E.P. Review: Second Hand Poet- All My Life

E.P. REVIEW:

Second Hand Poet

All My Life.

9.2/10.0

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The Surrey-based solo star has recently signed with DyNaMik Records; a backing that will see his name being promoted far and wide. His music offers up escape, gentle beauty and stunning reflection, but best of all, an honest glimpse into the inner thoughts of a bright young talent- with songs that everyone can relate to.

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A great deal of time music involves a lot of D.I.Y. considerations.

I bring it up, as my featured artist has made his name with his bedroom-created music; putting his moves and ambitions together within the ensconments of home. As well as giving the sounds an intimacy and sense of character, home recording (and a D.I.Y. approach) can be quite a prudent and effective method of recording. For any new musician, finance is always a consideration, and a lot of acts limit their output early on- aware of the high costs involved with studio recordings. From my own perspective, I have hesitated and put ambitions on hold; reduced the capacity and potency of various songs- aware of how much the resultant output will cost. I have touched on this previously, but the core of my discourse revolves around the issue of cost; how much it takes to put simple movements on tape- and produce just a single song. Unless you have a record label backing you, and hearty endorsement, the new musician has to do everything themselves. The base considerations such as rehearsals and planning can all by realised cost-effectively, but the true price comes when you get the studio bill. It is an unavoidable and necessary step for every musician, but I often wonder if the issue of money is scaring off new artists; making them put projects on the back burner- and compressing their scope and inner visions. Because of this, there has been a rise and fervency of musicians recording their fledgling steps from their own homes; making use of what is around them, in order to save money. It is not just financial efficiency and belt-tightening that is a big plus, but a certain something can be heard from home recordings; a sound that is delicate and tangible, emotional and sparse- but it does have some down sides. It works if you are a solo artist (and an acoustic act), but if you belong within a band, then that route may not be a possibility in reality. It may be something that I will need to conjugate and digest later on, so I shall leave it aside for the moment. Over the past few months I have looked around the country, and seen what is on offer from all parts; what various regions and their musicians are coming up with- and how it differs from area to area. As someone based near London, I am keen to survey what 'local' acts come up with. Bands such as Crystal Seagulls and Los and the Deadlines are some of the capital's most promising newcomers; aside from their ranks, there are some fervent solo artists whom are making their impressions felt. Emily Kay and Alison Levi are a couple of female sole wonders offering up something special; they are amongst a small group of truly unique artists capable of making big changes within the music industry. Outside of London, Surrey is providing some keen talent; those whom could well relocate to the capital- yet are providing some indication of what the home counties are all about. As my featured act emanates from Surrey, it not only raises the subject of location and county lines- but also the issue of underrated and unique sounds. When looking at the best that new music has come up with, Surrey is perhaps not a county that is amongst the big hitters. I have often wondered why London and the home counties are not producing a huge amount of big names and stars; how come other counties are leading the charge and grabbing the attentions. Perhaps I am getting bogged down in the romantic idea that London is the music capital of the U.K.; this is where all music's best and brightest are calling home. For my money, the north of England is playing host to the best new music of the moment, and the most ambitious and fervent talent on the block; the most diversity and style- that certain something that means critical eyes are being trained to these locales. In spite of the north's hegemony, I am seeing southern counties making a comeback and laying their claim to glory; staking their share of the public attention. Recent review subjects such as Nina Schofield have caused me to belive that a resurgence and reappropriation is under way. The Surrey-born heroine is one of the freshest and most striking voices on the scene at the moment, and is going to be a name to watch closely. Acts such as Chess, Elena Ramona and Emma Stevens are doing the county pride, and it appears that few bands are making strides to add their names to the list. It is an odd thing, but it is the solo artists that are making Surrey glow at the moment; injecting urgency and quality into the local market. It is hard to speculate as to what exactly is causing this, but the proximity to London is an important consideration. Being located so close to its borders, there is a sense of dream fulfilment and escape. The capital provides the money, facilities and natural home for fulfilment and opportunities; something that musicians crave and demand- and I feel a lot of Surrey-based acts see London as a refuge of sorts. The home counties have small and dedicated crowds, yet there is not the wave of attention and chances that London can offer up. Because of this (and the chances that are there for the taking), some ambitious and stunning music is being laid down- by those based in Surrey. It is not that I have a lack of patriotism and loyalty to the county I was born in, but London (and the big cities) should be showing what it is made of; encouraging local talent in, and hustling for the majority share of the critical eye. Going back to my early subject of lack of funds and the expensiveness of music, the capital at least houses a majority of the biggest labels and venues- locations where talent can play and electioneer; with the eyes of record labels underneath them. I have seen a lot of acts and artists outside of London yearn to play the likes of The Borderline, Koko, Roundhouse and Ronnie Scott's; not only bring their music to new faces, but hope to spike the interests of watching labels. Before I get down to investigating Second Hand Poet, I will talk (quickly) about the solo realm; and how underrated certain participants are. There still seems to be a bias towards bands and the music they play. In a sense it is understandable, as historically, band music has provided the fullest and most impressive sounds. Bands provide weight, energy and force, whereas solo acts tend to project subtler and less weighty sonics. Whether a sense of sexualisation and passion (bands provide) is seducing ears (and missing out on the solo sector), I am not sure, but there does seem to be something in it. Solo acts can provide some of the most colourful, invigorating and impassioned music; give a sense of intimate personality and self-reflection- that a band would be unable to. In the recent case of Shiftin' Shade (Portuguese-born Darren Pereira), my point is certainly valid. Whilst employing the services of vocalists such as Adam Hume, the vast majority of the outpourings and sensations of Shiftin' Shade are Pereira's. The Leeds-based talent is amongst the most exhilarating and spellbinding new acts out there; someone whom can unleash a riot of Electro-Swing charm and joy with seeming effortlessness. Ordinarily, the same kind of motion and gravity would be synonymous with a band, so I was pleasantly surprised when I heard Shiftin' Shade. I feel that too many lone acts are being overlooked as it is assumed that their music is not going to be as worthy and memorable as band-made movements- this is just plain myopic ignorance. In my pages, I have highlighted dozens of solo acts whom can mix it with the groups; overwhelm and supersede their sounds- and win eager ears. The plight of the new musician is fraught and difficult enough, so I always feel that the best and more talented- whether they are a solo artist or band- deserve a fair hearing; equal footing and a proper trial. With so many eager young singletons making plans to seduce their local crowds (as well as come to London to settle), we are often in danger or overlooking brilliant talent. It brings me to the case and story of Jamie Tipson; the man behind the Second Hand Poet- and one of the names to watch this year.

I am familiar with Tipson's music already, having reviewed him once previously. Being a Surrey-based talent, I am always keen to proffer and emphasise talent from my local area; yet there was no need for exaggeration at all. Having made his early moves from within his bedroom, Second Hand Poet's work has a D.I.Y. and homemade feel that few modern artists project. One of the things that impresses me most about his music, is the sound itself; the raw and earnest honesty that comes through clearly. Perhaps being in the comfort of his own home suits Tipson, but there is a sense of relaxation and ease that is evident throughout; a settled and relaxed voice that adds weight and conviction to his music. Now under the care of DyNaMik Records, it seems that Second Hand Poet's music will find new audiences and fans; but before I investigate our hero closer, here is some biography (forgive the inclusion of a certain someone!):

"Having spent his formative years writing & developing his lyrics & guitar, now aged 23 he is working on building his fan base more & can be found gigging around his local scene & other areas in the UK & beyond. Continuing to play Acoustic nights around Surrey and London Jamie gained more live experience before retreating back to the four walls of his bedroom to write another album. In September 2012 Jamie released "Heaven Knows" as a single (a sample of which you can hear on the player at the top right of this page) and there is a link to his Bandcamp page on the album below. Second Hand Poets ‘Bedroom Acoustics’ EP was released in May 2013, the five songs that appeared on this were early versions of a couple of later used album songs, all recorded in one take on Jamie’s Mac. A humbling review by music blogger Sam Liddicot http://musicmusingsandsuch.wordpress.com/ for the track ‘Little Sun’ followed describing the songs on the EP as "Painting the portrait of a talent who could supersede the local scene and make his way to festivals and larger venues". Shortly after the release of his latest self-released album in November 2013 also called "Second Hand Poet" he was invited to play the Boiler room, Guildford, during which he was asked back to feature on Boileroom Radio with a live session and interview. He went on to proudly provide support for the popular American Folk Band Widowspeak http://youtu.be/1-5BBADOBAc as well as Paper Aeroplanes at the same venue.  Christian Frank of Radio Stitch who regularly presents a podcast with his sidekick Jamie Morgan 'The Lemon Circus' on Mixcloud says this about the Second Hand Poet album "The FULL album is seriously top dreamy (is that even a genre???) haunting acoustic dreaminess (imagine it is spelt with an 'i' like happiness) - oh with a dollop of the odd soul shredding sorrow going on in between" 12/12. This is Second Hand Poet's follow-up to his debut EP aptly entitled "Second Hand Poet". All proceeds from this album (absolutely everything) have been donated to the charity, BUAV http://www.buav.org/ who are against Testing on Animals and general Cruelty to Animals, a cause which Jamie hugely supports."

Tipson is hard at work making as much music as possible; ensuring that as many faces and ears are familiar with his work, and give it the support is deserves. At present, Second Hand Poet has fewer than 1,000 fans on Facebook; a smattering of Twitter followers- he is deserving of a much larger fan base. I know that a great deal of crowds in Surrey and London have witnessed Second Hand Poet in the flesh, but it seems that there are a lot of lands and areas to be conquered; a huge wave of new fans that are as-yet undiscovered. It was almost a year ago today that I first reviewed Second Hand Poet (when featuring his track Little Sun). With the release of Bedroom Acoustics vol. 1, our young hero was putting some of his earliest thoughts together; showing the music public just what was capable of. When reviewing the (E.P. track) Little Sun, I tried to assess it, thus:

"The song has ambitions to linger within your mind, and it does through a number of ways. Aside from the vocal being rooted within 2013, and the subject being something everyone can relate to, the way that the words and intentions are expressed is impressive. Many artists would tell their tales, with little consideration lent towards projection and resonance. Second Hand Poet mixes diffidence with angry protestation: some lines are punctuated sternly, before being countered by an emotionally overwhelmed riposte or rejoinder. This unique hybrid is a key focal point, and something that adds gravity to the song. The chorus has an air of mystery and open interpretation: "Hey Little Sun/Look what you’ve done"; emotions run high and there is a suggestive shrug elicited. If some of the themes of personal dislocation and uncertainty are prevalent: "Feeling lost/And/Stuck on a cross", for example, then the way in which they are presented does not bring you down. The voice does not wallow too much nor hide its scars beneath thin-veiled deceit; the guitar remains strong and focused: hints of Noel Gallagher can be detected in lighter-edged (What’s the Story) Morning Glory. Towards the latter stages of the track, the Little Sun is turned upon, put onto the stand, and given accusatory regard: "Burned away/Chosen day", is delivered with an emphatic guilt-trip and disregard. The tension that mounts is temporised, slightly, by the ensuing guitar passage: it picks and strums with delicate touches, before being swallowed and replaced with the final vocal touches."

With the release of a 12-track collection (as well as other tracks), Second Hand Poet has been busy and hard-working over the last few months. I know that Tipson wants a long and fruitful career in music, and I have no doubt that this will become a reality- so I hope more people turn themselves onto his talents. All My Life is where the young artist is at the moment, and it signals a leap forward for the Surrey-based solo star; retaining cores and elements of his previous work, but showing renewed confidence and striking ambition. The E.P. is not released until July, but is already getting some excited tongues wagging; it seems that Tipson's name and reputation is gathering in many new supporters- signalling at an exciting new future. I suspect that in time, our hero will be moving closer to London and setting up camp there (it is the natural thing to do); bringing his stunning sounds to wider audiences and local musicians. Until this- and whether it does- happen, Second Hand Poet is trying to implore to, and connect with, as many people as possible; trying to get his music out into the ether as emphatically as he can- and see what the reaction is. Being a huge fan of his previous work, I was confident that the latest E.P. was going to be tremendous. When I concluded my review of Little Sun, I wrote the following:

"The songs within Bedroom Acoustics paint the portrait of a talent whom could supersede the local scene, and make his way to festivals and larger venues. It is a very of-the-moment release, and one that does not suffer from the weaknesses of many within the solo scene and the associative flaws. The proficiency and striking acoustic playing is a highlight, and the lyrics are capturing and sharp. It is always interesting to hear where future talent may originate from, and what their core values and themes will be. Second Hand Poet is the sound of a heavy-heart, curious mind and endeavouring sound."

In a scene where a lot of new musicians can be hit-or-miss; present a few good songs but not a lot more, Second Hand Poet has a consistency and flair that ensures he will be making music for many a-year to come; taking it on the road and to international climbs, too. With the support and backing of DyNaMik, it appears that doors and opportunities will open up, and horizons expanded; on the evidence of All My Life, it is not hard to see why.

"Shadow you with tears" are the first words that greet Little Ghost. It is an emphatic and multilayered vocal that punctures and enforces the words- you do not expect such an instantaneous rush.. Promising to "love you all so dear", our hero's voice is strong and earnest; opening up the acapella beginnings which are haunting and direct. It is perhaps appropriate (given the song's title) that the atmosphere is echoed and spectral; our hero is spending most of his time (in the"hollows of my mind"), contemplating and reflecting. Whilst "Gazing at sweet nothing", you get the sense of a man on the edge; whether investigating his own life or documenting the rubble of a relationship, you can feel the ache in his tones. The sensation of instrumentation is an effective and unexpected facet, that instantly gives the E.P. authority and directness. You can practically hear the vocals resonate and reflect off of the bedroom walls; there is a mix of closeness and far-away etherealness that adds weight to an aged voice. Our hero sings to his subject; the ghost in his ear is humming softly, as it is requested: "Whisper me some words I can hear". The hollow cathedral chorus is soon joined with soft acoustic guitar; Tipson accompanying himself in a story that sees him waiting for a day; longing for the moment "When my efforts will be paid." It is the vocal itself which makes it mark in the first half of the song; each word makes their mark and comes through clearly; the sound is of a young man with a weight on his mind, and a need to bear his soul Whether the song looks at the problematic and unpredictability of love, or investigating the music industry itself, I am not sure; yet when words such as "A bandage on a wound that doesn't heal", you get the impression that the vicissitudes and struggles of life are at the fore. The plaintive and gentle guitar playing adds some emotionality and potency into the mix, and you sense that a very genuine and personal message is being played out. The lack of sonic clutter and business goes to highlight the words and phrases being elicited; it is a song which compels to stick in your mind and make you imagine what our hero sees. When a delicate and springing acoustic guitar coda is played just before the 2:30 mark, it offers a break and time for reflection; as well as a chance for Second Hand Poet to demonstrate his evocative and tender guitar-picking skills. It is a parable that weaves and trickles; displaying Country and Blues tones, as well as mixing optimistic rays of sun with darker undertones. Towards the closing moments, the strings become more pressing and heavier, making their way to the foreground and ensuring that they say their piece. Our hero's voice echoes wordlessly in the background, summoning up ghostly images, and allowing himself to be taken away. A few far-off words are sung, but you get the sense of a soul that is tired and overcome; a man who is being lifted and summoned- it is quite an evocative moment. A few more striking and spiralling guitar strings wrap Little Ghost up, and end a fitting and impressive opening number. A lighter and breezier mood opens up proceedings for All My Life. There is the sound of Bryter Layter-era Nick Drake; a riparian trickle soothes and caresses acoustic strings into the open- a delicious and fascinating coda that makes you smile. Whereas its predecessor had darker and more introspective openings, here there is an extroversion and confidence that elicits summer vibes and romanticism. Once the delirious introductory moves have unfurled, our hero approaches the mic. "Can you hear the ocean wave?" is the question that is posed; your mind is already on a boat in the sea (as it is); so the words seem apt and evidentiary. Our hero is recalling memories; the wave of the ocean taking his mind back to a particular time; his voice imbued with urgency, yet plenty of heart is evident. The title cut is an investigation of life; recalling past events and the days that have led to here, life is going "so slow". Perhaps there is an anxiety and unease underneath the surface; life is being pulled apart, and it is seen as though (our hero) is "Running down landslides"- perhaps the past few years and months have not been the most fortuitous and benevolent. At the bottom of his mind, mountains are being straddled; there is a sense that no matter what is being done- life keeps throwing obstacles in the way. From the lyrics and vocal delivery, I get a scent of Oasis; the early days of the band and their most considered and tender moments- there is that same sense of quality and conviction. You get the feeling (almost) of an older man looking back on life (and the major events and hardships), yet here is a young man whom is pining for better times- and finding it difficult to move on. Each thought-provoking and emotional recollection verse is punctuated with a beautiful instrumental. Actually 'punctuated' may be too harsh a word, as the sonics that follow the verse have such a depth and mesmeric charm to them, that they are mini-songs in themselves. Such as artists like Nick Drake, Neil Young and Dylan, Second Hand Poet knows the importance of considered and intelligent guitar parables. Not only does it keep the song's momentum going, but creates intrigue and fascination as well- and readies you for what is to come. When it is asked: "Can you fee the air that I breathe", you get the sense that a lover may be talked to; maybe the world at large is being targeted (wondering if the music of Second Hand Poet is getting through to people)- such is the sense of mystery that you start to imagine. The following lines provide some clarity or revelation at least; maybe events are directed towards the romantic; the attention that our hero is receiving and giving is being recounted, and you get the sense that cards are still being held to the chest- that there is something that is on his mind but is being held back. Like Little Ghost, there is an air of dislocation and discontent. Our hero is looking back and realising that he has been against the wall enough time; but you sense that he has ambitions and optimisms in life; he wants to be seen and appreciated, but is trying to negotiate and overcome everything in his way. The final minute is dedicated to aching and sighing vocals; our hero spars and commingles with himself, to unveil a wordless cry that defines and underlines what the song is trying to say- the sense of hope is there but underpinned by derailment and strife. As the song concludes its implore, you realise- after just two tracks- that a lot has been revealed about our hero- but there is still so much to be said. The third number takes the form of Fire and Gold. If you thought that it would be hard to beat All My Life's guitar intro: think again. It is a striding and brief parable that springs and swaggers; drifts and breezes- before our hero is on the mic. His voice is imploring and teasing; it makes words such as "...that the way you move so violently defies you" hit the mark and strike. Introducing an emotive and heartbroken violin into the track augments the mood, and our hero's voice is deep in tought; entranced: "Wondering which way you'll turn". The combination of creeping and elongated violin, mixed with a spirited acoustic guitar line is an effective parbond- it gives a huge emotional weight and an eerie beauty. When our hero's voice tells of (his heroine) "Shaking in your shoes", you can hear the conviction and burden on his tongue; images and scenes are vividly summoned, and you wonder to whom he is referring. Whether it is a metaphor for broken love, or assessment of a broken soul, I am unsure, but our hero ensures that the words get inside your head and overwhelm. It is hard to ignore the potency and sound of violin; it is a storm cloud that lingers over the atmosphere and threatens to burst at any moment- both tender and evocative. By the final moments of the song, there is just the music alone (the soul has been drained); just guitar and violin play, and conclude the tale. After Fire & Gold's majestic moments, the calming and soft guitar opening of Bruises comes as some welcome solace. The intro. has a sense of fatigue to it, backed up by our hero's initial words; those which speak of sleeping for days; escaping, so that it is possible to "...escape from this boredom." The song takes us to the bottom of the bottle; a stupor and sense of escape creeps in. Whereas love and hardships have been documented in previous numbers, here there is an air of self-destruction and pain. Telling the heroine that he is slowly wasting away, you can detect the wracked heartache in the vocal (once more); backed by supportive and consistent guitar work, you find yourself rooting for our hero. Stating that "You know the fields and valleys surround me"; the rain clouds and thunder are dragging his soul away; he implorss to his subject not to touch him: "I bruise easily." You get a sense that there is some music biography within the song; possible a documentation of Tipson's musical ambitions- and the need to do it as a full-time career. When he talks of dark and quiet surroundings, it could be his bedroom and home- a comfort and sense of safety that keeps him warm. He wants to get away from the fear and strains of work and day-to-day; move on and away from things- and get lost in something much more fulfilling. Perhaps I am reading into things too much, but there is a yearning and urgency in the vocals that compel you to dig deeper- to get inside our hero's head. That sense of bruising easily; the susceptibility to touch and pain comes though throughout, and there is a fragility and sensitivity that bleeds and begs. In spite of the openness and honesty that is being presented, there is no sense of histrionics and woe-is-me; the back is strong, but the heart and mind are conflicted and torn- our hero wants something desperately but unable to grab it (just now). Firefly's initial moments are wind-swept and storm-brewing. An audible thunder roll is heard; followed by trickling acoustic guitar, you get the sense that events (of the song) may have a similar timber: a heaviness and vulnerability perhaps. Wordless and cooing vocals arrive for a brief moment, but beautifully link us into the first verse. Talking of "fabled words" and the beauty of the deep; perhaps events are going to turn out differently. Our hero directs messages to his sweetheart; confessing that "I'm yours to keep", the beauty he is speaking to is causing him no tribulation; he seems in awe and devoted to his beau. There is fire in his eyes; a sparkle that is "Like diamonds in the sky" and something that is deep inside our hero's heart. It appears that his sweetheart is a medicinal and redemptive spirit; someone whom is "Like morphine when I'm weak"; someone whom lifts the darkness and attracts (our hero) "like a firefly." Perhaps the most overtly positive and romantic track of the E.P., it is good to see that there is some hope and happiness within the mix. Meteorological and natural images are invoked to pay tribute to someone whom is under our hero's skin; it is said that (he) "See lightning when you speak." The chorus, as well, is one of most memorable on the E.P., and is simple yet highly effective; you know that whomever is in mind is an incredible Siren; a woman who is an elixir and curative aid; someone whom can balm wounds and inspire the thoughts. By the time the song reaches its end, you hope that a smile is on the face of Second Hand Poet; that our author concluded the track with a sense of relief and positivity- I hope so, as it is a song that is memorably evocative and tenderly honest. Wailing and echoing sounds mix with firm-headed acoustic guitars, to open up the final track Fading Out. There is still a sense of beauty and purity abound, with plinking and dancing piano notes coming into the mix, the opening moments are elliptical and spirit-lifting. Everything combines seamlessly to present sunshine and warmth; a lightness and romanticism is at the fore- the early moment see a man who is in need of redemption. Singing to his girl, he is fading out; imploring to her to "Give me a reason, won't you listen baby..." Backed by swaying and haunting backing vocals, the song sees our hero once more in reflective and contemplative mood. Whilst watching films and the scenes they present, although he can relate to the people within, in spite of everything it is "all made up"- a facet that is disappointing and axiomatic. You feel that our hero wants toi escape into those scenes; have the same sense of freedom and carefree ease that they do- yet life is not being so kind and accommodating. The song is a short and direct mandate that hits the mark- and brings the E.P. to its conclusion. Once you complete listening, you need a few moments to recuperate. There is a lot of wonder and beauty within, as well as harder and weightier emotion; a perfect blend that makes the collection so memorable. Tipson's guitar playing is authoritative and stunning throughout, never too heavy or intrusive, it adds colour and emotion to each track. The vocal performances are consistently strong and imploring, and the sense of conviction and potency comes through clearly; our hero never lets his pipes become too dark and brooding. Each track has its own weight and identity and covers a range of subjects; those that are all-inclusive and relatable- everyone will be able to relate to what is being said. Because the E.P. is encompassing and non-alienating it will strike a chord with many, and you find yourself rooting for Second Hand Poet- and hoping that things work out for the best.

Having surveyed the latest installment from Second Hand Poet, I am in no doubt that the next few years will see a great deal of progression and prosperity for the young hero. Over the coming weeks, I shall be investigating some new solo artists and bands- each with their own sound and quality. When it comes to Tipson's moniker, it is clear that more London dates will be forthcoming; some local gigs and appearences- and a lot more music for sure. His voice is instilled with warm and soothing tones; a boyish charm that recalls Tom Odell; plenty of soulful passion and striking power- as well as a unique tone that gets under your skin. It is not just the potent and emotive vocals of Tipson that makes Second Hand Poet's music so stunning. The sound is open and honest, and draws you into the music (at times it as though you are listening in Tipson's bedroom); there is no needless polish or overproduction it is raw and pure, thus allowing each song to implore honestly and without pretension. All of the six numbers have personal relevance to the author, and highlight various shades and sides of a personality that offers tenderness, introspection, strength and hope. You are hard-pressed to compare anyone to Second Hand Poet directly; there is an individuality and heart within his templates that offer something fresh and vibrant. That said, there are embers of modern icons, thus ensuring that Tipson's music will appeal and capture a wide sector of music-lovers. From my perspective, it is always great to hear original songwriters daring to make their own way and be bold. You do not get much more bold than Second Hand Poet, whom projects huge confidence and conviction across the entire E.P. The local (Surrey) scene has its share of interesting and diverse acts; everything from female Soul-cum-Pop vibes through to hard and brutal Metal bands- with a little of everything in the middle. There is always a desire for a particular act to wow their home crowds; to make their name in their locale- but I suspect that Second Hand Poet's ambitions stretch wider and further. Here is an act that has an honesty and charming appeal to his music; making beats and notes in a distinctly personal and lo-fi way- thus separating himself from the bulk of his contemporaries. Towards the south, there is a need and desire for music that has romantic and tender edges; preference is still levied towards inward manifestations and a certain melody- which a lot of the local competitors offer up. With the tenderness comes a lot of potency, passion and genre mixing, and it is a facet that is missing from London on the whole. Recent subjects such as Alison Levi have shown me that they are out there, but most of my London-based reviews have focused on Rock bands and bigger anthemics. I feel that artists such as Second Hand Poet can bring new life and invigoration to the capital- and take their messages around the U.K. By recording material and songs in his bedroom, you can hear that intimacy and comfort, but witness an act keen to make music no matter what- and give his music a home birth. I guess when Tipson's profile augments and explodes studios will come beckoning and that is going to be something that can provide benefits- bigger arrangements and additional musicians. By making music on his own terms and employing his own talents alone, Second Hand Poet is a curious talented and unique brand that will win many hearts. It is early days, but I fully predict that Facebook and Twitter numbers will multiply; people from all around the globe will come on board and witness a young man on the verge of something big. Before I wrap up, I will bring you a snippet from my previous review (of Second Hand Poet); when investigating the man himself:

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

As well as retaining all of his elemental and reliable cores, our hero has grown in confidence and looks set to carry on a bright and profitable trajectory. His record label have offered him some free studio time (in Ireland); the E.P. was mastered at a reduced cost, too- so the financial fears of studio life may not be a consideration for the future.  New music thrives best when diversity and quality are offered; no emphasis on sex appeal or controversial personalities- where the music is king. People like me- whom are starting out making music- are always nervous when trying to break onto the scene; figuring out a way of making things happen- and making music in a feasible manner. Second Hand Poet is not only an inspiration to new musicians and those intimidated by the financial burdens of studio recordings; and his themes are relevant and tangible- those which can be extrapolated by all. This year is almost halfway through, and as I sit back and re-read reviews (of artists I have surveyed) I can see a lot of range; instantly know which acts are going to go far (and those that may be more short-lived). I suggest and predict Second Hand Poet is going to be someone to watch closely, and we will be seeing many future E.P.s and albums from this determined talent. At the moment, investigate his social media space; get an insight into where he has come from- and where he may be headed. Make a note to snap up All My Life and help support a young talent with whom has a clear affection for music; someone keen to make his mark on the current scene...

AND put his music firmly in your heart.

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All My Life Track Lisiting:　

　Little Ghost- 9.2/10

All My Life- 9.2

Fire & Gold- 9.3

Bruises- 9.2

Firefly- 9.3

Fading Out- 9.2

Standout track: Firefly

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E.P. Review: Shiftin' Shade- The Gramophone Gang E.P.

E.P. REVIEW:

　　

The Gramophone Gang E.P.

9.7/10.0

 The Gramophone Gang E.P. is available via:

https://soundcloud.com/shiftin-shade/sets/the-gramophone-gang-ep

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It may be early days for Shiftin' Shade's creator Darren Pereira, yet with his tantalising and outstanding brand of Electro-Swing- he should be making plans. Few acts are offering up a comparable charm, luster and kick; so our hero is sure to reap the dividends- and invigorate and compel a fresh wave of new musicians.

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TODAY I am returning to a theme that I have not delved into...

for some time now. My reconnaissance and investigation will be a bit shorter than usual, but more relevant that it has been for a little while. Most of the music I examine comes from artists whom have a few singles or songs under their belt, and are entering a new phase in their careers. In the case of recent feature-ees such as Universal Thee and Jingo, the acts have been making music for a few years; there are reviews and testimony in their back catalogues- and they are making plans for new L.P.s and E.P.s. It is rare that I get to surmise an artist whom is just coming through; making the embryonic steps and coming into the music world with that eagerness and ambition. There is always a nervousness and unpredictability for any new act coming through, as there is a lot to think about and prepare. As well as getting your profile and need out there, one must also consider a labyrinth of check-lists and 'to-dos'. When investigating every new act, I always get to delve into where they have come from; how hard they have had to work in order to get their music off the ground- and how much they have had to spend to realise their inner ambitions. Being in that embryonic stage myself, I am looking at each new act as a guidance counsellor- as well as musicians to be inspired by, and promote. One of the things that worries me most (about new musicians) is the lack of originality and thought that goes into their templates; it is something I will investigate in more depth, but too many are blustering through, all full of promise and wide-eyed optimism- only to be let down by a stale and homogenized sound. It is a sad truth, but many do not do their market research up top; assume that whatever they put out there is going to be grabbed up and adored- that the collective music public will suckle at their creative teat. A huge voice or big personality may ensure some short-term, fascination, but soon enough eyes and ears tire of such threadbare offerings. Happily, most of my music features are completed with an anxiety-free heart; knowing that the act or band has thought everything through considerably- and will have a smooth and profitable future ahead of them. I still have fears for my own future, but when looking various success stories, it at least provides me with some buoyancy and hope. Such is the nature of the industry, that many eager acts are swallowed up before they have a chance to get going. The mainstream is showing newcomers what is on offer; what can be obtained if you hit 'The Big Time'- and it may be leading many astray. My abiding point coming through, is that everyone whom has the ambition and intentions (to make music) indeed should- it is the greatest art form there is, and as such, should be embraced fully. Caution and maturity need to be cemented pillars that are viewed and examined before a single song is recorded. At the forefront of modern music, there is a classic division between Pop, Soul, R&B and its sub-genres (Lady Gaga, Rhianna, Beyonce etc.) as well as Rock, Indie and its offshoots (Kings of Leon, Arctic Monkeys etc.)- in addition there is a healthy 'middle ground'. I may be over-simplifying, but there are few that fall within a triple intersection; hardly any whom manage to successfully fuse genres and tastes- to appeal to a wider market. To my ear, the former camp (aside from the likes of Beyonce) is synonymous with over-simplicity and minor appeal. The artists have their own fans and followers, yet I have never resonated with the brand of music, and always found it too lacking and cloying. The Rock/Indie market has some spectacular front-runners, yet there are still too many soundalikes coming along; those whom try to jump on the bandwagon of an existing act- without offering too much difference and nuance. The musicians and artists whom lay in-between these clans are showing the strongest signs of promise and diversity; it is these whom new acts should be looking towards- when putting their own sounds together. Too many fledgling artists either offer too much bland and senseless force or vague and fluffy utterings; there is are few whom take the trouble to invigorate their palate with flavours, colours, emotional range and an abundance of striking quality. Every time I give a positive review to an act, they have that extra something; a drive or thoughtfulness that takes these considerations on board- and generate sounds that are new and stunning. If new music is going to tussle with the mainstream; integrate its best and brightest within its waters, then it the sounds bein proffered should be stronger and more layered- in order to present a viable and preferrable alterative. It seems like a lot to think about and get hammered down (before you start out), but it needn't be so daunting. Consider all the music that has come before, and how many acts have played their part in music's growth, and you only really need to make some minor notes. Doing what hundreds of other acts or bands are doing is probably not the best start in life; if your music has the same sound and chord sequences as Acts A-Z, then at the very best, you are going to last a very short time. You do not have to be too diverse and freewheelin', but infusing older genres, mixing styles and injecting your music with distinct and unique personality shades always produces the strongest offspring. As well as this, a set of lyrics and songs need to be created that not only provide an insight into your own life, but have a sense of sharpness and originality to them. Far too many acts present generic motifs and songbooks, and it can become annoying to hear the same type of songs endlessly recycled. The final important point to consider is that to your projection and social media output. Over the last week I have surveyed a couple of acts whose portfolio has been lacking. If you are literally putting your first songs out, then media detail naturally progresses later on, but if you have a solid foundation in place- what is the excuse for giving so little away? If your biography contains a couple of lines and you leave it to the listener to do all the hard work, then the fascination wears off pretty soon- if it comes at all. It is not creatively whorish or foolish to let someone into your life and give them some much-needed information: where you come from, who influences you; links to reviews and as much personal insight as you can give. I guess if you have the fundamentals all figured and sewn up, then your job and task is going to be a lot easier; free from as much strife as it could otherwise have been- it is important to make sure you can walk before you can run.

This brings me to the subject of my featured artist. By day, he is Darren Pereira, a "Producer/Dj and multi instrumentalist of Portuguese origin"; someone whom goes by the alias of Shiftin' Shade (or Christopher Shade as well). Before I go into more detail about our act- you guessed it- here is a little bit of biographical information:

The Electro Swing sound and all it comes with. .. Clean blends of the 4x4 with some swing groove and a whole lot of feel, Shuffle those feet through the prohibition era yo with the Lord High Chancellor of Swing!

Our hero is at the beginning of a career which is going to be jam-packed and busy. With influence such as Goldfish, Parov Stelar, Caravan Palace, Scott Joplin, Duke Ellington and Nina Simone, there is a rich and fascinating range of sounds that come through in the music; when instilled with a striking and fascinating personality make up the superhero; the sobriquet- the alias that is Shiftin' Shade. Its mere name alone gives you an insight into the grinning smile and heady scents that the music offer; it is something that brings me to another point. The Gramophone Gang E.P. is a trio of songs which is not only reviving a near-forgotten genre, but also giving a fascinating insight into a hungry young talent whom has clearly done his market research. As well as sounds being awash with originality and intent- as well as tones which can appeal to various camps of music-lovers- but the Shiftin' Shade uniform is something that catches the eye; it has a mystique and charming appeal that catches the eye and imagination. These are the early days for Pereira's endeavours, so reviews and biographies will be forthcoming, but from chatting with him, I gleamed a clear sense of someone whom is determined to succeed; whom has all the necessary ammunition and armoury at his disposal- and is keen to get as many people listening to his music as possible. The near-future offers up the very distinct possibility of a Shiftin' Shade L.P., and I hope that a prosperous record label snaps up the young man, and assists in furthering his talents. When it comes to the sound, our hero seems to be one step ahead. Electro-Swing is a genre that has a smattering of mainstream players (Caro Emerald is amongst them), yet it is a segment of music that is much overlooked. When I have been reviewing, most of my acts are Rock/Soul or Pop-based (with exceptions), but I have stumbled across some terrifically inventive Electro-Swing artists. Little Violet is a name that has appeared many times on my pages, and coming out of the Cuckoo Records stable, she has been winning many hearts. Her beguiling beauty and alpha female mandates are backed by alluring and hypnotic Swing rhythms- sort of The Andrews Sisters with a healthy invigoration of the modern-day. When I assessed Little Violet tracks Don't Stop and Shut Up, I was amazed by the richness and psychotropic swathes that were being offered up. The former track was abound with energy and feet-moving implore; our heroine had me on the ropes. Once I completed surveying the track, I was compelled to write:

"The vocal is passionate and strong, and lyrics like: "Take control of what you’re worth" emit a steadfast refusal to be subjugated; with "Take it easy/just one step at a time", imploring some ambition restraint. The theme of the song concerns not being content to stand still and taking the step to break the mould. "Keep on moving/Don’t stop" is the motivational mantra of the track. Special kudos goes to the band, who genuinely emit an appreciation and understanding of the jazz and swing greats, and yet add a retro, updated sparkle and kick to the sound, fusing a little bit of modern jazz to its supreme bodywork. The sound is tight and mesmeric throughout, and does what any great song should do: not only want to make you smile and dance, but dive into the jazz swing annals, and hear the original purveyors as well. On a positive note, the vocal as well has pleasing shades of Fitzgerald, Peggy Lee, as well as a little touch of Paloma Faith. In a way too, one can cross reference Little Violet with Caro Emerald. She too has a great talent and passion for a bygone, better age, but is similarly capable of modernizing the sound and making its appeal devoid of boundaries and labelling."

The later is a more slowed-down and potent killer thriller; infested with pointed and sharp words; and I surmised:

"The band is tight and stunning throughout. As the chorus fades I can hear echoes of Miles Davis’s ‘Kind of Blue’ (particularly the track ‘Blue in Green’). The band turn Lyrebird in their range of sounds. Davis can be seen, also shades of ‘Life in a Glasshouse’ by Radiohead can be detected; a little of Glenn Miller’s ‘In The Mood’; a smidge of Fletcher Henderson and Cab Calloway show up in the blood count. The band do not try to parody or replicate them. The sounds, spirits and perfumes are poured together and stirred to give a heady blend. It updates the genres and revitalizes them for the ’00s. The vocal does not suffocate or feel forced. At its most demure, it evocates Carmen McRae and modern singers such as Adele. When the tempo rises, Amy Winehouse, Sarah Vaughan and Nelly Furtado. It is a smoky and gutsy performance and has incredible soul and veracity to it. Our single lady talks about how (her former beau), had "a temper, which could break a heart"; who’d: "babble at you/Make you want to scream". The chorus is deployed effectively between the heartbreak tableau vivants; the entire track is a bloodstained parable telling the story of a woman who is less Moll Flanders and more gangster’s moll."

I know an L.P. is forthcoming from Little Violet and it will be an extraordinary collection, and one that is lacking from new music as a whole. Another Electro-Swing artist I assessed (again from the Cuckoo Records stall) is Cissie Redgwick. I assessed the tracks Gimme That Swing and Mister Mister. The former, is a track that had elements in common with Little Violet, but also a bold and unique personality. I was compelled by the music that Redgwick was presenting, writing:

"The chorus is instantly indelible and simple. It strikes a huge chord, and the combination of swing (and at times Cuban-sounding) brass, combined with a voice and evocation fresh from the golden age, balances brilliantly with the slower, and more spiked verses. The entire song is never dragged too deep down: the key manifestos are energy; excitement, and an imploring desire to make your feet dance. It is an incredibly catchy and invigorating number, and the tune, melody and firestorm of jazzy tones will smash, as hard as the potent and personable honest, and well-observed lyrics. Redgwick is a woman who has been wronged, and is intent on releasing a biblical plague of retribution, through swing. It may sound like a temporised vengeance, but the sonic blasts and cursive vocal immediacy is more discommodious and miasmatic than any physical punishment."

Again, I think that an L.P. is in the pipeline, but both those artists arrived on my radar a year ago; and I have desperately been seeking a similarly flavoured cocktail ever since. Both are strong and sexy female performers whom do not give a gender-specific account of life and love, but write songs whose relevance is meaningful to both men and women. As much as I adore the two individuals, it seems that a lot more should be coming through- it is a genre that offers up some much of life's elemental requirements. As well as sexiness, sassy and bold musical parables and a kick that is hard to ignore, the music was happy and alive; vibrant and alluring- as well as compelling and catchy as hell. If you think about it, those are the components that most music-lovers seek out, yet few are ever offered. Most modern music offers some of these considerations, yet few contemporaries go the whole hog, and get everything spot-on. For that reason, I was excited when I heard about Shiftin' Shade. As well as giving a male spin on the genre, he has the same compelling swing and punch that Little Violet and Cissie Redgwick do; is based in the same county as them (Yorkshire)- and may well come under the radar of Cuckoo. It must be a Yorkshire thing, but it is a county that is housing some of the most diverse and pioneering acts of the moment; perhaps the only county that is seeing a proliferation and reinvigorating of Swing; via the medium of Electro-Swing. Current stars such as Ruby Macintosh (Yorkshire girl too) are adding their input and coins into the hat, yet there is plenty of room and space still left- so much ground to discover and explore. It is true that the majority of Electro-Swing movements have been made by women, so it is refreshing and compelling to see Pereira come through. With Portuguese heritage and a striking moniker to his credit, I sat myself down to investigate his debut collection, The Gramophone Gang E.P. With colleagues such as Little Violet sure to be huge future names, I was certain that if Pereira were able to elicit just some of the majesty that Don't Stop and Shut Up (as well as Redgwick's tracks) contained then the next few years would provide vast opportunities and prosperities.

With a rousing "doo-dah-doo-dah-doo", an a snippet of vinyl crackle, Speakeasy Suzy gets underway. Featuring the talents of Adam Hume, it is a track that begins life with a degree of gusto and jive that is hard to ignore. Staccato blasts of horns mingle and punch alongside percussive beats- which are intermittent but hard-hitting. The mood rouses and blears; celebrates and dances, waiting for Hume to step up to the mic. Before he arrives, you cannot help but get involved in the opening coda; wrap your head inside of the snaking and sparkling bursts that are elicited forth- is a joyous and authentic Swing rabble. With our hero unsure "what I'm gonna do"; chasing 'baby do', his voice is imploring and strengthened; imbued with a slight growl and gravel it is an impassioned vocal. The delivery itself is fast-paced and rifled; Hume disseminates the words at a rate of knots; mixing "bam bam booms" with "bang bang bangs" it has a breakneck presentation that gives the song a huge energy. With our heroine being tracked and watched; the "bang bang bang"s leave the boys "shot the boys down in the room". At an early stage the song gets inside your head and compels you to imagine what is happening within. You can envisage black-and-white scenes; behatted gangsters and villains chasing around town; our gadabout heroine getting under the skin. The brass blastings that are deployed between lines have quite a modern sound to them; there is a freshness and vibrancy to the track which mixes '40s Swing testimony with modern-day cutting-edge. Acts such as Rizzle Kicks have managed to deploy this same sort of cross-pollination, yet never with the same energy and force that Shiftin' Shade does. With scenes being set and tension rising, it becomes almost unpalpable- before a the record is stopped sharply. A spoken word segment is now in the mix; a dapper-voiced gentlemen asks: "Are you sure you wouldn't like to stay just a little while longer?" (whether it is Hume or not I am unsure). With our heroine replying "no", the mood once more fizzes and jumps into life; catching you by surprise and providing another twist. There is no fakery or sense of shortcoming within the song, and you can tell its author has a clear passion and authority for the genres he is exploring and splicing. The songs pervasive kick gets you tapping your feet and smiling, and the sonic blasts and tapping percussion augments this; you find yourself humming along and moving your arms (perhaps I'm just a bit suggestible, but I dare say many others will do likewise). With Hume back on vocal duties, a new scene begins; our heroine "Said hi then bye"; not wanting to be reduced to tears, with a left and right ("out of sight") it is a "sure-fire way to make the big boys cry". As well as being entranced within the sun-kissed and gangsters and molls groove of the track, it is impossible not to be hit by the passion and urgency of the vocal (which almost scats) the lines syncopate, tangle and tumble into one another, giving an appropriate breathlessness to proceedings. Our hero is being tangled up and overwhelmed; he has never seen a girl with an angel face ("like yours"); there is an innocence and charm to the images; no salaciousness or extraneous profanity, it is a bona fide stomper- one which will appeal to all types of music-lovers. I mentioned the likes of Rizzle Kicks, and in that sense the track can draw in the 18-30 age bracket adeptly with its bracing kick and beach-ready smile; it will resonate with everyone else because of the infectious fun and unslakeable Swing groove. With a certain sense of emotional fatigue and overwhelm occurring, our hero scats and jives; wordless vocal annotations are unfurled; you can tell that this girl is in his head and leading him astray. Just prior to the 1:30 marker, the composition takes control; with darker flavour notes, the bass and percussive elements are more down-tempo and moodier; before another spoken word sample is presented. This time around, our hero blithely admits: "You must think I'm dumb, huh?"; that ritzy and opulent sense of class enforcing every syllable. Our velvet voice heroine offers a snappy riposte: "Do you really want me to answer that?" It is as though the dialogue is lifted from a '30s film; the sort that you could imagine Clark Gable in- a San Francisco-cum-Saratoga by-play (I will have to ask Pereira where the sample is from or if it is an original recording). The second invocation of this form is evocative and humorous, and acts not only as a countenance to the fast-paced verses; but also as a chance for the listener to catch their breath...before we are back in the thick of things. Before we do, the composition has some speaking to do. It glistens and steps; weaves and jives- mixing elliptical brass with low-down bass and percussion, and twanging electric strings. We are back in the room, boys getting shot down (once more), and making the big boys cry. All of the Nu-Jazz, Electro-Swing and Swing elements bubble through and offer up a heady intoxication. Another snippet of vintage talk is delivered, this time our hero is sheaving his wit; promising his sweetheart he'll do anything for her, he adds an addendum: "As long as it's something I don't want to do". He is speaking to an audience or collective friends, as a hearty chuckle is elicited; applause and chuckles spar with the insatiable sonics- that continue to weave and jive with a restless energy. The track comes to an end (after another round of scats and wordlessness); bringing a stunning opening cut to its conclusion. With Hume on vocals once more, the *Live Bootleg Version* of Shy Street Swing Club arrives. With a title that offers alliteration, intrigue and vivid imagery, once again there is a slight crackle that opens proceedings- and we are under way. "High-class" and "elegant" is the heroine of the number; an axiomatic truth ("That's a fact"); the vocal has a distortion and is lower in the mix. It a curious build-up that has a romantic edge and soothing please to it, with Hume enraptured once more. Providing paen to a heart-breaking girl, he confesses: "There's nothing I'd subtract". When she walks in the room (and makes her impact), our hero is overcome; she is mandated to dance; to cut loose and set the floor alight. Whereas its predecessor exploded into life from the off, Shy Street Swing Club has semi-appropriate beginnings (given the 'Shy Street' portion of the title), where proclamations and outpourings are muted but romantically graceful. From the gangsters, bordello and cat-and-mouse tableaux of the speakeasy; we are in the comparatively decadent surroundings of the swing joint- and ready to get down. The beat and flavour are softer and more composed in the early stages; our hero is setting the scene and not showing his hand too soon. Percussive and pattering beats are laid in; sonic accomplices are restrained and finger-clicking; Hume makes an earnest request: "Just close those eyes/Take a two steps forward..." Before we allow our senses to be overwhelmed, a crackling spoken word parable is unleashed. There is a disquisition and phallicratic control game being played; a two-hander between man and woman. She goes "Yeah boy!" (after he proclaims that he's going to do things the old-fashioned way); our hero states: "I'm gonna ask questions/And you're gonna have answers." That is the clarion call for action; the brass becomes more emphatic and celebratory- with a beat that is hard-hitting and pulsating. Whereas Speakeasy' had its roots in the '30s-'40s; and its head in the modern-day, here there is a comparable lineage. With percussion that is heady and tub-thumping, it can unite and galvanise the dance floors; cause beach-goers and sun-worshipers to tap their digits- and make them move their feet. In the background is that Swing-era authenticity; that gramophone glory that is the hallmark of Shiftin' Shade. By the 1:30 check-point, you sense there is a slight irony with regards to the 'Shy' Street; any timidity and demure has been abandoned and our self-effacing hero is in the mood to dance; conjoin with his beau and allow the music to entrance his soul. The inclusion and persistent of heavier and pugnacious piano strikes give the song a sweat and twilight potency; one which juxtaposes the mood brilliantly, and gives the overall sound a richness and great amount of intuitive detail- our creator has a sympatico for the grand Swing age, and knows how to show it. With some atonymic clarifications out the way, our hero allows his sensual purr to score the following lines. Letting the composition dip slightly, "'cause the rest can't keep up pace"; it is a one-horse race- patently obvious truths are being laid bare. With the dance floor straggler and wannabies all retreating to the shadows and side-lines, our hero commands the spotlight; with his girl in hand, they are showing how it is done- and swinging the night away. The final 40 seconds is a mass of addictive and unshakeable repetition; our hero's imploring coda gets inside your head, as he advises his partner to move her feet (self-consciousness be damned, as yours do likewise). Before we get carried away with the youthful abandon and get caught up the reckless energy of the night, a caution is forthcoming. A spoken word interjection sees a man speak to our hero: "..you get a little blinded when it comes to girls". It is almost a father-son dialogue; the elder advising his eager offspring to step back and think things through- aware of how alluring and dangerous such beauties can be. Perhaps our hero has had his heart-broken too many times, but he is not willing to stop looking (for love)- and a final few words show that he is throwing caution to the wind. It is another intoxicating and catchy cut that roots itself in your brain- and does not shake itself loose. Completing our trio of numbers (sans Hume on the mic.) is the (gloriously titled) Wyther Lane Jazz. The E.P.'s 1-2 had their titles rooted in particular locations; swing clubs and speakeasy establishments were synonymous; yet here there is a less itinerant parable; one whose heart is paying tribute to an alluring paragon. Wyther Lane is a locale within the LS5 postcode, and not one that is particular glamorous. There is an industrial estate and residencies within its environs, but is as un-evocative a place as one can envisage. This gives the song a sense of humour, and the piquancy of the real-life setting spikes the intrigue- right from the start. I am sure that the Wyther Lane of Leeds has some charming and reputable businesses within, but the song Wyther Lane Jazz puts you in mind of the U.S. Carrying on from where Shy Street Swing Club left off, a comparable sound and setting is presented. There is an evolutionary and multifaceted build to the composition. With some grimier and low-down drive; mixes of horn blasts and grumbling undertones, the initial few seconds provide fascination and wonderful blend. Like whiskey, rum and cocktails all being mixed, you hear so many different (and nuanced) sounds fuse and romance, that it has the feel of an Experimental Dance or Trip Hop number- in the way that genres and sounds are seamlessly fused to create a animalistic whole. The pleasing soothe and jive catch the ear, but it is the percussion and hand-claps (bubbling underneath) that draw your eyes in; you are waiting for them to take charge and lead the way. Before you get a chance to speculate and forward-think, we are treated to a vocal interlude- another spoken word passage. What we get is Rhett Butler (from Gone with the Wind) utter his most famous (or infamous) line: "Frankly. my dear, I don't give a damn." It is not something you expect, and not only do you find yourself smile along; but it seems like such a natural progression. I mentioned Clark Gable previously, so his appearance seemed apropos; I have been picturing him all along- and it puts paid to my curiosity as to where the spoken word snippets were sourced from. Whether it is actually Gable's voice (in the segment) or not, I am not sure (got to watch that film again!), you have nary a moment to check, as a sonic riot is unleashed. Our creator infuses brass parps and codas that are stonewall classics; the truest manifestations of the Swing Era players- that mingle alongside crisper and more retro trumpets. The way that Shiftin' Shade manages to mix modern-day relevance and urgency with 70-year-old vintage nods is impressive indeed- few artists are as darting and inventive. Evocations of Glenn Miller and Bluebird Records come to mind, and everything is lovingly incorporated. Wyther Lane' employs so much busy and jam-packed mood, it is like a musical sweet shop; elements and various multifarious lines are brought into the mix. Ceremonial and marching brass coda mingles with the skiffling and dace-crazed foreground; creating a beautiful double helix that enforces its way into your psyche and impressively hits the mark. Just after the 1:00 stage, plinking and highfalutin strings twinkle and crackle; a gorgeous and tender parable that changes the pace (once more) and relaxes you. With only a brief moment to be absorbed by the seductive touch of what is present, we are taken somewhere new; a renewed sonic boldness and bravery comes back in; the Glenn Miller-cum-Benny Goodman partnership reignites, and your feet move once more. The final 30 seconds is a delirium of electioneering, genre-splicing and passion. In the same way that cut-and-paste gods such as The Avalanches could fuse various sounds into a single passage and make it sound brand-new, here our hero does likewise- although with greater authority and awareness. Low and temporized beats and shadier notes rumble in the mix; interjected with upbeat and spiked trumpet blasts, there is an on-going sense of progression and romance- as though it is the calling card and courtship of an impassioned couple making their moves. Perhaps Shiftin' Shade is trying to distil the essence of a dream or scene; giving the Leeds avenue a fresh coat of paint, but to my mind, there is a sense of wordless foreplay; a trajectory that sees the lovers meet and flirt; retract and tease- before giving into their urges and lusts. As the dying moments make their mark, you are left wanting more (the mark of a truly great record), and try to soak in everything that has come before- and succumb completely to the E.P.'s charms.

After all of my talk about new artists and what it takes to get a foot in the door, I feel that Shiftin' Shade will do pretty darn well. The Electro-Swing genre that has some mainstream advocates, yet the essence of the movement is instilled into certain songs and albums- rather than fully explored by fully fledged artists of the form. New music is seeing a wave of young and hungry Electro-Swing acts coming through, each of whom offer something unique and fascinating. When I sat down to review The Gramophone Gang E.P.- knowing that I was a fan of the genre- I was expecting to be impressed and thrilled, yet was offered so much more besides. Such was the sheer joy and sway of the music, that I had a hard time getting my fingers to type fast enough. With each line or parable came a paragraph's worth of thoughts; it is music that compels you to write and put down your opinions- I hope I have done it ample justice. Over the course of eight-and-a-bit minutes, I was witness to one of the most vibrant, striking and stirring E.P.s I have reviewed all year, and a perfect tonic to the miserable grumpiness that meteorological forces are offering. Smile and cheer is very much the order of The Gramophone Gang E.P., that you forget about your woes; allow yourself to become immersed within the hypnotic jurisdiction of the music and let go. The trio of tracks are short and explosive- but given the energy and pace that each offers- it is just right. Another song may have been too much; too weighty and breathless, with Shiftin' Shade saying a phenomenal amount over three songs. The tracks have a sound that invokes the glory days of the Swing era; there is conviction and clear understanding throughout; these cores are entangled within modern vibes and semblances- the resultant mix is fresh and endlessly fascinating. The modern and of-the-minute tones are likely to connect with all music-lovers; resonates with those in love with the dance floor and the beach trance; Rock gods whom prefer their sounds electric guitar-heavy- and everyone in-between them. Few contemporaries have such an immediacy about their sounds, and Shiftin' Shade is going to stand apart- and gain a lot of unchartered ground. These are songs that can easily have life as T.V. themes and scene-setters; score stunningly evocative and memorable film scenes- and tantalize and seduce stereos, clubs, pubs and venues for many a-year to come. The vocal turns by Adam Hume are impressive and give huge weight and patronage to each track. He manages to invest notes of Swing stars of the '30s and '40s with deft conviction, as well as provide unique vocalisations to the duo of tracks (he is featured on). His phrasing and dictation is effective and potent, and he brings emotion, life and curiosity to each line; showcasing himself out as a superb vocalist and a name to watch. Able to convey lust and too-hot-to-handle seduction, his voice can range from an overwrought and spellbound whisper to an invigorated and bolstered force of nature- which has a mobility, charm and colour chart that few of his peers possess. Shiftin' Shade's input is stunning; capable of summoning up huge and memorable compositions with apparent ease (although I'm sure it wasn't); it sound so effortless and natural, yet there is a hell of a lot of detail and discovery within each track- tiny notes and subtleties that demand repeated listens. The authenticity that each track contains is down to their author; a man whom has a fond knowledge of the Swing wonders; but a heady musical polish to bring life to the (bygone) era, and gives the genre a huge lease of life. Where as artists such as The Avalanches merely splice genres into a musical collage (with anal detail and an immense about of work), Shiftin' Shade explores there in more depth; ensures that the listener gets to witness them in their full glory- but also manages to shape shift and mutate like a carnivorous musical predator. I am sure that Pereira will be looking into an official website, and bolstering his online portfolio; as his music needs to be heard by as many people as possible. At present he has a SoundCloud site and followers there, yet there are thousands across Facebook and Twitter (and other social media sites) that would love and embrace his sounds. When that following and fandom arrives (and it will), I am confident that his pages will become fuller and more confident (I hope I can assist), as he has a lot to shout about. A lot of perfunctory rank-and-file reviewers and blogosphere candidates tend to summarise and distil an E.P. (or album) into a few lines; negating the importance and relevance of fully exploring a work- how can one get the true impression of an E.P. if it is surmounting in three lines?! I get some criticism and cheeky pokes about the longevity and loquaciousness of my blog, and whilst (at times) it can be loquacious, I try to convey a sense of passion, erudition and excitement separate myself from the pack. I hope I have done the E.P. full justice, as it was just what I need right now- music to make my forget my woes and hide me away from the rain. When I reviewed Cissie Redgwick last year, her duo of songs really got under my skin, and inspired me. Through Little Violet I was aware of the genre, yet was not sure if anyone else was following in her footsteps. With regards to her particular evocations and formations:

"I think in a way there is a pioneering attitude from Redgwick, as well as Little Violet’s Cherie Gears. They break away from well-worn pop/soul/R ‘n’ B and rock parables, and re-energise and modernise a style of music that, to me, is timeless and faultless. Perhaps it does not have grit or the sort of graffiti lines to attract the most hardened of street/grime artists and fans; but from my perspective- as a huge rock/Grunge/desert rock fan, it is a wonderful sounds, and one wonders why there are not male artists whom are pervading the same electro swing lines. Maybe there are, but down to Redgwick (and Little Violet), there will be others waiting in the wings to sing the songs, they have sung, and try to take them on. There is a great deal of mobility available within electro swing- the lyrics, as well as the musical compositions, and with a voice as strong as Redgwick’s; she is going to be capable of a massive amount of good, should she choose to. With the combination of 1941-Andrews Sisters, with 2013 freshness and innovation, mingling with an underlying ’70s rock innovation in the music/lyrics set, Cisse Redgwick is sure of a long, and fruitful career; she is stunning, strong-willed and a phenomenally diverse and workaholic songwriter."

I hope Shiftin' Shade will not object to my comparing him to other artists of the genre, and brining in snippets from other reviews, because I feel it is making my point. As well as there being other artists whom are trying to regenerate embers from the '40s and '50s Swing movement, each are doing in their own way- and are sure to benefit from a long career. It is a lifestyle of music that is very much in people's minds, yet in terms of mainstream representation, how many acts can you think of (whom offer up this music)? That is why these artists are so necessary and worthy, and Shiftin' Shade is right at the top of the list. He may not look as mouth-watering in a sequin dress, but he has a potency, power and arresting set of songs that are sure to familiarise themselves with the public at large. It is clear how much music means to him, and how keen he is for his songs to be heard. The Electro-Swing genre is one that is undiscriminating and universal; built around an innocence and sense of adventure that everyone can relate to. With certain types of music appeal only to clandestine groups, we should all be embracing what this genre has to offer up. I have been replaying and re-investigating The Gramophone Gang E.P. for a couple of hours; compelled and buoyed by the sheer charm and energy that it proffers- and how memorable and striking the songs are. From speaking with our hero, I know that there are plans for a full-length album; gigs and future songs are all on his itinerary, and it seems that he has a clear idea for the future. I am sure that record labels and venues will be banging at his door, as the songs he has invented are abound with catchiness, spellbinding kick and nuance- you play them over and over to get them to reveal their full charms. The early days of a career are nervy and unpredictable, but our hero should have no doubts or need to demure: his debut E.P. is one is an incredible accomplishment. Whether the album will make an appearance this year, or come to view next year, I am unsure; yet one thing that I can say is...

IT will be one of the most eagerly awaited of the year.

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The Gramophone Gang E.P. Track Listing:

Speakeasy Suzy (Feat. Adam Hume)- 9.8/10

Shy Street Swing Club (Feat. Adam Hume) *Live Bootleg Version*- 9.7

Wyther Lane Jazz- 9.7

Standout track: Speakyeasy Suzy

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Follow Shiftin' Shade:

Facebook:

https://www.facebook.com/pages/Shiftin-Shade/618469391572346

Twitter:

https://twitter.com/LastNameShade

SoundCloud:

https://soundcloud.com/shiftin-shade

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To hear more of Adam Hume's work:

https://soundcloud.com/adam_hume/sets/little-fractures-1

E.P. Review: Laurel- To the Hills.

E.P. REVIEW:

Laurel

　

To the Hills

9.6/10.0

The E.P., To the Hills is available via:

https://itunes.apple.com/gb/album/id848245152

The track, To the Hills is available at:

https://soundcloud.com/classiclaurel/to-the-hills-wav

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Cinematic grandeur and stirring compositions are rifely abound within the Southampton-born heroine's debut E.P. With a voice that is compelling critics and fans alike, it will not be long before this young talent is synonymous to all- and taking the collective breath away.

_____________________________________________________________________

RECENT movements and unveilings in music, have caused a bit of a stir...

in me. Over the last couple of months, I have been looking around the 'mainstream' market; checking all of the music reviews and previews- and trying to come across an album that has true potential. My optimism and adventurousness is short-lived and curtailed. It has been a while since the release of ...Like Clockwork (by Queens of the Stone Age)- to my mind the last truly great album. The U.S. giants served up a tantalising and monstrous statement of intent with their sixth studio album; one which offered up nuance and spades of surprise. Having been a fan of Q.O.T.S.A., I was a bit ambivalent (with regards to a new album). Era Vulgaris (their fifth album), was, by their lofty standards a bit of a damp squib. Aside from choice cuts like Sick, Sick, Sick, Suture Up Your Future, Make It Wit Chu and Misfit Love, there was little to recommend. Their previous outing- Lullabies to Paralyze- provides heady Queens' goodness, and was a natural progression, in terms of quality and range. Expectations were understandably high, but Era Vulgaris didn't match them. Perhaps the band's revolving-door-policy or tension had led to a qualitative fatigue, but something was amiss. Every band is entitled to a momentary step-back, yet even Q.O.T.S.A.'s 'slip' was still impressive, mind. When ...Like Clockwork arrived, a sense of nervousness was elicited. What we were provided was, was (and is) a veritable nosegay of exotic and hypnotic sounds; anthems that pulverize and crepuscular crawlers that do their dirty work by nightfall. My God Is the Sun was a traditional Queens' number; anyone familiar with Songs for the Deaf and Lullabies' would have grinned like a fat Cheshire Cat. With Grohl on sticks duties, it is a rampant and unslakeable monster of a song that matches cool-as-f*** Homme vocals with lyrics of alacrity and relaxation: a man driving a desert road; without a care in his mind. It is the stand-out of the L.P. and an emphatic fingers-up to those dubious that the Californian clan had lost any of their punch. The band's eye-catching nomenclature was all very much present and corrected, with numbers like Kalopsia and If I Had a Tail appearing on the docket. The former is a slow-burner (that, after a few listens, becomes your favourite track) which offers vivid lyrics and a particular moment that sends your back hairs into orbit (listen to it and you'll hear when it occurs for sure). Smooth Sailing (with its wonderfully insane video) contains some of Homme's most sexualized and witty lyrics; and boasts a tune and catchiness that is hard to defeat. With a title track (and swan song) that is amongst the most touching and truthful songs they have ever recorded, the album is a rightful masterpiece. Superseding expectations and ranking alongside their very finest (only Rated R tops it, to my mind), it is an L.P. that stays on your stereo for months and months (I am listening to it now); and is a creation that offers tremendously exciting future prospects. That album dropped back in June of last year. After that there was a bit of a gap; my mind wandered and nothing overly exciting was about, until London Grammar's debut (If You Wait) was unveiled. Despite the fact that the album is being advertised and re-branded like a tattered feather bower, it is still an impressive work. I always wonder when an album (that is nine months old) is being promoted like it is brand-new; whether the band are running out of support or else are unable to provide anything new, yet If You Wait (upon its release) startled me. With Hannah Reid's beguiling beauty and monumental voice scoring eleven stunning tracks, it is one of the finest albums of 2013. Reid herself marked her intentions as one of the best songwriters of the moment; tracks such as Wasting My Young Years and If You Wait (two of her sole compositions) display a maturity and well-educated set of lyrics; evocative and haunting compositons- and spectacular vocal performances. With her two male comrades, Reid's Grammar lessons offered up spectral and multi-coloured delight; tender-hearted emotion and dollops of defiance. Although many have compared the act to Florence and the Machine, London Grammar come across as a more seductive version- with a very different set of ideologies and songs. The electronics and compositions had nods of Massive Attack, yet the way that the trio brand and convey their music came across as bracingly fresh and urgent. Another gem has been unearthed, and (to my ears) the last great album of 2013 had made its way to us. Fast-forward to a few weeks back, and Paolo Nutini's third album, Caustic Love was released. It may be an over-exaggeration but nothing truly spectacular filled the void between London Grammar's album (giving its title a strange irony), and Nutini's latest. It is the best album of this year (so far) and one of the most immediate records I have heard in years. I have never been overly fond of the 27-year-old Scot, but one could not ignore Caustic Love. With raw passion and gravelled operatics, the L.P. is a cornucopia of sexual rambunctioiusness, sweat and sly smile; spiritual and religious examinations and tales of heartache and break-ups. Opener Scream (Funk My Life Up) sees Nutini screaming and wailing like a man possessed; exorcising an inner demon that is a slave to desire; one that has been summoned up by an intoxicating heroine. It is one of the best R&B tracks since the heydays of the '70s; and is not even the best thing on the album. Iron Sky looks at religious organisations and their institutionalisation of their followers; the unsettling hold they have on the minds and freedoms of those whom worship- Nutini's voice is up to the task. With one of the most deliriously overwhelming vocal turns of this year, our hero lacerated the track beyond belief. Whereas songs like Better Man highlight the young man's lyrical talents; numbers like Cherry Blossom and One Day are synonymous with their catchy codas and strikingly beautiful vocal turns. In Caustic Sky we have witnessed what is likely to be the best album of this year; and for me, a revelation of sorts- I am now a bona fide Nutini lover. The point of my trio of truncated album reviews, is to show how infrequently and sporadically the 'mainstream' provides genuinely wonderful albums. When true musical immaculate conceptions are abound, then the eyes widen and the parotid glands salivate so- yet this occurs too rarely. With hundreds of acts plying their trade, one expects more than three or four 'genius' albums to arrive (in a year)- so what the hell is happening? I have been desperate to hear something that matches London Grammar's torch songs and emotive swells; a parmour whom provides some of Nutini's soul and earthquake-inducing tableau vivant- as well as Q.O.T.S.A.'s harder edges and razor-sharp swagger. When thinking about my featured artist (for today's review), I am giving cause for hope and excitement. I shall introduce you to here very shortly, but shall wrap up my thesis with a small addendum. Many bands and acts of the moment, are releasing songs and albums that do what they are supposed to do- provide inspiration and lodge in your brain. I guess it may be my subjective and particular tastes that are enforcing my argument, because (debatably) there have been better albums released this year (than Caustic Love)- and many other wonderful equals. I feel, mind, that the realm of new musicianship is going to offer up the most fertile and prosperous future endeavours; from those I have reviewed I get the sense that we will be seeing a lot of diverse and wonderful acts come through very soon.

Before I investigate Laurel in greater depth, I am breaking a golden rule for her (Laurel Allen-Cullen). My howling execrating of the mainstream aside, I am always fascinating to discover a new musician; something genuinely different bold. Ordinarily, I need (as a bare-minimum) a fairly detailed biography; links to- or full-bodied- reviews; as well as enough information to get me started- and set the 'wheels in motion' as it were. With regards to these necessities, Laurel is a bit of an enigma- and someone I may otherwise have bypassed. Not only is the stunning Siren a captivating beauty, but someone whose music demands thorough investigation; songs that beg for consideration and appraisal. Having Google-d reviews of our heroine, and found some personal background (below), I been able to cobble together some heritage, although one suspects that there is a lot more being kept back. It would be great for Laurel to give us some insight into her background; what she has done these last few years, and how she has spent her time. As well as listing her influences, I would love to see some reviews listed, too- not so she can boast, but so the fan-in-waiting can see what others think of her, and bolster her reputation. Her online portfolio is varied and well-spread, but I hope she does give some thought into expanding her personal information, as I would hate to think that reviewers or music-lovers may be passing her by- fearing that our heroine had little to say. When you listen to her music, you realise that this young star has a hell of a lot to say; to shout about, and a weight that she needs to unburden from her mind. The largest proportion of my reviews (when dealing with U.K. talent) sees me travelling to Yorkshire or London; yet today I am pleased to hear of someone whom emanates closer to my neck of the woods- Southampton. Being Surrey-born, I am always looking for acts whom I am within 'driving distance' of'; or commutable at least. London is close to me, yet I always long for an excuse to get down to the coast; to head south and delve into the tender recesses and bustling cities of Hampshire. Few modern acts hail from Hampshire and the coastal regions of the south, so Laurel is a slight anomoly- and a vastly impressive one. Whilst Yorkshire seems to be the natural home of the best new music has to offer, one should not ignore other locales. London has a fair smattering of shining lights, yet if you look hard enough, you can find others (located elsewhere). I have reviewed a few Brighton-based acts (including House of Hats), and find that sonically they provide ample beauty. Not subjugated by the city smog and busy streets, the acts that hail from our southern coasts seem freer and less stiffled; their music is more open and inventive and imbued with a natural cheer and romance. Laurel is someone whom fits within this parable, and seamlessly promotes the virtues of her hometown- although she probably spends more time out of London these days. Before I get down to more detail, I was reading an interview she conducted with the girls are last year, where she laid out her plans for 2014, and how she has spent her last few years. In lieu of some official online biographical documentation, the snippet below helps you to gain a window into our heroine's past- and present intents:

"When she was 17, UK singer-songwriter Laurel uploaded a demo on SoundCloud. The track, ‘Next Time’, sent music blogs into a frenzy and as a result, Laurel soon found herself signed to the same management as Ellie Goulding and Rita Ora. Still only 19 years old, when asked how she would describe her sound to someone who had never heard a Laurel song before, she doesn’t hesitate to affirm, "teenage angst". It’s no surprise then to hear such trepidation and melancholy within her songs, feelings which have obviously helped to fuel a beautiful, orchestral style of self-produced pop music. Music has always been a big part of her life: "I always loved music from a really young age, I did a lot of classical training and performances with my school but I never enjoyed singing other peoples’ songs, so I thought I’d try creating my own." But creative drive and a strong sense of her own artistic vision weren’t the only motivations for getting into music: "I also really fancied Lil’ Chris and at the time I thought the only way I’d be able to marry him is if I got famous too and was a cool rockstar like him (oh, I wish I was a child again!)."... So what inspires Laurel? "Films are a big influence… ones with great sound tracks like Rush, and Where the Wild Things Are. I love the film Place Beyond the Pines too. I love the dark atmosphere which I try and get across in my songs. I’m also influenced by magazine editorials – the words they use in Vogue are beautiful – a few of my songs like ‘To the Hills’ and ‘The Desert’ are concepts taken from pieces of writing."... There’s certainly a dark, brooding atmosphere emanating from Laurel’s latest EP To the Hills which hits virtual shelves this month via her own imprint Next Time Records. So what can we expect from listening to the new release? "It’s a big mix of dark, dirty drums and lush orchestration, a lot of pianos and random sound effects. There are two songs that I wrote on there which are fairly new".

Her single To the Hills has been online for a little while now, but has been gathering some incredible feedback and testimony. The track was inspired by the Raymond Carver short story; with its Ben Newbury-directed video garnering a lot of focus and adulation (it has a feel of a Lana Del Rey promo with its stunning scenery and vintage feel noir feel/thematic). The song has been viewed over 47,000 times, and it has resonated with a huge amount of people; each encapsulated and entranced by the track's huge chorus and scintillating power. It is a song that forms the bedrock of Laurel's To the Hills E.P.- a collection that has gathered mass acclaim and caused ecstatic whispers amongst music reviewers and critics. Here as just a selection of tributes that have been to Laurel- and her E.P.:

"Laurel's mid-February Booth debut, Fire Breather, found the Southampton singer-songwriter head-over-heels for a man every bit as volatile as the titular element. On freshly-released follow-up To the Hills, romance is once again linked with destruction, but this time around she’s all too happy to fan the flames. Accompanied by her own production, a string-driven arrangement that slowly gathers steam over the record’s running time, she paints an apocalyptic, yet alluring lyrical picture of young love: "I feel the heat on my skin like demons. Cry with joy, ‘cause I know hell follows me. Out here in the garden of angels, / I felt what it’s like to be free." Director Ben Newbury‘s cinematic visuals round out the package."

Djbooth.net

"Since the first day I discovered Laurel’s music I have fell in love with her music. I’m loving this EP and can’t wait for more live shows and a full studio album."

Mr Chuey, iTunes

"Soon, the time had come for Laurel to take to the stage. We’ve been following her every move since the release of her latest track Fire Breather and our first live experience was astounding. Laurel may only be young, but she has the most unique and mesmerising tone and quality to her voice – in fact, we kind of entered a trance like state during her set. As well as Fire Breather, she played soon to be released To the Hills and our ears swooned with delight – delicate, intricate and always laced with this sweet yet noir romance that cannot be forgotten."

Bring The Noise

"No, what this prodigiously talented young lady is giving us here is a grand cinematic swathe of romanticism and drama. The stirring orchestral arrangement gives "To The Hills" a gorgeously sinister edge, a sumptuous intensity that feels like it could unleash a darkness within your soul. A darkness that lurks undetected until freed by a horrific, neck piercing act* and that then becomes all consuming. Her voice is soft but powerful with moments of brief and enticing fragility woven within, conveying a fleeting feeling of remorse perhaps; a remembrance of a humanity lost."

