sin- and something that is causing a lot of perturbation in me.  Anyway... before I get to the song (I know- sorry!) I will summarise my biggest pleasured discovery: how the two-piece manage to evoke spirit and semblances from past masters.  With their codified majesties the duo elicit sensations from '90s idols such as Massive Attack and Portishead (the Bristol connection); as well as current beaus such as Atoms for Peace.  Tones recently completed a supporting spot with the aforementioned Atoms' (as part of Throwing Snow): there are evocations and colours of the Radiohead man's ethereal sidewinders within the work of Snow Ghosts.  I am always on the lookout for songs (and albums/E.P.s) that can reintegrate and reinvigorate sounds and slices of previous decades- the '90s especially- and mix them with modern-day energies.  A Small Murmuration is awash with such explorative potency, and it is an album filled with fascinating steps and moves: each song has a different gravity and set of patterns that inspires and overwhelms.  Untangle Me is gaining a lot of effusive investigation at the moment.  It is a dark paen sporting some lustrous and spine-chilling string, a towering and burgeoning sonic force and a towering ambition.  As much as I love that track, it is the recent single Murder Cries, that has been on my mind.

 

Beginning with a swelling and orchestral electric rise, Murder Cries contains the briefest of intros.: whipping up a stirring rush before being joined by a vocal proclaiming: "We wander through the darkness of the days".  Cartwright's voice is authoritative and strong; showing some weighty conviction as well as emotional undertone.  As our heroine implores and strikes; letting the words burrow beneath your skin (and into your brain); Tones builds up a forbidding and atmospheric mood piece: complete with twitchy and anxiety-ridden electronic interjection: both subtle and stirring.  As our hero takes control of the sonic black smoke- containing traces of Third's aural fascinations- our Siren-esque heroine continues to campaign; speaking (to an unnamed central figure) about dark nights; grave digging and a deathly and malefic coda: "So give your fingers what they crave".  With tales of blooming blood-red flowers, stabs and sparks of fire are unveiled: electronic strangeness and fascination continue on as a symphonic sway purges and retreats- it pulses and teases the listener with gleeful abandon.  Our heroine has a unique and striking voice- controlled yet filled with nuance and passionate conviction- with subtle blends of the Grand Mistress of electronic/trip-hop music past: Beth Gibbons.  The two have the same haunting evocations and alluring layers, and Cartwright has a way of making the most forbidding and deathly scenes seem almost common-place.  With powerful summons and forceful intent, our heroine lets it be known: "You'll find me where the crows fly"; her voice emotional and dusky- she seems to be speaking to a past lover, but there is mystery in the lyrics that hint that inspiration may be more literal and less autobiographical.  Violin swells and keep the energy levels high, as our heroine's voice is doubled-up and dueted: layers of sultry mesmerisation are presented; pulling you under the song's dark spell.  Cartwright steps out into the spotlight, her back straight, her voice true: talking of shadowy and windswept scenes.  An anonymous female figure is tear-stained (our heroine continually asks: "Why does she cry?"); wracked with pain and sadness "Where the crows fly".  In the way that the vocal spar with one another; echo and reverberate with each other, a layered and hypnotic mood is created.  Before long the compelling vocal line gets eerier and more distant, as Tones' influence comes to the forefront.  The violin, electronics and spacious crawl that has been supporting Cartwright's sermons, now comes more to the fore.  Whereas the lines and parables (before) set mood and were campaigning in the background, now they come to the fore as an explosion is heralded.  Our hero unleashes a fist-pummelling and insatiable electronic percussive thud: it is like an iron giant punching the ground, such is its weight and impression.  Our heroine builds endless scenery; filled with Gothic imagery, murders of crows and storm-addled landscapes.  The jittering and menacing machine gun fire continues unabated; Tones whips up an insatiable and pulverising smash that barely relents: combines with Cartwright's voice the effect is quite startling and effecting.  There are touches of Massive Attack's Mezzanine clout: similar weight and majesty is all present here (without sounding too similar to the collective's past work).  The percussive and electronic gravity pulls you in every direction, gets into your head and pulls your brain in ways that it shouldn't be allowed to.  As much as there are feint touches of Massive Attack's influence, parts Portishead (circa. Dummy) lurk beneath the surface.  The sound is very much modern and essentially fresh, yet the duo have managed to evoke the sound of '90s trip hop; fusing this together with drum and bass influences: it is an incredible combination that gives the track a conviction and originality that is not often seen in the current scene.  As the sound of Satan reacting after missing his train to work end (there are probably more eloquent similes; but that'll do), things are calmed as our heroine is back in full focus; her vocal lines intertwined and possessed.  I was truck by the way that the song was structured, and how its unique composition heralds big returns.  Few modern bands (or duos/solo acts) spend a lot of consideration, with regards to unique structure.  Snow Ghosts mix a combination of quiet-loud music dynamics (the unnerving drum pound contrasting with more seductive violin) together with vocal and lyrical consideration (fewer different words are elicited, but pertinent lines are repeated for maximum effect; the voice is constantly engaging but not too overwrought); that makes the song so special.  Our duo play their respective parts superbly and each bring something very unique (and diverse) to the table.  Tones is a master of mood-setting and sonic sting.  He mixes classical and romantic edges (especially in the initial stages) as well as drum and bass violence (mostly from the halfway mark onwards): fusing them together and creating a sublimation.  There is no sense of predictability or obviousness in his presentations and composition.  Just when you think you have the next move all figured out; something wild and startling is pulled out- causing you to be dragged and torn asunder; recollecting your thoughts as you are.  Not to go on too persistently about Bristol masters Portishead, but comparables can be drawn.  When the percussive assault arrives, there is evocation of Machine Gun/We Carry On (Third); as well as the heavier moments of their debut (and self-titled album).  Cartwright similarly has all of the hallmarks and qualities of the Bristol outfit's front-woman: the alluring and smoky side; the stronger and more powerful edge; a similar conviction and ear for a great lyric.  Between the two, a great range is covered.  Each of them brings a distinct and essential element to the fold; which makes Murder Cries so potent.  It is a track that has garnered a great deal of praise and committed honesty, and clearly makes a big impression (to those whom hear it).

 

With A Small Murmuration a few days away (and available to stream), it is going to be a busy few weeks for the duo.  I have listened to the album in full, and can attest to the strengths and talents of the endeavouring twosome.  So much range and diversity nestles within, and it is a restless and varied collection of songs.  Cartwright and Tones may have come from different pastures and make different sounds; yet when they come together it works perfectly.  There is a clear affection and affinity between the two, and one of the album's big strengths is the conviction and passion evident in every track.  Big publications such as The Guardian have latched onto the joys and layers of the L.P., as well as the brilliance of Murder Cries.  The track earns its stripes with its bold proclamations, heady mixtures and incredible ambition. It may not come as a shock to the duo themselves, but it is quite an unexpected sound in the U.K.  Whereas there are drum and bass, electronic and trip hop artists working today, few make it into your thoughts, and fewer still manage to mix so many different genres and styles together.  I have been stating for a long time, as just how stifled and stuck the band market is at the moment.  For every original and worthy new band that come along, they have to fight their way through a sea of similar-sounding and homogenous acts.  In terms of solo talent, there is a problem whereby acts rarely surprise: if the voice is good, the lyrics aren't; if the words are good, the voice is not great- rarely do you ever hear of something whom ticks all the boxes and sticks in the memory.  I started by saying how baffled I was at the lack of duos in the U.K. market.  It seems like perfectly good sense and wise to form a twosome: in the case of Snow Ghosts, they have proved what results can arise.  It is going to be interesting to see where the duo go from here: another L.P.; an E.P. or interim single?  They will have plenty of options following on from A Small Murmuration: but it is crucial to let the album come out, and be shared and listened to as much as possible- and seeing how it is perceived.  I am confident that a mass of new supporters will be attuned to Snow Ghost's sounds: each one hungry to hear as much as possible from the two.  I hope that once the L.P. is released that they stick together and make a lot more music together (as opposed to returning to their past lives).  Individually they had extremely viable and prosperous careers; making music that gained a lot of attention and support.  It is when they join together that their individual talents are soldered and reinforced.  The duo have hit upon a bit of a goldmine.  By employing sounds of the '90s and modern-day; pulling in some past masters and current idols; they have achieved the best of both worlds: sounding fresh and essential, but steeped in the authoritative strengths and majesties of the past legends.  Time will tell whether any similar-sounding or similarly-ambitious duos will form- in the midst of A Small Murmuration's release- but one thing is for sure: plenty of new talent should take note and inspiration.  On Monday the intriguing duo will unveil their L.P. to the world; wait to see what responses they get; and decide where they go from here.  The two should have no fear, as response and feedback will be effusive and positive; demands will be high (with gig demands being a very real future-prospect).  And as for the future itself?  For our heroic twosome...

 

IT will be exciting indeed.

______________________________________________________________________

Official:

http://www.snowghosts.net/

Twitter: 

https://twitter.com/Snow_Ghosts

Facebook: 

https://www.facebook.com/SnowGhosts

__________________________________________________________________________________

 

 

The Sundowners- Don't Come Knockin'- Track Review

 

Track Review:

 

 

 

 

 

The Sundowners

 

 

 

 

 

Don't Come Knockin'

 

 

The Sundowners

 

9.3/10

 

 

 

 

 

 

 

 

 

Wirral-based quintet have the gravity of a recent Glastonbury performance  to their name; judging by their sonic lustre, they will be future festival main-stayers.

 

 

 

 

 

 

 

 

 

 

 

Availability:

Don't Come Knockin' is available at:

https://soundcloud.com/thesundowners/dont-come-knockin/s-020w4

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MY reticence about the band market (and its qualitative issues) has...

 

been enflamed as of late, by the sheer number of Indie-based bands.  A lot of my recent reviews have focused upon the bands of North West England- Manchester, Liverpool etc.- and the relative homogenised nature of the scene.  As much as I like band music- and feel that it is essential to the music industry- I have had a bit of a frown on my face as of late: something that has been hard to shift as well.  Diversification and range has been apparent when looking towards the music of Yorkshire, Scotland and the North East- yet in the North West there has not been a comparable quality coming through.  Many bands have taken on the mantle of Arctic Monkeys/Oasis (regular readers will be familiar with what I am about to say); sticking too literally to their sound and essence.  I can understand the appeal of appropriating a well-known band's sound, and incorporating familiar sounds into the mix: it will mean your songs are relatable and will be crowd-pleasing.  My concerns arise because of this: a lack of originality is the worst crime a new band can commit.  I have reviewed a great deal of acts (over the months); and the strongest examples are those whom employ and inject some familiar tones into their music; yet have an abiding air of originality and pioneer.  Given what we have experienced over the last 60+ years- in terms of music- there are plenty of options available (to the new artist) when looking for some integrated sounds.  Bands such as Arctic Monkeys are still operating and recording, and by clinging too closely to their coattails, many bands come off as copycats: which alienates and frustrates people like me.  I guess this one specific issue has clouded my view of the entire new music scene: there are plenty of worthy acts out there doing things their own way.  I mention Yorkshire and although there is a heavy leaning towards solo artists, the band market has also impressed me.  A lot of U.S. blues sounds; country rock and '70s alternative movements are being presented: mixed together with the modern-day sounds of the county.  Newcastle and Sunderland are offering some bold rock acts: heavier sounds, reminiscent of the '60s and '70s masters such as Led Zeppelin and Pink Floyd- yet only containing a hint of the aforementioned.  It is Manchester- or the Mancunian scene- that has perturbed me the most.  Historically, it is not a city that has exactly been dragging its heels (with regards to presenting superb music).  Considering obvious modern examples, a lot of the all-time great bands- The Smiths, The Stone Roses etc.- have called Manchester home.  Entire movements and waves have formed from the city's artists, and was- rather than is- a mecca of wonderful and inspirational music.  In 2013- as well as over the last few years- there has been a bit of a cessation of diversity; a weakening of ambition and difference.  The influence of the current Indie champions is being taken to heart too literally: rather than having feint shades taken from them.  Away from original and striking champions such as The 1975; the area is playing host to too many so-so and like-minded groups- most of whom have a one-dimensional quality to them.  As much as I have been bemoaning the lack of motivation (in the North West); I have been extolling the virtues of past sounds.  Artists whom I have recently featured, have managed to dip into the '90s and '70s: taking bits and pieces from the decades; and infusing that into their sound.  I always admire a group whom have an appreciation for the old masters- and wonderful music of the past- as their majesty and potency is just as relevant today as it always has been.  It is not a surprise- or shouldn't be- that a lot of foreign acts are making big strides.  From the rock acts of the U.S., through to the disco and electronic groups of Sweden; I have been stunned by the fortitude and variation that has been offered up.  In particular, the softer and more seductive sounds of Sweden (and the Nordic countries) has struck my mind the hardest.  The artists and talent there tend to be a bit more experimental and daring when it comes to their music: their songs are infused with unexpected twists and euphoric touches.  I have postulated that another issue we have in the U.K, regards the role of the media (and the music press).  A lot of the time, the imputes and direction a new band takes, is enforced by the proferrings and reviews of the music press.  A lot of modern publications have been focusing too solely on British music; the new acts and artists we have here- without offering alternatives.  As it is important to highlight U.K. talent, it is also necessary to bring international talent to our attentions.  Some of the best music of the moment is being recorded in Europe, Australia and North America: how would you ever hear of it were it not for the media and social media sources?  Sources such as The Guardian and The Girls Are bring to my attention (regularly) terrific music from across the world: yet there seems to be few others doing this.  If new acts in this country are not made aware of what is happening elsewhere, then is an inherent danger that a lot of potential influence is being missed out on.  I would have regretted missing out on great acts such as Say Lou Lou, Club 8, HighField and The Open Feel- terrific international talent, whom I feel can provide fresh energy and inspiration to the U.K. scene.  Homogenisation and lack of variation is an issue that has been apparent for quite a few years, and I have been wondering whether some areas (geographical) will ever break away from their bad habits?  As much as Manchester has been holding itself back, I have been pleasantly surprised by talent from Liverpool and the Wirral.  There seems to be a more diverse and expansive palette- and a different work ethic- that has made me excited for the future.

 

When considering new bands (and solo artists), it is always difficult to mark out and differentiate quality.  Most artists start out at the bottom: playing local gigs, recording their tracks; trying to spread the word as wide as possible.  With such a crowded and bustling scene being formed, it is difficult and near-impossible for new acts to rise above the rest; get into your thoughts and remain there- it is something that established acts are better at.  I  have reviewed a lot of new talent, and most are campaigning for support; trying to get as many people to listen as possible, and above all, attempting to make sure they have longevity and a future-demand.  Even if your sound is fresh and alive; infused with originality and essentiality, it is still incredibly difficult to make yourselves knows.  The Sundowners are already a few steps ahead of most.  Their striking talent should be examined (I will mentioned it shortly); yet a recent appearance at The Glastonbury Festival has surely provided them with fresh urgency and patronage.  They have recently played the BBC Introducing Stage: showcasing their diverse and gripping songs to a host of new (and existing) fans- and gaining a lot of critical praise in the process.  It is axiomatic to say that the band have got themselves there with their talent; yet it can't be ignored that such a lucrative and high-profile performance will draw in legions of supporters: making them a band that will be much demanded amongst festival organisers of the future.  With a newly-augmented C.V., the group have an excitement and passion for their future careers: which will make their next steps and sounds very exciting indeed.  The Sundowners are a five-piece act whom hail from the Wirral.  Composed of siblings Alfie and Fiona Skelly, as well as Niamh Rowe, Tim Cunningham and Jim Sharrock; our endeavouring band are setting their sights on what is to come: ensuring that their current sounds are heard as much as possible.  Given that the name 'Skelly' appears in the band line-up, it is hardly a shock that The Coral rank amongst the group's influences.  The band have already supported James Skelly & The Intenders: joining them whilst they played gigs in the U.K.  I have always been a huge fan of The Coral, and I see them as one of the most under-rated bands of our time.  One of my all-time favourite albums is Magic and Medicine, and I have always been enamoured of that L.P.'s myriad sounds and inflections.  Many critics consider The Coral to be a bit 'far-out' and an acquired taste, yet it is their exceptional songwriter and unique music that cannot be faulted.  Few other modern bands have been as ambitious and striking as them; many reviewers and fans are talking about The Sundowners with the same excitement and fervency.  It is the close-knit kinship that the five members have, that can heard in their songs.  Each of them has affection and complete respect for the other; they teach each other new skills; support them in their troubles and come across more like five siblings (that a band).  A lot of current groups (and defunct acts) have tumultuous and fractious lives together.  If you have a genuine and strong affection and respect for one another, then your future together will be more prosperous: this strength through joy is also reflected in the songs- which will bring in more fans as well.  The likes of NME and John Leckie have poured praise on the band: highlighting their clear identity and impressive ambition.  Aside from the high-profile fans and effusive praise, the main reason why The Sundowners command such attention, is their unique sound.  In a scene (and part of the U.K.) that still favours Indie-centric flair and familiar sounds, our quintet have a different approach.  The acts and musicians that are included as influences range from Fleetwood Mac through to Tom Petty.  It is the mix of U.K. and U.S. influences from the '60s and '70s that can be detected in their boiling pot.  Sharp edges and sense of electricity are key to the five, yet it is aspects of melody and musicality that set them apart: like their idols they have a soulful and soft emotional core, as well as a keen ear for melody, evocation and remembrance.  Too many bands go fro pure force and unadulterated punch: negating the need for something more restrained and impressive.  I have long gone on (very long in fact) about the importance of retrospect and reinvigoration in music: adding tones and colours of past wonders into your songs.  Whilst it is admirable to portray a modern and essential energy to music (in order to sound unique and fresh); I feel that combining this with some older influence maximises your overall sound, potential and appeal.  Aside from striking this balance just right; our amiable and talented five-piece have a deft talent for image and projection as well.  If you consider their name- The Sundowners- one is already intrigued.  The 1960 film (of the same name) was set in Australia; focusing on the Carmody family- whom resided in the Outback and were sheep drovers.  Robert Mitchum and Deborah Kerr starred, and it is a film that- although not an all-time classic- was well-received and regarded- even if many people will not have heard of it.  I am not sure if our North West quintet were influenced by this film- or are fans of it- but one cannot help but smile when hearing their band name; knowing that its namesake is a charming (if slightly boring) Australian film.  Apart from their intriguing name, the five-piece are all very sharp and stunning.  The boys are cool, handsome and clean-cut (dark secrets may lurk): possessed of awesome heads of hair and a detached and far-off look that suggests they know how cool they are.  Likewise the girls are striking: stunning beautiful, but coming across as your girl-next-door idols (again they may have dark underbellies).  One gets the impression that the band are a band of the people: humble and hard-working; whom want their music to do the talking, as opposed to controversy.  Too many modern idols (I'm looking at you Liam Gallagher) spend too much time bad-mouthing and insulting others: knowing that their best musical days are behind them.  Our quintet are an all-imposing and all-inclusive group whom have a lot of respect for their contemporaries; as well as a fond affection foe the market.  They want to succeed and play for many years to come, and as well as a memorable stay at Glastonbury, they will be enjoying a lot of touring and demand- I for one would love to catch them in London as soon as possible.  There is no excuse for not turning yourself on to the group: they have an impressive and comprehensive online portfolio, including a great official website (http://www.thesundowners.co.uk/).

