Feature: My New Favourite Song (For the Second Time)

FEATURE:

My New Favourite Song (For the Second Time)

 　

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One of the strange things about music is that certain songs do different things: those tracks that seemed fresh and wonderful can suddenly lose their edge and appeal- whilst that one particular track can steal your mind completely.

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I have not done a feature piece for a little while now...

One of the great things about music reviewing, is that you get to help and further new musicians- features seem a little needless and not especially self-effacing. The reason I am writing this piece is that something rather peculiar occurred: the song I considered to be the finest ever, suddenly lost its position- to a song that has been with me since childhood. This brings up an interesting point: what is it about a particular track that makes it so wonderful; separates it from everything else- seems so much better than anything out there? Music tastes are as subjective as anything in the world- few artists or tracks are beloved by everyone- so when you tell a person what your favourite song (or album) is, they turn their noses up: sometimes they have never even heard of it. Every one of us has our personal 'Top 10': our list of favourite albums and songs from all of music- the rankings and order can (and often do) change year-to-year. A lot of younger music-lovers have an ignominiously short attention span: their favourite song or album often originates from the last few years- they rarely investigate past wonder and delve into music's annals (and subsequently miss out on a wealth of beauty). Having been drip-fed the likes of T-Rex, The Beatles, Bob Dylan and Kate Bush- from birth practically- I have been inoculated to some of the greatest sounds ever produced. About three or four years ago, a certain song stuck in my mind, from a band I have adored since their beginnings- it was always likely to have that effect.

Before I mention that track (and my new frontrunner), I will touch on another point: what make a particular song special to others? Darren Christopher Pereira (Shiftin' Shade) plumps for Sting's Moon Over Bourbon Street as his favourite ever track:

"That imagery; amazing arrangement...even better with the Philharmonic Orchestra."

Phil Cass (Cuckoo Records impressario) favours David Bowie's Lady Grinning Soul. Explaining its appeal, he states:

"The last track on Aladdin Sane...my fave album of all time. Such a seductive track (as is the album) and the genius piano playing of Dave Garson and beautiful guitar courtesy of Mick Ronson...Bowie's finest hour in my opinion."

Two differing views on two different cuts (by two diverse artists): there is something about a particular song that gets to all of us. Looking at Phil and Darren's testimony; they share a similar recognition: a stunning composition and arrangement can make the song better than anything. Even though Bowie and Sting are legendary artists, they have produced some sub-par tracks (not many, but the odd few). Both Bowie and Sting are noted for their innovativeness and musicality: I have listened to both song selections and can agree with everything being said. I always find myself more fascinated by a vocal performance (more so than anything else)- a lot of my all-time choice songs and albums are synonymous with their vocals/singers. Dylan's phenomenal lyrics make his songs so endlessly compelling-  they can be as evocative as anything else. When you really think about it, it is the overall sound and composition that lifts that special song over the edge. I guess we can pontificate and theorise as much as we want; sometimes inexplicable forces burrow a song deep into the soul.

Up until a few days ago, one particular track- for me at least- beat all of the competition; far surpassed mortal music- and compelled me to (with futile intent) try to equal it. That particular track is There There by Radiohead. Many of you reading this will have heard of the band (how could you not?!) but would not recognise the track. It is hardly a huge shock: the song featured on their album Hail to the Thief- it ranks alongside Pablo Honey in terms of critical approval and attention. The album is by no means a shocker (no Radiohead album ever could be); it seems like an awkward stop-gap between their glory years (the OK Computer-Amnesiac era) and their brilliant latter days (In Rainbows-present). The L.P. has quite a few gems nestling inside of its politicised and darker cores- 2+2=5, A Punchup at a Wedding and Sit Down, Stand Up stack alongside their very best work. The issue with the album is that there is too much aimless wandering: the album slouches and loses heat towards the middle- the extraction of three or four tracks would make it a meaner, leaner affair. After the foggy vagueness of The Gloaming arrived a superb treat: the majestic There There. The lynchpin of the album, it harks back to the anthemic cuts of The Bends: the endless inventiveness that made OK Computer a modern-day masterpiece nestles within the track- it is a riot of wonder. I am not sure whether it is the fact that Radiohead are one of my favourite all-time acts; if the diamond in the rough compelled my sensitive side; if something deeper struck me- the song demands attention and critique. From the hypnotic and punchy introduction to the scattershot drum finale, There There ticks all of the boxes: it has emotion, energy, memorability and plenty of nuance. Thom Yorke's vocal performance fuses powerful rises (in the chorus) and tender falsetto: he brings the words to life with an authoritative and captivating performance. The guitars and bass twang, wobble, vibrate and lightning strike: such an incredible amount of texture and atmosphere is summoned up- the percussion is consistently powerful and mood-setting. All of these spectacular elements wrapped around the song's lyrics: woodland scenes, Dogberryism, Sirens and heavenly tribute nestled with tales of love and longing. When the line "Heaven sent you to me" (towards the song's end) is delivered, it brings me out in goosebumps even now- probably somewhere close to its 300th play. I love everything about the song, and for me it stood above other songs near the top of my list: Hey Jude, Hallelujah (Jeff Buckley's version) and It's Alright, Ma (I'm Only Bleeding). Up until a week ago, I was safe in my assertions and decisions: no song would likely budge There There from the musical summit. Then it happened...