Alphabet Bands

"The five track EP has a dark tone but instantly draws you in and is guaranteed to have you hitting the repeat button."

The Journey

"Saw her support John Newman and was like whoa! Superb voice. Await the album with glee."

babycake08, iTunes

"Laurel clearly knows what she wants to achieve and the type of music she wants to produce. Smart, sassy and self aware, there is a maturity and a certain air of knowing that surpasses her youth. Now London-based and having spent time in LA writing and recording, there’s a debut album planned for release later this year. To the hills and far away, go get lost in the sounds of Laurel."

thegirlsare

"Produced and written by Laurel herself, lead track ‘To The Hills’ is almost otherworldly. Perfectly showcasing her knack for creating cinematic music dark in tone and beguiling in melody, it is as haunting as it is seductive and poignant."

Pop Scoop!

"Her debut EP To The Hills, while short and sweet with only five tracks is hard-hitting yet playful. The first track, ‘To The Hills’, opens with a graceful stringed arrangement, which makes way for the multi-layered vocals of Laurel. A modestly simple beat lays the foundation for haunting lyrics that lead through an arduous journey. The hook "Get higher higher/Get higher higher" enhances the pronounced tension and raises the feeling of running from an unknown danger... To The Hills has a bold, distinctive simplicity running straight through the EP and is a much-needed refreshing break from the sycophancy of today’s popular music."

York Vision

"Many comparisons are chucked at Laurel from the obvious Lana Del Ray and Florence that are thrown at every female artist that stands in front of a mic singing falsetto these days to more obscure inventions. I feel she is more unique than critiques give her credit. My first memory of Laurel was a pleasant smiley young lady playing acoustic gigs at Southampton’s Talking Heads and former legendary Southampton live music heyday Hamptons. She was a clear talent even back then with success written in her voice as she sang wholesome flowery pop songs that melt the heart. This image of a low-tech flowery country dress girl and her guitar has been well and truly shattered tonight with a performance that was sheer and cutting, dark and moody, unbridled and confident in its originality. The fluffiness of her coat could be seen from all across the land."

Mintsouth.com

With over 4,000 Facebook devotees (and a healthy army across Twitter and other social media sites), our heroine's stock is on the rise. With her striking (lavender) E.P. colours, and a confident collection of tracks to her name, it is only a matter of time before Laurel ascends through the ranks of the underground, and to the precipice of modern music- rubbing shoulders with the Del Reys, Grammars and Nutinis of the world. When it comes to the female solo market, the competition here is as fierce and intense as one could imagine. With every passing week we are introduced to a gilded sweetheart; made susceptible to our most drooling instincts with a silk voice or soothing set of lungs. Music is a beast whose praise and patronage is simultaneously pernicious and a self-fulfilling prophecy. I have witnessed a great deal of female solo talents be hailed as near-genius; only to find that their sound is rather limpid- and their majesty quickly fades. Other times, critics are bang on the mark, and you get to watch a worthy talent gain their just rewards. When I surveyed female talents such as Chess, Jen Armstrong, Ruby Macintosh and Elena Ramona, I instantly knew that these names would be ones to watch very closely. A unique flair and determination augments their sounds, which are a blend of hard-hitting mandates on love and tender and evocative paens to life itself- as well as there being some witty and arresting numbers thrown into the mix. Too many critics become complacent when promoting a new act; others underestimate the potential of various examples- making it hard to really determine which artists are going to be future stars. Laurel is a young lady that is not only going to be bossing the festival scene in years to come; she has an intractable charm and allure that not only hits you from the moment she sings a note- yet becomes more evident as you investigate her music closely. A lot has happened quite quickly for our heroine. When interviewed by Idol Magazine (last month), Laurel explained how she came to become a songwriter:

"It was only a year or so ago that I started writing all of the music. I was co-writing with people, but I’ve never wanted to sing other people’s songs. I just don’t enjoy it. So, I started to produce my own. That is when I really started to love my music. I always knew want sound I wanted to create. But there were a lot of producers trying to change it; saying it was similar to other females. I tried all this different stuff, but I just came back full circle."

All of this has lead to the here and now, and the E.P. itself. When talking to the magazine about how she projects herself; whether there is a certain mould or model in mind, our heroine was very honest and matter-of-fact about it:

"When you are doing something creative you can’t decide what people like and try to adhere to it. So, I just write whatever I want. If it is a good song, then great. If it’s bad, I don’t mind because I got my feelings out. It is usually more of a story from things that have happened in my life."

A couple of days ago I featured Australian solo act Vancouver Sleep Clinic, and the (young) man behind the moniker; stunned at the depth and detail in his music; the sheer force of his voice and compositions- and how intelligent and poetic his words were. Being in his teens, we are going to hear a hell of a lot from him; a future L.P. is a distinct possibility, and it will be fascinating to watch this blossoming talent stretch towards the sky. Similarly, Laurel's author has a potency and sense of captivation about her songbooks that lead me to declare that she will be a legend-in-waiting. Many people have already proclaimed how beautiful and striking To the Hills is; so for that reason, I have no choice but to add my applause.

Euphoric and cinematic strings open up the E.P., and introduce To the Hills' opening track (and the title cut). You can detect a hint of Lana Del Rey in the sapling coda; the equivalent beauty is there, yet to my mind To the Hills' string composition is more emphatic and potent. In the same way Bjork was capable of eliciting the same heady majesty on albums such as Debut and Post, here something equally stirring is presented. There is nothing hard-edged, foreboding or barbed wire about the compositional tone; it is romantic and swaying; one gets the impression of our heroine clothed in white- looking over the balustrade at hero below. It could easily be the a parable that scores of a classic film of the '40s and '50s; something epic and scene-building is afoot. With some electronic pulses, with its sonar radar and pulverizing heartbeat, our heroine approaches the mic. Early words tell of "Into the hills/Cry the tears of the crocodiles/Lost feet on the road/Said I love you so I don’t have to be alone"; the words temporized and staunchly delivered with a strong head. In so much as there are some faint influences afoot (Del Rey, Bjork etc.), you get the impression that this is very much the heartfelt testament of a young woman; one whom has her own soul and is pouring it forth. The composition is confident and fully realised, with an authority that bellies her tender years. Black-and-white film scenes mingle with sharp fashion and sweeping overtures; there is a mix of dark and brooding as well as elliptical and redemptive. Whether our heroine is surveying a personal experience- or else writing from fiction- I am not sure, yet I sense the former is probably true. When the words "Smoke fast/Out the door" are delineated, our heroine's voice is dripping in meaning and emotion; you can hear something more vulnerable is lurking beneath the surface, yet (thus far) she is holding strong. Few songwriters put you in the scene; have the ability to draw your mind into the song, so that you can picture what is being sung. The music video for the song goes a long way to articulating the images, yet everyone will have their own version of events. Somewhere in the hills of Hollywood our heroine and heroine are making their way through the morning; barely saying a word, they are draped in cigarette smoke and the subtle chill of the hour. Singing "Sun's coming up to early/My valentine", the words stick inside your mind and you are won over by the plight and events that are unfolding. The chorus arrives, and the words are almost chanted; there is a strength and determination in the delivery that makes words such as "I don't know if I could live much more" more emphatic and emotive. With our heroine's distinct voice and accentuation bringing the words fully into view, the words sway and flow (where as before they were slowed and more fatigued); our heroine has a sense of the upbeat in her voice- although events are still downturned and oppressive. With our heroine smoking heavily and "Feeling on my own", she has "Lost control", there is an underpinning of hope and youthfulness (the backing vocal of "Higher, higher" adds weight and potency to the scenery). The way that the composition subtly and imperiously strikes is an impressive facet. Most contemporaries would err on the side of energy and needless force; throwing instruments and electronics into the mix, fearful that listeners would become bored or uninterested. Our heroine mixes electronic pulses with short-sprinting string bursts, adding an impressive amount of intrigue and passion into the palette but letting her voice shout the loudest. With only the faintest of nods to an Icelandic queen and a flame-haired modern-day idol, Laurel is encapsulating the feeling of emptiness and romantic abandon with a distinct and striking voice. Our heroine is on the beach and feeling alone; the sensation and feeling of her sweetheart's touch still lingering on her lips; you get the sense of something spectral; that her lover is almost ghost-like and distant- that it is a paen to past memories. When the chorus is re-injected, it moves the story along, and you get the sense that our heroine is fleeing almost, desperate to escape to the hills; get away from life and find something more meaningful. The next verse demonstrates another pace shift; where the words are more delicately delivered; they are dripped and ease from the microphone, with sensual yet emotional implore. Telling us that "I feel it here on my skin"; she is in the garden of angel; an ethereal and spellbinding tingle is uttered in the composition; subtle electric guitar springs fuse with scuttling electronics to present meteorological elements, blood flow and inner tension. In spite of the sense of tears in the voice, the song has a striking message; one where our heroine will "Cry with joy/'Cause I know Hell follows me/Out here". By the time that the chorus comes back around again, you wonder if redemption or answers will be realised; whether solace and peace will be found; and if resolution is forthcoming. It is an impressively confident and memorable opener that mixes darker cinematic sweeps with vintage scenes; our heroine the fashionista idol lays her heart on the line, and puts the listener directly in the song; her rich and stunning voice make every words burrow into your skin- To the Hills is a song that is hard to ignore. Some far-off and ghostly echo opens up Nicotine Dreams. Crackling and primal percussive notes back the apporitional cries; the intro. is one that atmospheric and detached, but also tantalising and mood-building. The opening notes mutate and evolve like a Trip Hop track of the '90s; the same thing that master purveyors Massive Attack would unleash- with no less conviction and potency. The track sees our heroine (once again) detail and gently deploys her words, ensuring that the meanings are understood and stay with you. Sitting on the front lawn, our heroine is "so bored", it seems as though the weight of modern-life is getting on her shoulders; Laurel sits back and watches everything unfold, but the mood is a lot more upbeat. As with To the Hills there is a dream-like element to the vocals; one which makes words like "Drunk all our money/In with nicotine dreamers/Heads lost inside the clouds" sound both striking and romantic. Where as the E.P.'s opening salvo was perhaps more emotive and strained, here is the documentation of two lovers living life in the freest sense; doing what they want to do. Our heroine says that her man would "die for me right now"; a sense of comfort and safety in her voice that has been a long time coming. The chrous is an augmentative and celebratory parable, one imbued with a modern and current flair. Where as the title track had vintage shades and classic movie scene sounds, there is a 21st century flavour that brings full life to the uplifted words: "Say, Oh Virginia/He's the king I’m his queen/Best he’s ever seen/Oh buttercup take the sun with me you're the dark star in the sky." What I have noticed (at this point) is the sense of emotional range and common themes. From an opening that perhaps foretold of shadows and demons chasing our heroine to hillside recesses; a sense of detachment, here something more hopeful remains. Laurel is adept at projecting an inspired and renewed vigour, yet still intones some darker and shadier themes into the pallet. Themes such as God, devils and demons make an appearance intermittently; glamour, nicotine and sensuality mingle alongside one another, and our heroine has a genuine passion for lyrics and wordplay. Once more echoed and distant backing vocals help to add emotional weight and a far-off quality; lightning flash electronics and percussive scuffs kick an additional compositional gravity, and the vocal is commanding. There is no austerity or coldness in the vocal; an air of sexiness and seduction comes through, and you can practically feel Laurel's breath through the speakers. With our heroine dancing with the Devil's crown, the voice almost cracks (with emotion) as the words "Getting lost in strip clubs/Baby hallelujah/Everything we want we found" are delivered. Laurel has a clear affection for Americana, the images of Vogue magazine; old films with U.S. automobiles shooting towards the sunset. Far away from Southampton and London, our heroine and her sweetheart are once more driving into the distance- yet perhaps things might be different this time. Her lover is saying her name, in a way that she knows means he loves her; there may be a chance of happiness. What hits you is how skillfully words are projected and deployed; they are syncopated and pauses; ellipsis is laid in and then lines tumble and rush. With such a consideration towards language and its pacing, the words are giving additional consideration and weight; lines become more effective and electioneering- and the listener gets the impression of someone innately in tune with the needs of the modern-day music-lover. As the song's fire starts to burn out, our heroine unveils a final verse: "Wide eyes boy/Am I glamorous as pearls/And all the other girls/Sell me out my lover, no other/Makes me feel as sweet as you do/It's too much to lose". There is an underlying feeling of ambiguity and double-meaning within the lyrics that make you wonder whether there is sincerity evident; if the romance is as wonderful as it could be- or if her beau is going to let her down or sell her short. Our heroine wants to hold on and embrace the feeling, yet you sense that there is an anxiety or doubt in the back of her mind; a feeling that possible things may not last. That may be me over-examining and misinterpreting, but such is the power of the music, that you are compelled to look into the words and investigate them thoroughly. The E.P.'s final track (original one; there are two remixes that follow it), is Shells. When speaking with the girls are, Laurel explained that the track was based around a personal love; in her own words: "It’s a song that reminds me of when I was madly in love with a boy and it was suddenly all over, so I have a really big attachment to it." This time around, the intro. is not brooding or emotive; there is tenderness to it, but it more fairy-like and fairground; a sense of innocence and sinlessness preside over it. When the vocals arrive, they are tender and sweet; our heroine delivers the lines with a relentless pace; as though she has to get them out no matter what- the feeling of urgency comes fully into the fore. When singing "Skin and bones/We've lost ourselves", the words are punctuated and emphasised by a composition which is classical-sounding and extremely tender. Boasting the most romantic and purest soundscape, piano rushes and skips give sentiments like "Holding on to all we've felt" an emotional weight that is hard to shake off. Keeping her voice true and levelled, Laurel's anonymous paramour made her fall in love ("Just in time"); he has managed to win her over and entrance her- yet we know how the story ends. It appears that the (anti-) hero is tying our heroine in knots; causing her heart to skip, stop and rictus. The vocal that is presented at the 1/3rd mark is the sweetest and more balletic on the E.P. With a purity and crystalline delicacy, our heroine twirls and spins her words; they breathlessly twinkle and sparkle. At 1:26 a skiffling and striking percussive hammer-blow comes into the mix; it rushes rap-like; with a certain menace that juxtaposes with the piano yet beautifully entwine.  Her lover pushed her out "to survive" and the marks and scars of the fall-out have caused romantic agoraphobia. Our heroine is afraid to go back to the start and allow herself to become vulnerable and susceptible; made clear and concise with the punchy and perpetual motion of the composition. It is the sense of urgent unrest and push that makes the sonic score the finest on the E.P.; it never lets up and ensures that the track remains fully ensconced within your brain. The vocal sways, strikes and rouses with a delicate purity that is ethereal and mesmeric. With "tired eyes", Laurel is picking herself up and trying to survive; trying to move on and make sense of it all. You can understand why the song means so much to our heroine; because of the personal nature of the track, she has gone out of way to ensure that it resonates with the listener- both the composition and the lyrics are well thought-out and stirring. The weightlessness and emotiveness of the vocals hit hard, and the song's nature and themes can be extrapolated and relate to everyone- a lot of people would have been in the same situation as our heroine. With two To the Hills remixes completing the set, it is a confident, consistent and stunning collection, that shows what a talent Laurel is. She has her influences, but is determined to stand apart from any other names. There are cinematic touches of Lana Del Rey (and that same Americana-cum-cigarette strewn scenery); complex and nuances compositions that put you in mind of Bjork; Florence and the Machine's emphatic power and detailed soundscapes- as well as a semblance of London Grammar when the vocal is at its most powerful. Overall, there is a clear sense of a young woman with a clear identity; a voice that is singular and rare- and a talent that will see her with a long career ahead. The tracks are well programmed and sequenced, so that the range and moods and emotions are presented effectively. There has been a lot of heartbreak, romantic dislocation (and happiness) in our heroine's life, and she proudly lays it out in its full glory. There are no teenage strops or immature utterances; everything is maturely and confidently unveiled; making the E.P. more impressive and striking. Laurel takes care of the compositional and production duties, and does not miss a step throughout. Each instrumental and electronic element is carefully and tactically deployed, and nothing is buried in the mix. The vocals are clearest and highest on the order, but the sonics are clearly visible and weighty. Perhaps some decipherability does get lost within the headiness of Shells, but it is a minor negative in an E.P. that offers multitudes of positives. The first career steps are always tentative and unpredictable, yet on the basis of To the Hills, our heroine should have no fear. The three (original) tracks showcase a tender talent whom has had a tumultuous past, yet is able to transform and adapt that into some wonderful music, that can be loved and enjoyed by everyone. Certain songs could be used in stirring and epic film scenes (To the Hills and Nicotine Dreams); whereas the swan song could enjoy life as a club favourite. I am sure that Laurel has her own plans and views with regards to her tracks, but such is the burden she has- there will be so many options. With an album in the pipeline, many eyes will be trained to Laurel and what she comes up with next. It is going to be an exciting time ahead, and one which (given the momentum from her E.P.) will offer up many vibrant and scintillating soundtracks of modern love and life.

My opening statements about mainstream music may seem blithe and irrelevant, yet for all its inconsequentiality, it actually highlights a valid issue. I was stunned when Paolo Nutini released Caustic Love, not only because of the quality of material being offered up, but also because it seemed so alien and detached; an aberration that I have rarely seen. With a huge waft of mediocre and unspectacular offerings coming through (each week), genuinely wonderful albums can seem unexpectedly strange. In my reviews, I often expound the wonders of new musicians; not as aimless subterfuge, but to highlight how mesmeric sapling sounds can be. The amount of quality being offered by the unsigned, uninitiated and fledgling is outweighing the mainstream market by such a degree, that the majority of my music listening revolves around fresh sounds- acts whom are unfamiliar to the wider populace. Laurel is an example of an artist whom proves me point, and goes to show just how spectacular and interesting new music can be. I guess my reticence towards her lack of personal details (on her social media sites) seem inconsequential, as the sheer wonder of her music does all the talking. Whilst some sound bites and quotations would be supplementary, a lot of the gaps are filled in when you examine To the Hills- you gain an insight into the young woman who is a lot richer than anything that can be found on Facebook. Her startling beauty is reflected within her trio of original songs, which compel you with their titles; draw you in with their seductive beauty- and grab your ears with their startling sounds. The music and compositions are deep and rich; filled with nuance, emotion and introspection- as well as moments of joy and sanguine decadence. Comparisons will be (and have been) levied towards the likes of Lana Del Rey and London Grammar (amongst others), but our heroine stands apart from these examples- and her contemporaries at large. Laurel's voice is possessed of a delicate beauty; one which mists the eyes and sways the head, yet capable of summoning up a huge amount of power and erotic electricity. When reviewing Vancouver Sleep Clinic a couple of days ago, I was impressed how he could take themes of love's rubbles- and inject a degree of originality and invigoration into them. Most modern musicians tend to project an over-simplified and predictable set of lyrics, yet Laurel is marking herself out as a lyricist to watch- and one whom has an intuitive and educated ear for melody. The compositions presented are evocative and stunning; ranging from symphonic and multifarious lustre, across to sighing and romantic side-streets- with a huge amount of mobility and fluidity throughout. When chatting with the girls are, a valid point was raised: the hardships and struggles of being a woman in the music workplace:

"It’s a part of the experience of being a woman in the music industry that Laurel perceives as an ongoing challenge, "I think it’s hard as a female to set yourself aside from other girls in the limelight. We are all constantly compared to one another and told to be different and make our own mark. For me, I am not trying to make revolutionary music, and I don’t specifically take any influence from my contemporaries. I think we obviously all grew up listening to similar music, so we all are taking influence from the same experiences and music of our time."

The interview feature paints the portrait of a young artist with a clear sense of identity; one that is not enforced by her peers, but drawn from her personal experiences. Whilst there are shades and undertones of certain musicians, the abiding feeling is one of individuality- someone whom stands out from the crowd of copycat wannabes. At the close of the article, the author went on to conclude:

"Laurel clearly knows what she wants to achieve and the type of music she wants to produce. Smart, sassy and self aware, there is a maturity and a certain air of knowing that surpasses her youth. Now London-based and having spent time in LA writing and recording, there’s a debut album planned for release later this year. To the hills and far away, go get lost in the sounds of Laurel."

A debut album is a prospect that will water many-a-mouths, and is something that will be in our heroine's mind. Whether we will see an L.P. this year (or next) I am unsure, but I can guarantee that it will be instilled with the same qualities and layers that are evident within To the Hills. Whilst there is less sexual inequality and subjugation in the music industry (compared to the workplace at large), it is clear that there is a lot of inter-genre rivalry; a certain sense of hard-faced competitiveness has scared more than a few artists off the scent. Many female solo artists have a similar sound, and the spats and battles between them can be intense and bloodthirsty. Part of the problem centres around expectation and the business of comparisons. Many critics (I have been culpable once or twice) are quick to label a new act as "The Next..."; a new Mariah Carey or Amy Winehouse, which not only puts pressure on that musician, but also squelches their unique personality. Whilst our heroine understands how relentlessly difficult it can be to stand aside from your peers, her debut E.P. will go a long way to ensuring that tongues are set a-wagging. Too much new music sounds homogenized and samey, so the fact that Laurel has such a distinct and particular voice means she will have a prosperous longevity. The talent and intentions that are mandated within her songs uncover a curious and ambitious creative mind; one that is going to be a massive name to watch. She is taking inspiration from a number of different sources; from her day-to-day life, through to the big screen:

"Films are a big influence… ones with great sound tracks like Rush, and Where the Wild Things Are. I love the film Place Beyond the Pines too. I love the dark atmosphere which I try and get across in my songs. I’m also influenced by magazine editorials – the words they use in Vogue are beautiful – a few of my songs like ‘To the Hills’ and ‘The Desert’ are concepts taken from pieces of writing."

If you are in a quagmire or bored with what music there is on offer, then snapping up Laurel's debut E.P. is the most perspicuous thing you could do- and would be a great largesse. Here is a young woman with a busy and exciting future ahead of her, and the best way to proffer and support an artist of this calibre, is not only to listen to her music- but share and disseminate it, so that many others can do likewise. In a social media age, there still seems to be too much compartmentalization and selfishness, and many artists find it hard to gain a widespread legacy. I would advise everyone to assist in divulging our heroine's music as freely as possible, as it not only fits perfectly with the sun-kissed weather are experience, but has a timeless and indiscriminate appeal. The next few months are going to be action-packed and exciting, as our heroine explained to Idol Magazine:

"We just announced I’m supporting a band called ‘Wet’ from New York. I really love them. I’m playing The Great Escape in May. And then I’m going back to America to do some shows in Toronto, Philadelphia, LA, New York, Washington and some other places. I'm pretty excited to go to New York. I would definitely love to live there for a couple of years."

It seems that the U.S. may be a future home for Laurel, but for now she is concentrating on To the Hills; the reaction it gleams and how it resonates with the music-buying community. The straw poll and the ballot boxes are hinting at a landslide victory; one that should provide our heroine with a great sense of accomplishment- and perhaps some personal relief too. The air and lifestyle London is offering is conducive to creative inspiration, so she may be remiss to head to the U.S. any time soon. In an industry that is as notable for its cynicism and fickleness as it is for its fairness, Laurel will take solace in the fact that so many people are paying their respects to her music; that it is having such a marked impact. Too many great and vital artists are being overlooked and being granted a short-lived regard; investigate Laurel's wonderful E.P. and keep it close to your heart...

OTHERWISE you may miss out on something truly remarkable.

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To the Hills Track Listing:

　

To the Hills- 9.7/10

Nicotine Dreams- 9.6

Shells- 9.7

To the Hills (The Jane Doze Remix)- 9.5

To the Hills (Woodysproduce Remix)- 9.5

Standout track: Shells

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Laurel's music videos are available at:

https://www.youtube.com/user/Laurelofficial

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Follow Laurel:

Official:

http://www.classiclaurel.com/

Facebook:

https://www.facebook.com/ClassicLaurel

Twitter:

https://twitter.com/classiclaurel

YouTube:

https://www.youtube.com/user/Laurelofficial

SoundCloud:

https://soundcloud.com/classiclaurel

Songkick:

https://www.songkick.com/artists/504214/calendar

Tumblr:

http://classiclaurel.tumblr.com/

Last F.M.:

http://www.last.fm/music/Laurel

Instagram:

http://instagram.com/classiclaurel#

Google+:

https://plus.google.com/u/0/+Laurelofficial/posts

iTunes:

https://itunes.apple.com/gb/artist/laurel/id843550047

Tour Dates:

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

E.P. Review: Vancouver Sleep Clinic- Winter

E.P. REVIEW:

Vancouver Sleep Clinic

　

Winter

9.4/10.0

The E.P., Winter is available via:

https://itunes.apple.com/gb/album/winter-ep/id828459312?ign-mpt=uo%3D4

The track, Flaws is available at:

http://www.vscsounds.com/listen/

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This striking Wunderkind has drawn comparisons with the likes of Bon Iver, London Grammar and James Blake. With a sleep-studying Canadian moniker, a cross-generational British influence (and Australian nativity), our hero's music is causing worldwide effusiveness. On the evidence of his hypnotic debut E.P., it is not hard to see why.

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ONE of the most difficult issues facing a new musician...

is separating themselves from the crowd. It is hard enough making it into the intramural walls of music; making a mark and differentiating yourself (from your peers) can seem like a daunting snake pit. During my last review of (L.A.-based duo) The Open Feel, I went into depth with regards the local scene in Los Angeles. Their latest track, Sidewalk Zombies is a number which marks them out as serious future prospects. In the U.S., there are a great deal of acts making their initial moves; each offering up something different and fresh- with nary a few making it across the Atlantic. In the U.K., there is a similar issue arising; acts based in certain parts of the country are finding it difficult making their names known beyond their borders. I have seen a few modern examples overcoming this rule; adept at ensuring that their music is known (and respected) widely; seeping its way to one and all. In a music scene where there are hosts and scores of players across multiple genres, if you are looking to get your brand recognised and adored, then something striking needs to be projected; sounds and music that differs from contemporaries- and stands you apart from the crowd. When I was listening to The Open Feel, they had touches of others; a little The xx in the guitar work; a shade of Chrissie Hynde in their lead's vocals- yet there was a stark originality and boldness to their movements. In terms of the mass of acts playing out of L.A., I am predicting that they will be amongst the most prosperous; capable of making their way out of the U.S. and making claims as one of the most fervent acts around. Surveyance of homegrown acts such as Gypsyfingers and Knuckle have also compelled my mind. The former's dreamy blend of ethereal vocals and cross-pollination; their daring and multitudinous sound is something that few other acts offer. In the case of this duo, we are going to be seeing future legends. Their Circus Life album is a bold testament to a young duo, with a lot to say. The latter are another duo, but one whom offer up heavier and more primal sounds. With plenty of U.S. Blues influences, as well as native Rock elements, the Yorkshire twosome are riding the wave of recent acclaim; bolstered and inspired to bring their unique strides to as many people as possible. In the case studies of the aforementioned, there is originality, intention and ambition; they stand apart from their colleagues by being that extra bit louder; something about their music has a qualitative edge that others do not contain. I hope (and am sure) that the future will be prosperous and profitable for these acts, yet I am seeing so many others fall short. Often the music is not to blame, but sheer numbers are crowding them out of the market. In a lot of instances, so many acts are presenting the same type of music with the same sounds, that swathes of (like-minded) artists are finding it hard to grab a foothold. There is a competitiveness in music, that means, unless you have something wonderfully unique and brave to give to the public, then chances are your career will be somewhat short-lived. In a year with an unabated and unregulated music population, it is going to be harder and harder to fulfil this demand. I am not raising the issue as a downer; nor is music a poisoned chalice that indiscriminately strikes- you just have to put some thought into things. A great deal of new acts and talent have spared little imagination when it comes to the bare essentials. Issues and elements such as band/solo name; album/E.P. titles and their online portfolio are often given short-shrift. If you have a lacklustre or generic name, then chances are people will move on to something new. I know you should never judge a book by its cover, yet (with the sheer weight of contenders on the scene), if there is a blandness and predictability to your moniker, then few eyes will stay trained to your door. Similarly, if song and E.P. (or album) titles are homogenous or stale, fandom and longevity will be hard to come by. Nothing radical or mould-breaking needs to occur, yet with a little insight and effort, great rewards can be claimed. All of the newest (and most successful) new acts I have reviewed have clearly understood this golden rule. As well as that, their online representation and spread has been thorough and detailed; compelling, colourful and informative- making it easy for people to find their music and become fascinated. My featured artist is someone whom has also taken the time to work on the small details; as a result, his stock and body of work are being given thorough appreciation; fans are flocking from all around the world- and it appears we may be seeing the rise of a sterling and bright star. I shall come to our hero anon, yet the point of my parable is to provide warning (as well as advice) to any new act. Talent is naturally the most important aspect to consider when making your moves (ensuring that you have it in vast swathes), but I cannot emphasise how crucial it is to ensure your foundations are solid. Over the last few days, I have been looking around for new acts to review; trying to find something striking and different. Unfortunately, I have had to review so many acts, for minor reasons. If a band or act does not have a full biography or not enough personal information, then what am I going to do? Reviewers and fans want to know about the artist, and having a single line of information is simply not good enough. In a social media age, there is no excuse to phone it in or be mysterious. You are not giving too much away by telling us about yourself- where you come from, whom inspires you and what the past has provided. Including some influences, reviews; photos and links to your music should be a given, and I am going to pass over an act if they do not offer this. It a shame (as a lot of great music has been subjugated), but if I am not compelled to probe further, then why would the public at large? An eye-catching name and set of designs do a lot of the hard graft; original song titles and sounds get you a long way, but if you are thinking that mystique and inscrutability are the way to get your name noticed: think again. All of my eloquent theorising and protesting, rather neatly brings me to the case of our Australian hero- whom drew me in with ease.

When looking around for an act that was non-British (just to give me pen a chance to see something new), I searched many-a website; investigated blogs and the Internet, seeking out a fresh and alarming subject. Many were relegated and overlooked because they expected me to fill in the blanks; write their biography for them, and guess do the hard work for them. Our hero's pages and presentation caught my attention and caused a sense of relief- there is plenty of information and background to get stuck into. In spit of a Canadian-sounding moniker, Vancouver Sleep Clinic's creator hails from Australia. The Brisbane-born youngster has been enjoying a lot of critical acclaim recently, all salivating over his latest E.P., Winter. Before I delve deeper, here is some biography about the Australian teenager:

Vancouver Sleep Clinic as a name in itself conjures up imagery of long cold winters, of isolation and remoteness and the sometimes self-imposed reclusiveness in all of us as the days get shorter and we move into the bitter months ahead. The adopted moniker of 17 year-old Tim Bettinson perfectly hones in on this visuality and with new track ‘Collapse’ taken from his forthcoming debut EP, the influences of those dark corners inside ourselves interweave throughout his sound. As we draw closer into the winter here in the Western hemisphere, VSC feels like it was designed to be delivered just in time for the onslaught of the colder weather. Taking into consideration that Tim lives in Australia, he set about writing songs for VSC during his winter but what was in fact our Summer - timing can be everything. After months of assembling lyrics and instrumentation from various maths books, notes, whiteboards and bedroom walls, humbly working with scattered cheap microphones, an old laptop and an outdated keyboard - Vancouver Sleep Clinic’s debut EP was born, soaring falsetto vocals built upon progressive synthetic instrumentation to create an ambient vessel of emotional connection. Bearing messages of sorrow, humility and hope above all else - songs are written from the heart alone. Together, let’s create something beautiful.

In terms of new music, we are not hearing too much for Australia. Artists such as Say LouLou have some Australian background, but the likes of Bloods are providing tantalization and resurgence. Their brand of uplifting and raucousness has similarities with the likes of Joan Jett, and leading many critics to hail them as one of the most promising acts of the moment. Courtney Barnett's Dylan-esque songs are providing the music world with reflection and stunningly literate and memorable music; that which straddles down-to-earth with surreal. Brisbane cousins Black Realm mix grooviness and psychedelia, evoking the spirit of N.Y. Punk majesty of the '70s. Brisbane female duo Screaming Match have an electrifying brutality and urgency that marks them out as one of the most potent and invigorating acts of the moment. With the likes of The Native Cats, Sky Needle and Go Violets providing ample support, there are at least a few names to keep your eyes on. I guess you have to look hard if you want to uncover the best that is on offer; when it comes to Australian music, we do not hear too much of it in the U.K.- the occasional blog of feature may offer some guidance, but not a lot else. If there were an all-encompassing music website that listed all the acts of a particular nation (arranged by genre and location), then that would make things a lot easier. If it were not for publications and sites such as The Guardian, then we here would not hear of so many great international acts. Vancouver Sleep Clinic is leading the wave of new Australian musicians, intent on making worldwide impressions. The nation is inspiring such a creative flair, because there is not the same sense of balkanization and compartmentalization. A certain freedom and lack of civil war means that the music is a lot more open and all-inclusive. Certain cities in the U.S. and U.K. have rivalries and battling bands; there is often a north/south divide or a sense of clandestine secrecy. Cities such as Brisbane, Sydney and Melbourne are showing the most fervent activity and pioneering, but smaller towns and locales are playing host to some wonderfully vibrant and exciting acts. If your only exposure to Australian music is within Home and Away and Neighbours' background sounds, then you owe yourself a lot more: investigate what the country has to offer. Although a number of the nation's best acts are emigrating to the U.S. and U.K., there are plenty of native acts whom are putting their country back on the map. Whilst certain countries get most of the music press, I feel that Australia will be coming back strong; reappropriating cynicism or unfocused eyes back to their shores; and showing us what we are missing. Our hero is amongst the finest that Australia is currently offering, and his talent and artistry is being picked up by the wider community. Brisbane-born Tim Bettinson is not even in his 20s yet, but has a maturity and work ethic that bellies his years; puts him ahead of many of his peers- and sets him out as a man to cling to your bosom. Our hero's D.I.Y. approach to music has a charm and anachronism to it. Collating notes and scribbled lyrics from notebooks and maths textbooks, Bettinson adjourned to the safe havens of home; assembled old equipment and laptops together- to create his unique and beautiful music. In an age where there is an emphasis of technology and digitialisation of music, it is impressive that one so young has an affection for traditional songwriting; for vintage methods and a more honest way of working (working on a laptop can be so artificial when creating lyrics). It is our hero's voice that is getting a lot of the attention, and I shall go into more detail shortly. It is clear that many people have a lot of good things to say (about his music), and the songs offered up are resonating with all corners. Here is a selection (granted, a large one) of some of the things being said:

"Vancouver Sleep Clinic has a mysterious sound. It’s chilled out, haunting and darn smooth. It has to be mentioned that this guy is only 17 years old and began this project out of his bedroom. His latest electronic delight is called Flaws and it is quite beautiful. Immediately, images of winter are conjured up whilst listening to the track. Not an Australian winter, with its kind of cold-ish days, but a winter somewhere in Alaska. There it feels dark, cold and you’re wrapped up in a blanket in a log cabin in the woods. That’s how it feels. The guy behind the excellent vocals is Tim Bettinson but it could well be Bon Iver right? This kid can really hit those high notes, giving a gorgeous substance to the sound. It is really something special. Whilst blissfully awaiting the release of Vancouver Sleep Clinic’s Winter EP, we can relish in the haunting sounds of Flaws and only imagine what other moving sounds will come off the release. In the mean time, go relax in bed with Vancouver Sleep Clinic."

Adamnotever.net

"Vancouver Sleep Clinic, aka Tim Bettinson. Having only released two songs – the appropriately titled Vapour and the delicate Collapse– Bettinson found himself supporting London Grammar on their Australian tour, which meant that his fourth ever live show was in front of a thousand people. Unfortunately a mooted support slot with London Grammar in America has been scuppered by antiquated VISA regulations (basically, the band haven't been together long enough or something), but the connection to London Grammar, musically at least, is fairly obvious. New single Flaws – the first release from his forthcoming EP The Winter and premiered here – is all about restraint and minimalism, Bettinson's Bon-Iver-minus-the-smoking-habit vocal floating out over a finger click beat, bubbling electronics and pockets of sun-dappled, meandering guitar riffs."

The Guardian

"He released his first track "Vapour" a few months ago, which mixes airy elements with the gentle tugs of an acoustic guitar. I'm not one for boxing music in genres but you could describe it as ambient folk, and yes, it is just as awesome as it sounds. In his latest single "Collapse," Vancouver Sleep Clinic holds on to the acoustics but delves more into synth as he pulls you along on for a short reflective journey. "Collapse" highlights the vulnerability that comes with life's changes, as VSC repeats "We've been outgrown." The reminiscence of a not so distant, distant past and the retrospective descriptions of lost opportunities spin into a beautiful but sad tale of time gained and time lost. As VSC's somber voice echoes throughout the track, you're forced to relax, swallow the comforting sounds, and accept that sometimes less really is more. Vancouver Sleep Clinic has shown that he's got quite a promising future ahead of him, so keep your ears and eyes open for whatever he puts out next."

Earmilk

"Only a teenager, Bettinson’s uncanny command of language and sound plays a trick of sorts on the passive listener. A name like "Vancouver Sleep Clinic" suggests what its creator himself had previously professed: music that’s easy to fall asleep to. Admittedly, the soft sound of Winter does allow for fading off into your own world quite easily. Underneath the pretty aesthetics and faultless falsetto, however, lies a treasure trove of insight, curiosity and reflection. Transcribe a Clinic song, and you’ll find yourself poring over seemingly simple couplets, attempting to unlock the meaning of it all. Winter is the child of fundamental experimentalism. More importantly, it’s the brainchild of Tim Bettinson, who possesses the vision and descriptive knack of an overlooking scry. As one of the longest snowy seasons in recent memory enters its final act on the east coast, a burgeoning music career begins to sprout through the frosted ground."

Potholes In My Blog

"Listening manages to be an immersive experience while at the same time being true ambient music. It sounds slightly like London Grammar mixed with Brian Eno, the former of which Bettinson toured with over their new year’s tour. It’s a truly special first release from such a young talent."

Beat

"The Winter EP from Vancouver Sleep Clinic is definitely no exception. And while musically it may be pleasing to the ear and calming to the soul, if you pay close attention to the lyrics they’re actually some of the most depressing words you’ll hear in your life. Good shit."

Thexdexperience

"Winter is worth everyone's time. The comparisons with Bon Iver are inevitable, but if you can, leave them aside while listening. Tim Bettinson is a boy with personality and his work is strong enough to stand on its own feet. Although making music in very different genres, he and his fellow Oceanic young musician Lorde share another common trait: their works are almost unimaginably good for their ages, and they are sure to impress attentive ears. Tim Bettinson is very likely to soon become a force to be reckoned with. This EP already is."

Sputnikmusic

"Vancouver Sleep Clinic sounds like the electronic reincarnation of Bon Iver or Sigur Rós. Bettinson combines haunting vocals and captivating ambient melodies. The track "Stakes" is the most mature and well-constructed song on the EP, making it one of the highlights. Other tracks like "Flaws" and "Collapse" are extremely catchy and entrancing. Winter is soothing, and sounds like something that would be played at, well, a Vancouver sleep clinic. Winter is a must listen if you enjoy this particular strain of ambient electronic music."

The Varsity

"In the "Winter" EP, Vancouver Sleep Clinic explores atmospheric indie-pop. His use of slow moving pads and simple electro drum beats can be compared to groups like The XX and Purity Ring, while his unique falsetto vocal style and melodies lends similarities to Pacific Air and Avalanche City, respectively. Bettinson’s debut track "Collapse" opens the EP with a beautiful song about personal imperfections and accepting that people may grow apart despite their efforts to hold on. The lyrical ambiguity becomes immediately apparent with lines such as "I’d sunk in oceans blue / Now they’re all frozen over", which are clear enough to express the song’s theme, but vague enough to allow the listener to interpret them for themselves. The emphasis on the line "I’m falling short again" further reflects the pained emotion behind the song."

EMURG

The last year or so has seen our hero put the final touches to his E.P., Winter; it is his first big kick in the music world and lays down his intentions, heart and personality to striking effect. With in excess of 12,000 fans on Facebook; add in 1,500-or-so Twitter followers, and it is clear that the music of Vancouver Sleep Clinic is making huge impressions. With youth on his side and a natural talent that is hard to ignore, I am predicting that the next few years will see our hero grow in stature and regard; become more confident and supported- and ensure that we here in the U.K. are more attuned to his mesmeric motifs. I for one would love to hear him perform, as his voice and sound- I would imagine- would sound ethereal and hugely atmospheric (in a live arena); and I am sure that thousands more share my recommendations. In the future, tour dates and an L.P. are distinct possibilities, but for now, the Winter E.P. is gathering huge momentum and praise; reviewers and critics are eager to lend their words and acclamations to this bold and nuanced work; and extol the virtues of our young hero. Not knowing a great deal about Bettinson's past, I came into the experience with an unbiased and open mind; eager to hear what was on offer- and lend my insights.

Evocativeness and atmosphere are summoned up right from the off of Winter. With sighing and oceanic synths. and electronics, our hero approaches the mic. Begging a tableaux that sees him "sunk in oceans blue." Whether speaking to a beau, or a friend, I am not too certain; yet the stunning mood that is presented gets right inside your head. There are nods and semblance of London Grammar and Massive Attack (in the sense that dreaminess and emotion are at the forefront) in the electronic coda; with our hero (imploring to his subject) advising "We should have crossed the border", the soothing and gorgeous sways breeze into your soul. Electronic pulses are studied but hard-hitting; the vocals share embers of James Blake- our hero has a same dusky and masculine falsetto delivery. There is a yearning sense of romanticism and rush in the composition; certain threads bubble and percolate, whilst others strain and sigh. Shades of Overgrown-era James Blake (as well as Sigur Rós) come through, as our hero proclaim: "Because never again/Means none of this at all/Forever pretend/In our shelters we don't fall." There is an emphasis placed on the effect and weight of the vocal as opposed to clarity, as sometimes it can difficult to detect some lyrics- as the composition takes over and is at the forefront. In spite of the sonics impeding with the vocals, you are not too worried about intelligibility and decipherability. Our hero's swooning and tender vocal has its own gravitational field. The pace and presentation of the composition changes as our hero assesses himself and his inner-self ("Falling short again/I'm falling short again/The ranges set so high/And I could never climb/Falling"); events become calmer as the electronics skiffle and patter (joined with subtle hints of acoustic guitar). It seems that our hero is sinking and facing doubts and borders. Maybe accounting the breakdown of a relationship or a sense of solitude, you get the impression that our hero has a particular figure in mind- there is a definite break of spirit and wounded heart to be heard. When thoughts such as "The knowledge that I've never known/The garden that I failed to grow" come to roost, you can hear the regret and anxiety in the vocals- the sonic backing emphasises and augments this. Speaking to his parabond, our hero looks back at the sunken wreckage; his voice quivers and seduces as he completes an oral damage report. Looking at the entropy of the relationship and addressing the fall-out, our hero advises (his sweetheart) that when the wreckage has been swallowed, "Maybe then baby, you'll tell me that we didn't cling to enough/That we couldn't outlast the rough." Like modern idols of electronic heartbreak and cinematic etheralness such as London Grammar, James Blake and The xx, our hero ranks alongside them, yet differs in his presentation. You can hear his distinct voice come through, and although there is Sigur Ros/James Blake outer edges, the core of his vocal is emphatically his; the accentuation and delivery are all Vancouver Sleep Clinic. A more optimistic sense of energy is elicited when "Falling short again..." is unveiled; yet there is a sense of irony. Collapse does what the title suggests; it looks at the injurious and deflating consequences of a break-up; the cessation of a bond has led to a collapsed soul; a dented heart- and a lot of self-reflection. Towards the song's dying moments, our hero confesses: "On my own/I've been outgrown/We've been outgrown." The final line is delivered like a mantra; a truth that is self-evident and destructive, and one that our hero cannot forget. With some layered vocals and tender piano interjections, the final moments are a mix of calm and raw emotion. Whilst a lot of contemporaries and fellow musicians would stick to some well-worn lyrical themes, our hero shows some consideration and personal space; the experiences are all his yet the way he articulates them hints at a literate and pioneering pen- one that has an innate knowledge of the past songwriting masters, and a fond affection for language. It has been said that our hero is a perfectionist; taking ages to finalize lyrics and compositions; ensuring that everything was as effective as it could be. The opening number pays testament to this, and it is a song that overwhelms you with the beauty of the vocal, as well as the evocativeness of the composition itself. Following on from the impressive opener is Flaws. Marked out as a fan favourite, it is a number that offers oblique beauty and some effective word projection. The rush and power of our hero's vocal comes straight into the mix, and catches you off guard with its urgency. Whereas the opener unambiguously looked at the rubble of a broken love, here there is some (initial) ambiguity; some room for interpretation. With a typically symphonic and heady electronics, our hero starts comes to the mic., offering words that get you thinking: "The weight, I'm gone/In my skin, I'm lost." Initial impressions give the sense of a young man encapsulated in anxiety and detachment; but perhaps some sexual or romantic undertones are being manifest. Lines flow and link with one another so that there are few wasted moments and gaps; you get carried away in the river-flow delivery that has a sparser backing (than Collapse); with our hero offering food for thought: "Tangled in the bones of this love/Melding to the flow of your blood." Images of entanglement and entrapment may hint at sexual congress, or else a suffocation of sorts; such is the quality and intelligence of the language, that nothing is clear-cut- the listener can invoke and project their own conclusions. With some upbeat and high-pitched vocal notation (at the start), a sense of winter chill enters the soul; our hero introverts his tongue and lets his demons out. When foretelling "Grace bestowed/But I was shaped with snow/Seasons don't change/Ignorance remains", one cannot help but emphasise and root for our hero. Whether he feels that he does not deserve love, or is too young to see the light, I am unsure, but once more some fractured scenes enter the mind. Bold and scenic imagery comes through clearly, and you can almost sense the air of fatigue upon "Ignorance remains". Finger-clicks and impassioned vocals soon arrive, giving colours to words that are crystal clear: "I need this alone". At the 0:43 mark, electronic percussion rattle and rolls; a grand and stoic piano line conjoin with wordless vocals; which rise and fall; groan and contort- and seems like a vocal exhortation. With the composition unassuming, yet filled with flavoursome and potent ingredients (slight piano and guitar; moody percussive elements), our hero is looking inward; pain and loss are investigated and picked apart ("The burdens on this chest/The vessel of these words/Sinking under tension/Drew afterthoughts and hurt"). Although it is one of the shortest tracks of the set (3:19) there is so much atmosphere and story covered; between words, haunting and aching sonic parable are presented which not only punctuate the verses, but also instill a huge amount of emotion. Wordless choruses fuse with sparse (yet gorgeous) electronics that get inside your heart and ensure that the song is not easily forgotten. Moonlight piano codas see our hero re-introduce "I need this alone"; his vocals are held and elongated; our hero's voices rises and almost breaks under the weight of emotion. The tone and sound of the track suggests that it could be used to open an epic Indie film; one which documents a turbulent but memorable road trip, set against a soul-searching and eventful romance. When the final moments arrive, the mood dies down, and the morning's light starts to crack. It is another tale that not only highlights our hero's talent for emotive and epic compositions, but completes another compelling set of lyrics; which compel re-investigation and further study. The longest track on the E.P. arrives in the form of Stakes. With a tender and romantic piano opening, one which mixes with acoustic strings and electronic echo, it is the finest intro. of the set (up to this point). Our hero's voice is calmed yet imploring, offering early words that are memorable, oblique and vivid: "From the lake/Where I lost it all/Stacked on the stakes/Yet you blessed the fall". In the same way that songwriters such ass Bon Iver, Nick Drake and Sigur Rós mix natural imagery with stunning poetry, our hero shows his talent for wordplay and precision. The first verse has a lullaby quality; the vocal is duskier and more relaxed; yet when the next verse arrives, things change; the vocal pitches up and becomes more wracked and emotive. When it is said that "I guess that I knew I was warned/I left my words in the cold/The things that I built for myself/Castles are tumbling down"; once more vivid images are planted in your mind; as well as hallmarks such as the cold; lonely and empty words, as well as structural decompositions and crumbling. Each is used as metaphors and symbols for loneliness, broken love and regret, which our hero emphasises with a vocal that is tender yet filled with powerful intent. In the line "The first time that I sought for grace" the delivery is more ponderous and moody; weary and masculine; when "But not the last lung I'd put to waste", the vocal pitch is much higher, and spiritedly delivered- creating an instant mood shift. With some heavy-hearted percussive punches that act as ellipsis, our hero ups the ante; his voice becomes fuller and layered- there is almost a sing along quality to the lines "I'm burning down the stakes/Wash away, wash away." Caught in the riptide and making sure his words are understood, our hero looks back at the love he had; the shards of glass that lay around his feet. As he is "Fumbling through this jaded book/The hearts I stole, the air I took" he questions his former love and looks at the only mementos that remain ("And now the photograph is all that's left"). All that is left is to "feed the wolves and empty chests/To break the best." When the words "I'm burning down the stakes/Wash away, wash away" are brought back, they are repeated; building the mood and is a spectral mantra that is hard to shake off. As well as being perfectly phrased and evoking as much potency as possible (in as few words), our hero is returns to the fold (after a verse break that calms proceedings but still carries a huge weight); offering determined and defiant words: "I never bled for a thousand lies/Just to stem the flow/I never wept over a thousand lives/Just to let this go." Backing these tortured thoughts is a pulsing and tender electronic beat, that provides a fittingly emotive finale. It is another track that demonstrates our hero's stunning lyrics and vocals; and offers up another twist in the tale of lost love and contemplation. Stakes is the longest song of the E.P.- and one of the most draining- so it is apropos that the shortest track follows it. The appropriately named (Aftermath) is next up, and is largely instrumental. Whereas the first three numbers have put striking words and vocals up top, the emphasis here is on the composition; a refrain that is at once uplifting and symphonic, and the next delicately gentle. The tracks only words are "Oh lover, asleep at last/Oh lover, it's in the past/Of dust we rise and dust we part/So bless these lungs and save my heart"; sentiments that at once get you wondering how many meanings are inherent within; but also stir up some clear images and scenes (as has become typical with Vancouver Sleep Clinic). Initially the mood is slow to build, containing ponderous electronics and strings, it is like the dawn breaking; languid yet picturesque. Perhaps nightfall is more fitting, as a hard pulsed electronic beat mixes inside of echoing and sighing swathes; it is haunting and tender at the same time. Soon a piano parable enters (weirdly sounding a bit like To Build a Home); it gallops and springs and acts as a natural evolutionary progression. With hallmarks of The Cinematic Orchestra and Bon Iver, it is a romantic and gorgeous introduction, that acts as a much-needed counterbalance after a lot of heavyweight emotion and moody sonics. The songs lyrics arrive at the end, and are designated with a sense of urgency; our hero singing a noble and plain truth, but also showing some tender-hearted sensitivity as well. By the end of the track, you cannot help but feel relaxed and smile; waiting to see what comes next but pleased to see a new (and classical) edge to our hero. Ensuring that gravity and potency come back into the pallet, Vapour arrives next. At first, Vapour displays a softness and melody that was synonymous with the previous tack; it builds gently and dream-like. With Folk edges and a soothing beauty to it, the track relaxes you and caresses as it plays. Ghostly echoes and thumping percussive pulses soon come into the track, pricking the energy levels and presenting a human heartbeat. The first verse tells us: "This ship was only ever built to fall apart/The oceans that we couldn't cross/The London Bridge is caving in/Cities melt into my skin/It's looking thin." Once more one suspects that romance- and its disbandment- are at the forefront of the track; architectural imagery mixes with vessels and nature; each deployed as metaphors that signify discontent and heartache. Our hero's voice is reliably striking and aching, allowing the words to make their mark. The rousing and spirited acoustic guitar add an additional layer of beauty, and it seems that all is not well with our hero. Maybe love has gone cold once more; his soul is broken, and he is looking inside of himself. Where "These wooden doors are closed and this prison's cold", his heart is a concrete fortress- one that will not let anyone in. With our hero turning blind and starting to break, it is clear that there is little chance for redemption or rebirth. Speaking of "Winter birth, the fires burn into the snow/Surrender to the afterglow"; once more the poetic power and strong imagery projects filmic and sterling sights, but here, it is the composition that wins- once more. Even though the vocal is one of the most committed and stunning on the E.P., the way the composition mutates and changes skin is incredible striking. Skiffling percussion and slow-burning acoustic guitars melts into electronic samples which offer scuttling and rampant scurrying and staccato edges. Our hero's voice once again mixes sonorous and seductive darker tones with effusive and high-pitched falsetto- sometimes weaving within one another- that provides multiple shades and colours. Towards the song's conclusion, some optimism or redemptive spirit creeps in. Telling of "What a moment, encountering the dawn/Breathing in the air I've never known", perhaps all is not lost- there may be light shining through. Brining Winter to a close is the swan song, Rebirth (and is the second-longest track). For those expecting an updated version of Hey Ya! are probably going to be disappointed. As we conclude this frosty season, there is still a sense of broken souls; a need to feel better and be born again. The intro. sees soft and tender acoustic tones open up our story; it is a beautiful and soft parable that matches the song title perfectly- it seems like a spiritual regeneration is afoot. With a vocal that is soothing and relaxed, our hero is in thoughtful mood; he claims that he has "been waiting/For the sun to rise up with the dawn"; words are sometimes unsettling, yet delivered in a way that is not foreboding and tormented. Whilst our hero has been sleeping 21 hours a day and experiencing bleeding decay- he makes his words sound strangely romantic. When it comes down to it, there is still that blend of ambiguous and mysterious; poetic and imploring. Our hero sings: "Oh, sweet surrender/Collapse to my knees/Beg and plead/Fill me with everything"; you can picture the knees buckle; the head arches upwards- waiting for emotional absolution. Speaking of leading flocks away, you wonder if a testament of fractured love is unveiling; or else something more spiritual and ethereal. Typical of our hero, there is room for imagination and interpretation; you can vividly imaging what is being sung, yet are never 100% certain what is being referred to. The gorgeous and still vocal that foretells of "Bent and broken vine/Choking at the spine" infuses with the emotive composition; you sense that personal revelation and self-examination may lead to an epiphany- or at least a chance to start over again. Towards the 2/3rd mark of the song, the composition swells and rushes; there is a clatter of percussion and electronics; a huge amount of force and weather whips into the atmosphere. Hardly shocking, considering the E.P.'s closing remarks; the final fit and bellyache as it were- although there are surprises here; something more uplifted. With a current trajectory that sees our hero "starting again/Tearing my flesh/Stripped to the bone", enough is enough (a revelation of sorts); things have become too harsh and oppressive and there is a desire to recompose his soul. The album's title coda and most hopeful sentiments come in the form of: "It's taken the Winter/To find who I am." As the track comes to the end, and you are caught up in the pace and fervency of the outro. you allow yourself time to reflect and deduce. Perhaps our hero will be okay, but it seems he has decided he needs to change; to make things better and start afresh. The E.P. marks a triumph for its young creator, whom not only manage to display a lyrical genius that writers twice his age cannot match; but the songs are deep, effecting, memorable and nuanced. Each song is contained of huge atmosphere and mood; gorgeous classical tones and pulsating and heady electronic parable. Like heroes Bon Iver and the Sigur clan, our hero has a gorgeous falsetto that is amongst the ripest and most direct out there; yet he has darker and breathier undertones that have a raw masculinity to them- and display his full range. There are some lyrics that are hard to decipher and I have had to rely on MetroLyrics quite heavily, but it is a minor qualm, as you are so caught up in the songs themselves. Winter may be long gone, but with the sun shining and the temperature rising, the E.P. has a timeless appeal that will not see it relegated to colder times- it is relevant all-year-round. Few young artists have such a depth of talent, and it is impressive to see it making an appearance on the debut E.P. I know that our hero would love to come see the U.K. and tour more, and there is going to be plenty of demand. If you are not a fan of the likes of James Blake and London Grammar, then it may take a while to convert you- but it will happen. It is a sextet of songs filled with grace, chilled scenery and surveyance of love-gone-cold. Our hero displays maturity that means he does not descend to histrionics and tantrums, yet has a grown-up and brave defiance to him- yet allows himself to wallow a little. I know that the rest of the year will see more fans and followers flock to his shores; and on the evidence of Winter it is much deserved- a fine achievement for such a sapling talent.

It may be early days and early doors for Vancouver Sleep Clinic, but all signs point towards a career of longevity and prosperity. The music on offer throughout Winter is compelling, swooning, heart-aching and rich: repeated listens and re-investigation are paramount. A couple of reviews of iTunes show how much the music-buying public love the E.P.:

"Such an emotive piece of music, as someone with synesthesia I enjoyed this EP in every way, it takes you on a journey and then brings you back to reality with a better look at what you've already got. Thanks for this, this is a music gem ."

Chicken_Dipper

"Having heard 3 of the tracks (Vapour, Flaws and Collapse) I was very excited about this EP. This guy has got so much talent, definitely worth a purchase the whole thing is perfect from start to finish. Keep it up VSC."

Mattyl1

I was hugely impressed by the maturity and authority that augments the tracks; how assured and intelligent our hero's words (and musical mind) are, and what a range there is on offer. The vocals are consistently impressive and stunning, putting you in mind of masters such as Jeff Buckley and Thom Yorke (there is a comparable falsetto at work), but a clear sense of personality and passion comes through emphatically. All of the tracks come directly from our hero's heart, and their personal and individualised messages are not just for Bettinson's benefit- they can be understood and applied to everyone listening. We have all been through the rigours and hostilities of life and love; all experienced its inequities and hardships- in that way, the songs seem evergreen and omnipotent. In the way that a lot of contemporaries invest no difference or diversity into themes of love, our hero dares to be different. A lot of current musicians (and those past) tend to tread the same grounds when conveying heartache of anxieties; there is a bland and predictable mass of bodies all saying the same things in the same way. Our hero has a flair and creative mind that means he can take well-worn and age-old themes; revitalise and re-infuse the subjects- and instil them with some urgency and freshness. When interviewed by Can You Hear This (last year), he was asked how it finds it being compared to Bon Iver- one of the best and more synonymous golden voices in music today. Our hero stated:

"To be honest, there’s no way I’ll ever be complaining about a comparison to Bon Iver. In my opinion, they’ve produced some of the most beautiful, well-constructed music I’ve ever heard. However, my new stuff will involve a whole new level of creativity. I’ll be looking to emphasis some post-dubstep drum beats and Daughter-esque reverbed instrumentals, whilst still incorporating the Bon-Iverish falsetto vocals that people have seemed to love."

Although distinct of voice and music, the comparisons or just and not open to hyperbole. Like the U.S. giant, Vancouver Sleep Clinic's epicentre has a divinely effusive and ethereal set of pipes; those which add emotion, weight and potency to all of his numbers. A lot of similarly aged musicians tend to enforce glib and immature themes; pen songs filled with juvenile delusions and angst- our hero is a step above. Occasionally, you get to hear of some great Australian acts, though I feel that the likes of the U.S. (as well as European nations such as France) are better are promoting it. When Bettinson was questioned on the subject; how he felt about the rise of Australian music, he did not hesitate:

"Australian music has grown incredibly as of late! These days there are so many cool bands, venues, promoters, radio stations, blogs and websites all selflessly willing to see Australian music grow."

It seems that stations here such as XFM and Absolute Radio would endless spin tracks such as Vapour and Flaws; BBC Radio 6 would put Collapse on regular rotation- and minor quality purveyors such as Radio One would also promote our young hero. The rise in V.S.C.'s social media portfolio, as well as buzz and praise that is being whipped up is going to sees Bettinson's alter ego become big news, very soon. Having already flown the flag of Australia at SXSW, Vancouver Sleep Clinic is going to see an eventual road to domination. We here have the likes of London Grammar, whom can offer ghostly and spectral vocals and synthetic sonic flair; yet the market is very much open. There is still a huge emphasis on bands and their wares; heavy sounds and directness- we need more acts like V.S.C. to succeed. I am sure that the next year will see plans afoot for an album, and I hope that a U.K. tour is a possibility. The likes of the U.S. and Europe and going to start promoting and playing his music, and ensure that as many ears as possible hear his wonderful mandates. When asked what music meant to him, our young hero told Can You Hear This:

"Music has always been one of the biggest parts of my life and I think my biggest inspiration to start this came from wanting to make an emotional connection with listeners through my music. I’ve always dreamed of playing with the likes of Sigur Ros, Daughter, Bon Iver, James Blake etc.; so I guess I finally decided it was time to take action."

I guess that these dreams are not too far-fetched. It may take a year or so (more), but I can envisage our hero supporting the likes of Bon Iver very soon. You can always tell- from the first movements- whether an act will sink or swim; how far they will go and how long they will last. The fledgling signs are promising, indeed; Winter shows a young man in love with music; but whom has plenty more to say. Over the next few years we will see our hero's name become more familiar and omnipresent. Hear what Vancouver Sleep Clinic's debut E.P. has to say...

AND let it get underneath your skin.

___________________________________________________________________________________

Winter Track Listing:

　

Collapse- 9.3/10

Flaws- 9.4

Stakes- 9.5

(Aftermath)- 9.5

Vapour- 9.3

Rebirth 9.4

Standout track: Stakes

____________________________________________________________________________________

Follow Vancouver Sleep Clinic:

Official:

http://www.vscsounds.com/

Facebook:

https://www.facebook.com/VancouverSleepClinic

Twitter:

https://twitter.com/vcsleepclinic

YouTube:

https://www.youtube.com/user/vancouversleepclinic

SoundCloud:

https://soundcloud.com/vancouversleepclinic

Songkick:

http://www.songkick.com/artists/7562669-vancouver-sleep-clinic

Last F.M.:

http://www.last.fm/music/Vancouver+Sleep+Clinic

iTunes:

https://itunes.apple.com/gb/artist/vancouver-sleep-clinic/id682047835

Tour Dates:

http://www.vscsounds.com/live/

Merchandise:

http://www.vscsounds.com/restofworld-store/

Track Review: The Open Feel- Sidewalk Zombies

TRACK REVIEW:

The Open Feel

Sidewalk Zombies

9.6/10.0

The track, Sidewalk Zombies is available from:

http://theopenfeel.bandcamp.com/

Written by Katie Harris and Tom Brayton

Produced by The Open Feel

Recorded at The Basement Studio in Claremont, CA

Engineered by Tom Brayton

The E.P., The Open Feel is available via:

http://theopenfeel.bandcamp.com/album/the-open-feel-ep

___________________________________________________________________

The L.A.-based duo are presently laying the foundations of their debut L.P. Sidewalk Zombies hints at a future which includes beauty, seduction, slice-of-life truths- and an incredible amount of power.

_____________________________________________________________________

IT is a rare treat when I get to investigate artists from across the Atlantic.

Much of my wanderings and examinations have revolved around U.K. acts, so it is always nice to hop on a musical plane; get my passport out, and enjoy some international sites. In historical terms, the U.S. has provided the world with some of the greatest and most memorable music of all-time. At the current time, plenty of mainstream acts such as Queens of the Stone Age are ruling the kingdom, and there are a huge wave of new American artists keen to come through- and follow in their footsteps. As my featured act are L.A.-based and a duo, my mind has been thinking about those too disparate and varied plains. Cayucus, Jenny O, Kisses and Warship are recent examples of acts that are putting the city on the map, but in all fairness, L.A. has always been at the forefront of music. In a blog post back in January, L.A. Weekly expounded the virtues and wonders of the music scene in Los Angeles. When explaining why the city was one of the most fertile stomping grounds for new musicians, they theorised: "We possess, of course, the requisite corporate music-industry behemoths: the Grammys, the major record labels and PR companies, Beats by Dre and Diddy's Revolt TV, for starters. Equally important are our smaller cultural institutions, including the Smell, Pehrspace, Vex Arts, Dublab and the Do Lab, breeding grounds for emerging artists. Then there are the influential parties - Low End Theory, Das Bunker, the Do Over, Funkmosphere - which serve as breeding grounds for creative types. You'll find exciting talent everywhere, from the Sunset Strip to backyard punk shows in East and South L.A." Amongst the blog's extemperanious outpourings, one of the most distinctive arguments was this: the range of genres on offer is staggering. Murs raps on the Sunset Strip; Echo Park's The Growlers can be heard seducing in Echo Park; Latin Jazz can be heard wafting from downtown promenades and bars; The Entrance Band and Psych-Rock proceedings are often witnessed down at Silver Lake- the city is a mecca for diversity and music entnocentrisism. There is no boastfulness or arrogance; the city is open and all-inclusive, and as such, is marking itself out as the epicentre for new music. Of course, Nashville and Detroit offer up a great deal; New York and Seattle are axiomatic hubs for some of the U.S.'s best- and have provided some of the most legendary musicians ever. L.A. can be seen as the Dance capital of the world; a myriad of local labels provide sanctuary and nurturing for the city's most ambitious folk, and festivals such as Coachella are amongst the world's most important musical dates. There is a solitude and peacefulness that can enjoyed, and the clement and summery weather is conducive with prosperous and inspired musical mandates. Pitchfork wrote an article about the many San Francisco musicians who have departed for L.A., including Ty Segall and John Dwyer, who called L.A. "a place where creative people can come together, swap ideas; it's a place of artistic cultivation. Plus I think there is a certain seedy, creepy mystery that has always lived here. It's a good place for the freak, and the phantom." Many out-of-towners have been drawn in by the great weather, the networking opportunities and the spaciousness the city offers up. Niche neighbourhoods and locales such as Venice Beach sees clans of musicians play and ply their trade; the natural beauty and diversities that is provided compels creative minds. With so much on offer, and with a humongous amount of diversity available on the Los Angeles menu, it is not a shock to see so many new acts coming through (here). My featured act call L.A. home, and have benefited from the city's beneficial charms and bounteous recesses. When looking at the musical stratigraphy and the various formations and flavours that are available, there is something for everyone. Plenty of bands play around L.A. and if you prefer your sounds heavier and Metal-infused; are more akin to Sunshine Pop and melodic offerings, then you cannot go wrong- from both bands and solo acts. In terms of duos playing around L.A., there are newcomers such as Little Dove getting a lot of positive press- this is an act that I will investigate soon, as I love their music. Others such as Deap Valley gLAdiator are making waves, but it seems that stronger links need to be formed between the U.S. and U.K. music media. We must come across as dunderheads when we proclaims a great L.A. act and how urgent and new they are- unaware they have been playing for years now. This seems to be happening a lot, with many acts making their way to us long after their birth. Whether our media are marginalizing U.S. acts or else prioritising homegrown ones, I am uncertain, but the fact is that we are missing out on some great sounds. I am not saying we need to mollycoddle L.A. (and U.S.) artists, but more effort needs to be made. Los Angeles offers allegorical splendour, primal and sweat-induced diversions and beautiful plumages, and they are being lost between the cracks. It is not just their duos whom are providing the most excitement, but there are many terrific solo acts and specialised artists causing twitterpation. The issue at hand may be one that is insolvable and terminal, but I am hoping that a change is afoot. It is always great when you discover a great act (L.A.-based or otherwise), and feel that they are somewhat under-appreciated and overlooked. My featured act is two guys I have been aware of- in awe of- for a long time now, and have a sound that us London bods would love to see; that can influence and inspire many new artists around these parts- as well as influence new musicians from all around the world. It has been a while since I have brought this act to your attentions, so it is with a revitalised heart that I do so today.

Californian treasures Katie Harris and Tom Brayton are a duo I have reviewed in the past, and I can pay testament to how vibrant and impressive their music is. Before I go into more detail about previous interactions, let me give you some biography about the intrepid two-piece:

The Open Feel is the alternative rock creation of Katie Harris (Vocals and Guitars) and Tom Brayton (Drums and Bass). The band began as a songwriting collaboration to give the duo an avenue to create music that was "as honest as possible for the two of us." Without the aim of creating anything "commercial" or "spin-worthy," they sat down and began experimenting and writing. After a year and a half, they felt they had finally found the "sound" that they wanted to develop into a band. It was then that the dreamy and ethereal rock band The Open Feel was born. They began recording their debut EP in the summer of 2009 at their home studio in Southern California with Harris and Brayton playing all the instruments (with a little help on guitar from good friend Clint Walsh on the song Detach) and taking on engineering and producing duties. Mixed by Will Brierre and mastered by Steve Hall, The Open Feel EP was released in 2010.

When I reviewed the duo's track Kiss, Kill (Back to Love), I was impressed, not only by the uniqueness and freshness of the song itself; but at how assured and striking their sound was. In April of last year, I had not been exposed to too many (new) U.S. acts, so the arrival of The Open Feel was a bit of an epiphany. In a year that was not offering up a whole heap of promise, there was a huge sense of relief when writing my review. Delving into the track itself, I was prompted to write:

"The lyrics are wonderfully oblique, poetic, and intelligent: "It’s like I’m walking on a wire/Above a two-sided face" is the opening gambit; and one of the sharpish and most interesting lyrics I have heard all year. Our heroine is able to take your mind somewhere else, and picture the words she is singing. I get the sense there is anxiety and fear in her heart, as well as an interchangeable emotional shift. She is, as she attests, "one breath from a smile to a cry". The vocal tones have a pleasing originality. There is a little bit of Fleetwood Mac, a tiny bit of Alison Mosshart, The xx to the way the sultry is mixed with fiery. The chorus has an uplifting edge, and with some backing vocals, I am reminded of early career U2, as well as the guardians of the female solo market: Patti Smith, P.J. Harvey and Laura Marling."

Aside from the likes of Little Dove, there are not too many mixed gender duos around L.A. (not that I have been made aware of). With a proliferation and leaning towards solo and band endeavours, there is a relatively untapped industry, waiting to be exploited. Having surveyed Yorkshire two-piece Knuckle on my last outing, what really struck me was how close and tight they sounded- as though they had been performing together for years. In the case study of Jonny Firth and Ben Wallbanks, their musical marriage has been in place for nary a matter of weeks. With regards to our L.A. duo, there is a similar kinship and passion present. With such an intuition and openness to their music, it would appear that The Open Feel have a long and happy career ahead of them. Both players combine wonderfully and play on an equal footing; no egos or leadership quarrels- they are a partnership with no hierarchy. When their self-titled E.P. was released a few years ago, it gave the world one of the first introductions to the duo. Songs such as Strength and Transition painted indelible and scenic imagery; words and phrases stick in your mind, and with the strong and impassioned vocals, combined with wonderfully deep and rich compositions, the effect was mesmerizing. Hardly surprising that a great deal of supporters and fans latched onto the duo's music, and they have an impressive following in L.A. With songs such as Kiss, Kill', Pushing Back and Wake This Dream being unveiled, patronage has grown and swelled; ears and eyes from international destinations have been turned on to their wonderful brand of song. Sidewalk Zombies has been in the ether for a few months now, but shows another confident leap forward (from the duo); one which sees them build on their previous work, whilst adding new elements. Amongst The Open Feel's influences are My Bloody Valentine, The Pretenders, Siouxie And The Banshees, The Sundays, Mazzy Star, P.J. Harvey, Garbage, Patti Smith, The Breeders, U2, Radiohead, Boxer Rebellion, Silversun Pickups, The xx, The Cure, The Joy Formidable: you can hear tender shades of these acts in their incredible sound. The most abiding and endless truth is, that the duo are out on their own; you cannot apply any former name to the two-piece's music- it is something that is distinctly theirs. Adulation and praise has been arriving at our duo's feet for a while now, and it seems that acclaim is something that The Open Feel will have to get used to:

"…When all your friends and their mothers start blasting the Open Feel on their favourite alternative station soon, don’t say we didn’t tell you so."

Seraphina Lotkhamunga, BUZZ BANDS.LA on the single "Wake This Dream"

"I generally avoid posting about the same band as there is so much out there to share. This new song [Sidewalk Zombies] made me want to make an exception."

Larry Lootstein, Alan Cross' Blog: A Journal Of Musical Things

"…Those haunting aspects are staunchly applied but the way the whole song moves gathers in a way demonstrating true sophistication from beginning to end. 10/10."

U&I Music Magazine on the single "Pushing Back"

"A glance at their list of influences as posted on Facebook cites The Cure, The xx, Radiohead, Silversun Pickups, and the Joy Formidable, all of whom can be recognized throughout their sound. While it’s a lofty list and it’s always easy to cite accomplished bands as influences, few artists actually live up to the quality of their supposed mentors. I would definitely consider The Open Feel among those few."

Kyle McCornack, Vinyl Me Please

"Remember those long, stereo-blaring overnight drives when your vehicle felt propelled not by an internal combustion engines but by the Cure’s bass lines? SoCal duo the Open Feel nail that vibe on their new single "Pushing Back…’"

Kevin Bronson, BUZZ BANDS.LA

"Love the feel of the vocals fully supported by a great sound!"

Larry Lootsteen, Alan Cross' Blog: A Journal Of Musical Things

"We just got a heads up that the brand new track by The Open Feel is ready for human consumption! We’ve listened to it and we APPROVE! Two thumbs up!"

Kelly Murphy, Indie Minded

"…The deep bass tone and lingering guitar flush out the sound while the expansive touches add scope to the running that marks it all out referentially as it breathes."

U&I Unsigned & Independent Mag

"Light and breezy Indie-Pop that goes far beyond any lengthy spontaneity, vocalist Katie Harris captures the mood with a lush crepuscular quality that highlights the band’s tremendous flair for dramatic rhythm…"

Andy, Mojophenia

"…It’s their uniquely atmospheric & ethereal ambience that initially grabbed my attention (amid my looming backlog of IndieOverdose downloads), a sound vaguely reminiscent of bands like Silversun Pickups and Sonic Youth, and it is this attention to sonic texturing guided by Katie’s alluring vocal characteristics that has now completely won me over."