 

A lot of talk and praise has been heaped on the band's previous efforts; the likes of Roll the Dice and Wild As The Season have been received with acclaim and adulation; with many critics and fans hungry to hear more.  I was not in the crowd for their recent Glastonbury performance, yet can imagine that their songs were fantastically received.  Having investigated their previous tracks, I can attest that their sound is filled with intrigue, nuances and memorability- they are songs which stick long in the memory.  As well as the quality of the music itself, their range is also impressive: they have their signature sound, yet show such a mobility and adaptability that they constantly catch you by surprise.  With so much love and admiration being paid to Shifting Sands- the B-Side to Don't Come Knockin'- it goes to show how much quality is evident throughout their music.  It is with considered and hungry ears (and eyes) that I approached their single- eager to hear what moves and surprises the band could offer up.  With a brief hint of electric feedback and a heady rush of guitar, we are under way (and instantly hooked).  It is the initial hook-up between Skelly (Alfie) and Sharrock that is most present.  With that evocative and enthralling electric guitar work- which snakes and sparkles with heavy and heady undertones- it is the drum work that makes the biggest (early) noise.  Sharrock unveils a hard-hitting, punchy and impressive percussive line: one which stands you to attention and blends beautifully with Skelly's guitar work.  Before too long, the influence of Skelly (James) can be heard as a Coral-esque coda is let loose.  The guitar wobbles and buzzes with jubilant energy: displaying some of debut album-era The Coral (Skeleton Key and Spanish Main can be detected).  As is  a key (and obvious) hallmark with any great band: the influence is there, but it is not obvious.  The way that the swaggering and rambunctious intro. gets into your head is something that is intoxicating; making you hum and tap your feet along in time- and wondering what is going to come next.  Guitar, drum and bass work is impressively endeavouring (from each member), and it is the way that they combine that gilds and cements their incredible confidence.  Instantly you notice how tight the sound is; how well rehearsed the song is, and how much intuition and affection is present within the bands ranks: the blending of individual parts is seamless.  With an infectious introduction- which takes in '70s U.S. elements as well as '60s U.K. ones- you are settled in, and on board with whatever comes next.  One of the things that impressed me is that the band is female-lead.  It may sound like a weird thing to say, but most modern bands- and a majority of northern groups- have male leads: in fact a majority of modern bands are all-male.  When you hear of inter-gender groups (a rarity in the U.K.) there is often one female voice- or the male takes the lead- which often sounds superb, but one wishes there was an additional voice to bolster the overall sound.  I have encountered a few new U.K. bands (whom are composed of boys and girls) whom have a female lead.  I find that the combination of incredible and impassioned music and a striking female voice, provide the best (and most intriguing) music.  A lot of male voices (especially within bands) come off as a little harsh: lacking in real emotion; a lack of seductive and sex appeal; too hard sounding.  The female voice has always struck me hardest, as I feel that the tones and qualities they can display adds greater weight to songs as a whole- especially bands and their music.  Whilst the boys inject the mood with some impassioned and rumbling sounds; a wordless vocal is introduced by Rowe and Skelly (Fiona).  There is a fundamental and unswaying energy that is detectable; and is something that continues for a while: the song's fledgling moments are a myriad of sing-along vocals; an endeavouring and intoxicating composition, and a abiding and heady rush.  As the wordlessness abates, and a spiralling and tumbling guitar line is deployed; the song settles down to business.  Early words speak of "In the deep of the night" and "In the arms of solitude"; our heroine imploring: "You hear my call".  Whomever is being addressed- a current love; an ex-paramour; a friend- is all alone and by himself, as he does not come knocking; he has resigned himself to a lonelier lot in life.  Our heroine's voice has harsher and strong edges that enforce and reinforce her words; yet there is an honest and openness as well.  Sonic evocation is an important facet and weapon for the band.  As much as the scene-setting and winding intro. sparks your imagination and gets the blood rushing; the band punctuate the verses with similarly-exhilarating rushes.  No sooner have the initial words been proffered and laid bare; then we are witness to another buzzing, fizzing and pulsating guitar coda: the words "Knockin' no more" are chorused and deployed with alacrity.  The way that the insatiable guitar parable plays off of the vocal, is impressive indeed: the voice is composed but potent, where as the guitar work is bursting with vigour and expression.  When our heroine's voice comes back in, there is a little bit of Alison Moyet and Stevie Nicks to be heard (a similar weight and comparable power can be detected).  Those are probably not names that get attached to many other modern singers (so is a pleasure to hear), but it is the way that a striking originality is tied together with some legendary edges, that makes the vocal performance so impressive: alive with passion and energy as it is.  The band never let the pace slip or the energy relent; going from guitar-heavy jam, through to percussive pummel.  At the 1:11 mark, a rumbling drum layer is introduced- it succeeds the guitar fuzz and introduces a line stage/movement to the track.  As the drum kicks and dances lower in the mix, a new- and more potent- guitar attack comes in: it buzzes, warbles, wails and thrashes; pulling you into its sights and not letting go.  The tribal call-and-response that opens itself up is the most immediate and potent part of the track (so far).  Each band members adds to the mood, as a veritable sonic storm is whipped up: guitars and bass rain, clash and strike like lightning as percussive thunder and wind adds additional majesty.  It is quite a brave move for any act (established or new) to unveil a fairly extensive musical line (rather than fill each moment with vocals).  Groups such as The Coral were masters of it (able to intoxicate with their mastery), so it may be the Skelly influence/effect that has influenced Don't Come Knockin'.  A sense of atmosphere and gravity is unveiled- the lead guitar wails and howls demonically at one point- saying an immense amount (without a word being sung).  You cannot help but let yourself be mesmerised by the twirling and psychotropic fireworks.  Evocations of the '60s and '70s masters can be heard, from Hendrix and Clapton-esque guitar weight, through to Fairport Convention swathes and colours: it is as essentially modern as it is effortlessly classical.  One cannot help but smile when listening to the track, gleefully caught up in the rush and primal urges the music proffers.  The song could just as easily soundtrack a taut and tense thriller as it could a balls-to-the-wall action blockbuster: it has that ubiquitous and utilitarian quality and strength to it.  As the musical coda continues (unabated) and the swaggering bonhomie and confidence has played its part, another wordless vocal is introduced (bookending the track quite neatly).  The girls melt their voices together; projecting as much muster and kick as the sonic parable it follows.  As our heroine proffers for one last time; addressing the anonymous beau- amidst a sway of consequence and circumstance, conspiring to make a "fool out of you".  As a final sonic plunder is evoked, the song comes to an end- and a chance to catch your breath, and reorganise your thoughts.

 

The overall impression one is left with is one of surprise.  For a while now I have postulating as to the reasons why a lot of northern-based music has been in a funk: too limited and unmoving.  I have heard of a few Liverpool acts whom are making some impressive steps, yet with the majority of focus still aimed towards Mancunian shores, I am relieved that a band from the Wirral  are inspiring my thoughts.  The five-piece have proven themselves to be a formidable and potent musical force; impressive given that they are still in their infancy.  The Glastonbury aftermath will see a lot of new subscribers and followers flock to the feet of The Sundowners- our quintet should prepare for a busy and jam-packed future schedule.  As well as the incredible and original sounds that the group proffer, it is their image and presentation that makes its marks.  The boys have a cool and charismatic look, whilst the girls are stunning and alluring.  When you tie the two together, the band seem ready-made for the modern scene; as well as being steeped in authoritative edges that the likes of Fleetwood Mac and Tom Petty are synonymous with.  With a handful of songs to their name, the group are still in the early stages, yet have won over so many minds and made such impressive steps, that their careers will be very long indeed.  The close ties the band have can be heard in the music; everything is constantly engaging and tight- displaying a fond affection for one another.  In a modern scene where the majority of new acts take a long time to make an impression; the quintet have already achieved a hell of a lot- making them the envy of their contemporaries.  The influence and patronage of The Coral can be heard in the band's music, which contains a comparable intrigue and enthralling sound.  Don't Come Knockin' has swathes of fascinating guitar lines; primal drums; taut and tight bass, and sharp and alluring vocals (which blend beautifully).  The quintet have managed to introduce and infuse their influences into their sound, and married it with an essential and urgent original voice- one that is a rarity these days.  I have been down on Manchester bands as-of-late; wondering whether there was going to be anything that could soothe and ease my mind.  The Sundowners will go a long way to restoring my faith in the modern scene: I am keen and excited to see where they go from here.  It has been a frenetic and spellbinding last couple of weeks for the group, whom have been awash with Glastonbury preparation; festival chaos- now they are focusing on the future.  I am not sure what moves the five-piece are planning to make: whether an E.P., L.P. or future singles are favoured?  I would love to hear an album from them (but it may be a while off); although an E.P. would be just as tantalising.  There is going to be a lot of demand and fervency aimed at them: fans will be hungry to hear as much from the group as possible; so it is going to be interesting to see what happens.  Don't Come Knockin' is a bold and potent signal from the band; and is a song which is untraditional and innovative.  Few groups would give more ground to the music (compared with the vocal); yet the way that the song is balanced works perfectly.  There are not too many needless interjections; no unwarranted diversions: everything is balanced and employed to maximum effect.  The vocals are both authoritatively strong and alluring too: at once emotional and at the next quite punchy.  Guitar, bass and percussion layers are unexpected, memorable and heady: the combinations and various representations are quite spellbinding.  I am sure that the five-piece will be playing Glastonbury in the future- perhaps making to the Main Stage.  Festival bookings are a very real prospect for the future, and swathes of fans will want to catch the group in person.  Plenty of plaudits have been aimed towards them, and I hope that the quintet have some big plans afoot.  Few new acts have the luxury of being able to carefully consider their next moves (although I am sure the group are taking things very seriously).  Whatever is going to arrive in 2013: another single; an E.P.; plans of an album; I am convinced that The Sundowners will be in receipt of a lot of new followers and supporters.  They have shown how good they are- and what they can accomplish- so many eyes will be trained in their directions.  With so many new musicians coming across as second-rate versions of existing acts, it is a breath of fresh air that a unique and passionate voice is breaking through.  Take your seats; absorb the music being offered up and...

 

BRACE yourself for what is to come.

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Official:

http://www.thesundowners.co.uk/

Twitter:

https://twitter.com/TheSundownersUK

Facebook:

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

SoundCloud:

https://soundcloud.com/thesundowners

YouTube:

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

MySpace:

https://myspace.com/thesundownersuk

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Say Lou Lou- Fool of Me- Track Review

 

Track Review:

 

 

 

 

Say Lou Lou (Ft. Chet Faker)

 

 

 

 

 

Fool of Me

 

 

Say Lou Lou

 

 

9.5/10

 

 

 

 

 

 

 

 

 

Columbia Records newbies Miranda and Elektra Kilbey, straddle Stockholm and Los Angeles.  The Scandinavian-Antipodean twin sisters fuse '70s majesty and style together, with '90s 'heroin-chic', alacrity and beauty: creating a glorious and astral sound.

 

 

 

 

 

 

 

 

 

 

 

Availability:

Fool of Me is available at:

http://www.youtube.com/watch?v=DXKFdQkoCS0

The E.P. Julian is available at:

https://itunes.apple.com/gb/album/julian-ep/id639869892?affId=1930871&ign-mpt=uo%3D4

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THERE are a number of different themes that are on my mind today...

 

in light of some personal ambition.  Not to blow any trumpets; or advertise myself; but I have been formulating- and adding to- a (hopefully) soon-to-be music website.  Recently I have been looking back fondly at music (rather than forward); remembering and reminiscing about great past moments (instead of anticipating future potential).  I have felt that there is a bit of a stagnation and slowing-down at the moment (in the current scene).  I am unsure as to the 'why' behind the phenomenon- it could be due to overcrowding in the market; or else a fallow period (that will soon be over).  In my reviews- over the last few months or so- I have postulated various themes and concerns: including homogenised sounds; an over-abundance of Indie bands; lack of international awareness in the U.K.  I will address all of these (once more; as well as the idea of my website), as well as nobly ease into introducing Say Lou Lou.  In this country (as well as some parts of Europe), we are in the grip of a homogenisation.  Too many different areas of the country are compartmentalised- there is little cross-pollination and collaborative spirit- and there is a split of quality and sound (depending on which part of the U.K. you focus towards); both in terms of a north/south divide, but also a split across certain counties.  For regular subscribers, my discourse may seem all-too-familiar (I apologise, but it is making a point); I feel that there are some rather alarming trends.  Within the U.K. there is still a tendency towards proffering and emphasising all-male guitar bands: most of these groups tend to offer few surprises.  Within the northern climbs of England, a proliferation of Indie bands seems to be 'the norm': by the week there seems to be half a dozen new examples; each touting modest accomplishments.  Diverse parts of the nation, such as Scotland and Yorkshire are being largely ignored: yet it is areas such as these which are bringing about a resurgence.  Away from the guitar band-heavy current music scene; if one fancies variation and fascination options tend to be limited- where do you go to experience something different?  Within Scotland, a great deal of sunshine pop; alt-rock and punk waves are making themselves know: heavier and edgier than the Indie core; offering fond evocations of the '70s masters.  Down into Yorkshire, doo-wop and swing movements are occurring; reminiscent of the likes of Caro Emerald- there are a lot of similarities to be heard.  It is seen as counterintuitive and unusual to present new music which is, by and large, 'old-fashioned' and 'retrospective'.  I have encountered some genuinely fascinating artists (solo usually) whom are reinterpreting and reintroducing the heady sways and sensations from the swing and doo-wop artists of the '30s and '40s such as The Andrews Sisters.  In 2013 it may seem like a bold and unusual move (making new music that is 70 years old); however, looking back is often the way to move forward.  It is great that there are a rush of bands coming through: each hungry and determined to make an impression.  My concerns arise when I consider how much diversity there is between these (multitudinous) bands.  Manchester, Liverpool and large swathes of the North West of England are culpable of encouraging an Indie-centric scene- away from these parts there is a bit more mobility.  London has been quiet for a long while; yet I know (from recent reviews) that some terrific rock bands; as well as punk and Indie-Pop examples ripe for discovery- with songs and sounds that are worthy of mass future appeal.  In the early part of the '00s there was still a lot of pioneering and prosperous music being made; yet there has been a significant slowing and quality degradation thereafter- especially over the last 10-or-so years.  My abiding point is that there is a jam-packed market (which can be good and potential-filled), yet there are few uniquely different sounds to be heard- both in the band and solo markets.  We in the U.K. have always been at the forefront of great music: in fact decades such as the '60s and the '90s were largely dictated by British wonders.  As we are in a bit of a quagmire at present, options and assistances need to be considered: so what is the logical resolution?  Over the past few weeks I have summarised and profiled some exceptional international talent; many of whom emanate from the U.S.  Covering power pop and punk; folk tinges and synthesised R&B, it seems that the Americans are at the forefront of a diversified and experimental scene.  Perhaps their new music scene is not quite as 'bustling' as ours here- although one must assume that we are on a level par in this respect.  I just feel that the U.S. have a greater consideration of diversification and freshness; whereas in the U.K. new bands and sounds are dictated and enforced by a combination of market trends; copycatting and playing it (a little too) safe.  What I have noticed (with regards to the most prosperous nations) is that the likes of Northern Europe are making the boldest moves.  Norwegian and Danish solo troubadours have filled my ears with sweet and mature melodies; Finnish electronica has spiked and pumped my blood; and- perhaps most impressively- the Swedish newbies are capturing the most ground.  Recently I reviewed NoNoNo and their exceptional single Pumpin Blood: a myriad wonder filled with delirious electronic moods and a catchy-as-hell melody (that sticks in your brain for days).  Disco acts and electro-pop seems to be a big market; they are genres that are impressing critics and music-lovers alike.  Away from Northern Europe, Australian rock and Indie bands have also been making huge footsteps; invoking some affluent '90s movements, as well as infusing their concoctions with fresh-faced beauty.  If we in the U.K. took notes from these acts (and nations); encouraged new talent to stray away from the familiar, and broaden their palette, then the state of new music (as well as the state of future music), will be vastly improved.  My main thesis is this: we need more range and fascination.  The four or five-piece male band is appealing to a degree; in the same way that the soft-voiced female solo artist is: the way to go forward and make huge impressions is to diversify the melting pot.  For every home-grown exception like The Staves; there is a proliferation and mass of Arctic Monkey-esque bands- this is something that we need to get out of.  My inspiration for designing a (music) website- as well as trying to encourage diversity and individuality- was to introduce music-lovers and new musicians to the wonders of the past; as well as make them aware of fascinations of the modern-day.  I think this is part of the big problem: too few remember and appreciate the majesties of past years; and not enough are conscious of terrific foreign music.  When- and indeed, if- my site is a reality; this is going to be a small part of its overall intention: providing a wealth of past music; linking it to the everyday music listener/band; as well as promoting international talent and artists- as well as new home-grown acts.