The first time I came across Deacon Blues, would have been in the early-'90s. I often would spend days at my aunt's house in Chesham: it was a second-home and a safe and warm retreat. As a shop owner (she owned a small jewelry/craft/gift shop) we would take trips to Crystal Palace- they held trade fairs there. Being a Steely Dan fan, she would play their albums on the drive there: songs such as Hey Nineteen and Dirty Work filled me ears- I was discovering a beautiful and wonderful Jazz-Rock world I had never encountered before. The one song that would always stand me to attention was Deacon Blues- taken from the band's album Aja. Everything about the track excited me: from the superb and building intro., through to the tempting and languorous final moments. Aja was one of Steely Dan's final albums (before they took a long hiatus): whereas its follow-up Gaucho was a study in fastidiousness and perfectionism, Aja was a looser and more effortless beast- things felt more relaxed and organic here. Gaucho had its genius moments- Hey Nineteen, Babylon Sisters- but other songs felt too over-rehearsed and arrived off of the back of personal and creative issues (for Steely Dan). Few were expecting an album that matched (and superseded) the heights of early works Pretzel Logic and Countdown to Ecstasy- what the world got was a masterpiece. The standard pillars of obtuseness and obliqueness were all there; the cut and sarcasm all present- business as usual in many senses. Tracks Peg and Josie had modal tones and intricacy; each track on the album has richness, texture and genre-fusion- vocal harmonies and gorgeous Jazz trumpets ensured each number gets right into your brain. In terms of themes/ambition, Deacon Blues continued where (previous numbers) Fire in the Hole and Midnight Cruiser left off: the track epitomised Aja and represented everything it stood for. The song looks at the realities and harshness of L.A. street life: the life musicians and artists face; the sense of repression and suffocation- Fagen declares "I'll make it my home sweet home". The song's verses look at our hero walking the streets: he turns tricks, scams and crawls "like a viper"; making love to women and indulging in mind-staggering libations- there is a sense of rebirth. Fagen has declared his dreams before (and failed): this time he is going to make it. It wouldn't be a Steely Dan classic without their lyric hallmarks: cutting wit, sarcasm and intellectualism bring vivid scenes to the imagination. Despite being New Yorkers, Becker and Fagen effortless distill the essence of L.A. life in the '70s: artisans and dreamers on street corners; strange sensations and weird scenes. Fagen acts as the born-again writer: he has fallen and been dissolusioned, but- being ensconced in the seductive underbelly- is making proclamations: he is going to make it his home and come out on top. Fagen's entrancing and conviction-filled vocal is backed up by Venetta Fields, Clydie King and Sherlie Matthews- they combine in the chorus to add cooing beauty and elliptical, shivering power. I get caught up in the images and sights that are being presented: every time the chorus hits (and the swirling, swaying trumpet line follows it) I shiver and smile- the song makes me feel better about life and provides a chance to forget about the harshness of circumstance. The song's title is a juxtaposition to Crimson Tide- the sobriquet of The University of Alabama's football team. Becker and Fagen felt it was a pretentious name given to "cracker assholes": Steely Dan's Deacon Blues was their lovable loser retort. The most emphatic and memorable aspect of the song is the composition itself: imbued with richness, depth and immense beauty, it is a work of art- and one of the finest arrangements in all of music. Soothing and romanticized trumpet and brass breezes; elegant and itinerant guitar lines work with supple drums- it is Pete Cristlieb's tenor saxophone that hits hardest. I adore the track's story and filmic development: Fagen will "learn to work the saxophone" and play "just what I feel"- with visions of all-night whiskey drinking and vehicular carnage; destruction, intoxication and free-spirit ideals- it all makes you root for the hero (in an odd way). Once all the words have been exhausted and all the bidding done, a delirious and splendid musical afterglow comes to the fore: you are free to swim and dive- awash in the languid saxophone, it is a perfect finale. The song has not only inspired me to write my own version of it (a boy can aim!)- Emma Cool and the Boston Dance Party (about the issues of modern music and the problems in the big cities)- but to pursue music and investigate all it has to offer: a song that can do all of that is one that I shall never take for granted.