Jeffrey Burns, ROKLINE

"Maybe it’s me, but can you ever really get enough of Katie Harris’ vocals? She has that ability to reach deep down into the nooks and crannies of your soul. Her voice is smooth and sensual, yet raw and emotionally charged all at the same time. Tom Brayton is more than solid carrying the entire backline. The duo have done it again with their most recent release "Pushing Back." …The visual imagery works extremely well with the audio, creating a wonderful package for both the eyes and ears."

Victor Alfrei, WordKrapht

"…It’s just kickass, relaxing, beautiful music…" -

Jo, Badass Bands Blog

"Sultry vocals, and lush, dreamy melodies are what The Open Feel are all about. What originally started as a songwriting collaboration between Katie Harris and Tom Brayton took on a life of its own and a band was created. "Still Here" is off of their self-titled debut EP released December, 2010. They are currently recording their follow-up for a 2013 release, and some of us are waiting not-so-patiently to hear it."

Victor Alfieri, Word Krapht- The Daily Krapht

"Dream-pop comes in a variety of textures, with feather-light synths at one end of the spectrum and heavy bass lines on the other. Katie Harris and Tom Brayton of L.A. band the Open Feel offer alternative rock with a slight splash of atmospherics, an unbalanced formula that works in smoldering mantras you might’ve heard in the ’90s…"

SERAPHINA, BuzzBands.LA

"What started out as a songwriting collaboration has turned into one heck of a project. Katie’s vocals are sultry, yet strong. The music is powerful and energetic and the lyrics something that pulls you in. I can think of more than one female-fronted rock band that wishes they could pull this off…"

Victor Alfieri, Indie Music Reviewer

"…Harris’ airy vocal and matching guitar tones give the tracks a supremely positive vibe that smacks of spring time sunshine, but when combined with Brayton’s meandering, yet groovy bass lines and steady drums the end result is more of a night on the town atmosphere. It’s hard to not be instantly entranced with the hypnotizing affect the band creates. The swirling, spinning interaction between the guitar and bass riffs in the chorus or "Transition" draw the listener in, until they’re gently laid to rest in the verses. "Detach" is destined to be the track played during the climax of a future romantic comedy. In fact, the entire EP has a very cinematic quality to it…"

Moragn, Enter The Shell

"Yes, we have covered this band before, and with good reason. Some of us have been fans since the self-titled debut EP back in 2011. And yes, we will continue to bang the drum for a band like The Open Feel because, well after listening to Katie Harris sing, we’d give her our puppy if she asked for it. She and Tom Brayton almost sound like the anti-grunge movement of the 90s, but own the idea instead of trying to rent it from the past."

Victor Alfieri, WordKrapht

"The Open Feel is one of the best bands to watch for in 2011 and they are also our first Artist of the Week of this year. When listening to their debut Ep, you immediately get taken back by the band’s full sound, especially considering that the band is a duo. Harris and Brayton played every instrument on every track on the Ep. The 4 track Ep features the stand out hit "Still Here," which combines clever lyrics with a great rock sound. "Strength" shows off Harris’ vocal range and gives you a glimpse of the raw talent that The Open Feel has."

Mailo, Enter The Shell (Artist of the Week Write-Up)

"…their fantastic self-titled EP is ample evidence that the twosome has got some serious musical chemistry as well. Harris is the primary singer and guitarist on the four-track release and her powerful vocals help anchor keepers "Strength," "Still Here" and "Detach." She has an impressive ear for melody that’s nicely complemented by Brayton’s work on bass and drums. I’m anxious to hear what the Open Feel can deliver over the course of a full album."

Jeffrey Sisk, The Daily News

"Offering up four songs worth of deliciously melodic and atmospheric pop-rock, this EP CD hits the pleasingly mellow and soothing spot. The vocals are strong, sultry, and utterly entrancing, the arrangements clear, crisp, and tuneful, the lyrics sharp and concise, while the gradual tempos and subdued beats provide plenty of beautifully ethereal and enrapturing music for the listener to get totally caught up with and lost in. A top-drawer item."

Joe Wawrzyniak, Jersey Beat

"…I’m just going to cut to the chase and say I love this band. They write incredibly melodic and beautifully lush songs. Plush guitars and driving yet melodic bass lines make for the best ear candy I’ve heard all year. …Check out the above track "Still Here." Your auditory senses will thank you!" -

Aron Gibson, AFG Must Rock

Our gorgeous heroine's voice is a dreamy and entrancing instrument, yet one that can elicit a tremendous amount of power, passion and soul. Amongst the hordes of female singers in the modern scene, Harris stands out from the rest; her voice can seamlessly adapt to any situation or song; it is chameleon-like and mobile, yet at its heart is a striking individuality and personality- one that implores and seduces at every turn. Brayton supports Harris' voice and guitar with percussive shades and weight that is emotive and stunning; his bass work is exemplary and highly effective two- the duo have an understanding and by-play that marks them out as one of music's most natural players. Gaining a lot of buzz and applause is their latest track, Sidewalk Zombies. You can tell from the title that vividness and evocativeness are going to be at the precipice, and it is song that has been getting a lot of supportive press in the U.S. I was excited to sit down and investigate their latest move; see where the band are heading at the moment- and what is on their minds.

Top of the Sidewalk Zombies ordo cognoscendi is an impassioned and powerful intro. With our heroine employing electric strings with a sense of delicacy but with intent; our hero's percussion subsumes and integrates into the mix; offers up a driving force and rapid heartbeat. When listening to the initial stages, images of Californian highways come to mind; such is the breezy-cum-determined coda, you cannot help but to cast yourself behind the wheels of an open-top sports car- drive into the city, with the wind in your hair. As you get closer to the crowded streets, the tempo rises slightly; guitar bursts elliptically and infused; the percussion skips and trips (as well as containing an impressive drum fill around the 0:15/0:16 mark). Within the first twenty-or-so seconds, a wealth of mood and scene-setting has been whipped up. The intro. is both calming yet kicking; swirling but focused; before the vocal arrives in the spotlight, your mind is already primed and compellingly set. Our heroine's voice is filled with conviction and blame; it contains edges of Chrissie Hynde-via-Hope Sandoval- there is a raw and breathy projection, with undertone of delicate beauty and sweetness. You get the impression- early on- that the song's themes are enforced and inspired by real-life malaise; that the bustling stress of inner-city zombies has caused derision and fatigue. When delivering the lines "Dead alive/And unaware" you can sense the weight in Harris' voice; a mix of somnambulism and politicisation mingles to project the cry of a young woman surveying pedestrian scenes and letting her stare do the talking. After the first words are sung, there is a percussive (and guitar) interjection; a punctuation that allows our heroine to draw breath, but also to stir up some dust and punch- and make sure the embryonic images stick in your thoughts. Once more, thoughts are offered (followed by a tumbling audio ellipsis); our heroine exclaiming: "Crooked stride/And vacant stare". Rakish people walk dazed and confused; whether emphasising the pace and reality of modern-day life, or else electioneering a wider truth, I am not sure; yet you get the sense that our duo are speaking to everyone; proclaiming a universal message that can be extrapolated by anyone. Completing the first verse, our heroine sends out a signal; points her finger and ensures her message lands: "Right yourself/Before your crime/Your dried up well/Of dollar signs". After the final words have been deployed, the composition spreads its wings and elicits a rush; our hero's stern and measured percussion expands and strikes; patters and rolls. Our heroine's guitar bubbles and electrocutes, backing up a dream-like and sighing vocal ("Ooh/Ooh"). The verse break is an effective and compelling swathe, that compels you to rewind and play again. A wealth of imagery and emotions are brewed up, and you are caught up in the sonic waterfall. If the song's title summons up armies of vague and dead-eyed city-dwellers; aimlessly ambling forth, the body of the song (temporarily) take your thoughts elsewhere. The narrative turns to a more personal and first-person account; our heroine asks "I see you/Do you see me/Reaching through/Your life's debris"; you wonder whether she speaks of a relationship, or a friend in need. It is likely that a paramour or former sweetheart is being addressed; our heroine's smoky and seductive vocals provide a sexy breathlessness and meaningful directness that emphasise the words. Whilst picking up the pieces and clambering through the rubble (of a disjointed and fragmented human). In the way that the verses have the same pace, measure and sound give it a pleasing singularity and potency; as well as provide an effective and appropriate countenance. With our heroine wondering "Will you ever/Come awake/And give the love/You love to take"; as well as asking for reciprocity and receipt, it seems that she is asking (the anti-hero) to reassess their way of thinking. Here is someone whom has taken from life and picked the pockets clean; our heroine is pleading for some sort of revelation and rebirth. It is not just the incredibly catchy (in a great way) and sensual composition that hits hard, but also the potent and impressive vocal (the way that "take" is sung; it has a sharpened tongue and plenty of bite) wins you over; it is a juxtaposition against the composition but also an intoxicating facet. Once again the cooing and chimerical vocal sway arrives; containing greater meaning, relevance and potency the second time around. As well as each of the duo having their individual talents (Brayton: percussion, bass and production; Harris: vocal, guitar and production), it is when they combine that the greatest reaction is provoked. The lyrics are at once oblique and mysterious; yet unmediated and emotional as well (giving the song a mobility and nuance); yet the compositional commingle makes it for me. In the breaks between the verses, the duo spar and combine beautifully. The guitar's restlessness and sparks counterpart with Brayton's effective impetus and pace; the drumming keeps the song restrained yet provides huge emotional force; similarly the bass drives the song forward and keeps it flowing strongly. When our heroine introduces us to the song's protagonists, some vivid -yet tantalizingly open ended- words are painted: "Sidewalk zombies/Everywhere/Sing along/And you won't care." It is during this section (the chorus, effectively), that our heroine's vocals duet with one another; echoes are build; giving the lyrics an additional majesty. It is around the 2:44 marker that the song becomes zombified and distorted; a more ethereal and detached parable is presented. Brayton pummel and smashes; a tribalistic and striking drum solo is offered up; when our heroine's wordless vocals are infused the atmosphere has a ghostly and storm-weathered heaviness to it- before our duo pick the mood back up. The outro. is one that has a delirious and weaving charm to it; we start off with lighter and more mellifluous beginnings. Before too long, the guitars become mechanised, weaponised and biting (with a Pixies-cum-Grunge undertones); elements of The xx and Jeff Buckley come into the mix and the monster mutates and evolves into something with teeth, lust and venom. By the closing seconds, the vocal has died away, and the track ends its life. First impressions are of another triumph by the duo; another track that keeps their key cores, influences and hallmarks intact, yet provides a change of scenery. Through the lyrics and composition, you get a real sense of detachment and need; of streets infested with vacant-eyed wanders; of anti-heroes being given a dressing down. There is no sermonizing, piousness or over-emotiveness at all, as our heroine's vocals keep everything ordered. Kudos must be given to both Harris and Brayton, whom provide life, colour and urgency to a song which demands attention. Harris' vocals have edges of Hynde and Salvador, yet imbued with a distinct personality and flair- one that not only the aforementioned do not posses; but one that has been synonymous across The Open Feel's entire back catalogue. It goes from calm and soothing; through to invigorated and impassioned; along to hugely powerful- with layers and colours in-between. Her guitar values are equally forceful and wide-ranging; providing solace and calm when needing, but capable of stirring up a huge amount of passion and life. Brayton's bass and drum parbond almost steals the show. The former is solid and temporized when it needs to be, yet it always drives the song forward and keeps everything focused and compelling. The percussion pitter-patter and seduces when our heroine does likewise; it rises and slams accordingly- as well as summon up spiritual demons and mass disorientation. At times there are beautiful drum fills and sections that make you smile and overwhelm it is another component I am familiar with, having surveyed the duo previously. The production is brilliant, too; it is not cluttered or too polished; all words and notes are sharp and clearly intelligible- nothing gets buried in the mix or muted at all; there is a pleasing balance and blend that benefits the song hugely. Overall, it is a wonderfully written track, whose lyrics not only can be understood and appreciated by everyone, but show ounces of heart and passion- as well as a feeling or disenfranchisement and weariness. If you are unfamiliar with the band, then the minor tones of The xx and Radiohead come through; there are some melodic sprints that put you in mind of Mazzy Star as well as The Joy Formidable. Whilst there are some subtle comparables, nothing strongly comes to the forefront, as the abiding impression is of a song (and duo) very much their own bosses; two people whom have an intuitive love of the past, yet are as fresh, original and vibrant as nay act out there. Sidewalk Zombies is one of the finest things I have heard from the duo (that says a lot too), and proves mouth-watering, with regards to a (potential) future L.P. As much as anything, it is a track that hits you at once, yet requires a repeated investigation for its meanings and beauties to be fully revealed. In a market where there is still a lack of true quality and a leaning towards disposability, The Open Feel are a duo who offer nuance in spades; songs that are layered and memorable- and a future which is going to be gilded and rewarding, indeed. It goes to show just how vital it is that we here (in the U.K.) embrace the L.A. twosome (as well as their local colleagues); as their music not only provides much-needed diversity and flavour, but are tones that can be adapted by foreign markets; appeal to multiple nationalities- and ensure that the duo have a long and busy (future) touring schedule. In a year that keeps offering up surprises and wonder, another one has been presented.

The Open Feel have deftly succeeded in creating another nuanced and layered song; one which wins you over on the initial listen, yet reveals something new with each additional play. Harris' gorgeous voice has few equals in terms of its effect on the ears; her delivery and performance(s) gives such weight and meaning to each line. As a guitarist, she summons up a great deal of excitement and emotion; electric notes are often subtle and composed yet manage to say a hell of a lot. Brayton is a skilled and fervent percussionist whom supports Harris wonderfully; mixing in with guitar chords and giving songs a sense of wonder and conviction. Similarly, his bass work is well-defined, evocative and memorable; giving the detailed tracks a sense of mobility and energy. Having listened to the duo's early tracks (from 2011), I was aware of, and am acutely in tune with just how authoritative and compelling their music is. Their debut E.P. is a collection that more minds need to investigate, as it has a timeless appeal that is sure to inspire a lot of new musicians. Since then, the L.A. pair has grown in confidence and ambition; each new song offer something new, but also provides something tantalising and fresh. As songwriters, you will be hard-pressed to find any other act whom have such a range and ability. Lyrics are always poetic and meaningful; instilled with meaning and stirring landscapes- as well as a lot of relevance and modern-life philosophy. When all these elements are bonded together, you find yourself in awe of the duo, and keen to seek out more of their work. Plans are afoot and movements are being made, towards their debut album, and it will be a collection that will offer promise, intrigue and a huge amount of quality. Whether our duo will incorporate tracks such as Kiss, Kill (Back to Love), Pushing Back and Wake This Dream, I am not sure, yet it is a probable eventuality. The future is very much in their hands, and Sidewalk Zombies is another gem of a track that possesses all of the duo's hallmarks- but provides an evolutionary step forward. You can tell how in love with music the pair are, and this sense of devotion comes through in the song strongly; there is no sense of fatigue disinclination- conviction and passion are evident in every note. I am always fascinated to see what acts are coming through, and what is being offered up from music's newcomers. With a few years of experience under their belt, L.A.'s The Open Feel have overcome the hurdles and obstacles that music throws, and marked themselves out as one of the scene's very best. Recently, I have been in discussion with a contact about how difficult it is for acts located (in a particular country) to get attention outside of their native land. Whilst there is a great amount of love and attention from U.S. fans and media outlets, it would be great to see U.K. press outlets offering up their thoughts. California is providing some of the most exciting and original acts that music provides, and I know that there are a great amount of British venues that would welcome them in. One of the problems I can see with regards to linking musicians to (possible) fans, is the media links- or lack thereof. It is a subject I have explored in past outings, yet it has once again reared its head. The Open Feel have a lot to say, and have already made some stunning footprints; ones that might have been out of the range of U.K. media radars. I know a few British publications have assessed the L.A. duo, yet there are far more whom instantly latch onto their sound (N.M.E., Mojo and The Guardian for starters). When their album does arrive, I hope that a missive will be provided; our best and more influential music avenues will investigate The Open Feel and give them a fair hearing. A fair few U.S. acts are being highlighted by our media outlets, yet I feel that too many others are not being appropriately represented. Our duo have the affections of their local fans; of the U.S. at the moment- and a hungry foreign market awaits them. In the upcoming weeks I hope to investigate the likes of Little Dove and Quinn Archer- acts working around L.A. and making waves there; keen to see what their futures hold and where they are heading. It is one of the busiest and most productive music cities in the world, and to my mind, more eyes should be trained here. If The Open Feel and Sidewalk Zombies is anything to go by, then a veritable cauldron of psychotropic heroes are waiting for attention; for a wider audience to hear what they are producing. Our intrepid duo will probably not pay too much mind to this (minor) injustice for now, as they prepare to make the moves that will appear on their upcoming album. Whatever the next few months hold, The Open Feel will be making themselves known to a great deal of new fans and supporters, and making their intentions known. I hope that they come to London soon, as not only will there be a multitude of venues keen to host them; I would love to watch them play- their live performances have been marked as particularly stunning. For now, and for everyone else, investigate the qualities and insights that Sidewalk Zombies offer up; go back and examine the duo's past work- and familiarise yourself with their multifarious musical spectrum. The remainder of this year will prove important and prosperous for them, and I cannot wait to hear what the Los Angeles two-piece are working on. Until then, I am going to replay and re-examine the cannon of Harris and Brayton, in all its glories. They are a duo whom are growing in stature and confidence, and have not missed a step over the last few years- they just get better and better. When you really think about it...

THAT is something you do not hear too often.

________________________________________________________________________________

Follow The Open Feel:

Official:

http://theopenfeel.com/

Facebook:

https://www.facebook.com/theopenfeel

Twitter:

https://twitter.com/theopenfeel

BandCamp:

http://theopenfeel.bandcamp.com/

SoundCloud:

https://soundcloud.com/the-open-feel

Reverb Nation:

http://www.reverbnation.com/theopenfeel

YouTube:

https://www.youtube.com/user/TheOpenFeel

iTunes:

https://itunes.apple.com/us/artist/the-open-feel/id383477905

Track Review: Knuckle- Living Hell

TRACK REVIEW:

Knuckle

　

Living Hell

9.5/10.0

The single, Living Hell is available from:

http://weareknuckle.bandcamp.com/

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They met by happenstance; came together over a shared sense of humour and musical tastes- and formed a beautiful relationship. With their music being described as sounding like "The Blacks Keys on crack", no knuckle-draggers are these: they are fully evolved men, intent on taking your breath away.

_____________________________________________________________________

I am always amused and surprised when I come across...

new musicians and acts. The nature in which certain bands are duos are formed can be as a result of a long search; a rigorous set of auditions and 'interviews'- or it can happen instantaneously. From my own perspective (as a man in need of a band), I feel the process- for me- will involve a lot of the former; some weeding out and experimentation; a well-worded band notification advert- to find four people whom are a 'perfect' fit. When it comes to finding players and like-minded souls, to help put your music together, it can work like dating to an extent: bear with me here. Certain types take a more mechanical approach to recruitment and seduction; a business-like approach is taken with regards to selecting musical cohorts; often concentration and formalisation is attained after many years of performing and rotation (of band members). One of the reasons I have always wanted to put together a band, is not just to have my music scored and realised; but form friendships and new bonds. Fellow musicians not only allow you to fulfil your ambitions and make sweet music, but kinship and solid relations can be formed. Many of the duos and bands I have surveyed over the months have stuck in my mind, because you can really hear the closeness and understanding between the members. If there is a sense of telekinesis and innate intuition between band (or duo) members, then the music has a sense of authority and freedom- and the quality is a lot higher. Sometimes it can be necessary to take time and audition stoically, in order to find the best band members. If the bonds between the players is not solid and honest, then the act can implode and dissolve. My featured subjects seem to have that instantaneous affection; a musical sympatico that has caused reviewers and critics to mark them out as big names for the future. So many new bands negate the importance of friendships and personality clashes; often acts can be doomed from the start because of differences between the members. Of course, if you have been playing music with the same people for years, then a certain sense of fatigue and weariness can creep in- and take its toll at some point. If we apply the relationship paradigm to music, then there is a simple and universal truth: there is no such thing as a perfect relationship/marriage. At some stage during a musical career there are going to be roadblocks and hardships; times where heads may clash and tempers flare- it is how you overcome this that can make-or-break the act. Naturally, psychics are frauds, and no-one can predict the future, but I can always tell (from the off) when a new act have a solid bond; I can detect a natural sympatico and understanding that will lead to longevity and a golden future. It may seem like a minor point (I am making), but it is a vital issue that has not been explored that much. If you look back at all of the acts whom have broken up; those that suffered a premature entropy and decline (because of frictions within the ranks), it can prove quite unsettling reading. You wonder just how far the likes of The Libertines could have gone, were it not for the various fights, drug battles and Pete Doherty-led woes. The boys are playing a gig very shortly, but it is nothing more than a cash-in and last hurray: the days of The Libertines are long gone. Similarly, bands like Queens of the Stone Age have seen members come and go; a revolving door policy seems to be in place- yet that band seems as galvanised and assured as ever. I just get the impression that the world has missed out on so much incredible music, because of strains within the group. Maybe I am romanticising music and neglecting the golden rule of marriage: 50% of them end in divorce (or thereabout). Regardless, when there is an instantaneous lustre and affection between the musicians, you know (or hope at least), that their careers will be relatively carefree and smooth sailing. My Yorkshire-based duo are a perfect case study of that kind of explosion; a chemical bond that leads me to belive that they could be playing gigs and making music for many years to come. Before I get to them, I have been thinking about 'heavy' sounds- or the lack thereof. When I come to witness a new band whom labels themselves as 'Rock' or 'Metal', naturally, I expect sounds that verge on the satanic- restrained to an extend, but imbued with enough force to get take you off your feet. Over the last couple of years, I have not come across too many examples that fulfil this criteria. It is definitional dishonest to play muted and pared-down sounds (if you truly see yourself as a Rock band), and it is a disappointing aspect of music: the grit and barbed wire kick is lacking. There are- as you know- quite a few new acts whom have steel toe caps; those whom know how to use them- and are authentic masters of the genre. When reviewing artists such as Los & The Deadlines, Royal Blood, God Damn and Crystal Seagulls, I can tell from the start that they had a clear knowledge and understanding of (the harder side) what I am saying. The rise and profitability of acts such as Arctic Monkeys, Q.O.T.S.A. and their ilk, have shown that there is a definite need and desire for something more primal and raw: music that gets inside of your brain and rattles it around. When exploring the avenues and back alleys of new music, my search is often fruitless; often I come away disappointed and annoyed; wondering why there are so few artists whom prefer their sounds heavier and more pulsating. Certain music sites and publications provide enough examples of acts whom turn the volume all the way to 11, yet too few are making their way past the realms of niche and specialised corners- and to the fore. Royal Blood are an example of an act whom are making their way into the mainstream; a duo whom seem capable of bringing their brand of whiskey-soaked swagger to millions of ears. It is perhaps true that the mainstream will always favour sounds that are more 'melodic' and elliptical sounds; those which aim to soothe or seduce.

Before I give you some insight into our duo, I should let you know that Knuckle consist:

Jonny The Gurth - Lead Guitar/Lead Vox Ben Ballwanks - Lead Drums

Perhaps not the most charming or BBC Radio 2-friendly monikers, but it does display the humour (perhaps laddish) that comes through. Our duo are by no means your bottom-rung lowest common denominator music purveyors, as their music is filled with wit, emotion, passion and charm- they are a bona fide awesome twosome. It is not only the incredible music that strikes you, but the camaraderie and brotherly spirit that shines through (between Jonny and Ben); there is a wonderful sense of natural compatibility, that gives their music richness, conviction and plenty of spark. Before I explore specifics, I shall allow the boys themselves to summarise:

After meeting at a Halloween 2013 gig, while Ben Wallbanks (Kava Kava, Your New Antique, Steve Albino and the Lovesocks) was wearing a potato sack on his head and tights on his legs and Jonny Firth (Crybabycry, Jonnythefirth) was dressed as Jonny Firth, Knuckle were formed. Their first jamming session resulted in them writing 12 songs, a couple of practices later and they were already gigging. The two piece, with a combined age of 58 (it keeps growing), are younger than lots of bands because they normally have more members. The filthy garage blues music they make has recently been described as "The Black Keys on crack". Knuckle are gaining a reputation for explosive live sets and the artistic freedom of their compositions. A fondness for playing as loud as possible, their creativity, flair and heavy blues style has seen them play support slots which have been far better received than the headline act. Career highlights so far have included sets at The Wharf Chambers, Milo and The Cockpit in Leeds, The Hop in Wakefield as well as London shows at The Old Blue Last (Shoreditch) and Birthdays (Dalston). Reviewers have praised the lightning fast and intricate style of drummer Ben Wallbanks and singer/guitarist Jonny Firth’s emotive blues lyrics and engaging vocal range as well as his energizing fuzzy guitar riffs. Happy Days Music Blog named Knuckle as one of their "40 Bands To Keep An Eye On" alongside the likes of Catfish & The Bottlemen, Royal Blood and Post War Glamour Girls. Happy Days are clearly not alone in their view as Knuckle will be given the rare honour of playing two sets at this year’s Live @ Leeds Festival and will also be playing at Long Division Festival. Recorded at Greenmount Recording Studios in Leeds, ‘Living Hell’ is their first self released single available as a "pay what you want" download from their Bandcamp page. Second single "Ejector Seat" will follow in the next few months before their debut E.P. which is set to be released in September on the revered Wakefield label Philiophobia Music, who are also responsible for releases from other fantastic bands including The Spills, Imp and Runaround Kids."

In regards to this review, I am 'cheating' a little bit. I have known Jonny the Firth (or Jonny the Gurth as he eloquently rebrand himself; a god of extraordinary penile dimensions); accustomed and in tune with the wonders that he offers up. Back in March of last year, I reviewed Jonnythefirth album Broken Bones. The 13-track release was something that appeared out of left-field; an L.P. that I was not expecting and one that stood apart from everything that was available at the time. When I delved into the tracks themselves, I was compelled to write:

"The guitars are diverse and intriguing. At their most primal and urgent, they are electrifying and awe-inspiring; whilst when toned down they are equally impressive, yet enunciate a more sincere and sensitive side to proceedings. I was impressed from start to finish, and was impressed by the lyrical depth and wit, and were never heavy-handed or immature. There is a real heart and bite to the range of topics and sentiments illustrated. The vocals were constantly intriguing, imbued with an authentic blues timbre throughout, swaying between pugnacious roustabout and tender-hearted Romeo. It is the overall concoction of all these ingredients that makes the album such compelling listening. There are few blues punk bands, no least based in the U.K. at the moment. Amongst the swarm of pop, soul, and 3rd rate rock, it is refreshing and inspiring to hear such a confident and diverse artist who at once can make music sound so fresh, and at the same time so familiar, never succumbing to predictability or pastiche."

Each of the tracks took your breath away; put you in mind of classic acts, but also struck you with their originality and vibrancy. Jonny's guitar playing and compositional talents were evident and prescient, but our hero also displayed a knowledgeable affection for the Blues of the '30s and '40s, as well as the U.S. Blues offered up by the likes of The White Stripes. His voice came across as fresh and striking; not indebted to another, yet composed of grit, gin-soaked drawl and effusive and light-hearted shades that lead me to believe that he was one of the best new talents on the block. When I was summing up, I scribbled:

"If you have not heard of jonnythefirth, then you really need to. I am a big fan of blues and punk, as well as modern oral historians of the genres, such as The White Stripes. There are a lot of similarities to be heard within ‘Broken Bones’. The guitars are diverse and intriguing. At their most primal and urgent, they are electrifying and awe-inspiring; whilst when toned down they are equally impressive, yet enunciate a more sincere and sensitive side to proceedings. I was impressed from start to finish, and was impressed by the lyrical depth and wit, and were never heavy-handed or immature. There is a real heart and bite to the range of topics and sentiments illustrated. The vocals were constantly intriguing, imbued with an authentic blues timbre throughout, swaying between pugnacious roustabout and tender-hearted Romeo."

The Jonnythefirth shores may have been (temporarily) abandoned or on hiatus, but I hope that Jonny does reignite the old act; puts another L.P. out there, as I adored the previous one. Just as I was about to weep on my laptop, I was buoyed and reinvigorated when I heard our hero was making music. As well as working on other side-projects, Jonny has been dedicating his time and attentions to Knuckle, a Yorkshire-based duo whom have been setting tongues wagging. If you look at the reviews below, you can tell just how important and impressive their music is:

"a blast of scorched earth rock with a hint of blues and surf guitar thrown into the mix. Singer Jonny Firth has a suitably gravelly voice whilst drummer Ben underpins the songs with some impressively tight, technical drumming."

Leeds Music Scene

"A couple of months after forming most bands wouldn’t be ready to gig and they certainly wouldn’t have a well crafted ten song repertoire to perform. They may be in the early stages and only seven gigs in but they are almost psychically tight and sounding great. They have a real flair for song writing and each track is a lesson in structuring. The set was full of interesting and clever twists and turns combined with engrossing builds and breakdowns, especially during ‘Idiot Bastard’. There was a joyous feeling of surprise and appreciation every time they steered away from the obvious direction everyone half expected a song to go in".

Counterfeit Magazine

"The track opens with this filthy riff, these chainsaw guitars barely concealing something the Arctic Monkeys might have used. It has this sort of laid back feel, despite the blistering drums that occasionally take the track near to oblivion. Despite that, it has the sort of blues tune that is impossible not to like. Sounds on this evidence that Knuckle are a filthy as they are fantastic. Or is that the other way around."

Backseat Mafia

"Their sound has been described as ‘filthy garage blues’, drawing comparisons to US duo The Black Keys. Although they haven’t been together long, the band have already played sets at major venues across Yorkshire including The Cockpit Leeds and The Hop in Wakefield. A fondness for playing as loud as possible, their creativity, flair and heavy blues style has seen them play support slots which have been far better received than the headline act. And you can appreciate why! This is a band which epitomize rock and roll with tracks packed full of grungy rock riffs and attitude. We love it!"

Beat2aChord

"'Living Hell' is a slice of dirty, raunchy, bluesy rock pie. There's nothing revolutionary here but just as that old guy down the local in the leather jacket always manages to pull, this music will always make people want to rock out. The Black Keys is the obvious to comparison to make but with a British twist in the shape of the Who or Led Zep. Immensely noisy stuff for a two piece and so dirty you'd need a hot girl in a pair of Daisy Dukes to sponge it down but she'd be pregnant before the job was even half done. If you followed any of that you're a better man than I am but the bottom line is that this rocks and you should get it in your life."

Listen With Monger

This brand-new duo have high ambitions for the future, and have some illustrious and key dates coming up. As well as playing around Leeds, Yorkshire and the north, I am sure that their minds and instruments will be journeying south; coming to London and us soft southern wimps. Even though the keys are in the initial stages of their career, I know how high their hopes are; how far they want to go, and this comes through in their music (which I shall get to soon). The fact that the duo managed to write twelve songs in four hours means that not only do they have a natural bond and shared musicianship, but also a passion and drive for what they are doing. There is a clear sense of down-to-Earth appeal; our heroes are two of the boys and are soaking up and drinking in (literally in a lot of cases) all the wonders and experiences that music has to offer. At the moment, the duo have close to 500 fans on Facebook; a little under 400 followers on Twitter- and a whole lot more in the live arena. I am sure that with a bit of time, the fan numbers will swell and burgeon, and it is only a matter of time before national publications are going to arrive at Knuckle's door. If you are unfamiliar with Knuckle, I would advice seeking them out on social media. Of course, there are going to be tales of boys-being-boys; unpalatable pre-gig rituals and middle finger philosophy; but there is plenty of humour, fun and effusive elements to enjoy and smile to. It is always exciting to witness an act in their infancy; making their first (chess) move, and putting it in the ether. Living Hell is the duo's lead single, and a song that has been doing the rounds across social media. Many are latching onto its wonder and raw energy, and sharing it amongst friends and followers. Knowing quite a bit about Jonny the Firth already, I had a certain degree of education and expectation going in, so primed myself for an inaugural listen.

A certain sense of eeriness and mystique open Living Hell. Perhaps befitting of the song's title, initial moments mix creepy and tip-toeing sonics. Whether achieved using electric guitar or electronics themselves, I am not certain, but it is an unexpected and memorable opening. A slight pause and respite builds up suspense and tension, before a chug of guitar enters the fray. There is an electrifying sense of build-up and momentum; something is growing and plotting its course- waiting to strike. The guitar coda that follows is a weaving and snaking sound; one imbued with power and fuzz; funky undertones and an authentic sound of Punk and Rock gods of old. Wallbanks is quick to levy and bolster his partner-in-crime; augmenting the intro. with a punchy and powerful percussive rattle. The precision and force that comes into view not only stands you to attention, but builds upon the song's (already) potent flair. When the two combine- the guitar and drums unite- the overall effect is one that invigorating. The beast has woken and is starting his surveyance of the town- ready to hunt. The way that the guitar and drums parabond and spar off of one another reminds me of mid-career White Stripes; there is a funkiness and kick to the sound that has tones of Physical Graffiti Led Zeppelin; a bit of Rage Against The Machine, perhaps, but unless my brain and honing devices are faulty, I cannot think of any comparisons- it is a coda and sensation that sounds very much fresh, alive and unique. After the intro., which provides sex appeal, spunk, funk, spit, sting and punch; the vocal arrives, with our hero stepping up to the mic. With some distortion and maybe a fleck of Alex Turner's insouciant drawl, it is said: "I am forever with you". The words are delineated and offered with a relaxing calm; there is a matter-of-fact delivery to the line, yet the vocal is hard and prescient. Less bait-and-switch but command and conquer, the duo combine marvellously. After the first line is laid in, Wallbanks provides a crackling of percussion; riffling a quick punctuation that bolsters the lyrics and leaves you anticipating what is to come. When our hero announces "I love that things that you do" his voice rises and writhes on the final word; the initial lines are repeated (with a more breathless pace); the emotion and tension coming through to the surface. Our hero lets it know that he's always alone; at home with his "cheap telephone", it seems that there is a lustful intention; our man is sitting and letting his mind wander- sending out a message to the anonymous heroine. In terms of vocal and instrumental by-play, there are some sensations and recollections of Humbug-era Arctic Monkeys; some touches of their A.M. work, too. Whereas the Monkeys' tracks such as R U Mine? and Crying Lightning had some Josh Homme inferences, Living Hell is no Homme-nym; there are distinct Jonnythefirth hallmarks- the same grit and swagger that was synonymous in Broken Bones. Wallbanks adds huge power and intrigue with some subtle touch. As we approach the 1:00 mark, there is a decisive sense of a storm brewing. Our hero's voice becomes more barbed and angered; the guitar and percussion mutates into an imperious and rebellious form. As (once more) the previous lines are re-invoked- once more our hero's voice rising on the last word- the song elicits an explosion. Guitar notes are dirtier and fuzzier; the percussion rumbles and pulverizes- and the song'e evocativeness and vivacity is emphasised. At this point in the story, you get the impression that a riot has just occurred; our hero repeating a determined and purposeful mantra- his voice determined and impassioned. Just as you are predicting a full-out showdown, the mood is brought back down; the pace and sound of the opening 1:00 comes back in, and another twist in the snake's tale. With your expectations superseded and subverted, you are fully on-board; curious as to where the boys are going. The guitar- this time around- becomes more lascivious; human of form it becomes more sexualized and low-down. When it wails and hums, you get the impression that our hero is deploying it as a metaphor; a way of putting certain images in your mind- without a word being sung. The drum work is sterling and levelled; it is punchy and testy; swaggering and intent. Lyrics returns us to the previous evocations; our hero re-emphasises solitude and cheap telephones; it seems that this time around a few more surprises will be thrown into the mixer. With a raucous scream elicited after "cheap telephone", the chorus comes back into the fray. Our hero is in a living hell; his mind twisted and contorted- some of the decipherability and audiblity of the chorus' lyrics is lost; the vocal is mixed lower than you'd imagine, making it hard for the words to be transcribed and understood. Minor qualms aside, the chorus has a swaying and chant-able weight that sees our duo combines emphatically. Jonny's guitar groans and kicks; Ben's drum flails and slams; before long a new parable is unveiled. A rhythmic and militaristic march is heralded; changing the song's pace and (once more) catching you by surprise. There is the sensation of our hero marching into town; rain pouring down (and bottle of Jack Daniels in hand) he is kicking beer cans and rubbish out of his way. There is a pugnacious and altitudinal majesty to the segment; it is robotic yet animalistic; crepuscular and fierce. When our hero interjects, his voice is softer and more soothed; advising (his sweetheart) to "Come on/Calm down", the protestation is interjected by rifled percussion and vibrating guitar- the drumming is particularly impressive, with Wallbanks on the brink of explosion. The final minute sees our duo notch the intrigue-o-meter all the way to 11; the pace changes from a syncopated kick to a more rampant drive. Our hero's voice seems wracked and filled with implore; its conviction and Blues sound hits the mark fully; the percussion and guitars beautifully back this up. The repetition of "Come on" sees our hero in feral mode; possessed by a carnivorous demon, it sounds like love and life are ripping his appendix out- through his scrotum. The pained cry and blood-curdling screams have a conviction behind them that you cannot shake off; you can practically hear the sweat fly across the studio floor! After a short spell of enraptured fever, the song changes once more; the twiddling and vibrating guitar-and-drum parable arrives once more- taking the song down to land. Once Living Hell reaches its climatic end, you are left to asses what has come before. It is a hugely impressive and catchy song; one that is anthemic and memorable in the extreme. In terms of negatives you are hard-pressed to think of any. The only quibble I have, is with regard's to the chorus' opening words. The instrumentation gets in the way a bit and overcrowded the vocals, meaning it is a little difficult to understand what is being sung. The rest of the song has a clarity and concision that is near-faultless (so I apologise to the boys if I have misquoted any lyrics). In essence, there are a multitude of positives I can offer. The production (mostly) is wonderful and fits the sound perfectly. It is not too over-done or polished and allows the raw and stripped-down sound to come to life; to become fully realised. The economy of language is another high point; the song is built around just a few lines, yet the way they are deployed and delivered is highly effective. Our hero's voice is at once wracked and tormented; the next Blues-tinged and sexy; the following calmed and restful- it develops and changes seamlessly. All guitar notes and lines are emotive and impressive; the riffs are catchy and argumentative, and perfectly score the song's lyrics. Wallbanks' percussive input is solid and hugely powerful; it goes from softer and measured moments through to heady and rampant heights- you get the sense that he is going to be a hugely effective component in the Knuckles machine. The track's mobility and changes of pace are a huge highlight, and you never knew what was coming next- keeping you on the edge of your seat. It is the overall sound and sensation of Living Hell that is the most striking facet- the song is an emphatic opening statement. It is not too hard and foreboding yet is instilled with as much grime and sweat as you would expect; there is power and guts throughout, and the song's themes can be easily understood and extrapolated. Given that the duo are newbies and brand-new names on the scenes, it is stunning at how confident and assured their first single is. Many have paid testament to the fact that the duo have a huge amount of impressive tracks to their name (some stronger than Living Hell); something that hints at a prosperous and glorious future. There aren't a huge amount of duos on the scene (and fewer male ones), so there is certainly going to be a large market for Knuckle. With songs like Living Hell to their name, they are likely to rise to the same prominence as that of Royal Blood- probably in a matter of months.

If there is going to be a reappropriation of the current order; a shake-up of the established guard, then two things need to occur. First of all, personal relations need to be stronger; new acts need to ensure that any dirty laundry or issues are aired and resolved as soon as possible. I have seen many artists whom had such potential and possibility, yet frizzled out because of fractious spats and quarrels between its members. A sense of alacrity, quality and potency is obtained when issues and personality problems do not get in the way, so it is axiomatic to say that quandaries and differences should be ressolved- at the earliest of opportunities. The second thing that needs to happen, is that the public need to be more open-minded. There still seems to be a sense of stigma and discrimination afoot in the wider realm. When you bring a new act to people's attention and mention that their sound is heavier or more primal, then noses are turned up. A lot of the music-buying public are too rigid with their tastes; not willing to accept great sounds- fearing that their head may explode if they listen to it. Just because an act prefers their sounds to be a bit more forceful, does not mean that they are Thrash Metal or the spawn of Satan. Past wonders such as The White Stripes and Led Zeppelin has an artistry and projection that mixed Blues and Rock together with Punk and a little filth: topped off with a smidge of beauty. Modern paramors such as The Black Keys, Royal Blood and Queens' continue this trend, whilst lobbing in some sweat and anthemic; plenty of nuance and smoothness can be heard- and of course, plenty of memorable riffs and sing along mandates. I am not suggesting that everyone throws away their record collection and starts from scratch; starts embracing new genres of music- and forgets about everything else. The point is, that acts such as Knuckle are deserving of wide exposure and acclaim. Our duo have a working-class outer and a certain sense of blokeishness to their personalities. Being aware of Jonny Firth and his previous incarnation, I knew about the man behind the music. He is a witty and friendly guy; there is some bite and beer-soaked stumble; Yorkshire runs through his blood and he is as genuine and authentic a man as you will meet. When reviewing his Broken Bones album, although there were scenes and sights of U.S. Blues (White Stripes-cum-The Black Keys), and coal mining, there was plenty of home-grown influence and northern wit. His album (and music) is class-straddling and borderless; it appeals to all and is not just aimed at niches and clandestine sects. Similarly, Knuckle has a universality and everyman appeal that should see them being regarded be a wider audience. Sure, there is going to be some profanity; a modicum of sweat and spit; some Surf explosion and Primal Scream Therapy in various places, but you know what: how can that be a bad thing? In every relationships you need urgency; the heady rush and sense of combustible passion, otherwise you become boring and middle-aged. Too many new acts have a sense of twee suits and elbow patches; a restricted sound and a hesitancy that can be seen as a little vanilla and temporized. Knuckle are going to be offering up some tenderness and calm; some layered Blues sounds and plenty of diversions and colours, but also some head-on collision too. Many people whom have seen them live can pay tribute to the fact that they are serious names to watch. Their range of material is impressive and the boys are instilled with multifarious charm; sonic diversity and plentiful of ammunition. In the case of Royal Blood, we know that there is a desire and need for acts of their kind; Knuckle could well be making their way into the mainstream before too long. I am sure that our duo will be thinking of a future L.P. or E.P. and making plans as we speak. I am not overly familiar with Wallbanks (up until now), but knowing Jonny, I am aware at how hard-working and prolific he is. Knowing him, it may be a matter of weeks before something album-shaped is offered up, but I will not be making any firm declarations just yet. For now, the lads are enjoying taking their act on the road and playing to as many faces as possible. They have just come from Live at Leeds; a festival that showcased some of the nation's best acts. With the likes of Royal Blood, Indiana, Love Zombies and Jaws featured, the city is seeing a lot of great artists play. Knuckle have not been around for too long, yet are already making big marks. I have gone into detail before (dozens of times) about what Yorkshire and the north is offering music, and the sheer range and wonder of the acts offered up is scintillating. Our heroes are amongst the very best out there at the moment, and it is no hyperbole to say that they could be one of the country's most promising new talents. I adore the likes of Arctic Monkeys, and feel that there are some comparisons with the Sheffield band. As well as some Monkeys elements, there are heavy edges of the punk masters of the '70s; classic acts such as Led Zeppelin and The Who- as well as plenty of modern-day relevance. It is clear that there is a lot of affection between Ben and Jonny; the two had an instant connection that comes through in their music. Living Hell is the distillation and manifestation of that friendship and musical bond- one that will ensure many years of prosperity. When you hear an act that have such a connection of tightness to them, you always feel that they will go the distance; grow in strength and make multiple albums and songs. The sense of rambuctiousness and grit is evident within Living Hell; there is sweat, lust and anger to be heard- but also plenty of nuance. Jonny has a gravelled and emotive voice that makes everything sound convincing and urgent; a range that goes from a soft and more laid back feel; right through to a scorched earth, balls-to-the-walls rampage. Wallbanks is a tight and proficient sticks man, but one whom possess a huge power and sense of majesty. At times it is as if Dave Grohl and Neil Peart sparring with an octopus; testicles and wood flying everywhere! I was staggered by the amount of music, sound and energy that was summoned up by two people. It is always impressive when a duo can conjure up the equivalent potency and force of a fully fledged band; concentrate the gravity of a four or five-piece and do it with a greater efficiency. Knuckle are spoiling for a fight, but not one that will result in blood and tooth loss. They are fighting to make their name heard and gain their rightful place in the upper echelons of music. Recent gigs around Yorkshire are whipping up fervent praise and paen, and it quite clear that it will not take too much time for the duo's full force to take effect. They may in the embryonic stages and putting baby steps together, but the initial signs are incredibly encouraging. If you prefer your music softer or more Pop-infused, then I would advise some daring; break out of your mould and embrace something fresh and bold. Too few take the trouble to listen to music that falls outside of their comfort zone; fearful that it will lead them to the dark side. Have no fear, as Knuckle are here to not only embrace and electioneer, but make sure their music burrow into your senses and overwhelms. For that reason- as well as every other reason I have laid out- I would advise this:

GIVE them a thorough hearing.

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Follow Knuckle:

Facebook:

https://www.facebook.com/weareknuckle

Twitter:

https://twitter.com/weareknuckle

BandCamp:

http://weareknuckle.bandcamp.com/

Tour Dates:

May 09

Bull & Fairhouse

Wakefield, UK

May 24

BrewDog Bar

Leeds, UK

Jul 30

Zephyr

Huddersfield, UK

Sep 12

The Hop

Wakefield, UK

Sep 12

Long Division Festival

Wakefield, UK

Track Review: Jingo- Before You Were Born.

TRACK REVIEW:

Jingo

　　

Before You Were Born

9.6/10.0

The single, Before You Were Born is available from:

https://soundcloud.com/jingomusic/before-you-were-born

To investigate Jingo's previous songs, visit:

http://jingomusic.com/

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From a band whom are still criminally under-investigated arrives another track that lodges in the mind. If you are unfamiliar with the prolific and stunning four-piece, endeavour to rectify this.

_____________________________________________________________________

IT was only a couple of days ago, I was expounding the virtues of a select group...

of new musicians. After publishing my 200th blog post (hold your applause), I looked back at what I had written; surveyed the acts I had included, and something struck my mind: there were so many whom are still being overlooked. I guess 'overlooked' may be harsh terminology, yet too many of the artists I paid tribute too are deserving of a much larger support base. Solo acts such as Jen Armstrong deserve a record label to help support her itinerant and ambitious future; Chess, Elena Ramona and Second Hand Poet are diverse and brilliant young artists. Bands such as Universal Thee have a great and loyal following in Scotland, yet it seems that getting their name beyond the border is proving quite tough- or is a slow process at best. At the moment, I am speaking with the band's manager; trying to organise an event that showcases two Scottish bands (every few months) alongside two southern/London-based acts- and my featured artists are top of the list (to represent the south). The likes of Crystal Seagulls and Los & The Deadlines are on my radar too, as I feel that here are two examples of groups whom are worthy of huge fandom- yet seem to be working the media like a rodeo clown, in order to be seen. As well as (each act) being phenomenal musicians and diverse musicians, they are down-to-earth and everyman; they come across as hugely likeable and impressive: so why is it taking so long to get them their due rewards? It seems that due diligence is good enough (when it comes to media attention), and when it comes to promoting certain acts and artists, not enough is being done. I shall tie my point more directly when I arrive at assessing Jingo, but my point raises wider concerns. Acts such as Universal Thee are perfect examples that show that there is too much compartmentalization; not enough being done to spread the good word- beyond their native climbs. In terms of self-promotion, the artists are doing all they can; through Facebook, Twitter, SoundCloud, BandCamp (and countless other sites) music is published; updates given- and a whole host of information is put on their for the waiting public. I have touched upon (or molested) this subject before, but it is something that erks and annoys me; it has got to be easier to make the general public aware of great bands. I am aware that there are thousands of bands playing around the world; hundreds of great bands pioneering within the U.K.- yet social media is a powerful tool. Whilst the associated acts are making sure they do their utmost, there are plenty of sites dedicated to new music, whom are letting them fall through the cracks. Over the past two years, I have had the honour of featuring some splendiferous talent; bands and solo artists I believe are going to be on the precipice of a new movement; a wave of an eager musicians whom will take the mainstream by storm- and overthrown the more staid and bland elements we are witness to. Before I hop to my next 'big point', I will conclude by saying that more needs to be done. I guess it is a Herculean task to give appropriate attention to ALL the best acts (around), but it is not difficult to give them a helping hand at least. When I was reviewing Ruby Macintosh recently (a bold and bright young talent from Yorkshire), I was wondering why few others had latched onto her charms. She is a gorgeous and striking musician, and has had a hard enough last few years; it should be a given that the media in general make her job a lot easier. I suppose it highlights a wider malaise and pandemic; one that is going to see the death of some of music's best new acts. My featured subjects should have no fear, but I am still perplexed, mind. My second point regards bands in general; and their components and configuration. A lot of acts tend to be either all-male or all-female; take their players from one country or nation- few contain ethnic diversity or bi-gender membership. It may seem like a minor note or moot point, but I feel that some of the best and more daring music has come from acts where there is a greater diversity. Universal Thee are a band with male and female vocal elements; Los and the Deadlines source their players from several different nations; Issimo (a duo from Yorkshire) have boy-girl by-play- and there are others, too. It is not a coincidence that the acts I have mentioned are amongst the best the U.K. has on offer. With powerful and soulful vocal input (from the females of the acts); endeavouring and myriad sonic swathes from the rest of the band; it leads to a rich and fascinating palette. I guess there is resistance and hesitation mixing men and women in bands; some think that there may be arguments, a weaker bond or danger of capitulation- this is narrow-minded and foolish. Stronger community and creativity comes when you break away from homogenized and rigid formations. You are not going to turn into Fleetwood Mac or Pixies; your band will not implode or squabble when you put men and women together (they are aberrations and anomalies). I, for one, would love to see more daring and adventurousness when it comes to bands; my featured band are a great example of a group whom not only mix genders- but nationalities too, to great effect. I suppose that it is going to be hard to make positive and evolutionary changes in music; to rectify imbalance- and ensure that equality and fairness are bolder synonyms. I will go into this more in my conclusion, but I suppose I better get down to investigating my featured act. With U.S./U.K. commingle; potent and nuanced sounds, and huge potential, they are a group whom will be big names to watch.

Jingo is a group I have surveyed a few times before. Over the past year they have released a succession of singles; each different and displaying bold and diverse colours. When I featured the act in my last post, I proclaimed that these guys are going to be big names to watch; they will be on the tips of everyone's tongues in nary a few months. Their name may be a bit Google-proof, and you may not be familiar with them at the moment, but I would urge you to investigated all of their past work. My first encounter with the four-piece was when I investigated their track, 1Q84. When I completed my reconnaissance of the song, I was moved to write; "...the song is tight, focused and well rehearsed, and I am sure will become a live favourite. The combination of a sing along and memorable chorus, sharp and ubiquitous lyrics and an enthralling and battling percussion and electric guitar support that sets this song above many put forth by their peers. The shifting and unpredictable changes in tone and mood keep the track fascinating and unique, and is something many other groups would not think to do. The entire effect is contagious and commendable, and for a first song for a new band , it is quite an achievement". There was oriental flavours to be heard; elements of Arctic Monkeys; hints of Bird Courage- and a whole treasure chest of percussive wallop. When investigating the vocal turn from Katie Buckett, I assessed that "Our heroine implores to her paramour to not leave her and to take her with him. One can draw comparisons with female contemporaries such as P!nk, The Pretty Reckless and Adele, but she there is a credibility and intelligence that the first two do not posses". I came away from listening to the track, filled with admiration; completely in awe- and sure that I had discovered one of the best bands on the scene. Before I go into more detail, let me give you some band biography:

Katie Buckett - vocals/keys Jack Buckett - guitars/ backing vocals Joseph Reeves - drums Sahil Batra - bass/keys/backing vocals

"Jingo is a dynamic and curious four-piece affair. They are, consequently, Jack Buckett, his U.S. wife, Katie, Joseph Reeves and latest addition, Sahil Batra, discovered from their own warehouse Open Mic Night. The four have been making music with other bands in Brooklyn, New York and London for a fair few years but have now embarked upon a shared venture and have a loyal and devout group of co-patriots in the UK and US. Supporting Graham Coxon of Blur as their first gig in March 2013, they were out of the blocks and running. Since then they have been keeping busy in the studio whilst touring across the country relieving widespread attention from online bloggers (including a feature in FHM) In November they won the Made in Shoreditch Music Factory competition and 2 days recording at the legendary Strongroom studios. Jingo is a unique genetic composite, and one that has not been seen too often on the music scene. We had a similar nationality cross-breeding with Fleetwood Mac, The Magic Numbers, and a few other acts, but they are few and far between. They are set to release their debut album in summer 2014".

At present, the quartet have just over 1,000 'Likes' on Facebook; they have 229 (at time of review) 'Followers' on Twitter- this seems ridiculous. With such a sparse and meagre backing, I am always shocked. Their fans are dedicated and loyal (and I am sure the group adore all of them), yet I have seen weaker and less impressive bands with gigantic numbers of fans and supporters. Anyway, I digress; as I was telling you about the group's previous tracks. After 1Q84, I reviewed Same Without You and The Matador (in April, 2013). With regards to the former, its lyrics struck a chord with me "... scenes and scores of the ’50s and ’60s; all smoky siren and street-lit avenues: "What if I called your bluff…" and "Please don’t lie to me", are early cuts, and paint the picture of a woman who has either been wronged and is seeking validation, or is in search of honest. Before you have a chance to let your thought wander to the alleys of a U.S. city, where there is black and white sensuality and a variegated tension, there is a sonic kick that takes decisions out of your hands, and controls your hands and thoughts. The piano skips and bounces, as an echoed reverb lingers and vibrates, as the percussion waits, watches and kicks when needed". The vocal line that was presented was intoxicating and there were elements of U.S. stars such as Billie Holiday, Joan Wasser and Madeleine Peyroux. When summing up the song, I surmised: "I smelt a flavour of Steely Dan in there as well circa-‘Can’t Buy a Thrill’. It is a most unexpected sonic diversion, and again adds a layer of U.S. influence to the melting pot. Bits of Santana, Slash and Clapton are heard in the D.N.A. as the sound of piano comes in. Instead of being romantic a hand is run across the keys with verve, as a ghostly and unstoppable snowball hurtles towards the village". My most recent exposure the quartet was The Matador, and another rampant and stunning song. The vocal contained "a little bit of the likes of P.J. Harvey, (the rougher edges of) Tori Amos; as well as a distinct flavour of the U.S. There is, perhaps, a restrained air of Adele, too; sounding at times quite similar at times"; the guitar "(i)s swooning and romantic. It has a little bit of a build; as if it were going to peak and punch, but instead, comes back down"; the track, as a result lead me to state that it stood out, "in ways that are fresh and new". Today I review the band for a fourth (and by no means final) time. It is a song that differs from their past work, yet keeps all the elementary and distinct cores in place. I shall add my plaudits and patronage to the band very shortly; but here is what other critics/reviewers have said about Jingo:

"Angsty, melodic brilliance. They're a no-nonsense act that fill the void left by the wimpy, foppish haired indie acts of late."

FHM

"Jingo have the potential, to re-invent the wheel."

LOUDER THAN WAR

"(Belong to You) just screams festival anthem, but you don’t have to be drunk in a field to love it"

INDEPENDENT MUSIC NEWS

"Listening to London's Jingo is a bit like listening to a rockier Portishead with Beth Gibbons being force-fed steroids."

SOUNDS XP

"Next Big Thing"

BEATNIK GEEK RECORDS

"earth-shattering, seismic vocals and music to match."

THE SOUND OF CONFUSION

"the feistiness of the vocalist Katie that reminded me of those awesome gals like Alison Mosshart and Leila from Duke Spirit." "A Large Dramatic sound"

7 BIT ARCADE

"If there is a finer natural vocalist in British rock right now it is hard to bring them to mind." "impress beyond hopes and without warning."

RINGMASTER REVIEW 

"this brooding and heartbroken tune that's full to the brim with emotion oozing from every pore."

THE SOUND OF CONFUSION

"Criminally undiscovered"

HEAR THIS! PROMOTIONS

"They have variety, a sense of innovation and style that is very rare these days"

MUSICMUSINGSANDSUCH

  "a talented mix of the best East London and Brooklyn has to offer." "their music is quite exceptional."

HOLEYTONAL

"the resonating, smouldering vocals courtesy of Katie, the eerie and the elegant yet fierce classical tones to the bass and guitar lines"

THE MUSIC DUNGEON

"Overall the songs share a lush full sound with plenty of variety, and musicality. "-"Kate Bucket, has a lovely voice that has a great masculine power without losing the feminine grace (Annie Lennox rather than Grace Jones, Aretha not Nina)"

GUBIC

You have seen what others think of the group; how their music has affected them (and me as well); so it was unsurprising that I sat down to listen to Before You Were Born, with a huge amount of optimism and excitement.

Previous numbers have shown a glimmer of Jingo's romantic and tender side. The initial seconds of Before You Were Born are a refined yet emotive piano coda; one that has elements of Same Without You's intro., but the piano notes are not as heavy and dark. An initial wordless vocal (by our heroine) is then joined by a punchy and upbeat percussive line; one which patters and playfully intones. Plinking and sharp (but subtle) guitar flicks join the mood, and it is a combination which puts you in a better mood; implores you to nod your head- in time to the swaying and hypnotic sonics. The track's first line are beautifully deployed. Our heroine elongates and pauses; elongates and changes pace- giving the lyrics a more potent weight, and making sure they stick in your head. Whilst speaking of: "Coinci~denssse for~est of your life~bow and arrow~tate like a circ~ollect all of us~ave the planet while you still can", the backing is kept light and sparse; electric sparks provide some light and colour; the bass and percussion tenderly support- as well as ripple and patter. Between the first two verses (or parables), wordless vocalisation returns once more; with some uplifting hand-claps and evocative guitar, the song starts to grow. At the 1:00 mark, the sound becomes fuller and more energised. Guitars become more gravitational and spiralling; imbued with a greater weight and volume, they do not change their pattern, instead augment and emphasise the overall sound. With her voice- once more- stretching and crawling; striking and punctuating, our heroine takes focus (once more). There is a tenderness and power in Buckett's voice; a yearning and striking facet that adds emotion and memorability to the lines: "Improvisat~show me your intentions~lowle~ventually I've got you pinned like a doll-der and wis~er~ly before you were born". It is hard to compare the track with another- as well as the band themselves- as there is such a unique charm within Before You Were Born. Between the lines, audio weaves are presented; filled with lilting beauty and calming meditation. Now our hero comes to the mic.; the atmosphere rises and there is a sense of urgency in his voice. Repeating the song's title, elements of Elbow come to the fore. Like Garvey, Buckett's voice is full of life and power; a combination of passion and kick that stands you to attention. Whereas our heroine's voice is lighter and more mesmeric, our hero's is emphatic and electioneering. Shifting vocal duties (again), our heroine returns to the fore. Whereas before, her vocal was darker and slowed-down, here is sweet (perhaps fairy-like might be more apt) and faster; the song takes another turn and expectations are subverted. Being familiar with Jingo, I am aware that they can mix obtuse and oblique lyrics with directness. In the lines "I knew you before you were born/Riding a bright light before you arrived" there is a mix of both; but perhaps with more of a leaning towards the former. Whether speaking of a spiritual rebirth or near-death conjecture, I am unsure, yet the images that form in your head are stirring and vivid. There is a delirious beauty and otherworldliness to the vocal delivery; a line is presented- there is a pause- before the next is sung- giving it is a weightlessness and dreaminess. When our heroine states: "I know you're good, I know your evil/Like a snake eating its own tail" you cannot help but picture some evocative images; but also speculate as to the meaning of the lines. It appears that maybe a friend is being spoken to; someone whom maybe has gone down a bad path and is in need of redemption and guidance. Such is the nature of the song (and its words) that a sense of ambiguity arises; each listener may think or imagining different things- giving the track itself an additional majesty. Our heroine's voice once more prolongates and holds; lengthening lyrics ("Before you were born/Tale/Before you were born") to ensure that they are not easily forgotten. A brief shimmering and riparian sonic segment adds some punctuation; allowing some (temporary) reflection- and allowing your mind to drift a little. Before you can settle and float, a vocal rush comes sternly into view. It is at this stage (perhaps I am just a bit dim), that the full meaning and potency of the lyrics makes itself known. There is a sense of malevolence and funereal beckoning; our vocal pair combine magnificently. With events becoming rawer and more overwrought, the vocals likewise reflect this mood. Instead of speed and rapid-fire delivery, there is still an emphasis on considered delineation and crepuscular stalk. Our husband-and-wife duo are drawing in and sharpening the cut of the their tongues. When they conjoin and announce: "I've got you pinned like a doll/Meet your maker/I've got you pinned like a doll/Meet your maker" you feel, perhaps, that events will not work out for the better-that a tragic end may be in sight. Whether the band are looking inwardly; dealing with spiritual and personal demons and exorcise them; or else looking at a target and their ill-fated plight, I am not too sure- you are kept guessing and interpreting throughout. To my mind, Jingo's 9th studio track is one that has double-meaning; a sense of cryptic inscrutability are evident within- perhaps only they know the real truth. After the haunting have been offered, there is a woozy and skipping outro; one at first plays thunderstorm percussion alongside elliptical and galloping keys. Before any additional transformation or shift, our pair have not done with us yet. Re-injecting "I've got you pinned like a doll/Meet your maker"; the lines have a weightier meaning- given the sonic rush that proceeds them. The background is emphasised and becomes more powerful; our hero adds some relative composure and restraint (when singing "Before you were born"). Once again, the song's title is repeated mantra-like, and the snake's tail turns once more- events are less spiky and foreboding. The final 40 seconds are reserved for an heady and conclusory outro; one which brings things down to Earth, but also is an effectively stirring piece in its own right. When the track ends, you are left to weigh things up and reflect on what has come. It is something that is instantly recognisable as a Jingo track (in terms of quality and spirit), yet differs from their previous eight numbers. Various members of the band have their own personal favourites. Katie said (when speaking to Holdupnow.com): "When You Want Me", is my favourite to date and exemplifies our growing ability to jam a song into being". Jack offers the opinion that "For me, out of the 6 songs currently online it would have to be either 1Q84 or Jaclyn Having said that, it’s hard to pick only one or two as we tend to vary the style of our songs a lot". A few months have passed (since that interview) and I am sure that opinions may have changed. To me, the song is one of the strongest the band has created, and hints at what they could produce in the future. In the aforementioned interview, Jack went on to clear define what was great about being in the band: "Probably the openness and impartiality we have during the creation process. We’re all willing to take on any suggestion another member may have and give it a go. Of course we have a method and some people have certain roles but there are no limits, no rules and no guidelines we have to follow". This sense of democracy and lack of parliamentary procedure, means Jingo's songs sound care-free and effortless. Of course, a lot of work goes into them, but Before You Were Born has a charm, weight and sense of wonder that is a result of the band's work methods. It is a song that signals a golden future, and one that I have been playing for hours now. It gets into your headl under your skin, and in your mind- and makes you smile in the process.

It has been over a year since I have featured Jingo on these pages- and they have not missed a step. I know that there are album plans afoot; speculation suggests that something could arrive in the summer, and on the evidence of Before You Were Born, it will be a stunning collection. The past three tracks I have reviewed (from the band) have all been very different and unique; they have projected their own identity and sound- yet they are emphatically Jingo tracks. Before You Were Born is another colour in the band's rainbow; another side of the group that shows their stunning knack for putting a song in your head. The lyrics are, as you would expect, memorable and intelligent; the vocal performance is stunning, emotional and impassioned. For all my logorrhea, the band are fully deserving of positive feedback and celebration. They are a hard-working and prolific group whom adore music and all it offers- and want to add their names to the list of greats. When they spoke to Independent Music News, the band hinted at future plans: "I think that we’ll continue releasing songs we have, three singles at a time, until we have an album’s worth of material and then release the last three songs with the album". In interviews, the band come across as witty, and friendly; eager to engage in banter and seduce. I have never witnessed Jingo live, but it is something I will strive to do, as they prepare their next moves. On SoundCloud- as well as their official site- you can hear every track they have produced; hear the range and intentions on offer. I started this review by raising two (distinct) subjects: how underrated some acts are; as well as how diversity can enhance a group. Jingo are amongst a number of artists whom are worthy of much greater acclaim and speculation. Their official website is vibrant, full-bodied and informative. It is incredibly well-designed and eye-catching, and all information anyone can want is in there. For someone like me, it is an invaluable resource, and allows me to keep up-to-date with all the band's happenings. Their social media portfolio is well-rounded and all-encompassing, and the quartet are no strangers to a memorable photo shoot. With every image of our gorgeous heroine and her three handsome cohorts, you smile and love the band even more; they are the embodiment of a happy-go-lucky and universal act. If popularity and public representation is mandated by the quality of your sounds, then the variegated and nuanced cuts (the band offer) should see their stock rise considerably. I am going to do my best to make sure that reviewers and new music websites are informed and educated; they take Jingo on board and review their music. The band have a clear affecting for one another, and the bond between Katie and Jack is (perhaps obvious) stunning. Katie's hugely powerful and mesmeric pipes blend beautifully with Jack's; an all-male vocal set-up would not do full justice to the group's songs. Adding feminine tones (in with masculine) not only adds beauty and tenderness, but gives the songs a richness and wider sound; a charm that would have otherwise been lacking. Because Katie is American, I am sure that the group have U.S. ambitions; our heroine is aware of the scene over there and I would not be surprised if the band were to find hosts of fans waiting (in the U.S.). Influences such as Bad for Lazarus and Bird Courage come through in some of their numbers, yet it is the originality the band offer, that is most memorable. When the band was interviewed by Holdupnow.com, they were asked what was the best thing about being in Jingo. Jack stated: "Probably the openness and impartiality we have during the creation process. We’re all willing to take on any suggestion another member may have and give it a go. Of course we have a method and some people have certain roles but there are no limits, no rules and no guidelines we have to follow. We also have a mutual thirst for keeping new material rolling out which keeps it fresh and exciting". The group was asked about their hopes for the future; what was most vital for them. Katie explained that "The most important thing for me and I think for everyone is to make the best music we can possibly make". The band's uniqueness, assimilation and bravery marks them out as huge future stars. I have heard all of the songs they have offered up (so far), and their sound can be extrapolated and taken to huge arenas; but also has a tenderness and intimacy that means smaller crowds would flock to see them. The rest of this year will see our quartet embark on new ambitions and releases, and I cannot wait to hear what is coming next. There is a wealth of music out there, and when discovering new music (and paramours), it can be a tough endeavour- separating the best from the bunch. Our U.K./U.S. cohorts are one of the most innovative and dedicated groups out there; not beholden to stick with one path or course, their multitudinous sounds are capable of overwhelming and inveigelling. I would suggest that you investigate Before You Were Born thoroughly; but also go back and seek out their past glories. As 2014 ticks on, and eyes look to the horizon- waiting for terrific music to arrive- then you should keep a close on Jingo. Few new musicians are deserving of making it long-term; of making their way into the larger public consciousness, but when it comes to our wonderful four-piece...

NO ONE deserves it more.

____________________________________________________________________________________

Follow Jingo:

Official:

http://jingomusic.com/

Twitter:

https://twitter.com/JingoMusic

Facebook:

https://www.facebook.com/jingomusic

SoundCloud:

https://soundcloud.com/jingomusic

YouTube:

https://www.youtube.com/user/Jingomusic

Last F.M.:

http://www.last.fm/music/Jingo

Instagram:

http://instagram.com/jingomusic#

Tour Dates:

http://jingomusic.com/shows/

Upcoming Shows:

Fri 09 May, 2014

Jingo in Newport, Wales

8pm

The Patriot Inn

Main Street, Crumlin, Gwent NP11 4PT

Sat 10 May, 2014

Jingo in Ilfracombe, Devon

8pm

The Chill Bar

Fore Street EX34 9DJ

Feature: It Was 900 Days Ago Today- (With Many More To Come).

FEATURE:

It Was 900 Days Ago Today...

(With Many More To Come).

___________________________________________________________________________

I look back at the bands, acts and moments that have encapsulated and defined my Musicmusingsandsuch blog; what is to come over the following weeks.

___________________________________________________________________________

TODAY I am completing a milestone of sorts, looking back at...

all of the great musicians whom I have reviewed over the past two-and-a-bit years. Of course, I cannot mention them ALL, but want to pay tribute to some of the very best; those whom are making waves at the moment- and survived after being reviewed by me! It may seem a bit arbitrary, but it is hard to believe I have hit 'Publish' 200 times on Musicmusingsandsuch; put something out into the ether, and watched it being digested and shared. A lot of the time posts have been ignored, a few music acts have not read or recognised my work (I shall not shame them); but a lot of times I have made connections and friendships with some wonderful people. From Yorkshire stunners, through to local solo stars; across to U.S. duos and Scottish bands- I have certainly witnessed a great deal of variation. Every time I review a new act, it inspired my own music; adds something new and makes me rethink things- and improve it. I would like to think that my words and reviews have helped sell some music; touched or compelled the acts affected; but even if that is not the case, it has been a pleasure to hear what is out there. Enough of my ramblings, for I shall get down to things. If I have missed anyone out, I apologise, but I want to thanks every act for their time and patience- and for letting me survey their work. Below are a list of notable review subjects; acts whom are going to be doing huge things in the future- and staking their claim as mainstream acts (in years to come).

Solo:

Jen Armstrong is an artist I have been in contact with a lot (as-of-late). As we speak, she is travelling the globe; in Finland at the moment, yet ready to head to the U.S. very soon. On March 16th, I featured Jen; labelling her as a 'Modern-Day Music Icon'- and rightfully so. It hard to deny just how talented she is; how prolific an artist Armstrong is- and how prosperous her future is likely to be. Her heart-melting looks are hard to ignore, but it is when listening to her voice that you get a sense of just how special Armstrong is. After reviewing some of her past work (including her stunning E.P., 60), I was impressed by how assured and wide-ranging a song writer she is. Lyrics look at witty subjects; odd characters and charming avenues- as well as romantic and emotional themes. Armstrong's voice is unique and potent; able to whisper and sweetly seduce; capable of rising hugely- and producing a monumental belt. The pink-haired Yorkshire stunner is a skilled interpreter, and has improved and reinvented many an original song. If you look at her Patreon page (as well as her Facebook site), you can tell just how talented an artist she is (when she is covering other artist's songs). Mixed with a flair for nuanced and detailed original songs, the future is likely to be prosperous indeed. I hope that I get to surmount and investigate a future-L.P. from Armstrong, as it is likely to be phenomenal, but for now, I am watching a young woman whom is besotted with, and dedicated to, music- keen to reach as many fans as possible. Our heroine has visited France, Finland, the U.S. (as well as many parts of the U.K.); introducing audiences to her brand of song- allowing them to witness her music first-hand. With a bubbly and open-armed personality, tied with staggering looks and an incredible musical talent, Armstrong seems a ready-made star. Whether festival organisers will come knocking, or if our heroine would prefer to play more intimate and character-filled locations, I am unsure; yet it seems that the future is very much in her hands. In an industry that is fickle and unpredictable, Armstrong is overcoming and conquering its oppressive forces. 'Live' concerts (filmed for StageIt; the next one will be recorded in L.A.); constant covers and itinerant live performances mean that few artists deserve success more. Our unsigned heroine deserves a dedicated label to snap her up and help promote her music, but for now, Armstrong is enjoying being on the road; recording music, and pushing her talent as much as possible. I shall be seeing her perform for L.A. (in a few days; from the comfort of my laptop)- I would advise many others to do the same.

Official: http://www.jenarmstrong.tv/official/Home.html

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

Twitter: https://twitter.com/jamusicuk

Surrey-based Elena Ramona (Elena Stathaki) is an original and striking young artist whom is going to be a huge future prospect. Over the past few weeks, Elena has enjoyed airplay from local stations; a gig in Camden, as well as being confirmed for some illustrious future dates- it seems that many are latching onto her talent. Few young solo artists come along with an original and incomparable voice, yet Elena is a rare example of what uniqueness and originality can do. I have focused Elena on my pages three times. As well as reviewing her single Rise, I also conducted an interview with her- as well as featuring her latest E.P., Hold On. Songs such as Addiction are really striking a chord with the public, and many are resonating with a beautiful artist whom can articulate words that speak to everyone. Words are effective and simple; themes are relatable and tangible- Elena's more personal songs hit hard too. As well as being a mobile and accomplished writer, it is the voice that comes across emphatically. Like Armstrong, Elena has a powerful and impressive range, able to mix Pop-infused softer edged, soulful sexiness and operatic highs. From speaking with Elena, I know how much she prides her music and how much she wants to succeed. In times of hardship, Elena has managed to overcome anything thrown at her; dedicate herself to her songs- and get her name out there. I am sure that a record label deal will not be too far off; I know that future plans are being conjugated. Elena is looking into E.P. number 2 and formulating ideas at the moment. Hold On was a brave and stunning trio of songs that provide a glimpse of what we could hear in the future. As well as wowing the crowds of Surrey and London, I know that future gigs in further-off places are forthcoming; it is exciting to watch and think how far she will go. Being a solo artist is a difficult thing to crack; being successful can take time and perseverance, but there is no doubt that Elena Ramona will be a big future name.