 

Say Lou Lou are a duo whom I have recently become aware of.  I have been stating (or moaning) that it is so difficult to hear about great foreign music- most music websites and newspapers are solely interested in the U.K. market.  Miranda and Elektra Kilbey are sisters- twins in fact- and have Scandinavian and Antipodean heritages.  On their Twitter page they claim Stockholm and Sydney as their home town(s): two more different places you could not imagine.  The girls have the fascination and devotion from Sweden- they were featured in People Magazine there recently- and have earned a lot of love and support from Australia.  As much as I have been in awe of some sharp and edgy Australian bands; as well as some terrific solo talent (Matt Corby etc.); I have been enthralled by Swedish sounds.  Our duo love and fight as sisters (as is natural); yet have an inherent and natural close bond that can be heard in their music.  It is said that twins have a sort of telepathy and psychic bond (psychics don't exist; it is more an intuition): they are able to sense when there is trouble with their twin; able to predict their mood and mind-set, as well as bond with the other with a natural grace and passion.  Considering the shared time in utero- as well as the close association they have during childhood- it seems only fitting that twin sisters whom decide to make music together will have a Sympatico: both fractious but above all, mesmeric.  One thing that annoys me about twins (about the parents; not the twins themselves) is that parents protest at just how different they are- they are of course; they are different humans that share a birth date.  The problem is that when these parents- whom go on about how unique they are- begin dressing them in the same clothing- the exact same- and cut their hair the same- again exactly alike.  This disturbs me somewhat, as these parents are consciously making the twins look alike: both a baffling attitude and a bit of a cruel insistence, as those children will have a harder time of things.  I mention this, as many may have preconceived notions of what twin sister musicians would look like: identical band uniforms; a similarly-uniform appearance and identical attitudes.  One of the most alarming things about Say Lou Lou is that they are distinctly unique women- as well as having a close and loving bond.  Both are incredible beautiful and stunning (every inch the modern idol); and will inspire young women as much as they will, um... overwhelm the young male (sans prurient fascinations).  The continent-straddling sisters were born in June of 1991 (a month and year that saw a glorious influx of stunning music); and these 22-year-old stars are also spending a great deal of time in L.A.- as well as the likes of Sweden and Sydney.  I have read a few interviews that the girls have given, but am not too familiar with their upbringing (where the Australian and Scandinavian roots emanate from); I just know that the sisters have been based predominantly in Sweden (as well as L.A.).  Whereas U.K. female duos (or sister acts) would probably be predictably folk-influenced or unadventurous; the vast maturity and diversity that the two offer up separates them from the rest of the scene.  The girls have been to London recently- highlighting at the rather audacious lack of summer weather- and will have a natural home here (should they ever decide to relocate).  In a summer here that is going to be defined by some rather un-summery sounds; their unique brand of sound is going to enliven and reignite the market here: something that is desperately needed.  The girls have spent most of 2013 readying their new E.P., Julian.  The sisters claim that they wanted to marry the glamour '70s Berlin, as well as the 'heroin-chic' of the 1990s.  The numbers of the E.P. display a stunning maturity; tied together with pop melodies, yearnings of beauty and alluring codas.  There are two original tracks on the E.P. (Julian and Fool of Me); yet there are four different remixes of their first single, Julian.  On iTunes, the E.P. have garnered unanimous acclaim: commentators highlight the E.P.'s dreaminess, potency and consistent quality and fascination.  The drop dead gorgeous twins have made this possible by their keen and admirable passion for music- especially sensations of the past.  Julian has been inspired by everything from cult German films (Christiane F [Wir Kinder vom Bahnhof Zoo]- which was set in the late '70s- was one key plot-point).  In fact; style is a facet that is crucial for the duo.  As well as German cult classics; they are inspired by the likes of David Bowie and Kate Bush (kookiness and beauty aplenty)- the glamour and decadent polemics of the '70s is something that fascinated them (It is the combination of styles and artists of the '70s and '90s that can be heard in the contours of the music).  The girls are enamoured by the likes of T-Rex, Prince and Tim Buckley: artists whom portrayed a great deal of sensuality and sexiness.  In addition to the '70s masters (Dolly Parton and Fleetwood Mac count as idols); the sisters adore the sounds of the '90s: Nick Cave, P.J. Harvey and Jeff Buckley are particular favourites.  Combined with a love of '70s and '90s music, comes a passion for the great movies of the era; from Boogie Nights and The Runaways (the '70s); through to Pulp Fiction and Stealing Beauty (the '90s).  Everything I have read about them makes me fall in love with them: their passion for incredible (and near-forgotten) music; an eye for style, passion, fashion and potency; as well as a masterful ear for melody and musicianship.  As much as their heart-melting looks will drop men to their knees; it is their music and ambition that will keep them there- for women, their relatability and inspirational nature will win their hearts and minds.  I am glad to have encountered Say Lou Lou and their E.P.'s proffering: one wonders when a day will arrive, that means artists such as them will be better promoted by the media?  As much as the murk and dredge of Indie-lite shadings have dulled my senses; my heart, brain (and loins) have been energised by spectacular acts such as Say Lou Lou.  Recently, the E.P.'s title track (and lead-off single) have been sending the Internet (and musical clans) atwitter: glowing and love-filled reviews have summarised and distilled the track's essence and wonder.  It has left critics smiling and stunned; and is a tantalising taste of what the E.P. has to offer (making Fool of Me all the more intrigue as well).  The girls' social media pages, as well as official website (http://www.sayloulou.com/) attest to their adventures and goings-on (since the release of the E.P.): trips to L.A. (or La La Land); prestigious interviews; sojourns in London (and the U.K).; as well as a natural residency within Sweden.  They have been promoting and signposting their E.P.'s potency far and wide: wanting as many people as possible to absorb its messages and nuances- as well as gain them as many new fans as possible.  Between the 15,000+ Facebook 'Likes'; the-almost 3,000 Twitter 'Followers'- as well as a mass of international fans- the sisters have a lot of support (off of the back of their current music).  I can guarantee that the future will be rosy and busy for the girls as we edge slowly towards 2014.  The positive (and almost enraptured) response to Julian (E.P.) has meant that another E.P./debut L.P. will be much-demanded; as well as a lot of tour dates (I would love to catch them in London for sure!).  On the evidence of Fool of Me, it is not hard to see why the twins have garnered so much effusive praise: it is a song that sets out their stall; interlinks their multi-genre and bi-decade loves- melting them into a heady and flavoursome boiling pot.

 

Before I get down to the song itself; it is worth noting (and only right) that the track features Chet Faker.  Our Australian-born collaborator is a renowned electronica artist, whom has been invigorating his native land with his blends of future beat and down-tempo soulfulness: something that is apparent in his tones and stylings (as well as abundant in his 2012 Thinking in Textures L.P.).  Given that Say Lou Lou built such a reputation from their own voices and input, it was interesting to see how Faker's unique influence would fit within the context of Fool of Me.  The opening seconds of the track promote and tease a slow build of intrigue and potential.  Echoed vocal interjection is replaced with a clattering and eerie electronic/percussive line.  In the initial movements, I found some evocations of '90s pioneers such as Cocteau Twins and Air: their comparative fascination and influential edges nestle within the dislocated and ghostly build-up.  With an electronic and scratchy percussive duet-that produces a metronomic tic and a pulsing heartbeat-  intrigue and atmosphere and elicited and expanded.  Strangely- or maybe unexpectedly- there is some of Massive Attack's bold majesty (think of their Mezzanine-era high)- a feint whisper of Teardrop's scuffling moodiness can be detected.  Perhaps there is a lighter and less trip hop/experimental hip hop-heavy edge to the sapling moves; but one can hear a relatable quality and resonance.  At the same time, native Swedish electronica and dance lingers in the heady layers; as does late-'90s/early-'00s U.K. dance and electronic music.  All of this together creates a intro. chocked with potentiality and intrigue: bursting with nervy energy, potent blood flow and romantic sway.  Like modern idols such as Jessie Ware, a subtle and well-considered intro. announces a hefty weight of expectation and excitement- before a single word has been sung.  Fool of Me's adolescent moments have vinyl scratches and crackle; a myriad of cracks and sparkle (and percussive punctuation), which relaxes and stimulates the mind all at once: making you wonder quite what is coming next.  When the vocal arrives into the fold, it is seductive and smooth: possessing breathy sexiness as well as strong and authoritative urgency.  It is claimed that: "You never cried/I'd say love let me wet your eyes"; suggesting that either a break-up or emotional upheaval has occurred.  It is unsure whether the anonymous paramour is lachrymose due to upheaval and a break-up; or because of a transcendent and tender moment: the tender and soft vocals from the sisters suggest that the latter is pertinent (although apologies if I have misread that).  Each word (and line) is smokily and langurouslesly deployed: summoning up the maximum amount of emotion and reciprocation, as well as grabbing onto your attention.  The girls will forgive me (I hope) for drawing some comparisons, but I could detect some influence from Mazzy Star, Liz Fraser (of Cocteau Twins)- and even Jeff Buckley.  It is the way in which the aforementioned idols portray a tender and ethereal headiness; that one can link with Miranda and Elektra's soothing tones.  As an atmospheric and crackling sonic background supports the words, our heroines claim that "The soul won't burn"; mesmerically drawing you into their thoughts and intentions as a startling realisation is unveiled: "If you don't hurt inside/You feel no pain".  I am always keen and curious to know what inspires a song (and its lyrics); so was entrenched and interested by the early thoughts.  Whether the song focuses on the vicissitudes of a current relationship; the retrospective analysis of a failed romance, or a semi-autobiographical tristesse on a the nature of love, I am unsure: yet from what I gleaned from the potency of the words and voice; I would say that there is personal relevance to the narrative- whether it is Elektra or Miranda's woe (or a shared pain).  As your mind gets caught up in the meanings and visuals (the lyrics suggest), the girls ease and quell any anxiety.  Their Siren-esuque and harmonious vocal twines (displaying some slight edges of Bedtime Stories-era Madonna) hide- as well as add weight to- hidden and dark emotional pains.  Plenty of hurt, tears and heartache strikes in the hearts of our heroines; it is a motif that inspires words such as: "I'll top you off with a taste that I've not forgot".  The chorus comes into view; bursting like a nebula- summoned in with a vocal rush.  The shared voices having tastes of early-'90s Madonna; mid-career Kate Bush, as well as Gran Turismo-esque The Cardigans (the softer edges of...).  In fact the Nina Persson-helmed Swedish quintet came to mind in the verses too; yet that revocation is galvanised in the chrous's dreamy and impassioned rush.  I have always adored Persson's seductive and engaging voice; the band's huge talent (as well as their inspired mass appeal); and our stunning duo have tutored and similar positives- but have a stark originality to their vocal tones, I have to add.  The "You made a fool of me" coda is elongated; gorgeously tempted; breathed with a delicious tenderness.  In the same way as Jeff Buckley's anthem Last Goodbye told of the sadness of a break-up (from our hero's regretful perspective); the chorus almost suggests the side of Buckley's lover: maybe it's just me, but I get that feeling.  Playing the role of the hound dog bowser; Faker is the lover-in-disgrace; arriving into the song with his downturned and soothing vocals: a little bit of Nick Cave-cum-The National.  Faker's chocolaty tones are confessional and apologetic: "I've been told I am cold/Been known to sting"; delivered with emotional conviction and syncopated flourish (that enforces the lyrical potency).  There are not too many songs that would contain the line "I'm a brute shooting from the hip": it is delivered with much consideration; and as the dust settles here, soon enough the girls add their voices into the verse ("Straight in to my heart" is the first line the vocalists all share).  Faker's confessional sermon is not in the spotlight for too long, as our heroines dreamingly seduce: "In the dark you confess/That you've made this mess".  The chorus' reintroduction (given what has come before) contains extra gravity: bolstered by a sonic collage of crackles, percussion and electronic sparks.  When the vocals are blended during "You've made a fool of me"; it is both emotionally fraught, as well as strangely exorcised.  The chimerical lovers duet pioneers on: shocked by an energised and intent vocal accusation ("How dare you").  The chorus is something that has a catchiness (is that the right word?) to it: the sway and sound will lodge in your mind, and recall itself to your lips consistently.  When the final verse is unveiled; a rolling and tumbling percussive crackle summons in the words; which present the lover-as-a-machine parable.  Our heroines sigh and ponder the possibilities of love: images of artificial and mechanical life forms are presented.  If the distant and cold lover could be taught how to love; a mechanical being that followed instruction ("My machine"); then a compromise/satisfaction could be obtained: "I learn to reach inside your ribcage/Flick a switch and you engage".  It is during these phases that the Madonna/Persson vocal reminiscences are re-infused (together with the nature of the lyrics and music, produce an intriguing coefficient); the sense is one of strength and matter-of-fact honest- there is no quivering emotion or anger to be detected from our duo.  Once the (hopeful) verse concludes; it makes way for a dreamy and emotive parable: with eerie and spectral rushes; wordless vocals; scratches and crackles and a gradual build-up.  Without warning, a rampant and tribal drum line begins: cementing the coda's magic and adding a layer of gravitational pull.  For one last time (well it is repeated- semantics be damned!) the chorus is presented: the trio combine and- backed with the multitudinous and variegated sonic palette- herald the song to land: leaving you with some questions.  As well as the song plays its part and gets into your mind; I was wondering how things were resolved: was satisfaction met, and did the 'lovers' make a truce?  Was a compromise realised, or is an unsettling easement the future tense?  Either way there is mystery and mystique aplenty; and one is happy that questions are remain, as the overall sensation is one of satisfaction.  You hope that there is not too much personal heartache amongst our sisters' hearts (the mandates of Fool of Me have seen ghosts exorcised).  The abiding and authoritative sensation that you take from the track is one of wonder.  That combination of voices blend superbly: each are dreamy and seductive, but have a potency and emotional resonance (that few contemporaries possess).  The soundscape has touches of trip hop and experimental elements from the '90s; fused with some keen '70s fashions; polished with modern urgency and influence: augmenting the track and adding colours to the black and whites.  Faker plays the role of illegitimate/wrongdoing lover perfectly: displaying resentment and thoughtfulness, yet capable of change and rebirth.  The lyrics are constantly engaging and detailed; infused with sharp and intelligent lines, as well as deep and tender emotions (the chorus is especially memorable).  It is the combinations of vocal, musical and lyrical lustre, which rises the song above the parapet of the modern-day expectation: displaying a quality and endeavouring nature that is synonymous with the best songs of the '90s.  Sweden and the Nordic regions are spearheading a new wave of vital and inspiring music; enforced by a qualitative edge and defined by a sharp mandate: mix emotional and symphonic sounds with gorgeous vocals; add focused and thought-provoking lyrics; make sure that the music remains in the consciousness for a long, long time.

 

Being a fairly new proponent of Say Lou Lou's extraordinary talents, it is with fresh eyes that I approach Fool of Me.  The girls have a sound and texture that fits perfectly within their native scene; yet is distinct and ambitious enough that it supersedes the next-best: making it one of the most immediate and essential songs this year.  In the U.K. there is a scarcity of similar music (in fact there is none that quite have the same memorability); so it is axiomatic to say that we need more of Say Lou Lou.  Most of my current malaise has surrounded the lack of explorative and ambitious new music- too many fledgling artists display music which seems incomplete and fairly hollow.  The E.P. Julian has not long been released, yet is already gaining the stunning sisters a lot of fond patronage: devoid of hyperbole and over-exaggeration.  Given what I know about Sweden's current scene, it is perhaps not a great shock that the likes of Say Lou Lou exist (and have such exceptional chops).  What is surprising is at how much mobility and variation there is within the marketplace of Nordic nations.  The girls have spent time in L.A., Australia and London; managed to draw influences and D.N.A. from the diverse nations, and stir it into their aromatic recipes.  Elektra and Miranda Kilbey have an assiduousness and passion for what they do: an ambitious and original eye for song writing, as well as a fond appreciation of the starling sounds of the '70s and '90s.  It is rare- in this modern climb- to hear such haunting, yearning and spellbound sounds: especially from a duo so young, yet so mature.  Fool of Me is a fascinating and memorable track, and layered with immediacy, nuance and majesty- and one that will leave a big impression in your mind.  It is a proud representation of an E.P. which is filled with intention and multitudinous conviction- the title track is a dreamy track that stands up to many repeated listens.  As much as the music bowls me over (the girls will not need my patronage and thumbs-up to make it a resounding success); it is the central figures themselves that impress.  Possessed of (or blessed; if you are of a religious bent) startling beauty and girl(s)-next-door appeal, the twin sisters are impressive ambassadors of modern music.  Too often I have encountered vapid and stupefied pop starlets (nary a thought in their hollow heads); arrogant and repellent rock egos, and dull and one-dimensional solo artists: where are the idols for those whom favour intelligence and fascination?  Our Say Lou Lou heroines are the antithesis of the vagrant pop star: instead they are interesting, relatable and have a ubiquitous appeal (that is very rare).  Whether it is because of my age (30-*sob*); but it is the common ground shared (between me and them) that marks them out as influential women.  Their musical tastes of the '70s and '90s (as well as film preferences) were instantly familiar and plaudit-worthy (especially their English-heavy leanings: P.J. Harvey, Kate Bush, T-Rex, David Bowie etc.)  In interviews, they come across as very humble; lacking in any ego, and completely in love with music.  It is these facets and merits that elevate and highlight their musical qualities- marking them out as a serious future-prospect.  I began the review by talking about the hardships one faces when trying to find genuinely great music (that is not U.K.-born).  The media (as well as social media) is a paradox and contradiction that makes it easy to locate local and national new music; yet near-impossible to find many great international acts.  As I say, I am in the process (the 'ideas stage' at present) of formulating and creating a music website; I hope will be an all-encompassing and encyclopaedic source for musicians, music-lovers (and the casual listener alike).  Whilst many music sites focus heavily on one specific U.S.P. (Internet radio; music downloads- not so unique when you see how many sites offer the same thing); I would like to incorporate a multitude of aspects: Internet radio, downloads, new and old music; band recruitment/networking, music video pitching- and a whole (WHOLE) lot more to boot.  It is only when the communication lines are strengthened and multiplied, that we can crawl out of the current miasma: a distinct lack of international awareness; compartmentalisation of the music scene etc.  In the U.K. we are in the midst of a stifled and fair-weather music scene: one which relies too heavily on predictability and homogenised nature.  Say Lou Lou have a universal appeal that can inspire cross-pollination, and a re-appropriation of new music's (somewhat shaky) reputation.  I was stunned by Fool of Me's heady brew: psychotropic and seductive in equal measures.  Having listened to the E.P., I am excited and curious to see where the girls go from here.  Demand and expectation will grow and burgeon (as the E.P.'s existence becomes wider known); so it will be great to see if a new E.P. or L.P. will be in the works for the future.  They have plenty of impetus and inspiration; great talent and awareness- and bring a lot of fresh energy and quality to a sub-par modern scene.  Take a listen to Fool of Me (as well as Julian), and become entranced by its spectral qualities.  Few (new) acts come around, that are as strong as them: so take these jaw-dropping girls to heart...

 

AND discover the treasures they offer up.

________________________________________________________________________

Official:

http://www.sayloulou.com/

Twitter:

https://twitter.com/sayloulou

Facebook:

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

SoundCloud:

https://soundcloud.com/sayloulou

YouTube:

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

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Gallant- If It Hurts- Track Review

 

Track Review:

 

 

 

 

 

Gallant

 

 

 

 

 

If It Hurts

 

 

Gallant

 

 

9.7/10

 

 

 

 

 

 

 

 

 

Brave, spectral soulfulness and ethereal R&B, from this 21-year-old L.A.-based talent: guaranteed to shiver the spine.

 

 

 

 

 

 

 

Availability:

If It Hurts is available at:

https://soundcloud.com/gallant/gallant-if-it-hurts-prod-felix

The tracks that will appear on the (Felix Snow-produced) Zebra E.P., are available at:

http://www.brooklynvegan.com/archives/2013/06/listen_to_a_son_1.html

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THE qualitative nature of the voice, is something that is always at the...

 

forefront of my mind.  When considering a solo artist- be they new or existing- a lot of emphasis and consideration is given toward the nature of the voice.  If you happen to be a fantastic lyricist or musician (how few there are of them); then consideration is paid to the words and themes.  The likes of Laura Marling (as well as having a distinctive and powerful voice) have their songs poured over; the lyrics and ideas are interpreted and picked apart- with many critics postulating and theorising hidden depths and meanings.  For the rest of the solo scene, the major focus is paid to the vocal prowess.  Shows such as The Voice are doing no favours to the scene as a whole.  When winners and runners-up from these shows enter the marketplace; they have already been moulded/moulded themselves into a Mariah Carey, Christina Aguilera or Whitney Houston proximity- for the guys there are obvious influences too.  As much as the band market is growing and bursting at the seams- and is producing some of the best music at the moment- the life and trajectory of the solo artist is as fascinating as any.  Over the past few months, there have been a few promising endeavours: I have heard of some genuinely unique and exciting talent.  When the full creative and personal weight is placed on one set of shoulders- without having band members to assist- it is always harder to make decisions; put yourself ahead of the crowd and really stand out.  I have heard some terrific female voices in the U.K.: from Yorkshire-based '40s swing stylings, through to New York soul evocations.  It is always a great pleasure to happen across a uniquely exciting voice: one which catches you by surprise and keeps you listening- and has you spreading the good word far and wide.  A lot of excitement concerning the solo market tends to be pointed towards male shores.  In the mainstream, as well as amongst the up-and-comers; focus still tends to be levied heavily towards the male market.  I have never had a lot of respect for a lot of the current crop of male solo artists.  Currently talent such as Tom Odell are being heralded and championed: to my mind he has limited emotional range and an unremarkable voice/set of songs.  Away from him, there is a lot of residual fascination towards the likes of Bon Iver, Matt Corby and Ed Sheeran- artists still touring, but not currently in the studio.  As a male songwriter- whom, until a band can be located; is a lone wolf- I am always readily-tuned to the solo market.  I respect the amount of hard work and tenacity it takes to make your first steps- let alone become successful; hold onto public fascination.  There are no other humans to hide behind; so additional members to take the burden: the priority and emphasis is on you and you alone.  Taking this into consideration, I provide a measure of grace and consideration towards new solo artists; but I have to say one thing: I am not overly-impressed at the moment.  The likes of Odell and Sheeran are very young- and to my mind- years and bounds off of being considered exceptional.  Neither has a strong or memorable voice (they seem quite bland in fact) and lyrically they are good at best; but tend towards banality, immaturity and cliché: their overall sound and artistry is somewhat sub-par and unimpressive.  Away from the aforementioned- whom mainly appeal to the young female market- there are one or two great singers.  Matt Corby is an Australian singers whom (erase the fact that he appeared on the Australian version of X Factor) is a worthy songwriter and potent voice- and is still in his 20s.  As much as the man has a powerful and guttural roar- as well as a sweet-natured potentiality- I find myself ambivalent.  His songs are strong enough (the lyrics often are deep and poetic; the sound diverse and unexpectedly powerful); yet his range seems limited.  As a songwriter the tracks all tend to stick to the tried-and-tested love-gone-wrong-discuss parable; and his compositions have a 'hallmark' sound, that often shows a lack of flexibility or elasticity.  It is the vocal 'limitations' (perhaps a harsh term, but I can't think of a more appropriate one) that trouble me the most.  He has that impressive and dominant growl and plenty of oxygen in his big lungs- capable of taking the wind out of your own- yet there seems to be no ace up the sleeve.  His voice seems stunning and unique over the course of a few E.P.s, yet when L.P.s and future singles arrive, one feels that the appeal will wear off; if he can't add layers and tones to his voice (as well as song writing); you have to entertain the possibility that he will not be on the scene years from now.  My point is that voices can appear fascinating at first- whether it is due to a great emotional range or a U.S.P.-yet given time (and successive E.P.s/albums) can have its essence distilled: simply because it becomes less startling as time goes on.  The female market has a similar expiration issue.  A vast majority of new female voices can be sweet-sounding and 'cute'- yet lack in power and soulfulness- or else they are soulfully operatic and sexy: but when you examine closely, they are lacking in individuality and differing colours.  A great deal of female solo artists- in the U.K. at least- have been celebrated critically (Emile Sande; Laura Marling; Adele; Jessie Ware etc.); but have been so, due to an incredible talent that covers song writing, presentation, musicality, emotion- as well as the voice itself.  Eyes and ears are primed and hungry for solo artists whom have something different and stunning about them: whether this is a voice capable of longevity, or a great backstory and personality...

 

This all brings me to the case of Gallant.  I came across the Maryland-born artist via The Guardian's 'New band of the day' segment (something that has provided many opportunities for me).  That profile feature highlighted at the importance of the assemble of a track- as opposed to the vocal alone.  I think a lot of the current malaise, stems from the lack of evocative and gripping music that accompanies a vocal performance.  Whilst female talent like Marling can bring a folk texturing to her songs; Adele a bigger and bolder sound; Ware classical and ethereal edges, and Lianne La Havas mixes various sounds into the boiling pot; most do not put too much thoughts into the overall composition.  For a vast majority of the solo scene, too many acoustic/electric guitars rule the land; too little consideration is given over to atmosphere- resulting in unambitious and uninspiring compositions.  It is not a coincidence that the talents whom put more thoughts into the overall 'sound' of the song- considering each compositional aspect carefully- that merit the grandest plaudits.  Gallant is a star whom has taken a lot of time to make music that can inspire and encapsulate.  Most of my recent attention has been paid towards U.K. talent and acts- with some focus on Swedish and European sounds.  Perhaps the most impressive and varied tracks have emanated from U.S. artists: ranging from L.A. sunshine pop, through to Missouri teenage punk.  It seems to be a nation that is fostering the most agile and electioneering new music.  In the U.K. we have some great young artists coming through- whether they will stand the test of time is another matter- yet the U.S.A. have a bolder and more enterprising approach to the matter of new music.  Granted I have largely been exposed to the band market and duos (with some solo work in there too); I have noticed that there seems not to be a 'staple sound': there is less homogenisation (and a need to sound like existing artists).  We in the U.K. need to take notes from the U.S.- with regards to how to bring the best talent to attention quickly- as some of the most fascinating sounds of the moment are coming from there.  Our 21-year-old from the 'Old Line State' has had an itinerant existence (in such a short time); locating to New York, and then to L.A.- where he current calls home.  He is a new talent, yet his voice has been compared to the like of Michael Jackson (The Guardian are amongst several to make this comparison).  Gallant has a trembling and evocative falsetto that is as much parts etherealness as it does mystique and hidden depth.  Few current artists can claim to possess such pipes: that mix falsetto and divinity within a musical framework, and posses the diversity and range to soundtrack any song.  The likes of Bruno Mars have had Jackson comparisons made; yet (and to my mind) his lyrics are too juvenile and his sound too limited and unappealing (in fact some of his lyrics come across as truly shocking and appalling).  Newer and less well-known acts such as Night Beds have displayed some of Gallant's majesty (listen to Even If We Try); but away from these examples there are few comparisons.  A great deal of the excitement surrounding Gallant's sounds are because of the 'sound' itself: Felix Snow is responsible for adding texture, emotion and fascination to his tracks.  Gallant is making big impressions with his talent alone, yet it is when he collaborates with Snow, that a lot of the 'magic' occurs.  Artists such as SZA- whom has also worked with Snow- attest to the producer's chops.  SZA is responsible for some The Weeknd-inspired music: that which mixes R&B etherealness with some synthesised panache.  Where as other producers would add odd effects; overbearing noise, and clichéd touches; Snow would employ the sound of wind chimes, whistles and supernatural chill to the mood: enforcing the songs fully, and adding layers of nuance and wonder.  It was this endeavouring and pioneering work ethic that was brought to Gallant's E.P., Zebra.  That E.P. is not released until August, yet is a collection that has gained a lot of kudos and respect; not only because of Gallant's core talent- but due to Snow's special touch.  Few artists would touch any song by Ke$ha (I personally find her to be repulsive; with no redeeming features), yet Gallant saw a glimmer of hope in her Die Young; wringing out the Auto-Tune plastic-ness; scrubbing away at the fake and perfunctory studio noise: and transformed it into something special indeed.  That song- which is a rarity for Ke$ha- has some subtext to it: quite dark in fact, according to Gallant.  By concentrating on this, and adding a new sound and vitality to the track (with Snow's helming); a ghostly and haunted chill that one would never associate with Ke$ha herself (well not in a good way at least).  The 'producer aspect' is not something that is ever concentrated on when considering solo talent- what a great support they can be with regards to enhancing a sound.  William Orbit and Mark Ronson are probably the two most recent examples of producers whom can add so much texture and subterfuge to a track; and it seems that the Gallant/Snow partnership could last a long time.  With Snow having worked with the likes of Shaggy (if you can believe it); he brings experience and a weight of authority to our young artist's work- helping to get the most out of that incredible voice.  Let us not focus too much on Snow: instead a bit more about Gallant himself.  We here in the U.K. are new to the joys of the Maryland troubadour- in fact a lot of people will be experiencing his name for the very first time.  Not much is revealed through social media- good in a way, as a sense of mystery, longing and wonder is brought to mind- our hero keen not to give needless information away; presenting the essential facts: the music itself.  His online profile is building momentum: on Facebook he has 1,241 'Likes' (as of July 1st, 13:54- G.M.T.); as well as 1,143 Twitter 'Followers'- I suspect that a lot more will show their support in the run-up to the E.P.'s release.  A sense of humbleness and appreciation are evident, when one surveys the social media pages of Gallant (as well as his official site).  He is filled with respect and thanks for any reviewer or new fan: a man thankful that his work is being given the credit it deserves.  Gallant has a personable and likeable personality: at once an enigmatic figure; the next a ubiquitous and effusive.  Scant praise is given- in these times- to considerable talent; so it is always great to happen upon new talent (if in this case it is vicariously).  Gallant's personal website (http://sogallant.com/) is awash with kooky and charming photographs; insightful commentary- Dadaesque, impressionist, abstract and impressionistic strokes and scenes can be found.  Barring the occasional misadventure (there seems to be a genuine appreciation for Justin Bieber- we all are allowed a vice, right?  Although if I have misunderstood on this occasion, I apologise) our L.A.-based hero is every bit the modern-day idol: letting his music do most of the talking, and making you draw your own conclusions about the man behind the voice.  It is to that voice that we pull towards, once more.  The forthcoming Zebra E.P. displays a young artists capable of bold and innovative interpretation (his take on Die Young); as well as a brave original voice; adept at incisive and thought-provoking lyrics (mature as well for a man in his early-20s).

 

The opening moments to If It Hurts have their roots in '90s U.K.  There is a little bit of Massive Attack's trip hop experimentation to be heard; as well as Radiohead's electronic movements, circa Kid A/Amnesiac.  There is a ghostly quiver and moan, with a pulsing and persistent beat that infuses it.  One can practically detect Thom Yorke hovering in the mix; as the evocation of Yorke- and current-day U.S. hip hop-can be detected in the initial notes.  Once that parable has let the wind swallow it; a guitar arpeggio elicits: at first it goes solo, before joining with the haunted coda; to summon up plenty of shivers.  Introductions are hard to get right- and make impressive and impactful- so it is all the more sterling that Gallant produces such a weight (within a mere few seconds).  Snow's innovation and golden touch help to summon up a riot of atmosphere and intrigue.  Initially Gallant's voice is- for want of a better phrase- a ghost in the machine: he seems distant and dislocated looking over the scene and sound; adding his tender tones to the mix.  Initial thoughts have room for interpretation: "Not enough colors (sic.) in the world, thought I would invent some".  The etherealness could suggest some introversion or emotion; yet the words point towards a young man whom wants to bring more joy and passion to the world.  He is an artist whom could "fade to black/Jump-cut to alone/Cross-fade to emotion": backed by a tribal and heart-wrenching percussive beat (which adds some punch and kick to proceedings).  Gallant's voice never dwells or ponders too much- in the sense that it becomes maudlin or saddened- instead the tenderness and light touches he weaves into the tapestry (backed by a beat that is potent as well as catchy) will make you sit to attention, get caught up; and listen carefully to what is coming next.  Such is the ever-changing nature of the track (it changes course and directionality a few times before the 1:00 marker, that your thoughts cannot catch their breath), that fascination and authority are kept at a maximum: the mood seems content to endeavour and electioneer, rather than sit still.  Atmospherics and electronic lustre are put at the top of the mix; forcing their way into your brain- as our hero unveils a wordless coda that mixes breathy sigh with falsetto hold.  There is at once evocations of classic Radiohead; modern-day European electronic music; as well as the sound of 2013 L.A.  The sweet-smelling melting pot whips up a heady smoke: multi-coloured, fragrant and intoxicating.  As the wordless chorus continues, that persistent and foot-tapping beat gets under your skin: it has its own gravity that supports the vocal, but also creates its own pull.  As Gallant's echoed voice comes back into the fold, the chorus makes its mark.  Talk of: "If it hurts, then baby you're all I need" shows tenderness and mature sensitivity; as "I'm thinking reality could happen- make it complete" hints at a heart- broken or aching- that is longing for satisfaction.  The unnamed and anonymous centre-of-attention is causing a little tribulation: yet the abiding sensation is one of a young man wanting to find happiness.  The tender-minded parable is repeated (for maximum emotional impact); our hero's voice aching and imploring with aplomb.  I can see where the Jackson comparables are born from.  Gallant's vocal has a similarly-stunning litheness: it is feminine and sturdily masculine all at once.  A little bit of Jackson's Off the Wall majesty can be detected in Gallant's tones (as well as a similar lyrical maturity); yet it would be unfair to solely focus on the late King of Pop's flavours.  Yes, there is a little of The Weeknd's evocations; but a sharp and focused originality can be heard: our U.S. hero is more spellbinding and captivating than any obvious names.  During the chorus (and the song as a whole) there is a strong soul vibe that comes to the fore.  If Prince were starting his career all over again, he would probably produce a If It Hurts paradox- although whether the Snow-infused layers would be employed is another question.  In the way that our hero stretches, repeats and reintroduces the chorus- like a hypnotic wave- one gets washed away and intoxicated by its intentions.  Messages of "If it hurts, then baby you're all I need" come back around; constantly calling out to the anonymous paramour to let him in- to ease her burden and let Gallant in.  If the simplicity and simple honest is the hallmark of the track's first two minutes or so; then the remainder is demarcated by intrigue (and some obliqueness).  We begin with some openness-cum-bold endeavour: "Not afraid to show myself the truth, to see what I've been missing"- it's clever wordplay and evocativeness are impressive indeed.  It seems that there is a lot on our hero's mind- both good, bad and complicated- that needs to be resolved and exalted.  Whatever the circumstances behind If It Hurt's origins- an open love letter; a personal exhumation; retrospective examination- it seems that a more pressing thought (is troubling our idol): "But then again, the midnight I was in was so much more appealing".  It is hard not to draw your mind away from Jackson or The Weeknd; and back towards the likes of Mr. Yorke: the intricacies and mood-setting evocativeness suggest some of the Oxford man's wonder.  It is this line that will remain longest in your consciousness: what it means; what it intended; what is in our hero's mind.  There is some modern reference and relevance to the Snow-helmed sonic blasts: a bit of hip/trip hop; a bit of modern pop and Indie lines as well- yet whereas some of those genre's examples employ similar sounds as ephemera; here it is used to intensify and emphasise the emotion and openness that is proffered.  The combination of wordless coo (both choral and deeply personal); combined with the heartbeat-like percussive line is ridden for a while; before the chorus returns to pioneer once more.  Authority, conviction and intention are hallmarks of Gallant's vocal line: words are punctuated, pointed and emphasised to make his message stand out.  If words such as "I'm thinking reality could make it"- backed by a swooning and potent sonic swathe- don't make their mark; then a granite heart you possess.  Additional layers and kicks are added to the snowballing composition: making the final stages more intense and emotionally-charged.  For the final seconds, the intro.'s guitar arpeggio is reintroduced: calming the nerves; settling us to landing, and beautifully bookending the composition.  In just over 4 minutes, a great amount of fascination and potency has been sewn: the track's aftereffects are quite startling.  In a modern scene where there is too much Auto-Tune; too little genuine sounds and voices, and a heavy reliance on noise; not sound.

 

It may be the case that the U.S. continues to produce some of the most fascinating new music.  Two of the best albums of this year have been turned in by American talent (The National's Trouble Will Find Me and Queens of the Stone Age's ...Like Clockwork).  Whilst here in the U.K. we have managed to produce an album that could contest for medals (Laura Marling's Once I Was an Eagle); the majority of the best and brightest music today is U.S.-born.  In this country there is still a big issue with homogenisation and over-familiarity.  Too many Indie bands are present; with it seeming to be the favoured sound- and is an issue that will only get worse.  You have to dig really hard to uncover some genuinely great music; and even more so when trying to locate some terrific solo gold.  I am not on a downer (when it comes to solo talent); yet it seems that for every 100 or so new acts arrive- possible half a dozen remain in the memory (and the marketplace) years later.  There is an over-reliance to just turn up on the scene; armed with an acoustic guitar; play some nice tunes about falling in love (and out); repeat 11 or 12 times... and that's it.  For every Marling or Adele there are dozens of Sheerans and Odells- it is a balance and injustice that needs to be righted as soon as possible.  I believe that solo artists have the biggest potential- both short and long-term- as a shift away from the band-heavy market will become apparent.  Gallant is a perfect example of an artist (young at that) whom is starting out differently- someone going against a predictable flow.  The lyrics are emotionally-charged and deep: containing enough mystery and relatability to intrigue and soothe.  It is not just Gallant's wordsmith-potential that is striking; but the range of emotions and styles over the course of three tracks.  Zebra is a brave E.P.: a debut release that contains a cover version; yet is one which will be talked about fervently.  Gallant's interpretative qualities- as well as originality- mark the E.P.'s tracks out as amongst some of the strongest you will hear this year.  This is something that is made possible by two more (dominant) facets: the stirring voice and excellent production.  Snow's legendary and authoritative helming not only brings the tracks to life- making sure everything is essential and captivating- but it is the little (and big) touches that he adds that make it that much stronger- and there are quite a few additions.  The combination of Snow and Gallant works much the same as Orbit and Madonna (Ray of Light), as well as William Orbit, Fatboy Slim and Ben Hiller's Blur collaboration (Think Tank)- a perfect blend of two different minds; combining splendidly.  The mixture of beautiful- and at some times, otherworldly- vocals; combined with some strange and splendid sounds; makes the songs what they are.  It is the voice itself that stands out as much as anything.  It has some timbre of early-career Jackson; as well as mid-career Yorke: but is its own man and beast, and is not subject to easy categorisation.  Gallant has a sound that posses shades of the past; as well as a dedicated and impassioned love of music.  He may have travelled from Maryland to L.A. (via New York); yet it seems that London would like him as a resident; as his talent and collaborative spirit is something that is much-needed in the capital (and the U.K.).  My anxieties about the new music scene will never be completely abated (given the questionable quality of a lot of new acts); yet with artists such as Gallant arriving; making some impressive and large first steps, my reticence and trepidations may have to take a back seat.  I am always impressed by a great voice- one that is original and not prefabricated- and especially one that ties striking lyrics and bold sounds together seamlessly.  Change begets change, and my hope is that there will be a paradigm shift away from bland and lipid acoustic solo work; as well as plastic and nauseating pop (Rhianna, Katy Perry and yes...Ke$ha) and towards the likes of Gallant.  The current crop- as well as generations yet to come- need some sturdy and solid sounds to be inspired by; and if they are not readily available, then a somewhat underwhelming scene is produced.  Gallant's sound is redolent of a (stronger) past era: one that was more abound with innovation and risk-taking; so I dearly hope that his spirit and determination continues.  It is always great being surprised by music, and If It Hurts certainly does that- what more can you ask for?  Its honest and earnestness; as well as mystery and open-for-interpretation edges cement beautifully: the result of a studied and mature songwriter.  The sonic evocations and atmosphere that is elicited (with Snow's assistance) gives the number a ghostly and disassociated impression that lingers long into the mind.  Overall it is a song which will subvert expectations (in a good way); as well as go a long way to re-appropriating any disinclinations about new music's potential.  I am thankful (most of the time) that publications and websites such as The Guardian (and specifically their 'New band of the day' segment) are available; so that we here in the U.K. are made aware of great U.S. (and international acts).  I am always appalled that there are not better channels of connection and awareness; but it is a problem I am trying to work on as we speak (trust me on this).  The next few weeks will be busy for our L.A.-based artist: the E.P.'s released; promotion will follow; touring and gig commitments and bookings will surely be an issue.  Once all the dust has settled, and the public have absorbed and experienced Zebra's wonders; I hope Gallant will play more in the U.K.  His sound and appeal is something that easily translates here, and one suspects that the likes of Europe and Australia will jump readily on board (I know that Northern Europe and Australia will welcome the music with open arms).  Regardless of my fears about new music; as well as my desire for more spectral voices, I feel that the next few years will play host to few artists like Gallant.  Whether this trend is going to be a result of the lack of likewise talent; a scarcity of great music websites (making us aware of new music)-or a combination of the two- is unclear; yet it is apparent that more people are made aware of worthy talent, capable of longevity.  So.. I am going to try and assist (as much as possible), and hope that more people here latch onto If It Hurts and spread the word.  Gallant is a modest young man, and someone who appreciates kudos, representation and reviews, so I hope that he has many E.P.s and L.P.s in him- as I am genuinely genuine when I hear great music.  Few artists (especially new young artists) inspire people like me (30-year-old songwriter in awe of the established masters); yet I have been compelled to write:  "Drink until we're numb, drink until we're dumb enough to keep on thinking more/I'm offered salt to quench my thirst/Crawl along the floor, climb up the walls until we confuse the battle with the war/And die for so much worse".  What it means: I am not sure.  What it will lead to: who knows?  One thing is for certain: if music (even a single track) can bring about creative output (however miniature/personally interesting); as well as adulation and bona fide excitement, then what more could you ask for...?