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

Twitter: https://twitter.com/elenaramona90

YouTube: https://www.youtube.com/channel/UCmVSlZvqOYKf3qp0bA8b8Bw

Annie Drury is one of my recent feature-ees, and one of the brightest names in Cuckoo Record's stable. I have twice-reviewed Drury before (her song Some Day in May of last year, as well as her E.P. (of the same name) last month); and am always surprised at how much she has to offer. Like Armstrong, this Yorkshire lass has a cannon of witty and charming songs; she can mix tender and romantic alongside hard-hitting and defining topics. Still in her early-20s, Drury is another young artist whom will be one to watch. The likes of BBC Radio Two have played her music, and is someone I am desperate to see perform live. With a voice and set of songs that entrance and stick in your mind, Drury is an artist whom will be making a lot more music. I would love to hear a full album, and it would allow her to fully demonstrate her range and colour chart. Backed by a dedicated and reputable record label, there is no telling what the next few years will hold. On the evidence of her debut E.P., big venues, key festival dates (as well as foreign dates) will be very real possibilities. A lot of solo artists come across as vague and generic; too bland and unappealing to really stake a claim in the public's consciousness. With our Keighley heroine, there will be no fear of her name being forgotten or ignored. Her personality is down-to-earth, open and honest; she can drink the boys under the table and mix it with the girls- few modern talents have such a variegated and vote-winning projection. If you are unfamiliar with Drury's music then afford yourself an hour or so; delve into her brilliant work- and discover an act whom be winning hearts for many years to come.

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

Twitter: https://twitter.com/anniedrurymusic

Cuckoo Records: http://www.cuckoorecords.com/artists/annie-drury

Night Wolf is the alias of Luton-based artist Ryan Wilcox. Having reviewed Night Wolf three times (two E.P.s and a song review), I can easily and confidently claim that here is one of the most innovative and striking sole stars on the scene. Whilst Wilcox collaborates with other vocalists and talents, the majesty and music is all his; E.P.s such as Watts The Time Mr. Wolf and The Moonlight mix a myriad of sounds and scenes. Dub-step elements are mixed with elliptical and soothing piano; powerful vocals settle alongside political mandates- our hero is adept at seamlessly blending diverse segments and sounds. I was stunned by how much Night Wolf offers up; classical strings and sweeps can be heard in the same number as Dance and Hip-Hop elements. There are not many acts whom are so bold and inventive, so for that reason, Night Wolf will be a name to watch. I would urge you to listen to The Moonlight, as it is a fresh and vivid statement from an artist whom is not only capable of long-term success, but winning over many new fans. Because a lot of the songs on offer fuse and blend multiple genres, Wilcox is someone whom will be able to unite lovers of diverse genres; tempt in those whom are unadventurous with their tastes- and ensure plenty of ears are waiting by the time E.P. number three arrives.

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

Twitter: https://twitter.com/ryanwilcox6

SoundCloud: https://soundcloud.com/nightwolfuk

Lisa Marini is a gorgeous young woman, whom catches the eye immediately. With a stunning smile and some fascinating tattoos, the London-based star stands out from the crowd. Her debut album is afoot, and will be a record that everyone should try to get a hold of. My first exposure to Marini was her song Wonderful- that was back in March, 2013. When summarising the track's beauty, I described it thus: "The lyrics track well, and the story is both universal and deeply personal. It is a song that will resonate with many people, and not just those in the female demographic. The chorus is perfectly placed and tight and adds a delicate mood shift after the verses. The vocal performance is solid and fascinating". Tracks such as Times Like This (from her forthcoming album) show a modicum of what Marini has to offer; her voice and lyrics are spellbinding and demand repeated listens- her songs get underneath your skin. Over the next few weeks, Marini will be promoting her album, and visiting as many faces as possible. Her smoky, dusky and sexy deliver mark her voice out as something special, and the L.P.'s tracks are likely to be songs you be listening to over and over. With colourful hair and body art, striking looks and a determined and original song sheet, Marini is an artist worthy of wide exposure and great potential. If you are in the market for an artist whom will be making music for a long, long time; who is capable of winning your heart; as well as inspiring the mind- then you can hardly find a better act around.

Official: http://www.lisamarini.com/

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

Twitter: https://twitter.com/LisaMariniMusic

Little Violet is Cherie Gears' alter-ego, and one of a small band of artists reinterpreting Swing music of the '40s and '50s. In March of last year, I reviewed two tracks from Little Violet: Shut Up and Don't Stop. The electrifying and fast-paced energy of the latter balanced beautifully with the seductive and femme fatale crawl of the former- it was a wonderful double A-side. Another jewel from the Cuckoo Records crown, the northern beauty has a raw and mesmeric sex appeal that the movie stars of the '40s projected; graceful and alluring; yet our heroine is every inch the modern-day icon. Gears plays with a band; Jazz and Swing themes are whipped up in the form of keys, horns, double bass and strings- it is a whirling cacophony of genuine Swing, updated for the '00s. I know there are a few other acts whom are making Electro-Swing moves, but Little Violet is amongst the very best. With a debut album in-the-works, it will give the public a chance to see what our heroine can achieve; how direct and enchanting her music is- and turn a lot of new ears onto genres that are being overlooked. There is a lot of Pop and Rock being played in the mainstream; many new acts tend to stick rigidly to 'safe' genres; yet Little Violet is a bold talent whom is reviving and reworking the glorious swing and sway of past eras- a tactic and lifestyle that will reap huge rewards. There is a definite niche and market gap for Violet's type of music, so it will not be too long before stardom and mainstream regard is realised. Check out her current work, as it gives an indication of where this young talent is headed- and just how good she is.

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

Twitter: https://twitter.com/_Littleviolet

SoundCloud: https://soundcloud.com/little_violet

With a talent for D.I.Y. music and a collection of songs that haunt as well as cheer, Second Hand Poet is a hungry and talented solo talent. When I reviewed his song, Little Sun (last May), I claimed that there were "indie edges, lighter Britpop hints, and above all, a keen and sharp ear for melody and mood-setting. The acoustic scenes and lines, swoon and endeavour with riparian flavours. At once the atmosphere is light and sensual; there is a sense that the author is trying to convey scenes filled with sun, Summer, and peace". The Surrey-based Acoustic artist is working hard and long to put his music together; working jobs in order to raise fund to fund his talent. Jamie Tipson is the man behind the moniker, and his 12-track debut album (available on BandCamp) is a home-made treat; all the mixing and recording was done by our hero. The tracks on the album are a wealth of emotions, shades and insights, and showcase a young artist whom is determined to get his music heard. With all proceeds from his album going to a B.U.A.V. (a charity that fights against animal cruelty), Tipson's personality, benevolence and human spirit shines through; few acts have such consideration- and few have the musical talent our hero does. If you like your music compelling; with sunny edges; instilled with heart and humanity, then you need to check out Second Hand Poet. I know that Tipson has been playing gigs in Surrey and locally, yet I am sure that a wider audience awaits through the U.K. He deserves a huge consideration and large patronage; I am sure that the rest of 2014 will see fruition and development. If his debut L.P. is anything to go by, we will be hearing a heap more from this bold artist.

Facebook: https://www.facebook.com/pages/Second-Hand-Poet/417534431620189

Twitter: https://twitter.com/SecondHandPoet

BandCamp: http://secondhandpoet.bandcamp.com/

Alison Levi strikes you with her personality: her wit and likeable charm. If you check out her Twitter feed, she comes across as bright, funny and warm; someone whom can easily connect with anyone- and is dedicated to her music. A few months back I reviewed a live version of her track Boy You Better Run. Stunned by her voice and songwriting ability it compelled me to declare: "It is perhaps Levi’s voice that does the loudest talking. It is no hyperbole to compare her with Cassidy. I have been listening to videos of Cassidy performing at Blues Alley. There, the legend made songs such as Cheek to Cheek, Blue Skies and Stormy Monday her own- the guitar and piano/keyboard style and sound is comparable too. I mentioned that Levi has an air of Cassidy in her beauty, and it is a genuine observation rather than an attempt of flattery. I am unsure whether Cassidy is a name on Levi’s radar, yet she should be proud. There is plenty of present-day tones within Levi’s voice; the likes of Dangerously In Love-era Beyonce are detectable, as well as Laura Marling and jazz and soul". Our London-based heroine will be making fervent moves very soon, and I am sure that an album and future tour dates are in her mind. Stagedoor F.M. highlighted Levi as one of their 'ones to watch 2014'; her powerful and soulful voice is certainly something that demands you attention. The market is a crowded and capricious one, but I am confident Levi will be amongst the major contenders coming through in the next few years. She is a skilful interpreter too, and someone whom can transform songs and bring them to life. Keeping an eye out for this vibrant young talent, as she is going to be someone we will all be familar with very shortly.

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

Twitter: https://twitter.com/alisonlevi

SoundCloud: https://soundcloud.com/alisonlevi

Steve Heron is a multi-talented Scot, whom I have featured a couple of times before. In April (2013) I reviewed his tracks, Saltwater and Picturesque. On both occasions, I was impressed by the Motown edges; the sonic blasts and energy throughout. Heron has just released the video for Saltwater, and our hero is someone whom is making a name in his native country. Heron has shades of The Smiths and Pavement, and with a powerful and emotive voice he is grabbing the attention of many critics. Bainbridge Edinburgh proclaimed: "Edinburgh's prodigal son. He has managed to cram all the hooks and catchy choruses there are in the world into his set". Our hero is capable of producing tender and heartfelt tracks (Eleanor); as well as tracks infused with Punk riffs and rampant smash. The cheeky Scot has been making music for a few years now, and seems to be one of the hardest working musicians around. Many of you may be familiar Universal Thee, and Heron performed with the band at The Ralph's Life CD Edinburgh Launch Party (a couple of days ago). There are few artists out there that have Heron's sonic range and back catalogue. The future will see our hero embarking on more tour dates, as well as releasing new music. I am sure that he will be playing huge festivals and dates before too long, and it will be richly deserved. Too many artists are homogenized and stale, and Heron is leading a charge of pioneering and distinctive acts capable of remaining on the scene for decades.

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

SoundCloud: https://soundcloud.com/steveheron

Twitter: https://twitter.com/stevejheron

Nina Schofield is a solo artist I reviewed recently. When featuring her Colours E.P., I came away from the experience with a smile- knowing that I was hearing a future star make her mark. Towards the end of my review I wrote that I "...have reappraised my own music collection, and added Colours to it; it is a collection that offers something new with each listen- sure to brush away the cobwebs and inspire the creative mind. When it all boils down to it, the best and most memorable music is that which compels you to make your own..". Schofield's voice is arresting and gorgeous, her stunning locks and natural talent means that she has caught the attentions of many local outlets. Having performed around Surrey recently, many are becoming attuned to our heroine's superb music. She is writing music that can be understood and loved by everyone; themes that are relevant and relatable to a wide sector of people; she is sure to have a huge and busy international career very shortly. Off of the back of her latest E.P., Schofield is going to be performing at various locations; charming and seducing new audiences- and ensuring her music reaches as many ears as is possible. I am sure that many up-and-coming solo acts will take inspiration from our heroine's songs; compelled to project their own experiences in a similar way. There are a lot of impressive and hard-working female solo artists on the scene at the moment, and Schofield offers something new, original and striking. She will be making waves beyond Surrey and London; hitting the hearts and minds of people around the U.K. (and abroad), and cementing her reputation as one of the most engaging and potent new talents around.

Official: http://www.ninaschofield.com/

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

Twitter: https://twitter.com/nina_schofield

Another female talent making serious impression at the moment, is Lydia Baylis. The beautiful Welsh songstress has been on my radar for quite a while. When I investigated her track, Life Without You, I was impressed by Baylis' voice; her incredible songwriting grasp- and the way the track hits you. Its chorus and lines stick in your brain for an insane amount of time; her voice caresses and powers; drops you to your knees and makes you smile- few other artists have been able to do that to me. Our heroine's is one of the most stunning and striking musicians out there, and her songs not only capture her personal experiences; but infuse literary references and darker themes. With shimmer, augmentative and evocative sonics, her songs are full and rich; packed with emotion and atmosphere- marking her out as one of the most impressive talents for years. Baylis' album, A Darker Trace, has been in progress since 2012 and will be unveiled shortly; but I would encourage all people reading to investigate her music. Mirrors is a cinematic and hypnotic number; Happy Man boasts a soothing and tender vocals, backed with shimmering percussion- it is only a paucity of her range. Her gob-smacking beauty and intoxicating smile are capable of overwhelming, yet the music that is offered up drops you to your knees. Baylis has been performing at intimate gigs around the country, and is one of several names (I have mentioned them here) that will be a future star. There is no fakery or pretension to our heroine; her natural charm and talent shines through, and because of her well-read and curious mind, Baylis is able to vividly paint scenes- ones that put the listener directly in the song. One of my ambitions for this year is to meet her and tell her how much her music means to me; yet for the time being, I will listen to what she has produced- and look forward to what is to come.

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

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

Twitter: https://twitter.com/lydiabaylis

Duos

The first of my two duos is the stellar Yorkshire outfit, Issimo. Abi Uttley and Marc Otway are the boy-girl pair whom have been responsible for some of the catchiest, most impressive and memorable songs I have heard in many-a-year. My I investigated the duo's music, I was taken aback by how assured it sounded. Marc Otway is one of the finest composers and songwriters of his generation, and is a multi-instrumental wonder. His eye and ear for melody and rich composition come through in their music; Uttley's gorgeous and sensation voice takes your breath and adds colour and life to the music- the duo combine vocals seamlessly as well. Publications, radio stations and magazines have all paid homage to the stunning Yorkshire pair, and I cannot wait to hear their debut album. Whilst a future L.P. is being talked about, I find myself listening back to songs such as Money and Carpe Diem. Marc and Abi are two of my favourite music peeps, and I look forward to reviewing them very shortly. Each time they unveil a new track, I am impressed by the range and passion instilled within. They do not just deal with witty two-handers; love and romance are investigated; arrogant humans are debunked and put to rights- life lessons and morals are wonderfully realised and assessed. The duo have a brother-sister sympatico, yet also a romantic tension lingering. Of course it is all for the sake of the music, but when they spar and mix you get the impression of a single voice; two people whom should not be separated. With Marc's sublime compositional ability and Uttley's multiple talents and stunning voice, they are a match made in heaven. As well as pioneering and electioneering throughout Yorkshire, the two-piece have been taking their music on the road- and amazing as they go. Feedback and social media fervency tells you all you need to know: these guys are going to be enormous names to watch. If you don't believe me, check out their fabulous music...

Official: http://www.issimomusic.net/

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

Twitter: https://twitter.com/ISSIMOMUSIC

My second duo- and another boy/girl combination- hail from down here in the south- they are Gypsyfingers. Last week, I was lucky enough to review their debut album, Circus Life. As well as extolling the virtues of their music, I also focused on its two stars: Victoria Coghlan and Luke Oldfield. Our heroine's voice is one of the most staggering and beautiful music has to offer. She has a chirpy and modern-edged edge; able to rap with a natural ability and conviction; her emotional and romantic side is evocative and compelling- her vocal harmonising is simply dreamy and ethereal. As a songwriter she is one of the very best around, able to mix scenes of street life with down-on-their-luck anti-heroes (and heroines); paens to freedom, nature and the open air- as well as darker and shadowy elements of circus life and captivity. Oldfield is an incredible musician and producer, and as well as boasting an impressive and atmospheric set of pipes, he blends perfectly with Coghlan. The two are at their finest on their debut L.P. and it is being launched three days from now (in London). Everyone has to hear this album, and experience the majesty for themselves. I advised that "For all my effusive and florid words, the real proof is in the pudding- how you view their album and what the future demand will be. Dive in, and allow yourself to get lost, as our duo have created an album that will be revealing layers for many months to come. It is the sound of a two-piece with a lot to say; with a real appetite for music"- never a truer word have I written.

Official: http://www.gypsyfingers.com/

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

Twitter: https://twitter.com/Gypsyfingers

Bands

One of the band that features most in my reviews, is Scotland's Universal Thee. Fronted by husband-and-wife duo James and Lisa Russell, the band is one of the best Scotland have to offer. When I reviewed their album, Back to Earth recently, I announced that it was one of my favourite albums of the year- it is not hard to see why. With Pixies-cum-Pavement edges; some elements of the local scene, as well as a whole boatload of original talent and intent, you cannot help but fall in love with the band. Few acts come along that are able to present such a range of heavy sounds, yet with our striking five-piece you are always amazed at just what they are capable of. Of course, there are softer and more emotional moments to be heard, but the crew are at their strongest when whipping up a storm. Lisa and James' voice are distinct and unique; yet perfectly fit together. The band as a whole is tight, action-packed and completely compelling. The next few months should see great reward come the band's way. I know how hard they have worked on their L.P., and many reviewers have given it an emphatic thumbs-up. There is demand to see them in London and down south, and I hope to see them very soon. At the moment, the group are gaining new followers and fans, and I am sure will be in-demand amongst festival organisers. With their innate and swaggering mandates, few bands are as ready-made and primed to play the festivals and big arenas. It is a possibility Universal Thee will have to get used to, and all the success that will befall them is rightly deserved. When I wrote (with relation to Back to Earth) "...is an album that does not subjugate or discriminate; it wants to draw everyone in. Bias aside, the band is a friendly and likeable group of musicians doing everything they can to get their music heard. As much as anything, they are inspiring me to write and be daring; to aim as high as possible and change my way of thinking (in terms of songwriting)". If you are unfamilar with the Scottish wonders, familiarise yourself as soon as possible.

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

Twitter: https://twitter.com/universalthee

SoundCloud: https://soundcloud.com/universal-thee

Jingo are going to be my next review subjects. In terms of historical reviewing, this U.S./U.K. band are one of my oldest friends. With husband-and-wife pairing Jack and Katie Buckett (who is the sole American in the band), the quartet are one of the finest bands currently playing. Their debut album is out in the summer, but I have already witnessed 1Q84, Same Without You and The Matador. Few acts come under my gaze three times, yet I am excited to be investigating them for a fourth time. With each track comes a new sound and subject. 1Q84 is my favourite of their past songs, and I wrote: "Katie demonstrates a huge vocal range and prowess; capable of switching from a mannered restraint, through to an emotional and powerful belt. There is no needless posturing or ululation: she is filled with genuine passion and conviction. Jack demonstrates an ability to be able to create a calm mood, that keeps the song level one moment, and at the next he can infuse a sense of electricity and danger into the mix; able to whip up a storm with his guitar. Joseph shows some real power and panache when armed with sticks. He can bolster and avalanche, as well as keep a steady and dedicated beat. This, couple with intelligent and memorable lyrics, brews together beautifully and provides an intoxicating and over-powering kick". Keep an eye out next week, as another of their tracks comes under my microscope, but I am fully expecting to be blown away. Jingo are one of the few bands with a detailed and authoritative official site. Not only eye-catching and full-bodied, it gives you everything you need; music, biography and photos are all there- making it much easier for people to discover their music. Their latest single Before You Were Born is going to be something I'll be surveying, but it is clear enough that Jingo are going places. Although based in the U.K., the band will have many in the U.S., Australia (and elsewhere) keen to hear their music in the flesh.

Official: http://jingomusic.com/

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

Twitter: https://twitter.com/JingoMusic

Los and the Deadlines draw their members from various parts of the globe. The bearded and wild-haired brethren have been causing enraptured sighs throughout London audiences for a long while now. Their E.P., Part One: Bank was met with huge acclaim, and I myself was compelled to write: "I am sure that an album will be in the back of the group’s minds, and they will have their eyes trained with a wide focus. It is paramount that we celebrate and promote the genuinely brilliant (and separate them from the chaff). Alex, Niels, Agostino and Alberto should be proud of what they achieve and have no fear about the future". There is a bit of Led Zeppelin to their potent punch; a bit of Pixies and The Mars Volta- with some shades of Queens of the Stone Age. One thing that impressed me, was what a range the boys have. Songs vary between investigations of the banking crisis; ne'er-do-wells in the local pub- right through to the orgasmic capacity of caffeine. I am confident that the rest of this year will see the four-piece working on album ideas and new songs; playing hard and fast- and getting their name heard as much as possible. If you are not a fan of the 'influences' I have listed, then have no fear: their music can be loved and appreciated by everyone. With a flair and energy that compels you to nod your head, sing along and throw your arms in the air, the boys struck upon a riotous and nuanced Rock template- one that is seducing many around the world.

Official: http://www.losandthedeadlines.com/

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

Twitter: https://twitter.com/LosDeadlines

The final band I am going to look into, is Crystal Seagulls. Like Jingo, these London lads have been featured on my blog numerous times- in fact, more than anyone. From Heart Won't Beat through to Time, I have loved hearing what the quartet have to offer. Lead by Jim Lawton, the boys have already played some note-worthy gigs and venues: they are a band whom seem naturally at home amongst large crowds. They are a loveable and down-to-earth group that mean serious business; they want to be around for as long as possible- it is something that should they will not struggle to obtain. When I investigated Heart Won't Beat and Hands Inside The Dark a few months ago, I was amazed by the difference on offer. I described Heart Won't Beat as having a "pulsing and slinking intro. immediately puts your mind to attention. It has a whiff of Bill Withers’ Lovely Day; a smidge of Another One Bites The Dust- as well a relationship of menace and melody. The snaking coda certainly has plenty of groove; it has a kiss of funk that you could imagine Prince snapping up". Hands Inside The Dark was assessed, thus: "Whilst Sol Invictus presided over our previous track, Neptune rules over Hands Inside The Dark. Crystal Seagulls shift through the gears and unveil an interdiction. The introduction is a lot heavier and harder than Heart‘ and it is apt that the band describe the track as "A rocky, raw and raunchy tale of infidelity with a touch of the psychedelic". It is clear that the song takes its belt off and starts to unbutton long before any words have been sung. Whilst the mood is not entirely oppressive and dark, there is plenty of force and intention offered forth. It has the feel of classic rock tracks/bands of the ’60s and ’70s, yet has a vibrancy and off-the-moment sound that puts you in mind of the likes of Foo Fighters and Arctic Monkeys". The guys mix happiness and summer sounds with sex and sweat; they can mix it up and thrown down- and implore tenderly. The band market is a tough and unforgiving one, and has its fair share of participants and contenders. Crystal Seagulls have already accomplished a lot, and as this year ends, they will be thinking ahead. I am sure an L.P. will be amongst their ambitions, and I for one, cannot wait to hear it.

Official: http://crystalseagulls.com/

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

Twitter: https://twitter.com/CrystalSeagulls

Newbies and special mentions:

Before I conclude, I want to mention some special names; people who have helped me out, inspired me; or else been notable review subjects. The first name was my first full review: Chess. Fran Galea is the woman behind Chess, and is a Surrey-based artist I have known for a long time now. I have reviewed both Babygirl (her first E.P.) and Tuxedo (her latest one); as well as Happy End. When surveying Happy End, stated: "Overall the number has hints of female blues legends, as well as modern pop icons. Unlike many of her peers- complete with distended egos- Chess is not going out of her way to model herself to conform to a status quo, or fit into a mould. She is doing what she wants to do, not what she has to. Her voice has elements also of male counterparts such as Matt Corby and Ben Howard; her songwriting ability is incredibly impressive and developed for one so young, and her passion and conviction nods to some of her idols such as Freddie Mercury and Prince". With the release of Babygirl, Chess grew and showed herself to be one of the strongest solo artists around. Its three tracks looked at redemption, love and weathering the storm- and I was hugely impressed by what was on offer. Tuxedo was a bold step forward and showed (once more) how much Chess had grown. Sexier and harder themes lingered, with songs such as Vanity having a hard edge and biting tongue. A more seductive and empowered voice was coming through, and our young heroine has a bright future ahead of her. As well as being gorgeous and instilled with a hugely emotive voice, Chess is ambitious and hard-working. In between original releases, she works on cover version; collaborates and writes new tracks. She is a talented songwriter and artist and one of the most original voices out there. I am sure that I will be reviewing Chess in the near-future, and I am sure plans are afoot for E.P. 3- until then, investigate a young woman with a lot to say.

Official: http://chessmusic.co.uk/

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

Twitter: https://twitter.com/chessofficial

Just after I reviewed Chess's Happy, Katsuo provided the inspiration for my sophomore review. Alex Larkman is the man behind Katsuo, and his track Stereo Jesus was an early favourite of mine. When investigate the song, I deduced: "...Overall it is an impressive song that will not leave your head any time soon. It is memorable, catchy, and impressive indeed complete with a strong vocal and lyrics. For anyone like me who worships at the shrine of rock, soul, stoner rock and metal such as myself, it is time to reappropriate any misapprehension. 'Stereo Jesus' is a track which demands your attention. It stays true to its dub step roots, and will appeal particularly to its hardcore. If you like Skrillex Chase and Status, Example and their ilk, you will love this. However it has a jour de vive, that means it will also ignite fans of Jackson, Prince and has a testicular attitude that will enrapture rock fans as well". Katsuo is one of the most innovative artists around, and like Night Wolf, mixes genres and sounds together- to create wonderfully inventive and layered tracks. As a hugely successful Rockstep artist, our hero is going to be busy in the coming months. Larkman's unique image catches the eye, and his swaying, catchy and pulsating numbers stick in your brain and will compel you to listen over and over. His Twitter and Facebook army is growing and swelling, and Katsuo will be one of the big artists to watch in the coming year.

Official: http://www.theycallmekatsuo.com/

Facebook: https://www.facebook.com/katsuobitcch?fref=ts

Twitter: https://twitter.com/callmekatsuo

Before I end, I want to mention a few more people. Kudos goes to Cuckoo Records and Phil Cass, whom have provided me with a number of great acts to review- including Little Violet, Annie Drury, Raglans and Cissie Redgwick. I am in regular contact with Phil and am always excited when another Cuckoo talent is brought to my attention. I hope to be working closely with them throughout the next year. I want to mention Vanessa Soto and The Open Feel, two U.S. acts whom have supported me (and in the case of the latter, a review opportunity). The likes of State of Georgia have also been sweet and supportive, too- so thanks very much. Newcomer Ruby Macintosh is one of my most recent reviews, and someone whom is going to be a future star; her stunning voice and words burrow into your heart and brain- she is one of the finest new talents I have had the pleasure to review.

My final two shout-outs go to Kate Hollowood and Chloe Jane Sparrow. Chloe's music blog was one of the reasons for me to review music. Up until that point, I was a bit sceptical of surveying new music, and it was whilst reading her blog, that I was compelled to start investigating new acts. She is one of the most dedicated music-lovers I have ever met, and continues to inspire me as a writer. Kate is someone whom made me start my blog, full stop. After discovering her Mylittleponderings blog, I began mine, and found it not only a great way to get things off my mind; but keep it going. She has been endlessly supportive and without her, none of the above would have been possible- none of the 200 posts would have been. So to her: thanks for everything.

Christ, it sounds like an Oscar speech, but a lot of people have helped me push myself as a reviewer; all the great artists listed above have inspired me in my own music, and compelled me to keep writing. I hope that all the acts I have featured continue to work hard and look forward to the rest of the year. They have all worked immensely hard, and are deserving of any success they achieve. To them, thanks awfully for the first 200 blog posts; and hey..

HERE's to the next 200!

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Modern Classics: Radiohead- OK Computer.

MODERN CLASSICS:

Radiohead

　

OK Computer

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It was an album that not only changed the face of music, but cemented the Oxford five-piece's reputation as one of the greatest bands of their generation.  Lest we forget its genius, OK Computer should act as a reference work for all new musicians.

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WHEN it comes to albums, and considering whether they are 'classics', there...

are a few criteria that have to be met. In my view, the album can be no older than 20-years-old (to be seen as a 'modern classic'); it much have changed music for the better- inspired artists and musicians and made a forceful impact. As much as anything, the album must be one that you'd visit again and again; not something that was great at the time (and does not stand up well today) but something that is timeless and evergreen. When it comes to OK Computer, you can certainly say that it was not merely a product of its time. It is an album which has not only gone down in the record books, yet has inspired a new wave of bands and acts; to improve and change their sound- and make music a better place. From my perspective, it is one of the first L.P.'s (I bought) that spurred me to start writing- trying to evoke some of Radiohead's grand majesty. It has been seventeen years since its release, yet you cannot deny the effect that this wonderful work has had.

Radiohead consist of Thom Yorke (lead vocals, guitar and piano), Jonny Greenwood (guitar, piano and other instruments), Colin Greenwood (bass), Phil Selway (drum and percussion) and Ed O'Brien (guitar and backing vocals). Formed in Oxford in 1985, the five-piece rank alongside the most influential and stunning bands of the past thirty years. They are still a force to be reckoned with and have plenty of life left in them, but it is interesting to look back; see how the band became Radiohead, and what their early lives consisted of: The musicians who formed Radiohead met while attending Abingdon an independent school for boys in Oxfordshire. Thom Yorke and Colin Greenwood were in the same year, Ed O'Brien and Phil Selway were one year older and Jonny Greenwood two years younger than his brother. In 1985 they formed the band "On a Friday", the name referring to the band's usual rehearsal day in the school's music room. Jonny Greenwood was the last to join, having previously been in a band called "Illiterate Hands", with Nigel Powell and Thom Yorke's brother, Andy Yorke. The group played their first gig in late 1986 at Oxford's Jericho Tavern. Jonny Greenwood originally joined as a harmonica and then keyboard player, but he soon became the lead guitarist. Although Yorke, O'Brien, Selway, and Colin Greenwood had left Abingdon by 1987 to attend university, the band continued to rehearse often on weekends and holidays. In 1991, when all the members except Jonny had completed their university degrees, On a Friday regrouped, began to record demos such as Manic Hedgehog, and performed live gigs around Oxford at venues such as The Jericho Tavern. Oxfordshire and the Thames Valley had an active Independant music scene in the late 1980s, but it centred around shoegazing bands such as Ride and Slowdive On a Friday were never seen as fitting this trend, commenting that they had missed it by the time they returned from university. Nevertheless, as On a Friday's number of live performances increased, record labels and producers became interested. Chris Hufford, Slowdive's producer and the co-owner of Oxford's Courtyard Studios, attended an early On a Friday concert at the Jericho Tavern. Impressed by the band, he and his partner Bryce Edge produced a demo tape and became On a Friday's managers; they remain the band's managers to this day. Following a chance meeting between Colin Greenwood and EMI A&R representative Keith Wozencroft at the record shop where Greenwood worked, the band signed a six-album recording contract with the label in late 1991. At the request of EMI, the band changed their name; "Radiohead" was taken from the title of a song on Talking Heads' True Stories album.

It would have been tempting for the band to enforce a moratorium following the release of their debut album, Pablo Honey. In 1993, the music scene was still awash with heavier sounds and bands. Acts such as Nirvana were ruling the waves, and the public were keen to seek out harder-edged acts. When Radiohead's first L.P. dropped onto the scene, reception was somewhat muted. Of course Creep was a song that brought the band to many people's attention; yet it is a song that had them down as a one-hit-wonder; it was the clear standout from an album that offered little glory. Tracks such as Stop Whispering and Anyone Can Play Guitar were released as singles, but seemed tame when compared to the Grunge and 'Britpop' offerings of the time. Whereas Creep inspired the band to continue making music and push forward, they may have been disheartened by early feedback. Pablo Honey did not receive great attention. That said, NME labelled Radiohead "one of rock's brightest hopes." They went on to state that it was "one of those flawed but satisfying debuts that suggests Radiohead's talents will really blossom later on." Rolling Stone wrote in its year-end review, "What elevates them to fab charm is not only the feedback and strumming fury of their guitarwork and the dynamism of their whisper-to-a-scream song structures, which recall the Who by way of the early Jam, but the way their solid melodies and sing-along choruses resonate pop appeal." Other reviews that came in, surveyed the album thus:

"The group has difficulty writing a set of songs that are as compelling as their sound, but when they do hit the mark -- such as on "Anyone Can Play Guitar," "Blow Out," and the self-loathing breakthrough single "Creep" -- the band achieves a rare power that is both visceral and intelligent".

Allmusic

"This British buzz band's single ''Creep'' is the ultimate neurotic teen anthem. It mates Smiths-type self-consciousness (''I don't belong here'') with dramatic U2-like vocals and guitar, with Cure-style heavy but crunchy pop. In addition to longing to be ''special'' on ''Creep,'' angst-filled singer Thom Yorke wails on Pablo Honey, ''I wanna be, wanna be, wanna be Jim Morrison.'' You mean Morrissey".

Entertainment Weekly

"For an epochal, era-defining band, Radiohead had an unusual beginning, looking like they'd wind up one-hit wonders, chancers callously attaching themselves to a sound and moment yet with few ideas of their own. That first hit, "Creep", with its loud/soft dynamic and self-loathing lyric, fit snugly into the post-Nirvana alt-rock landscape-- no surprise: Radiohead copped as much from 80s indie rock as their Pac NW brethren did".

Pitchfork

A lot of legendary acts had less-than-fantastic embryonic impact; a great deal of all-time greats started life with mediocre impact. It was always going to be hard for a band like Radiohead to make an impact, arriving on the scene when they did; yet it seems such an odd aberration- given what proceeded Pablo Honey. Many would agree that Radiohead could have done a lot better (on their debut); and few bands had the sort of quantum leap that the Oxford boys did in 1994. Few would have expected the band to release another album so soon (after their first), and almost no-one would have predicted what was to come: The Bends. I have always considered it to be my favourite L.P., as it is an album that does not lose a step. Sure there are a few duff moments (Planet Telex and Bones), yet there is so much on offer; heartbreaking passion and stillness, rushing and electrifying Rock- as well as the first signs that Thom Yorke was intent on changing music. The Bends was produced by John Leckie at EMI's studios in London, and engineered by Nigel Godrich. The album marked the beginning of a shift in aesthetics and themes for the band, with greater use of keyboards, and more abrasive guitar tracks balancing subtler ones. Following on from Pablo Honey, the band were enmeshed in constant touring; playing the same songs as they had been for years- as though they were incapable of moving on. Considering breaking up, the boys were keen to record new music; move away from their past (and Creep, to an extent), and rebrand themselves. The band's record label, EMI, had set an October 1994 release date for the record, which later proved unrealistic. EMI also suggested Radiohead should record the album's lead single first. No one could agree on what the lead single should be, so the band worked on four tracks they considered candidates: "Sulk", "The Bends", "Just", and "Nice Dream". The approach proved counter-productive; Leckie recalled, "Everyone was pulling their hair out saying, 'It's not good enough!' [. . .] We were trying too hard". The recording process slowed down further as guitarist Jonny Greenwood experimented with several rented guitars and amplifiers in order to discover "a really special sound" for his instrument, despite Leckie's belief that Greenwood already had one. According to Leckie, whenever a record company representative or the group's management came to check on the album's progress, all the band would have to show them was "a drum sound or something. In spite of tensions and doubts, the music that was produced was a revelation. Yorke was writing the same angst-filled songs that had appeared on Pablo Honey, yet was looking inwards; penning tracks that dealt with global issues and big issues- the band were maturing and moving on from their past. The title track is a heady rush of a song; anthemic guitars and emotive vocals; High and Dry demonstrates Yorke's impeccable falsetto, whereas Fake Plastic Trees looks at a figure whom is "A cracked polystyrene man/Who just crumbles and burns". Inspired by Jeff Buckley, Yorke unveils a heartbreaking vocal, scoring a song that is swooning, mesmeric and emotional. Just and My Iron Lung are a rampant and energetic 1-2; the former looks at deplorable figures; losers and people whom are rife for a downfall- "Don't get my sympathy/Hanging out the 15th floor". The latter looks at the mixed blessing that is Creep; the success is brought the band, but also the burden it has created. Black Star and Sulk are stadium-ready songs; big guitars and huge vocals mingle with vivid and catchy lyrics, and a huge amount of force. The album's swan song is also its finest, its name: Street Spirit (Fade Out). With arpeggio guitars and a haunted mood, Yorke turns in his greatest vocal of the set; giving life to a song that its author claimed fell down on him- it came out of the sky, it is claimed. With lyrics such as "Cracked eggs, dead birds/Scream as they fight for life/I can feel death, can see its beady eyes", it is one of the most evocative and startling songs the band had recorded. It was a song that ended a tremendous album; one which shifted the fortunes of the band, and put them at the forefront of music. With the death of Kurt Cobain (and Grunge), Radiohead were marking themselves out as the purveyors of a new brand of music; leading a new charge of fresh and hungry bands- and silencing anyone whom felt that their music lives would be short. Reception for The Bends was emphatically positive:

"With their sophomore release, Radiohead makes a strong, uncluttered statement about who they really are. The spirit of experimentation with sound features more prominently. Thom Yorke's voice is a haunting and vulnerable instrument as he explores the emotional imagery of his lyrics. The music plays with contrasts; loud and soft, dirty and clean; and layers of noise and effects to create dynamic and evocative experiences. The Bends doesn't yet add the electronic textures of later albums, but it's a clear evolutionary step toward the sound perfected with OK Computer and the result is an amazing piece of work".

IGN

"Building from the sweeping, three-guitar attack that punctuated the best moments of Pablo Honey, Radiohead create a grand and forceful sound that nevertheless resonates with anguish and despair -- it's cerebral anthemic rock. Occasionally, the album displays its influences, whether it's U2, Pixies, Pink Floyd or the Pixies, but Radiohead turn clichés inside out, making each song sound bracingly fresh".

Allmusic

"On only their second outing Oxford's Radiohead fulfilled their huge potential, fashioning an album whose relentlessly downbeat tone was offset by an ability to formulate consistently winning melodies. The title track and "Just" throw some customary rock poses, but for the most part the band displayed a far more expansive approach. Thom Yorke emerged from the woodwork with a new-found vocal confidence, revealing a striking falsetto on two of the album's strongest tracks, "Fake Plastic Trees" and "High & Dry." The last three songs build inexorably to the stunning emotional climax of "Street Spirit (Fade Out)" with a control and poise that showcased the band's new maturity".

Record Collector

The reception of The Bends, coupled with a huge creative momentum, proved to be the defining moment for Radiohead. Their second album was at the top of many end-of-year lists come 1995, and assured the Oxford five-piece's future. As well as cementing themselves at the forefront of the U.K. Indie movement, Yorke and crew were keen to keep the fascination high. Those expecting the same quality as that on The Bends were to be satisfied (and then some); yet those wanting a duplicate album were in for a shock: Radiohead had developed and grown even more.

Whereas its predecessor opened with a slight and woozy guitar, OK Computer starts life amidst crunching and twisted guitars. Inspired by a car accident (Yorke had with his girlfriend and nearly died), the lyrics start off with redemption and near-death: "In the next world war/In a jackknifed juggernaut/I am born again". Paying homage to Last Night a D.J. Saved My Life; here Airbag's subject is much more realistic; practical and everyday. Yorke is casting himself amidst neon signs, interstellar bursts and chaos of the city and road; whizzing past life at such a pace, he is about to collide. Our hero's voice emphasises the emotion and strain, rising and powering through the words; the band summon up an atmosphere of vehicular danger with weaving guitars; stuttering and machine-gun percussion- as well as tight and potent bass. With Yorke having walked away from his date with death, he surveys the scene: "In a fast German car/I'm amazed that I survived/An airbag saved my life". It is a terrific opening gambit, that whilst not in the top five songs of the album, is a strong and memorable opener- The Bends never started this strong. Yorke seems genuinely thrilled to have survived the accident, paying tribute to such an innate and unexpected subject gives the song charm as well as relatability. OK Computer boasts no title track, but Paranoid Android is as close as we get to one; a song that emphasised and enforces all the album's themes and majesty- the standout from the album. At more than six minutes long, the track is significantly influenced by Happiness Is a Warm Gun and Bohemian Rhapsody. Yorke's lyrics were based on an unpleasant experience at a Los Angeles bar during which he was surrounded by strangers high on cocaine. In particular, Yorke was frightened by a woman who became violent after someone spilled a drink on her. Yorke characterised the woman as "inhuman", and said "There was a look in this woman's eyes that I'd never seen before anywhere. ... Couldn't sleep that night because of it." Because the song has four distinct section; changes pace and phrasing and is an unusual beast, it took the public (and radio stations) by surprise. Yorke rallies against the nightmarish figures and awful people; offering his solution to the problem: "When I am king you will be first against the wall". The band summon up the album's most epic and complex composition; Greenwood's guitars wail, twist and float (towards the end of the song they sound like a clown fight). As the song enters a quieter and more composed phase, our hero looks to the skies: "Rain down, rain down/Come on, rain down on me". It is a song that constantly take the breath away. Like Bohemian Rhapsody it rises, falls and explodes; snakes and strikes, and always compels you. Few albums that have ever been created contain a song like this; something so ambitious and far-reaching- and something that has not been attempted since. After the fairly modest opening track, few were expecting something so startling and epic- one of the very reasons the album should be seen as an all-time classic. Providing some respite, but not letting fascination and quality drop, Subterranean Homesick Alien arrives-both alien-like and perfectly fitting. Considering the cosmic and biblical strangeness of the previous number, Subterranean' is not such a huge departure, yet is an example of the band trying to emulate Bitches Brew. The track sees Yorke taken to another planet; abducted and taken away from Earth- fearful that his friends would not believe his story. The lyrics were inspired by a school assignment from Yorke's time at Abingdon to write a piece of "Martian poetry" a British literary movement of works that humorously recontextualizes mundane aspects of human life from an alien "Martian" perspective. The song captures you with its myriad sounds and sonic sparks. Intergalactic tweeps and sighs put you in the scene; evoke the intergalactic and extra-terrestrial nature of the song- and make you smile in the process. It is easy to debunk the insanity of the lyrics; no one could ever take them seriously, yet Yorke makes you want to believe- either way he sounds like he doesn't care either way. Stating that "I'd show them the stars, and the meaning of life/They'd shut me away, but I'd be alright, alright", and in a strange way, you know that is true. After a trio of tracks that have provided epic anthems, weirdness and strange scenes and car crash flashbacks; Exit Music (For a Film) brings things down to Earth. Yorke provides one of his most effecting and draining vocals; you sense is near the edge of the abyss- tired and ready to run away, or else give in. Opening with acoustic guitar and voice, Yorke has ideas of At Folsom Prison by Johnny Cash. Our hero updates Romeo and Juliet; he dreams of running away with his sweetheart, against the disapproval of her family. Advising our heroine to hurry herself ("Pack and get dressed/Before your father hears us/Before all hell breaks loose"), there is a sense of tension and anxiety throughout; emphasised by the sparse composition and emotional vocalisation. Songs further down the track list explore death and meaning, but throughout you get the sense that the two lovers have no way out; they are escaping but trapped still. In the cold night, the two look for a safe haven; the ghostly and vitriolic conclusion sticks in the mind: "We hope your rules and wisdom choke you Now we are one in everlasting peace". As the track ends, it is hard to shake the haunting feeling and evocativeness of the words; it is a song that does notr shout yet marks itself out as one of the album's best. After a breakneck and dizzying pace, Exit Music (For a Film) slows it down, and makes you reflect and stand still. In need of some sonic uplift, Let Down succeeds in eliciting some degree of ebullient mood. With appregiated guitars and piano, its coda is more positive than before, and Yorke explained the song, thus: "...about that feeling that you get when you're in transit but you're not in control of it—you just go past thousands of places and thousands of people and you're completely removed from it." The song's themes are relevant today and we can all relate to the feelings and mood projected. When Yorke sings "Don't get sentimental/It always ends up drivel", it is about how sentimentality is shoved down our throats; it is fake and manipulative. The composition and impassioned vocals keep the song from being downbeat or sniding; it is a track you quote and sing along to. Arriving hot off of its heels, Karma Police stands out as another highlight. Perhaps not in the same realm as Paranoid Android, it is not far behind; compacting a huge weight and sense of wonder into four-and-a-bit minutes. The song is an in-joke from the band, whom- every time they did something wrong or were chided- they used to say that it was "the Karma Police" calling. With no fully formed chorus, and having distinct segments, it is a disorienting track. With nods to Sexy Sadie's chord progression, the band present a range of curious and colourful characters; a girl and her "Hitler hairdo"; a man whom is like "a detuned radio"- each will be subjected to a scolding from the Karma Police. Yorke acts as narrator, moving through various scenery with their strange players; our hero direct and meaningful of tongue: "This is what you'll get/When you mess with us". After its build-up of intrigue, the track explodes in an anthemic and dreamy refrain: "For a minute there/I lost myself, I lost myself/Phew, for a minute there/I lost myself, I lost myself". It is hardly surprising that Karma Police touched so many and proved a live favourite. When the band played Glastonbury in 1997, swathes of festival-goers sang in unison; overwhelming the band with their volume and delirium- it is a song that easily seduces and entrances. The album's mid-point is essentially spoken words; Yorke puts his voice into a computer, and robotically scores a mandate for modern life; how to live better- Fitter Happier. Using the Simple Text application, Yorke wrote the track after a period of writer's block. It is a song that was described by Yorke as a checklist of slogans for the 1990s, which he considered "the most upsetting thing I've ever written". Backed by an eerie ramble of distorted noises and samples, the song's sage advice includes "Getting on better with your associate employee contemporaries"; "Sleeping well, no bad dreams, no paranoia/Careful to all animals, never washing spiders down the plughole" and "Pragmatism, not idealism/Will not cry in public". By the final moments, where its author tells of "The ability to laugh at weakness/Calm, fitter, healthier and more productive/A pig in a cage on antibiotics", we hear the machine break; distortion and jarring electronic give the impression that the machine has been overloaded- that it is breaking down. You piece the song together as it ends, take its best and bravest advice- and try to follow the rest. It is such an odd track; it does not fit in with the mood of the album and stands out quite dramatically. I have never been bowled over by the 'song', but feel that it is brave and bold. With the weight and emotion that the first half gives us, Fitter Happier seems like punctuation; an ellipsis- to prepare us for what is to come next. Kicking of the second half with jangling and clanking guitar is Electioneering. Overlooked by most critics (it is seen as one of the minor tracks on the album), it could easily of fitted in Pablo Honey. Due to its heavy sound and politicised themes, it is one of the most striking and urgent tracks; Yorke desperate and emotional of voice, our hero also address the issue of constant touring. With images of kissing a parade of babies; shaking sweaty hands and smiling inanely, you get the impression that Yorke is addressing the media; being shuffled from city to city he is almost a piece of meat- a 'product' perhaps, that sees him being used as a chattel or prostitute. In the guise of the politician (or modern-day music hero), Yorke explains: "I will stop, I will stop at nothing/Say the right things when electioneering/I trust I can rely on your vote". The track's guitar work is some of the best on the album; it strums and retreats; twists in a rictus of stress and strain- it is a facet that makes the track so imperious and emotive. The drumming is rampant and measured; it is scattershot when our hero is at his most anxious; weighed and level when he is campaigning- bass notes are similarly impressive and well-considered. Electioneering is one of my favourite songs on the album, as it takes you back to the days of The Bends; it is a Just-cum-My Iron Lung-style track, and sticks in your head. Some critics were ambivalent and drawn because it does not match the heights of your Paranoid' or Karma'; it is in the middle of the running order too, so a certain sense of fatigue also sets in. Creeping its way into the tableaux is Climbing Up the Walls. It has a creepy and shadowy sound that put some critics off; many felt it was too off-putting or oppressive. Recorded during a heavy storm, Yorke turns out his most demonic and scary vocal performances- it cuts to the core as he casts himself as the song's killer. The song contains and is layered with a string section, ambient noise and repetitive, metallic-sounding percussion. The song's string section, composed by Jonny Greenwood and written for 16 instruments- inspired by Krzysztof Penderecki's Threnody to the Victims of Hiroshima. Its atonal strings and chaotic mood bring life to the vivid creepiness and violence of the lyrics. Yorke is in his victims' house; stalking a family, he advises: "I am the pick in the ice/Do not cry out or hit the alarm"- trouble is a-foot. The walls close in, as Yorke gets closer; there is no escape and we get near to our bloody crescendo- "And either way you turn, I'll be there/Open up your skull, I'll be there". It seems that there is no way of deinstitutionalizing Yorke's lust; when the final moments arrive he errupts a blood-curdling scream; wailing on the mic. it as though his insides have been ripped out- backed by Johnny Greenwood's army of guitars which sound like a zoo train having been derailed. That scream (from Yorke) is one of the most affecting and unexpected things on the album, and it is the sound of a man losing his mind and senses all at once. The antepenultimate number on the album is No Surprises. Whereas Exit Music (For a Film) showed how haunting Yorke's voice can be when he is running away from life, No Surprises is the sound of a man being swallowed up by the strains of life- and as a result, it is even more striking. Completed in a single take, the track mixes glockenspiel, acoustic guitar and vocal harmonies, it emulated Soul classics; The Beach Boys' Would It Be Nice and Louis Armstrong's What a Wonderful World- yet No Surprises' lyrics are the antithesis and polar opposite of those songs. Our hero plays the part of a man who can't keep things together; dissatisfied with the rigours and vicissitudes of life- aghast at the inferential horrors at making it in the modern world. You can sense the claustrophobia and suicidal tension when Yorke sings: "A heart that's full up like a landfill/A job that slowly kills you"; the pain and anguish when he intones "I'll take a quiet life/A handshake of carbon monoxide". The child-like innocence of the glockenspiel bring to mind a lullaby or nursery rhyme; pitted against a manifesto expounding the ineffectiveness of struggle, it is a striking juxtaposition. Fey and melodious sonic elements soundtrack Yorke's observations and final thoughts; the pretty house and garden, but in the end our hero craves (a life) "With no alarms and no surprises/No alarms and no surprises". The suffocation and painful confessions come to an end, and the listener is exhausted. It is a bittersweet tale, one which sees hostile and depressed outpourings mix with sweet and cherry-scented guitars. Anyone expecting some salvation and rescue team are left disappointed; what arrives next does nothing to squelch the sense of dread. Lucky is a fictionalised recollection of a plane crash; it was inspired by the conflicts in Bosnia (at the time)- a heavy and anxious number from start to finish. With Yorke having an aversion and fear of flying, and a disinclination to most modes of transport, the song seems as personal on the album. The plane has stopped, the passengers are picking themselves up; Yorke is dusting himself down- relieved and delighted to be alive. Announcing that it is going to be "a glorious day", our hero asks: "Pull me out of the air crash/Pull me out of the lake"- you can hear the conviction in his voice. There is a sense of renewed optimism and rebirth ("I feel my luck could change"); like Airbag, Yorke is walking away from a situation that could have killed him. Bringing us down to land, The Tourist is the perfect finale. It is one of the most un-Radiohead songs they produced; such is the sense of space; it is staid but unique. Greenwood wrote the music as a reaction to seeing hurried tourists in France, and Yorke contributed lyrics later while on vacation in Prague. Yorke said it was chosen as the closing track song because, "a lot of the album was about background noise and everything moving too fast and not being able to keep up. It was really obvious to have 'Tourist' as the last song". The song deals with the way people rush through life; not stopping to breathe and relax- not satisfied unless every second is filled with noise and imagery; Yorke rallies against this tendency: "Hey man, slow down, slow down/Idiot, slow down, slow down". Our hero is aghast at the rudeness and inconsiderateness of human life; the short attention spans and inability to relax and enjoy the views. With incredulity and resentment in his voice ("They ask me where the hell I'm going/ At a thousand feet per second"), Yorke is alone. Too many people whizz through landscapes and cities; not appreciating the intricacies and beauty- why neglect something so quintessential and vital? With questions and images in your mind, by the final seconds of the album, you are left wondering, theorising; dreaming, sweating- and downright overcome.

With the acclaim that OK Computer received, the Oxford quintet were in no mood to slow down. Whilst the quality remained high, the band shifted their sound; away from purely Rock-driven and guitar-heavy sounds; introducing more electronic elements- Yorke began to feed his voice into the machine more. In 2000, Kid A was unleashed, and met with huge acclaim. It reached number one in the U.S., went platinum in its first week; as well as winning a Grammy for Best Alternative Album. Jazz styling were fused with 20th-century classical music. A greater width and breadth of instruments were employed, with our band keen to expand their sound and keep their songs fertile and original. Everything in Its Right Place sees our hero "sucking a lemon"; burned out by the touring commitments, Yorke was inspired to pen the track. The National Anthem has springing bass and guitar and sees Yorke's voice distorted and powerful. How to Disappear Completely is Yorke yearning to escape; not be seen by the media and public eyes- he has had enough. Yorke's vocal is at his most affected and beautiful; a haunting and sighing classical arrangement augments the sense of helplessness and fatigue. There is upbeat optimism aplenty; with tracks such as Optimistic stating that "The best you can is good enough", it is perhaps the closest in terms of tone to previous work. The album resonated with critics and the likes of The Times and Pitchfork Media placed Kid A at the top of their 'Album of the decade' lists. Whilst retrospectively investigating the album (in 2009), The Times surveyed the album in these terms:

"A wrestled with key post-millennial themes: the application of technology, information overload, identity and alienation. Doggedly anti-corporate and often stubbornly anti-melodic, it sometimes seemed less a collection of songs than a prolonged experiment in sound and possibility. There were moments when the band second-guessed their own instincts to a ludicrously leftfield degree, but also moments of profound beauty and deep emotion".

The band's fith album arrived in the form of Amnesiac. Displaying similar influences of electronic music, classical music and jazz, the album explores lyrical themes of memory and reincarnation. Bassist Colin Greenwood described the album as having "more traditional Radiohead-type songs together with more experimental, non-lyrical based instrumental-type stuff as well." Yorke described it as "another take on Kid A, a form of explanation". Recorded during Kid A sessions, the L.P. saw the band back in the room; infused and invigorated by their creative output, over 20 songs were recorded. Tracks such as Pyramid Song were inspired by Charles Mingus; this number and talks about the Egyptian underworld. Yorke described the track as one of the band's best, and is detached, unsettling, beautiful and utterly unforgettable. Packt Like Sardines in a Crushd Tin Box saw Yorke immersed in computers and electronics; an Auto-Tune and nasal take sees our hero becoming less interested in the sound of his voice- and more concerned with sound and experimentation. I Might Be Wrong and You and Whose Army? are two highlights. The former is a nasal and swaying song that sees Yorke's voice at is most direct and imploring: "Think about the good times/And never look back/Never look back". You and Whose Army? is more crawling and woozy; building its trajectory it explodes in a riotous piano coda; Yorke at his most accusatory and politicised. Knives Out was influenced by Johnny Marr's guitar work and is a song that took over a year to record. The closing number, Life in a Glasshouse has the sound of a New Orleans Jazz funeral, and looks at the nature of press intrusion and lack of privacy (in the private eye). Whilst not reaching the critical peak of their previous effort, Amnesiac was still fondly regarded:

"Amnesiac puts Radiohead's turbulent recent history into perspective. With the benefit of hindsight, Kid A's wilful racket now recalls the clatter of a rattle being thrown from a pram. Tantrum over, Radiohead have returned to their role as the world's most intriguing and innovative major rock band".

The Guardian

Our heroes seemed a little tired; the slight dip in quality (of Amnesiac) called critics to question the band's new direction of sound. The demand that was present since OK Computer has got to the band, and there seemed like a relentless pressure for them to record new music. After a two-year gap, Hail to the Thief was released. A lot of its themes dealt with the War on Terror and right-wing politics of the time- Yorke was incensed by the gap between politicians and the general public, and the inequities that existed. The band returned to their guitar-driven sound, and did not want to take any new leaps. Tracks such as Sit Down. Stand Up and 2+2=5 retrained electronic elements; both tracks displaying a dark and frantic pace. The latter looks at doublethink; the nature of logic and Orwellian themes. There was tenderness to be found in the form of Sail to the Moon- a song written by Yorke, dedicated to his daughter. It is There There that sticks out, and it is undoubtedly the finest track on the album. Inspired by the likes of Can and Pixies, it is a hugely impressive statement that reduced Yorke to tears- our hero thought it was one of the best thing the band had recorded. Whilst humour and spite mingled in A Punchup at a Wedding, it also boasted a brilliant band performance. Hail to the Thief was an album that did not resonate hard with critics. In terms of reception, it ranks alongside Pablo Honey; critics were expecting something akin to The Bends or OK Computer- yet the album is not a failure. It may have more 'filler' than you'd expect, but Radiohead still showed that they were a force to be reckoned with. Reviews were not all mixed or negative; with the more incisive and dedicated, keen to extol the album's virtues:

"However, despite the fact that it seems more like a bunch of songs on a disc rather than a singular body, its impact is substantial. Regardless of all the debates surrounding the group, Radiohead have entered a second decade of record-making with a surplus of momentum".

Allmusic

The two most recent Radiohead albums have not only shown a diversity of themes, sound and direction; yet have shown what the future could hold for the band. In Rainbow marked a stunning return to form (in the sense that they were up to their Kid A standards of quality). Four years after their last effort, In Rainbows put the band back in guitar-lead territory; boasting a more decisive sound, Yorke's mind seemed more relaxed and content. A great deal of songs began gestation in 2006, and the group were inventing and honing the songs long before they went into the studio. 15 Step is a clattering, stuttering and elliptical opener, that sees hand-clps and child choruses alongside riparian guitar. Nude is a seductive and romantic number (vocally, anyway), stretching and languidly imploring. Yorke's vocal is gentle and powerful, his synonymous falsetto comes to the fore throughout. Advising "Now that you've found it, it's gone/Now that you feel it, you don't/You've gone off the rails" it is a shimmering track that went through a number of different versions (and titles). Reckoner is a fast-paced and stunning number; one Yorke claims was inspired by a "very trippy dream, one of those ones you wake up from and go, 'aww man, I don't want to wake up from that, ever". The album is rife with quality, surprises and fascination, and sees the band enjoying themselves and back in fertile ground. Reviews for the album were largely positive and laudatory:

"Radiohead reconnecting with their human sides, realising you [can] embrace pop melodies and proper instruments while still sounding like paranoid androids ... this [is] otherworldly music, alright"

NME

"Using the full musical and emotional spectra to conjure breathtaking beauty, the collection is well named. It may have arrived via computer, but the vision is timeless"

Entertainment Weekly

The band was clearly back at the forefront of critical regards; they were gaining new fans as well as enlivening the existing ones. Another four years past until The King of Limbs was released; it is an album that saw the band employ a more spontaneous process to develop their sounds, sampling their own recordings with turntables. It was an L.P. that saw mass plaudits, Grammy nominations and end-of-year homage- yet divided many. Tracks like Lotus Flower could have been recorded for In Rainbows; displaying Yorke's hypnotic falsetto and a shimmering beauty. Rhythm was very much king, and gone were the guitars and strings that augmented and emphasised previous works; replaced with more programming and electronics. The first track, Bloom, opens with a repeating piano loop and features complex rhythms and a flugelhorn arrangement by Jonny Greenwood. Morning Mr Magpie, debuted as a solo acoustic performance by Thom Yorke in a webcast in 2002, appears with a repeating electric guitar riff and a looping hi-hat pattern. Little by Little features intricate guitar playing over busy, syncopated percussion. Feral is an instrumental with wordless, processed vocals, cut-up drum loops, and a distorted synth bass line. The album bridged previous styles and sounds (from the band) and was more nuanced than previous efforts. It is one of these albums that reveals its charms over multiple listens; gone was the instantaneous strike of early work. When reviews came in, positivity and glow were synonyms once more; critics did not feel alienated or let down- they saw it as a logical step forwards.

"The King of Limbs is another great album from Britain’s most consistently brilliant band. And come Codex, it truly strikes the listener dumb. Like Motion Picture Soundtrack, Street Spirit, Sail to the Moon, Nude – insert your own favourite slow-paced Radiohead numb-er here – it’s a piece of rarefied beauty. Thom says something about dragonflies, something else about nobody getting hurt; the words blur and blend, though, as beneath them the simplest, most strikingly gorgeous piano motif bores its way into the heart. And it’s here, not any of your limited-character blogging or video-sharing sites, that Radiohead trump all comers, again".

BBC Music

There has been a lot of speculation and talk (since the release of King of Limbs). Album plans have been mooted; the latest one suggests that we may see some development in the summer. Because Radiohead's last two albums have not only seen them embrace and rid themselves of the past- trying to update their sound but keep core elements in tact; as we large gaps between release- there has been so rightful hesitation and procrastination. Yorke has been working with Atoms for Peace; working on other projects and side-steps. The band have enjoyed the break and the lack of pressure, and are making plans for the future. Whether we will see another album, or if it may take a few more years is unsure, but the fact is that the band still intrigue- we have not heard the last from them. OK Computer was the benchmark from Radiohead, and whilst not my personal favourite (that honour belongs to The Bends) it is one of the most important albums of the past 20 years. It summed up a mood of the time, and not only worked independently of 'Britpop' (setting them aside from their peers) but saw critics and the public fully in love with the band. Their first couple of years were defined by ambivalence, uncertainty and finding their voice, and on OK Computer, they had arrived. The confidence and conviction are there in each song, and the album stands the test of time- you can listen to it in any mood and be amazed by it. With some speculation about the band's future, we shouldn't worry too much; instead look back at a brilliant opus that is classic and urgent; inspiring and overwhelming. With their third album, the Oxford five-piece marked themselves out as one of the U.K.'s best bands, and voices of the generation. Few could argue with OK Computer's potency and brilliance; and whether you prefer other bands (or other Radiohead albums) I would advise you seek it out. There is something in there for everyone; from pulsating and heady Rock, through to crawling and creepier work; electronic guides to life and a three-part mini opera- few modern albums have touched the sort of range and ambition displayed here. To that end, OK Computer should be taking in but a lot of new musicians; not so that its sound can be aped and copied, but so new musicians can take inspiration. Radiohead did not make a name for themselves instantaneously, but worked hard (which will provide solace to those starting out); the range of sounds and sensations on the album are in desperate need of tribute. No one has dared to do anything as ambitious as Paranoid Android; no other band has mixed songs like Subterranean Homesick Alien in the same L.P. as Electioneering; no anthem as direct and worthy as Karma Police has been unveiled since. It is not impossible to think that an album as good as OK Computer can be witnessed again (many may opinion that better ones have been produced); yet not enough new musicians try to aim as high as Radiohead did in 1997; to push the envelope and be that bold. I hope that this changes, and we do see some similarly ambitious and inspired acts come through; but in the mean time, Radiohead's commercial masterpiece should be studied; regarded and dissected- and loved as much as anything. It is not a doom-laden work; not something that should be relegated to stormy days- it is an album that offers up something new with each listen. If you are waiting to see what Radiohead do next; or else have abandoned hope of them ever releasing another album, then take a moment...

AND realise just how good they were.

　

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Buy OK Computer:

http://www.amazon.co.uk/OK-Computer-Radiohead/dp/B000002UJQ/ref=sr_1_1?s=music&ie=UTF8&qid=1398783654&sr=1-1&keywords=ok+computer

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OK Computer Track Listing:

　

Airbag- 9.7/10.

Paranoid Android- 10.0

Subterranean Homesick Alien- 9.6

Exit Music (For a Film)- 9.9

Let Down- 9.8

Karma Police- 9.9

Fitter Happier- 9.3

Electioneering- 9.8

Climbing Up the Walls- 9.8

No Surprises- 9.9

Lucky- 9.9

The Tourist- 9.8

Standout Track: Paranoid Android

Download: Paranoid Android, Exit Music (For a Film), Karma Police, No Surprises and Lucky.

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Track Review: St. Paul and the Broken Bones- Call Me

TRACK REVIEW:

St. Paul and the Broken Bones

　

Call Me

9.7/10.0

The single, Call Me is available from:

https://www.youtube.com/watch?v=z7s9A3s8iv8

The album, Half The City is released by Single Lock Records, and available via:

http://stpaulandthebrokenbones.portmerch.com/stores/product.php?productid=19023&cat=0&page=1&featured

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These Alabama soul-revivalists proved a sensation when they played SXSW. With Janeway's captivating and riotous belt (and a cornucopia of electricity on offer) at the fore, the seven-piece are on a mission: to overwhelm and awe.

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I have reviewed a fair few American acts over the past couple of years...

each with their own style and background. Most of my reconnaissances revolve around U.K. acts and artists; I find myself often yearning for some international flavours- to provide some diversity. A lot of my time is spent promoting new artists and songs; featuring L.P.s and E.P.s by fresh talent- each of whom are starting out in the music world. As keen as I am to foster British-based newbies, I always love dipping my foot into foreign waters; seeing what is available in other parts of the world- and seeing what is out there. Recently, I have been reviewing quite a few Rock and Pop acts (and artists whom cross-pollinate these genres); always impressed by the fervency and urgency of their music. Artists such as Gypsyfingers and Echo Arcadia have provided me escape; an opportunity to experience something new and different; take in the ambitions of distinct and disparate young acts- and see what direction new British music is taking. I feel that our future will be a bright one, as I have seen enough mobility, ambition and quality out there, which leads me to believe that plenty of bona fide stars-in-the-making are waiting to rise up. When I recently surveyed Arizona's band of brothers Kongos, I was impressed by their joyousness, rambunctiousness and abandon: music was offered up that provided excitement and good times. Each American act I have come across has managed to elicit a reaction in me; stir up a particular emotion or feeling- and leave me a little stunned. Music here (in the U.K.) can be exhilarating and potent, yet I feel that there are a lot of acts doing the same thing; that the sounds are designed to impress or seduce- yet few take the trouble to try to take your breath. Of course, there are some exceptions, but the abiding feeling I am left with, is that we need more exhilaration; a wave of musicians who- through Soulful screams or Rock majesty- can not only leave you a sweaty mess, but also offer a striking sound into the bargain. Although I hear of fewer U.S. acts, when I do happen upon them, they seem to innately fulfil the points I laid out; offer up something genuinely mesmeric and different. A while back, I discovered L.A.'s The Open Feel, and was blown away by their sunshine brand of music; both sexy and breathy; hard and vibrant. New York bands have come under my radar, and have shown themselves to be purveyors of awe-inspiring sound. I have often theorised that, depending on where you are brought up, enforces your music. In the U.K., I have investigated quite a few Yorkshire-based acts; those whom seem to be providing the most diversity and potential at the moment. Electro-Swing and Folk mixes alongside '60s Pop and boy-girl duos; riot and pummel seamlessly nestle with shimmering and romantic. It is a county that is showing the rest of Britain how it is done. In London (away from the mainstream) I tend to find that most bands are Rock-orientated. There are fewer examples of diversity amongst the bands, yet the best and brightest here are in serious danger of being ranked alongside the modern greats. Down in the coastal regions of the south, something sunnier and more elliptical lives; music that provides brightness where there is rain- it is largely light and breezy, but hugely likeable. Elsewhere, there is plenty of diversity and range; yet when it comes down to it, the U.S. seems to be leading a charge. Perhaps it is due to the sheer size of the nation, but it is staggering how the sound and nature of music changes, depending on which state you visit. Midwestern states such as Ohio, Michigan and Iowa have plenty of harder-edged bands and acts; those I have reviewed tend to play their sounds on the louder side; mixing Punk and Rock elements with of-the-moment rush. New York and the East Coast locales such as New Jersey and Washington, D.C. again provide some more forceful sounds, yet there is a huge amount of diversity too. When I listen to the music of Georgia and Mississippi, I have heard plenty of Soul, Blues and Jazz acts; each with a very distinct and different coda and projection. Nestled between these two states is Alabama- where today's subjects hail. I shall introduce you to them soon, but before I do, I will offer an addendum. As much as the above is a laudatory statement; I feel that it can used to amend Britain's music constitution; with a few tweaks and inclusions, our music scene can be bolstered and galvanised. The fact that the U.S. has a greater width and breadth of music is not due to land size, financial considerations- or even talent per se. There is a boldness and adventurousness being encouraged not only by the media, but the music-buying public there. A great deal of media attention here revolves around mainstream acts and certain types of music. Our new acts- in an attempt to fit into moulds- often mould themselves into what they think critics want to hear- rather than who they really are. I would love to hear some great Soul bands and acts; more Punk purveyors and Country-tinged artists. I feel there is a general fear amongst new musicians; bands often stick with a particular sound, as do solo artists- only occasionally do you get examples who buck the trend radically. As great as our best and brightest new musicians are, it would be great to hear and see more willing to follow in their footsteps; those prepared to keep their identity yet think outside of the envelope. Many may argue against my points and claim that we have plenty of music that provides this, but I get the sense that American music is a lot more carefree; less concerned with critical expectation, and as a result, bolder and more diverse. My focal point today is a seven-piece outfit whom are causing waves in their native land; providing something startling to eager audiences- and marking themselves out as one of the world's great 'soul revivalist' acts. Without further hesitation, I shall get down to business.

St. Paul and the Broken Bones are, I am imagining, an act you may be unfamiliar with. Hailing from Birmingham, Alabama, it is perhaps invariable that they have been compared with their fellow Alabamians, Alabama Shakes. There is a similar forcefulness and sense of wonder between the acts, yet plenty of difference too. Alabama Shakes' Brittany Howard is one of the most electrifying and formidable female voices in music; her tones turn the band's motifs into something otherworldly and overwhelming. St. Paul's lead, Paul Janeway, is a comparable force of nature; lacerating, tenderly and pugnaciously wrestling with the Birmingham outfit's songs of love, lust and R 'n' B/Motown blends. Before I get into dissecting our intrepid crew, its members consist:

Paul Janeway- Lead Vocals

Jesse Phillips- Bass

Andrew Lee- Drums, Percussion

Allen Branstetter- Trumpet

Browan Lollar- Guitars, Vocals

Ben Griner- Trombone, Tuba

Al Gamble- Organ, Piano

U.S. critics and media sources have been excitedly testifying to the wonders and strengths of the Alabama group. Hot of the heals of their album, Half A City, a huge amount of kudos and paen. I hope that Britain fully latches onto the band's unique shades, as the majority of their fan base is located in the U.S. Across social media sites such as Facebook and Twitter their numbers are rising, and it appears that the boys have an exciting and prosperous future ahead of them. When looking at St. Paul and the Broken Bones, you realise what an intriguing and fascinating back story the group has had; it is worthy of a Hollywood film in itself. The seven-piece sum it up best themselves: "Grit, elemental rhythm, tight-as-a-drumhead playing, and a profound depth of feeling: these are the promises of a great soul band. And St. Paul & The Broken Bones deliver on those promises. Half The City is the compelling full-length Single Lock/Thirty Tigers debut of the Birmingham, Alabama-based sextet, who have already created a maelstrom of interest with their roof-raising live shows and self-released four-song 2012 EP. Produced by Ben Tanner of Alabama Shakes, and recorded and mixed in the storied R&B mecca of Muscle Shoals, Alabama, the album harkens back to the region’s classic soul roots while extending the form with electrifying potency. Front man Paul Janeway’s handle "St. Paul" is a wry allusion to the vocalist’s grounding in the church. Like many a legendary soul singer, Janeway, a native of the small town of Chelsea, Alabama, was raised on the gospel side, in a non-denominational, Pentecostal-leaning local church. Virtually no non-religious music could be heard in his devout household. Janeway says, "The only secular music that I heard at all was a ‘70s group called the Stylistics, and Sam Cooke. That was about it. The rest of it was all gospel music. When I was about 10 years old, I was groomed to be a minister. My goal in life until I was about 18 years old was to be a preacher." He adds, "My pastor was the reason that I learned to play guitar. They would let me play guitar and sing in church. What was weird was that he would never let me sing lead – I’d sing background vocals. I always thought, ‘Well, maybe I’m just a good background vocalist.’ So I never thought I could really, really sing, at all. I never thought it would be a living, ever." Though his time in the church exposed Janeway to key influences in gospel music – the Mighty Clouds of Joy, Alex Bradford, Clay Evans – he began moving away from his youthful path in his late teens. He began attending open mic nights in Birmingham’s clubs and diversified his listening, excited by some decidedly left-of-center talents. "Tom Waits and Nick Cave were the really big attractions," he says. "They have that passion. They’ve built this aura. They’re showmen to the teeth. And that’s what got me – it’s like going to church, in a weird way. At about the same time, I began listening to the great soul singers like Otis Redding, James Carr, and O.V. Wright. I was trying to find something that made my earbuds tingle." Seeking his musical comfort zone, Janeway had an incongruous stint in a band that played Led Zeppelin covers, but, he confesses today, "That’s not what I do." However, his early work in the rock vein brought him together with bassist Jesse Phillips. The pair became close friends and were soon writing together; "Sugar Dyed," "Broken Bones and Pocket Change," and "That Glow," all heard on Half The City, were among the first fruits of their collaboration. The other members of the Broken Bones are all drawn from Alabama’s deep talent pool. Guitarist Browan Lollar, from the Muscle Shoals area about 100 miles north of Birmingham, previously played with Jason Isbell’s 400 Unit. "We never thought Browan would ever be interested in this band – he was too big-time for us," says Janeway. "Jesse had met him while he was on tour with another band out of Birmingham. He asked Browan to come to the studio, and he showed up. I think we caught him at the right time. He wasn’t busy, and he said, ‘Man, I really want to be a part of this.’" Jasper, Alabama, native Andrew Lee signed on via his acquaintance with Phillips. "We just picked him up on the way to the studio," Janeway recalls. "Jesse said, ‘I know this guy, why don’t I just call him.’ And 30 minutes later, he’s sitting there playing drums on ‘Sugar Dyed.’ Andrew’s just a hell of a drummer." Brass players Allen Bransetter and Ben Griner are both graduates of the music program at Birmingham’s Samford University. Janeway says his vision of the band always called for a two-man horn section, a la the celebrated Memphis Horns, and he approached Griner, although the latter’s main instrument was tuba. "I told Ben, ‘Man, I’ve got to have horns. Do you think you can play trombone?’ He said, ‘I’ll give it a shot.’ And he brought Allen with him." All six members share writing credit on 10 of the songs on Half The City, with Janeway contributing lyrics. "We firmly believe in a shared, communal writing process," the singer says. "These guys are extremely talented. The drummer wrote horn parts. Browan threw something in. It’s very collective. We just get in a room. Sometimes we’ll have the scales for a song, or sometimes we’ll have this little riff. That’s how we do it." In Tanner -- who logged time at Muscle Shoals’ aptly named FAME Studios, where scores of memorable soul records were cut -- St. Paul and the Broken Bones found a like-minded producer and label boss. Half The City is among the first releases on Single Lock Records, the imprint co-founded by Tanner, John Paul White of the Civil Wars, and Will Trapp. "When we started getting cranked up and nobody really knew who the hell we were, we got Ben to mix our original four-song EP," says Janeway. "We just hit it off. He said, ‘Hey, guys, I’m in the process of starting this label. Obviously you can say no, but we’d love for you to be a part of it.’ And we said, ‘Hell, yeah.’" Reaching back nearly 50 years to methods employed the great epoch of deep Southern soul, Tanner and the group eschewed studio trickery for an in-the-moment approach during sessions at the Nutthouse in Muscle Shoals, AL. Fittingly, the album was mixed at FAME. Janeway explains, "We said, ‘We’re doing this as old-school as we can.’ We did it to tape. We did it live. What you hear is taken from about three takes, and we took the best take. I love it. It’s raw. You hear all the scrapes." Special guests include Al Gamble on piano, organ and wurlitzer, Daniel Stoddard on pedal steel, Jamie Harper on baritone sax and Tanner on piano, organ and background vocals".