 

WELL... that you listen hard; and wait with bated breath for the upcoming E.P.

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Official:

http://sogallant.com/

Twitter:

https://twitter.com/SoGallant

Facebook:

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

SoundCloud:

https://soundcloud.com/gallant

YouTube:

http://www.youtube.com/sogallant

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Colour Me Wednesday- Shut- Track Review

 

Track Review:

 

 

 

 

 

Colour Me Wednesday

 

 

 

 

 

Shut

 

 

Colour Me Wednesday

 

 

 

9.4/10

 

 

 

 

 

 

 

 

 

Explosive four-piece of Uxbridge have influences of the early-'90s; tied together with an of-the-moment urgency: it makes them essential listening.

 

 

 

 

 

 

 

Availability:

Shut is available at:

http://www.youtube.com/watch?v=Lkni5QYgcvE

The album I Thought It Was Morning is available at:

http://colourmewednesday.bandcamp.com/album/i-thought-it-was-morning

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MIXED genders and mixed agenda are subjects rarely discussed in the...

 

music business.  The nature of bands tends to be somewhat homogenised.  Groups stray towards either the all-male or all-female stratagem (predominantly the former).  It seems that there is a disproportionate amount of male bands on the current scene- most of whom are plying their trade in the Indie realm.  Sexism and gender subjugation is an issue in society at-large.  In the workplace; in sport and in social segments- even in 2013- there is still a rifeness of inequality and disproportionality.  As much as sectors such as government and business are male-dominated, it is alarming that there is lacking awareness (or self-awareness).  It is unsure whether- and if so, when- the inexactitude will supersede; but small steps are required- gradually made by as many feet as possible.  Feminism is an important facet of the modern age; and is something that needs it voices as wide as possible.  I have always had a cautiousness when femininity is proffered in music.  The likes of Beyonce have somewhat underpinned their cause with their life trajectory (marry a millionaire; make millions; donate nothing to women's charities).  It seems like a hollow message when you are on a pulpit, singing down to your audience- the likes of Beyonce may have had a hard upbringing, yet she is in no way on a level plain with her fans and supporters; or most women as a whole.  Of course gender inequality is not an issue in music itself.  It is an industry with a welcome idiosyncrasy: doors are open to everyone, regardless of financial constraints or situation.  There are no rules; no interviews; no narrow-minded attitudes with regards to the entry fee: if you have recording equipment and a song(s); then you can take your place in the market- although this does cause an overall lack of quality, which I will mention later.  Musicians themselves have an important role; yet have little political sway.  If the roles of M.P.s and female musicians was transposed; we would be in a much fairer society- where the inequalities of life would become more apparent; and swiftly rectified.  Taking all this into consideration, you may ask this: what is my overall point?  Well; it seems that music- although politicisation of music is a big mistake- is a sector that continues to grow (by the week); and it is the songwriters and artists of today, whom have the biggest influences of the young (probably more so than any other type of professional).  As much as I have enjoyed the offerings of all-male bands recently; it seems that a lot of female-orientated musical wonder; tends to emanate from the solo scene.  With the band market currently the most jam-packed of sectors (how many new bands does one encounter by the week?  Seems like dozens!); public eyes are focused on their shores.  I have heard some diverse and spectacular music from female-heavy bands, ranging from home-grown talent such as The Staves and Fake Club.  The former comprise three sisters; whom promote spectral and ethereal harmonies- and have currently completed a large tour of the U.S.  The latter are an up-and-coming rock band, with perhaps one of the greatest modern guitarists in their ranks (Carmen Vandenberg).  Although sexism is a rare occurrence within music, it seems that a fickleness is a bigger issue.  Too many media outlets focus too heavily on the male bands- letting some of the female groups slide somewhat.  Commercially and historically it may be the male bands whom have pulled in the biggest plaudits, yet some of the best sounds I have heard recently, have emanated from female bands.  If the music industry is to become more diversified- and increase its quality and ambition- then ears need to be focused away from the (yawn) four-piece-male-Indie-band-whom-love-Arctic-Monkeys.  Before I arrive at the feet of Colour Me Wednesday, I wanted to bring up my two favourite themes/rants: musical locality and '90s influence.  I have practically turned purple, trying to find great bands in the south.  As well as in the music media; most people I know (whom have their ears trained) keep banging on about the Indie bands of Manchester and Liverpool.  It appears that there is too much focus on the northern bands- and consequently there seems to be a whole batch of Mancunian bands each day-with the abiding sound being in the Arctic Monkeys/Oasis mould.  I am getting tired of the predictability and over-familiarity with new sounds (I am excluding solo acts largely); wondering when the acts from the South of England will ride up.  Over the past few months I have heard only a tiny amount of bands from areas south of Watford (The Staves are based in Watford so are excluded).  London is strangely quiet and introverted when it comes to pushing forth new music.  If one were to detail schematics; draw a climate/topographic map (detailing what type of music was played where; and which decade is most evocative in their sound); then Manchester and Liverpool would be thick with Indie bands- each seemingly inspired by '70s legends and '90s classics.  Yorkshire would be most speckled; having jazz, blues, swing and doo-wop colours- with a mix of '40s, '50s and '70s-modern-day influence.  If eyes were to track down to London, then the map would be less bold.  There are some great musicians in the capital; yet when it comes to great new bands, well... there seems to be a sensation of rations.  I have also been barking on dementedly about the lack of 1990s influences within modern music.  I will arm wrestle a nun to prove my point; but the '90s was (and still is) the finest decade for music- '60s be damned; you are over-rated!  In many of my recent reviews, I have (as well as been passively-aggressively poking fun at The Guardian's limitations as music reviewers) been asking why there are not more '90s flavours in 2013: given that it was one hell of a majestic decade?

 

Colour Me Wednesday are a group whom have a keen ear for the music of the '90s: in fact, the Indie bands (of the early half of the decade) are big influences for them.  The band consist of Harriet and Jennifer Doveton; Carmela Pietrangelo, and (sole male) Sam Brackley.  Our girls (and guy) are based in Uxbridge: the administrative headquarters of the London Borough of Hillingdon; it is located in the west of London and has a population of just over 26,000.  Uxbridge is an area not usually associated with musical outpourings; yet has a landscape and history that would suggest fertile and ripe conditions.  Away from the bustle and congestion of Central London, it has given our intrepid quartet room to be inspired, create; make their ambitions known.  As much as I have been mentioning defects and glaring omissions within new music; lurking in mind has been a dissatisfaction: too few new acts provide enough relevant information.  Most give a simplified Twitter and Facebook account; so that for people like me, you are left struggling what to say.  Our Uxbridge clan are pretty giving when it comes to details: you can find out a lot about them; but not too much.  With Jen on vocals; Carmela on bass; Harriet on guitar, and Sam on drums, the quartet have been electrifying audiences for a while now; bringing their blend of sound as far and wide as possible.  The guys don't do music civil wars: no competitions with other bands; they simply want to bring their songs and movement onto the scene- and intend to stay around for as long as possible.  With a wide range of idols and influences, that go from The Beatles and R.E.M., through to The Sundays and Dinosaur Jr. (as well as those '90s Indie flavours); the band bring a range of textures and sensations to their overall sound: it will stick in your head for a long time after it has ended.  Looking into their social media pages, and one gets the impression that they are all down-to-Earth and good-humoured.  On their Facebook page they attest to enjoying "computer gamez (sic.)" as well as "hyper kittens and puppies".  The three girls are all striking and beautiful; raven-haired and stunning; with our percussive hero being very dapper and handsome (not sure how to compliment guys aesthetically).  Although the group has been in existence for 5 years now, the present line up in only a few months old: one that hopefully is cemented, as the sound and tight kinship between the members gives the music a conviction and urgency, few other current acts can claim.  Their band name struck a chord with me.  On their official website, there is a sketch of Wednesday (from The Addams Family)- making me wonder if that is where the moniker came from.  It sounds like a game for child fans of the show (and films): a black-and-white sketch of Wednesday that you can spend literally minutes colouring in.  Not sure where the fun is, but such is the fascination (with the band's name) that several theories spring to mind.  Luckily they are not affiliated with the God-awful '80s/'90s act Color Me Badd.  The Oklahoma four-piece sold 12 millions records in the U.S. (inexplicably); and are still operating as a trio to this very day.  In addition to their pervy signature song I Wanna Sex You Up; the band never really won over critics (probably not hard to see why).  Luckily our London-based heroes are filled with intrigue and momentum; having a sound that could see them playing festivals and large venues very soon- who would bet against a Leeds or Reading slot in a few years?  Having experienced Glastonbury; where acts from the sublime (The Rolling Stones) to the terrible (Azealia Banks; Mumford & Sons) have been dominating the news, our Londoners could easily make their way to the illustrious festival- they have a ubiquitous quality and utilitarian likeability that could see them win over crowds.  If proof were needed (that they could fill seats aplenty) sites like The Girls Are can lay claim as to their prowess.  The music website reviewed a gig of the band's last year; enraptured by the quartet's incredible hooks and blitzkrieg sounds: with punk and Indie-Pop layers weaving in and out one another.  The band market is- as I have regularly suggested- the most compacted and sought-after there is: hundreds and thousands are playing across the U.K., yet only a small amount are worthy of attention.  It is axiomatic that the group have affection and consideration for their fans.  In addition to their album I Thought It Was Morning, they also offer variations and multiple versions of the L.P.- including a vinyl edition.  The group provide plenty of choice for prospective fans.  As well as vinyl and C.D. versions of the album, there is a digital version; as well as a Lyrics Booklet Zine- in addition to a 28-page booklet of lyrics, there are baby pictures (of the band) as well as explanations behind certain songs.  The L.P. cover itself is a black-and-white comic book strip: various scenarios and scenes are represented with the album title appearing in individual panes.  Too many new acts see themselves as completely indispensable and precious: afraid that by giving information away; making their music too readily-available, their appeal will wear thin.  In 2013, we are faced with a swagger and wave of varying acts: each one hungry for recognition and fan-bases.  If you take the business and seriousness of music too lightly- coming off as aloof or unconcerned- then you risk being forgotten about forever.  Colour Me Wednesday want as many people to listen to their music (and buy it as well); giving fans choice, and making the job of reviewers (like me) a lot easier.  Before you have even listened to a word of their music, you get a sense of what they are all about: where they came from; what turns them on (musically); how they got there- and where they want to go next.  You will have to- *sob*- wait until July 28th to get your hands on the album; but their new single is readily available for digestion.  Having gained a lot of positive feedback because of its infectious and stunning sound and sharp lyrics; the track is gaining mighty appeal.  It is the lead-off track from their forthcoming 11-track set, and is a brilliant cut- representative of the group's key and core sound and style.  Before I get to the track itself, the future L.P. promises much intrigue- from the song titles alone!  Numbers such as Unicorn In Uniform; (I'm Not Coming To Your) BBQ; You're Not My Number One Bastard, and- the gloriously-named-Purge Your Inner Tory, are to be found.  The humour and fascination that the song titles proffer, have roots in the punk era; where similarly-glorious song names could be found- in fact I Thought It Was Morning could easily be an album by The Clash (circa. 1978).  With a rich and all-encompassing motif that aims for as many people as possible; tied to a sound that has elements of '70s punk, '90s Indie and U.S. and U.K. influence; my fascination was stacked high.

 

The video for Shut certainty seemed fun.  It depicts Jen spinning around on a playground merry-go-round; smiling as the song plays (although one suspects she became nauseated after a little while).  The sense of fun and energy is played out as soon as the intro. begins.  The combination of guitar and drum- in the initial stages- builds up and up; then down and back down again.  The structure is at once unusual but authoritative; with edges of punk legends such as The Clash and The Ramones, as well as modern-day Indie shades.  It lasts but a brief time, yet sets the mood perfectly: punching a few times; retreating; before coming back around again.  The band are in awe of acts such as Bikini Kill; and whilst that group's better-known tracks (Rebel Girl for instance) are noted for their heavier edges; the two groups share a similar talent for potent and razor-edged riffs.  Whilst our London quartet may have a more ubiquitous sunshine to their sound (on the evidence here); the authority and conviction with which the intro sparks up, promises a tantalising song.  When Jen's voice arrives on the scene, the tones are less of the likes of Strummer and Ramone; instead touches of Kate Nash can be detected (as well as Kathleen Hanna).  As the pogoing and striking guitar, bass and drum combination works its magic, our heroine speaks of some unsettling truths: "It's like I've failed my teens/Now I'm failing my twenties".  Although there is little sign of introversion and sadness in her voice, there is a matter-of-fact calm to be heard- a smile in fact is almost audible when "High on anxiety" is sung.  It is the way that words and sentences are phrases as well; which adds emotional weight.  When "High on anxiety" is proffered, Jen's voice grins; the rejoinder "Low on attention" is presented with a resigned sigh- everything is more convincing and impressive if attention is given to projection.  It is clear that there are anxieties and concern in our young heroine's thoughts.  Whereas most songs (modern mainly; historical as well) deal with vicissitudes in and out of love; power games in relationships; blame and revocations (read: sympathy-seeking), Shut's mandates are more relevant (to the modern youth).  Our heroine does not speak of the woes of modern-life because she is in the minority (and needs to be saved); she does so because she is in the majority (and is speaking the truth).  Even someone like me; in my late-'20s (30 technically), can relate to sentiments such as: "There's a million and one things/That we'll never make sense of".  The central voice is of young London: speaking on behalf of the young U.K.; it is strong and convincing, with flecks of tongue-in-cheek and punk spit- not many voices you can say that of, in today's climate.  The band are constantly consummate: professionally tight, with a relentless energy and evocation of punk and Indie-Pop corners.  The riffs and sonic evocations that are offered up are never too heavy or intrusive: simply hook-laden and catchy.  Little snippets of past masters can be traced in the sound; as well as classic '90s flavours (I detected some early-career Blur and Oasis- which I hope the band do not object to).  At the heart of proceedings are the words- open-hearted and honest, as well as rally-against-the-world: "Self-satisfied clowns/Ruin everything".  Whether the song's theme has been forged due to uncertain weather; paradigm shift; heartbreak, or simply some arsehole being too arsehole-ish remains to be revealed; yet our heroine puts her points across with loveable pugnacity.  For a woman who claims "('Cause) I can't stand it/I can't sit down"; the restless energy makes the song strike a hard chord.  With a voice that has semblances of Miss Nash; there are sweet-natured and seductive tones as well that the likes of Daughter and Haim have popularised.  It is these combinations (and juxtapositions) that make Doveton, Jen, such a compelling singer.  As the supporting trio infuse the mood with electricity and sublime punch (great riffs, impressive bass work and solid percussion are the hallmarks on offer); our heroine continues her thought-process- one which seems less of a diatribe, but more of a confessional turn.  The following verse speaks of self-doubt ("Regrets set in") and everything in-between ("And I'd change the world/One person at a time").  Whether the song is speaking to an unnamed man (ex-love perhaps); or just kicking out at the world, I am unsure; yet there seems to be a wider (and more pressing) malaise- our heroine has seen and felt her fair share of disappointment and unmet expectations.  Future motifs on the comparative prosperity of the past ("Remember when things used to happen to me?"); and its irksome retrospect ("Yeah I hated that too"- one suspects there is sarcasm in the voice) are experienced.  Bolstering and supporting the mood, the guitar and bass roll and sway- as the percussive waves crash around them.  Our front-woman has an unerring positive edge to her voice; never succumbing to teenage angst or quivering sadness: it is the perfect blend to make you sympathise with her plight, but also get swept up in the song.  Our twenty-something heroine was "Short on motivation"; in "Slow motion/Crumbling to dust"; her mind overwhelmed.  Whether there is a abiding factor or fear that is mitigating her thoughts- the government; the nature of modern youth/life- it is not revealed; yet the song seems as much as a protest ("Are we numb to this outrage?")  as it does autobiographical.  Ambiguity and mystery mingle together (within the final verse) as our heroine states: "'Cause I can't stand this/Adolescent state", Jen's voice sways and electioneers; chirps and rises, summoning up a riot of emotion, conviction and intention- more so than the likes of Kate Nash and Lily Allen muster.  One of the most striking things about the songs are the contrasts and light and darks.  Jen's voice is pleasing and steeped in punk and Indie potential (and conviction); able to bring to life the song's themes.  The words themselves can appear Draconian and anxiety-etched: mixing regretful past days with modern uncertainty.  It is the sonic evocations that tie it all together; marrying pulsating and nerve-jangling percussion with barbed-wire guitars; complete with tight and spine-straightening bass.  There are whispers of U.S. punk acts like Green Day (think of their Dookie/Insomniac regency); as well as 1992-The Lemonheads.  The punk and U.S. influences are apparent as an extended musical break/middle eight is introduced (2:18 onwards).  It is here that the band galvanise their spiky and infectious codas- as our heroine is allowed to step away from the mic. (briefly; to catch her breath).  As the chorus comes back around for a last time; our singer still wonders: "I don't know why/I keep my mouth shut most of the time/When I burn inside".  In a way the song can be seen as a sly and subtle commentary on modern music.  Our heroine talks of how she used to have disappointment; regrets keeping her mouth shuts; wanting to change the world "One person at a time"- although given what we know about the band (not wanting to compete); I may be reading too much into it.  As the song ends and the dust settles, a point has been made loud and clear; and an insight into the thoughts and ideas of Colour Me Wednesday has been gained.