We do not hear many- if any- similar acts in the U.K., and I was delighted to come across St. Paul and the Broken Bones. The guys have been on the scene for a little while now, yet their Half The City L.P. is a fresh unveiling; it has inflamed and seduced U.S. critics, and reception and feedback has been hugely positive and effusive. Given the voice that Janeway offers up, tied together with his cohort's energizing and wonderful sonic support, it is unsurprising that a certain sense of tumescent patronage has been paid. Critics have all been eager to lend their opinions and tributes, to a truly unique and ambitious band:

"...[singer Paul Janeway) didn't knock it back even a notch, crooning and hollering, collapsing to ground like a white James Brown sans cape, dousing himself with water and exuding more mojo than I thought a man in a blazer and bow-tie was capable of."

Sam George, You hear This?/Weld

"Packed full of soul with that hint of Southern charm..."

The South Rail Music Blog

With their album still ringing in the ears, American audiences have been keen to investigate the boys in the flesh; our heroes have an itinerant and jam-packed schedule in front of them; taking Half The City's multifarious gems as far and wide as possible. I have investigate the album in its entirety, and was amazed by the conviction and pace that runs through it. A sheer sense of exhilaration and passion runs through the entire L.P., and the amount of ground cover (across the twelve tracks) is startling. Tender romance and sweat-dripping passion rub shoulders, as do moments of introspection and reflection. When chosing a perfection representation of the album's merit, I selected Call Me. It is a single which has been in the ether for a while, and a track that has been marked out as the album's highlight. Recently Jo Whiley extolled the track's virtues (on Twitter); introducing it to British audiences- and ensuring that the band gained new followers in the process. A lot of U.K. critics seem to be in self-exile in their neglect and naivety, because I have only seen one publication (here) surmise the group- I will mention them in the conclusion. With its video gaining plenty of YouTube love (a rarity considering it seems to be a natural home for trolls and back-biters); Call Me is the sound of a pioneering and purposeful seven-piece, with lofty ambitions of regency and longevity.

　

Attribiliousness is given no quarter, here. From the first seconds, horns burst and pervade against a plinking guitar line. At first, it is quite tender and composed; delicate strings and emotive brass do their work, before the song is opened up and strikes. With its Motown-flavoured sounds, there is an energy whipped up that not only gets you to your feet, but puts you in mind of some of the late, greats- Otis Redding came to mind, initially. Janeway, however, is his own man, and with a powerful and crackling soul tone, he lays bare his emotions. Early words talk of realisations and emotional ground; with some ambiguity and mystery laid in, cards are being kept close to chests: "This ain't the heartache/That I thought I knew/This ain't the party/That I thought we do". The band aptly and deftly support out hero, eliciting a smooth, sexy and powerful composition, that blends their components together. Percussion is steady but driving; guitar and bass is uplifting (and funky, somehow); in the midst of brass notes which swirl and sway. In the video for the song (see the YouTube link at the top of the review), our hero stands by the mic., side-stepping and arm-waving. Entranced by the rhythm (and perhaps his own voice) the band play around him- the boys never let the smile drop. Whether the song is surveying a broken relationship or is a calling card to a desired sweetheart, I am unsure, but you get some oblique- yet evocative- images and words summoned up; everything is pure but filthy; direct yet withdrawn. Sentiments such as "You got your limit/Baby I got mine/Six Eleven/Three Three Six Nine" perhaps have a lot more sweat than sweetness; our hero roars and powers through each line, ensuring that it fully hits home. It seems that there is some resistance around town; that some tongues are talking- causing ruction and anger in Janeway's mind. Leonine of voice, evisceration and laceration are words that come to mind; truths are being laid down, and a weight is exorcised from his soul. When singing "We aint the lovers/That'll tear you down/We aint the fortune /All over town" there is as much conviction here as anywhere; the 'bama boys weave a springing, emotive and soulful storm. Without seeing Janeway, you may imagine a black soul legend; someone who resembled Redding or Sam Cooke, perhaps. It is quite surprising to see our hero and realise whom is singing the words. You would not expect that voice to emanate from him; the sense of being stunned and surprised are facets which never let up- from start to finish. We have our soulful voices from the likes of Paolo Nutini, and he especially, is one of the biggest voices in the world right now. When I listened to Nutini's song Iron Sky, I was impressed and overcome by the raw emotion that poured forth; how wracked and pained he sounded- you are drawn into his tableaux of love and suffocating forces. Similarly, when I hear Janeway holla, his voice carries that same weight; only this time the sentiments are more redemptive and lascivious. The composition steps up a gear during the next verse ("You got to call me baby/I need you to pick up that telephone/and dial those numbers honey"), the mood begins heavier and more exhilarating; our hero waits for that call; for his beau to ring and provide relief- the sexual tension and desire is palpable. In the same way that the likes of Otis Redding tore through and dominated numbers like Try a Little Tenderness, Janeway does likewise. Whilst he may need a few more years to scale to Redding's heights, he is as close to a modern-day equivalent as we have. There is that same immense force and conviction; the same sort of heart and soul linger beneath. Similar, St. Paul and the Broken Bones keep a sense of innocence and purity to things- of course mingled with some salacious intentions. The ideas of picking up the telephone and dialling numbers have their heart in the '60s; there is that sense of this being an up-to-date Motown hit; it has the same sort of songbook and skin to it. The temperature and enraptured fever starts to climb once more, as our hero becomes more impassioned and direct. When the words "Hey I need you to call me/I need to hear your sweet voice/Let me, let me, let me, let me hear you again", the voice screams and strains; it bellows and belts- you can sense here is a man on the edge of his nerves, and on the precipice of salvation. There too, is that gospel feel to Hold On as well- not a shock considering Janeway's upbringing- and our frontman is the pastor delivering a sexual sermon- a truth both irreligious and holy. In the video, our hero weaves and moves and body (at one point you expect him to drop to the floor and do The Worm); jiving and getting lost in the song. The composition levels down a bit; there is some scratchy and funked guitar and bass; the percussion becomes less enraptured. It offers some emotional respite and relax too, and has the feel of the storm passing- and the new day beginning. With some weeping and magisterial brass coming into the fray, the sedate mood does not last long. Our hero is still in pining mode; desperate for satisfaction and sexual redemption. Again, some smoky embers of Redding nudge their way in; the band parabond and combine beautifully, summoning up a coda that implores you to dance and move your body. Foreshadowing the most intense and gravelled vocal delivery I have heard all year (outside or Iron Sky), our hero lays down the law: "I need, I need you/I need I need you baby/I need I need I need I need I need you baby/I need I need I need I need I need you baby/I got to get you to pick up that telephone". With the song nearing its end, our hero makes one last impassioned plea- "You got your limit/Baby I got mine/Six Eleven/Three Three Six Nine". With his voice and body worked up into a frenzy, Janeway advises: "Call the doctor/Call the nurse", he is become demonic with lust and anticipation. The words and music end, as the sweat glistens on the floor; our crew have done their work, and it is down to the anonymous sweetheart, as to how things proceed. You get the impression from witnessing the band play, that they have their roots in Motown, Stax and Gospel music; that the heroic likes of Redding, Cooke and (Marvin) Gaye mean as much to them as anyone currently on the scene. Janeway's voice is laced and instilled with genuine soul and credibility; he could one day rank alongside the all-time greats- yet he has his own unique voice and personality. The band themselves are constantly compelling and tight; able to update '60s and '70s soul themes and make them sound fresh and urgent. The inclusion and incorporation of brass adds weight and sensual lustre to their composition; the percussion and bass keep the pace controlled but add force majeure; the guitar work is authoritative, funky and filled with coolness and swagger. Overall, the track is a perfect distillation of myriad genres and time periods, funnelled through a band whom have a fond affection for the past- yet are on cusp of modern music. In the same way as our own Nutini can entrance with his voice and let his compositions overwhelm you, so too can Birmingham's St. Paul and the Broken Bones. Until yesterday I had not heard of the band, and am glad that I have been introduced to their music. Part of the joy (as well as sorrow) of my 'job' is coming across bands you would not usually investigate; or else not usually know about. I will not only continue to listen to our heroes and drink in as much of their music as possible, but am compelled to understand about Janeway's voice; how he makes it happen and where it came from. It is the instrument that symbolises the emotion and power that are present in all of the group's songs; and is the perfect blend of vintage Soul and modern-day sounds.

I have waxed lyrical about Birmingham's finest soul revivalists, and their magic blend of music. As much as I adore native acts, it is always great to hear what our transatlantic cousins have up their sleeves. With the likes of Kongos in my thoughts, it is hardly surprising that another American act have burrowed their way into my soul. I was staggered by Janeway's weaving and powerhouse voice; the band are a kinship of tight and wonderful sounds; myriad emotions and movements- surmounted and emphasised across their album. Reception for Half The City has been glowing indeed:

"Hailing from Alabama's suddenly exemplary music scene, the horn-fueled Broken Bones don't re-create one funky groove after another. They make them sound more like the truth than any band since the Seventies. That musicianship carries Janeway and crew far, songs including "Like a Mighty River" and "The Glow" evoking Redding and Al Green. Throughout, there's a sense that the band lives to let it all hang out – beg, scream, and shout. Alabama Shakes' Ben Tanner sat in the producer's chair, while recording and mixing were done in Muscle Shoals. Half the City, bona fide all around".

The Austin Chronicle

"With such a powerful debut, St Paul & the Broken Bones may struggle to live up to the hype they're cooking. We can't wait to see what's to come from them in the future, but in the meantime we'll take what they've got with a heartfelt hallelujah!"

Cairo 360

"St. Paul and the Broken Bones' music doesn't just mimic the sounds its members love; it regenerates the tradition. This is what happens when players are unusually in tune with each other and with the discoveries they're sharing. Half the City is the first major recorded statement from a band already growing into greatness. Get it now, while the sweat's still fresh".

N.P.R. Music

"...That said, Paul’s voice (the real star in this band) pairs so perfectly with Allen Branstetter and Ben Griner’s understated but inignorable horn section that you pretty much have to be an asshole not to fall in love with this band inside of 3 songs. They’ve pretty much taken what the Alabama Shakes are trying to do and perfected it. Perfected. I did not misuse that word and it’s everything I envision Essential Listening to be".

NineBullets.net

"Ultimately, Half the City is a captivating, exceptional soul album. In a day and age where authenticity is questioned, St. Paul and the Broken Bones smash any doubts. Half the City is not an innovative affair, but given its retro-tinge, it doesn’t need to be. By all means, the goal of keeping "soul" alive and flourishing is easily accomplished here".

PopMatters

"There is a gospel feel to the music which is to be expected and two songs bring religion to the forefront. A loving couple following the lord and building a life together details "Let It Be So" while "It’s Midnight" is an emotional song about a mother pleading to her son to find god and all will be well. Both songs get into your head possessing the ability to make you think about your own life... There is not a single lull in the album and when it starts playing you will pray it never ends. SP&BB have captured the essence of their live shows in Half The City which is part of the charm. The emotion, the fine tuned soulful music, the Muscle Shoals flavor and influence of producer Ben Tanner (Alabama Shakes) is the rest of what makes it so damn good. This is the best record I have listened to this year and with ten months to go I find it hard that anyone will out do it".

Examiner.com

"They leave enough grit on his playing and the music overall to lend some real edge to the music. Like great soul and R&B albums of yesterday, you simply press play on Half The City and walk away. This album isn’t about a couple of songs standing out. It isn’t meant to be carved up on to mixes. Fire this up and let it take you a different place".

Hear Ya

There is no hyperbole or ingenuous proffering; it seems that the seven-piece have captured the attentions of the U.S. media. When it comes to U.K. reviews, there has been a sparisty- thus far. I can pay testament to just how great their album is, and it would be remiss to compare the group to Alabama Shakes. Our heroes have a different sound and set of songs; the fact that they share huge central voices and hail from Alabama is where the similarities end. When it comes to The Guardian (and its critic Paul Lester), I have often found myself in agreement. However, when he introduced St. Paul and the Broken Bands (as part of his 'new band of the day' feature), he missed the point entirely: "... They also sound mightily like other soul revivalists past and present, US and UK, from the Commitments to Fitz and the Tantrums. You will either be old enough to warmly appreciate their fidelity to the soul pioneers from Otis Redding onwards, be young enough not to care about history and adore their R&B ('60s variety) energy, or just dismiss them as karaoke copycats merely offering a Stars In Their Eyes version of the all-time greats". He is entitled to his opinions, but, to me, they come across at the tired ramblings of a middle-aged curmudgeon. Aghast to truly cherish and augment any new act, Lester has forged a career from half-assed sentiments and praise: a sad reflection of a great sector of the media in general. That said, our heroes are playing dates in Dorset at the end of August; if anyone is able to get down and see them, I would strongly recommend it. Their live performances have been talked about in ecstatic whispers, and it offers the chance for fans to witness the songs in their barenaked and more electrifying form. My opening thesis concerned the U.K., and our lack of true diversity and bravery. Critics such as Lester are probably not helping when it comes to overturning and rectifying this trend, so it may take a bit of time to buck the negativity. My recent reviews have featured acts whom are ambitious and diverse, and offer up a semblance of the U.S.'s musical drive. It would great to think that the momentum can continue fervently, yet it seems that there is still a degree of stigma and reticence prescient. Our Alabama heroes are the kind of act that we should not only be fostering, but taking inspiration from. We do not have the landscape and evangelicalism over here, but that is not to say that it will be impossible to appropriate a similar sense of rousing Soul. A lot of our bands are still too reliant on the guitar-bass-drum configuration; few are willing to break these rigid structures and expand their horizons. With a paucity of acts and new artists setting the scene ablaze, it is always exciting to hear acts such as St. Paul and the Broken Bones. They may play the kind of music that is rare to your stereo; a genre that you may not necessarily seek out, but I would implore you to seek them out. Perhaps they don't have the power to convert those infatuated with Metal or Punk, but realistically they will be able to draw in a whole host of diverse music-lovers. If you only investigate one of their tracks, I would recommend Call Me wholeheartedly. It is the encapsulation of a group that are setting tongues a-wagging; the sound of a septet with a unique voice- one that demands your attention. It is- where I am not- cloudy and somewhat dour; an injection of endorphins and sunshine is needed; a kick up the proverbial bottom. For all moods, needs and occasions, when it comes to uplifting music:

YOU will be hard-pressed to find a more impressive act.

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Half The City Track Listing:

I'm Torn Up

Don't Mind a Thing

Call Me

Like a Mighty River

That Glow

Broken Bones and Pocket Change

Sugar Dyed

Half The City

Grass Is Greener

Let It Be So

Dixie Rothko

It's Midnight

Standout Track: Call Me.

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For more videos of St. Paul and the Broken Bones:

http://www.ourvinyl.tv/play/st-paul-and-the-broken-bones

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Follow St. Paul and the Broken Bones:

Official:

http://stpaulandthebrokenbones.com/

Twitter:

https://twitter.com/StP_BrokenBones

Facebook:

https://www.facebook.com/St.PaulandTheBrokenBones

SoundCloud:

https://soundcloud.com/st-paulandthebrokenbones

BandCamp:

http://stpaulandthebrokenbones.bandcamp.com/

Last F.M.:

http://www.last.fm/music/St.+Paul+&+The+Broken+Bones

Songkick:

http://www.songkick.com/artists/5470143-st-paul-and-the-broken-bones

ReverbNation:

http://www.reverbnation.com/show/8882017

iTunes:

https://itunes.apple.com/us/artist/st.-paul-the-broken-bones/id795004362

Instagram:

http://instagram.com/stpaulandthebrokenbones#

Flickr:

https://www.flickr.com/photos/kexp/14003016873/in/set-72157644248939285

Tour Dates:

http://stpaulandthebrokenbones.com/shows/

Merchandise:

http://stpaulandthebrokenbones.portmerch.com/stores/home.php

Track Review: Ruby Macintosh- Lady Killer.

TRACK REVIEW:

Ruby Macintosh

　

Lady Killer

9.2/10.0

The song, Lady Killer is available from:

https://soundcloud.com/rubymacintosh/lady-killer?in=rubymacintosh/sets/ruby-macintosh

The album, Ruby Macintosh is available via:

http://www.rubymacintosh.com/shop/4578920652/Ruby-Macintosh-Album/6427563

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From a county which is offering up some of music's biggest treasures, Macintosh's '40s-'50s-influenced music provides originality and glamorous lustre. Her debut L.P. marks her out as one of new music's most exciting talents.

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SOMETHING has been missing from music as-of-late, it seems.

Well, probably a few things are missing. It has been a while since I reviewed Yorkshire-based artist Little Violet. Last March I surveyed her tracks Don't Stop and Shut Up; not only surprised by the vibrancy and quality of the tracks on offer- but how different they sounded. Up until that point, most of my reviews concerned bands and Rock acts; each of whom were brilliant- but tended to sound a little too samey. Compared with Little Violet, they sounded damn right homogenised; missing the sparkle and kick that made her music so revealing and awe-inspiring. A lot of modern acts tend to project modern sounds and reflect the sound of modern-day life. Obviously, various artists take influence from other acts and time periods, but you find few artists whom have their (musical) heart and soul lodged in a bygone era. Little Violet's music invokes the spirit and jive of '40s and '50s Swing music. Giving it a retro shine and updated sound, her mandates are awash with the sights, sensations and sonics of the time- parping brass, twanging double bass and a whole lot of merriment. When I listen to a track such as Don't Stop, it is as is the kind of song you could imagine The Andrews Sisters recording. Cherrie Gears' (the lady behind Little Violet) voice drips with style, conviction and panache; the song has a rhythmic dance that one would move their feet to in a London ballroom during the Second World War. Our heroine herself is a stunning and gorgeous icon whom is one of the bravest musicians out there at the moment. I know of other acts whom are dipping into the annals of history (when creating their tracks), but they are in the minority. The reason that Little Violet got under my skin (and still does) is because her music is so different; it compels you to investigate the Swing-era; the tunes whip your feet into a frenzy; you cannot help but sing-along- how often can you say that about a new act? Contemporaries such as Caro Emerald are at the forefront of a wave of pioneers whom a daring to be different; Little Violet is amongst them for sure. The other facet that really appealed to me, was her aesthete and image. Her live performances are memorable and intimate, and she travels with a small band- bringing her brand of modern/Electro-Swing to hungry audiences. In her music videos, Little Violet looks the part of the 1940s heroine; the fashion and scenery is all authentic and as it should be. There is colour and flair to her music; an innate passion for music itself; a sense of adventurousness- her music is influencing more people than she may be aware of. One of the most disappointing things about new music, is the lack of endeavour and thoughtfulness, when it comes to the music. There are entire genres that have been relatively unexplored, such as Jazz, Doo-Wop and Blues, yet you hear few modern artists re-invigorating these styles of music. They should not be relegated to niche segments and audiences, and have a definite place in the mainstream. New music will thrive hardest when there is genetic diversity and variegation; if we hear Rock, Indie, Pop (and a few other genres) then stagnation and predictability occurs. You do not have to be a fully fledged copycat Billie Holiday, Robert Johnson or Ella Fitzgerald; you can incorporate a semblance of their artistry, update and reconfigure it appropriately- and then disseminate and distribute it to your audience. I just feel that there is not enough colour and innovation in new music; perhaps artists are too scared to embrace previous eras and artists- we need to be bolder. My featured artists has a long history ahead of her, and embodies a great deal of originality, classic evocations and vibrant sex appeal. I shall introduce her anon, yet will raise one more meeting subject. You may think that I have a bias towards Yorkshire (Little Violet's Cherie Gears is based in Leeds); but there is a lot of bustling and eager music-making occurring here. Many a time I have mentioned Cuckoo Records, the Leeds-based record label. I shall not go into too much biography but they are representing some of the county's brightest stars (including Little Violet). The likes of Annie Drury, Raglans (who hail from E.I.R.E.), Cissie Redwgick, Rose and the Howling North and Jonnythefirth have all been under my radar, and I am always staggered by the breadth and depth of their music. Detroit-flavoured Blues-Rock mingle alongside stadium Rock; there is so much on offer for all types of music-lover. Away from the Cuckoo nest, modernists Jen Armstrong and ISSIMO are flying the Yorkshire flag proudly. Some of the bigger cities such as Manchester, Liverpool and London are doing their bit for music, but for my money, they provide too few genuinely terrific acts. Perhaps there is too much media expectation; a lot of up-and-comers waiting to take centre stage, but I feel that there is not enough variation and ambition. I have reviewed acts such as The Castro's, Crystal Seagulls and Bourbon Street Beat whom emanate from these areas, yet I am hearing little evidence to suggest that the larger cities will be providing great future-potential. Leeds is the best example of a city where its musical citizens are making waves; its environs and sister towns are playing host to new music's biggest dreamers- those whom not only deserve future glory, but will go out and get it. I am always filled with admiration when it comes to a new act. The job of getting yourself 'on the map' is hard enough; getting people to listen to music at all can seem like an endless migraine- often artists capitulate before they have even begun. I have witnessed too many acts come through and fall at the first hurdle- I can always sympathise hugely when this happens. There is a veritable labyrinth of considerations (financial, personal and otherwise) the fledgling artist has to negotiate, so if you are able to overcome these- and obtain success- then full credit should be given. I have had to dig too deep and hard to unearth some really wonderful talent, and it is getting a bit tiresome. I know for a fact that some new music websites are coming through, taking on the burden of promoting the best out there; as much as anything, a lot of artists are having to work overtime (when they don't need to)- it is worse for solo acts. Because major festivals and venues still place a premium on bands, the solo artist has their work cut out trying to get onto the radar. What has impressed me most by the (solo) artists I have reviewed, is their sheer determination. They are aware of the effort and persistence that is needed, and are headstrong and unfazed. My featured artist is someone whom has been working tirelessly to promote her music, and is deserving of a wider audience.

Ruby Macintosh is a talent I have been aware of for a little while now. Having reviewed various Yorkshire-based talents such as ISSIMO and Jen Armstrong, I was made aware of Macintosh's name- and varied musical palette. Here is a young artist that- whilst being a definite pin-up and poster girl- is as hard-working and ambitious as they come. Our gorgeous heroine has been wowing and entertaining her home crowds for a long time now; she is someone whose name and talents will be made seeping into the mainstream before too long. On her Facebook page, Macintosh lists her interests, thus: "The glamour and fantasy of old film stars, the way I wish the world was in my head, sometimes real life, my family but mostly my songs are about myself or how I feel about someone else - aren't all songs?". There is a clear sense of vintage scenes, dreams and real-life heartaches that come through in her music. If you look at Macintosh, she has the look of a classic movie idol; her Vivien Leigh beauty, mixed with a vintage wardrobe stands her apart from the crowd. It is unusual (in 2014) to see someone whom has the look and feel of a '40s/'50s movie star- you are fascinated before you ever hear her sing. The pathway to prominence has not been an entirely seemless and smooth. Our heroine has had to work hard to get to where she is now; she is working hard (as we speak) to ensure that as many people as possible are attuned to her brand of song- it is a tactic and determination that will pay dividends. Before I take you further into Macintosh's mind and music, here is a short biography about our Yorkshire heroine: "Ruby Macintosh is a vivacious singer songwriter from Yorkshire inspired by music of the 50s and 60s. This retro pop siren with an air of nostalgia about her continues to captivate audiences up and down the country with her old school glamour and down to earth humor. Ruby studied at LIPA where she sang for Sir Paul McCartney, supported the Kooks at a secret gig and played at the Cavern for the prestigious Sound City festival in Liverpool. Since leaving university she has performed all over the country, from Catterick’s Help for Heroes party to London’s Vintage fashion fair. This songstress is now working as a full-time musician to promote her original music with the help of the Princes Trust. Since gaining support from the Princes Trust she has performed for HRH Prince Charles and recorded a self-titled debut album of original material. You can find the album on Itunes, on her website, at The Princes Trust Tomorrow Store in London and at her local record shop Wah Wah Records. The album has been featured on BBC Introducing Leeds with Alan Raw playing her original material, Ridings Fm as well as a few local internet radio stations. Currently, Ruby is being talked about the local press and is set to tour a myriad of independent venues and events, promoting herself and local live music to reach a larger audience. To see where is playing next, please see the ‘gigs’ page. For up-to the minute information about what she is doing you can join her Facebook ‘like’ page or follow her on twitter. Keep your peepers at the ready for tour dates coming soon near you". One of the most impressive things about Macintosh is how she can project a genuine knowledge of the music from the '50s and '60s; update its sound and energy- wrapped around lyrics that are relevant and modern. It is the down-to-earth and girl-next-door quality that comes through when you hear the music. Our heroine is a musician whom is both striking yet approachable; vivacious yet sensitive- someone who can fit directly into the modern (mainstream) music scene. When looking at the interests of our heroine, she herself gives us some insight: "Dresses (obviously), glitter and shiny things, cake, Dr Who (David of course), dirty blues and jazz, musicians that make you melt a bit when they play, adventure, shoes that make me look like a normal height person, sunshine and clear water, my loved ones, my glue gun, not dropping my guitar, well-being, truth, warmer weather, touring the country in my VW camper van (that i don't have yet.. feel free to buy me one), hope, wine and cheese, and many other things that aren't important enough to list or i don't know how to spell". It may seem like I arriving late, with regards to her debut album (it was released last year), yet it is a collection that is deserving of attention and consideration. There are plenty of female solo acts working away at the moment, yet few whom have the same sound and identity as Macintosh. Reception for her debut L.P. was effusive and positive, and the local media were quick to highlight how confident and vivacious it was:

"…love child of Paloma Faith and Lily Allen, bringing fifties sex appeal to catchy and modern lyrics."

Leedsstudent.org

"…talent that should be on everyone radar …"

David Pickersgill, Wakefield Express

"What a debut!!! I can't believe this is a debut album! From start to finish the songs take you on a wonderful journey of love and heartache and cherry pie's! All set in a wonderful fifties setting. Then all the way through, this edge starts to build - it starts in Hey There Cutie.. a real attitude! Then again in I Don't Miss A Trick and it just hits you in the ears by the time you get to Lady Killer!! What an album. highly recommended piece of work from a lady who is going to wonderous places!! Good luck to you Ruby!! Fantastic! A masterpiece!"

Tim Hearson, iTunes reviewer

" Yorkshire's Sweetheart"

Bangtidy Burlesque

Macintosh has vibed and fed off of the positive feedback- as well as support from fans and friends- and I hope it is momentum that will compel her to record some new music very soon. There are not too many new acts whom expend a lot of consideration and time with regards to their online profile and web page. Our heroine's official site is about as striking and well-designed as they come, and your eye is instantly struck. 'Colour', 'vibrancy' and 'style' are the first words that come to mind; everything is clearly laid out and beautifully presented. The music from Macintosh- which I shall investigate shortly- is compelling and layered, yet her background is equally impressive. Macintosh comes from a working-class background (in Yorkshire) and has fought hard to get where she has. Ten months ago, the Wakefield Express ran an article about Macintosh; one which went into detail about the hard times she has faced, and how determined she is: "The 26-year-old who has always wanted a music career, said the best thing she has ever done is turn to His Royal Highness’s charity, The Prince’s Trust for help. She said: "I was working 50 hours a week in a coffee shop and handed my notice in after getting a new job that would give me more time to concentrate on my music, but it fell through just before I was about to start". After ringing her family in tears, it seemed as though future endeavours would be bleak and tumultuous. Macintosh has a quandary to face, and seemingly had only one option: "I decided to go busking. I made £200 in a day and it made me realise that music really was what I should be concentrating on." Having contacted the Prince's Trust, they put her on its Enterprise Programme- assisting her fulfil her music ambitions. Finances were made available, ensuring that Macintosh could buy equipment (to help record her album); something provided invaluable: "My family is poor, so there is no way we would have been able to pay." This opportunity and largesse afforded our heroine the chance to bring songs to life; to ensure that the public got to heard music that had been in her mind for a long, long time. This turnaround not only inspired Macintosh to drive through with her music, but revitalised her as well: "I am so grateful to the charity – and this event will help raise money for other people who find themselves in the position I was in. I am a completely different person now to the one who picked up the phone. I’ve got my confidence back and have lots to look forward to". I sat down to investigate the wonders, personal insights and scenic tableaux of Ruby Macintosh's debut album; surprised and stunned by the quality, range of sounds and energy that runs through the eight tracks. When selecting a fitting representation, my mind was struck by Lady Killer: a track that highlights our heroine's strengths; draws in all her inspirations- and shows what a talent she is.

Here is a track that has been marked out as a fan favourite; it is a number that has garnered a lot of attention. From the outset, it is a song that means business. Some vibrating and echoing guitars blend with our heroine's voice which is instantly striking and purposeful. The mood is darker and more twilight here; not only marking a sonic and emotive shift, but showing another side to Macintosh. The subject of the song is shadowy and is a homme fatale. The streetlight is on, and the moonlight shining bright. With our hero "Standing outside/With your glass of red wine", our heroine is beckoned in; tempted by a force that (she should stay away from) she is helpless to resist. There is an air of 1950s Jazz; you get the impression of Billie Holiday and Ella Fitzgerald coming through in Macintosh's vocals- as well as the smoky and steamy composition. With her voice inflamed and overwhelmed, our heroine begs the question: "How do you do this to me?". The song's opening moments were calm and steady; they lead you into the night and tempt you forth. Her beau is tall and handsome, a man whom has the looks to lead our heroine astray. Macintosh's voice is strong and determined, yet shows a vulnerable edge in this number; it trembles and quivers with emotion during some of the words. Backed by parpring and spritely brass, our heroine proclaims: "I don't know if you're lying or being true". Our anti-hero is a poison apple; an arrow to Macintosh's heart, and someone whom has cast his spell. Whether the central figure is based on a former sweetheart, or fictional, I am not sure; yet it seems that he is causing quite a stir. There is a great quiet-loud dynamic in the song. It bursts into life into the chorus, allowing the vocal and composition to explode; yet is soft and teasing int he verses. Our heroine explains that "You could have any girl to hold your hand"; extolling his aesthetic virtues, Macintosh is curious why she is being chosen; why he has this hold on her. There is conviction and emotion in the vocal performance; as the song progresses you get the sense that there may be some personal history and relevance to the lyrics. With a sense of capitulation, our heroine states: "I surrender myself at your feet". Our man in the scene is throwing our heroine off her game; throwing her off her feet and seducing her truly. When brass mingles, melts and spars it adds the emotion and energy; emphasises the tension and sense of anticipation as well. There are questions in Macintosh's mind, as she wonders "where is this going?"; if she is going to be adored and kept safe, or merely cast aside. The song's energy and kick marries '50s Jazz together with '40s Swing, and will lodge inside your head. It would make for a great potential music video as well, and there are multiple angles and ideas that can be explored. Such is the nature of the song, that you are always rooting for our heroine, yet have a cheeky and guilty affection for the Lady Killer himself. Our heroine wants a romance for life; some security, but as she explains (with regards to our hero): "I couldn't take you home to meet my parents". Like previous numbers on the album, its heart and images are rooted in a past time; where there was some innocence and mystery to romance, yet there are plenty of modern touches and roots, too. When our heroine declares "I was a fool to think I could take you", there is a sense that the battle may be over and there is no way back. The song evocatively projects images and scenes into your head. To my mind, events take place in the '40s; in a smoky bar and with cigarette in his mouth, the hero never lets his gaze drop. Across the other side of the room, our heroine coquettishly averts her gaze; keen to not be caught in his web, she admits: "You're such a charmer". As the song comes into its final third, Macintosh realises that everything he says is a lie; she feels foolish for not realising it sooner, and is keen to become disentangled. The man is no more than a "cheap thriller", and is bad news. It seems that there are just skin deep qualities; no soul underneath- just looks and (misdirected) charm. With the mood subdued and calmed down, our heroine confesses; "Lady Killer/My heart beats faster". Elongated holding her words, she elicits a whoop; before the atmosphere bursts into life. With harmonica entering the fray and adding electricity and rush, a delicious Blues sound comes into view. Brass is still there in the mix, but it is the (electronic) harmonica which weaves and strikes; it dominates and gets under your skin. Perhaps the appropriate weapon of choice, it not only evocatively scores the mood, but also perfectly takes us into the final moments. With the lights down and the pace relaxed, our heroine is back on the mic. The song's title is sung and teased once more; and with her voice quivering and overwrought (backed with one last blast of harmonica) the song reaches its conclusion.

On the evidence of Lady Killer alone, Ruby Macintosh is a name to watch closely. She has the stunning beauty and heart-melting looks to seduce, yet it is her music which sets her apart from her peers. As well as Lady Killer, I investigated the album as a whole, and was mesmerised by the confidence within. See You Later builds off of a dreaming brass sway; one which is both breezy and romantic. You get images of a '40s heroine, walking down a black-and-white street. Our heroine wonders if love is a waste of time; with her voice sturdy and direct, we survey the break-up of a relationship; her man claiming: "It's not you/It's me". With the offer of friendship, our heroine is let down gently; her beau offering excuses and platitudes- words and lines trip and dance their way into your brain. With a strong vocal performance and an impassioned and memorable composition, it is a solid opener which lays our Macintosh's strengths- sharp and personal lyrics, tied with music which puts you in mind of the (female) Jazz greats; as well contemporaries such as Paloma Faith and Caro Emerald. I Don't Miss A Trick is a skippier and more rampant number; our heroine directs her attention to an unnamed target- one whom has a "hidden agenda". Someone whom offers "no-good cheating" is being read the riot act; scrutinised and dressed-down; against a striking sonic backdrop, Macintosh let's her voice run riot; rising and punching- as well as having tender and sensitive moments. The subject matter is something that can be understood and relate to nearly everyone, and almost everybody can picture the type of person our heroine is singing about. With a composition that is subtle yet evocative, it is another song filled with conviction and passion- and completes a memorable duo of tracks. Dreamy and twinkling pianos score the musical recipe that is Cherry Pie. A "pinch of salt" as well as "some sugar" are thrown into the mix- Macintosh's voice is teasing and striking throughout. The charming themes and lyrics are what hit hardest, and whilst our heroine is "similar on paper" to her target, she is not made "so simply". Casting herself in the guise of a cherry pie, the song is a unique take on love, with our heroine sitting on the shelf- "waiting for you to take me home". A punchy and pervading percussive thud, together with wordless vocals, open up Hey There Cutie. Our heroine asks her man "Why don't we Jitterbug?"; her voice sounding far-off but empassioned- sounding quite like a classic Swing track. The chorus is problem one of the catchiest on the album, mixing cute wording with carefree romance, Macintosh wants her subject to "get off your booty". The track is filled with great imagery; the song's smile puts you right in the picture- once again you can imagine what is happening in each scene, and what our heroine sees. Some distorted vocals and skiffling strings give the track a sexiness and smoky allure- you can feel the lights dim and the intrigue build. Whereas the opening tracks have had their unique sounds and themes, Hey There Cutie is a chance for Macintosh to showcase her vocal range- as well as take us somewhere new and fascinating. Wild Horses is a beautiful and calming number; our heroine begins by stating that "Wild horses/Couldn't keep me away from you". If you are expecting a Rolling Stones cover, then think again. It is a touching and tender paen to a lover; a man that she can not keep away from and longs to be with. There is a unquenched sense of innocence and purity throughout, and it is a song with no hidden agenda or flaming ace- no sharp tongues are waiting to strike. The song boasts some of Macintosh's most memorable and humorous lyrics. With alien invasions and vehicular strife, she states that- in spite of any obstacle- "I'd fly to wherever you might be". It is a sort of transposed and re-inspired take on 50 Ways to Leave Your Lover. Instead of escape routes and sour love, our heroine is prepared to negotiate a plethora of hazards and natural disasters- so that she can get to her sweetheart. Once more, our heroine is up front; backed by a augmentative and playful composition, her voice is queen- you can hear the cheeky grin and sly wink in her delivery. A beautiful mid-way point, Wild Horses leaves the listener in a better mood; and keeps the album's momentum going. Kicking feet and Swing-like sway put Will You Be Mine into the spotlight. Rolling and pattering percussion; mixed with brass give the song a lively and dancing swirl. Our heroine is in love-struck mood, looking out to her hero, and asking: "Will you take me out to dinner?". Macintosh is fond of her beau, whomever he may be has clearly caught her eye (and heart). Wondering, "Will you take me to meet your mum?", our Yorkshire girl is prepared to charm her man; take him out and show him a good time. There- once again- is no proclivity or seediness; vintage romance is the order here, and dignity and pure romance at the core. You cannot help but to be carried along in the song's charm (it is becoming a byword for Macintosh), as well as get your feet moving. Starting life with soft and seductive acoustic guitar, Raspberry, Strawberry, Gooseberry Jam's first few seconds are a slight red herring: before long our heroine is in full voice. With a composition that is waltz-like and woozy, early words have an oblique quality, and sense of mystery: "I didn't try very hard to fit in/I lost all of the game that we played". There are childlike qualities to the words; cautions and fait accompli mingle alongside painted rails and future questions. Our heroine wonders what her life will be; "What will I do for a living?"- yet they are not issues that are weighing her mind down. The song is almost a nursery rhyme, a number that sees a carefree heroine smile: "Raspberry, Strawberry, Gooseberry Jam/Tell me the name of your young man". With swooning brass and another set of charming and quotable lyrics, it is another strong and memorable track. Considered what a difficult time Macintosh had (getting her music career started), it is impressive and a huge relief that she has come through it. A lot of people would be deterred and scarred too much; afraid that they would not make it, yet our heroine (with the help of the Prince's Trust) has succeeded in putting together an incredible debut album. The tracks are carefully considered and beautifully realised; our heroine's voice is a striking facet that wins you over with every new track. For someone making her first in-roads into music, her songwriting is remarkably assured and well-structured. She is a skilled lyricist and storyteller, and mixes personal heartaches and set-backs, with positivity and tantalising slice-of-life scenes. Coming from a county that is showing itself to be at the forefront of modern music, Macintosh is one of the best Yorkshire has to offer. As well as an incredible sex appeal, an engaging and lovable personality, there is no air of woe-is-me to our heroine. If we were on a reality talent show, contestants (in her situation) would be milking it for all they are worth; prodding for sympathy at every turn. Our heroine has had a difficult trajectory, yet her music is what matters most, and she is determined to keep the momentum going. With her inaugural album a year old, I am sure there are going to be plans for a forthcoming E.P. or album. Our heroine is a busy and vibrant creative mind, and is someone who is intent on being a big future name. In many of my reviews I have seen artists arrive whose sound is ready-made for London; for U.S. audiences and European crowds. Macintosh's vintage chic and modern-day mandates are a rare breed in the current scene, and I hope that her originality and intentions lead her to huge things. I can genuinely see her playing some huge venues in the future; if she comes to London I would love to see her perform. Her voice and music- to my ears- can be extrapolated and adapted for American audiences, and there is a huge gap that she can fill.  Similarly, her sound has European tones and qualities (Caro Emerald is one name that springs to mind), and countries such as Germany and France would welcome her with open arms. It is probably the least she deserves, as it is clear that music is paramount to Macintosh; the business of taking her music to as many people as possible, you sense, means more than anything else in life- it is a passion that shines through in her songs. It may have been a difficult last couple of years, but things seem to be on the up. There are record labels and venues whom could benefit from having Macintosh on their books and many people I know whom love her brand of song. Being from a working-class background- and having very little money to by name- I can emphasise and relate to our heroine's plight. Whilst writing my songs, I am acutely aware at how much it will cost to get them recorded; every note and line has a pound value added to them- it can be a depressing realisation. I am sure that back in 2013 (and before) Macintosh was working all hours; writing music at the same time; wondering whether she would every be able to afford to record them. After losing her job, the idea of having a successful music career would have seemed non-existent. This year has seen our heroine earn some plaudits; play some great gigs and make her name known to more people- and there is still more work to do. The rest of this year (and 2015) will see her build upon that, and prepare her future. I started this review, by looking at a relatable case study: Little Violet. Signed to a notable and reputable Yorkshire label, she has a natural home that has allowed her to cement and build her career. I know that there are new songs afoot (for Little Violet), and her brand of Electro-Swing and evocations of the roaring '40s have been in my mind for a long time now. Macintosh is a name that, not only could see herself snapped up by an eager label, but go onto bigger things. Those whom show themselves to be unique and different will always have a harder fight, yet will always earn greater rewards. I have reviewed many bands and acts this year whom are wholly individual, and I am seeing their stocks rise, and their names celebrated. I am sure that Macintosh has her feet firmly on the ground, but she should be thinking of the future. Our young heroine's debut is a stunning collection of tracks that will appeal to music lovers of all genres; her music does not alienate or divide- it is universal and relatable. There are too many new musicians whom get undeserved credit, or else gain unwarranted acclaim- which always erks me. Too many are overlooked or undervalued, and if music is to grow and adapt, then we should be fostering talent such as Macintosh. It may be early days (with a lot more to come), but you can sense a young woman with a lot to say; she wants to get her music heard and remembered- and be on the scene many years from now. It is not often that I get excited by a solo talent to such an extend, but I am with Macintosh. If you are tired of some new acts and are looking for something that can not only inspire but make you smile, then do yourself a favour...

AND investigate one of the U.K.'s future stars.

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Album Track Listing:

See You Later

I Don't Miss A Trick

Cherry Pie

Hey There Cutie

Wild Horses

Will You Be Mine

Raspberry, Strawberry, Gooseberry Jam

Lady Killer

Ruby Macintosh BBC Radio Leeds 22 - 2012 - 1

Standout Track: Lady Killer.

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Follow Ruby Macintosh:

Official:

http://www.rubymacintosh.com/home/4583476710

Twitter:

https://twitter.com/RubyMacintosh

Facebook:

https://www.facebook.com/pages/Ruby-Macintosh/262222443806442

SoundCloud:

https://soundcloud.com/rubymacintosh

BandCamp:

http://rubymac.bandcamp.com/

YouTube:

https://www.youtube.com/user/RubyMacintosh

Last F.M.:

http://www.last.fm/music/Ruby+Macintosh

Songkick:

http://www.songkick.com/artists/5076138-ruby-macintosh

iTunes:

https://itunes.apple.com/gb/artist/ruby-macintosh/id724138385

Flickr:

https://www.flickr.com/photos/john2755pics/10804682025/

Tour Dates:

http://www.rubymacintosh.com/gigs/4578920647

Album Review: Echo Arcadia- Beauty in an Average Life

ALBUM REVIEW:

Echo Arcadia

　

Beauty in an Average Life

9.8/10.0

The album, Beauty in an Average Life is available from:

https://play.spotify.com/album/3HetapabnEjTOCvIQlk5pa?play=true&utm_source=open.spotify.com&utm_medium=open

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Edinburgh six-piece offer "rock backbeats, grumbling guitars and catchy pop melodies". Having been signed to a burgeoning U.S. label- and capturing the media's attention in the process- everyone should embrace these ambitious band of brothers.

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I have been thinking a lot about bands in general; what makes them so special...

and why certain acts succeed (where others fail). In previous reviews I have featured a whole range of different bands- located in various parts of the world. Whilst the sounds and ambitions can vary, there seems to be no logical reason why success (for the very best) is fleeting. Over the course of the last year, I have been lucky enough to survey a magnitude of endeavouring talents; from Yorkshire's ISSIMO; Scotland's Universal Thee; London's Los and the Deadlines- through to Liverpool's The Castro's. And while there has been a degree of success for each of the aforementioned acts, I find that a necessary and appropriate sense of recognition has not been provided. In a lot of cases the bands are unsigned, and it seems baffling that record labels have not been knocking a path to their doors. I guess it is the nature and reality of the modern music scene in general- there are so many different acts, that it is implausible that all would receive appropriate attention. The theory can (of course) be extended to solo acts, but for my money, bands provide the most durable and marketable brand of music. Looking through my record collection (I am delightfully old-fashioned), the likes of Queens of the Stone Age, The National and Arcade Fire are recent purchases; historic bands like Blur, The Smiths and Oasis are part of my regular rotation. And whilst I have my favourite solo artists (such as Bob Dylan and Jeff Buckley), my consciousness and attentions always navigate themselves to the music that bands make. Sales figures and trends seem to support my point (to an extent), as this market is the most flourishing and promising in the music world. Huge festivals such as Reading and Leeds put our best and brightest on display to the hungry public- all across the land wannabe musicians are forming groups, keen to emulate their heroes. In relation to my own desires and music, I have always felt that it is better (and easier) to be part of a band; rather than go it alone and take on all of the musical burden. I am filled with admiration for solo acts, as they possess a lot of bravery and determination, but I have always craved the comfort of warm bodies- and additional creative minds. As I pen my lyrics; work on potential cover versions; sculpt my material, I cast my eyes around music's landscape. There is plenty of guiding light in the mainstream for sure, yet it is always more relatable and beneficial to seek out the finest that new music has to offer. To that end, I am slightly aghast at the disproportionate attention that some acts receive- whilst others have to struggle hard to grab focus. It is always great when a band manages to break through into the wider public arena; gets the just rewards that their music deserves (and obtains success and patronage)- I just feel that too many great examples are being overlooked. Whether certain regions of the U.K. (and the world) and under the media's spotlight (whilst others are not) or if something else is causing this imbalance, I am not too sure, but is a troubling aberration. A few weeks ago, I was embroiled in a somewhat stimulating discussing with a fellow reviewer, as to how to 'cure' this miasma. She prophesied that- due to the sheer number of bands out there- it would be impossible to ensure that the most ambitious and worthy are given necessary credit. I countered, that if a website were to be formulated (essentially a social media website, but for music), then a potential remedy would present itself. Essentially, an all-encompassing website would be created, whereby every band in a particular region would be listed. If you wanted to find, say, a Metal band in Carlisle or a Pop act in Gravesend, you would click on the relevant area of the map. From there, you could then see every act that played in that area- broken down by location, genre etc. For that reason, it would not only be easier for the general public to investigate the best acts out there; but it would make it easier for record labels to find potential stars-in-the-making. A lot of times I have tried to seek out great Rock acts in London, but when I Google these terms, my search is somewhat fruitless (or limited). There are plenty out there- and many I would like to review- yet it is hard to locate them. Social media sites such as Facebook and Twitter do not help the problem, and need to find a way to commingle with the large search engines (and music media sites), and make it easier for new bands to get the exposure they deserve. Circling back to my original thesis; I find that there are a lot of bands being touted as 'The Next Big Thing' but in reality, they are being over-hyped. In the course of my reviewing duties I have stumbled upon a great clasp of brilliant bands, and- after happening upon many of them surreptitiously- I wonder why their majesties are being neglected. I know that the likes of Universal Thee and ISSIMO have been gigging hard and wide; saving as much money as possible (to realise their ambitions)- and I am sure that this determination will be rewarded. I am annoyed that too many great acts are falling through the cracks; many more are out there waiting for wider acclaim- seemingly considered extra-terrestrial by the world's media. Music is the most beautiful, medicinal and augmentatiuve force on the planet, so it stands to (logical) reason that the most elliptical and stunning musicians should be nurtured. I have limited influence in my role (as a music reviewer), so it falls to social media; the most influential music media outlets- as well as established acts- to help buck the trend. I know this argument and issue will have to wait for another day (if we are to figure out an answer), but for now, I am just glad that I have been made aware of today's subjects. My feature-ees are a brave and hard-working group whom are fully deserving of armies of fans; wide and considered media scrutiny- as well as festival bookings a-plenty! I am sure that due diligence will occur, and justice will be done, because they are a band whom offer up something genuinely different; music that is filled with texture, escape and brilliance- I better introduce them to you, then...

It has been a busy- and eventful- week or two for David Moyes. The (former) Manchester United manager is on the market, and reeling from the (almost inevitable) downfall that he has experienced. With United being reduced to a gibbering pile of football rubble; they are a quivering shadow of their former selves. Luckily, Echo Arcadia are led by the much more assured and talented, Leigh Moyes. Here is a Scot leading a prodigious and talented band, whose future is far from bleak. I will get down to some precise investigation of our intrepid sextet anon, but for now, I shall give you some biography (from their Facebook page): Echo Arcadia make sweet music out of Edinburgh, Scotland. Their unusual mix of gritty rock backbeats, grumbling guitars and catchy pop melodies have gained them a growing fanbase. The seven members' eclectic influences marry to create a fresh alternative to the usual indie-pop/rock fare. Following the release of their inaugural 'Broken Chapter's EP in October 2010, the Arcadians have enjoyed an intensive period of gigging, also relishing opportunities to play acoustically, allowing them to hone their sound and take their music to a new audience. 6 months later, they recorded their first single, 'Joker', (made available for download in early March 2011) Edinburgh Spotlight had this to say about it: "Sparkling and freshly polished...the track uses layers of shimmering guitar and Leigh and Siobhan’s atmospheric vocal harmonies to create a multi-faceted little nugget of poppiness. All this builds up to a classic vocal refrain which we guarantee you will be singing in the shower, on the way to work, shopping at the supermarket and everywhere else until all your friends tell you to shut up (or until they get their own copy)". The group was brought to my attention by James Russell (in a roundabout way); with Moyes being familiar with my reviews, he contacted Russell- and now I bring them to you. James Russell is the frontman (alongside wife Lisa) of one of Scotland's most potent bands: Universal Thee. I am glad that Echo Arcadia have come under my radar, as they are one of the most promising (and underrated) groups on the scene at the moment- they are a perfect case study of the points I raised earlier. It seems that Edinburgh is playing host to some terrific and fervent bands; filled with range and quality. Universal Thee's Back to Earth is one of the best albums I have reviewed this year, and I was excited to get down to reviewing Echo Arcadia's latest work. Before I do, it is worth mentioning our six-piece, whom comprise:

Leigh Moyes - Lead Vocals, Rhythm Guitar

Leo Burke - Lead Guitar, Vocals

Euan Mushet - Bass

Dan Ciesielski - Drums

Pete Nicholson - Keys, Vocals

Andrew Gray - Violin, Vocals

It is not surprise that Spectra Records snapped up our heroes, as their music is a rare beast: that which can seduce with its beauty and enliven with its power. When sourcing their influences, Echo Arcadia include the likes of Influences: Arcade Fire, Radiohead, Biffy Clyro, Death Cab for Cutie, David Bowie, The National, Broken Records; The Smiths, The Cure, The Killers, Echo and the Bunnymen, Vampire Weekend, Pink Floyd and Air. Elements and threads of these (disparate and wonderful) acts come through in various tracks; yet the abiding flair is of an original band whom are hell-bent on long-term regard- and festival headline spots. It is a shock to me that the Edinburgh men remained a mystery to record labels for so long; but with the backing of an important and influential label, our heroes have the options of playing far and wide- a possible future/long stay in the U.S. is a distinct possibility. With hints of The National to their aesthete, the American audiences (as well as us here) will soon be clasping Echo Arcadia to their bosoms- there is a big, wide world out there for them. The band merge darker and more introspective lyrics, with shimmering and beautiful compositions; the results have hit critics hard. In a recent blog post (on the band's official website), Moyes explained why the band tend to write about 'darker' themes: "Life always finds a way to balance out, no matter how hard you push one way, something will always find a way to create that equilibrium again. I don’t see this as dark, but more as a way of addressing that balance, we are less scared of the dark room once we know there is nothing in there to fear". Our frontman is no Nick Drake; he is offering glimpses of something frightening, to- as he explains- take the fear and stigma out of it. Too many bands are aimless cheerful or banal with their lyrics; Echo Arcadia's songbooks are filled with texture, memorable lines and deep thought. Their music is lush and effusive; seductive and impassioned, and it is this varied and multifarious canvas that has captured so many minds- and hearts as well. Mix in some grit and harder edges to the templates and you have a band whom are more varied and compelling that the majority of their contemporaries. The band's wide range of influences was showcased in their Broken Chapters E.P. Critical palpitations and waves of sighing adulation followed the release of the 2010 release, and our heroes have been performing solidly ever since- taking their music to as many people as possible. Expectations were (as you'd expect) high, when Beauty in an Average Life was unveiled. It allowed our Scottish wonders chance to fully spread their wings; expand their potential and sound across ten tracks- and build on the success and brilliance of their E.P. Take a look at the selection of reviews below, and you can tell how critics feel about the album; it is something that has not only resonated with the press, but seduced them in the process:

"Overall, this is a very fascinating shapshot of a band from the UK. It was an absolute pleasure to get into the mindset of these European visionaries and listen to what they were trying to tell the world. Some pieces will hold a place in my fascinating/dark play list  when I really need it. The best thing about this band is how well they bring together all the flavors of many different styles and genres, all the while making all of these songs their own. Echo Arcadia is armed with great writing, a brilliant creative mindset, and powerful messages no doubt many will fall gravitate towards... In the end Echo Arcadia is highly contagious, infectious and will no doubt evolve over time into something truly groundbreaking on the world stage. All of this makes them a welcomed and unique band in an overly cut-and-paste industry".

Music Emissions

"Echo Arcadia’s release from Spectra Records, "Beauty In An Average Life", is an outstanding, inspired rock album with a unique sonic identity and highly literate writing. Hailing from Edinburgh, Scotland, this outfit covers a wide variety of styles on this release with a fearlessness and restless creativity that impresses itself on the listener immediately".

Vents magazine

"I really like to song line up – the way each song masterfully transitions through to the next creating much in the way of drama. So many bands and record labels get this basic skill so wrong. They fail to listen to the songs at their disposal and seemingly throw the album together without giving it any real thought. I’ve known people who work to formulas making sure that their best songs start and finish the album with the remaining tracks squeezed between in a slapdash fashion. That’s not the case with Beauty in the Average Life. in fact each track could probably survive on its own merits, but the album just flows so well. Echo Arcadia could easily heralded as classic sounding rock but there is so much more to them. I hear Tonic, Five for Fighting, The Verve Pipe, and dash of Pearl Jam. I can even hear Masters of Reality, Arctic Monkeys and The Dead Weather".

Skope

"Echo Arcadia’s latest release Beauty in the Average Life is a compelling musical journey. These 7 pretty much rock the house. Its strong suit is its amazing sonic ambience and song for song musical flow. These guys and gals gets high marks from me for their brilliant musical approach bringing in much instrumentation and musical variety. This CD will be a real joy for those listeners out there who want flowing trippy ambience to fill their sonic space peacefully and unobtrusively. This progressive somewhat trippy format makes for a great extended play experience. I recommend you just hit play, close your eyes and see where the party takes you. So if you’re looking for a psychedelic musical experience with sonic ambience, theatrical brilliance and a psychedelic rock aftertaste, then I highly recommend you take a listen to the latest CD from Echo Arcadia right away".

The Muse's Muse

"Echo Arcadia’s latest release "Beauty in the Average Life" makes a lasting impression upon the listener. Together these Scots are sure to make an impact here in the states. They sound comfortable together not holding anything back and their eccentrically good songwriting is boldly honest. This latest effort by Echo Arcadia creates an inviting musical setting that highlights all the good about eccentric trippy alt-rock and up close and personal singer/songwriter music. All songs offer a wide array of musical depth and structure – offering the best UK and US rock n’ roll has to offer - a great balance".

Evor

"If you want a pleasant mellow pop rocking staple there’s something on this record for you. Obviously many will fall head over heals with Echo Arcadia. I mean Moyes doesn’t even have to sing a single word for this to happen – really. This is one artist set up rather well for mainstream success this year and next. Some of this plays into strong marketability potential world-wide. Some pieces present more modern sounding overtones but despite all this the flavor possess traditional Progressive Pop Rock textures. This is really what makes this release from Echo Arcadia so enticing to me personally. In retrospect Echo Arcadia possesses an impressive sound that is rock-based. "Beauty in the Average Life" grants you rare access to peer into the soul of a young artist not so tormented by the world yet but rather easy-going and positive – from a fascinating Progressive Pop perspective shall we say that is, well more than average".

Music News Nashville

With the L.P. available to the general public, the next few months will be crucial ones for the band. I mentioned the potential for multiple U.S. dates, but is would go without saying that Europe, Australia (and everywhere in-between) will want our heroes to come and play- they may have to get used to being outside of Scotland for a while! Music is a capricious and malevolent mistress; used to beckoning an act forth- before spitting their bones into the wind. Whilst a lot of artists are deserving of no more than a fleeting moment in the spotlight, Echo Arcadia will be around for a long time, as the music and importance of what they are doing means more than any facetious or corruptible distractions- fame and the puerility it brings. At the moment our six-piece have a modest (but loyal) following on their social media pages- this is sure to change very soon. I will conclude my review by looking into their future, but for now, I am very much intrigued by the present- in the form of their album, Beauty in an Average Life.

Before a single song arrives to your ears, you are (I certainly was) struck by the album cover itself. One of the things that the so-called 'digital age' will bury, is album hard- and the physical product. That is not to say that album (and E.P.) designs and covers will be gone compleltey- our heroes' album artwork is eye-catching and memorable. With its desert and lunar background; with a floating astronaut and child in the foreground; it is a strange, wonderful and curious image. Whether it is a child playing with an astronaut-shaped balloon, or else an actual astronaut, I am not sure- but is sticks in your mind and lingers too. The cover image (of the album) tells you about the music and themes (before you even hear the first song) and sets you up for what is to come. The L.P.'s lead-off track is Sparks- a track that has already gathered and garnered a large amount of attention and praise. The song was featured on Broken Chapters, and it compelled Edinburgh Spotlight to write: "If bands like The Pixies were masters of the ‘loud quiet loud’ thing, Echo Arcadia are the peanut butter equivalent: their songs are all ‘smooth crunchy smooth’ and ‘Sparks’ is a perfect example". A glowing and sparking rush begins the songs; little pattering percussion melts with throbbing electronics. With electric guitar seductively entering the fray, our hero claims "They'll be tantrums"; his voice calm and purposeful. His indecision, it is said, are "haunting every choice that I make". The sonic parable- which was levelled and smooth- steps up a gear, and an audible rush is detected. Guitar strings become more prominent; sparring with some solid percussion, the song's energy and passion makes itself know. Whilst out hero states that "This introspection/Has never been that easy for me", the electric threads become woozy and pulsing; they vibrate and sway- paired with some subtle bass and electronic undertones, it creates a hugely effective mood. Depression, repressed feelings and anxieties are under the surface for Moyes; you can feel his soul creeping towards insanity- before a vocal chorus arrives. Determined and emphasised, the coda implores our hero to "Hold on"; male and female tones mix to give the sound of a crowd (looking into his world) advising strength and resolve. The guitar work is more emphatic, backing a vocal sway which is as dream-like as it is purposeful- shades of The National come into view. I love the way that Echo Arcadia mix guitars and bass together; at the forefront is a sharper and more dominant electric guitar sparkle; with tender and supportive bass working in the background the combination is hugely evocative and emotive. There are "Broken chapters", with every lines "torn out and unread"- you can sense our hero's heart and soul ache and burn. With a further- and much-needed- choir of redemption and sage advice, the band weave their tapestry. One of the song's key facets- amongst many- is the composition which changes course, path and declination- keeping the energy high and pleasing the ear at every opportunity. Grumbling and moaning guitar mixes with staunch and stoic percussion; each member of the band adds huge energy and colour to the song- lines and notes will stick in your head for a long time. With a gorgeous and spacey outro.- that has hints of Pink Floyd, Bowie and OK Computer-era Radiohead- a dancing and funky astral projection does it's work, and ends the song- and concludes a striking and phenomenal start to the L.P. Apple Moon is the next track, and begins its life with an upbeat and punchy intro. It is one which compels you to tap your feet and nod your head; with splashes of cymbal and pattering percussion (together with some underlying bass and electronics) you allow yourself to get washed away in its majesties. Our hero approaches the mic., and with heavy-hearted words ("Steal my dreams while I'm asleep"), it seems as though he is speaking to (or about an unnamed) sweetheart. Whether looking at the quagmire and battles of romance, or life in general, words such as "Cut the ties or keep the key" get your mind thinking. The composition- in the embryonic stages- is kept subtle (yet emotive) to allow the words and vocal do their work. That sonic palpitation turns into a full-on coronary, as the atmosphere explodes. Breathy and elongated brass whips up a sense of lightning, hushed awe and tears- every emotion you can imagine can be heard. The drums crackle and tee-up a vocal rise; our hero proclaiming "She's like an echo in my head". Words unsaid, dancing shadows and memories arrive in mind; Moyes's voice is impassioned and strong as he concludes: "My inner voice/My apple moon". The song- likes it predessor- has a quiet-loud dynamic; the composition is variegated and diverse. Strikes of electric guitar mix with clattering drums- the song's pace and turns keep you on the edge of your seat. With our hero (imploring to his subject) imploring: "Hold me tight in love's embrace", the rampant and thundering guitar acts like a heartbeat- one which is a rictus and riot of sadness and strain. Moyes' heart is twisted and torn every time the heroine smiles; whether the romance is dead or she is with someone new (causing huge pain in our hero), you can hear the conviction in the vocal delivery. Like The National's Matt Berninger, lightness mixes with weighted burden- you can hear the sorrow but it is not overwhelming, you always emphasise and feel empathy. Whilst Ohio's Berninger has chocolate and deep tones, our Scot hero has greater power in his voice; it is less overwrought and more pleasing- displaying a unique and singular tone, which is rare in the modern scene. I can see the song becoming a fan favourite, as it has a sing along quality, yet its message can be understood and extrapolated by all- it is a relevant and universal theme, yet one with a certain catchiness. The driving and potent closing moments has hints of The Killers to its sound, and acts as the perfect conclusion to another stunning number- completing an authoritative and memorable 1-2. With a tribalistic and rumbling percussive line, Love Song gets underway. A feverish and twanging guitar coda parabonds with drums; they weave in and out of one another, and whip up a heady and exhilarating intro. Just then, a lighter and dancing element is introduced; keys and percussive timber commingle that puts a smile on your face and beautifully subvert expectation. It is the finest- to this point- introduction on the album, and sets up a huge amount of intrigue and fascination. "The time has come for dreaming" our hero starts; voice filled with purpose and passion; emphasised in words such as "We barely started breathing/Before we're thinking about leaving". It is here that our hero lets his voice power; wordless cries ring out and cut to the core. When the chorus swings in, Moyes is back down to earth (yet no less powerful), as he proclaims: "I'm on my own/'til I find my love song". Backed in vocal unison, you get the sense of a man looking for happiness and meaning; dislocated and jaded by what life has thrown at him. The chorus wins you over with its sheer conviction and prowess; the combination of multiple voices, scintillating guitar and pummeling percussion (and strong-arm bass), augment and aptly support our hero's pleas. With "carpet burns and whiskey", our frontman drifts off; misty and fatigue, he looks back on stumbling points; quiet moments allow reflection- you get the impression (at this point) of two lovers in different head spaces. Unable to find the words, our hero sleeps and lost. When the chorus comes back in, it adds extra weight and meaning to the track; it seems that Moyes is somnambulistically walking alone "Until I find my love song". Like Apple Moon it is a track whose meanings have relevance to (pretty much) anyone listening; the delightful sonic switches and range of moods add huge force to the song, as well as burrow inside your head. It is a track that shows the band place a large emphasis on projection, emotion and nuance- the song never tires and is constantly electioneering. With another memorable and evocative chorus, you cannot help but sing along- as well as hope that our hero finds satisfaction and answers. The final minute-or-so combines powerful guitar-and-percussion-duet and the reintroduction of the chorus- it glides us down to land, and you are left wondering whether our hero has managed to find resolve. Joker was- and is- the band's first single, and will be familiar to any fans of the band. Edinburgh Spotlight claimed that the track was "Sparkling and freshly polished..." and something "you will be singing in the shower, on the way to work". Released back in 2011 (when former member Siobhan was in the band) it is a song that has connected with a lot of reviewers. After listening to the Morse Code-esque piano notes blend with darker and astral guitar, you are already hooked. The intro. is both romantic, urgent and compelling- not surprising given the tracks that have come before, and what they offered. Rolling percussion adds another layer to the mood and emphasised a hugely impressive and well-considered opening salvo. When our hero steps into the spotlight; the joke is on him, as (it is said) "'cause I'm the stupid one". The combinative vocals of our hero and heroine are a warm and powerful blend; there is introspective to be found, yet something more redemptive. With Moyes feeling warmer inside, it has reminded him that "everything's gonna be just fine". Like previous numbers, there is a memorability and 'catchiness' to proceedings; the melodies and lyrics will forge their way into your brain and not shift. Once more, the entire band play their part superbly. The guitar work is varied and striking; percussion keeps things levelled and constantly engaging; bass is solid and persistently engaging. Siobhan's voice is not often heard on the L.P. (as she is not part of the band line-up any more), yet in this case, adds sweet and seductive tones- to pair alongside Moyes' unique voice. With visions of "kaleidoscopes and silhouettes", our duo combine: "Enjoy the moment/No regrets". Echo-y and burbling guitar notes mix with purer shades; creating a brilliant punctuation- which takes us into the final stages. A final rally call is summoned up (by our hero), Siobhan joins implores- before the outro. arrives. A shimmering and delicate last few seconds closes Joker- completing another compelling and fascinating song. Once more, piano sounds greet our waiting ears; in Hide and Seek's opening moments. Here, they are more romantic and tremulous; when combining with percussion, the result is hugely effective. The drums do not overwhelm, instead stutter and smash (without too much force), creating a delicate and soothing sound. The introduction of strings and guitar only add to its beauty and sway; and you find yourself surprised at just how good the band are when it comes to intros.- few other acts are so consistently impressive and mobile in this respect. Our hero is soft and reflective of voice; hearing the rain come down ("It hits my window pane"); its loneliness remind him how much he is missing his love. Although it has been nine days, it "feels like half a year"; Moyes is looking for a way to have his sweetheart by his side, unable as he is to make it so. At this point Hide and Seek is the most romantic and gentle tracks on the album; sighing brass and twinkling piano are highly effective; the pace and weight is kept light to allow the song's meanings and intentions to get inside of your heart. When Siobhan (once more) adding vocals, the two combines; our hero confession that he "can smell your perfume still..."- its scent lingers on his skin. Imaging and remembering fondest memories of his romance, there is a certain sadness to the recollections. When our hero announces that he "still can't love (you) more", his voice is at its purest and most soulful- emphasised and paid tribute by the twinkling and tender piano parable that follows. Moyes has his hands over his eyes and is counting to 10; admitting that if he can't see his beau then he'll "never say goodbye". Just before the 3:00 marker, the brass and horn influence becomes more dominant- and joining with bolstering electric guitar- creates a hugely emotive and vivid scenery. There is a slight Jazz element, and you can imagine our hero walking the rainy streets; under the street light he looks up at neon windows, and wonders when he will see his girl. Imploring for her to "Come on home" (it is a mantra that is repeated and reinforced), our hero lets his voice climb and strike; you can hear the conviction and urgency. As the pace increases (and Siobhan ably supports with a gorgeous vocal line), sonic elements combine and rush. Sprinkling and beautiful piano, mixes with determined percussion and mood indigo brass; the fire burns, and you get the sense that this saga is not over- that there are more twists to come in the tale. After the romanticism and emotion of Hide and Seek, Four Lights begins energetic yet tempered. With a twirling and twisting guitar line, married to a driving and pattering percussion, the song builds curiosity and excitement early on. As our hero comes into view, some oblique but striking words are offered up: "Let the sunlight sting your eyes/Familiar feeling it should come as no surprise". Displaying their talent for stunning compositions; Four Lights manages to elicit the maximum anount of weight and stir- with as few notes as possible. Whilst our hero sings of "Shield your face/From the eyes that look you through", the band combine delicately sprinkle in their ingredients. The guitar is particular impressive; in the early stages it is subtle but impressive- as the energy explodes it is incredibly powerful. With hands tied and selfish pride being investigated, our hero's voice is as direct and potent as ever. At the 1:40 point, the guitar becomes more snarling and crunchy; "You don't wanna be the one to finish last" is repeated and enforced- the message directed at the anonymous central figure. When our hero delivers the lines "Untold pleasures come from keeping her around/for your own gain", you wonder what he might be referring to; pictures and scenes are built up in mind; you get the sense that Moyes has a heavy weight on his shoulders. When the chorus comes back in, you find yourself singing along, carried along in the sonic rush and energy. As the final minute arrives, the light and sparse guitars build back up; the song always keeps you on edge and introduces something surprising and new. A low-down and burbling bass line opens up High Hopes and Low Expectations. The percussive and bass elements create a Jazzy and groovy intro., one which our hero is equal to. One more time through the looking-glass, his voice is soulful and firm. It appears that there are worries on Moyes' mind: "I can't take any more/flickers of the past". Our hero is looking at his life (as well as the past); he is surveying scenes; and ask people to "Forgive the flaws you see". The guitar strikes hard; drum rattles and smashes as our Moyes implores: "Take these memory/Burn them 'til they're gone". Our hero is determined to start again and forget the past; get rid of the demons- essentially become reborn. Boasting one of the most impressive vocal turns on the album, the band show how tight and impressive they are. Once again horns are deployed to add to the gravity; the entire band are on top of their game, and ensure that every note and second gets inside your head. Whereas the band have their influences and idols, there is such an original voice and flair that comes through, that you are hard-pressed to notice anyone else. This gives tracks like High Hopes and Low Expectations. Similarly, the lyrics are both relatable but personal; they offer sing along choruses and considerate verses- meaning by the end of seven you are in no mood for the album to end any time soon! Satellite arrives next, and keeps momentum up, and appetites wetted. You get the impression- from the intro.- of a satellite orbiting Earth. There is a weightlessness and nocturnal feel; the guitar opening trips and teases. In a way it reminded me of Amnesiac-period Radiohead; there is that same quality and sound that comes through; it is both dark and light- foreboding and open. When the vocal is introduced, you are already picturing scenes and images. Moyes' voice is breathy and seductive; as though he is drifting to sleep, or else in a dream. Early words hint at a restless mind in needs of rest: "I've been counting sheep/But it never works for me". Our hero seems to be speaking to a particular subject; a sweetheart; Moyes is in protective mode ("I'll never let anyone hurt you")- without them around, our hero is empty and lost. It is nice to hear Moyes' soulful edges as they are one of the most vital facets on the album; made strongest and most effective when his mind looks towards love. You can hear the conviction come through with every note; this is made crystal-clear not only by the splendid production, but by the band as a whole. Guitar, bass and percussive inputs are not intrusive at all, but help to emphasise the words and add a sense of longing. Putting his heart on his sleeve, our hero confesses (to his love): "I'm lost without you". Once again, Echo Arcadia display a knack for effective and layered sonic parables. Satellite boasts a tremendously evocative and stunning break, which sees glistening and spacey guitars mingle with delicate and tender percussion. It is a track not only to be seduced by, but one which allows you to relax and drift inside your own mind- and for me, marks itself as the finest song on the album. As an acoustic guitar strum comes into the mix, our hero repeats the words "Knowing that you're mine". Backed by Siobhan, it seems almost like a lovers' duet; the vocals blend wonderfully. As the song ends, you cannot help but smile and feel warmer; whether this is the intention or not, I am not sure, but that is how it left me. Lucinda is the penultimate number, and begins its trajectory with a striking combination of piano, drum and strings. Moyes arrives to the mic. and speaks to our heroine; urges her to walk towards the light, something that "Strips away your apathy". Whether the song is aimed at a wrong-doer in need of redemption; or a woman with love in her heart in need of direction, she is in the light, as it is "Lifting you above it all". It appears that our heroine needs clarity and direction. As she lifts her arms in child-like prayer, the strings ache; the percussion sternly pioneers- only Lucinda can acquiesce to leave her sins. Chugging guitar, together with dreamy strings (and piano) elicit an aural storm; a wind of change perhaps? Our hero has been here before; he sees through our heroine, and shows the scars. Whether spiritual guidance is needed or just self-examination and repentance, our hero says that when the light's so blinding "fall to your knees". Mixing ecumenical and religious themes (and imagery) together with personal problems and negative proclivity, is hugely effective; you can visualise the heroine and get a clear impression of whom is being referred to. Hollow of beliefs and with thread-bare lies, our hero is in emphatic voice; striking out against Lucinda. Tenth, and by no means least, is Into Another Day- the swan song of a bounteous album. Ghostly and spectral wordlessness opens up the track; backed by trickling guitar there is an instant sense of stillness; perhaps of the night and all it holds- of floating into space perhaps. Such is the nature and beauty of those first seconds, that your mind wanders and imagines. Guitar and piano (once more) combine tenderly, and you sense that something epic and emphatic may soon be upon us. Moyes speaks of "One last breath of air/Before the darkness falls"; his voice controlled and with an unnamed subject in mind, our hero tells them not to "let this slip away from you". Fleeting moments pass to another day, and you get the sense that there is personal relevance and meaning behind the words. Perhaps not referring to himself (but maybe a friend or sweetheart), the words paint pictures of someone whom may be low (at the moment), but can regroup and re-gather. When the words "We've come from nothing/And we'll return/Back there again" the song acquires new meaning and direction. Our hero is placing himself under the spotlight, and is in the midst of the action. Like all great and remarkable albums, it ends with a song which is both unexpected but perfectly fitting. There are no rambunctious intervals or guitar smashes; no strained utterance and thoughts- the pace and mood are kept level and touching from start to finish. It is the finale to the film; the light at the end perhaps. A lot of emotional and ground has been covered, and the dawn's light is starting to break. When Moyes re-introduces the words "Don't let this slip away from you" the song reaches its closing stages, and the dawn breaks. It brings to a close a remarkable and assured debut from Echo Arcadia. The album is filled with brilliant and memorable vocals; insightful and stunning lyrics- and a band performance that is consistently engaging and powerful. Not only is it staggering to witness the range of sounds and sights across 10 tracks, but the L.P. never drops a step- or misses a beat. A compelling travelogue from end-to-end, it is an album that you will be repeating for weeks to come; quoting lines and melodies- wondering whether our hero has gained satisfaction and whether the album's supporting cast have found absolution and (renewed) purpose.