 

The band's forthcoming L.P. promises much range and diversity.  Not Much You Can Do's anger and vitriol- mixed with rebellion and hard truths- is one side of the coin.  Purge Your Inner Tory has an obvious target ("Tory boy you can't solve anything"); whereas Unicorn In Uniform mixes clever wordplay ("You fetisise the truth that you can't touch").  The band structure allows democracy and openness in the writing and creation.  Songs are written by Harriet, Jennifer and Sam (mostly individually; occasionally in collaboration); so you get different perspectives and biography.  In that sense too, there is no hogging of credit or a dictatorial lead: sharing and collaboration are bywords which enforce and cement the band's effortless quality and conviction.  Shut is the first song from I Thought It Was Morning; and one of the most stirring and evocative tracks.  Whereas a number of the L.P.'s tracks have sharper and looser tongues (the F and C-bombs are deployed during certain tracks), Shut has a feeling and atmosphere that could see it played across BBC Radio (Radio 1 and 2 especially); as well as some of the less mainstream stations such as Xfm and Absolute Radio.  It is the quality which will see them on the playlists of the best U.K. radio stations; in demand at festivals, and make their way above the sea of current bands- so that they stick around for years to come.  The group's all-inclusiveness and approachability, as well as the impressive online content will see them bring in a lot of new fans; and gives them an edge on most of their contemporaries.  Each member brings a great deal of tightly-honed and loose-cannon glory to the pot.  Shut is a song which lodges in your brain, and has you sympathising for our heroine- you lose yourself in the track's gravity.  Jen's voice has a clear and local accent; making her accessible and unique.  The way that the song's words are inflected; treated; considered and pointed, show great consideration for intention and projection; ear-marking her out as a future singer to watch.  Bass and guitar work is fantastically impassioned and energetic: it summons '70s and '90s punk authority (from the U.S. as well as the U.K.), whilst the percussion is charged and pulsating.  Few modern bands are making similar sounds, as well as easing my anxious mind.  In a market where Indie-heavy emphasis is the natural order: and diversity and differing sounds and given less consideration, it is refreshing to hear Colour Me Wednesday.  Whilst most contemporaries are too fixated with narrow themes and songs that rely too heavily on relationship issues; there is also an issue about homogenisation: too many bands sound like too many others; leading to a indistinguishable blur.  Our London quartet have plenty of chutzpah; tenderness; guts and intelligence: so few other bands have these unique colours.  I am pleased that there are '90s influences and tones within their sound (I hope to hear more of that in their L.P.)- as it is a decade that I miss dearly, and want to hear more of in modern music.  What is best, is that the band is female-dominated (apart from Sam, whom is a dominant force).  The group can re-appropriate and relaunch a female resurgence- distilling the male-dominated scene and adding some much-needed range.  Too many four and five-piece male bands stalk the scene, and (apart from the solo scene) there are few female groups.  Kudos to Brackley, Pietrangelo and the sisters Doveton; whom have covered a lot of ground and made huge impressions in a short time.  If some of the song's morals speak of past tense and present anxieties, then they should fear not: the future will be rosier and less uncertain.  As much as the band market is bulging and burgeoning, its future prosperity and growth will be dependant on the truly worthy: not those whom are bland and unambitious.  Too often I have encountered sub-par and unflinching bands; those for whom music seems like a diversion rather than a passion.  Those willing to appreciate their position and offer something different and brilliant are the ones whom stand the test of time.  Colour Me Wednesday- as well as gaining ground for the under-represented South of England- show signs of vitality and intention that will see them in the public consciousness for a long, long time.  On the evidence of Push, they offer ambition, range, potency and a relevant voice (for contemporary musicians and the youth of today).  The release of their L.P. (in late July) will be the test and summation of their current surge: and will also gain them a swathe of new fans and followers.  In  a Manchester/Indie-centric scene, it is essential that bands such as Colour Me Wednesday are fostered and promoted- so that diversity and originality can be proffered.  Push is a bold and intent step; so listen hard and absorb its myriad layers.  When the album is unleashed and consumable; I hope reviewers and media outlets help to share I Thought It Was Morning's potentiality and benefits.  If we want to keep music from stagnating and limping, then acts such as our Uxbridge quartet need more oxygen and support; but I am confident that this is...

 

SOMETHING that should not be a problem for them.

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Official:

http://www.colourmewednesday.com/

Facebook:

https://www.facebook.com/colourmewednesday

Twitter:

https://twitter.com/nononoofficial

SoundCloud:

https://soundcloud.com/nononoofficial

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NoNoNo- Pumpin Blood- Track Review

 

Track Review: 

 

 

 

 

NoNoNo

 

 

 

 

Pumpin Blood

 

 

NONONO

 

 

9.8/10

 

 

 

 

 

 

 

 

 

Swedish electro-pop/Urban-Indie threesome: two adroit producers; one stunning singer/songwriter; create a scintillating and dizzying slice of (intoxicating) gold: "It's your heart/It's alive"...

 

 

 

 

 

 

 

Availability:

Pumpin Blood is available at:

http://www.youtube.com/watch?v=3j4I0PqNzKE

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FOR today- and hopefully not just today- I am thinking about European...

 

music.  Over the past few weeks, I have presented a veritable nomenclature of U.K. and U.S. act-stating during each review the positives of each-whilst referencing one distinct cousin: Europe.  Most of my attention has been drawn to the home-grown British acts- it seems to be where the media draw your attentions.  Whilst at times I have been ambivalent, I contest that there is a great deal of fascinating and excellent music to be found on these shores.  Music magazines and publications tend to have their particular tastes: NME: Indie; Q: Pop/Rock-orientated etc., they have their own meritocratic regime: proffering the very best, whilst giving little credence to the remainder.  Some of the broadsheets and less-discerning music websites can be more inclusive- taking time to investigate other genres and types of acts.  There are, however, a few issues and roadblocks that one faces (in this country).  Music influences music, which means; should a new act be looking for inspiration, parental guidance comes in the form of existing acts.  If a particular nation is beholden to a certain limitation- in the U.K. a lack of adventurousness- then how to you foster and encourage diversity and fascination?  At the same time, outlets such as the music media (radio stations, magazines etc.) are responsible for leading the way; showing the newcomers what is available: training their ambitions to the skies.  I guess that in a sweaty pub; in a compact garage, or back-alley venue, exciting and truly unique movements and sounds are being created; but the issue really boils down to this: what is happening at the core (the mainstream)?  A lot of my recent focus has been on existing acts- the big-time players- still going strong; turning in the finest albums of their career: The National, Laura Marling and Queens of the Stone Age are my referential Holy Trinity.  Our 'Father'- The National- is a group of men in their 40s; yet are turning in albums that are filled with youthfulness and impish winking.  They have been on a glowing trajectory (ever since their self-titled debut); turning in L.P. after L.P. chocked filled with lyrical majesty; deep and quote-worthy snippets on the uncertainties of life; maturity, responsibility and depression.  Helmed by Matt Berninger's chocolate croon and poetic verses, the U.S. band have been enlivening the scene,- simultaneously seducing critics and music-lovers- with persistent aplomb.  In a music scene that has a beguiling (and unhealthy obsession) with age- drooling at teen troubadours and 20-something bands- they are showing that men; grown-up and mature shoulders are turning in some of the most stunning songs of this century.  Similarly, the U.K.'s own 'Daughter' ('Son' may have been bit cruel) is doing Britain proud (although she currently resides in L.A.).  Marling is another example of a stunning lyricist- imbued with some similar cynicism, yet more 'upbeat' on her 4th album.  Marling's folk-tinged anthems are filled with maturity and potency.  Although she is in her 20s- bear with me here...- she is unconcerned with the issue of age; wanting people to focus on her music and work, and nothing else- she will be producing work for years to come.  The intrepid 'Holy Ghost(s)' Queens of the Stone Age- helmed by Josh 'Ginger Elvis' Homme- have perhaps turned in their finest work to-date, in the form of the statuesque '...Like Clockwork'.  Packed with dark, crawling strangeness; heavy-hitting desert rock; slinky, sexy/scuzzy jams, and glistening gems- it is an album that will top the 'Best Albums of 2013' lists.  My point is this: this trio are probably the best music out there at the moment.  Yes, the likes of Arctic Monkeys, Foo Fighters, Daft Punk and Adele are still making music; yet the aforementioned three are the current sound of what music should be- and what the public respond to.  The U.K. and U.S.- between the two nations- are the busiest music-producing clans in the world.  Because the music business is so over-crowded (especially the band market), it is near-impossible to separate the good, from the bad and ugly.  Too many bands in the U.K. are producing Indie stylings; most sounding pretty much the same as several dozen other bands.  It may be what is popular at the moment, but given the potential: the range of genres and sounds one could proffer- why do the same as everyone else?  The media hardly help: highlighting and profiling these bands hugely; sparing little attention on more diverse acts.  The U.S. are less culpable (they are making strides to promote a wealth of diversity), yet my point is well-founded.  I know for a fact that there are electro-swing acts out there; indeed we have doo-wop, blues rock and Grunge bands; but when the hell do you ever hear about them?  We (in the U.K.) are lacking a certain 'fun'- a bit of sway and kick to the step- and it depresses me.  The likes of Marling and The National are ignored (by new acts): there seems to be less emphasis on sharp and intellectual words; less it be deemed 'uncool'.  Likewise, the winding and snaking stings of the U.S. 's Q.O.T.S.A. are near-unheard of in the larger picture: some bands 'sound like' them; yet precious few take their spirit and quality on board.  In spite of financial hardships and fickle media outlets, we here have all the resources, time and influence available; yet it is being passed over; ignored you see, for strange reasons.  Unless there is a pull away from Indie/Rock predictability- and a move towards diversification and ethnic blending- then the music scene seems likely to hit an ice block- that it may not recover from.

 

It seems like a long-winded rant; yet it is a prescient and ever-relevant thesis.  You don't have to copy the established guard in order to obtain a semblance of their relevance and majesty- simply take little bits and pieces and pepper it into your cooking pot.  Alas, the U.S.A. seems to be cottoning-on to the idea behind progression: having an identity but aiming big with it- as well as not being bogged down into a predictable quagmire.  Ever since I reviewed the band HighField, I have been fascinated by foreign diversity.  Their (large) membership contains Norwegian, Singaporean, British and Canadian D.N.A.  Their songs are infused with high-octane merriment; a myriad of complexities; sharp and bustling colours, and an overall quality that is hard to match.  The words and music on display has a richness and intrigue for sure: the resultant whole is stronger and more authoritative than most music out there.  I think that they are amongst a small number of acts that 'get' the idea: having a brilliant identity; mixing fun with introspection, and aiming for the big boys of music.  It is European influences that seem to be making the biggest splashes.  I have surveyed examples from France and Germany a while ago; yet more recently a lot of Swedish influence is making its presence known.  Disco duo Club 8 are making their point well known.  An epitome of summery and sun-kissed swathes of electronica and disco stomp; they are showing that success is much more palatable (and obtainable) if you break away from the norm.- although Sweden and Scandinavia have always done things this way.  Before I present NoNoNo, I want to wrap up my point.  Whilst I have been pecking away at the keyboard- keeping our featured band in the front of my mind- I have been listening to some rather anthemic tracks of the '90s.  It was a decade synonymous for diversity: the music scene changed seemingly by the month.  The likes of Britpop, Grunge and pop would be up front; yet plenty of acoustic solo brilliance, classic rock and soon-to-be-legends were readily available.  To my mind, that era (as well as the early years of the '00s) was the last great time for music: an age where quality ruled the land (of course there was quite a few turkeys here and there as well!).  Too few current bands will take heed of the moral of the story: revisit the past; infuse fun and exhilaration; keep the quality/individuality high; gain success.  It is a parable which Sweden's NoNoNo (they are sometimes represented as NONONO; sometimes nonono- hope I have got it right) have struck upon; rekindling my enthusiasm and longing in equal measures.  Hailing from Stockholm, the three-piece are an electro-pop outfit.  I have always hated the mainstream pop output: if you consider Lady Gaga, Rhianna, Katy Perry and their ilk- they are the low end of the barrel; scarping around with lazy lyrics, trashy imagery and plastic sounds.  Pop in general- electro or otherwise- can produce some great sounds (if you ignore the hyped-up nonsense I have just listed).  Even if some of the trashy and insubstantial pop gibbering is Scandinavian-produced- so too is a lot of the top end as well.  Artists such as Robyn have made us well-aware of Scandinavia (and its limitless potential); as well as the producers and hit-makers   The Guardian have just featured NoNoNo- heaping huge praise on them (a rare positive outpouring from Paul Lester).  As much as he has got it right about the trio: about their quality and potentiality, he has mentioned the likes of Gaga and Rhianna too much; and Capital F.M.  I am going to distance the trio from such horror show.  Capital is okay if you like your sugary and trash pop: the young female demographic makes up practically the entire audience.  NoNoNo are so much better and more worthy than such names; so it is unfair to lump them in with the likes of Jessie J and Ke$sha (unless, God-forbid that is your bag).  I am going to let a particular pet hate of mine slip today; considering that it is a small niggle in an otherwise brilliant whole (I shall mention it when reviewing the track).  Our trio consists of two male producers: Tobias "Astma" Jimson and Michel Rocwell.  They are hirsute, handsome and moody; and the nob-twiddling, electric-infusing brains behind the sound: the guys whom make sure that every note and inflection digs into your hippocampus.  At the front is an alluring and striking Stina Wäppling (whom is actually the songwriter).  Possessed of Swedish beauty, she is a pin-up and girl-next-door idol, yet has a curious double existence.  By night, she is the lead of NoNoNo- the voice behind those infectious and ubiquitous sounds- but by day she is a psychiatric nurse.  Perhaps it is not a shock that a proportion of Wäppling's lyrics border on the dark and dense- and in fact a lot of Pumpin Blood is steeped in shadows.  Paul Lester labelled Pumpin Blood as "Capital-worthy"; yet the track- and the trio themselves- are much more respectable, universal and savvy; able to strike chords with the likes of me- songwriters more in love with the likes of Dylan, Marling, Cohen, Homme and Mercury; than the Rhianna-Gaga-Beyonce-Jessie J-Ke$sha paradox.  They (NoNoNo) have the dance-able and effusive explosions that can draw in the Capital market: female; 13-20-year-olds (more-or-less); yet are better-suited to the likes of Absolute Radio, BBC Radio 6 and Xfm: the most respectable and unimpeachable stations in the U.K.  The likes of Lykke Li and Annie have proved what Scandinavian princesses can achieve in music: both artists are held in high esteem by most critics and reviewers- so it is with those names where I shall place NoNoNo.  But anyway... let's get down to the song itself, shall we?

 

The title gives you an insight into the song's hallmarks: hard hits; rushes of essentiality and heady excitement.  On YouTube, the video has already collected over 103,000 views- with over 1,200 'Likes', and a host of effusive and salivated commentators contributing their thoughts.  The initial moments are made up of an electronic coda: a plinking evocation that brings to mind Snow Patrol's Chasing Cars.  It is the briefest of passages- a slight and tender foreplay- before an explosion of multi-coloured, whistling sunshine is unveiled.  Backed by subtle but propulsive percussion, the atmosphere is bathed in an infectious electronic glow- sounding like bird song-cum-robot whistling- that makes you smile and sway your head: the part juvenilia evocation; part dizzying kiss captures your attention and heart imminently.  In the video for the song, we see our trio walk towards a huge lake (perhaps it is in Sweden, but I am not sure); as the sun sets.  Thick jumpers, rabbit-stroking (yes, a rabbit) and moodiness are abound; displaying a juxtaposition and healthy dose of good humour.  Before any words have been sung, you are gripped and riveted by an unusual-sounding, and thoroughly stonking introduction.  Our heroine lushly sings of being "on the road again"; where "We're in a car/On the highway".  Wäppling's voice is tender and come-hither; uplifted and steeped in Swedish inflection, sexiness and playfulness.  Before I continue on with the song, I am going to present a slight...'disclaimer' I suppose.  There are Auto-Tune vocals- the group employ this technique in their tracks.  Whilst normally I would rather have Wolverine give me a prostate exam, than praise an Auto-Tuned vocal; it works perfectly within NoNoNo's aesthete: the electro-pop sounds welcome and suit an electronically-treated voice.  Wäppling's breathy coo is seductive and splendid- she could perform acoustic folk or solo pop and take your breath; sans electric treatment.  Pumpin Blood's roadmap scenes and itinerant themes build images in your mind: the sun is setting; our heroine (and an unnamed beau) are driving along; wind in hair.  Whatever is going through our singer's mind; one thing is for certain:  "It's so  magical".  The electro beat that is laid down by our heroes is reminiscent of the classic electronic acts of the '80s and '90s: there is a (for want of a better phrase) an 'Old Skool/old school' sound to it- your mind is taken back to better, happier times.  The sensations- which the group themselves call 'Urban-Indie'- is fresh and bubbling with life; getting under your skin and energising your senses.  As the chorus comes into life, the energy (and underlying tension) reaches a peak; as our heroine announces: "This is your heart/It's alive/It's pumping blood"; her voice coquettish and striking all at once (in the video, there is a depiction of two lovers arguing fiercely: material tatters lie on their homestead floor, as- at a table- the woman presents to her boyfriend a rabbit- those wacky Swedes!).  Just when you think the mood is going to become uber-sombre (lesser acts may become needlessly self-reflective at this stage),  NoNoNo ramp up the delight again: that whistling and smile-inducing intro. is re-introduced- it is both fist-pumping and uplifting, and sagaciously dreamy.  When the insatiable coda ends; our heroine is back on the mic., recounting tales and presenting (vivid) scenes: "See the stars won't take his course" begins a new road trip (previously it has been "See the stars won't break the bones"); our lead entrances with her seductive tones; she is "Feeling like nothing can go wrong".  Whilst the Swedish trio does have a dark half to its soul (Like the Wind has a sombre and languid creep to it); Pumpin Blood is a merry, distant-cousin; as that insatiable coda continues to enthral and entice.  Before the chorus comes around, our gorgeous heroine teases: "Hear the sirens, the world/You catching on".  When that chorus does come back around, the energy is still high; our male half wrack the excitement up to 11- our heroine (in the song's video) grips the microphone; sways her head, and lets her words (and beautiful voice) seduce.  She is an exulted priestess of joy; and wants to make her words stay in your mind and heart for a long, long while  ("And the whole wide world is whistling").  Just past the 2:20 mark, a tribal and bare-boned drum beat is elicited: your head will sway and your feet will tap relentlessly.  The final minute of the track returns its soul to the highway, as our alluring front-woman is back on the road: "Hey heart, won't you run again/On the highway, on the highway".  Before we are through with Pumpin Blood, that too-catchy-for-comfort chorus is unveiled again (I guess the missing 'g' in Pumpin could stand for 'gravity'- as it is the synonym one readily visualises, when the chorus arrives).  Once the song has finished, you almost have to collect your thoughts- scattered and shot as they are by the track's relentless majesty.

 

Pumpin Blood is not officially released until September, yet has been garnering some terrific reviews.  If one looks at the 'Comments' section for the video on YouTube; it is awash with praise and open-mouthed surprise: no hyperbolic rhetoric or over-exaggeration, considering what has just been heard.  Tobias "Astma" Jimson and Michel Rocwell are sharp and expert producers; deftly able to weave a waterfall of sonic sunshine and electro-pop wonder.  Stina Wäppling's anthemic track is filled with thought-provoking and simple brilliance: both catchy and intelligent.  It is unsurprising that such lust-filled professions should be levelled at a Swedish outfit- the likes of Likkye Li have proved what a strong music industry the country has.  Historically, Sweden have produced their fair share of inspirational and varied music (from ABBA and The Cardigans; through to Swedish House Mafia); and many of the producers behind some of pop's most popular songs, are Swedes.  NoNoNo are another name that can seamlessly rank alongside the all-time greats (of the nation).  It may be early days; yet the steps they have made so far (check out Like the Wind to see the contrast that the band are capable of) have been enthralling and faultless: hinting at a rather prosperous and wonderful future.  The unique formation of the group: two male producers and a female singer-songwriter (and employee of a psychiatric hospital for that matter) is something that sets them apart instantly; but it is the quality of the songs themselves that supersede 'novelty'- making them a serious name to watch out for in 2014.  It is uncertain whether an E.P. or L.P. will be the next move (or whether a few more singles will be preferred).  If they were based in the U.K. (let's hope one day they are), then they may have had a hard time rising above the huge stock of middle-of-the-road Indie bands- buried under the sheer number of acts we have in Britain.  They are- for us here it seems- a foreign delicacy; an act whom can blow away the electric guitar-based 'anthems' that make up the core of our music scene.  NoNoNo have the luxury of time and choice; able to dip into their impressive arsenal- and decide which weapon they will deploy next.  Our Swedish trio have curiosity and mystery in their imagery (the Pumpin Blood video has a rabbit used as a bartering tool; a sweater-clad protagonist dancing on a cliff-top, and our trio spellbound in a gusting storm).  The group have only been in existence for a year; yet are already challenging (musical) orthodoxies.  In a current scene which (aside from some diversity and brilliant sounds) is too reliant on guitar bands (of the Indie variety) and unfocused and uninspired solo acts; we need more (a lot more) examples of NoNoNo's kind.  The bass-heavy beat and electronic wizardry on Pumpin Blood is unlike anything you will hear this year.  Forget Mr. Lester's Capital F.M. opinioning: the song is too good to be lumped in with the Rhianna/Jessie J/Rita Ora sub-par woefulness- it will be welcomed- open-armed- by the credible stations such as Xfm and BBC Radio 6.  As much as I have heard some wonderful U.K./U.S.-based acts (as recently as yesterday); it is the European patrons whom are making the boldest and most ethereal sounds.  I started this review by talking of the greatness of certain bands (and certain decades).  With the likes of Queens of the Stone Age and The National showing the new talent how it should be done; it is a huge relief that my faith is being restored (if briefly) in new music's potential.  The trio describe themselves as "Melancholy yet hopeful"; which goes to show that they have darker and more brooding shades (contrasted with Pumpin Blood's constant invigoration).  I also mentioned that the '90s/early-'00s produced the last great swathe of music (Hell, I miss that era!)- it was the last period where the charts seemed actually relevant.  The Scandinavian way of music-making seems to be more enriching and life-affirming than most- and it is a region which will produce a lot more talent to come.  NoNoNo have plenty of ambition and firepower as-yet unexplored; a positivity and energy that is lacking from the U.K. Indie-centric scene: something acts and wannabes here can (and should) take note of!  Anyway... it's been one hell of a ride, and quite a special and unexpected song.  The band dynamic of NoNoNo works surprisingly well.  With Jimson and Rocwell filling the roles of (as The Guardian ascribed) "Sure-fire hit-makers"; and the alluring Siren Wäppling up front: presenting her songs with a limitless supply of bonhomie, sagaciousness and mystique; it works perfectly.  I suspect that 2013/2014 will continue its trends and promulgations: '90s/'00s U.S. legends great; new U.K. acts inconsistent; European musicians producing better intention- it is note-worthy that NoNoNo have arrived when they have.  Hopefully, their undistiled blend of electro-pop/Urban-Indie can inspire a resurgence in the overcrowded and lipid scene- we need more fun and fewer narratives of the woe-is-me variety.  Music's phylogeny has possibly peaked- we need to back-track to the '90s/early-'00s majesty (not literally; rather recapitulate its hallmarks).  The ontogeny of the fledgling musician is subjected to critical expectation; a preconceived 'norm', and inherent blunder: lack of variation and wing-spreading; too much copy-cat music-making.  I for one am tired (and exasperated) by the lack of shock and surprise in the music industry- don't we all want that sense of excitement and hopefulness?  With the Stockholm trio- although they cannot achieve this single-handed- hope and restoration are possible.  Fingers are crossed; sights are set, and a baited breath is held (imagining what is going to come from this three-piece):

 

GET on board now... and prepare to be excited.

________________________________________________________________________

Facebook:

https://www.facebook.com/nononoofficial

Twitter:

https://twitter.com/nononoofficial

SoundCloud:

https://soundcloud.com/nononoofficial

__________________________________________________________________________________

 

 

 

 

Crystal Seagulls- Time- Track Review

 

Track Review:

 

 

 

  

 

Crystal Seagulls

 

 

 

 

 

Time

 

Crystal Seagulls

 

9.3/10

 

 

 

 

 

 

 

 

 

Fresh from an illustrious set at the Isle of Wight Festival, the London-based four-piece present a track ready-made for summer.  Let the good times rock.

 

 

 

 

 

 

 

Availability:

Time is available at:

https://soundcloud.com/crystalseagulls/time

https://itunes.apple.com/gb/album/time-single/id660813206

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I have been banging on about London being a bit slack...

 

when it comes to proffering new and exciting bands.  Just yesterday, I was extolling the virtues of certain counties- Yorkshire specifically- when it comes to producing the best current music.  The band market is a lucrative currency, but the exchange rate varies greatly: depending on which area you are located in.  In extension of my music website/social media idea/rant- there should be an all-inclusive and decent music website out there- it would be interesting to see a map; documenting the different music of the U.K.: highlighting what type of music is played where; and how many bands are playing it- because it would be interesting to find out.  As I stated yesterday (with my review of Newcastle's Crooked Hands), certain counties do certain music.  Greater Manchester seem to be the U.K.'s leading Indie purveyors.  There are some great solo acts, as well as varied bands; yet it seems that the majority of new bands we hear from here, tend to be very similar-sounding (and a bit predictable); it is probably the busiest county as well- even if it is largely Indie-centric.  Yorkshire is the most agile and diverse when it comes to different sounds and flavours.  Where else in Britain do you hear doo-wop and swing artists mingling with U.S. blues rock and soul?  Cities such as Leeds and Wakefield are especially busy: producing a startling range of artists.  Aside from the big counties and big cities, there is some diversity to be found; yet one thing bothered me: where are London in all of this?  Bands based in the capital have been a little quiet- it is not too often that the media gets excited about a new act from London.  I have theorised the reasons behind this (a lot as it happens), so will not go into it; but suffice it say, a resurgence is needed.  The bustle and chaos of our capital seems to be supressing ambition and intention- a greater space is needed it seems.  Saying this; acts and bands that originate in other parts, before relocating to London, seem to be more successful (than those whom originate here).  One of the problems that a lot of groups have (aside from being too predictable with their sound), is lack of variability within their ranks.  Most groups form out of mutual friendships.  They may have gone to school together, or worked together: forming a bond based on a shared love of music.  The members have similar tastes in music; they grew up in the same area, and the ensuing musical creations are enforced by a combination of local sounds, and shared idols- which is fine, up until a point.  Issues arise when you have too many similar bands in the same areas.  Sounds, songs and sensations mix in and out of one another; they blend and merge into one: causing a homogenised and overfamiliar scene.  Diversification and differences between band members goes to strengthen the overall sound.  A tight sound and kinship can just as well be formed; but because the members come from different parts- and have varying tastes and preferences- the overall sound and ambition is predominantly stronger; and quite different-sounding as well.  I have reviewed some various bands recently, that prove my point.  HighFields are a multi-nationality group (members hail from Norway, Singapore and Jersey, to name a few); whom draw together their different personalities and national sounds into a glorious boiling pot.  Outside of the North West of England, bands from the likes of Scotland, Yorkshire, Brighton and the U.S. are composed of geographical diversity; different music tastes and varying ambitions.  It is not a coincidence that these groups are trying to do things different; insisting on forging a very individual sound.  I feel that at the moment, there is too much insistence and reliance on trying to sound like pre-existing artists.  There is originality to be heard, but predominantly, groups stray too closely to familiar artists: coming off as copycat and uninspired.  The media do not help too much either: they draw instant comparisons and foster the band's mind-set, rather than offer constructive guidance and caution.  I am not sure whether it is a fear of seeming inferior, or an awareness that the music scene can be fickle- journalists may not like you if you sound too 'different.  Either way, I have heard too many bands that sound like someone else; too many acts that are trying to be 'The Next So-And-So': rather than being themselves, and trying to topple and best their influences and idols.  Those brave bands (or forward-thinking), whom incorporate influence into their sounds; yet do not lean too heavily on it (whilst injecting a heap of intention); are the ones whom have the brightest futures, and are more sought-after and demanded.

 

My different thesis and points dovetail, when examining Crystal Seagulls.  I have reviewed them once before- when their song Yours For As Long As You Keep Me was released- and was impressed by their passion, fortitude and innovation.  It is not an opinion held only by me (far from it!); as the boys have just returned from playing at the Isle of Wight Festival.  They were afforded the opportunity, after winning a prestigious unsigned music competition: beating off scores of other bands, and making them the envy of many an act!  The band consists of Jim Lawton; John Armstrong; Elliot Whitty and Ben Heliczer- our intrepid quartet.  They are a galvanised and gleaming band of men; invigorating the Indie/Rock realm, and making quite a serious name for themselves.  The lads are based in London, yet their four members all hail from different realms.  Like musical Knights of the Round Table, they travelled from London, Birmingham, Cheshire and Hertfordshire; bonded their individual talents, to create the band they are today.  I was impressed by the band's attention to detail.  Few contemporaries spend a lot of consideration towards online representation and information.  I have encountered too many new acts whom present the bare minimum: a brief Facebook page (with little information); a Twitter and/or SoundCloud page- and precious-little else.  Crystal Seagulls have a full and informative portfolio.  They provide plenty of links to reviews and articles: making it easy for the likes of me to learn about them.  Their music is readily available, and the band have an acute awareness that it is important to give potential fans plenty of information: but not give too much away.  With an original and unique sound, the boys don't need to worry about being compared to anyone too obvious; but do not list their influences and idols too heavily.  If long lists of influences and heroes are mentioned on a group's social media site, it can make a band seem too disposable: as well as focusing your thoughts too heavily on those (listed) acts.  The guys are in good spirits following their stay at the Isle of Wight Festival: galvanised and bolstered from the plaudits and praise they received.  They are still in their infancy, yet show signs that they intend to be around for a long while to come.  Having amassed a respectable following on Twitter and Facebook; their online stock is growing, and they are attracting a great deal of media attention: from in-depth articles, through to reviews.  Personally, I am impressed by their entire package.  Their lyrics are sharp and interesting.  They manage to mix haunting and nightmarish imagery ("Saline drip my dreams/Reconstruction from the bleed"- from Yours For As Long As You Keep Me) and pure-hearted tenderness ("Lull me off to sleep"- again from Yours').  In fact if you one were to survey the contents of Yours For As Long As You Keep Me; it is awash with ripe and attention-worthy snippets and scenes- something that one does not often say about bands.  Contemporaries seem intent on the force of sound and pure projection; sometimes negating the importance of words and themes.  The guys' band name suggest something both divine and beautiful; yet loud and intimidating.  According to the band themselves, they make music that is "Everything and nothing you've heard before"; but produce sounds that are "Sexy Sexy Love Music".  Our quartet have already had a busy start to their (fledgling) careers.  Since 2012 they have released one single; performed at over 20 gigs; as well as having been played on a multitude of radio stations- including three BBC stations.  New festivals and gigs are imminent; and it is hardly hard to see why!  Whereas you will hear a lot of bands sticking very much to the Arctic Monkeys/Oasis paradigm (if going heavier); the four-piece deftly weave the infectiousness of the '60s; and helm it together to a '90s swagger-cum-modern-day urgency: a blend which has won over fans and critics alike.  In the U.K. we have had an uncertain (read: traditional) mix of uncertain weather: never really knowing what season we are in from day-to-day.  Firmly ensconced within summer, ears and eyes are on the search for 'summery' sounds: step up Time.  With a breeziness and fresh sound, it is a song that can blow away the cobwebs of wet weather; making you forget about your woes, whilst becoming immersed within the song's core.

 

The opening of Time is a vocal interjection; the band get straight down to business.  Urgency and first impressions are key; Lawton steps up to the mic., imploring to an unnamed beau: "Don't tell me to make you stop".  Our hero (backed by a lightly strummed electric guitar), implores and announces: "I've been here waiting all this time".  Before the atmosphere is bolstered and emphasised, the front-man calls out; he is clearly wracked with affection and longing for a woman-a mysterious heroine-; causing him to ask: "Stay with me tonight".  Our hero steps away from the mic. (briefly), as the band enter the fray: summoning up a romantic and energised kick.  Guitar and bass produce a weaving; dancing and swaying coda: possessed of pure Indie flavours, but distinctly individualised and personalised because of the group's energy and authoritative nature.  From an initial jangling guitar line, the sound builds and expands.  A twirling guitar arpeggio tumbles and swaggers: displaying affection for the great sounds of the '90s, whilst having some hints of '60s power pop.  In spite of lyrical longing- maybe hiding a lot of secret pain- the smiling atmosphere that is elicited makes you forget about any anxieties.  In the space of a few seconds, the band have added colour and shades of light into the canvas; producing some summer sun and urging you to move your feet (and body).  When the energised dance is brought down (briefly), our front-man arrives back up front.  With a verse that begins with  "Don't tell me to make you stop"; and "Attention craved/Intent forgot", further signs of the band's way with words is displayed.  Lines are thoughts are weaved together; building up a picture in your mind.  Whomever the anonymous woman is, she is causing a stir in our hero; whom repeats his mandate: "I've been waiting here all this time".  As the pleasing and light-hearted composition announces and twirls in the background, up front there are words of apprehension and exhaustion.  It seems that there is a lot of history between the two- many days and scenes have unfolded around this relationship- yet it seems that entropy has put things to a stop: "this time we've reached the line".  There is no dark musical backing, nor matter-of-fact glibness; everything balances out perfectly.  Our hero's voice is authoritative and intent (yet not overwrought); and the band provide a delicate yet punchy backing: giving the song its great and impressive edge.  Sometimes it is obvious to draw comparisons with a new band and an obvious influence; yet Crystal Seagulls seem intent on producing an original and effusive energy all of their own.  In the way that they have a cross-pollination that draws '60s and '90s elements together; you would be hard pressed to liken them to any other acts: there are tiny flecks of other acts, but no large chunks.  It is said (by our hero): "I can't stop time for you"; his voice rising and powering high; making the words stick in your brain.  Further words of defensiveness, guilt and subversion unfold; the lines and thoughts are syncopated and tumble: running into one another and producing a breathless and frantic rush.  When our front-man is calmed, he puts it out there: "So tell me a different story".  Where Time is autobiographical (or more fictionalised), it seems that hope is fading, and too much has been seen and done- our hero is at the end of his tether.  Such is the song's intent and potency, that you second-guess yourself- wondering if your initial interpretations are correct.  Just before the 2:30 mark, a heavier punch is brought in.  A harder-hitting guitar strike is unveiled; which leads into a stormy and persuasive riff.  Bass keeps tight and intently, as percussion clashes and strikes heavily.  A vocal chorus is unleashed; it is both laddish, yet has a heart and tenderness to it as well; as it is championed: "Let's go if we wanna go".  The guitar work during this phase is particularly impressive, with edges of U.S. groups such as Green Day and Foo Fighters; together with some '90s U.K. edges.  Such is the awareness of the band, that they keep the energy and intrigue of the song constant: without losing rigidity and potency.  The track is at once epic-worthy and sing-along: filled with crowd-uniting uplift; and the next it becomes more introverted and mandated.  I guess the guys will keep cards close to chest; yet it is clear that the song's themes are enforced by personal experience.  The heroine is never named; yet is seems that she is both worthy of admiration and passion; yet is causing some negative feelings in our hero's mind.  Where as previous efforts from the four-piece have presented oblique and indirect words: fascinating and intelligent as they are; here they are more direct; focusing on the vicissitudes and anxieties of love.  It is not known how the story ended: whether a satisfactory resolution was arrived at- yet with the infectious and uplifting sound it never bothers you; instead it just carries you away. 