Reception (so far) has not exactly been 'ambivalent' with concerns Beauty in an Average Life- feedback has been incredibly positive. It is no surprise, given the impact that Broken Chapters had; and being aware of the Edinburgh music scene, I am not shocked, either. The likes of Universal Thee are presenting their Pixies-cum-Pavement mandates to the world- and are a band whom will be big future names. Echo Arcadia are a six-piece whom were mere stranger a mere few days ago, and I am exceptionally glad they are no longer anonymous. I will be following the career and trajectory of the heroic Scots with a close eye, and will make an effort to see them live- if they play London in the future. When chatting with Moyes earlier in the week, a great humbleness and modest came through; as well as a desire and ambition to take his band as far as he possibly can. I started this review by investigating the mixed fortunes of various bands; the inequalities that are present in the market- and how hard it is to hear about genuinely great new bands. When it comes to mainstream or established music, then it is easy to find out about new releases. Between various music magazines, websites (and T.V.) new albums and E.P.s are advertised widely, ensuring that the public have plenty of notice. New musicians have to work a lot harder to get the word out. If you live in a particular region or area, then you may hear of local acts and neighbours- but how often are you made aware of further-placed acts? As I am based near London, I know of some great acts here (as well as talent in Surrey and West Sussex); yet rely on happenstance to locate great music in other locales. A great proportion of my reviews are as a result of luck or second-hand word-of-mouth; sources such as The Guardian are quite instrumental- it shouldn't be this difficult! The bands (and solo acts) are doing all they can and free from culpability; it is the media and social media sites that should be doing more. Being a fan of the likes of The National, Radiohead, Pink Floyd and The Smiths, any band that employs elements of these groups seem ready-made for me. We need to discover a smoother way for great musicians to connect with potential fans; build clearly and concreted links between them and us- it seems so obvious. Until something is figured out, I will be glad for each opportunity that arrives, which allows me to discover great music. Echo Arcadia are a mature, intelligent and pioneering group whom not only sprinkle some key influences into their cannon, but project an authoritative and compelling individuality and unique sound- one that is hard to shake off. The reviews that have come in for the album so far pay testament to just how strong the six-piece are. Too few acts manage to truly get inside your head and heart; whether because of lack of insight or potential, a great deal come off as being hollow, generic and one-dimensional. I feel that a lot of bands are put on pedestals and drooled over (by critics); play the huge festivals and are subjected to a great amount of feverish praise- without any real reason why. I shall name no names, but there is too much of it in music; and it comes at the cost of genuinely purposeful and incredible bands. Echo Arcadia will have no fear, as they have a huge critical backing, and now (they have a big label behind them), opportunities and avenues will be opened to them. The vibrant personalities and everyman approachability of Moyes and his men comes through firmly; the guys are good-humoured, down-to-earth and hungry- and proud of the music they make. I hope that our heroes come down to London very soon as I would love to see them play in a live setting. After performing at the Voice of Scotland showcase a couple of weeks ago, Echo Arcadia are taking Scotland by storm; and it will not be long until they go off on their travels and begin an itinerant campaign. It seems that every week I am uncovering acts whom are capable of ruling festivals and venues in the future, and it seems that another has been covered. Whether our heroes will take this route or stick to more modest settings will be in their hand, but I am sure that for the moment they will see how Beauty in an Average Life is received. They have influenced some songwriting in me, and compelled me to re-investigate my best work, and push boundaries and limits even further- such is the merit and hallmark of an influential band. Their 10-track opus is not something that will appeal to fans of certain types of music/bands; there is an openness to their music that encourages all to participate. Some of the lyrics may tread a darkened road, yet- as explained earlier- Moyes sees it as a way of extinguishing fear and dispelling any anxieties. Our upbeat band of men are keen to instil themselves into the public forum as potently as possible, and I feel that this summer will be a very busy and prosperous period for them. With April slipping away, and the weather being unpredictable as ever; sit back and unearth a Scottish band whose stock will rise; six fellas whom will be on the scene for many a-year; and above all absorb...

ONE of the most compelling albums you'll hear all year.

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 Track Listing:

Sparks- 9.7/10.

Apple Moon- 9.7

Love Song- 9.8

Joker- 9.7

Hide and Seek- 9.8

Four Lights- 9.7

High Hopes and Low Expectations- 9.8

Satellite 9.9

Lucinda- 9.7

Into Another Day- 9.9

Standout Track: Satellite

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Follow Echo Arcadia:

Official:

http://www.echoarcadia.com/

Twitter:

https://twitter.com/EchoArcadia

Facebook:

https://www.facebook.com/echoarcadia

SoundCloud:

https://soundcloud.com/echo_arcadia

YouTube:

https://www.youtube.com/user/EchoArcadia

Last F.M.:

http://www.last.fm/music/Echo+Arcadia

Songkick:

http://www.songkick.com/artists/3966391-echo-arcadia

iTunes:

https://itunes.apple.com/gb/artist/echo-arcadia/id404924156

Tour Dates:

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

Modern Classics: The White Stripes- White Blood Cells.

MODERN CLASSICS:

The White Stripes

　

White Blood Cells

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Some 13 years after its release, I look back at an album that not only made a huge musical impact- but saw the rise of one of the biggest bands of our time. With a huge support (already behind them), Detroit's black, red and white duo released something truly staggering.

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IN a new (and regular) series, I am going to be investigating albums...

that can be considered 'modern classics'. Some of them you may own; some you may have forgotten about, but my intention is to lend fresh praise and tribute to albums I deem truly timeless. You may not agree with my choices, and for that reason, it would be great to hear some suggestions- for albums I can include. Tomorrow I start work on a review for a new Edinburgh-based band; one whom I feel invokes the spirit of Punk truly- and have a huge future ahead of them. As great and important as new music is, I always find myself looking back; spinning albums and acts whom- although they may be gone- live long in the memory. It is important to keep their memories alive, and not forget what has come before. As much as anything, certain bands and artists have been responsible for influencing a great deal of modern players- for that, we should respect them. Today, I investigate an album (from a band) whom not only set alive the music world in the '90s and '00s, but were responsible for the new wave of Garage Rock bands that came through in that period. Without further ado, let me introduce them...

Most of you are probably aware of The White Stripes. They are a duo whom appealed to the masses; not just relegated to certain clans and camps- their music connected with everyone. A few years ago, they hung up their band patterns and called it today- but not without leaving behind a huge legacy. The duo consisted of Meg and Jack White, and formed in Detroit in 1997. Before I introduce you to their music, let me clear up a few things. As well as a brilliant palette and kinship, our Michigan two-piece had some unique quirks. Well, I say 'quirks'; there was a clear uniformity (enforced by Jack), that separated them from their peers. The duo wore black, white and red and no other colours; White (fascinated by the number 3) insisted on their behind three instrumental sonic components -voice, guitar and drums. Extending this theory, the band had another key distinction: they were brother and sister. Well, technically they weren't, but a myth and story was perpetrated to the media: one which would avoid any questions about their personal lives. In actuality, the two married in 1996 (Jack took Meg's surname), before divorcing several years later. Jack was keen for the press to focus on the music, fearful that the duo's marriage would take prescience- as such they became brother and sister. What made The White Stripes such a distinctive act was their lo-fi approach to recording; they fused '20s and '30s Blues music, and sprinkled in of-the-moment Rock. When the band formed (in 1997), the music industry was still transitioning from the death of Grunge. With acts such as Nirvana defunct, there were still band such as Pearl Jam and Soundgarden pioneering, yet the scene was on its last leg. The music-buying public were eager to embrace new idols; to find something fresh and direct- the duo provided this. Jack White (born Jack Gillis) was a former upholsterer, whilst Meg was a bartender. "The White Stripes began their career as part of the Michigan underground garage rock scene, playing with local bands such as Bantam Rooster, The Dirtbombs, The Paybacks, and Rocket 455. The White Stripes was signed to Italy Records, a small and Detroit-based garage punk label, in 1998 by Dave Buick. Buick approached them at a bar and asked if they would like to record a single for the label. Jack White initially declined, but eventually reconsidered". Detroit, as it is today, is a bit of a desolate and ravaged ghost town, but during the late-'90s played host to some hungry and diverse bands. The White Stripes' formative steps were tentative and soft, yet they were grabbing the attention of the local scene. Whilst a lot of the bands of the time were mere point-and-squirt purveyors; concerned with sheer racket- our Detroit duo prompted something different. The contemporary bands were being inspired by modern sounds and of-the-moment acts, whereas The White Stripes looked back. Growing up, Jack was fascinated by old Blues masters such as Son House, Blind Willie McTell and Robert Johnson. As well as the classic Blues acts, Led Zeppelin, The Velvet Underground and The Stooges were all big idols- White incorporated all these elements into the band's music. These combinations and elements came to fruition self-titled debut. With the century nearing its end, The White Stripes was a fitting music way to end it- and was to see the first steps for a soon-to-be-legendary band. Surmising the album, Allmusic had this to say:

"Jack White's voice is a singular, evocative combination of punk, metal, blues, and backwoods while his guitar work is grand and banging with just enough lyrical touches of slide and subtle solo work... Meg White balances out the fretwork and the fretting with methodical, spare, and booming cymbal, bass drum and snare... All D.I.Y. -country-blues-metal singer/songwriting duos should sound this good."

With Jack White (whom was the band's chief songwriter) at the producer's helm (alongside Jim Diamond), an evocative and stunning L.P. was unleashed. It was the 'D.I.Y.' sound that, perhaps, gives it its stripes (forgive the pun!). It is as though you are sitting in Jack's house as you listen (a lot of it was, in fact). The fact that it sounds more like a live recording- as opposed to a studio-recorded one- for me, makes it so special. Critics at the time were a little split, and for that reason, The White Stripes is one of those albums that reveals its majesties after time. Those whom were turned onto the band's wonders extolled the virtues of the raw sound; the updated Blues sound- as well as the urgency and conviction in the band's performances. The debut saw some fresh and wonderful original material, but also saw the band's interpretative skills displayed. Bob Dylan's One More Cup of Coffee turned into a malevolent calling to the underworld- Jack's voice drips with emotion and foreboding. Robert Johnson's Stop Breaking Down is a bouncy and energised reworking; St. James Infirmary Blues was transformed into a sweeping and emotional number. Although there were some rough edges (Astro and Screwdriver seem a bit rushed-off and forgettable), White was demonstrating a songwriting talent, that was to mark him out as one of the busiest and most vibrant talents of the last 20 years. Wasting My Time and The Big Three Killed My Baby are sneering anthems; wrapped around Meg's assured drum work and Jack's tantalising guitar. The seeds were planted and Detroit's finest new band were showing their contemporaries how it should be done. White Blood Cells would arrive two years later (in 2001); but The White Stripes had another L.P. to come first. Showing a breathless work ethic, De Stijl arrived less than a year after their debut. Inspired by the Dutch art movement (called 'the style'), the L.P. saw Jack cementing the band's triple-coloured aesthetic. The sound of their sophomore effort was less rambunctious and grittier (than on their debut), but more concentrated. With fewer 'filler' tracks, the album could be seen as a logical and progressive step forward- although many critics felt it did not match the heights of The White Stripes. When reviewing De Stijl, Rolling Stone had this to say:

"The second album by the Detroit couple, De Stijl, is feisty and clever, full of scuzzy garage rock that would fit nicely on a Nuggets compilation between the Sonics and the Standells".

The wave of positive press that followed the album's release, saw Jack and Meg filled with confidence- as well as a host of new fans. When you consider the work on their 2nd album, it is no surprise it was met with acclaim. You're Pretty Good Looking (For a Girl) is a springing number that meets '60s Pop bounce with legendary Blues. Whilst the songs themes look at a girl who's "back is so broken", it is a charming and memorable number, that was a terrific lead-off track. Let's Build a Home and Jumble, Jumble are free-falling songs infused with enormous rush- Jack's guitar work is varied and evocative; Meg's drumming powerful and emphatic. It was during the album, that the softer side of Jack White was coming out. The debut hinted at the tenderness inside of the man (tracks such as Suzy Lee are fine examples)- but it was on De Stijl that White began to vary his songwriting. Apple Blossom is a charming and child-like love song; Truth Doesn't Make a Noise is an epic yet brave defence of (a shy and withdrawn) girlfriend; I'm Bound To Pack It Up saw the young American as the modern embodiment of Son House. Both players were becoming more fully rounded and confident; Jack was growing as a songwriter, and showing himself to be one of the most talented artists on the block. As good as Meg's drumming was, White, the maestro, was growing in stature. His voice was becoming more focused and individual; able to belt and snap as well as implore and seduce. The guitar work was authoritative and nuanced, and a legendary band were fully taking shape. With the album showing itself as a fan favourite- and with critical support behind them- the Detroit pioneers were abound with confidence come the end of 2001. With Garage Rock's revival gaining momentum, its forerunners were mounting a charge, and on the cusp of releasing their most potent statement: White Blood Cells.

It is perhaps appropriate that White Blood Cells begins with a bang. With a slight percussive tapping, proceedings explode with a rictus guitar parable. Summoning up a hailstorm of electricity it is a buzzing and pulsating intro., augmented by Meg's clattering and impassioned drum work. Dead Leaves and the Dirty Ground is an emphatic and potent opening statement. Here, Jack is in yearning mood; pining and waiting for someone to return. The track is awash with emotive outpouring; striking images and a whole lot of conviction. Mixing tender confessions ("If I could just hear your pretty voice/I don't think I need to see at all") with oblique sentiment ("If you can hear a piano fall/you can hear me coming down the hall"), the song really catches you. The White Stripes unleash a tough and mobile composition which fuses urgent rushes and softer moments. In Dead Leaves' we see Jack put his heart on his sleeve. Whilst longing for his love, White's mind drifts back ("Soft hair and a velvet tongue/I want to give you what you give to"); whomever he is talking about (their absence) is causing a hole in his heart. You get the impression of White returning to a house; yet finding it empty he sits and wonders; waiting for company and salvation. Although the vocal performance is strong-headed and determined, you cannot escape the poetry and tribute that our hero conveys. The song's heart-aching messages are succinctly represented in the lines "I didn't feel so bad till the sun went down/Then I come home/No one to wrap my arms around"- you can hear the aching in his voice. After the stunning opening salvo, the pace and subject is changed. Whereas a lot of bands (including the duo themselves did on their debut) would opt for a similar-sounding or flavoured track, Jack and Meg subvert expectations. There is no yearning and absent souls to be heard on Hotel Yorba- some empty ones, but not in a romantic ones. A springing and lilting acoustic guitar coda opens proceedings (a pleasing shift from the forcefulness of Dead Leaves and the Dirty Ground's intro.); one which puts an instant smile on your face. Initial moments see our hero in a rush; he is being bustled and harried by life ("I had fifteen people telling me to move/I got moving on my mind"). In spite of the vivid scenarios, there is always a lightness and (perhaps ironic) joy in White's voice. Meg's drumming is loose and playful, allowing the song's messages to come to life- as well as adding an urgency to proceedings. With our hero in nursery rhyme mode ("Well its 1 2 3 4/Take the elevator"), White is with his beauty, on the steps of Hotel Yorba; not fearful of rejection, because: ("All they got inside is vacancy"). It is a song that sticks its tongue out at the disreputable establishment. We can all imagine the type of discarded and alarming hovel that White had in mind; sly grins and smiles can be heard when the lines are delivered. The song has a sing along quality that is hard to ignore, but it much more layered and nuanced than any throwaway Pop number. White's talent for wordplay and scene-setting are all evident, as he mixes faux romantic confessions with childlike innocence ("Let's get married/In a big cathedral by a priest/'cause if i'm the man that you love the most/You could say 'I do' at least"). As the song comes to an end, it completes a stunning (and varied) 1-2- and one that covers a heap of territory in only a few minutes. The first four tracks blend short and memorable bursts with longer and more 'sprawling' numbers. Continuing the pattern, I'm Finding It Harder to Be a Gentleman spreads its wings. White surveys manners and the breakdown of etiquette; delivered in his inimitable and cutting way. Building several different scenarios, our hero is acting the gentleman; irked at distractions in his head ("You think that I care/About me and only me/When every single girl needs help/Climbing up a tree"). Perhaps the intentions aren't allows honourable; the thoughts always pure ("Well I'm finding it hard to say/That I need you twenty times a day"); it is a song that allows our hero to unleash his emotions; to get our his anger- whether based on real-life malaise or fiction, I am not sure. Whereas Hotel Yorba had a similar cut to its tongue, I'm Finding It Harder to Be a Gentleman is longer and more detailed; less concerned with urgency and (perhaps memorability), it is a stunning number. Bait-and-switch perhaps, but for those expecting another I'm Finding It Harder to Be a Gentleman are soon surprised. After a second track that was short and direct, we have a fourth track that is similarly truncated. Fell in Love with a Girl arrives, and was to become one of the most celebrated songs of the album. The song is barely two minutes long, but gains its status because the pace never relents- from start to finish it is fast and furious. Filled with Punk energy, it is a compacted explosion of romance, miscommunication and misappropriation. After falling for the girl, White has doubts ("She's in love with the world/But sometimes these feelings/Can be so misleading"); the red-haired temptress is leading him astray. Trying to assuage White's anxiety she assures him that Bobby (her beau) says kissing isn't cheating, and to relax; whereas our hero is conflicted ("These two sides of my brain/Need to have a meeting"). Aware that it is not romance, but a temporary thing ("She's just looking for something new"), White's brain is melting and bursting in the heat of the situation. You can feel the primal urges and frustrations come through in the repeated "Ahhh aha ahhh ah"; the rampaging percussion and rampant guitar augment and emphasis the mood- it is a paragon of frustrated lust and second-guessing. After the short burst (as you would expect) comes a song that is not brief, but, like Dead Leaves and the Dirty Ground (the two songs share a similar sound and pace); it is persevering and imploring. Whereas previous numbers have perhaps been more direct, Expecting is slightly more oblique and open to interpretation. With a crawling and striking guitar smash (and impressive percussion), the track smashes and retreats (and repeat); scoring a tale of a imbalanced love, a relationship that sees our hero trapped ("Your mouth said this never/But your fingers have shown me/Your head is so clever..."). With a motif based around give and take (and the unfair share of either), White distills the essence of the relationship: "I'm expected/You're expecting". Love and fractured relationships form the basis of many songs on the album, but the chameleon-like nature of our band mean that no two songs appear the same; the subject is ascribed in various manners and tones- giving the album a rich and compelling sense of mystery and intrigue. Breaking from the parable of love-gone-wrong arrives (yep, you guessed it) a short song (the shortest in fact), in the form of Little Room. In the first of two songs that are both (very) brief and 'unusual' let's say, it revolves around a subject, in their little room "working on something good". We are not sure what is being worked on (or whether it is a general message about ambition and growing up), but you cannot help but picture whom White is referring to- and what he might have been imagining. Meg's drumming remains constant and unwavering- she does not change pace or time at all, just a constant smash which gives the song a restless energy. The track may refer to White's (and the band's) ambitions or music in general; perhaps it is more literal or fictionalised- it is open to your own opinion. By the end of the song, White has a direct message (to the central figure whom has moved to a bigger room): "You might have to think of/How you got started/Sitting in your little room". The song is just under a minute long and is a beautiful and memorable punctuation (after the draining emotions over the previous five songs). Based around Citizen Kane (the song referencing words from the film), The Union Forever is based around Charles Foster Kane, a man whom admits: "Well I'm sorry but I'm not interested in gold mines, oil wells, shipping or real estate". Transposing and vicariously projecting himself into Kane's shoes, White acts the showman-turned-bruised-romantic; a Kane-esque figure whom surveys a focal heroine ("'cause It can't be love/For there is no true love"); someone whom our hero states: "I'll bet you five you're not alive/If you don't know his name". It is a mini-epic track, and one that takes us to the mid-way point of the album. The actual centre of the L.P. arrives after The Same Boy You've Always Know. With a new song comes a new subject; one which looks at love and expectation once more- but is a reinvention of previous numbers. There is no short burst here; the band supersede expectation and present a song that is considered and emotional. With White's voice tremulous and wracked (Meg considerate of accompaniment), the track looks at White and his beau; a woman whom "Forgot my name of course/Then you started to remember". Things seem strained, and White admits some truths ("Well I guess I haven't grown"). White urges his subject to thing of the past and how things could have lasted. Our hero seems pained at the thought of recollection; guitar chugs and drives- emphasising the desperation and lost hope. The way the song looks at death, love, forgetfulness and lost youth, could well be written about senility- an elderly relative whom may have forgotten White and seems a stranger. Whether dealing with a relationship in its dying stages or something else, I am unsure; our hero seems aghast at the situation. The song sees White starting to give in; accepting that things may not work out. With doubts and questions- as well as stark images- racing around his head, our hero ends with an emotional confession: "And if there's anything good about me/I'm the only one who knows". Our ninth track arrives, and allows something more optimistic and pure: We're Going To Be Friends. Perhaps my least favourite song on the album, yet you cannot deny its charms. It is the most innocent and sweetest song of the set; a simple paen to a childhood friendship- with Suzy Lee. Our hero casts himself at school; with Lee the two are back to school (as it is fall); the duo prepare to start back on their first day ("Climb the fence, books and pens"). The song's melody is beautiful and soft; it is essentially a Jack White solo track- his voice is tender and breezy throughout. It is a sharp departure from previous songs (and the rest of the album), and for that reason isolates itself somewhat. I know for a fact that many fans consider it one of the finest tracks on White Blood Cells; White himself vividly paints pictures of the carefree nature of childhood: "Walk with me, Suzy Lee/Through the park and by the tree/We will rest upon the ground/And look at all the bugs we found/Safely walk to school without a sound". With White and Lee arriving at school (dirty uniforms and all), numbers and letters, maths and spelling are order of the day; whilst "Teacher thinks that I sound funny/But she likes the way you sing". As the song reaches its conclusion, our hero is in bed, dreaming of his schooldays- confident that he and Suzy will be firm friends. An unexpected and sweet-natured number then leads to one that is, well...not so. Showing their talent for surprise and diversity, our duo launch into a song concerning our ill-fated hero- whom cannot seem to please anyone he comes into contact with. Offend In Every Way sees White stymied ("I don't know what to say"), tiptoeing through life, our hero's discontent is backed by an epically direct and forceful composition. The band mix striking and pugnacious drumming with multi-layered guitar work (and some impressive piano interjections) to add weight to the mood; projecting an unabated air of fragmentation and dislocation. As White explains "I'm coming through the door/But they're expecting more/Of an interesting man", his emotions are in check; yet you can hear the burden in his voice. Our hero is faking who he is; second-guessing and bluffing (honesty is wasted on the crowds); but no matter what he does, offence is caused. People tell him to relax and realise that "Everyone's my friend/And will be till the end"; but nothing White does seems to please-he is trapped in his own body. The anxiety and helplessness comes through the music, whilst the vocal is kept levelled- not allowing itself to descend into histrionics. Most other acts would probably throw so much bitterness and anger into the composition, that it would get buried under its own weight. Our duo present a composition that is detailed and emotive; filled with diversions and twists. In the manner that Offend In Every Way looks inwardly, I Think I Smell A Rat strikes outwardly. With an intro. that sounds almost Flamenco, the song gets under way. Our hero points his finger at people; specifically youth and those on the street ("All you little kids seem to think you know just where it's at"); you get a real sense of a modern man, annoyed at kids and the new generation. With the accused "Walking down the street carrying a baseball bat" our hero smells a rat- everything they believe in and preach is wrong. The lyrics are sparse but effective; White employs only a few different lines, but repeats them to great effect. Punctuating vitriolic verses is that shimmering and spiky guitar line; with Meg slamming on her drum kit. With the kids "Using your mother and father for a welcome mat"; White has had enough; and reached the end of his tether. To me, I Think I Smell A Rat is one of the finest songs of the album; it is filled with accusatory directness; the composition is catchy and powerful- the song has everything that the album epitomise. If you are looking for a relaxing break after I Think I Smell A Rat's ballistic fire, then think again. The album's sole instrumental (there are vocal interjections but you can't really call it singing); comes with Aluminium. Twisted and distorted guitars arrive; they blend and spar with one another- giving you the impression of a robot on the rampage or a car being crushed. White's only vocal contributed is a repeated 'ahhh'; one which is gargle, distorted and multi-layered. Meg's drumming is powerful and meaty; superbly backing Jack's frantic and staggering guitar work. Whilst many would seem the song as slight or 'filler', it uis one of the best things on the album, as it gets inside your head- there is nothing you can fault at all. Whilst not a fully fledged number, it is a daring and brave inclusion; one which perfectly links the previous track, to the next. That song, I Can't Wait, sees White punching out at an unnamed figure; a girl whom has messed him around too long. Explaining that "I can't wait till you try to come back girl/When things they don't work out for you", our hero has had his share of being used. The composition, once again, is chugging and mobile; changing courses and paths to elicit up the full amount of raw emotion. White is surveying the scene and looking back at events ("First you said I was blind/And it's gonna be different this time/I thought you made up your mind"); concluding his remembrance with fuzzy and scintillating raw guitar work. Our hero is getting used to being alone; fed up at this feeling, and determined to feel better again. His house does not feel like a home, and he hopes that his subject gets her act together- there is a sense that he wishes things could be different for them. When White states "Do you really think I want be left out girl/Who do you think you're trying to fool", you can hear his voice dripping with anger and spite. When the song comes to the end, there is a sense of breathlessness and exhaustion; you feel sorry for White and hope things work out- although you suspect that they won't. Now Mary is up next, and there seems to be some sarcasm and irony within its lyrics. Looking at the sacrifices and realities of love, White apologizes; he has let his love down; but it is said: "Knowing you I'll think things are gonna be fine/But then again you'll probably change your mind". Where as the last few numbers have had a powerful and overwhelming directness to them, here, the composition is lighter and less oppressive. With scratchy guitar riffs and jumping percussion, the song has a buoyancy to it that keeps things level- and slightly optimistic. It seems that the relationship may have broken down (or in its dying stages), and White reflects on the sacrifices he has had to make: "I'm sorry Mary but being your mate/Means trying to find something that you aren't going to hate". Not quite as memorable as the songs either side of it, Now Mary is still one of the most impressive numbers on the album. It has hints of their debut album, and is one of the 'catchier' numbers on White Blood Cells. My favourite song on the album arrives in the form of I Can Learn. It has a brooding darkness to it; a languid crawl matched with power and potency. White is in considered mood, pining for love and tired of being alone. He has made mistakes in the past, but can learn- change his ways and be a better man. Although White's intentions are pure and admirable, he may have some work to do: "I don't know any lullabies/I don't know how to make you mine/But I can learn". The guitars twang and strike; the drum is ecstatic and light- it is a composition of contradictions and conviction. White is out on the scene (or imagining in his head), cast in a date situation ("Drive you home/Then wait by the phone/For that call/And a walk in the fall"); hoping that a long-term romance is imminent. Our hero's sense of optimism, desperation and genuine heart are what makes the number the highlight of the album. The composition changes path and course and keeps you on edge; it is as potent a number as you can imagine. White looks around at lovers and their happiness; he wants to have what they have, and implores to his sweetheart- "No harm will come of this/One little midnight kiss/It will not burn". Our hero feels it is his turn; he wants to feel what everyone else feels. As the final verse comes into view, words are tempted and elongated; adding weight to them and making sure they stick in your brain- "Falling down/Is no longer around/Feeling sun/I'm no longer one". I adore the final line as it is delicately and precisely delivered; each word is punctuated and emphasised- our hero delivering it with almost gleeful sarcasm (Well isn't this fun?). The final track is This Protector; one which sees a rare vocal appearance from Meg. It is also one of the few songs (if not the only one) which is guitar-free. It is scenic and image-filled; its meanings are ambiguous. Whether dealing with paranoia, the downfalls of love, or something more dangerous, strange and oblique words are poured forth. When our duo sing "You thought you heard a sound/There's no one else around/Looking at the door/It's coming through the floor"- you wonder what the true meaning of those words are. With 300 people in West Virginia- whom have no idea of "all these thoughts that lie within ya"- the piano flourishes and rolls and smashes. A brave and different song, This Protector is one of the most stand-out numbers (as it unlike anything on the set). and allows Meg a chance to step away from the drums- and onto the mic. As the final notes play and the album ends, you sit back and take it all in. At sixteen tracks, it is a thorough and stunning work, and one that provides something for everyone- and shows The White Stripes at their creative peak. It is an assertion that is shared by many critics; the album received mass acclaim, and all kinds of effusive and wonderful praise:

"Detroit's Jack and Meg White, allegedly brother and sister, look like they haven't been out of their apartment in six years, and like the Ramones, they named themselves after their band (or vice versa). Best of all, they fuse inescapable, eerily eternal melodies with dirty-ass, brain-scrambling riffs that recall both the Kinks and the Melvins".

Rolling Stone

"...it's precisely this mix of strength and sweetness, among other contrasts, that makes The White Stripes so intriguing. Likewise, White Blood Cells' ability to surprise old fans and win over new ones makes it the Stripes' finest work to date".

Allmusic

"With White Blood Cell's amount of variety, I'll leave the rest of the analysis to you. If you have yet to experience the album, go and grab it as soon as you can. It may take a couple listens to adjust to Jack White's vocals and the slicing guitars, but you shant regret it once you do".

Tiny Mix Tapes

Following the success of White Blood Cells, the duo found themselves wrestling with a double-edged sword. The media attention, scrutiny and expectation was weighting heavy on their minds- especially Jack's. Speculation regarding the duo's relationship; tied with commercial pressures, was leaving the band a little jaded and burdened. In spite of this, the band went on to record three more albums (before they broke up). For a group with the eyes of the world on them, Elephant was a surprising revelation. Many would assumed that the Stripes would falter or slow; yet the L.P. marked a leap in confidence and quality- and remains the band's most notable album. Whilst it is a fan favourite and critical preference, it wouldn't have happened without White Blood Cells. Elephant saw Jack and Meg continuing their lo-tech voyage; setting up camp at Toe Rag Studios (in London), the duo spent only a few days creating their fourth L.P. Monster anthems (Seven Nation Army) nestled alongside sexy and sweating numbers (Ball and Biscuit). Black Math's crunching and staggering guitar-and-drum combo; Girl, You Have No Faith in Medicine was a jumping and whopping sing-song; You've Got Her in Your Pocket a soft and tender number- there was a huge range of sounds and emotions. It seemed as though Detroit's leading lights were in no mood to slow down or demure: here was a band on a mission. A couple of years passed between the release of Elephant and their next album (Get Behind Me Satan); it was this period that saw the band at their peak- in terms of critical pressure and popularity. Because of the weight of expectation and the need for the group to replicate Elephant's templates, it is not shocking that Get Behind Me Satan was a slight step back. There were fewer hard-edged and raw mandates this time around. Marimbas and Country-tinged numbers came in; a Pop-infused mood crept into a few numbers; and our heroes were intent on moving their sound forward. My Doorbell and The Denial Twist are stonewall sing-alongs; composed of pure dance and glee- the Whites sounding like they were having the time of their lives. Sex and raw passion were still present, with Instinct Blues leading the charge. Paranoia and frustration were explored; there was more outwards spite and anger coming through- as Take, Take, Take will bear witness. The vicissitudes and scars of fame and adulation were causing Jack to pour blood from his pen, yet Mr. Gillis was still himself- there is plenty of joy, intrigue and humour afoot. As I'm Lonely, (But I Ain't That Lonely Yet) ended the album with a smirk, a new phase was being entered. The band was beginning to incorporate sounds of Latin America and Country Music- with perhaps less emphasis on Blues and Garage Rock. The final album was to arrive in the form of Icky Thump (in 2007). A lot had changed in the two years since Get Behind Me Satan. Countries had been conquered; Jack got married (to English model Karen Elson), and it seemed as though our frontman was a lot happier in his skin. Icky Thump (with its title rooted in northern England), to some, was 'business as usual'. Of course, The White Stripes had never left, but it seemed as though their previous album's unique sounds were an anomaly. The raw passion and force of Elephant and White Blood Cells was back. From the title track opener, through to Little Cream Soda; it appeared that Jack hd not lost his love of Zeppelin and Garage Rock. Both players were on top form, and tracks such as Rag and Bone and 300 M.P.H. Torrential Outpour Blues married their past and present together. The band has moved from Detroit and were living separate lives; not that this had a detrimental effect on the music. Our duo were on heavier and traditional territory and showing how much innovation and genius they still possessed. Allmusic surmised it, thus: "(Icky Thump) is a mature, but far from stodgy, album -- and, as is usually the case, it's just great fun to hear the band play". Perhaps it was personal relationship issues, or else a fatigue; but The White Stripes called it a day in 2011. Four years after their final album, the band were dissolved. In retrospect, the constant touring and pressure was always going to leave its marks, and so it proved to be. With Jack hungry to pursue other projects; Meg keen to step away from the spotlight, the duo went their separate ways.

The legacy that The White Stripes left is still evident today. I have focused on White Blood Cells, as it is not only my favourite (of their albums), yet it was the moment that the band truly felt comfortable. It was their first peak, and showed to the world just how good they were. When I first heard the album, I knew that I had found my 'new favourite band'. I was aware of their work, but it had not truly hit me. When their third album came to light, everything changed. Jack White- in my opinion- is one of the most underrated songwriters of his generation, and White Blood Cells is a testament to a hungry and brilliant (songwriting) mind. It seemed that the man (and band) could achieve anything, and as a result, a whole host of groups were pricking their ears up. The album is still touching people today, and its layers and mysteries detectable in modern-day work. On that note, more people are influenced by that album than you may think. I have heard so many songs (and bands) whom have flavours and elements of White Blood Cells (and The White Stripes) in their motifs; the same Garage Rock rush- as well as the vocal strains of Jack. Few bands could summon up the immediate and short-lived bursts of Fell In Love With A Girl without sounding mimicking or inferior; no act has matched Hotel Yorba for sheer evocative charm- how many groups could pen I Think I Smell A Rat? As unbeatable (in my view) as that album it, so many people are taking on its legacy and ashes. Today, both Jack and Meg lead very different existences. Meg has retreated back into regular life, and is re-married and living happily. Jack (as you'd expect) is a White-of-all-trades. As well as working with The Raconteurs and The Dead Weather, he has a thriving solo career. Jack's two different bands are unique, yet neither match the heights of The White Stripes. That does not mean there is no quality, as both acts have put out some wonderful songs and albums. White- unconstrained by the rigidity of his former act- found himself in open air, and relaxed. Across the two bands, White has proved what a varied and solid songwriter he is. It is in his solo work, however, that the strongest impressions are evident. On Blunderbuss, there are Country-tinged number, as well as hard and furious anthems- sound familiar? It seems as though the embers of The White Stripes have not burned out, and White remains one of the most fervent and prolific talents of his age. With a forthcoming solo act imminent (Lazaretto), it seems that he has a very bright (and busy) future.

Few acts have burned as brightly as The White Stripes. Maybe it was because of the climate they grew up in; the time that they came to prominence, or else the talents of our two heroes- but the band have found few equals. With Jack White still playing and aiming high, we are still going to be hearing elements of The White Stripes' best days. White Blood Cells is incarnated in various other albums; on the minds of modern acts; it is something that is both timeless and rare. I hope that we live to see the day where a band (and album) arrives that makes such a huge impression; is a summation and distillation of the times- perhaps we have already. As much as anything, it is just a phenomenal work, and one that suits any mood. If you want emotion and tenderness, then it is there. Plenty of raw and primal urges linger; dangerous and direct Garage Rock slams can be heard- as well as anything else you may require. In the coming weeks I will be surveying other great albums (from various acts), but White Blood Cells is one of my all-time favourite albums for various reasons: there is an emphatic and relentless quality; it draws my mind back to better times, and fostered my love of a truly remarkable act. If you haven't heard the album, then I urge you to seek it out- or at least check out a few tracks. I think you will agree that it is an album that subjugate definition; is not restricted to lovers of a certain genre- it is an album that can be appreciated by anyone. It is pretty wet and miserable today, so why not cheer yourself up and listen to a truly remarkable work. It will make you smile; it will urge you to sign along; it will get inside your mind, and if nothing else, it will make you...

FORGET about your troubles.

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Buy White Blood Cells.

http://www.amazon.co.uk/White-Blood-Cells-Stripes/dp/B00005Q3ZU/ref=sr_1_1?s=music&ie=UTF8&qid=1398344414&sr=1-1&keywords=white+blood+cells

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Track Listing:

Dead Leaves And The Dirty Ground- 9.7/10.

Hotel Yorba- 9.8

I'm Finding It Harder To Be A Gentleman- 9.7

Fell In Love With A Girl- 9.8

Expecting- 9.5

Little Room- 9.7

The Union Forever- 9.5

The Same Boy You've Always Know- 9.8

We're Going To Be Friends- 9.3

Offend In Every Way- 9.7

I Think I Smell A Rat- 9.9

Aluminium- 9.7

I Can't Wait- 9.9

Now Mary- 9.6

I Can Learn- 10.0

This Protector- 9.5

Standout Track: I Can Learn

Download: Hotel Yorba, Fell In Love With A Girl, I Think I Smell A Rat, I Can't Wait and I Can Learn.

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Album Review- Raglans: Raglans

ALBUM REVIEW:

Raglans

Raglans

9.3/10.0

The album, Raglans is available from:

https://itunes.apple.com/ie/album/raglans/id819237717

The single, (Lady) Roll Back The Years is available via:

https://www.youtube.com/watch?v=fYTxrVhDxQ0&feature=kp

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The Irish quartet have a long and busy touring schedule ahead of them. On the strength of their (self-titled) L.P., the Digging Holes impresarios will have a long and fruitful career. Coming to a town near you...

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THE last few days have been some of the most revealing and surprising...

in terms of music discovery. A few days back I reviewed Gypsyfingers' debut album, Circus Life. Being familiar with the duo, I was expecting a lot of quality and highlights. However, after reaching the end of the L.P.'s 10th track, I was taken aback. Between the sighing and spectral vocal harmonies; gorgeous and aching strings and spiky and emphatic guitar contributions, I was amazed. Not only were the musical and vocal components so impressive, but the lyrics were outstanding too. Victroia Coghlan- as the duo's lead songwriter and vocalist- mixed slice-of-life realities with vivid and unusual storytelling- creating a myriad of wonderfully rich and detailed songs. Some tracks were scatterhsot and rapped; others tenderly whispered- our heroine is one of the best singer/songwriting talents on the scene. Luke Oldfield injects plenty of electricity and emotion, not only in his guitar-playing, but his emotive voice. With superb and assured production values, the album is a triumph, and something that will be launched to the public in a few days. A mere couple of days prior (to my review of Circus Life), I surmised a brand-new talent: The Glass Child. The alias of Swedish angel Charlotte Eriksson, our heroine cross-pollinate styles and genres; plays most of the instruments (on the album) herself; employing every song with nuanced and poetic words- creating a symphonic and spectacular album. Her, I'd Like To Remain A Mystery, is an album that everyone should investigate, as it documents the thoughts and feelings of a superb and hungry artist- one whom is a prolific writer and intriguing personality. Two (seemingly) disparate acts struck me in very different ways. Both are based near London, and each has their own banner, style and campaign tactics- yet they have many similarities. The way in which instruments are fused to elicit grand emotion wowed me; vocal beauty and force are paramount pillars (of both acts); considered and mult-layered songbooks are all present and correct. After a rather exhilarating and itinerant 2014, I am amazed at just how many twists and surprises music throws up. Every time a new band or act comes along, there is always something unique and tantalising that grabs me- although it is not always the case. In the wider scene, it is not always so easy to hear true quality and durability. Across my reviews, I have featured plenty of acts whom are instantly evocative- yet become less appealing and worthy as the days go by. There is a lot of disposability and short-lived dreams in the music scene; for willing to put the effort in, the rewards are bountiful. The reasons that The Glass Child and Gypsyfingers (as well as the likes of Issimo, Universal Thee and Jen Armstrong) strike me, is that their music is not only layered and complete- but there is bags of personality and ambition to be found. Professional and concise websites; tonnes of drive and direction all are evident- as well as a down-to-earth figures. As the year progresses, I am going to be seeking out as many great and diverse acts as possible- especially international ones. Before I introduce you to today's subjects, I will mention a name that will be familiar to many: Cuckoo Records. The Leeds-based outfit have been the basis of many of my previous reviews: the likes of Cissie Redgwick, Little Violet and Rose and the Howling North have featured on my pages. Each time I surmount and dissect one of Cuckoo's stars, I am always filled with a huge amount of admiration. The label is on the cutting edge of acts whom are ambitious, multi-talented, and above, all, different. The Electro-Swing lustre of Little Violet and Cisse Regwick were (and are) sounds unfamiliar to me. Invoking the glorious heyday of Swing, their modernisation of the '40s/'50s regency are engaging and thoroughly catchy. Redgwick's alter ego Rose and the Howling North is an outfit bursting with imagination and wonderful songs. The album Cuckoo, was one of the finest I have surveyed (last year), and its title track is a perfect distillation of the L.P.'s majesties. A few weeks back, I was fortunate enough to review Annie Drury, and her E.P., Some Day. The gorgeous Yorkshire starlet is a name that has featured on BBC Radio 2 (several times), and she is one of the most promising and potent female solo artists on the scene. Aside from the witiness and vibrancy of Drury's music, the Yorkshire label is housing a new generation of talent: those whom re-engage and reinvent older genres; are modern and on the cutting edge of modern life; whom dare to be a bit different. As well as Cuckoo's outpourings, I have been reviewing a lot of acts based in the north. In terms of creativity, it is showing itself to be a hotspot and melting pot of some of the biggest and brightest music has to offer. As in love I am with the north of England (as well as the U.K. itself), I am keen to eek out and highlight the best music international shores have to offer. Over the past few weeks, I reviewed U.S. Rock act Kongos. As well as ignoring my review (bunch of bastards!), I was fascinated by their music; where they call home (Arizona), and their background. Swedish chanteuse The Glass Child was another fascinating (recent) example, and acts as varied as David Ward (Canada) and Say Lou Lou (Sweden) have all fallen under my radar. Aside from the odd North American and European act, I do not get to get my musical passport out- I featured an Australian band a few weeks ago, mind. My featured act hail from Ireland, and signify a departure for me. Once or twice an act from Ireland have struck my ear, but I do not hear too much from that glorious nation. I know for a fact, that between E.I.R.E. and Northern Ireland, some of the most encouraging and hard-working acts are playing. I feel that in order to have a successful and thriving music scene, you not only have to have the quality and present and correct- but have some multi-national influence. I have spent many a wide-eyed day reviewing brilliant and rare foreign acts; marvelling at music that we (hear sometimes) are not privy to; unaware of to a large extent- that which is different from what I am used to. I shall not delve too much into the issue, but is raises an interesting point: how often does one hear of a great act that originates from outside of the England, even? The music world is so compacted and busy, there is often enough room; often terrific and worthy talent gets overlooked (that hail from lands further afield). Today, I am lucky enough to feature an act whom not only call Ireland their home- but are based in, and gigging from, the U.K.

Having reviewed Raglans back in June (and their track Digging Holes), I was aware of the what the four-piece could achieve. The Irish lads impressed me with their sound, and I found myself coming away from the experience with a smile on my face- knowing that some future-stars were in our midst. There was the rambunctious fun and sensation of The Libertines; a modern sound that was relevant and familar- yet with embers of some of the great acts of old. Above all, the lads had a kinship and tightness that augmented the music; made everything come alive and feel urgent. It is obvious that there is a lot of affection in the band, and the buisness of music means a great deal to our quartet. The lure of demand has brought them from their native shores, to ours; they are in the midst of a busy year, which will see them touring far and wide. Given the reception from the release of their self-titled L.P., it is no surprise; they will be getting gig requests from many more venues before this year is through. I shall go into more depth about their music and qualities in time, yet I feel that Raglans have a sound that is transferable to the likes of the U.S. and Canada. When I featured acts such as Issimo, Univeral Thee, The Glass Child and Jen Armstrong, the abiding sounds being presented had elements of U.S. music; flavours of something continental- meaning international markets are much more likely to latch onto it. In this same sense, Raglans have a Rock/Indie template that shows homegrown (and British) hallmarks, yet is imbued with elements of American and European music. I am sure (that in a year or so), orders will be coming in thick and fast from the U.S.; New York and L.A. will be knocking at the door; Australia will be lining up, as will Europe- take my word for it! At the moment, the dust is still not settled from their album release, and the boys are familiarizing themselves with new towns and faces; taking their music to as many different towns as possible. Our Raglans quartet consist:

Stephen Kelly - Lead Vocals/Guitar

Sean O'Brien - Lead Guitar/Mandolin

Rhos Horan - Bass

Conn O'Ruanaidh - Drums

The likes of XFM have featured their music, and major stations are catching on to the hypnotic charms of the Irish lads. The boys have been added to the line-up for The Great Escape festival (in Brighton); Camden Rocks have booked them up as well; plaudits and patronage has been arriving from all quarters. Let me give you a bit of background about Raglans; where they have come from, and what they have achieved: "Formed in a festival tent in 2010 Dublin based 4 piece band Raglans launched the same year. Raglans blaze a trail of muscular new wave guitars, gritty pop melodies and uplifting indie folk arrangements that hops, skips and jumps with a skill and confidence far beyond their short lifespan and brought them The King Kong Club crown late in 2011, the prize, a recording session with Morrissey’s co- writer/arranger/guitarist Boz Boorer in his Sierra Alta studio. Raglans kick started 2012 in an imperious fashion with the witty, charmingly shot Beatlesque video for "The Man From Glasgow" (filmed by "insanely talented" young Finn Kennan) clocking up thousands of YouTube hits. Debut EP "Long Live" was the first release on Whelans’ record label launched in Ireland and the UK May 2012. The bands songwriting skills and musical camaraderie shine all over an EP that announces this vibrant, talented band to the world. Raglans followed the release with a video for the lead track of the EP, "Digging Holes" which went viral, adding to the 100,000 views of Raglans through YouTube. Such was the impact of this video that at their live shows large swathes of the audience are seen replicating the moves. The band have been touring since the release appearing at all the major Irish festivals including Westport, Sea Sessions, Indiependence, The Volvo Ocean Race, No Place Like Dome, Knockanstockan, Festival of Fires to name a few. Raglans will then head off to the UK for their first headline tour before returning for more Irish dates". The online following of Raglans seems to be increasing daily. On Facebook, they have well over 5,000 fans; their Twitter support base stands at over 2,500 (followers)- their stock is very much on the rise. In an industry that is capricious and fickle, it is incredibly hard getting support; harder still to get recognition- near-impossible to make it 'big'. Our heroes are clearly doing something right; it seems that critical pens have effusively been singing the praises of their album. Below are a few examples of what is being said amongst the music media minds:

"... upbeat, feelgood guitar pop with a raucous sense of youth. This is reflected in the band's lyrics as well, with single 'Lady Roll Back The Years' dealing with a close encounter with an older woman, who the band refer to as harbouring 'dastardly intentions'. The album boasts a refreshing lack of pretension seen and heard in many new guitar bands swapping the bravado and posturing for a sense of fun and what it means to be young". Gigwise

"One listen to Raglans’ debut album and you’ll understand why their reputation for live performances precedes them. The Dublin four-piece write the sort of fun, anthemic indie-pop that fills venues and festival tents with a feelgood ambience, taking the Beatles blueprint for three-minute classics and twisting it to fit their own agenda".

The Irish Times

"With its mix of youthful exuberance, vigour and passion it should at the very least provide the soundtrack of this summer for more than a few Irish revellers. Expect to hear a lot more from these lads over the next twelve months, they are the real deal".

Golden Plec

"One listen to their self-titled debut will tell you exactly why, too. Their brand of catchy, no frills, rock & roll has already proved a hit with live audiences on tour with the likes of The Strypes, themselves alumni of the 'next big thing' tag".

Entertainment.ie

"This scrappy Dublin quartet are slowly but surely putting themselves on the radar. Raglans recently toured the UK supporting The Strypes, they’ve achieved some mainstream radio airplay and next month they’re embarking on a headline tour in the UK. Their debut album is set for release today and it’s jam-packed with feel-good tracks that will ensure you don’t forget them in a hurry".

Culture Fly

"These guys are certainly one of the forerunners of the indie scene that deserve to be more widely recognised".

Music Review Unsigned

"First saw these guys live in London touring with the Strypes and loved them straight away! So happy the album was out so soon after hearing about them and have been listening a lot since I bought it! Perfectly made album that's so good to blast through start to finish, especially love listening on the road! Good vibes and can't wait for more Raflans!".

Will Roberts (on iTunes)

"The sounds currently flooding my ear canals are so goddamn cheerful. With their charging guitars and all-conquering ‘Da Da Da’ refrains, The Raglans certainly recall the golden era of indie rock, particularly bands like Dirty Pretty Things and The Pigeon Detectives."

HotPress

"A dance for feet, imagination, and emotions, the self-titled debut album from Irish band Raglans is a magnetic introduction to a band which has already brewed up approaching feverish attention around home city Dublin and the wider landscape of Ireland. That spotlight is sure to be expanded as the infectious adventure of their album takes the hands of UK passions and leads them in its thrilling melodic waltz. The eleven song blaze of captivating sounds and insatiable energy provides all the reasons as to why the indie-folk quartet has swiftly made a major mark back home and will soon have wider fields spellbound you suspect".

The Ringmaster Review

At the moment, the boys are preparing to play Oxford (before having a little rest); trying to win some new hearts. May and June will see Raglans playing various different festivals, and getting some valuable experience at playing the larger stages (to larger crowds)- the perfect platforms to allow their songs to come to life. The tracks within their debut (L.P.) have a natural summery appeal; a sunny kick- that are natural festival tunes. Before I get down to the album itself, I will conclude with one particular point: the band market in general. I have gone into some detail about the geographical location of new music acts (and how international elements are vital), yet when you consider the band market in general, it is incredibly competitive. Solo artists each have a distinct personality, and are perhaps less likely to be playing festivals- certainly true if you are a newer act. It is the bands that tend to pull in the big crowds, and as such, it is (the band market) a hugely bustling scene. I sang the praises of Crystal Seagulls recently- a London-based band whom are getting festival nods, that they have long deserved. Many other brilliant bands have struggled to get onto the ladder, and have been restricted to smaller venues and local gigs. When you get demand coming in, especially from the likes of Camden Rocks, it is a clear thumbs-up and indicator that huge things await. I hope that, in time, the likes of Reading and Leeds call on the boys; that the Isle of Wight Festival and Glastonbury keep their diaries open. I am sure the boys do not need my gold standard and high praise, but I shall give it anyway: they will be mainstays before too long. It is true that they are young and fairly new (perhaps need a few years to really solidify their talent) but all the early signs are encouraging. It is rare that bands at their stage get so much credit and demand this early, so I hope that the lads pat themselves on the back. I am sure they will not be thinking too far ahead for the moment, but it will be interesting to see where their music takes them over the next six months or so. It is the Raglans L.P. that has been setting critical tongues a-wagging, and an album that I have been immersed in.

The album's lead-off track (Digging Holes) kicks off with a chorus of "Digging Holes!"; backed by rumbling boulders of percussion, and a youthful kick that tells of: "Now you know/Why the people don’t love you". As soon as that line has been boisterously delivered, a shimmering and electrifying coda of percussive thuds and metal, as well as a waterfall of electronic sounds is unleashed. Scenes of an unnamed central focus watching the walls; for reasons unknown, is presented; the band asking: "What do you see?/What do you see?". The lines and themes have a simplicity, that is designed to be remembered and sung. When the words are sung, they are done so with full-voiced conviction, and sound quite unique. There is never a sense of a band trying to emulate another: their tones and vocals are theirs alone. Our boys see "the future and the past", but are very much in the here and now. The verses and nature of the delivery are very much ready-made for festivals and large venues, to be choruses by enraptured fans; but there is indie and folk charm to suggest that they will gain appeal from bigger radio stations. It is unsure who the figure is at the centre of the song; the subject that is being offered little solace. Their body and mind are drifting apart; they are unloved and digging themselves deeper. Usually, or for most bands at least, romance and the uncertainty of love is normally focused upon; yet it seems that there is a more masculine idol that is being picked apart. Perhaps the most defining feature of the track is the shimmering electronics and waves. They are employed to create mood and atmosphere between the choruses and verses, and make you forget about any negativity or scorn on behalf of the band, and take you somewhere calmer, and more detached. For all of the memorable simplicity, the boys have a way of offering scenes with intrigue and strangeness dripping from the seams. In the way Bob Dylan penned a venomous poem to an unnamed woman in Like A Rolling Stone, asking "How does it feel?", Raglans do the same, instead insights such as "Like a leper on your throne" are proffered. Feelings and thoughts are key themes and topics that are dissected and examined in various ways. Backed by a tumbling and kicking musical smile- similar to Mumford and Sons only far less irritating- the question of "How do you feel" is asked; our singer feels alone, but "Alive/For the first time in my life". No matter what vengeance or turmoil are present, there is a sense of there being a turning point afoot; no matter what bitterness is reserved for the anonymous subject, the lads themselves seem bereft of any burdens. Energy and conviction never let up, and it is this commitment to creating a sustained atmosphere and regulating any negative edges, that gives Digging Holes such an edge. Its chorus, with ‘uh-ohs’ punched and shouted, backed by folk augmentations. It is these folk touches, that give way to indie lines. A rapid-fire and glimmering passage twists and duplicates, whipping up another layer and shade of curiosity, before it is said: "This can be the start of something new". The chorus is ridden again- and our tale comes to an end. Determined to keep the intrigue high and the energy decibel at a peak, White Lightning rushes onto the scene. After a brief sonic burst, the vocal arrives in; our hero in impassioned mood. Exclaiming that "All I do is wait/For you", the pace and sound of has its roots in the early-Beatles period. With a nod to the With the Beatles/A Hard Days Night regency, a breezy and effortless '60s feel washes over you. If the melody puts you in mind of the Liverpool legends, the words certainly won't. With a powerful (yet aching) vocal, it is said that "We weren't suppose to fall"; the song recount the tale of our (anti-) heroine; one whom is struck down by white lightning, lost it seems. Our hero admits "the lay of your land defeats me"; his mind wanders back to times where the two were in smoky rooms; listening to music that overthrew the heroine- there is a genuine sense of remembrance and passion. The sing along and happy-go-lucky charm of the chorus gets your feet moving, and implores you to duet with the band; the weaving and snaking guitar riff elicits a smile (and put me in mind of Definitely Maybe-era Oasis). I can well imagine this track being a fond festival favourite, as with the huge and raucous chorus- combined with a summery feel- hits its marks impressively. With a lot of personality, some nods to '60s and '90s greats, and a bucket of charm and conviction, it is a song which will burrow itself into your brain. Even after a couple of tracks, Raglans have established themselves as a band adept at employing catchy choruses; ensuring that their music has a mix of catchiness, as well as force. As you come to the end of White Lightning, you are curious and eager to see what is coming next. Natives begins in typically euphoric form; kicking up a storm of vocal chorusing and wordless chanting, there is no time to let your mind rest. With nods to Digging Holes' sound and flair, the song gets off to the races quickly. Our hero is in considered mood: "Romance/Pathos/Lend me your ears..." he begins, his voice tender and restrained. Whereas the opening salvos have displayed a bolstered and striking energy, here things are taken down a notch- at first. Lamenting on things past, and "wanting what you never had", subtle (yet potent) percussive backing adds weight to the words; guitars shimmer and twinkle- creating shafts and bursts of light. Not intend on letting things regress to a dour and morbid state, our boys soon take matters into their own hands. Again, there is an emphasis on memorable lyrics; using simplicity in order to lodge their words into your conciousness. Rallying words, "We are what we are" are met with pulsating and jittering percussive slams; the guitars and bass burst and join the fight. The song deals with a lot of hard truths; facts of life that (perhaps regretfully) our hero has to accept ("Work hard...no choice"), proceedings not only investigate wider issues and themes; but its messages can be extrapolated by anyone listening. Natives retains the band's hallmarks of wordless and catchy vocal lines; huge and memorable choruses- yet introduces something new. Brass notes and subtler and romanticized guitar moments are added to the palate, and to my mind, the song is richer and more layered than previous numbers. The vocal performance- from our hero as well as the band as a whole- hits hardest when the mood is calmer; when things are more introverted and reflective. It is said that "Decisions define"; there is a sense of breathlessness with the delivery and energy of the final minute-or-so- the boys are in philosophical mood. By the time the song reaches its climatic moments, you get the sense that another festival-ready track has been unveiled. Although dealing with (occasionally) harder themes, there is an unabated sense of energy and momentum throughout, and is a song that will connect with a lot of music-lovers. Before Tonight contains the most memorable intro. of the set (to that point). A delicate and tip-toeing (electric) guitar coda gives way to a rumbling and stirring percussive rally. Mixing Punk energy with classic Pop beauty, the introductory moments show that the guys are concerned with emotional fortitude and nuance- as well as direct anthemics. Whether speaking to a specific subject or the world at large, our hero asks: "Let's get along/In this hole where we were born". As lines reveal themselves, you get the impression that a sweetheart is being spoken to. Sure that this is what our hero wanted, now he is not so sure; doubt and uncertainty creep into his thoughts. Yearning and romantic of voice, it is hoped that (the song's subject was here) "to clean tyhe rust from all my years". As is expected from the Irish quartet, they manage to blend sensitive with energised rushes. If you think you are settling in for a romantic ballad, then think again. Before long, vocals are multiplied and proceedings turn towards anthemic avenues. With a (repeated) message of "Before tonight/We were waiting", guitar, bass and drums combine and spar to elicit a hugely evocative sound. To my ear, Kelly has a slight touch of Alex Turner in his voice (it is slight), yet you can hear some embers of Arctic Monkeys in the songs as a whole. Whereas the Sheffield outfit tend to come across as a little spiky and moody, here there is an abiding positivity to be found. Kudos to the guitar work throughout which is not only consistently strong, but changes course and direct seemlessly- giving the track additional gravity and potency. "Don't let it rain on me" are some of the final words sung, and are done so with a c'est la vie attitude- never a band to let life get them down. With a deliciously cheeky outro., Before Tonight ends its life. It is a song that boasts the strongest band performance to date, and one of the most fully-rounded and intriguing vocal performances. The Man From Glasgow comes equip with a machine-gun first few seconds. The intro. put me in mind of Kilamangiro; there is the same jittery and pummeling pace of that of Babyshambles' hit. Our hero sends his thoughts to a central figure; whether it is a man known to the band or someone fictional, I am not too sure. Opening words paint the picture of someone whom is perhaps not too fondly regarded: "If I had legs like you/I'd love to run". Perhaps that is my interpretation, but the way the words tumble and are roll, give the song a huge sense of excitement. Sitting down with the song's subject, it is said "I got a kid, I got a wife/I got rich, I got poor". I guess there is not that much spite at its heart, as our hero says (when speaking to the song's "boy"): "The things you want/Are the things you'll find". With the Raglans voices bellowing and chorusing, some truths and facts are laid down. Our hero lets the boy know that dreams may sink; events may not work out as hoped- yet in time he'll become the man he wants to be. The Man From Glasgow boasts one of the most naturally carefree vocals of the L.P. Kelly seems less anxious and wracked; whether he is speaking to a familiar face or not, there is the idea of everything-will-be-okay- like a father sitting his son down and reassured his mind. Once more, certain words and phrases are repeated and emphasized; here is another track that has a large audience in mind. Whilst not as emphatic and anthemic as earlier tracks, the song earns its stripes with its composition and lyrics. The band have broken away from themes of love and personal doubt, and towards something new. The words are intelligent and simple at the same time, whilst the composition is varied and striking. A lot of bands would choose one pace or sound and provide few diversions and shifts; Raglans ensure that they do not let themselves do this. As a consequence, the song is one of the strongest so far, and a track that will be getting a lot of airplay in the future. Beginning with a cooing and melodic round of vocal "ooh"-ing, Fake Blood arrives. By this stage in the L.P., you get the sense the boys have figured out what their sound is going to be, and what components they want to present (in each song). Lightness and sweet melody is there; a breezy and summer-time feel as well- and, of course, the vocal sing-along. If each song sounded the same it would become grating and dull, yet this is not the case. Nature and meteorological components are used as metaphors for deeper emotions. Our hero seems "buried in the snow"; for all that happens and is known, "Rivers run deep/Rivers run cold". Looking at childhood streets and harsh, nightmarish memories, our hero confesses: "I can still see visions in the night". Perhaps for a track that deals with slightly darker issues, it seems unusual that the band unveil another upbeat vocal backing- but it seems to work. I guess proceedings need to be kept level, but it is a song that is crying out for something heavier and deeper. Whether the lads wanted to keep hold of their jocular and all-is-well aesthete, I am not sure, but it is not a facet that is too distracting or harsh. Words here are less direct and more oblique; "Rome was built before its time" and "When rivers run out/When rivers run dry" seem to have various meanings and interpretations. Perhaps not an album stand-out or favourite, but another strong track that suggest that Raglans find it impossible to be downbeat- energy and force are elemental to the guys. The opening moments of Not Now put me back in upbeat mode. After a slight dip, the rush and alacrity of the intro. spikes your attentions and elicits a smile. Our hero's voice is full and alive in the embryonic moments; "Wake up, wake up/Take it while you're young" is a rousing call-to-arms. There is a sense of mortality and capturing life in its purest form; when it is said that "nothing lasts forever", you can hear the conviction come through. The percussion crackles and slams, both keeping time and driving the song forward. The boys are in vocal unison, yet it is more appropriate here- given the song's themes and ideas. When our hero says "I hear you calling/I hear you falling", the vocal backing is brilliant deployed. Perhaps with a bit of Liam Gallagher-esque sneer and swagger to the vocal, our frontman asks: "Teach me the value of tradition". The track has a sound that seems ready-made for XFM and BBC Radio Two alike- there is that sense of modern youth as well as matured and wise. The composition is effective and evocative, yet not too intrusive. When all the sonic and vocal elements are combined, you get the sense that another fan favourite could have been discovered. I am not sure how the band interpret their songs in the live arena, yet it will be interesting to hear. Anyway, as the song comes to its conclusion, we are heading into the final third- and waiting to see what our quartet have to offer. On iTunes- and social media- there seems to be a frontrunner and standout track: (Lady) Roll Back The Years. With 17,000 YouTube views and a heap of praise, it is a song that seems to resonate with most. With a chugging and distorted snippet of feedback, the track blends into light-hearted acoustic guitar strums- before mutating into electric guitar. The percussion tumbles and barrels, as the vocal "uh-oo"s mandate. There is a sense of The Fratellis in the early stages; a similar energy and rousing kick. Early words speak of the "cold winter nights"; our hero looks into the innervisions of the song's subject; foolhardy to think that he thought she could "make a young man of me". There is a feeling of heavy shoulders and weight-of-the-world-burden; a sense of fatigue has crept in. Feeling further away from London, and "even further/From Dublin", you get the feeling that there is a sense of detachment and loss; home is far behind and- whether this is seen as a good thing or not- our man is itinerant and wandering. Not knowing where he'll be, he still hopes that his girl comes a-calling- "These days are all that we've got". Perhaps yearning for past days and former years, our hero wants (his beau) to roll back the years- "Nothing stains your eyes like regret". It seems that the last chances (to feel youthful and free) arrive with "Cheap tricks and romance"; gone, perhaps, are the best days of youth. High Road gets down to business pretty snappishly; leading off from where (Lady)' left off, a weaving and swaying intro. is unleashed. Early sentiments see our hero taking the high road "after all the low blows"; apparently speaking to a (former) sweetheart, the frontman is under attack- when his subject over-reacts. Entrenched between a rock and a hard place, the downsides and anxieties of love are laid bare; heart-stopping moments are produced after "the penny dropped"- all, perhaps, is not well in the soul. Whereas the previous track implored his girl to revitalise an ageing spirit and re-envoke some lost youth, High Road yearns for safety and compromise. Maybe the early flourishes and rose-tinted glasses of love have been left long behind. When it is said that "We've been dreaming/Wish we could have known", it seems there may be no way back. Raglans manage to keep the mood buoyant and not succumb to woe-is-me pouting. Perhaps fitting of the (song's) title, the energy levels are kept high; ensuring that the sing along potentiality is kept in tact. The penultimate track, Down, arrives in a flurry of balls-to-the-wall vocals. "Falling down/All the way down" are thoughts delivered in full and euphoric voice; the boys singing from the parapet, or inside of a bottle of whiskey. With no musical accompaniment, the voices do the early work; weaving and imploring- retreating and blending. To counterbalance the rambunctiousness of early stages, a lilting and melodic mandolin parody arrives. With touches of Losing My Religion R.E.M., the song changes course, and stabilises. The vocal utterances of our hero are breathy and tender in the early stages- a departure from previous numbers. Telling us, that there is no life in these "shotgun towns", there is a somnambulistic and dreary scene; where no one moves or "makes a sound". Beneath the shadow of a setting down, our hero crawls all the way down, to the bottom "where it can't be found". Previous songs have touched on lost youth, fragmented love; wise words and bloodshed streets- here there is some personal dissatisfaction, and a need to move on. With "A thousand lines/divide in my mind", our hero has messed up somewhat (it seems); and is falling down to earth. His cohorts keep the mood- once more- in check with their choruses of emphatic vocals. Perhaps with their minds and bones in a bar (drowning their sorrows) the song has a scrappy charm; you are always rooting from the frontman, and hoping that he'll land on his feet. Musically, it is a departure from other songs. The employment and dominance of mandolin is impressive and gives the track a richer sound. In terms of the overall sound and theme it is not a huge departure, yet a song which keeps the core sound in tact- whilst adding new shades and colours. As the final track remains, you begin to reflect on the album, and absorb the myriad themes and sights that have been presented. That swan song arrives in the form of Born in Storms. Faint and relaxed mandolin strings are superseded by a bolstering and augmented voice; our hero retreating to his own biography. Speaking of his birth and early life, the young man has "chased down every hole". Wonder "how did it come to this?", our lead is almost looking back on life; standing in a spot and wondering where the time went. With his brothers in supportive voice, our hero realises: "Before I knew it I was a man"; the song looks at past events and circumstance. Privilege was offered, but our hero built himself a wall he knew he could climb; carved out his own way through. The composition- aside from some punchy percussion- is not too heavy or hard, instead relying on the swing and sway of the vocals and guitar. The mandolin touches are light but effective; guitar and bass effectively deployed, scoring lines that talk of "All of this land between us"- seeming like a million miles away- leads our hero to state: "We were born in storms". The very last seconds fade down and the song comes to its conclusion, thus does the album itself. With the silence upon me, it was time to reflect on Raglans; how it has effected me- and how the music left its marks.

Some critics have been a bit ambivalent and luke-warm; proclaiming the band are a bit too new and fresh to really make an impression. There definitely is room for the band to grow and expand, but on the evidence of their debut, I was hugely impressed. Perhaps it is because the lads play the kind of music I love, but I could find no fault with their L.P.- quite the opposite in fact. Each song offered something original, fascinating and memorable- lines and compositions are still swirling around my brain. It shows that festival bookings have been no fluke; there is no 'luck of the Irish', either- the boys have been deserving of all the success they have accrued. One or two of the tracks do not hit their high standards, but even the 'weaker' numbers are still brilliant. Our Irish heroes have a knack for whipping up evocative imagery and drawing you into their music; encapsulating your attention and thoughts over the course of a few minutes- there is a great deal to recommend. As much as anything, the overall sound is hugely impressive. When reviewing the album, Louder Than War stated the following: "Nothing that Raglans do is revolutionary, but they do do it with a confidence and a contagiousness that is rarely seen. It’s not a classic either, but it is very very good and if this is the way they are starting their career then they have some big times in front of them". Classic relies on longevity and experience, and new bands- unless you are amongst the legends- produce something world-class right off the bat. Being 'revolutionary' is a hard thing to obtain in music, and these are- as the publication admits- minor points: the 'big future' is the big news. The Irish Times wrote: "... although the catchy vocal hooks may be built for audience participation, their overuse on record ultimately translates to a slightly homogenous album"; but went on to say that "The Dublin four-piece write the sort of fun, anthemic indie-pop that fills venues and festival tents with a feelgood ambience, taking the Beatles blueprint for three-minute classics and twisting it to fit their own agenda". I feel that the album has a sense of individuality; of a band cementing their own personal sound and motifs.  Whilst some may see it as homogenized, the truth is, that it is hard to compare Raglans with any other bands. Classic elements and some familiar tones can be detected, yet the boys are no fools: they have crafted a work that is very much their own. The hooks and sing-along festivities are rife, and it will be great to see the crowds of Camden and Brighton bouncing along to them- singing the band's songs with reckless abandon. From all the reviews I have read, there seems to be the consensus that the guys are going to be big news. One or two have been imperious when it comes to some of the content; the production sound and originality, but that is their opinion- and surely will spur the lads on to up their game come album number two. The production is clear and crisp, yet not too polished or over-done. The album wins its stripes because of its utilitarianism and universality. It is not a collection that will alienate certain people; appeal to a delineated or clandestine core- it is music for the masses. Endorsements have come in from the likes of Ricky Gervais and Dermot O'Leary, and it is no shock. The music on offer has such a range, that there are Radio Two-ready anthems; Radio One-esque Rock gems- as well as scrappy outsiders that the likes of XFM and Absolute Radio adore. I know that Cuckoo stable mates such as Annie Drury have enjoyed some prestigious play from Radio Two, and I am sure that Raglans will experience this very soon. Their album is not going to purely be aimed at the 18-3o demographic; those whom prefer their music fast and urgent- there are softer moments and plenty to appeal to all age ranges. I have not met the boys (I hope to rectify this), but you can hear the personalities shine through. In the same way as Oasis and The Libertines poured their blood and thoughts over each of their albums, so too do Raglans. Our heroes should be very proud of their debut (album), and is a fine testament to a hungry band, intent on world-domination. The band arena is one that plays host to a great deal of players. Some of the legs to make their way to the top; a few are capable of legendary status- yet most only shine for a brief moment. We are in the embryonic stages, but Raglans possess enough chutzpah, direct and ballistic intent to signal a group very much intent on sticking around- for the long-term. Leeds-based Cuckoo Records have another treasure in their locker, and I know that they have high hopes for the boys- and are immensely proud of their progress. When they play Brighton in a couple of months-or-so, I hope to be there and see what all the fuss is about. Judging from reviews I have seen, they are a formidable live force, and their engaging stage presence has been highlighted. It is clear that 2014 is going to consist or many (wonderful) gigs and scene changes; new faces and crowds will get to hear Raglans' music up close and personal. What happens after that is anyone's guess, but I am sure that new music and new horizons are a distinct possibility- after a well-earned bit of time off! For now, digest their self-titled album and its myriad charms as their music is tailor-made for warmer and happier skies. Get out there and see the boys play live, and see what you reckon. As sure as anything...

I shall see them very soon.

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Track Listing:

Digging Holes- 9.4/10.