 

Fascination is built around the group's future.  They have a core and cemented sound that marries '60s and '90s swathes; tying them together neatly; built around their striking individuality.  If the Isle of Wight Festival is a career-high, they will have a lot more to come.  I have long-said that the band market is the busiest and most hotly-contested sector.  The northern plains of England are probably producing the majority of new bands (Manchester especially), yet it is refreshing that a London-based group; and one that have a keen ear for uniqueness, are doing so well.  The band sector- as opposed to the solo market- is always going to present the best and brightest sounds; and it is perhaps the U.S. that are doing the best at the moment.  Legends such as The National and Queens of the Stone Age have produced possibly the two finest albums this year (Laura Marling is not far behind); and it seems that the new artists there are making strides to have their names etched into history.  It seems that outside of the U.K. there is a commitment to diversification, quality and huge ambition.  In this country, a lot of potential is being squandered because bands try to emulate an existing act.  A huge crush and waves of new acts are being witnesses (by the week it seems), so it is near-imposisble when trying to pick out some genuingly exciting and worthy talent.  As much as I have been featuring some great bands, I have also been stating how difficult it can be to come across them.  The social media channels (and music webistes) are only effective if you are well placed: you often stumble across terrific music by accident.  It is so difficult to easily connect with great sounds and acts.  My desire for a website that takes care of everything is still strong: is all-encompassing; has an exhaustive list of music (seperated by genre and location); connects bands to fans, band-seekers with band members; ties together everything from existing sites and offers a hell of a lot more.  Until the day comes (will it ever?), I am glad that I can experience groups such as Crystal Seagulls.  I was impressed greatly by Yours For As Long As You Keep Me- its intention, qualities and effect- and have been similar inspired by Time.  Our endeavouring quartet have a clear public approval, and have found inspiration in this.  Let's hope that there is an L.P. imminent: something that will showcase all the ranges and moves that they have to offer.  It is clear that each member brings to the band their own personality and experience.  The group are consistently tight and mannered: able to whip up a great deal of emotion, curiosity and quality.  Jim, John, Elliot and Ben are intent on making their prescence felt- they are here for the long run.  As time goes on, a great many new acts will come onto the scene; yet Crystal Seagull should not worry at all.  Tracks such as Time are a timely-reminder (no pun intended) that if you begin with some great quality, then you are already ahead of the current crowd.  It is not simply good enough to throw together a few guys (or girls); put some so-so songs together, hoping that that will be enough- and then sit back and assume that success will come your way.  Hard work, persistence, an impressive online coverage; as well as diversity, quality and festival time are required: otherwise your lifespan will be limited.  It is still the early days for Crystal Seagulls, yet they have the manner of a band that have no intention of letting quality and ambition slip: future tracks will pay testament to that, I am sure.  I am not certain whether an E.P., L.P. or another single are top of the band's priorities, but I hope that they are making some big plans.  I said that Time has a summer-ready feel to it; and strangely it does.  Although the strains-and-games-of-love central motif is apparent; the light and breeziness of the composition will have you smiling and kicking your feet: rooting for our hero and following his plight.  Keep abreast, follow their going-ons; and keep your eyes on their social media sites (for song/album news).  A lot of (new) bands will arrive in the coming months- yet few will stick long in the memory.  With the London four-piece that...

 

WILL not be an issue.  Watch them rise on and on.

________________________________________________________________________

Facebook:

https://www.facebook.com/CrystalSeagulls

Twitter:

https://twitter.com/CrystalSeagulls

SoundCloud:

https://soundcloud.com/crystalseagulls

__________________________________________________________________________________

 

 

 

 

Crooked Hands- The Stream- Track Review

 

Track Review:

 

 

 

  

 

Crooked Hands

 

 

 

 

 

 

The Stream

 

 

Crooked Hands

 

 

9.6/10

 

 

 

 

 

 

 

 

 

Self-proclaimed as "Newcastle's shortest band"; the quintet compensate with epic evocation- that will only leave you short of breath.

 

 

 

 

 

 

 

Availability:

The Stream is available at:

https://soundcloud.com/crookedhands/the-stream-1

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TODAY's topics of discussion will centre around northern bands, as well...

 

as the male voice.  My eyes have stared towards northern skies, for quite a while now.  I have developed a fascination with the region (as well as Scotland), due simply because of this: some of the best and brightest in music reside there.  I have looked towards Manchester quite fondly, simply because of the rich history the city has.  As well as Liverpool, it is considered a modern-day mecca of busy and ambitious talent: bands and artists whom will be lodged in the collective mind in years to come.  Liverpool has its bands and acts; yet seems a little quiet and muted as of late.  It is Manchester that seems to be producing some of the most excitable and fascinating acts.  As well as being band-heavy, the area is producing a distinct 'sound'- something that strays between Indie and Alternative.  Whilst it is great to have some choice (and believe me there are masses of Mancunian bands) it seems that the overall sound seems to be stray into familiar territories.  A lot of the front-men are portraying the Liam Gallagher/Alex Turner paradox: slurring and swagger aplenty.  The sounds of the groups- as well as being guitar-focused- are largely heavy-edged, yet not too heavy: flirtations with heavy rock and hardcore are attempted, yet mostly we hear Indie flavours.  Aside from the likes of The 1975- a band whom have supersede expectations and risen to the fore, due to their immense talent- are an exception that prove the rule.  I feel that there are too many similar-sounding acts here: not in terms of the style of music perhaps, more the sound made by guitars and voice.  Whilst it is great to have an Indie surge (it is a genre that produces some incredible acts), there seems to be less mobility and variation; compared to say, Yorkshire.  Bradford are producing great duos like Issimo (Abi Uttley and Marc Ottway); Sheffield have a clasp of rock and indie bands, trying to follow in the footsteps of their idols Arctic Monkeys.  In cities such as Leeds, labels such as Cuckoo Records are taking care of diverse and far-reaching talent.  From swing and doo-wop revivalists such as Cissie Redgwick and Little Violet; gorgeous female solo sounds of Annie Drury; through to U.S. blues rock stylings from Johnnythefirth- the county as a whole seems to be painting its native colours quite brightly.  I have postulated widely and regularly, as to why this sensation is happening: how certain counties vary in terms of quality and range.  I suspect that the harry and density of the larger cities such as Manchester and Liverpool foster talent; all keen to emulate and pay tribute to their local idols.  Considering the talent that has passed through these two cities, from the early '60s (The Beatles), through to the relatively-modern-day (Oasis); the abiding sound of the new breed, tend to stray fairly closely to past sounds.  The anxiety of modern-life as well influences the type of music made: predominantly busier and pulsating; filled with energy and sharper edges.  Whilst the band markets are Indie-focused and male-dominated, there is a swell and over-proliferation of talent: making it hard to detect and highlight the best of the crop.  Yorkshire has greater arable climbs; a comparative lack of inner-city hostilities and fewer constraints.  The acts here are less compartmentalised, and collaborations and cross-pollination is more common.  Newcastle and the North East is a region that has produced its share of talent.  If you consider Newcastle (as well as the conurbation of Tyneside) AC/DC's Brian Johnson; Dire Straits; Maximo Park and Bryan Ferry hail from here.  Hell, even Jimi Hendrix spent a lot of the '60s busking in Newcastle!  Modern up-and-comers such as Nadine Shah are going some way to putting Newcastle 'on the map'; yet the band market seems quiet at the moment.  Whilst the quality of the city's current crop is extremely high; the output is not as fervent as that of other parts.  When acts such as Crooked Hands come along, it is always more fascinating: seeing what the sound of the modern-day North East is.  In the same way that geographical diversification has spiked my interest, the nature of the male voice is also a subject of intrigue.  The northern band scene- by-and-large- is synonymous with a rich and enthusiastic sound.  The tones can range from chocolate-coated to slightly-gravelled; tending to be energised and persuasive: a combination that is applicable to the core of northern bands.  I am always fascinated when something unique and unexpected happens.  Namely, when a group can fuse together an exciting and enrapturing sound: tying this sound to a voice that is stunning- and stunningly different.  Whilst the solo artists tend to receive the majority of kudos- with regards to the potency of the voice- bands tend to have to settle for  close-seconds.

 

Dubbing themselves as "Newcastle's shortest band", a sense of humour is evident.  They are not exactly homunculus; yet are not Queens of the Stone Age-tall.  For the last few weeks, I have reviewed a surprising amount of bands with the word 'the' in their name.  Crooked Hands sense of originality and surprise stretches far behind their choice of band name.  Christopher Brown, Liam Smith, Robbie Houston, Nick Blaszczysyyz (I can imagine how often he has to spell out his surname) and Tom Booth are out endeavouring quintet.  Although the guys play within the Indie/Alternative realm; their reputation seems to have been built on differing pillars.  As well as their true and unflinching sound: encapsulating and memorable; it is their front-man whom has been garnering a lot of praise.  The likes of KYEO.tv and Generator have noted at the exceptional soulfulness and shiver-down-your-spine etherealness of the voice.  Being inspired by the likes of Sigur Rós and Grizzly Bear, it is perhaps not hugely surprising that vocal potency and projection is high up the list.  In the way that the front-man's has gravelled tones, that can mutate into spectacular soul evocations; it is a weapon and facet that Crooked Hands have utilised- and has got them some seriously impressive reviews.  The other four chaps are certainly not second-fiddle: their talent and contributions are what make the band's music stand out and stick in the memory.  Many may be unfamiliar with the band: the guys have been quietly honing their sound, and electrifying local audiences; making their presence cemented in the North East.  Whilst the groups of the North West are noted their similar-sounding nature; Crooked Hands are doing the North East proud: at the core of a scene noted for its evocative and spellbinding artists.  I was staggered and stunned by Nadine Shah's voice and songs not too long ago- a woman whom can produce eerie and haunting songs about the day-to-day.  Shah's Pakistani-cum-Norwegian heritage; combined with a rich group of influences, has been making some impressive waves: many critics are hailing her as a serious talent to watch.  Crooked Hands are adding their unique flavours into the boiling pot of the North East- Manchester and London take note!  With over 500 Twitter 'followers'; 842 Facebook 'Likes' the group have an impressive (if slightly modest) following: one which is going to burgeon and expand over the coming months.  Cracking the band market; making your way to the top of the pile, and swimming through music's waves; can be tiring and near-impossible.  With the increasing quantity and compaction of the modern scene; combined with the ease with which music can be shared and downloaded, it is an on-going battle to win ground: pull in fans, and get your music heard far and wide, and remembered appropriately.  I have surveyed many acts whom I have been impressed by, yet know that they have a limited life-span.  In the case of our five-piece, a tenure will be guaranteed: due to their individuality and work ethic.  Their biography sections are sparse and to-the-point: making them accessible yet not too disposable.  Our boys have an impressive online coverage;  having managed to earn fans and stripes from all across the U.K. (and further afield).  With connections to Glasgow and the Scottish music scene, the guys are steeped in quality and conviction; and modest about their achievements.  Recently The Line of Best Fit profiled the boys; highlighting their fist-pumping and supernatural aesthetes.  As well as mentioning their parables of densely-textured alt-rock outpourings; they were filled with praise about the single Under.  The song was featured in the U.S. drama 90210 (and an impressive feat; a below-par show); with the publication heaping praise towards the song's Bon Iver nature: For Emma, Forever Ago-esque swooping and swooning vocals; guaranteed to shiver the spine.  Whilst it has been ear-marked as a defining sound and song for the band; plenty of attention has been heaped upon The Stream's banks.  Riparian serenity, wave-rushed energy and cooling sips enforce the track's core; whilst its power will pull you in; drag you under; and drag you away.  Chris Brown's men are keen to make big impressions.  The Stream is the first taste of their upcoming E.P., Penitentiary.  It has been slated for early 2014, and in the meantime, its first-born is making its voice heard- loud and very, very clear.

 

When approaching any song(s); having familiarised myself with the band: their codas, ambitions and background, I separate these facts from the music: judging the sound on its own merits.  Newcastle is very much folk-centric at the moment, orientated around a scene that favours softer and tender sounds; so I was expecting something that tied these lines.  Gently mesmeric acoustic guitar arpeggios soundtrack early scenes, offering sights such as: "dirty faces in the mud" and "All of lives/Raised by wolves".  Our hero's voice is impassioned and gentle: drawing your mind to the log cabin landscapes of Justin Vernon.  Whilst there are touches of Bon Iver, as well as Jónsi (of Sigur Rós; sans 'Hopelandic' oddity); our hero's voice has touches of the legends of the '60s and '70s (Gram Parsons; Crosby, Still and Nash)- although you would not pick up on influences unless you were quite anally-retentive.  Such is the striking originality of the voice, it is near-impossible to compare it to someone else's.  A fair few modern-day solo troubadours present a sensitive and haunting vocal projection; yet few stick in the memory in the same way.  Whilst you are settled into The Stream's initial wistful and touching peacefulness; the tide soon changes.  Words expounding "Father's cruelty..." lead-in a rush that is a startling sea change.  Now, we are cast under the spell of twanging and swelling guitar lines (that could easily fit into Portishead's Third).  The percussive clashes and crashes, seemingly acting as a metaphor- as do the guitars and bass.  At first the water was calm and safe: we lay on our back in the sun, floating serenely down stream.  Acoustic guitars and a gorgeous voice eased us along stream; navigating turns and twists- promising a memorable and uneventful afternoon.  With little warning, a bow wave washes over; you fight for breath and struggle as the current dares you drag you under.  There is a moodier and darker edge: storm clouds, rain and inner turmoil unleash a forbidding weather- both persistent in its intention, yet measured and rhythmic in its sound.  Before our front-man returns to the mic. (to survey the scene), the rattle and lightning of the guitar and bass-combined with an epic and spiky percussive smash- is a cold splash of water to the face.  When Brown returns to the fold, his voice is reliably convincing and touching: going from a whispered seduce, through to a heady rush.  With the central vocal and the hallmark sounds: guitars that go from arpeggio, to twang; through to metronomic brood; bass and percussion that shivers and shakes, there are flavour notes of Sigur Rós, as well as Two Dancers/Smother-era Wild Beasts.  I particularly love the almost quiet-loud dynamic of the song.  You can never really sense what is around the corner, as the song swings its mood and force so quickly (and unsuspected); it takes you by surprise.  When lines are disseminated ("I loved you/But it was not enough" for example) the vocal rises and falls gracefully, as the band inject an energetic riffling of emotion; mixing percussion, bass, guitar, (and jubilant) piano.  'Anthemic' and 'epic' are hardly hyperbolic, when describing the song.  It is the constant energy and shifting, that gives it such a relentless gravity and snowballing effect.  Sharply deployed musical parables are unleashed with nary a warning: lasting a few seconds before retreating.  The vocal can shift from a measured and playful (?) nature; before a word is held- repeated and redeployed to provide maximum emotional resonance.  Mood and the nature of atmosphere seem important to Crooked Hands.  Lesser- and in fact, most- bands would keep with a single line or thought (maybe deviating slightly), yet our quintet constantly keep energy and intrigue at the fore.  One would have the Devil's time trying to keep up with the shape-shifting and mood-switching evocations.  By 2:44 a gorgeous and romantic guitar coda is presented- with shades of Five Leaves Left-era Nick Drake).  It is a calm-before-the-storm-after-the-storm break; and one which allows our hero to sing; layer his voice and harmonise with himself- creating a mini-choir; a round robin of etherealness.  I may have misheard the line (at times the intelligibility of a line gets lost in the sound); but "Out in my eyes" is repeated mantra-like (the band will forgive me if I have misquoted slightly).  With a brief piano-led bridge, a final swell of emotion and mood is whipped up: a last wave that brings you back to life, and deposit you safely onto the riverbank- where you lie in the sun, stunned at what has happened.  The Stream never really lets up, when it comes to suspense and unexpectedness.  I hate the over-employment of the word 'epic'; yet is seems very apt and apropos when summarising Crooked Hands' approach.  The song contains at least five or six distinct sections; blending and existing within one another; mutation and evolving to create strange and wonderful surprises.  Like modern classics such as Paranoid Android, the pace and fascination is planted by the song's multi-part mood shift.  Our hero drapes his voice around the song's lyrics; going from a softer and more tender side, to a soulful burst of passion.  It is an instrument and facet that is striking, bold- and above all- distinct.  Homogenisation and over-familiarity are bywords one thinks of, when considering (vocals) from bands of the North West (not that I am on a downer; it is just an observation).  Our front-man's silky tones and seductive charm give the track a sense of energy and momentum, that is nobly galvanised by the band.  As the song does leap from phase to phase- tenterhooks are indeed baited and dangled in choppy waters- the guys are constantly on top of the situation.  Bursts of sound are stuffed with rampant percussion, stormy guitars, and evocative piano and bass; lighter and darker shades are mixed to elicit a heady brew.  Whilst not in the same mould or league as Radiohead's 1997 masterpiece, it is a key and worthy comparison; as few bands attempt anything that have the same sort of potency.  The Stream is a tantalising and atmospheric cut, that hints at what their future E.P. will sound like.  Whereas previous singles such as Under are available- and possessed of the same sort of brilliance as The Stream- the quintet are constantly pushing themselves to improve and grow; keep their sound pure, but improve from song-to-song.

 

It is hard to fault the band, or hint at constructive criticisms.  At times it is hard to decipher some of the lyrics (apologies if I have quoted incorrectly): the strength and force of the composition does overwhelm the vocal at times- maybe bringing the voice higher and clearer in the mix would counteract the issue, and keep the potency high.  I have heard only a couple of the band's tracks; yet am already compelled to dig further; find out more and discover- they could well be one of the best bands of the moment.  As much as kudos and celebration has been levied at Brown's pipes, the entire band deserve equal credit; as each play an integral and vital role.  I have longed bemoaned about how difficult it is locating great bands (without a lot of luck and help).  Social media as well as music channels and avenues need to tighten and improve, so that it is easier for the likes of me (as well as the general music-lover) to locate bands such as Crooked Hands.  With the disposals there are at hand, and the amount of resources available, there seems no excuse for such issues- we are in 2013, not 1997.  The proliferation and unabated rise of social media is making it easier for stranger to connect (as well as friends), yet there is not a comparative music site.  I have been formulating a website that can take care of all of the needs and necessities not currently offered; and have been stymied and depressed by the lack of appropriate network and social websites for musicians.  Anyway... before I go on an interminable rant, my point is, that too much vanilla and sub-par music is shoved in our faces; where as serendipity and dumb luck are required when happening upon golden nuggets.  For now (and until I can bash some heads together) I am grateful to have 'come across' the Newcastle five-piece.  They may joke (I think) about their shortness/hirsute nature; yet what they lack in terms of height, they make up for it in stature.  Newcastle may be renowned still for its folk scene; yet Indie and gothic pop artists such as Nadine Shah and our five-piece are diversifying the scene, and making sure that a wealth of new (and different) talent are noticed.  There is still too much focus on Manchester, Liverpool and (God knows why), London, when looking at new music and acts.  Whilst the likes of Manchester promise enough, the most electrifying and memorable music is found in less-obvious spots.  When Crooked Hands unleash their new E.P., and gather some more reviews and plaudits; they surely will have venue managers and festival owners at their feet.  What with the sheer mass of new music- unregulated and free to roam- it is vital to proffer and raise the great (and bury the bad).  If Crooked Hands' pace and potential continues like it has, then they will be making some serious impressions in the future.  The Stream is an intent and modern anthem; with sharp and atmospheric lyrics; stunning composition and a memorable central voice.  It is the tight kinship of the five boys, as well as the tight sound, which make their songs seem effortless- as well as infused with sweat, tears and blood.  Alfred Lord Tennyson wrote (in the poem, The Eagle): "He clasps the crag with crooked hands/Close to the sun in lonely lands/Ringed with the azure world, he stands".  The lands (of similarly-proportioned bands) may be lonely; the current scene may seems like an azure world (underwhelming); yet our Newcastle men should fear not:  the sun will not burn or harm...

 

IT will help them grow and flourish; high above the current crowd.

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Official:

http://www.crookedhands.co.uk/

Facebook:

https://www.facebook.com/crookedhands

Twitter:

https://twitter.com/crookedhands

SoundCloud:

https://soundcloud.com/crookedhands

BandCamp:

http://crookedhands.bandcamp.com/album/crooked-hands

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