White Lightning- 9.3

Natives- 9.4

Before Tonight- 9.5

The Man From Glasgow- 9.4

Fake Blood 8.8

Not Now- 9.2

(Lady) Roll Back The Years- 9.6

High Road- 9.4

Down- 9.4

Born in Storms- 9.3

Standout Track: (Lady) Roll Back The Years

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Follow Raglans:

Official:

http://raglans.tumblr.com/

Cuckoo Records:

http://www.cuckoorecords.com/artists/raglans

Twitter:

https://twitter.com/raglans

Facebook:

https://www.facebook.com/Raglans/info

SoundCloud:

https://soundcloud.com/raglans

BandCamp:

http://raglans.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCavh4KPFdUmfMBcW7ndS2sg

Last F.M.:

http://www.last.fm/music/Raglans

Songkick:

http://www.songkick.com/artists/1731875

Instagram:

http://instagram.com/raglans#

iTunes:

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

Tour Dates:

http://raglans.tumblr.com/gigs

Album Review- Gypsyfingers: Circus Life.

ALBUM REVIEW:

Gypsyfingers

Circus Life

9.8/10.0

The album, Circus Life is available from 2nd May

LAUNCH SHOW

St Pancras Old Church, London

https://www.wegottickets.com/event/270363

The L.P.'s lead single, Eating Me is available from:

https://www.youtube.com/watch?v=JsSGFIGZt7U

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Victoria Coghlan and Luke Oldfield fuse beautiful soundscapes and multiple genres to create a dreamy blend. Their inaugural L.P. is guaranteed to blow away the cobwebs and inspire the mind- as well as linger long in the memory.

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MUSIC duos are a dynamic that are somewhat rare (in the modern scene).

Historically, there have been a fair few ply their trade, yet few that remain the memory. To my mind, the greatest of all time is The White Stripes. Having seen the band at Alexandra Palace (after the release of Get Behind Me Satan), I can pay testament to just how incredible they are (live). In fact, as I type- their greatest album- White Blood Cells is spinning. It is an album that never fails to amaze me; each song seems to reveal a new treasure or secret- it is a work filled with nuance and timeless joy. The White Stripes worked so well, because of the bond between Jack and Meg. Being formerly married (they perpetrated the ruse that they were brother and sister- to avoid press intrusion and gossip), there was a natural combination of intuition and conflict; a sense of loyalty, understanding and parabond. The Detroit twosome's third album was not only a leap forward; it retained their core sound but augmented it emphatically- as well as signified a spectral and qualitative move forward for music at the time. During 2001, music was transitioning from the decline and burial of 'Brtipop'; changes were taking place, and people were looking around for new and inspiring sounds. White Blood Cells is a 16-track collection of near-impecable genius. Aside from the odd track (I find We're Going to Be Friends a bit too saccharine and slight), I am stunned at just how phenomenal the album is. No band today would have the nerve to record tracks like Aluminium or Little Room; few could match the contrasting brilliance of Hotel Yorba and Fell in Love with a Girl- tracks I Can Learn and I Can't Wait will not help but grow and reveal their charms. Of course, the duo went on to create three more brilliant and fascinating albums (before they dissolved in 2011). We all know that Jack White has gone on to work with The Raconteurs and The Dead Weather (as well as a solo act); yet I feel that he was at his strongest as part of a duo. Aside from the defunct Michigan band, the likes of Simon & Garfunkel, Daft Punk, Steely Dan and The Carpenters have all made their marks on the music world. If the chemistry is right, then the music made can exceed expectations; inspire generations- and transcend the sounds of solo artists and bands. Aside from Daft Punk, most of the all-time great duos have succumbed to entropy. When looking around in the modern scene, there is plenty of evidence to suggest that worthy successor are rising through. Ohio's The Black Keys are a Garage/Blues riot whom are leading the second wave (of Garage music), and are one of the best acts on the scenes. More than mere White Stripes appropriators, the bond of Dan Auerbach and Patrick Carney has enforced some incredible sounds- which has seen them scoop their fair share of Grammy Awards. You can tell by my list of duos, that none emanate from the U.K. Traditionally, our nation has always favoured (and promoted) solo and band music- we have not spurned our fair share of duos. The scene is changing, and a resurgence is occurring. Recently I reviewed (which they ignored) Royal Blood; a Brighton outfit making serious waves. Reviewer bitterness aside, I find their music to be some of the strongest of the moment. BBC are tipping them as one of their acts to watch, and their White Stripes-cum-Queens of the Stone Age Rawk riot, is something we will all be hearing a lot more of (this year). Australian/Swedish sister duo Say Lou Lou (another act I have surveyed), their "organic ethereal music landscapes with flowing instruments and vocals" have captured a multitude of minds and ears. As well as U.S./U.K. wonders The Kills, we have Brighton's own Blood Red Shoes- two distinct acts with a boy-girl dynamic. I raise the discussion, because I am always on the look out for new and different music; with an original componency- where the bond of the musicians is solid and creatively conducive. As much as I love featuring solo acts, you are always looking at the one person; shining the spotlight on the output of a sole human being- songs formed by that one individual. With bands (as there are usually four or five members), it is often more about the music- rather than the bonds. With music duos, you not only get to witness a (ersatz or real) relationship at work, but also the people behind. The band market has enjoyed an hegemony and dominance for many-a-year now, and I feel that musical two-pieces are going to be leading a charge. The likes of The White Stripes have shown just how good music can be in the hands of two people; there is greater force than with a solo act but the equivalent majesty you would hear with a band- it is music at its most compelling and economical. I guess a lot of musicians are fearful of forming duos, afraid that they may not be able to summon up the same amount of force and conviction (as a band). I hope that this policy changes (very soon), as a lot of terrific music and partnerships are being missed out on; but, for now, let me introduce you to my featured act.

In the course of my travels, I have had the pleasure of reviewing only a few acts who are based in (and hail from) the south of England. As well as my international feature-ees, most of my U.K.-based subjects are either situated in Yorkshire or Scotland (and occasionally the Midlands). A few of my recent reviews have looked at London-based acts; yet there seems to be a surfeit of Home Counties acts, currently making big impressions. Before I get more into Gypsyfingers themselves, here is a little biography: "Gypsyfingers is the collaborative musical creation of songwriter Victoria Coghlan & songwriter/producer Luke Oldfield (son of Tubular Bells' Mike Oldfield) who blend the genres of folk, pop, spoken word, classical and electronic embedding their magical songs in subtle soundscapes. Victoria and Luke play almost all sounds and instruments themselves creating a modern orchestra of acoustic and electric instruments and textures. Multi-instrumentalists Victoria and Luke met in 2011 in London after Victoria returned moved back to her birth town from Paris. She was involved in underground gipsy, dance and rap music scenes there. Luke's background is in rock and folk music and he runs Tilehouse Studios where his production skills were honed from a young age. Victoria and Luke's contrasting musical backgrounds fused and soon blossomed into an intriguing and fresh-sounding collaboration, which they would work on recording during studio down-time. Victoria and Luke share vocal and songwriting duties with Victoria as the lead voice and writer. Victoria's classically-trained intimate vocals go against the grain of recent popular culture's trend for smokey, belting female vocalists (Adele, etc.) instead inviting the listener to listen more closely to the poetic and at times playful lyrics. The production of Luke Oldfield allow Victoria's soft vocals space to breath and be heard, whilst building subtle musical worlds around the songs for listeners to explore". You can see that duo have quite an extraordinary story behind them. I have known Luke for a while now, and familiar with his previous incarnations (playing in bands) and producing work. He is in love with music, and always keen to find the best and brightest around, and- in his role as producer- bring the best from them. A prolific guitarist and musician he was fortunate enough to have played at the opening ceremony of The 2012 Summer Olympics. Victoria has a striking beauty that is hard to ignore, and a voice that is unlike any I have witnessed. There is a definite trend for any singer to be the same as what is 'in vogue' or 'trending'. As of 2014, the likes of Adele are still hugely favoured, and every dreary and awful (female) talent show contestant comes across as a third-rate knock-off. Setting aside my gripe and issues with 'talent' shows, the fact of the matter is this: we do not need another Adele. The best and richest voices stem from a unique source; those whom are determined to be themselves and present something that is unfamiliar to the listener- yet offers something wonderful, inspiring and fresh. It is no surprise that Oldfield and Coghlan are such a harmonious and successful duo. Aside from the bond of their relationship, the two share a love for evocative and spellbinding sounds; the need to be striking and original- whilst giving their public something cannot get from another act. As much as I love duos such as Royal Blood and Blood Red Shoes (aside from a shared blood type), there is not too much distinction to be found (both acts hail from Brighton). U.S. frontrunners such as The Black Keys are a little ahead of the likes of Royal Blood, but- even here- there is not a lot to choose between them. The styles and genres favoured may be different, but there is a definite emphasis on heavy sounds; in summoning up Blues and Rock sounds- with the key consideration being given to the sound rather than lyrics or the voice. Gypsyfingers are a leading a charge of duos whom not only can weave magic with their sounds, but also capture you with their words and voices. On May 2nd, the duo play at St. Pancras Old Church to launch the Circus Life album, as well as introduce some new faces to their music. On social media sites such as Facebook and Twitter, Gypsyfingers have a solid (and growing) following, yet I feel that they deserve more (fans). Whilst still being in their infancy, and making their first big strides, the duo are a name to watch very closely. Recently Coghlan and Oldfield have enjoyed the splendours and public transport of Brussels- as they were filming the video for their song, Return. A lot of work and effort has been expended over the past few months, ensuring that their L.P. is as strong as possible- it is a dedication to music that few other (new) acts share. Over the last few days, our duo have released the video for the song Eating Me- the lead-off single from the album. The video, shot in black-and-white (shot entirely on Super8) has a classic and noir feel to it; with Coghlan depicted in various scenes (including woodland) as the heroine. Interspersed with snippets of Oldfield, the promotional video is a perfect visual representation of the song, and as such, has been gathering positive and glowing reviews- many effusive commentators have added their praise to the duo. Our pioneering twosome have made some big leaps over the last year or so, forging and cementing their sound, and drawing in new and varied influences. Their previous E.P. (Gypsyfingers) was successfully received, and last year saw orders come in from all over the continent- including France, Belgium; Japan, Australia, Canada and New Zealand.  It seems that the duo already have a dedicated and multi-national following, which could provide tantalising future prospects. All of their previous history and movements have led them to the here and now- and the release of their debut L.P...

Circus Life starts with snaps and fireworks. There is no languid lead in or silence; instantly we are off to the races. Percussive dance and hypnotic rhythm is elicited in the initial seconds; imploring you to listen hard- and grabbing your attention in the process. As a flowing and gorgeous (electric) guitar parable is laid in, the mood starts to build, and intrigue begins to rise. The intro. is succinct but effective, and portrays a breezy alacrity and sense of relaxation; as the listener is gently carried along. When or heroine's vocals arrive, it is effective and emotive. With a slight edge of Kate Nash and Lily Allen (although sweeter and more striking than both), Coghlan tells tales where the people "Stay out late at night".  Featuring an (unnamed central) figure; here is someone whom is "looking for someone more original". With no phone credit or money to speak of, the song's subject is making her way through life. Backing our heroine's emotive and soothing voice is Oldfield whom uses electric guitar to perfectly parabond with the vocal line. Whereas most bands or acts would aimlessly weave a guitar pattern (that is detached from the vocal in terms of pace and sound), here it is almost like an additional voice; it augments the central voice but also duets perfectly. As the story traverses on, it seems that our (anti)-heroine is a little naive under it all. Her heart is gold and open, and she appears overly-trustful; as Coghlan explains: "You're losing focus". The crowds and friends are looking at the song's subject, and whilst sympathising with her plight and predicament- apparently they are the only ones who see it. The song's lyrics are brought to life by the vocal delivery, which has a clear skip in its step. Rather than being rushed or slowed, the words are given consideration; they pop and spark; kick and sway. Our heroine's voice is clear and concise, meaning that the words are clearly audible (a lot of acts mumble or slur their words)- allowing the listener to be immersed within the tableaux. The song's focal point loses her grip (on reality) by the second. Spending her money on whatever she pleases, the sense of naivety and recklessness is emphasised. I am not sure if our key character is based on a real-life influence (or is fictional), but everyone can relate to the type of person being described. With a modern-day Romeo and Juliet scenario being played out and witnessed, the song's heroine has dispensed with her (former) beau- and is moving on in life. Our heroine unveils a wordless vocal parable (almost signalling the end of Act One); as guitar and vocal layers are infused- adding weight to proceedings. Coghlan is in reflective mood; sitting down drinking, she ponders events. "Bottled-up thoughts and tensions" are at the fore; yet it seems that alcohol's effect in loosening the mind is very much needed- to rid her mind's "constipation". Whilst our heroine is laughing at the irony, she is "carried away at how it's supposed to be". The way that the words tumble almost rap-like leaves your mind racing as you keep up with Coghlan's words. In terms of the delivery and pace, I got a faitn hint of West End Girls (a slightly faster version of it); and could not help but elicit a grin. Whilst our heroine takes a breath, our hero provides a guitar break that provides progression, punctuation- as well as a change of pace. With notes of Mark Knopfler (and Steely Dan), Oldfield's twinkling notes tee up our heroine- for another round of slice of modern life anxiety. It is said that all of this- the overspending, naivety and doubts- are just how we live life today; how it would be good if someone could "read (my) mind"- the futility is just a part of the reality of the times. As the track reaches its climax (with another round of vocal wordlessness), a lot of ground has been covered; questions raised and pondered; lives investigated- a relevant and striking opening gambit. Circus Elephant's embryonic steps are more relaxed and soothing than the opening track. With a gorgeous acoustic guitar arpeggio, the initial words paint striking pictures: "Born out of freedom/To a world that's not my own". Our heroine's voice is less effusive and sunny than before; it has the same drive and passion but is more downbeat and serious. Seeing her mother shackled and tormented, realities and truths are revealed ("I knew this life was full of lies"). You instantly picture a baby elephant (as the central focus) trapped and enclosed; stuck in the circus and yearning to be free. Whether our heroine is speaking literally or using it as a metaphor for the vicissitudes of life, I am not sure; but it is an emotive and evocative track. The guitar work is particularly impressive here. In the opening phases it tumbles and rolls (like Leonard Cohen's track Avalanche), but then changes speed and declination- creating a heady and entrancing mood. As our heroine tells that "My master beat me/I was weighed down by the shame"; voices are combined and blend to add emotion to the surroundings. Just as you think you are settling in for some calm reflection, the song explodes. Drum smashes tee up a yearning and impassioned brass coda; as gorgeous and swaying (wordless) vocals enter the fray. "Brightly-coloured fabrics" and circus scenery are surveyed, as our elephantic heroine remains ensconced within her torturous environment. Tears are shed and chains are shackled, and whether speaking about the hostility of the big top; or the strains of modern life and relationships, each line vividly sticks in your mind. The trumpets play, the show goes on ("This is just another day"), and an unfortunate fate is being accepted. The drum work is augmentative and impressive; the trumpet work impassioned (and strangely romantic); the guitar playing is gorgeous and highly effective- it is an incredibly moving and impressive composition. It is the kind of song you might imagine if Muse took on Led Zeppelin, doing Disney- it is emphatic and huge; compelling and hugely evocative. Over the course of two tracks a huge sonic shift has been unveiled, that it leaves you a little giddy- and excited to see what comes next! After the swells and operatics of Circus Elephant, the initial notes of Get Yourself Out of Town suggest a more relaxed fare. Grooving and snake-hipped guitar slithers (and what sounds like a bongo) provide our opening soundcape. Our heroine steps to the mic. to offer some sage and direct advice to (an unnamed) subject. Here is someone whom is "causing trouble"; but only they (and Coghlan) know why. Our heroine shows herself to be a vocal chameleon here. Whereas previous tracks have seen her present chirpy and Allen-esque; bold and choral- here she is in tender and sweet-natured mode. Her subject matter looks to ejected a wrong-doer from town, but she delivers her words with such a soothing and beautiful tone, that you get lost in the song. With Elizabeth Fraser-esque tones and Folk-tinged guitar work, our heroine announces: "I wanna see you/Really leaving". The bustling and shimmering guitar work, not only puts your mind to the sun-filled countryside and shady recesses (of tall trees); it also reminds you of elements of Led Zeppelin III- and some of the greats of the '60s and '70s. Ambitions of The Taming of the Shrew and sticking "my fingers to my toes with glue" are coupled, as our heroine implores the deadbeat villan to leave town; and to get out of her life. The musical swathe that closes the track is achingly beautiful and picturesque- xylophone and strings bond with tender percussive tones. As the sun sets (and the fire dies), you wonder whether resolution was achieved and satisfaction obtained. Return has a bit of a Country feel to its introduction. With Oldfield on vocal duties, our hero talks of "Shadows in the doorway/Flicker down the halls". One would imagine vacant doorways and peaceful silence, our hero sitting and wondering. When thoughts are empty, he sings: "I will fill them with your face"- there is a sense of romantic longing that is planted early on. Whether recounting the loss of a sweetheart or being separated from his love, the vocal is yearning and tender- and instilled with passion and desire. With the silence deafening, and a heart that is missing a huge chunk, our hero states that his love (for you) "is blind". No amount of demon-praising and God-cursing implore can soothe his mind; as his romantic desire seems to be unslakeable. When Oldfield and Coghlan combine in voice, the lovers duet and intertwine- and the emotional levels rise high. In the second half, the duo combine their vocals and yearn to walk a shared road. Imploring and calling to one another to "dry your eyes", there is hope that they will be reconciled; be with each other (soon) in body as well as spirit. Once more, an elliptical and riparian guitar intro. sets the scene; as You begins its course. Whereas Return saw Oldfield take the vocal lead, this time Coghlan returns to the spotlight. Her vocal performance has similar shades of This Is The Way- yet the themes here alternate from that song. The quick-fire (rap-like) delivery is present once again, as our heroine is caught in a quandary ( "I don't know where I stand with you/But sometimes I feel I do"). Whereas This Is The Way looked at the inequities and harsh truth of life, here our heroine is growing wary of an individual- a friend or (fictional) partner- unsure where she stands and figures into their life. With questions that need answering, doubts prescient, our heroine asks: "Who am I to you?" (blending her voice with Oldfield's). Delicate and plinking piano notes weave with acoustic guitar, as a musical break soothes the song's anxieties. As the vocals come back around, our heroine wearily admits that "I'm used to people who don't care"- as her words tumble forth. Wondering whether Coghlan will be asked to stay (or not), it is said that, even if she decides to leave by plane or vessel ("to follow the good stuff") it will not matter- she is not sure where she stands, or what is expected from her. A sense of identity loss and detachment; a personal and emotional dislocation are evident. Our heroine is "baffled by (your) tactics" and is in need of some honest answers and clear-cut direction. As the song reaches its autumn stages, Coghlan burrows to the bedrock of her discourse ("Please tell me that I stand by you"), her voice still rife with emotional and perseverance. The track shows Coghlan display her skill for quick-fire (and quick-witted) lyrics; words trickle and fall at a rate of knots- meaning that the song grabs you hard and pulls you in. Boasting one of the most effective and memorable choruses of the album (so far), it is another triumph for the duo. The sixth track- and current single- arrives next, in the form of Eating Me. The intro. (here) is one of the most beautiful and flowing on the L.P., and has classical and romantic evocations. After the stirring opening has passed, our heroine is "seeking a remedy"; a way to put her mind at ease. Oldfield's electric guitar tapestries blend with piano, the create a sonic sandstorm. Coghlan's vocals are reflective and far less scattershot than in You (and This Is The Way). The entire feel and tone of the song puts you in mind of a 1950s (classic) film. There is a certain sense of bygone cinematic romance as the track progresses. Our heroine's soul; which (like a hole) is getting "darker and deeper" perhaps takes your mind away from romanticized avenues, and towards something more haunting. As she talks of becoming weaker and thinner; of doctors and nurses carrying "curses in their purses" you can feel the shadows looming. Whilst our heroine is not "ready to go" (her words, once again, delineated and deployed with a rap-like quality), storm clouds rumble, and the soul aches. Whatever has afflicted our heroine has caused a lament; her mind seems weighed down by something troubling. The ghostly (wordless) vocals, wrapped around the piano-guitar cocktail whips up a heady and intoxicating chill. As our heroine speaks of fragility and aching bones; teachers and preachers whom provide leaches for weakness, there is a sense of mortality and frailty- of someone slowly losing her strength. Kudos goes to Coghlan, whom not only beautifully syncopated her lines (giving the song a 'rollercoaster' feel), but shows a real gift for words and economy of language- she manages to project a cornucopia of strange and wonderful images, over the course of a mere few seconds. With some aching and scene-setting guitar work, Oldfield allows our heroine to pervade and campaign- whilst investing a huge amount of mood and emotion. As the pusillanimous spirit of our heroine begs (once more) for remedy, the track ends- and takes us past the half-way mark. Steel Bones provides a necessary sense of relief, after the tortured images of Eating Me. The guitar-led intro.- as is almost a hallmark for the duo- sways and has an almost waltz-like quality. It compels you smile and relax; disengage any troubles- and just let the sound wash over you. Being one of the duo's earliest tracks, it is one I am already familiar with; yet it fits perfectly into the album (there is no sense of disjointed mood or anachronism). With our heroine talking of her steel bones, which "harden as (I) grow"; her voice is a paragon of meditative calm and tranquility. With elements of the likes of The Carpenters and Sigur Ros (disparate I know, but I could hear it), Coghlan talks of "Wounded words you say..."; that are leading her dreams astray. I am unsure as to whom is causing imbalance and woes for our heroine, but any sense of recrimination and accusation is cocooned within a gorgeous dreamscape, which takes your imagination with it. The combination of vocal duetting; beautifully touching piano work and beautiful guitar melt your heart. The interplay of (classical-sounding) guitar and elongated strings put my in mind of The Cinematic Orchestra- a similar sense of graceful beauty is displayed here. It is a track that makes you think; makes you close your eyes- and drift away...and a song you will have on permanent repeat. A sudden rush of (guitar) strings and pianos opens Lump to your ears. As it gallops into view, our heroine arrives; telling some unfortunate truths ("I try to speak I just choke"). Desiring this feeling to fade away, Coghlan allows her breathy vocal to command; drawing you into her thoughts. As the acoustic strings trickle and flow like a river, our heroine speaks to an (anonymous) subject: "I've seen your darker inside". Whether speaking of a friend, or else a former love, you cannot get help but be captured by the evocative and dream-like vocal; the multi-tracked waves- complete with delicately tender piano notes. Just as a sonic somnambulism casts its spells, the mood rises. Energised and jumping piano fuse with springing guitar, to whip up a delirious coda. The romantic and hypnotic parable melts with subtle strings; the pace modulates slightly- before our heroine returns to the mic. This time, Coghlan speaks of a restless and agitated soul ("She wants this feeling to fade away"); summoning up a phantasmal firestorm of (gorgeous) vocals- it is almost as though our heroine beckons from the heavens. The final seconds take the rush to a whisper; the story is recounted and told- and concludes a spellbinding track. It comes close to rivalling Circus Elephant- as the album front-runner- and (considering it is the antepenultimate track) shows that Gypsyfingers are tireless, unimpeachable and never in danger of dropping a step. Most albums tire towards the final few songs (meaning there is nothing to build up to), yet after Lump arrives, I found myself surprised at how many treats the album keeps throwing up. Lately takes its infant steps with less of a charge than Lump. The scene is set; the plaintive and beckoning guitar seems like the sonic representation of a lone figure walking a dusty road; the sun in their hair, and thoughts on their mind. Electric guitar vibrations infuse some urgency and invigoration into the picture, as our heroine comes forth. Coghlan- previously haunting of voice- is now back in direct mode; picking the bones of an emotional carcass ("I slammed you down and beat you to it"), her voice restrained yet filled with purpose. As she says (to her target) "I bet you thought I couldn't do it", Coghlan, once more, raps and spins her words. Defying expectation, showing bravery and- against the background of a life that has been "f****** cool"- our heroine is in an ambitious and motivated frame of mind. In spite of a sense of optimism, there are still pitfalls and hurdles that are being encountered. As the next verse arrive, her back is turned ("How could I have know that I'd regret it"); a figure whom acts the fool has let our heroine down- something that was not expected. Forgiveness has been given- something that is regretted- and Coghlan machine-guns words of recrimination and self-reflection. As our duo combine their vocals, singing about the fever and malaise that boredom has provided ("I've been feeling so lazy")- a reappraised (optimism) refrain arrives. The song never slips in doleful or sombre mood; the bright and energizing guitar keeps the composition buoyant and hopeful. After the mid-point, Coghlan looks back at events; more philosophical and revitalised- she comes back to the fold. As our heroine confesses "I've had a second chance"- love has been found once more- she understands the meaning of the "path of (my) past". As she contemplates "how things should happen", it seems that whatever was weighing her down seems curcumscribed- call it 'fate', or reality; things have worked out. Coghlan (in the song) has the charming vocals or early-career Allen, yet her (Coghlan) words and thoughts are more compelling; her delivery much more pleasing on the ear- and the song a lot stronger than the Hammersmith-born singer has created. The final song of Circus Life arrives in the form of The Island. It is perhaps the perfect title for the final step of this musical travelogue- a final destination; a safe (haven) arrival. A tranquil and emotive intro begins our final track. Instant visions of a ship (or vessel) arriving towards an island are rustled up- perhaps appropriate, given the track's header. It is perhaps the most stunning intro. of the ten, and put me in mind of the finest work of The Cinematic Orchestra. When I listen to tracks such as Arrival of the Birds and Transformation, I can hear some of the same beauty and grace in The Island's opening. The vocal here is Oldfield's; he has been collected by boats (from the island) to "take me away". Perhaps the silence and loneliness of the isle paradise is not so idyllic; our hero yearns for another horizon- and asks for a reason why he should stay. Forever he has tried to "fit in the shapes", his voice aches and longs. Whilst not as angelic as Coghlan's it is a touching and honest vocal; one which is filled with meaning and conviction- and no less striking than our heroine's. With the ship drifting in the breeze, our hero imagines the "wreckage beneath"; the darkness of the ocean; and an inescapable depth. When our duo combine their tones- backed by shivering strings- it seems as though Coghlan is playing the role of the Siren- luring our hero forth. In the same was as a track like Street Spirit (Fade Out) ends The Bends; Dream Brother ends Grace, The Island is the perfect track to conclude on- as it is not only one of the strongest, but instilled with beauty and spine-chilling moments. Arriving off of the back of a song (Lately) it is not only a stunning sonic (and mood) shift, but also a song which succinctly combines the talents of the duo. Some of the strongest moments arrive when they blend their voices, as this is true on The Island. Before you become fully entranced within the symphonic whirlpool of beauty, Oldfield is back with us. Speaking of riches (both literal and spiritually); although we are "all millionaires", when it comes down to things it's all just "a bucket of air". You can imagine our hero, lying down on a boat- the island behind him- as he sets off to a new arrival. With his mind heavy, it seems that things might be alright. With a final round of spectral vocals, the song dies down- as you sit and (try to) take it all in.

On the evidence of Circus Life, I have no hesitation in predicting that Victoria Coghlan and Luke Oldfield's Gypsyfingers bandwagon will be gathering huge steam. Previous to reviewing the album, I had heard songs such as Steel Bones- so was familiar with just what they were capable of. Their debut album is a confident and wonderful collection, that shows how the duo have grown. For anyone familiar with their previous work, you the duo's core personality and components are present and correct- yet they have taken a big musical leap forwards. Coghlan is a singer whom is already ahead of many of her contemporaries. Whilst a lot of modern singers either favour a huge belting voice, or soft and (let's be honest) un-captivating utterances, our heroine has managed to present and cement a voice that is unique and striking- yet has plenty of power and beauty within. As a songwriter, her palette is multifarious and stunning, and she is a talented and inventive wordsmith. Like my previous review subject (The Glass Child), not only was I captured by the music, but could relate to the lyrics. Great storytelling and poetry blends with vivid and stirring scenes and avenues- a rare treat for any listener. There are a lot of great female singer/songwriters on the scene, yet few whom distinguish themselves fully from the back. I have surveyed a few of them this year, and Coghlan is someone who can be added (very near to) the top of the list. Likewise, Oldfield adds his huge talents into the melting pot, and adds colours and huge emotional weight to every track. Being a prolific and multi-genre musician, he combines wonderfully with his cohort; his vocalisations are augmentative and hugely effective, too. It is perhaps unsurprising that our duo have a natural sympatico; yet it is surprising that they can weave their two- disparate and varied- backgrounds together: and infuses them so seamlessly. Because of their affection and kinship you can hear it come to life on the record. Nothing sounds forced or artificial across the ten tracks; everything is organic and completely seemless- what you would expect from a band/act whom had been recording for years. Similarly, there is a huge amount of confidence on the L.P. Every note and line is sung with emotion as well conviction- making sure each track sticks in your mind. The compositions are nuanced and sparse; emotive and symphonic (in places), and the sonic threads combine superbly. Whereas contemporaries such as Royal Blood have perhaps a one (or two) dimensional aesthete, the Gypsyfingers is rich and variegated. I know how much music means to both of them, and how hard they have worked on their debut- not only to make it sound as good as possible, but make sure it was recorded at all. This all comes through when you investigate Circus Life; is an opus that has its instant 'classics' but also a few tracks that reveal their charms (across multiple listens) a little later on. When I have reviewed albums by new acts, I often find that they tend to sag at the half-way (or two-thirds) mark, yet there is a pleasing and strong consistency in Circus Life. The production is brilliant as well; meaning that every song is as clear and concise as possible; full of atmosphere and wonder- and the running order is spot on too. One minor (non) criticism would be that you are left wanting more (after track 10); maybe an additional song or two would slake your thirsts; but such is the charm and intention of the album- it leaves you wanting more. On that note, I am sure our dynamic duo are looking to the future. Previous success has shown that they have a definite international market, and their music is such as it can be extrapolated and digested but audiences from all around the world- meaning they could be very busy, very soon. I know that nations such as France, Germany and Belgium would love their brand of song; as would larger (commercial) nations such as the U.S. and Canada. I feel that- maybe in a year or so- Coghlan and Oldfield could see themselves playing venues around the world; their unique and stirring sounds will be in demand across various nations. When we consider new music, and look around for inspiring acts and songwriters, then you should take the time to investigate Gypsyfingers. I feel that there are plenty of great bands and 'heavier' acts out there at the moment; with perhaps not a lot of room available for mobility and surprise. Similarly, we have our share of great solo acts- whom favour powerful vocals or something subtler- that do what they do very well. To my mind, we are bereft of duos whom offer something genuinely different (and exceptional); that which breaks away from Rock's parable- and gives the listener and endeavouring music-lover something unique. The combined talents of our duo, as well as their natural bond and shared affection shines through in their music- they have the potential for serious longevity, and have a unabatable passion for their craft. Circus Life is an L.P. that I will be investigating for some time to come, and revelling in its myriad charms. I always advise people to pay patronage to new musicians whom are thoroughly deserving; to provide encouragement and support as much as possible. Their debut is a brilliant accomplishment, but also shows just a glimmer of what they can achieve- and how far they can go. Both Coghlan and Oldfield are itinerant and tirelessly hard-working, so they should seriously entertain the possibility of a wave in demand (for gigs and new material). For now, settle back; digest the scenes, themes and dreams contained within Circus Life- and witness a young duo intent on making big impressions. In a week that has been particular fraught and stressful to me, Gypsyfinger's newest offering has not only provided me with a (much-needed) smile and anxiety release; but also inspired my own creative mind. I have long dreamed of snatching up Oldfield for a band of my own, yet I fear that our hero's talents will see him taking Gypsyfingers to new horizons. Coghlan's gorgeous voice and captivating songwriting has compelled me to pick up my pen and work on my own songs; craft my sound and try to get the best out of my own work. For all my effusive and florid words, the real proof is in the pudding- how you view their album and what the future demand will be. Dive in, and allow yourself to get lost, as our duo have created an album that will be revealing layers for many months to come. It is the sound of a two-piece with a lot to say; with a real appetite for music. As much as anything...

IT is one of the finest albums I have heard all year.

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     Track Listing:

This Is The Way- 9.7/10.

Circus Elephant- 9.9

Get Yourself Out of Town- 9.6

Return- 9.6

You- 9.7

Eating Me- 9.8

Steel Bones- 9.8

Lump- 9.9

Lately- 9.8

The Island- 9.9

Standout Track: Circus Elephant

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Follow Gypsyfingers:

Official:

http://www.gypsyfingers.com/

Twitter:

https://twitter.com/gypsyfingers

Facebook:

https://www.facebook.com/gypsyfingersmusic

SoundCloud:

https://soundcloud.com/gypsyfingers

BandCamp:

http://gypsyfingers.bandcamp.com/

YouTube:

https://www.youtube.com/user/GypsyfingersMusic

Last F.M.:

http://www.last.fm/music/Gypsyfingers

Songkick:

http://www.songkick.com/artists/4508098-gypsyfingers

Tumblr:

http://gypsyfingersmusic.tumblr.com/

Tour Dates:

http://www.gypsyfingers.com/#!gigs/c12yc

Album Review- The Glass Child: I'd Like to Remain a Mystery.

ALBUM REVIEW:

The Glass Child

　

I'd Like to Remain a Mystery

9.7/10.0

The album, I'd Like to Remain a Mystery is available from:

http://theglasschild.bandcamp.com/album/id-like-to-remain-a-mystery

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Anglo-European artist Charlotte Eriksson provides "Alternative Pop with singing angels and screaming ghosts". Her music provides escapism, ethereal beauty, raw emotion- as well as poetic illustriousness. On the evidence of her debut L.P., this stunning talent will be a huge future name to watch.

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WHEN seeking out a great new act, I am often left impressed by a number of things.

Sometimes it is the music and ambition of the artist (that strikes me); occasionally it is their background and heritage that stands out- rarely do I find a musical 'complete package'. An artists whom has a fascinating and detailed background, tied with an intriguing personality and projection is something that is a rarity in the modern scene. The mainstream and proliferation of generic solo acts has somewhat watered down the scene; few genuinely merit-worthy acts are making moves in the current climate. This point is less true when applied to bands, yet in terms of solo acts, I am at a loss to think of any that truly stick in the mind. Historically, we have had our fair share, but at the moment there is a bit of a scarcity. I have always loved Laura Marling as an artist; she is quiet and reserved, preferring to let her music do the talking- and it is music that sticks in the mind. As well as being one of the best singer/songwriters in the world, she comes across as articulate, intelligent and well-read: the epitome of what a modern-day artist should be. Located in L.A., the British-born artist seems to get better with each album. Aside from Marling, there are a couple of 'mainstream' artists capable of grabbing your attentions- yet it is new artists whom provide most fascination. In my course of surveying new music, I have encountered many weird, wonderful and lovely lone acts; each providing their own brand of brilliant song. From Canadian David Ward; through to Swede Anna von Hausswolff; to Brits Jen Armstrong and Second Hand Poet, there has been great variation and quality offered. Most of my 'feature-ees' tend to be British, and when looking to international quarters, I have been left somewhat ambivalent and jaded. Over the last few weeks I have reviewed two international acts; spent a lot of time focusing on their music- only for the subsequent review to be ignored and not acknowledged. It is a sad sign of the times that not everyone I take the time to feature will offer feedback; provide any sort of thanks or recognition- I guess it is a pitfall and cross I have to bear. It is not something that is reserved to foreign acts; and in both cases, I was not especially overwhelmed with the music on offer. My subject today is different in every sense, and I shall introduce you to her in due course. Before I do, I want to highlight a couple of other (prescient) points. As well as there being scant few acts whom provide tantalization in various areas, I have witnessed few European acts. Aside from van Hausswolff (as well as fellow Swedes, Club 8), I have heard of few European artists. Publications such as The Guardian and The Girls Are are doing their best to seek out Europe's best, but they are amongst a minority. It is a shame, because it is here where some seriously phenomenal acts emanate. I have a love of French and German music; the Eletro artists, bands and solo talent that these nations promote. For my money, when it comes to seeking out diversity and the freshest and most vibrant music, Sweden is leading the charge. When I reviewed Dance/Disco-Pop act Club 8, I was staggered by their vibrancy, intentions and sheer quality. They tempt sunny themes and elliptical vibrancy through their mandates. Conversely, country-mate Anna von Hausswolff- with her Kate Bush-esque voice- mixes languid and symphonic church organs with something deliriously moody and striking. Her songs are mini-operas and you cannot help but to think that she will be a major star very soon. My general point is, that there is too much focus on the U.K. and U.S.- a lot of great European treasure is being left undiscovered. There seems to be a bolder sense of adventure and ambition here; a less homogenized and stagnated sense of 'playing it safe'- greater mobility and pioneer, and as a result, more original music. My featured artists today not only provides a storybook background and loveable personality; yet has hereditary and native passion- tied with music that is both tangible and universal, but strikingly original and fresh. There seems to be (to me at least) a communication breakdown between the media, social media and music-lovers. I have mentioned a couple of publications which have a varied palette, yet most U.K.-based music sites focus too heavily on homegrown acts. It is understandable to an extent, yet many people are missing out on some of the world's best music- for no good reason at all. When I discovered the brilliance of Los and the Deadlines (a band composed of four chaps from different corners of the globe), I was not only blown away by their music (I reviewed their E.P., Part One: Bank); but because of the kinship of the quartet. Blending different nationalities, background and personalities into the band, has not only lead to a richer and more electrifying whole, but also compelled me to seek out similarly diverse acts. I was disappointed that I happened upon the group somewhat surreptitiously; yet am grateful that I did. Keeping in touch with Niels Bakx (the band's guitarist), I know that the Los' boys have big future ambitions. I hope that a solution is found to a (worrying) problem; that sites are set up that are dedicated to foreign and international talent- ensuring that we in the U.K. (as well as the U.S. etc.) are made aware of what the continent has to offer. That conundrum is something we will have to solve another day, but for now, let me introduce you to someone rather special.

The Glass Child is the moniker of Charlotte Eriksson, and is someone I was made aware of via a mutual contact (Niels Bakx). Our heroine is someone whom sticks in your mind instantly. As well as being stunningly beautiful, she comes across as being born from a filmmaker's dream. Eriksson herself confesses that her trajectory and background has all the hallmarks of a coming-of-age/fairytale saga; yet she has a pragmatic and level-headed approach to music. Before I investigate The Glass Child in more detail, I shall provide some biography: "The story of The Glass Child, Charlotte Eriksson, is one of those you usually see on movies. Only 18 years old she left everything she had and knew, family and friends, and moved to London to dedicate her life to her music and art. A vague dream about reaching out with her music became an everlasting journey about fighting for your dreams, self discovery, finding your true purpose and creating something that will mean something, now with over 25,000 dedicated followers and fans with her on her journey through her social sites like Twitter and Tumblr. Forward three years and she has started her own record label Broken Glass Records, released 4 EPs, released her critically acclaimed debut full-length ‘I’d like to remain a mystery’ in February 2013, had her single "I Will Lead You Home" reaching #2 on the Swedish Itunes-chart, was named Breakthrough Indie Artist Of The Year by Lemonade Magazine and been played on major radios such as BBC6, Sveriges Radio (Sweden) and 3FM (Netherlands). All alone, with nothing but hard work and determination she has built an incredibly dedicated community now with over 25,500 followers on Twitter, and to let her fans in on her journey even more she published her first book "Empty Roads and Broken Bottles; in search for The Great Perhaps" in April 2013, telling the true and raw story about a girl who had a dream and went for it with all her heart. The book was beautifully received and sold out after 3 days of pre-order. Charlotte is a wandering soul and after spending a year in England with nothing but a guitar and a will to search for something more, playing wherever she could play and crashing at fans’ floors, she has just made the move to Berlin, Germany, to seek new adventures and spread her music wider. "I believe in writing your own story. Do you wait for things to happen, or do you make them happen yourself?", she says, and also shows how she’s constantly connecting with her fans in new ways. In September she released an acoustic edition of her album ’I’d Like To Remain A Mystery’, giving it away for free through Noistrade as a way to thank her fans, and the album was featured as a Top Download after only a few hours. With her constant search for new horizons the stories are endless, and to finish up a productive year she’s now releasing her new acoustic EP "Love Always, Your Tragedy", and explains that "These songs are the letters I never dared to send. I wasn’t brave enough to speak up, so I sang instead." "I wanted to turn my life into my art. My very existence into a poem. This is my story. It's been a beautiful fight." You can tell that as well as having a compelling and against-the-odds background, our heroine is determined and very much an independent spirit. I am always looking around for inspiration, and the fact that Eriksson is so young, yet has already set up her own record label- well, it is hugely impressive. Her output has been prodigious, and she is a restless and ambitious talent, intent of making huge waves in the music industry- for as many years as possible. Despite being focused and determined, The Glass Child is as a result of a combination of various musicians and input. As we speak, our heroine is in Germany and (with Bakx as well as other musicians) has been putting together the sounds, sights and sensations that will form her next L.P. To Eriksson, music is very much a collaborative and communal thing; she combines with wonderful musicians to ensure that her ideas and music are as rich as possible. This sense of openness and reciprocity is emphasised in her relationship with her fans. Having amassed a huge following across social media platforms, Eriksson has an impassioned bond with her supporters. Our heroine always seems genuinely chuffed and grateful when her music is shared, loved and well-received: it is a mutuality that has paid dividends. Too many modern artists seem rather distance or detached (with their fans); coming across as being too businessmanlike- and not projecting an air of approachability. I have featured too many acts whom do not give enough to their fans; whom seem cold and aloof- there seems no need for it. The Glass Child is a musical steamroller that is gathering huge momentum. Looking at critical reviews, it is clear that her music and artistry has hit a major chord:

" Take a look now at someone who’s taken a different route to get to the mainstream and someone who’s going to shatter the notion that success is all about ‘industry’ or watered-down throwaway music. The Glass Child has broken through with some music of real depth for her fans to keep. This is how music is going to sound good again. ‘Ghost’s’ shows the makings of an icon, I believe. " Musicfeeds.com.au

"..she tears down walls with her music, using starkly honest lyrics and intense vocal chops to draw her listeners in and turn them inside out"

whatstheruckus.com

"There’s an ethereal beauty to Charlotte’s vocals that speaks straight from the heart. She knows how to make every word count, how to tear the emotion from every syllable."

totallyvivid.com

"You will be extremely hard pushed to find an EP that gives more than "The Glass Child", let alone a debut EP. If there is any justice in this world, Charlotte Eriksson’s talents will be given the exposure they truly deserve."

roomthirteen.com

  " The kind of voice that plays with your emotions and the type of lyrics that seem so similar to you, it’s almost scary. With brilliant music to match her voice and character, The Glass Child is an artist to look out for."

snapshotsymphony.tumblr.com

"Once in a while you stumble across an artist you have never heard of before and they just blow you away."

Roomthirteen.com

Our Swedish beauty has managed to win a great deal of hearts and minds thus far-and is in no mood to slow down now. As well as being a prolific and brilliant musician, Eriksson is also a novelist and poet: one whom has a genuine future in both arenas. The multi-talented star displays all of her work and ambitions on her official site (link is at the bottom of this review); and I would implore everyone to check her site out. Too many times, I come across artists whom have a sparsely sourced and empty personal site; their social media sites are meagre and threadbare- they fear that by putting in too much detail they are giving too much away. The Glass Child is an act whom not only produces brilliant and inspiring music, but also lets you into her world. Her official website has blog posts; top-10 lists of her favourite novels and albums; links to her music and photographs- as well as detailed up-to-date information. It is clear that music is an obsession that she is in awe of; something that she cannot live without: "I can’t sleep at night because how could I close my eyes when there’s a whole world out there, calling my name, waiting to be explored. I love intelligent conversations while laying on empty streets at 5am in the morning, and I love watching the sun rise over a world that is still asleep. I make mistakes and I mess up a lot, but I’m trying to learn how to be okay with that. Some days I couldn’t care less about what all of you think about my art because this is my life and all I have. But then there are days when all I want is to be beautiful and good enough and someone to count on.". Before I get down to reviewing I'd Like to Remain a Mystery, it is worth noting that the album was released last year. I am compelled to review it, not only to introduce some terrific songs to your attention, but also to provide a snapshot of a young artist whom has already had a busy career. Her five-track E.P., Love Always, Your Tragedy is an incredible collection of songs, and a testament to a fierce and diverse talent. The music is touching and inviting; personal yet relatable to all. As Eriksson explained: "Every song on this EP started out as something I wanted or needed to tell someone. They are all letters of things I never said but wish I would have and I’m learning how to say things when I still have the chance. This EP is my letters to 5 different people who became a part of my life in one way or another, and I want these postcards to be yours. I wish we could all let each other know that we matter, and I hope that you will send this postcard to someone who might not know". That E.P., was a bold and impressive statement from a talent pouring her heart and soul into her music. Previous to this E.P., Broken Little Winter and This Is How Ghosts Are Made were unveiled- two stellar and fine examples of a unique and stunning talent. That was then, and this (semantics aside) is now. The Glass Child lists the 'band interests' as "Mythologies, coffee, laying on empty streets at 5am in the morning, talking about the meaning of oceans, escapism, whiskey, tattoos, pop-bands from the 90s, eat pancakes". They are ingredients and components that have resulted in some fantastic music. Whilst we await what Eriksson's next album has to offer, I have been compelled to investigate her previous offering, I'd Like to Remain a Mystery.

Before you get into the music itself, it is the cover of I'd Like to Remain a Mystery that makes its marks. Baring a single image of our heroine; backed by white fairy lights, casting her gaze downwards. The cover photo is scratched and aged, given it the look of something that has been handled and looked at multiple times. The mixture of stylish lettering (showing the album title and 'band name') set against the stirring and potent image, is both modern and classic; familiar yet highly personal and fitting. Once you take your eyes and mind from our heroine- and investigate the album- there is plenty to get your teeth into. At 17 tracks, there is a bounty of varied and brilliant music (if you listen on BandCamp you can also access lyrics to the L.P.s tracks). A combination of echoed swirls and twinkling xylophone (or electric piano) notes herald in the title track. Eriksson's voice is soft and tender; it skips and plays; teases and breathless implores- "Can you hear me calling, calling/I’m inside that falling star/I’m not human I am your belief". The words tumble and trickle forth- there is an emotive pause- before further lines are syncopated forth. Our heroine's voice is delicate and passionate as she claims "I think I made a myth of my own life"; a line both heart-breaking and perfectly apt (given the almost movie-like course Eriksson's life taken). With galloping drums, our heroine's voice goes from a Bjork-like child-like whisper to a full-bodied belt within a few seconds. Words about music-making and writing your own history ("It’s all about the way you write it down"), mingle with scenes of doubt and confusion ("No one knows if I’m real"). Eriksson's voice is in emphatic form as she paints the picture of a young woman; part myth, part human: unsure of which she is, and how people see her. The track switches between hot-blooded vocal strength and delicate and balletic lightness: the effect is stunning. Eriksson's love of words and poetry are evident from the first track; perhaps emphasised (and distilled) in the track's final thoughts: "They will take me to the ocean/spread my ash across the sea/My story will go on but /I’ll remain a mystery". After the dramatic swells and inner-visions of the opening track; Stay arrives. Again, there is a gentle and restrained intro. (this time light finger-picking guitar); one which leads to a beautiful and romantic vocal. Our heroine is in her lover's arms- him resting on her shoulder- the two entwined, as our heroine whisper's "we’ll be okay". With misty eyes and her thoughts dedicated to her (anonymous) sweetheart, Eriksson yearns for her lover's touch ("All my fear disappear when you’re getting near"); a man whom she wishes would stay- a safe haven whom can keep her warm. There are no vocal explosions or mood rushes here- everything is kept level as our heroine weaves her voice within the acoustic guitar notes. Eriksson's voice retains her native accent, and sounds like no one else (a rarity in modern music). Softly imploring, it appears that the absence of her man has taken its toll: "I’ve never felt so wrong/When you are gone my fire’s gone". With a particular powerful and evocative chorus (in which Eriksson's voice trembles and rises emotively), it is a gorgeous paen to a treasured human- you wonder whether our heroine ever got her beau back. The Haunted flows similarly to the title track; our heroine's voice once again switching between soft and hugely powerful. Riparian images mix with oblique scenes; personal detachment and visions of escape are uttered ("Don’t track me down I was born to leave/Don’t bother my name it was never me"). As with the previous two tracks, there is a sense of not belonging; a feeling of loneliness and mythology linger within The Haunted's (approrpriately-titled) words. It is when Eriksson strikes and belt; rises and growls, that you stand to attention. Her voice sounds at once child-like; impassioned and womanly the next- wrapped around our heroine's unique tones. There is a clear sense of dissatisfaction and regret ("I can’t stand the thought me"); of a young woman wanted to change or to get away. Whilst Byzantine poetry and fractured protestations are unveiled, our heroine multi-tracks her voice; weaves her vocals within one another- creating an evocative and haunting mood. Backed by bass, electric guitar and drums (that switch from charming and soft to swelling), it is another personal tale from a sensitive and determined woman- and completes an impressive 1-2-3. With an arpeggio swirl of beauty (including some classical elements), Give Myself Away begins. Our heroine's vocals and sexy and breathy; composed of some brilliant phrasing and pacing, it is perhaps the most evocative track so far. Whilst Eriksson says (to an unnamed figure) "I call you my friend/why do they keep telling me to fight you"; her voice twinkles and coos (sounding a little like Bjork in parts). As the song starts to change gears, our heroine opens up; once again thoughts turn to release and escape ("I offer you my soul, if you take me with you/I swear I give my all, if you never let me go"). Again, we witness a song that changes pace (at once fast and breathless, the next tenderly slow); one which boasts a subtle yet powerful composition- and showcases our heroine's vocal range. As she scores words that tempt darkened thoughts ("Think I’ve gone insane/Felling something pouring in my veins") her voice remains controlled and powerful- never succumbing to histrionics. Consumed by You sees Eriksson back in romantic longing mode; speaking to a central figure, her voice (again) is aching and tender as she pours her soul onto the page - "A heart of stone and all these things I have become/I’m consumed by you". Whereas Stay had a composition that was largely delicate and ethereal, here upbeat and punchy drum mixes with light and ghostly guitar. Eriksson's voice reaches fever-pitch as she strikes: "Will you pull the trigger/Tell me what to say". It is the heaviest song of the set so far, and Paramore anthemic are sprinkled into the melting pot. With gothic imagery ("The dead will dance for me tonight") and scenes of screaming, crucifixion and ghosts, it is perhaps the most visually evocative (and provocative) track so far. Eriksson displays her lyric talent, again mixing oblique with poetic- but it is her voice which is the star. Over the first few tracks we have heard glimpses of how powerful her voice can be; here it is rampant and huge; mixed with sweet and soft evocations it a showcase of the young artist at her peak. With initial lyrics that tell of eyes meeting, stranger and "Chemics and I forgot"; Hit The Ground fascinates with its lyrics. Whilst the vocal performance is impressive and typically assured, the way Eriksson uses language and delivers her words is fascinating. Whereas the likes of Bjork cut and paste images; mix words and odd sentiments into a single line, here Eriksson presents her most intriguing set so far. When she says "I am fallen with me starlight/Making poems out of tears", we see the blend of oblique and poetic all at once. Our heroine delivers her words beautifully; trickling lines together; pausing and changing pace within the space of a line- wringing as much emotion as possible from the lines. Whereas the previous track is a possible vocal showcase, here the emphasise (to me) is on the words. Our heroine introduces redemptive notes ("I was lost but now I’m found"); romantic images ("Whisper softly in my ear") with striking images ("Defreeze my soul, Lips so cold"). As it comes to its conclusion, you wonder just what our heroine will offer next. Somewhere I Belong begins in emphatic and rebellious mood. Eriksson is in anxious mood, as she whips up an early sonic storm- "Now my stomach hurts again/And I don’t know what to do". Dealing again with belonging and finding herself, our heroine delivers one of her most impassioned vocals. Words trip and strike as her band offer up a potent and powerful backing. Lyrics range from reflective and thoughtful ("Too old to be was strong/Too young to move on") to self-destruction ("Spending my nights on the floor again/Empty bottles all around"). A departure from what has come back before, it is the most raucous (is that the right word?) and forceful number, and one that sees our young heroine trying to find her place; again wrestling with inner demons- and trying to find happiness. With an elongated and echoed (backing) vocal and sweet-natured composition, Letdown seems to deal with compromise and having to fit around someone else's ideal ("I can tell you exactly/what you want to hear"). Whether speaking about a lover, or society in general, our heroine is concerned; worried that the way she dresses and speaks is perhaps wrong- that she should change who she is. When Eriksson says "I’m scared like hell I’m not enough", you can hear the strain in her voice. With growls, sweet sighs and powerful rises, the vocal performance is (again) emotive and powerful. It is the most reflective and introspective track, with our star starting to doubt who she is- and the 'real' her. It appears that "nothing seems to please you", she proclaims; admitting: "I’ll keep it to myself". Again, Letdown sees Eriksson mix emphatic vocals with an impressive band performance. Past the 2:00 mark, the song goes into overdrive; our heroine pushing against oppression and trying to stay true to herself ("Oh you’re killing my belief/to be myself/and if I can’t make my own way I quit"). Creepy Little Story has one of the most intriguing intros. of the L.P., with a fairground waltz-cum-midnight tango, it sets the mood beautifully. Revolving around the central figure of Sophie; here is someone whom is pretty and small ("but she’s tired of it all"). Eriksson is the angel watching over; her voice is measured and gleeful, as she steps away from personal analysis and biography: to introduce some gothic and fictional storytelling. This girl who "grew up just like me", is a curious and dark figure whom you will imagine in your head. Our heroine introduces creepy boys, haunting and strange images; Sophie it seems is not so fictional after all: "It turned out she was me". With a beautiful melody and deft changes of pace, it is a departure from the previous numbers; and a perfectly mid-L.P. track. It blends Eriksson's gift for storytelling and image-setting with a vocal that is at once delightful; and the next, unsettling. Hold On has a beautiful introductory coda and (brief) gorgeous wordless vocals. A pattering drum drive and rushing vocals breathe huge life into the track, as our heroine leads us into the song. Here, there is a sense of longing and romance; an overall positive mood and sense of yearning. The vocal is reliably gorgeous and snaking; bringing life to direct and impassioned words ("Hold on to what you’ve got/And I will never let this pass me by"). With London ablaze, and our heroine in full voice, there are all the expected hallmarks here: ghostly evocations, passionate implore and longing. Eriksson's voice goes from a passionate belt to sweet whispers as she implores: "I could live as if I’ll never live again". Hold On rises and swells to emphasise the emotions and lyrics, our heroine's voice matching the energy and mood. There is a certain anthemic catchiness to the chorus, and is a track that I can see being a live favourite in time. As it reaches the closing stages, Eriksson has one (final) confession: "I am so scared of losing what I gain that I’d rather have nothing at all". Stirring piano sounds herald the arrival of Lover I Don't Have To Love; and the introduction of a tale of dislocated relations. Our heroine introduces a nameless figure; a man who seems mysterious ("When I asked your name/You asked the time")- someone whom is perhaps aloof, or else seductive. The track is one of the most overtly sexual and direct. Eriksson tells of her hands "Pressing hard against your jeans"; the two lovers tongue entwined in a passionate embrace ("Trying to keep the words from coming out"). Whereas songs like Stay were more tender and coquettish, perhaps; here the other side of love is investigated- a pure and unadulterated passion. Complete with a strong and impressive vocal, the track is one of the strongest on the album, and once again shows another side to our heroine. We have gone from tender passion, to gothic scene; strange creatures and anti-heroines have been seen- here there is something sweatier; exhilarating and unadulterated. Eriksson has parts Lana Del Ray; bits of Bjork- and plenty of unique flair and wonder. It is a mini opera of lust and passion. In the morning, "We forgot where your car was parked" as the two lovers stagger into the morning light. Eriksson is very much on top and in charge, yet she still projects an air of caution and trepidation. The impassioned and enraptured repetition of "You didn't hurt me" in the final moments is a fitting end to a brilliant track. "Come with me I’ll take you to the ocean where we can breathe" are the words that open Oceans. The track surveys a bygone romance; looks back at the good times and good nights that were shared; before our heroine's sweetheart chose "reality/Reality instead of me". With another powerful and memorable vocal, Eriksson is backed by guitars; and a whole lot of history. As our heroine pleads and implores, her voice rises and swells to operatic heights. With a frantic and emotive delivery, she speaks to her lover; begging him not to let go (and leave her on her own); offering (in exchange for devotion) genuine affection (" So close your eyes/I’ll show you love tonight"). By this point in the L.P., I am still impressed by the way Eriksson employs language; twists and turns her words- able to offer up some fascinating images. "And the piano full of blood/From the songs that I’ve been bleeding/A bottle full of wine I am standing on the ceiling" puts your mind into her imagination- you cannot help but to imagine and picture those words in full flight. With effective yet sparse backing, there is a larger emphasis on the voice and words; meaning that the full force of Eriksson's words are felt. It is an atmospheric and augmentation number that displays our heroine's lyrical talent; as well as putting her heart and soul under the spotlight. I Will Lead You Home boasts, perhaps, the most impressive intro. of the album. A beautiful and soothing acoustic line is unveiled; one that relaxes you and makes you smile (at the same time). Our heroine acts as a safe pair of arms; a guiding light in the track; she sends a message out (to an unknown subject(s) that she will guide them. "When you're out of breath"; "When you're left alone"- Eriksson says- then have no fear: "I will lead you home again". Bolstered by a gorgeous and tender vocal display; with acoustic guitars that mix (Pink Moon-era) Nick Drake with Kings of Convenience, it is a heartwarming and heart-melting song. In a town with "Lovers walking hand in hand without a sound", our heroine offers a helping hand. Whether Eriksson is speaking to a lover, friend (or perhaps a form of herself), it is unsure; what is clear the conviction and intention within the track. Whereas previous numbers may have left you exhausted (where emotions and hearts are being put through the wringer), I Will Lead You Home is a nice counter-balance and burst of sunlight. With wicked wordplay and striking lyrics, Stuck In My Mind starts its gestation amidst swooning and summer breeze guitar. Erikson's voice is a paragon of touching beauty and seductiveness, as she states how she is going around in circles; looking behind her- "Two steps forward, one step back". There is self-doubt and uncertainty, for sure, yet it is enveloped in the warmth and strength of the vocal, that is never becomes foreboding or heavy-handed. Oscar Wilde is quoted (and paraphrased), as books of wisdom are perused and studied; our heroine is doubting her mind and tripping over her feet. Whether the track documents a general anxiety (or a large malaise) I am unsure, yet it is obvious that there is a need for self-discovery; for answers and guidance a way to get out of this funk. Past the 1:00 mark, the mood swells (before exploding), as our heroine starts to doubt her mind. Monsters, ghosts and trees are employed as metaphors and symbols of oppressive force; Erikson pleads: "Can someone come figure me out". As the track's embers smoulder and the music ends, you wonder how much our heroine can take; whether she has found answers and reasons- and just what is coming next. Our antepenultimate track, Tell The World (Acoustic Version), arrives; with a dreamy lullaby (acoustic) guitar intro. is softly welcomes you in. A song that starts as "A journey on a broken piece of glass", our heroine's voice is at its tender best. Backed by the gorgeous guitar, Eriksson's voice spikes and rises as she sings "I know you thought I disappeared". An emphatic and determined call-to-the-world, our heroine repeats: "Tell the world I'm still alive/I found a way, yeah I survived". With her voice if full flight, and filled with conviction, it is hard message (and song), to ignore. With a specular and romantic intro.- that reminded me of a Kate Bush gem- Play Pretend (Piano Version) arrives. Eriksson's voice is in no laughing mood; she is fed up (of the unnamed figure), imploring him to "keep (talking) to yourself". Her (former) beau has been playing her like strings and manipulating her for too long. Fed up of being used, our heroine has been diminished and ignored; proclaiming: "Just tell me how you want me to be!" With the soft (yet emotive) piano- flecks of percussion- and our heroine's inflamed vocals, it is a stirring mood piece- both emotional yet defiant. Taking us to land, The Devil's Sin (Acoustic Version) comes before us. Eriksson's voice is, once more, soft and tender; backed by a delicate and evocative piano accompaniment. Speaking of the song's central focus, our heroine sings: "My mind in his grip and through my lips/The devil's words I let slip". As with Play Pretend, Eriksson's voice goes from a whispered coo, through to a gravelled growl; up to a full-bodied roar. With doubts and anxieties in mind ("I no longer know what's wrong or right"), our heroine is feeling the weight of emotions. Whether referring to the breakdown of a relationship; personal doubts and questions, or recollection of a hard experience, the song gets into your head. When Eriksson confesses "I don't want you to be the one who's left all alone"- you can hear the conviction in her tones. As the song reaches its climax, you can feel the strain starting to show (in Eriksson's voice); the song's messages are taking their toll. As the final lines are delivered ("I am how your heart breaks/This is a dead heart's game"), you wonder whether Eriksson gained some (much-needed) answers; whether absolution or salvation arrived. It is a fitting climax to the L.P., where cliffhangers are left- leaving you hungry for more.

Charlotte Eriksson and The Glass Child have created a splendid and captivating opus. At 17-tracks, it does not come across as too bloated or full- there are no filler tracks on the album. It may seem like I am coming across as too fawning or effusive, when it comes to The Glass Child- the truth is, I am not. You may not have heard of her until now, but Charlotte Eriksson's endeavoring music and itinerant ambitions are what the music world needs. London is home to our heroine at the moment, but I can hear European influence (as well as U.S. acts). She yearns to be "Where I can sing as loud as I want, without wondering who is listening or what they think". Although I'd Like to Remain a Mystery is over a year old, it is an L.P. that is still garnering huge praise and adulation. It is a brave and fascinating collection of songs that retains all of the personality and components of her previous work- yet is a leap forward and shows how confident and assured she is. I am amazed and impressed by how prolific Eriksson is, and what a range of sounds and sensations are available. Throughout the L.P., our heroine's voice is compelling and thought-provoking; mixing gorgeous and soft shades with hugely powerful swells- a huge range.  Her band is a noble and impressive force, and score the tracks beautifully- adding weight and texture to her mandates. It is perhaps the lyrics- to my mind- that stand out strongest. Being a lyrics obsessive myself, I am impressed by the range of emotions and themes Eriksson explores; the intelligence of the poetry is startling- the L.P. is a statement from a young woman whom adores words, and knows how to use them. You find yourself, not only listening to the songs, but immersed within their wings; travelling where our heroine takes you and imagining what she sees. For any songwriter, this can rank amongst their proudest achievement, as so few (in the modern age) are capable of doing this. Having listened to the album in its entirety, I was mesmerised by the talent of our the young Swede, and how accomplished the L.P. is. It not only is the result of years of self-discovery, hard work and consideration, but provides a fascinating glimpse into what her future sounds will be. My split infinitives aside, The Glass Child is an act that will be familiar to many new lips this year. As well as having a huge and loyal online following, she is still foreign to many ears- I hope this soon changes. I am not sure when the next L.P. will be released, but it is going to be a collection that will see some familiar elements- as well as some new steps and themes. Knowing Niels Bakx, I am wondering whether heavier guitar sounds will be included; and if any of Los and the Deadlines' Rock majesty will be infused (into the album). Whilst we speculate, imagine and prophesies, take the time to investigate the back catalogue of a restless and brilliant talent. The official site for The Glass Child is a awash with beautiful photograph; fascinating insight and information- a glimpse into Eriksson's mind and ambitions. I stated that a lot of artists provide practically no personal information or biography; expend the minimum of effort and time to connect with their fans- it is a huge relief that Eriksson is the polar opposite. Our heroine has been recording songs and keeping busy since the release of her debut album, and I hope that she plays some gigs in London soon- I would love to see her perform for sure. It is clear that Eriksson is keen to connect with her fans in as many different ways as possible; this is reflected in the appreciated that is paid to her. Her music may not be instantly familiar or relatable to all, but given time, the songs will reveal themselves in time. Being a songwriter myself, as well as looking for inspiration (in terms of what can influence my own music), I am keen to find great artists with a terrific story. Eriksson's musical outpourings have pushed me to incorporate new facets and shades into my own music; to modify my (sometimes) rigidity- and be more adventurous and bold. As a human, our heroine is living her life the way she wants and dedicating herself to her music (poetry and literature); setting her sights high. Before I conclude, I will unveil some words from Eriksson herself: "I just want to mean something to someone because every person I meet mean the world to me and I just wish to belong. I just wish to be me and be loved for that. I’m mostly insecure, but I believe that if you want something bad enough, you can always find a way to get it. I love challenges because I’m here to prove myself and other people wrong. I still don’t know where I’m going, but I’m on my way...". Our gorgeous heroine has a long career ahead, and it will be fascinating to see what her future steps will be. As well as an L.P. in-the-works, I am sure that there will be more songs; poems and writing from the twentysomething Swede. Along the course of my musical traversing, I have come across a great variation and range of artists- both solo acts and bands. I understand that the mainstream or 'established order' provide commercial profitability; there are artists that are there to inspire and lead the charge- yet I feel that the overall quality is not as high as it should be. It is the upcoming wave of artists whom provide the strongest music. Premiation should be given to one and all, as I am genuinely impressed by the ambition and talent that is currently out there. Charlotte Eriksson is an act whom is near the crest of the current wave, and I hope more fans and music-lovers investigate her music- and take her to heart. I hope one day to see her play; to meet her and see what is in her mind- where she hopes to take her music. Until I find out, I have been smiling when thinking about her album title (I'd Like to Remain a Mystery). In a way, The Glass Child is a name appropriate and (strangely) completely wrong for our heroine. Eriksson has a child-like wonder for the world; a curiosity and a sense of fragility. You can tell that our heroine has a vulnerable side and is seeking comfort, answers and a sense of belonging. Conversely, she has proven herself to be brave an adventurous; someone whom has gone out into the world and shown how independent she is. We have- and can- gleam a lot about Charlotte Eriksson; who she is, what inspires her- and what goes into making her music so memorable. In that regard, our young heroine is perhaps not such a mystery. She is an open and honest woman whom wants to let as many people into her world (and mind) as she possibly can. On the other hand, there is mystique and abstruseness to evident. I'd Like to Remain a Mystery (as well as her E.P.s and writings) have provided the voice behind The Glass Child, yet I have the feeling there is so much more; some secrets and thoughts that Eriksson is keeping inside of her. I hope that she keeps them to herself, as it is that sense of seductive mystery that makes our heroine so fascinating. Amidst the L.P. plans, sofa-surfing (she often crashes on fans sofas; in order to connect to them more directly) and European travels, Eriksson is optimistic about what is to come. It is not often you come across an artist whom not only hits you instantly, but also reveals layers and truths after every listen. Our heroine is someone whom has worked hard to achieve this; yet she does it with seemless effortlessness. When all is said and distilled...

PERHAPS that is the biggest compliment you can pay to anyone.

　

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Track Listing:

I'd Like To Remain A Mystery- 9.8/10.

Stay- 9.9

The Haunted- 9.7

Give Myself Away- 9.7

Consumed by You- 9.7

Hit The Ground- 9.8

Somewhere I Belong- 9.6

Letdown- 9.8

Creepy Little Story- 9.9

Hold On- 9.7

Lover I Don't Have To Love- 9.9

Oceans- 9.6

I Will Lead You Home- 9.8

Stuck In My Mind- 9.7

Tell The World- Acoustic Version- 9.8

Play Pretend- Piano Version- 9.7

The Devil's Sin- Acoustic Version- 9.7

Standout Track: Stay

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Follow The Glass Child:

Official:

http://www.theglasschildofficial.com/

Twitter:

https://twitter.com/justaglasschild

Facebook:

https://www.facebook.com/theGlassChild

SoundCloud:

https://soundcloud.com/theglasschild

BandCamp:

http://theglasschild.bandcamp.com/

YouTube:

https://www.youtube.com/user/aGlassChild

Last F.M.:

http://www.last.fm/music/The+Glass+Child

iTunes:

https://itunes.apple.com/gb/artist/the-glass-child/id470307547

ReverbNation:

http://www.reverbnation.com/theGlassChild

Tumblr:

http://theglasschild.tumblr.com/

Songkick:

http://www.songkick.com/artists/3741181-glass-child

Merchandise:

Big Cartel:

http://www.theglasschild.bigcartel.com/

Feature: The Music 'Business': The Dirty 'M' Word.

FEATURE:

The Music 'Business':

　

The Dirty 'M' Word.

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As I look ahead to my (and many other people's) future, it can be exciting to imagine. Ambitions and high-minded plans inspire the mind, compel the imagination; yet there can be one major stumbling block: money.

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WHEN you get to my stage in life, something odd begins to happen...

When I say 'stage', I don't mean age- more a period of restlessness. The rest of this year is going to see (I hope) a lot of transition and fulfilment. The singer/songwriter area of my brain is spinning lyrics, compositions and designs- it is quite exciting. Once an entire album's worth of material starts to cement itself- and the seeds are sown- it is only natural to think ahead. Before you know it, you (and I have) find yourself imagining the album cover; each song in its entirety- each and every component in full. One of the greatest things about music (from the perspective of an artist) is that it is easy to record and publish music. In terms of technology and accessibility, you no longer need to go into a studio, spend hundreds of pounds and labour hard to get your music recorded. Many 'D.I.Y. artists' or bedroom acts can sit in the comfort of their own homes; bring their music to life- and stream it straight to the general public. Most new acts start off by recording the odd song; perhaps an E.P. will (eventually) arrive: the embryonic steps are fairly modest. In time L.P.s and larger projects are realised, but I have witnessed many fresh acts lay down their tracks; put their intentions out there and feed them to the public. For most of us listening, there is no consideration given to the mechanics behind making the music- what is costs to make it happen. Even those whom make their music outside of a studio, the cost associated with doing so can be quite galling. It is only natural, yet when I look at studio rates, my eyes can water. Unless you are lucky enough to have a friend whom runs a studio (and thus get 'mates rates') or find an economical way of producing music, the final bill can be pretty high. An entire day in the studio (usually 8 hours minimum) can cost anywhere up to £400. Some studios I have seen charge almost double that, and that is just the recording costs itself- before any mastering has been completed. It may sound like an old (well thirty-something) man having a bit of a rant: far from it. Of course studios are businesses and have to charge for their services; it just seems that a lot of musicians are reverting to the confines of their own home, because the cost of professionally recording music is so high. I have friends whom run their own studios, and their costs are modest and affordable, yet they seem to be in a general minority. I am in the process of completing the writing of an album; one of which I have been working on for years now- something I am immensely proud of. When I tabulate all the various expenses and logistical considerations, the bar bill runs into thousands: five figures actually. You may say that if you want to spend less, than record fewer tracks; be less ambitious or convoluted, perhaps. In that sense, there is a bit of a chicken and egg dilemma. Before I investigate the costs of making it in music in general, I shall use myself as a case study.

I will get more into the inequities and vicissitudes of music ambition, yet from my own perspective, I have found the costs are mounting. As it stands (and as I sit) my bank accounts have a few hundred quid in them. I am looking at getting part-time roles at the moment, and writing as much as possible. Having applied to various music sites and publications (with regards to getting jobs here) most- to start with- are going to be unpaid. When I can afford to get my own place and move on in the world, I imagine that I will not have a lot of money left over. Even when I had a full-time role, I found myself with not a lot to show at the end of the month (once rent etc. had been deducted). I guess this is the same with everyone; of course there will be variables and differences. I have a basic 8-track recorded, yet find that the sound quality is pretty poor- not adequate for what I want to do. There are softwares and programmes available to record vocals and music, yet I find that they are pretty basic for what I need. The solution is going to be going into the studio and recording music that way. General rehearsing and band hunting will have a money value attached, although it will not be overly high. If I were to just record one of my most 'unambitious' tracks, it will take a full day in the studio- as well as additional mastering and production costs. I would imagine that we would be talking about £600 or so (at the minimum) and that seems quite daunting. You may sit there and think that this is perfectly reasonable: and it is. The issue is, that after all the 'day-to-day' costs are expended and you look at what you have left, there is not a huge amount to play with. One song may be an achievable goal (in terms of money), but if you are looking into recording an E.P. or L.P., then you are looking at a somewhat stiffing total. It is imperative and handy having recording software and facilities whereby you can record basic numbers at home. I know many whom started out this way, and they have gained attention and fans from it. Invariably, all music- at some stage- is going to enter the studio, and it makes me wonder: is it putting people off (recording music)? Aside from music-making itself, I am looking at two other ventures: a music bar/cafe as well as a (small) record label). The first business idea stemmed from a real need; a gap in the marketplace, and as much as anything, a neat concept. In London (and various cities) there are plenty of great music venues, bars and locations- we all have our favourites. From what I have seen, there is nothing on offer that provides a bar, cafe and music venue- all in one. I have written a full blog post about this before, but the idea is to have a London-based, two-floor location. Essentially, it would have a lower floor where there is a bar; seating areas and a couple of stages. Patrons would be able to order food (off an extensive menu); order alcohol (cocktails included) and hot drinks, and sit and listen to music. There would digital jukeboxes offering endless amounts of tracks; and put simply, it would be a music venue-cum-cafe. The stages would allow for local and mainstream acts to perform (in the evening), and it would be a (hopeful) major venue. Upstairs, there would be an interactive platform; where walls fo screens and units would be set up. A music website- Pyschoacoustics- would be accessible, and allow anyone to create and make music; listen to any song they want- as well dozens of other features. In addition, there would be a modest-sized recording studio on the floor as well, allowing musicians as well as first-timers to record music- at an affordable fee. It all sounds a bit pie-in-the-sky, I grant you, but it is not me wanting to become Richard Branson here- just fulfil a genuine desire amongst many. Thom Yorke (in Paranoid Android) said that "Ambition makes you look pretty ugly"; well in my case, it makes me look tired. I have been formulating a business plan and ideas for the venue, yet it seems an almost impossible realisation. Setting aside issues such as finding a venue and getting a loan etc. the amount of start-up capital needed is immense. It is going to be the same with any business, but it seems that an idea is not enough: banks and lenders require you to have enough of your own money before they lend. I can guarantee that the business enterprise will be profitable and successful, but the initial stumbling blocks are hard to get over. The other 'crazy idea' I had, was to establish a record label. This is born, not out of a need for profit, but to provide a home for some great musicians. I know quite a few different acts and artists whom are unsigned; negated and passed over by labels because their sounds are not what they are looking for- seemingly wandering the road seeking out shelter. It is quite sad, as the artists in question are all hugely talented and impressive. My ickle label- tentatively to be called Famous Atheists Records- would be London-based, yet be free from genre restrictions. The idea would be to provide a parapet for all sorts of artists; from northern Pop and Rock acts, through to U.S.-based Electro.- and all in-between. As far as desire goes, this idea probably takes up more of my imagination than music-making itself. I know of so many acts all worthy of being signed, yet subjugated and rejected because their sound is too unique; ill-fitted to a record label's rigid mould- it is heartbreaking. BBC 6 Music put out an article online (link below) stating how easy it is to start your own label. Like a business, you just need to have your plan, costs and cash forecast set out; do your market research and get in touch with contacts- simples, right? Well, in the case of some failed record labels, perhaps not. If you are smart enough to do your research, then you can make a go of it, just you always need some cash of your own (like with a business) before going to a bank. As much as anything, setting up a record label relies on getting funds and donations from other businesses and contacts- which can be a headache in itself. It is not just me (as a megalomaniac-music mogul-in waiting) whom has this issue: many of my contemporaries and pals have this conundrum...

Recently, I have reviewed quite a lot of different acts. From Scottish wonders through to English Pop princesses, there has been a great deal to digest. With every new act, there is always a lot of graft and sweat that has gone into their music. When I (recently) reviewed Universal Thee's Back to Earth album, I know how much effort went into make it. The band members all worked harder than ever; toiling and spending hours on ensuring the finishing product was as good as possible. The money that went into making that L.P. was as a result of endless shifts, overtime and tiring work. Knowing how good the band are- and were before the album- it seems strange that the guys had to work so hard to raise the funds. I am sure that the five-piece did not mind; and that they would do it all over agin, but this struck me: shouldn't it be easier than this? Other acts, from Issimo, through to Jen Armstrong; to Chess Elena Ramona and Crystal Seagulls, have broken their backs in jobs- to raise the necessary cash. I guess if there is a degree of struggle and overcoming adversity, then the end result can be that much more satisifying- as though you have genuinely earned the right to make music. The life of the unsigned artist is a fraught and unpredictable one, that to my eyes, does not seem to be so hard. When you have a label backing you, and you have management; issues such as finance are (although not non-existent) not a huge problem. It is axiomatic that labels should be seeking the best talent; that incentive to work and produce incredible music arrives when as few burdens as possible are present; money and raising finance is one of the biggest burdens- ergo, dissipating the problem makes sense. I do wonder if the reason bands and new acts favour putting out an E.P. (as opposed to a full album) is not that they want to distill their essence and do not have enough ready material- but because it is not feasible to release an L.P. Digitialisation of the music industry and the augmentation of music-sharing has made it easier (than ever) to get your music heard by as many people as possible; yet I fear that may be an issue: would charging a nominal fee to hear your music help? The music-buying public (not too long ago), has no choice but to buy everything they heard; I just wonder whether sites such as SoundCloud and YouTube act as a double-edged sword? From a personal perspective, I have heard a great amount of music on these sites (often to review) and have always felt regretful that I was unable to buy the sound- or to pay a token sum to hear it. If, say, each person whom listened to a track paid 50p, then you could raise hundreds (or thousands) of pounds- without putting anyone out-of-pocket. Perhaps this raises ethical issues, with many feeling it unfair that they have to pay for something- that they could otherwise have gotten for free. It is always a dangerous quagmire when discussing charging for music. There will be those whom say that music should be free to listen to; that this is the only way the less advantageous can afford it. Those- like me- in the opposing camp, feel that if the music is worth listening to, then it is worthy paying for. I always love hearing great new music in its full glory, but am always left wondering what the human and financial cost of making it (was). From my perspective, I am filled with trepidations and questions. We are in a year (and era) where there is a huge amount of new music out there; where the market is as crowded and bustling as ever- it seems logical that some form of financial backing should be available. Obviously, the musician will have to help to subsidise and support themselves (to a degree), yet some palliative care should be available for all.  I have been investigating a few sites that offer some financial absolution; sources that can offer assistance.  Whilst there is some merit and utility to these sites, there is still a lot to do (in terms of raising money).

What is to be done, I hear you (not) ask? Because music sees so many new acts enter the fold (by the day), then it seems that the issue of money may be an unanswerable quandary. In tandem with the general economy, the more people you have in a country, the more you have to stretch budgets. Unless you have a hugely well-paid job (or wealthy parents) then most of us have to live by the same, modest standards of living. The ambitious are often treated with impunity, and laughed at; spurring them on to silence the sharp-tongued detractors. As I stated early on, it is wholly possible to record music wherever you may be- and whatever your budget is. For those whom require the services of a studio or producer, then the whole business can become quite expensive. I know of many new musicians whom either have to work their feet to the bone (to afford to make music) or hesitate making it all- due to the realities of realising your dreams. For those making an E.P., L.P. or what have you, there are sources such as Kickstater (a site that is a crowd-funding platform). You can get loans and grants if you have a great business plan, but often you need quite a bit of your own capital. Designing a music website requires a lot of money; setting up a record label does- the list goes on. When you disseminate your earnings to various requirements (rent, food, life etc.) then you find that the coffers are quite bare. Ambition, talent and exposure will get the best and brightest what they desire, but you have to be able to walk before you can run. I guess me moaning about this fact will not solve the issue, yet it occurs to me that there may be some solutions. Crowd-sourcing website are a great way to earn money for your projects, and it seems to be a way forward. A lot of artists have found satisfaction through these channels, and we need more websites like this to be established. As much as anything, it seems that a fundamental (yet irritating) component is stopping a lot of new artists in their tracks. It makes me wonder whether something needs to be done; as music is one of the greatest art forms in the world, we should be encouraging it hugely. Unlike acting, music relies on a huge amount of self-funding, and to my mind, there is not enough being done to support musicians- making it more cost-effective to take the first steps. I am hoping to- amongst other plans- get a record label set up and make it a bit easier for some great musicians to make music (cost effectively). It is always a bugger when real life gets in the way of things, and a bigger one when money dictates things. It would be good to hear other people's thoughts; hear from musicians whom face the hostilities of music-making/money, and get some feedback. As far as I can tell, a lot of acts are being put off of recording music, because they simply can't afford it. I genuinely believe that there is a sagacious and realistic way to rectify the issue at hand. I feel that it is going to be unlikey that studios will reduce their rates; that banks will become a bit more trusting- the answer lies online. There are so many music websites and huge companies that work independently of social media sources such as Twitter, Facebook and Google+- it makes me wonder whether the bonds need to be formed. Music will never get to the stage where you will be able to record and distribute everything for free, so it seems that there needs to more support from the big names. Of course, once the musician is established and set-up they will be making money, thus able to afford to record as much as they desire- it is the sapling steps that trip up many. If big record labels or names such as Google, Virgin and Microsoft were to offer the initial funds need (on a quid pro quo basis) and then get their money back (without interest), then it not only makes it easier to get music into the studio- but draws together publicity outlets for said musicians. I am not sure, but I know that something needs to be done. I am impressed that so many new musicians keep plugging and recording- and find the money to make their music. I hope- in not too long a time- to be able to join them; accrue the necessary dosh, in order to get recording- it seems a (painfully) long way off. For the meantime, enjoy the sun (whilst thinking about it at least), and of course...

EAT Easter eggs!

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Links:

Funding for musicians:

https://www.helpmusicians.org.uk/emerging-musicians/funding-wizard

http://www.prsformusicfoundation.com/Funding

http://www.musiciansunion.org.uk/

http://mfym.org.uk/

http://www.musictank.co.uk/resources/reports/funding-guide-2013

Crowd-sourcing websites:

https://www.kickstarter.com/

http://wefund.com/

http://www.patreon.com/

http://www.crowdfunder.co.uk/

http://www.artistshare.com/v4/

Great sites for music sharing:

https://soundcloud.com/stream

http://bandcamp.com/

https://www.spotify.com/us/about-us/labels/

http://www.last.fm/uploadmusic

http://help.rdio.com/customer/portal/articles/58994-getting-content-into-rdio

https://dashboard.earbits.com/submissions/submit-your-music-for-radio-airplay

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Starting your own record label:

http://www.bbc.co.uk/6music/events/indie/label.shtml

http://www.factmag.com/2012/06/23/how-to-start-a-record-label/

http://www.wikihow.com/Start-a-Record-Label

http://musicians.about.com/od/musicindustrybasics/ss/howtostartalabel.htm

Advice for new musicians:

http://diymusician.cdbaby.com/topics/advice-tools-tips/

http://www.helpforbands.co.uk/

http://music.lifetips.com//cat/9753/advice-for-musicians-bands/index.html

http://www.musicthinktank.com/blog/10-networking-tips-for-musicians-and-bands-1.html

Misc.: some of the best music sites in the world:

http://www.songkick.com/

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

http://pitchfork.com/

http://www.gorillavsbear.net/

http://www.blinkboxmusic.com/

http://hypem.com/

E.P. Review- The Tuts: time to move on

E.P. REVIEW:

The Tuts

　

time to move on

9.4/10.0

The E.P., time to move on is released by Dovetown Records, and available from:

http://thetuts.bandcamp.com/

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The gorgeous west London trio have been making waves since 2012. With their latest E.P., the Libertines-cum-Kate Nash mandates set them out as future festival headliners. At the moment, they are very much a 'D.I.Y.' band (handling all their own buisness themselves); although one thing is for sure: record labels will soon come a-knocking.

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IT is always quite an unpredictable life, when you have my job...

Well I say 'job', because reviewing (for me), is really a hobby (until I can record my own music), but the point is this: I never know what I am going to come across. In terms of finding and discovering new music, I am very much my own man. Through Facebook and Twitter, I have quite a few musical friends- and am able to review their work now and then. It always gives me pleasure and satisfaction, when I am able to pormote a great act; wonderful music, and some serious ambition. Sometimes I come across some Scottish Pixie-esque wonder; occassionally some northern Pop and Rock comes to the fore- I even take my travels beyond the U.K. My iteinerary can often encompass sensations from the U.S., Europe and Australia- as well as E.I.R.E. As much as I love to digest some international sounds, I always find it paramount to extol the virtues of homegrown acts. After all, these are the acts that are on our doorsteps: those whom we can see perform live and meet in the flesh. The biggest benefit and necessity (with regards to reviewing U.K. acts) is that it makes you aware about the larger and wider music scene (in this country). There is always a bit of a tendency- when we think of music- to consider the mainstream and what is played on the radio day to day- without too much thought towards new acts. One of the hardest parts of my reviewer-by-day duties, is that I have to look hard for subjects to feature- far too hard as far as I am concerned. There are some great websites that offer up reviews of new artists, yet there are few sites in place, solely dedicated to channelling the augmentations of our sapling musicians. Over the past few months I have existed on a diet of social media contacts and chance occurrence- there seems to be no stability at all. I would love to hear about a great Australian Rock act from Victoria; a fresh Electro-Disco solo act from France; bustling Indie acts from Manchester- yet how would one ever hear of these? I guess- with the proliferation of new acts- it is near-impossible to catalogue them all; sepearate them by country, genre etc., yet it seems that an attempt should be made. I have been formulating plans (amongst many others) to get together an all-encompassing music website. On it, there would be tonnes of features and elements- amongst them would be a thorough representation of new musicians. I have always had the idea of being able to introduce something where you could click on a map; highlight a country/city; then break down the new musicians in that locale by genre/gender etc. and then get a list of the acts that fall under these categories. I digress, but my point is that a lot of my reviews happen by serendipity. I hope some future bright spark will rectify this malady very soon, but for now, I want to raise a couple more points. A lot of my reviews over the last couple of years, have focused on U.K. acts- most of whom eminate north of the border (north of Watford actually). The likes of Crystal Seagulls and Los and the Deadlines are London-based troupes, whom are putting the capital firmly on the map. Outiside of them, I have surveyed some south cost Pop acts as well as a few acts based in Surrey- yet they are in the minority. My featured three-piece hail from London and call Hayes home- an area and hotspot I shall investigate in more depth. I am glad to be putting London back in the spotlight. It is axiomatic to say that it is a city where a lot of new musicians pioneer and dream- yet the best and brightest are based further north. From experience, most of my 'London reviews' have focused on bands; those whom prefer their sounds heavier and more hard-hitting, I have found few solo acts or diverse acts to review (although they are definitely out there); there is a slight homogenisation. This is no bad thing, as the likes of Crystal Seaguls and Los and the Deadlines have proven- some of the most invigorating acts in the U.K. play out of London. It is- and should always be- the mecca and epicentre of what is current, fresh and alive; London has always offered up some of the greatest acts of all time- something I hope will not abate. This conundrum and consideration may be something that is a question for the ages, but recently, I have been thinking a lot about bands. Being someone keen to not only record my own music, but recruit a band, I am always on the look out for great talent. I have never been keen on being part of an all-male band; diversity and cross-polination have always seemed more appealing. When I look at bands at the moment, there is still a dominance of the male-only realm. Occassionally, you get some male-female bands (2-4 members typically), and there are all-female bands, yet the following is apt: the styles differ gretly. Th last time I surveyed an all-girl group whom played heavier sounds, was Fake Club. Since then (that was last year), you either find that the (all-girl) acts tend to be largely Pop-based or mould themselves around a former girl group. For the boys, the sounds tend to be harder and more energetic (there are fewer boybands)- I am not sure why. Ever since reviewing Fake Club (and being mesmerised by their music) I have been looking out for a similar act- a band that can offer that potency and promise. Today's subjects provide the excitment I have been seeking. The London 3-piece act summon up the force and conviction of a four (or five-piece) male act- and do so in their inimitable and unique style.

When looking around for new bands, I have been somewhat dissapointed lately. Certain acts such as Kongos (U.S. funtime purveyors) provided no feedback or acknolwegement when I reviewed one of their songs- which left me feeling angry and jaded. I have- as a result- slowed by workrate, and going after bands whom seem deserving of attention or focus- and that would seem grateful for any review. It is a minor quibble, but it is better when a band (or act) can use a review or feature; spread the word and get more people atuned to their music. My featured trio, should have no fear: they will be big news, very soon. Our heroines are comprised, thus:

Nadia- Vocals and Guitar Harriet- Bass and vocals Bev- Drums

The girls, themselves, describe themselves in these terms: "We're a feisty all girl punk band from West London! Recently supported Kate Nash on her UK tour, played Indietracks Festival and many indie pop and punk shows! We're self-managed, completely DIY and book all our own shows". One of the most impressive elements of new music, is when a band or act manages to put out music at all- such is the demanding nature of the industry. Record label bosses and venues tend to not come calling right from the start, so musicians are often charged with make all their own moves and making all their own decisions. The Tuts not only book their own gigs, but write their own music; organise all their day-to-day activities and movements- they are a three woman army. The girls are all striking and gorgeous to behold, yet it is when their music hits your ears, that the biggest impressions are made. Our heroines' onomatepiac name translates as "To express annoyance, impatience, or mild reproof"- their music whips up a certain distain and rebellion. Rare is their brand of music, that many critics have been allured and staggered by their intentions. The Tuts have a natural home in the live arena, and make most of their music their. When they get into the studio, their energy and glory is not reduced or distilled- it is all in tact and restored. In 2012, their debut E.P., S/T gained the hearts of many fans (and new admireres). One reviewer was compelled to write: "West London three piece buzz like a female version of the Libertines. From the same town as the Ruts, with only a letter difference, the Tuts are a bundle of attitude and suss." Songs such as I Call You Up (a fan favourite) is a two minute aural assult that puts me in mind of '70s Punk as well as White Blood Cells-era The White Stripes. That track was a rallying call; yet contained melody and a sunmmery feel. The girls turned lyrics such as "And I’m not just starting beef but you’ve gone to sleep/And I’m shouting and I’m screaming for you", into something toe-tapping and upbeat. One of the most striking things about The Tuts is their image. Although the girls have plenmty of genuine Punk and Rock spirit; grit and punch to their music, they have plenty of heart and tenderness. If you look at their personal website, it is awash with bright colours, cartoonish figures and vibrancy. The E.P. cover to S/T depicted the girls in shilloutte; colourfully-depicted- it was the kind of image that would adorn the album of a Pop album perhaps. There is a definite air or happiness, joyfulness and sun-kissed variegation. After the success of their debut E.P., combined with a sturdy and busy touring scchedule, the positive reviews flooded in:

"As The Tuts rage on through the tracks in their self-titled EP, the crowd really starts to come alive, including one particularly enthusiastic fan sporting a pair of cat ears on her head. Insightful lyrics in Tut, Tut, Tut chip away at sexism in the music industry, whilst Nadia, sipping from a bottle of lager in between songs, becomes an embodiment of everything The Tut’s music stands for. The rest of the set, along with jokes about Nadia’s "hairy armpits" (they weren’t by the way) receive raucous applause from the audience, signalling that The Tuts have gained a venue’s-worth of new fans".

The Ark Preston

Part of an ongoing girl-band renaissance that takes in everything from the dark post-punk of Savages and Zoëtrøpe to the lo-fi sounds of Woolf and Skinny Girl Diet, The Tuts instead take a refreshingly punked-up pop approach, citing their inspirations as everyone from The Beatles to Bikini Kill, and wielding enough classic-indie influences to make them serious contenders for mainstream appeal should word continue to spread".

The Girls Are

"The Tuts let themselves be free to be as cheeky, poppy and cute as like, which turns out to be very cheeky, poppy and cute. The band sound like a Kate Nash, Jack Penate and Shangri-las mash up, which can be most obviously seen in their latest song ‘Call Me Up’, an upbeat catchy number with candy coated riffs and sweet as pie vocals that will definitely take the girls far".

Don't Dance Her Down Boys

"Very much the definition of power-trio, The Tuts burn with an erratic energy and songs that make an almighty racket. Think of them as southern England's answer to The 5, 6, 7, 8s (remember them?!) and you're on the right track...Afterwards they were more than happy to spend a good deal of time meeting and greeting; shifting merch and posing for photos with a few sweaty-browed gents and a seemingly limitless supply of starry-eyed, impressionable young girls".

Liverpool Echo.

At the moment, our trio have just unveilled their second E.P., and it shows them in confident and uthoriative mood. Their online pages- Facebook, Twitter etc.- are informative and kept up-to-date, and their fan base is slowly growing. I am sure that with the release of time to move on, their legions will swell and multiply; demand will flood in from all parts of the U.K.- and venues will come calling. With the likes of the Reading and Leeds Festival playing host to the likes of Arctic Monkeys and Queens of the Stone Age, there is a huge demand for groups whom provide heavy and impressive music. There is a definite niche and demand in the marketplace for groups that can provide the sort of kick that The Tuts have perfected. It is not just the music that has compelled so many, but the personalities of the girls. As well as being luminous and eye-catching with their online presentation, they are very much dedcicated to striking against sexism; reestablishing equality and balance- as well as coming across as relatable and tangible. On their Facebook page, the three-piece list their 'interests': "Gigs, drunken nights, eating pizza, playing sweet tunes, feminism, friendships, cuddling, craft, dancing, football, GIRL GANGS, horoscopes and being outspoken bad-ass bitches! Don't let the patriarchy silence you. Confront sexism and racism head on". It is clear that Nadia, Harriet and Bev have no intention of being labelled a 'girl band' or coming across as flyweight- they mean serious business. Amonst their influences, is the likes of Colour Me Wednesday, The Libertines, Best Coast, Kate Nash, Lemuria, Standard Fare, Martha, Perkie, Feeder, The Aquadolls, The Pipettes, and The Babies. It is the comparisons to- and the influence of- The Libertines that caught my mind. When listening to the girls' debut E.P. I could hear comparisons with the (sadly defunct) band- especially their Up The Bracket work. The Libertines are one of my favourite bands of the past twenty years, and I have long-bemoaned their demise. It is a sad fact that broken relations (as well as drugs) disintergrated a group whom seemed capable of a long regency. A lot of modern acts are too shiny and polished; there is little intrigue; too little wit and bite in their lyrics. The Libs. boys offered up London back-alleys, deplorable characters; chancers and vagrants; broken love- all wrapped in their festival of sound. The Tuts have the spirit of The Libertines in their bones, and echo some of their finest moments in their threads and movements. As I sat down to review time to move on (knowing everything I do about the trio), I prepared myself for what is to come.

The first thing one notices about the E.P., is the attention to detail. The E.P.'s cover is a mesh of striking lettering, colourful washes and striking images. This consideration and allure is not confined to their visual presentations. From the first notes of Worry Warrior, it is clear that our heroines have seemlessly combined urgency with consideration and thought. A beautiful intro. is unleashed, that put me in mind of the U.S. You can imagine the sounds of Worry Warrior blaring from a speaker in Nashville; there is a bit of a Electro-Country feel to the first moments; the solid and stacatto drum beat gives it some kick and fun- making the combinatuion sound very much their own. I love the lo-fi and raw production sound as well. It sounds like you are listening to a live renedition of the track-it has that feel to it. Sam Brackley's production gives the track the sensation of an early Libertines cut, but unlike Mick Jones's efforts, sounds and sights are not buried in the mix- everything is clear and concise. You cannot help but be swept up in the gallop of percussion, drum and bass: the girls combine beautifully. When it comes to the lyrics, they point at some disatisfaction and anxiety ("I evern smile when I'm annoyed"). Our heroine's voice is sweet and melodic, yet backed with genuine anger. With a Kate Nash-esque delivery, she states that "No one takes me seriously". Unable to say no to other people, Javed is reflecting on the downside of her trusting and open nature: delivered with impecable energy and conviction. The song has elements of Kilamangiro's (by Babyshambles) energy; a bit of Happy Hour Housemartins- and a whole load of attitude by The Tuts. Towards the 0:40 mark, there is a rumbling and raw guitar, with Javed (Nadia) and Ishmael (Bev) clashing, backed (Harriet) Doveton's solid bass. When proceedings are slowed, and our heroine is pounctuated by a catchy and powerful sonic blast; the song takes another twist. Speaking introspectively and inwardly ("I thought you were stronger"), our heroine comes to a conclusion: "time to move on". The Surfer Rosa-era Pixies guitar/bass/drum swirls instantly transform back into lighter and linear territoy. Our heroine is back at the mic. as she looks back on life ("I used to fight to keep peace"); her voice inflected with a heavy heart. Such is the spirit and talent of the trio, that they can present such a unique and original song; yet put you in mind of others. The likes of The Bangles, The Libertines (Begging and Time for Heroes) as well as Nash come through: combined and concoted into a heady brew. As the chorus swagger in (with vocal duties being shared between Javed and Doveton), your feet will be tapping. There is such a raw and unadulaterated spike to the sound, that you can imagine yourself in a pub, listening to the song live- maybe being caught in the bow wave of a mosh pit. The final third of the song sees each of our players stepping up. A punchy and solid drum rattle comes forth; a wailing and electryfying guitar solo come in (Josh Homme, eat your heart out!); followed by a twirling and finger-picking bass coda. In the final seconds, the percussive and bass rush is juxtoposed by our heroine's vocals; which, whilst still imploring and direct, are more relaxed and casual than her cohorts. As we come to the end, I have little time to reflect before the next track arrives: Dump Your Boyfriend. The version on the E.P. is a live one, and shows our heroines in their natural enviorment. With a vibrating and heady guitar storm (in the first few seconds), the track wastes no time in getting into your head. Again there is a slight hint of Kilamangiro, but the girls add weight, potency and force that Doherty and crew could only imagine. There is a Punk rush to the intro. that Buzzcocks undertones and a huge atmosphere whipped forth. Our heroine elonagates her words, as she recounts how peoplke advise her to dump her boyfriend; accusations are abound, as she admits: "But I can’t just dump/Duh-duh-dump my boyfriend/Accusations but what about all the birds in your tree?/So pull off the plaster for me". Whereas the previous track was penned by Doveton, here Javed is a co-scribe; the two blending their talents together. The recording on the E.P. is clear and consise; like on Worry Warrior, the production allows clarity and consision- making the track stronger for it. The subject of the song has obviously caused issues; our heroine seemingly stuck in a rut ("He took my liberty away/(but I stay)/He clipped my wings so I stay/(can’t run away)/I’ll put it off for another day"). Dump Your Boyfriend has a relentless and unslakable energy and drive (unsurprsing consider the song's topics); the vocal performance mixes languruous and laid-back with urgent and spiky- the percussion, bass and guitar once again rampant. It seems like there is a lot of regret and hesitation in the mottifs of The Tuts; the need to break away and change is clear, yet there is something holding them back. This is perhaps concecrated in one of the song's final lines: "Easier said than done, I don’t want to jump the gun". At just over 1:30, Loving It is the shortest of the four tracks (five, including the remix of Worry Warrior). After a brief lead-in/intro. (with some tantilising shades of Queens of the Stone Age) it is down to business, as our heroine steps to the mic. Caught in the riptide and franticnous of her colleagues' combinations, our heroine states "It's making me go mental"- although it is unclear, to begin, what this is referring to. As it is said (that) "We don't see the struggle" there is a beautiful little guitar, bass and drum stutter and rush (the song snakes and turns in different direction) that adds a sonic smile to proceedings. Our heroine's vocal is dependably direct and convicning; displaying its hallmarks or sedate and elliptical; breezy and spiky. The vocal delivery- as well as the composition itself- changes directions and pace, giving the song a constant electricity. You cannot help but kick your feet out when the composition is syncopated; unveil a grin when our heroine sings "I'm loving it"- there is a pause- before delivering"It's making me...". Again The Tuts seemlessly inject flavour notes of past hits and bands (there were one or two '60s and '70s toches and familiarities I enjoyed), with a distinct sound of 2014 London. I would say that Loving It is the catchiest song of the set (thus far); it packs so much dance, jive, rush and movement into 92 seconds- it is hard not to be impressed. The final (original) track of the E.P. is 1,2,3. After a sojourn of percussive pattering- that summons and tees up the vocals- our heroine steps into view. If the song's title and nursery rhyme delivery makes you think our London trio are penning a song for the young, the first lyric snippets quickly dispel that. Whether the song is directed towards a former sweetheart or ex-friend, it is unsure, but whomever it is, a lot of anger has been provoked. Semblances such as "4,5,6/You can suck my dick" suggest that a common enemy has stirred some hostility; a need to right wrongs and change things is evident ("I wanna take back the night"). Our heroine wants to feel okay; to roll her car window down and shout out- the vocal here is one of the most nuanced and intruiging on the E.P. The entire band performance is (I guess not too shiockingly) tight and mobile; like Loving It, there is a lot of pace changes and direction shifts- meaning that you are always kept to attention. If some of the lyrics point towards juvenille petulance or infantile tongue sticking-out, the vocal performance and wit transcends any doubts. Such is the nature of the band- raw but upbeat; Punk but sensitive- you know that there must have been a smile on their faces when the lines were delivered. Like contemporaries Kate Nash, The Tuts are able to deftly weave witticism with vulgar; sensitive with spiked heels- and make it sound fresh and new. As with the opening three tracks, matters are dealt with with succint regard and concision. No track outstays its welcome, and each track arrives and plays like an explosion: it lasts a fairly short time yet leaves its impressions. By the final strains of 1,2,3 the listener is slightly exhausted and bruised- yet better for it.

On their BandCamp page, the band offered a Deluxe Edition of the E.P. (that included: 1x copy of the brand new EP 'time to move on' with signed lyrics booklet + immediate download of the tracks!/1x 'Always hear the same shit' Earth Positive T-shirt! (please pick your size! listed below!)/1x 'Dump your boyfriend' 13cm tall embroidered patch!!!/1x Tuts plectrum in either pink or blue! (please specify in order if you have preference!)/1x Tuts mirror!/1x Limited edition high quality cartoon tuts gig poster!/1x Limited Edition 'Happy happy birthday to me records' mix cassette tape featuring The Tuts & other Indie pop artists from around the world!/1x Randomly chosen hand printed mini patch! (over 4 different designs available!)/1x Akbar Ali Artwork zine/3x Tuts stickers/1x Badge pack). It is evident that the three-piece have a lot of respect and time for their fans. Their website and online portfolio is jam-packed and informative- fans and newcomers have eveything they need. It is impressive that the girls handle all their own business, and run the show: you get the impression they would not want it any other way. By having full artistic control, they have been able to play the gigs they want and make the music truest to them. One feels, however, that labels and venues will be knocking at their door. I have reviewed enough new music to know that the trio will be in demand very soon. Their sound is both evocative, familiar- yet definied by a unique and personal direction and flair. They are a tight and impressive force, and their live performances have gained huge praise. Music is a cruel and unpredicatble mistress where many get buried under its weight. The girls should consider the possibility of being future headline acts; of having many eyes cast their way. At the moment, they are probably more concerned with seeing how time to move on does. I was thoroughly impressed by not only the quality of the songs, but also of the range that they presented. Flavours of the Punk masters of old come to the fore; sparks of The Libertines and Kate Nash can be detected within- all contained within solid and memorable tracks. If I had one suggestion for The Tuts, it would be to allow some additional hands into camp. I know that they are skillfully managing their own careers, yet there are going to be label bosses and record companies that would snap them up in a heartbeat. Creative control and input would not have to be compromised; but the girls would have the opportunity to play their music as far and wide as possible. Bars, venues and localities within New York and California have similar bands (doing good business) here; Australia and Europe are all have definite room in the market for the likes of The Tuts. As much as anything, there are plenty of towns and cities throughout the U.K. whom would love to hear from the girls. That said, they play Cardiff, Birmingham and Exeter in the next few weeks, and will be taking their blend of song to some new faces. When compiling a new band, I would kill for the likes of Nadia, Harriet and Bev. Such is the mark of a great act, that they not only inspire your own work and motivation- but also make you rethink. I have been writing music that is lacking in guts and boldness. The likes of Worry Warrior and 1,2,3 have provided fresh inspiration, and I find myself re-inspired (once more). The '90s (and early-'00s) was the last time we saw a genuine wave of exciting and new London bands- The Libertines included- so it is great that The Tuts are coming through. Like I said up top, there are plenty of London acts out there, yet few manage to bustle through the herd and steal focus. This year has been an encouraging one for new music, and provided more diversity and quality than I have heard for a long time. I am not sure what future market trends will be, but it is clear that the likes of The Tuts will be around to find out. I hope that as many people as possible listen to time to move on (buy it is as well), and go see them live, as they are determined to be around for as long as possible. It is the mutual friendships and strong bonds between the girls that will keep them togethger- so do not expect any Doherty-esque downfall. The music is impressive and nuanced, and there is something in there for everyone. Too many new acts arrive, implore hard- only to be forgotten about. With our trio doing what they are doing...

THAT will not be something they have to worry about.

　

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                 Track Listing:

Worry Warrior- 9.4/10

Dump Your Boyfriend (Live)- 9.3

Loving It- 9.6

1,2,3- 9.3

Worry Warrior (Remix)- 9.4

Standout Track: Loving It.

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Follow The Tuts

Official:

http://thetuts.tumblr.com/

Twitter:

https://twitter.com/TheTutsBand

Facebook:

https://www.facebook.com/thetuts

SoundCloud:

https://soundcloud.com/the-tuts

BandCamp:

http://thetuts.bandcamp.com/

YouTube:

https://www.youtube.com/playlist?list=PLA44FE9BFE65850E3

Songkick:

http://www.songkick.com/artists/4047126-tuts

Tour Dates:

https://www.facebook.com/events/1406774409579871/

Album Review: Universal Thee- Back to Earth

ALBUM REVIEW:

Universal Thee

Back to Earth

9.3/10.0

The album Back to Earth is released by Eventual Heirs, and available from:

https://itunes.apple.com/gb/album/back-to-earth/id840152482 and https://play.spotify.com/album/7gHtnqBMpjTbsRNZtCABIJ?play=true&utm_source=open.spotify.com&utm_medium=open

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The band are- in their own words- "distinctly Scottish"; their ambition and drive seriously impressive- the results speak for themselves. On their debut L.P., they give the listener a glimpse into strange scenes and vivid themes: this five-piece mean business.

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IN today's review I will investigate a band I have a lot of respect for.

The quintet is a group that have been working hard to ensure that their debut album is as fresh and engaging as possible; promoting it, making sure that it reaches as many ears as possible. I shall arrive at Universal Thee's door in due time, but have been thinking about a few things (as-of-late). In my last feature, I investigated the 20th birthday of a rather special time/genre of music- 'Britpop'. When looking back at this wonderful time, it occurred to me how many wonderful acts were part of this movement. The obvious leaders such as Oasis and Blur were making the biggest noises, but so many bands were joining together, ensuring that British music was at the forefront of the world's attention. For me, the most impressive aspect of the 'Britpop' era was the invention and fun that was abound. By 1997, introspection and something more mood-lit was entering the scene, but the years between 1993-1997 saw a succession of elliptical and joyful anthems being produced. The bands of the time were intent of ensuring that as many feet were moving as possible; that their songs stuck in the memory and were not easily forgettable. When that period ended, and music started to reincorporate U.S. influences, the party, it seemed, was over. I mention 'Britpop' as it was a time that not only saw some wonderful music being produced, but spurned a lot of creativity and rivalry between the groups of the time. As of now, music seems to be a little more compartmentalized. Perhaps it is the sheer weight and number of acts making sounds, but reciprocation is rarer: there is not the same encouragement and bâtonnage happening. During 'Britpop', although there was a great sense of unity and patriotism, the rivalries (such as Blur v. Oasis) inspired acts to push themselves as much as possible- meaning that the quality of music was much greater. Perhaps I am living in the past, and still wearing my violet shades, but what happened to that? As well as there being less overt jocularity and joy in music, the nature of competitiveness and thoughtfulness seem a little compressed. Bands tend to keep to themselves; solo acts likewise; I just wonder whether market forces and modern times have enforced this. My abiding point is that it is a lot harder for new bands to get recognised; to be inspired and pushed as much as possible- meaning that few acts establish a long-term foothold in the scene. It is clear that there are a lot of new musicians popping up (each day it seems), but the channels of communication and bonds seem to have broken down. Over the course of my reviews, I have surveyed a great deal of bands and solo acts that emanate from the same area- yet neither is aware of any of their contemporaries. One of the greatest pleasures I have taken from promoting certain musicians, is that they have been able to connect with other local acts- and as such have been able to help one another's trajectory. The music industry is a hard and unforgiving one, and whilst it may be impossible to return to the symphonic glories of 'Britpop', there is no reason why some of the spirit and hallmarks cannot be retained. To my mind, music requires a bit of a shift. The best and bravest music seems to be emanating from the north of England- as well as Scotland. Yorkshire is establishing itself as a county synonymous with phenomenal and daring musicians; of huge sonic range and diversity- as well as a scene that is going to see many future stars. Scotland is promising similarly encouraging signs. I have seen many great Indie acts; some wonderful solo artists as well, each with their own distinct sound and armoury. Although it is impossible to unite all musicians and galvanise the entire scene, it is imaginable that local acts can conjoin. Too many times I have seen similar-sounding or like-minded acts, sometimes within a few miles of one another- yet neither is aware of the existence of the other. Just a small connection like this will not only mean that the act/band have a connection; they also have someone whom can promote their music- and encourage a little competition/rivarly. Music is a wonderful industry and sector that gives opportunities to all to present their intentions. It is also one of the most unforgiving and unpredictable ones, as well. A new act- one fill of potential and promise- deserves as much support and community as possible- I fear this is being lost. If a greater sense of connectivity and mutual appreciation were to be initiated, it not only provides anxiety relief to new musicians, but ensures that they are incentivized to push themselves creatively; thus ensuring that they a waiting audience and market years from now.

Universal Thee are a band fully worthy of a lengthy and happy career. I have been familiar with the Scot five-piece for over a year now, and followed their path closely. The music they offer, not only is imbued with some of the fun and alacrity of the 'Britpop' era; yet also contains a wide colour palette and diverse sounds. Based out of Edinburgh, they play in a locality with many fervent and wonderful acts. I know that they have some connections and friends within the local scene, yet it appears that there are many more bands and solo acts, not attuned to Universal's sounds. Our endeavouring quintet have made some critical impressions, and (Back to Earth) has received some notable praise; yet I feel that the group would be having an easier time of things, were their local colleagues to lend a hand. I shall return to my theme in the conclusion, but let me take you inside the busy and bustling camp of one of Scotland's best and most electrifying young bands. I have been fortunate enough to have reviewed Universal Thee once before (back in May, 2013) when investigating their song All Is Love. In my banner headline, I announced the group thus: "5-piece, have vocal stream-of-consciousness, and a strong ear for melody. The Saltire is being strengthened by some prophetic wind and wonderful melody". When listening to the track, I was impressed by the conviction and quality I heard, stating: "The opening notes have shades of early R.E.M., curiously, as well as light-edged Radiohead. Maybe there is some Jack White to be heard- circa White Blood Cells". A year has passed, and the intrepid band have unveiled their debut L.P., Back To Earth. Before I dip into the disc (and fill in some blanks), a bit about the band themselves- and where they have come from: "Distinctly Scottish band, Universal Thee have been both delighted and surprised with national radio play within days of their most recent recording sessions, showing they have achieved their aim of creating music of wider appeal than their current Edinburgh base. Attention for the band has been beginning to mount and they have been taken on by Napier University on a band development initiative. With a range of songs and styles, the five-piece, led by husband and wife, James and Lisa Russell, provide a Pixies-esque loud-quiet-loud dynamic, mixing slacker rock, grunge and indie pop. It is James talent for writing catchy melodies delivered by beautiful male/female harmonies, matched with Robin’s ability to create diverse and powerful lead guitar hooks, that ensures listeners will be singing their songs for days. Although their music gives a nod to their many interesting and diverse influences such as Ash, Pixies, Weezer and Queens of the Stone Age (amongst others), fans and bloggers agree that they genuinely have their own new, distinct and exciting sound. The blog site musicmusingsandsuch sought to describe their sound, stating: "as well as melody, there is a great deal of exciting noise; this combination, combined with male and female (lead) vocals, elicits an almost-Grunge/Punk splendour, rarely attempted in the 21st century". The band has been recording with Garry Boyle for their gentler folky sound (previously involved in the Pixar Brave soundtrack and SAMA winners, The Holy Ghosts, album) and Ross McGowan, (producer of Fat Goth and Dananananaykroyd) for their heavier work and are working with PR company A Band of Friendship, to promote, and release, their first single and Album in early 2014, with a tour scheduled to compliment the releases". Our five-piece have influences that range from Pixies and Ash; through Weezer and Pavement- to the gilded shores of Queens of the Stone Age. The combination of solid and diverse influences; together with a natural talent and direction, have seen many critics heaping praise upon their L.P.:

"What do you find so on Back to Earth? Abductees and catchy melodies that easily remembered and listen loop. Guitars sometimes coaxing, usually energetic and angular. Two voices, boy / girl who complement each other well and gives their side a bit rough and scratchy, dirty and brutal look a little dry, even the softer tracks".

Dans Le Mur... Du Son

"A very good debut album indeed with some cracking songs too".

Pat McGuire, MyvoiceofScotland

"Back to Earth is a nice album. It doesn’t wow you immediately but it’s a grower and the more you listen to it, the more you get from it".

Indulge-Sound.com

"James and Lisa Russell's dual singing produces light and shade, with the latter's soaring vocal's adding angelic serenity..."

Daily Record

I will get down to investigating Back to Earth, anon, and pay my respects. I know how hard the entire band have been working- to ensure the L.P. sees the light of day. As well as promoting it tirelessly, band members have been working endlessly to raise the funds needed to record the album. It has been a labour of love, and one that the group have been striving towards for a long time now. Most new bands (or those at Universal Thee's stage) usually put out an E.P. (or two), yet the Edinburgh group were determined to put out a full-length disc. The decisions and hard work have been paying dividends (so far), and it will give them the confidence to think ahead to album number two- or a possible E.P. Let me, then, get down to business...

The twisting and snaking intro. of Bone Collector is the first sound of the album. "You never wanna bring it up" is a coda that is repeated; James's vocals punchy and accusatory. With an emphatic and crunching riff, the song steps up a gear after the 1:00 mark; Lisa and James combine vocally; telling the tale of a man whom never wanted to be a "city re-erector". With shades of Bossavova-era Pixies, the track never loses momentum on energy- changing from softer and more tender implore to blitzkrieg guitar and percussion burst. With a simple and catchy chorus and a tight and impressive band performance, it is a perfect opener: our heroes waste no time in making impressions. Tiger Tiger's gorgeous- yet hard-nailed- intro. leads a track that is almost lullaby-like. Sentiments and lines are twisted; considered and elongated to maximum effect ("These are the words/of the everlasting verse" are delivered especially potently). Boasting a particular impressive vocal performance (from both our leads), the guitar, bass and drums melt and spar with one another; infuse perfectly, before streaming like a river. Although Bone Collector may be the more memorable of the opening two tracks; Tiger Tiger offers more sonic intrigue: it is a strong and confident composition. Wolves of the Netherworld (again) has a shorter intro.; sparing little time with reflection before the vocals arrive. With a mantra that puts the central figure "Down there bobbing at the bottom of the sea", it is a track that has a similar sound and pace (of the opening duo); yet seems more upbeat and sing along. With some elements of early-career Ash and Pavement, it is another catchy and bouncy track. The song is delivered with such abandon and energy that it comes to an end all too soon- making you want to hear more. With a softer and more gentle beginning, Feeling Fragile may be the hangover- following the drunken delirium that proceeded it. Our hero and heroine share vocals; yearning to be home and get away from a dead scene. The song has some U.S. roots; with the likes of The Magic Numbers and Document-era R.E.M. coming through. Line such as "Everything's broken/You know" paint dislocated image- given emotive weight and conviction due to the tender vocal performances. You can imagine our band wandering a dust road, looking for some salvation- something to rescue them. It is a song that not only provides a needed comedown, but also shows a different (sensitive) side to the group. Eric's rumbling intro. and breakneck vocal performance cranks the energy-o-meter back to 11. In the way that our two leads combine; James yelps and adds menace to certain words, it has clear elements of Pixies, particularly their work during Dolittle and Surfer Rosa. Some of the guitar twangs and strikes have some of Joey Santiago's memories in them- not that the track is too Pixie-esque. You can hear the distinct- and native- accents of our leads shine through. There is no U.S. inflections or Americanization: Scottish brogue is evident when the duo sing "Eric was a lonely guy/Lonely guy". It is a combustible and frantic track that is done with in just over one minute- the pummeling pace leaves you a little breathless by the end. Down perfectly calms proceedings again- at first. Like Feeling Fragile, it sees our band in more considered and reflective mood. The track mutates into a sprightley and toe-tapping number before the 1:00 marker; the words "And down and down and down/You make me go round and round and round" elicited. With some flavour notes of legends such as The Kinks (in the composition), it is a song that catches you with its chorus. The strong and impressive vocal performance (from James and Lisa) enforces the catchiness; the tight and punchy guitar and percussion makes sure it sticks in your brain. There is an air of '60s grooviness; there is such a swaying and psychedelic charm to the song, that it implores you to get up and dance- to surrender to its charms. Down is one of the L.P.'s longest tracks, and followed the shortest (Eric). Arriving as a mid-album fulcrum, Make a Little Money (Then You Die) pulls up. With a rumbling and dazzling intro. energy and invigoration are instilled early on. Again there are elementary shades of Pixies; with Come On Pilgrim's gentler and more melodic moments, springing to mind. Whereas previous tracks such as Eric and Bone Collector have pervaded a similar sound and evocation; perhaps Make a Little Money's is a little less urgent and bracing than if it were higher up the order. Regardless, it is a charming and memorable mid-album track; all the band's components (strong vocal interplay; multi-layered and intelligent compositions) are solid. Perhaps Down's intoxicating sound and chorus are still in my mind; yet Make a Little Money (Then You Die)'s ideas and lyrics seem pertinent. Perhaps you can apply the song's title to the struggle most bands face: working hard until they make a little money; but by then it is too late (to do anything with it). Perhaps not the quintet's finest moment, it is one that seems relevant and personal to them- perhaps some sardonic humour is at work. Kicking off the second half (the band's previous single) Aranis Natas arrives. I am familiar with this track already; with its chugging and rumbling intro.; its scowling and grumbling vocals- all its wonder. Like Down, the song's title is repeated and tempted; rallied and chanted- this time James gives a particular determined and gravelly delivery. Our heroes (Lisa and James combine) state that "Even if you see it", then it's "never gonna last". Aside from the Byzantine and baroque title (that conjure up all sorts of images), there is a great quiet-loud dynamic that keeps the song on its toes. Although Feeling Fragile more textured and subtle; Aranis Natas is more urgent and forceful. A mid-song musical parable levels proceedings and provides chance for absorption- before the vocal force is back into view. The song is filled with humour; the entire group combine wonderfully- and the vocal performance of our two leads is perhaps the strongest so far. It is- and was- a rightful hit, and a song that is still getting great feedback and attention. Bear In the Hospital, with its light and cascading intro. has hints of early (The) Libertines; footnotes of Weezer (perhaps). You can tell from the title, that humour is going to be evident within. It is, but personal utterances and confessions seep in; something more direct: "Don't wear me out/'cause you don't know what I'm all about". Boasting the most impressive guitar and bass work on the album, it is a track that bolsters Aranis Natas's intentions- and provides a strong one-two. With qualitative shades of R.E.M.'s Near Wild Heaven, there is a similar Out of Time adventurous joy and strong melody. The quintet have been celebrated for their gift with a melody, and it is the way that a little of Radiohead’s Street Spirit (Fade Out) arpeggio; mixed with Jack White’s Never Far Away; with whispered dark edges of Pixie’s Debaser, that creates a fairytale/balletic skip and step. Lisa’s vocals are warm and sensuous: little honeyed edges of cherry country and folk, melting with a some U.S. indie edges too. The result is soothing and sexy. Similarly, the masculine edges from James’s voice compliment perfectly, and when "I see it/More now than ever" is sung, the resultant chemical reaction is soothing and beautiful. Pelican Crossing gallops and bounces from the off; with perhaps some edges of Free All Angels Ash in the mix. The track boasts a beautiful melody and vocal performance; our hero yearning "to be free again". The sound pulls away from '80s U.S. Punks and Grunge and towards U.K.-based Rock and Pop- perhaps with some 1960s semblance. The antepenultimate track, She Was a Whore has similar sonic evocations as All Is Love (there is a similar feel). The song tells of a central figure; unattached and uncaring, whom does not seem concerned by anything happening around her. The anti-heroine is put in the spotlight, as it is claimed: "Daytime, night-time/Any time at all/She'll come to my bedroom door". The lyrics are vivid and scene-setting, but the sound has a lot in common (maybe a wee too much) with other tracks on the set. Not to say that it does not distinguish itself (it does), but it does so lyrically, rather than sonically. The words make me smile, no less, and the band demonstrate another side to them, as they survey a rather salacious character (perhaps that has infested their lives at some point). Before the swan song arrives, Shallow Juvenile arrives, and, as the title may suggest offers another anti-hero. Focusing on a somewhat petulant and immature central figure, the song sees the phrase "I'm never going back" bent, elongated and repeated- almost as a rally cry. After some delightful whistling and (I may be wrong) xylophone interlude, the infectious coda is once more, unfurled. The track has a breezy and U.S. vibe to it, and wonder whether future producers will snap it up- as it could be ready-made to score a drama or Indie film. With some acoustic tenderness, Million Voices closes the L.P. With our hero asking: "Is it real?/Is it fake?", the vocal is fast-paced, and has a distinctly American sound to it. There is a touch of Grandaddy in there (that same sort of high-pitched sound); perhaps a little They Might Be Giants, too- a straddling of East and West Coast U.S.A. When our heroine steps in, perhaps a little romance is lost when it is said: "You've got a beautiful face/You've got a f*****-up inside". This bold honesty is juxtaposed with some honest emotion- a few seconds later ("Every winter/We lose/One million voices"). That combination of spiky and direct offering from Lisa, proceeding James's earnest and impassioned croon is a terrific effect- when they combine during the chorus, there is an odd yet natural unity. After a lot of rambunctiousness and electricity, it is fitting that the album end with something more tempered and softer. Million Voices fades (the only track on the L.P. that does, I think), and Back to Earth touches down and settles- ending a tremendous debut.

Some reviewers have alluded to the fact that the album feels a little bloated at times- maybe there are a few too many tracks. Perhaps there are the odd one or two songs- She Was a Whore and Make a Little Money (Then You Die)- that do not match the dizzying heights of their best work, yet they should have no fear. It is a brave decision to release an L.P. at all (if you are a new act), and it shows that the band are as ambitious as they come. By having 14 tracks, it shows the full range and intentions of a hungry young group. Perhaps trimming a track or two would result in a leaner and more muscular set, yet I found no weak or filler material in the set- a big achievement in itself. No track lasts longer than needed, and because of the expert and atmospheric production, each song is compelling and intriguing. Back to Earth is the summation of months of hard planning and work; saving and scrmiping; dreaming and desire. The five-piece should be very proud of what they have achieved, and in tracks such as Aranis Natas and Down they have crafted some modern-day gems. You can hear clear influences such as Pixies and Pavement in quite a few of the tracks, yet it is no distraction: there is never too strong an aroma or semblance. Too many modern acts tend to staple themselves to the banks of Arctic Monkeys or whomever they deem to be 'fashionable' or 'commercially viable'. Other groups tend to replicate an existing band's sound- in the hope that it will see them held in high esteem by critics and fans alike. Universal Thee have a varied back catalogue and range of influences, and sprinkle scents and flavour notes into their templates. The abiding sensation is of a hungry group with a clear identity and a desire to mingle and nestle with the best bands of the moment. The sonic offerings from Spivey, Perrie and Haddow are compelling and evocative, throughout. The vocal interplay of Mr. and Mrs. Russell is the most alarming and memorable facet. Each has a unique voice that adds texture and variance to each track; yet when they combine the effect is impressive and indelible. Unlike many of their contemporaries, Universal Thee do not stick with one particular 'sound'; in the sense that they pervade a certain timber and pace- and replicate that over the course of 10 or 11 tracks. Each song on the L.P. has its own gravity and pattern, and as such, as the album feels fuller and more diverse (there will be a song to fit everyone's moods and tastes). Like Queens of the Stone Age's album ...Like Clockwork, there are immediate smashes; and a whole set of tracks that grow and reveal their charms. By the fifth or sixth listen, the full force and effect of the album hits, and unveils its intricacies and nuance. Kudos goes to the production, which mixes Gil Norton-esque authority (think Dolittle and Echo Park) with Butch Vig majesty. Tracks are never too cluttered or too sparse; full consideration is given to summoning as much atmosphere as possible. I began this review by bemoaning the lack of comradery and social linking between bands. There is a thriving music scene in Scotland, and many great bands and acts working hard. Universal Thee are amongst the best and most striking, and deserve wider acclaim. If a few of their local cohorts were to help spread the word- as well as provide some rivalry and competitive incentive- then it could help augment the charms and sparks of a brilliant young band. I know that the bars and venues of London are seeking Universal Thee's Pixies-cum-modern Britain blend; the likes of the U.S., Australia and Europe could provide a home for their mandates- a vast enterprise of fandom awaits. Although the group are in their fledgling stages- and have a lot more ahead of them- I am sure they are going to be thinking ahead, and looking at horizons; markets and countries to be conquered etc. For those whom like their sounds harder and imperious, then there is a lot to treasure. That said, a great deal of melody and softness lingers within Back to Earth- it is an album that does not subjugate or discriminate; it wants to draw everyone in. Bias aside, the band are a friendly and likeable group of musicians doing everything they can to get their music heard. As much as anything, they are inspiring me to write and be daring; to aim as high as possible and change my way of thinking (in terms of songwriting). Too many bands have a disposable nature and one-dimensional charm- few manage to remain ensconced within the collective memory. I hope that this year- as well as future ones- see our heroes subvert natural expectations, and claim their place alongside their idols- Queens', Pixies, Pavement etc. Give their album a listen, absorb its layers and myriad sounds, and witness a band on the rise; one whom...

HAVE no intention of calling it a day any time soon.

____________________________________________________________________

Back to Earth Track Listing:

Bone Collector- 9.4/10

Tiger Tiger- 9.3

Wolves of the Netherworld- 9.3

Feeling Fragile- 9.4

Eric- 9.0

Down- 9.6

Make a Little Money (Then You Die)- 8.6

Aranis Natas- 9.7

Bear In the Hospital- 9.3

All Is Love- 9.5

Pelican Crossing- 9.2

She Was a Whore- 8.7

Shallow Juvenile- 9.1

Million Voices- 9.4

Standout Track: Aranis Natas.

____________________________________________________________________________________

Follow Universal Thee:

Official:

http://universalthee.wix.com/band#

Twitter:

https://twitter.com/universalthee

Facebook:

https://www.facebook.com/universalthee

YouTube:

https://www.youtube.com/channel/UC-C70-KSoSJXgNifHO_Ip_A

SoundCloud:

https://soundcloud.com/universal-thee

Reverb Nation:

http://www.reverbnation.com/universalthee

iTunes:

https://itunes.apple.com/gb/artist/universal-thee/id806189015

Spotify:

https://play.spotify.com/artist/6eWUN8JSxRAKW2BenbvLDv?play=true&utm_source=open.spotify.com&utm_medium=open

Tour Dates:

http://universalthee.wix.com/band#

Feature: 'Britpop' at 20- Lest We Forget.

FEATURE:

'Britpop' at 20:

　

Lest We Forget.

___________________________________________________________________________

It has been twenty years since the music phenonemum called 'Britpop' arrived. In a period that saw some of the greatest albums and songs created, I look back at a wonderful era of music- and the legacy that has been left.

___________________________________________________________________________

QUITE a special birthday party has just happened in the music world.

In fact, it is more of an anniversary as much as anything. 'Britpop' is a genre and period of music that has seen some of the greatest music ever witnessed, presented. In terms of sheer quality, I feel that this period was synonymous with music of the highest order. Before I investigate the background of this magical period, I shall give you a quick dictionary definition (of 'Britpop') from Wikipedia: "Britpop is a subgenre of alternative rock that originated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States In the wake of the musical invasion into the United Kingdom of American grunge bands, new British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns". Before I investigate the bands, moments and influences of 'Britpop', I just want to mention a couple of small points. The anniversary (or birthday) is one that brings out mixed emotions in me. On the one hand, it is great to look back at the music, moments and scenes that made up the movement. I still have many terrific albums from the time, and it was tremendous witnessing (first-hand) all of the highs and lows- as well as catfights! As much as anything, this period made Britain a music nation to be reckoned with; more so than during the '80s, and the energy and combativeness amongst out musicians was incredible. Bands and acts upped their games; rivalries were formed and a unempeachable sense of 'coolness' lingered in the air. I am sure that many musicians today are directly influenced by the greatest pioneers of 'Britpop' and one cannot help but to smile when looking back. In another sense, it is a little bit sad as well. I think back to the early to mid-'90s and as brilliant as it was, you wonder this: will we ever see the like again? My first inclination is to say no, really, as I guess that the genre came out of a particular time period; as a reaction to a previous musical era- perhaps something that could only have existed when it did. Perhaps, though, music was just different twenty years ago. There is quality to be found, but you do not have the same fervency and excitement in music now, as we did then. The rivalries and Oasis vs. Blur battles were a one-off; the exceptional and definitional albums produced then, have not been replicated, and some of the magic has been lost- music has changed directions somewhat. Of course, it would be foolish to think that something exactly like 'Britpop' would ever reoccur- it was a very unique period. I guess I miss the band feuds, the phenomenal output and the spirit that filled the air in the '90s. If any lessons have been learned and influenced and direction provided, then that is something that is to proud of. I am sure that many new musicians would not have existed were it not for the acts and talent that roamed the scene back then; many coming through will be indebted to the exhilaration, diversity and potency of that wonderful time- I hope that the legacy is never lost. I shall touch more on this in the conclusion, but let me take you back... to the birth of 'Britpop'.

In the early-'90s, a huge musical transition was taking place. Th 1980s was a bit of a dour and unspectacular decade for music. There were some great U.K. acts such as The Smiths working hard; brilliant U.S. music like Michael Jackson and Prince were setting the times ablaze; yet by the time 1990 rolled into view, a change was required. That change (that started off in the late-'80s) was Grunge. Being a fan of the genre, I was sad to see it die away, and it acts such as Soundgarden, Pearl Jam and Nirvana were masters of the craft. In fact, the death of Kurt Coabin (in 1994) was perhaps the most significant event with regards to the death of Grunge. Nirvana were riding the crest of the wave in 1991-2, following the release of Nevermind; that album was one of the greatest ever produced, and contemporaries were inspired to follow suit. Fantastic movements and creations were released, and the Grunge masters were each making their marks on the music world. It was a distinctly heavy and hard movement, yet one that has softer moments, and in the minds of Kurt Cobain and Chris Cornell (of Soundgarden)- intelligent and stunning songwriters. I suppose each new music wave arrives as a reaction to one past; usually an angry one that necessitates an instant change. Grunge was as a reaction to what came before; 'Britpop' was the reaction to Grunge. When Cobain died in 1994, the genre started to die away. It was around this time, that a transition started to occur in music. Whereas Grunge was a distinctly U.S.-led genre, 'Britpop'- obviously- was ours alone. The U.S. had been enjoying a musical hegemony from the late-'80s through to the first years of the 1990s, and it was their music that was leading the way. In the U.K., our young artists were keen to change this; to introduce a new movement that would blow away the dominant and hard-hitting Grunge cobwebs- and present something more melodic and less forceful. It is hard to say when the ignition was sparked; when the first flame was lit, yet journalist John Harris suggests some insight: "[I]f Britpop started anywhere, it was the deluge of acclaim that greeted Suede's first records: all of them audacious, successful and very, very British". Suede were the first of the new crop of guitar-orientated bands to be embraced by the UK music media as Britain's answer to Seattle's grunge sound. Their debut album Suede became the fastest-selling debut album in the history of the UK. In April 1993, Select magazine featured Suede's lead singer Brett Anderson on the cover with a Union Flag in the background and the headline "Yanks go home!". Other say that the release of Blur's Popscene (in 1992). Of course, we can see 'Britpop' was happening before Cobain's death, yet the full force and insurgency occurred during 1994- it was the most pivotal year for 'Britpop'. Whenever the movement truly began is unsure, yet it was clear that the U.K. acts had grown tired of the American scene and way of life. It seems that us Brits had a desire to grab back the limelight and focus, and the combined surge of desire and fresh music started something truly wonderful. I will look at the defining bands, moments and fights of this transitory period, but want to look back at 'Britpop's lineage. When the genre was starting out in the early-'90s, the bands and acts that were making modern sounds, were distinctly looking back. Guitar and Pop music of the '60s and '70s were key influences, and flavours of The Beatles, The Kinks and The Smiths were all evident. The Indie scene itself was a direct ancestor of 'Britpop', and the influence of The Smiths as well as the 'Madchester' wave were forefathers. The early years of 'Britpop' (1991/2-1993) were defined more with a shoegazing and lighter sound. Emphasis was placed on good times and joyousness, and albums from that time reflected this. Past masters such as Happy Mondays and The Stone Roses were acting as the templates the bands of this time, and it seemed like a deliberate act. Grunge is synonymous with depression and foreboding heaviness; the direct shift to the other end of the music spectrum showed just how angry and annoyed our musicians were (with Grunge). Clearly a desire for happier and merry music was enforcing the young artists of the U.K. I suppose 'Britpop' was more of a band arena, and the music-buying public were looking for vocal/drum/guitar/bass configurations- the solo realm had a minor role during the period. Because of the emphasis on Britain and British-ness, it was difficult for many artists, when trying to get their music appreciated in the U.S. Towards the mid-'90s, there was a commercial shift, yet initially, the 'Britpop' movement seemed to be confined to the U.K. Music critic Jon Savage asserted that Britpop was "an outer-suburban, middle-class fantasy of central London streetlife, with exclusively metropolitan models."

When we think of the defining acts of the 'Britpop' regency, inevitably minds go to Blur and Oasis. Their pitched battles and warfare (which I shall elaborate on) was the defining period of the era, and produced some spectacular moments. In a recent poll from N.M.E., the track Common People by Pulp was declared as the greatest 'Britpop' anthem- by the magazine's readers. Pulp was a band whom were natural rivals for the likes of Blur and Oasis. They formed in the late-'70s, but hit a commercial peak in 1995 with their album, A Different Class. That album was infused with fresh and wonderful scenes on modern-life; working-class snippets and aspects of dislocated love. Pulp's frontman, Jarvis Cocker, has the swagger and effortless cool needed, and his cohorts were responsible for some of the best music of the time. During the era, there were a lot of minor acts and one-off gems that were bustling for attention, including Northern Uproar, The Boo Radleys and Black Grape- whom did not exactly leave permanent marks on music. When you think about some of the bands that can be classified as 'Britpop' artists, I am guessing many of them hold spots in your record collection. Ash and Cast were two bands doing battle during this time. Their heavier and more Rock-orientated sounds gained widespread praise and attention, and Ocean Colour Scene and Elastica were also jostling for attention. Between these bands, a great number of iconic songs were created, including The Riverboat Song and Uncle Pat- to my mind Ocean Colour Scene were the best band of that quartet. Their albums such as Ocean Colour Scene and Moseley Shoals were packed with wonders. I suppose there was a lot of short-lived triumph; a great number of acts whom were working away- yet never really poked their head to the summit. Before I focus on the two main players of 'Britpop' I will investigate one band. Supergrass is one of my favorite bands, are often overlooked when we look back at this period of music- I am not sure why. Their 1995 album I Should Coco, was one of the greatest albums of the mid-'90s (and the decade as a whole); songs like Alright, Caught by the Fuzz and Richard III will be familiar to most. I suppose Supergrass are synonymous with being laddish and good time purveyors. They may have shared more in common with shoegazing acts such as Kula Shaker (and Blur's debut album); by 1994/5, the scene was perhaps favouring something less baggy and jocular- and something more Blur-y or Oasis-y. I am not sure, but it seems that Supergrass should have got more credit. Of course, they are regarded as one of the greatest British acts of the last twenty years, yet not a group anything things of when we look at 'Britpop'. Okay, then, it is probably best that we investigate the two key players of the 'Britpop' movement: Blur and Oasis.

Damon Albarn and Noel Gallagher are practical best buds. now, but the tension and rivalries that their bands shared from 1995, is one of the most striking and memorable aspects of 'Britpop'. It seems that you either had to be a Blur man or an Oasis one. I was- and am- a Blur supporter through, and through. The two groups had their own style and sound. Oasis favoured a more Rock-driven sound, with elements of John Lennon, The Beatles, T-Rex and the like- or 'real music' as Gallagher stated. Blur, perhaps more melodic and Pop-driven, had touches of The Kinks in their music. Initially, both bands were respectful of one another, but with some media intervention and spurning, a rivalry and split occurred that saw them engage in fierce battle. To me, 1994 is the year that saew both bands produce their best work. Parklife (from Blur), is one of the defining discs of the era, and contained some of the greatest anthems from the time. Girls & Boys and Parklife are instant classics; This Is a Low and End of a Century terrifically evocative and scneic. Blur had concentrated on shoegazing and baggy sound during Leisure (their debut); and, after Albarn has visited America and got a whiff of the culture there, decide to retrain Blur's focus. By the time Modern Life Is Rubbish arrived (in 1993), Albarn felt the need to comment on the American cultural influence and effect on music. Parklife took them further away from their past, and the sounds of the album were London, Essex and Britain- there were nods to the U.S. but is quintessentially a British album. Oasis, on the other hand, arrived later than Blur, and their debut came in 1994. Definitely Maybe was the confident and extraordinary debut that rivalled Parklife. The track Live Forever is regarded as one of the greatest songs of all-time; a track that emphasised the mood of the time. Supersonic and Cigarettes & Alcohol are classics that have their hearts very much with the legends of the '60s and '70s. I have always found Oasis to be TOO indebted to past masters. Riffs by T-Rex are stolen; vocals and melodies taken straight from John Lennon- there is not enough originality and individualism in their sound. That said, I recognise Definitely Maybe as the defining album of the 'Britpop' movement, because not only did it introduce a wild and ambitious new act, but also began a battle that came to a head in 1995. Oasis' Roll With It was released on the same day as Blur's Country House- Blur representing the south, Oasis the north. On 14th August, 1995, the nation awaited to see who would win the battle. Of course, Blur won, and some saw it as a victory for the artsy middle-class- as opposed to the honest working-class. It has nothing to do with class or a north-south divide; it was just numbers. The media fuelled the fire, but the fact was that the better song won. Even if Blur won the chart battle, Oasis won a bigger war. In 1995, Blur unleashed The Great Escape (where Country House originated). It is a terrific album, yet some see it is a departure from Parklife; a qualitative step-down perhaps. Charmless Man, Stereotypes and Fade Away were stand-outs, yet one could not ignore Oasis' dominance. In spite of preferring Blur, (What's The Story) Morning Glory boasted more emphasis and power. If Oasis had released a different single in August of 1995 they may have won the chart battle; the album is certainly one that pipped Blur. (What's The Story)' went on to sell four million copies (making it the third best-selling British album ever). The release of Wonderwall and Champagne Supernova, not only saw them overtake Blur- but also gain a sustained foothold in the U.S. The sounds and sparks from tracks invigorated and grabbed the public- it seems as though tastes were changing. Whereas Blur's brand of intelligent and melodic Pop-Rock was favoured previously, the public now were favouring modern Rock- with a flair of 1960s elements. Starting on 10 August 1996, Oasis played a two-night set at Knebworth to a combined audience of 250,000 people. The demand for these gigs was and still is the largest ever for a concert on British soil; over 2.6 million people had applied for tickets. Blur would go on to release their self-titled L.P. in 1997; Oasis released Be Here Now (the same year). By then, both bands were a shadow of their 1994-5 selves it seemed; perhaps Blur were a little stronger, but it seemed like the best may have been left behind. The battle between Blur and Oasis, for me, was what made 'Britpop' so special. Each band pushed one another and forced a work ethic and ambition that we do not see much of now. There was a lot of pantomime and theatrics, but it was a joy to watch. You cannot deny that both bands produced mesmeric work, and each appealed to a different type of person. Blur may have been more 'artsy' and experimental; Oasis more straightforward and Rock-orientated. Each were presenting music that put Britain on the music map; reaffirmed the glory and wonder (that the U.S. perhaps had enjoyed before) and inspired a legion of fresh and hungry bands.

　

By 1996/7, a change began to occur- with the 'Britpop' movement beginning to break down. Bands and acts were seeing the world in a different way. In the same way as Grunge started for a reason, and broke down when it became unviable and tired- 'Britpop' went the same way. U.S. culture and music was being re-investigated and appreciated by musicians, and was being assimilated into the motifs of the modern acts. On Blur's self-titled L.P., the band broke away from Parklife's sounds- the jollity and British scenes of life- to be more self-reflective and include influences of bands such as Pavement. Bands began to break up, and another shift was happening. The idea of 'Cool Britania' was now being moulded and appropriated by acts such as The Spice Girls, but a greater diversity was being introduced into the scenes. Bands such as Radiohead- whom had released The Bends in 1994- were now being given fuller attention. Radiohead had created some genuinely world-class moments during the 'Britpop' era, but attention was being shifted away from them- and onto the 'cool' bands of the time. By 1997, I guess the whole notion of 'Britpop' has started to die away. There were bands still purveying some of the spirit of the movement, yet the best had passed on. In 1997, Radiohead released OK Computer; acts such as The Verve were making big waves- each of whom presented influences from the '60s and '70s. The wave of music that followed on from 'Britpop' was not a million miles away from the likes of Pulp and Oasis. These acts were influential to the bands coming through, and Feeder, Stereophonics and Travis kept the flame alive- yet focused less on the London-centric and wholly British concentration. U.S. influences were being mixed with British ones, and there was a greater openness afoot. Gone were the days of concentrating on promoting a distinctly British brand of music (and way of life), and a more global and all-encompassing set of sounds were being projected. There was too, perhaps, less focus on English bands: more of the U.K. was being embraced. Welsh acts Stereophonics and Catatonia were rising through; Scots Travis and The Supernaturals threw their rings into the hat- whilst Northern Ireland's Snow Patrol were starting out. It is clear that the bands that played and struck between 1993-1997 left their mark on the new generation coming through. Over the last few years, bands such as Kaiser Chiefs and Arctic Monkeys have been seen as pioneers of the "second wave" of 'Britpop' acts- those whom invoke some of the spirit of Blur, Oasis and their contemporaries. Although amongst these bands there are fewer nods to the music of the 1960s and '70s, there are Punk influences and strains of Hardcore music. I suppose that there are always going to be waves of music coming through- new genres and types year-by-year. At the moment, we have some groups that have a semblance of 'Britpop', yet by and large the scene is more varied and widespread. It will be interesting to see if- in our life times- we witness anything akin to 'Britpop' occur again.

I am a little ambivalent when I think about 'Britpop'. It would be unrealistic to think that it would have lasted all the way to today. I guess it was a product of a time; there was a need to break out of the Grunge-led U.S. stranglehold- to assert some British identity into music. For that reason, it was no surprise that so many bands came out to play. The output from that time ('93-'97) saw an endemic of bristling and sun-kissed sounds; tableaux of British life and our way of living. You cannot deny that some of the best music we have ever witnessed, was created during this time. If you are a fan of Blur or Oasis; whether you prefer Suede or Pulp; The Bluetones or Supergrass- there was something for everyone. I love Blur because of the range of their music; because there are so many vast and multifarious snippets of British life; love lives and everything in between- Albarn, to me, remains one of the greatest ever songwriters. I cannot deny how vital Oasis were and how brilliant albums such as Definitely Maybe and (What's The Story Morning Glory)? are- I am listening to Champagne Supernova now. One off tracks such as Slight Return (by The Bluetones), Wide Open Space by Mansun- wow. It was not just the Oasis v. Blur histrionics that made it so exciting. There was a genuine passion and invigoration amongst musicians; keen to topple American-led dominance and Grunge-ness. As much as there was (media-led) divisions, the period- for me- is synonymous with togetherness. Each act and band were vying for top spot: the number 1 record and album spot. As much as there was commercial competitiveness, the overall scene was so wonderful because each band and act was trying to promote one cause- Britain. There was no sense of balkanization and compartmentalization; the overall sound was varied and strong because each of the acts wanted to promote 'Britpop'. I am not saying music is weaker (now that the moment, as it were, has passed); far from it. My main reason for paying homage to 'Britpop' was that it signified a fervent period of music-making that has influenced so many great acts of today. There was a sense of national pride and defiance; a need to change the- U.S.- status quo: it was a rare phenomena. I hope that in the 21st century, something akin to 'Britpop' will be realised. Perhaps if mainstream Pop gets a bit too dominant, and too many teenage girls have too much money- we will need to rise up. Join the Rock and Grunge acts; the Acoustic-Pop and Folk artists in unison- and unleash something truly spectacular. We shall see; but for now, I challenge you to revisit the best and brightest from a time- 1993-1997- whom made their marks on music history. Dust off your copies of Definitely Maybe; spend an hour on YouTube sifting through the annals of Blur and Pulp's career highs- and realise how good things were. I am sure, whether you are a musician or music-lover, you would have been influenced by some of the acts of 'Britpop'. The British invasion celebrates its 20th birthday this year, and what better excuse than to celebrate a one-off and brilliant music time. It is unny; it is Sunday; it is warm- what better excuse do you need? I am rushing off to replay Champagne Supernova (for the 15th time today), so get right on it. Take heart, take inspiration and earn reflection. Above all, for all reading...

SMILE and remember when a truly magical time ruled our hearts.

　

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Ten Essential 'Britpop' Tracks

Girls & Boys- Blur (Parklife, 1994)

Don't Look Back In Anger- Oasis (What's The Story) Morning Glory?, 1995)

Parklife- Blur (Parklife, 1994)

Common People- Pulp (Different Class, 1995)

Slight Return- The Bluetones (Expecting To Fly, 1996)

Live Forever (Definitely Maybe, 1994).

Caught By The Fuzz- Supergrass (I Should Coco, 1995)

Disco 2000- Pulp (Different Class, 1995)

Wide Open Space- Mansun (Attack of the Grey Lantern, 1996)

A Design For Life- Manic Street Preachers (Everything Must Go, 1996)

Five Crucial Albums

Oasis- Definitely Maybe (1994)

Blur- Parklife (1994)

Oasis- (What's The Story) Morning Glory? (1995)

Pulp- Different Class (1995)

Supergrass- I Should Coco (1995)