It's a strange thing, isn't it? All of us have our own particular favourite song: it may be the case that it doesn't reveal its true genius until many years from now. I guess in that sense, musical appreciation can be like love: the person you are truly happy with may not come into your life straight away- but the eventual revelation is quite profound. I am pretty sure that Deacon Blues will remain my all-time favourite until the day I die- yet I am hopefully something new and fresh may challenge for the crown. Music is pretty awesome in that respect: one person may adore a particular track; others may hate it- yet it doesn't matter what anyone thinks. I implore anyone reading to investigate Deacon Blues- see if you agree with me, or have any thoughts. Likewise, it would be interesting to see what others consider to be the best song ever produced. Subjectiveness, personal relevance and fond memories will always elevate a particular number above the rest- and be different for everybody. Deacon Blues is a 37-year-old, 7:35 gem- I aim to listen to it every day. This bring me round to another point: will we see anything come along that can ever top that? My five favourite albums originated in the '60s and '90s (nothing from the past fifteen years makes the list); my top five tracks share D.N.A. and links (Buckley's version of Hallelujah was released in 1994- some 20 years ago)- it would be good to think music has the potential to topple the giants and greats (from days past). I feel that a favourite song is as vital and relevant as a favourite friend: someone that is always there for you and always elicits a smile- it can make even the worst of moods that much more bearable. I am pleased that I have rediscovered a near-fogotten track from my childhood- being 31, it has taken a while- and it has renewed my energies and motivation: when an album of mine does appear, I sure as hell want a track that is Steely Dan-esque- it will not hit the heights of Deacon Blues, but there is plenty to take away from the track. Wonderful and scintillating lyrics, an impassioned and striking vocal; tied with a rich and endlessly detailed composition (as well as a sense of looseness and effortlessness) makes the song such a joy. Have a think yourselves: what defines the song dearest to you? Once you have identified it- I guess you will be playing the track again?- pick up a pen and be inspired by it- try to equal it if you dare. If you are ambitious and bold, you may well consecrate your dreams as to the pursuit of musical perfection. I am going to try my own attempt as we speak: make a song that has that feel and brings out the same emotions in those listening. In the words of the immortal Deacon Blues: "I'll make it this time...

I'M ready to cross that fine line." http://www.youtube.com/watch?v=2A0wGO3c2T8

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E.P. Review: Adam Hume- Horizons and Hurricanes

E.P. REVIEW:

Adam Hume

　

Horizons and Hurricanes

9.3/10.0

　

Horizons and Hurricanes is available via:

https://soundcloud.com/adamhume92/sets/hurricanes-and-horizons-ep

TRACK LISTING:

Unbreakable- 9.3

Holding On- 9.3

Till My Heart Stops Beating- 9.2

Jigsaws (Bonus)- 9.2

Bridges for Burning- 9.4

STANDOUT TRACK:

Bridges for Burning

RELEASED:

20th June, 2014

ALL SONGS WRITTEN BY:

Adam Hume

GENRES:

Pop-Rock

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Leeds-based artist Adam Hume has recently featured on several of Shiftin' Shade's get-up-and-dance Swing gems: here he is moving into the spotlight. Stunning texture and depth conjoin with a distinctive beating heart. Horizons and Hurricanes offers force and weather-beaten soul- with plenty of future promise.

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THE proclivious nature of music is on my mind right now...

for a number of different reasons. In my own life, the issues of finance and reality are competing and stabbing away: not only making events rather difficult, but delaying my musical ambitions. One of the best things about music in general, is that it is free to imagine: you can write, hone your voice and plan- without it costing a single penny. With today's technology, putting together tracks can be inexpensive and simple- this means that a lot of new artists are coming through and entering the scene. If you look around the music-sharing sites- SoundCloud, BandCamp etc.- then one has ample choice and selection: anything the avid listener desires can be found. Although the business of making music is relatively simplistic, it does not mean that this will translate into success or recognition- it can be a disillusioning and disheartening prospect. I have a huge amount of respect for anybody able to transition the barrier between conception and production: those that turn their ideas into fully fledged cuts. Adam Hume is someone I have been made aware of over the last couple of months. My first taste of Hume came via his work with Shiftin' Shade (Leeds-based artist Darren Christopher Pereira). Pereira's Electro-Swing alter-ego is something of a delightful rarity: good-natured and kind-hearted messages are wrapped up in delirious Swing kick; lashings of brass, electronics (and sounds of the '30s and '40s) come through in his music- marking him out as one of the most original and striking artists on the scene. Hume leant his voice to tracks Speakeasy Suzy, Shy Street Swing Club *Live Bootleg Version* (from The Gramophone Gang E.P.) and Cabaret Du Ciel. Backed by vintage film soundbites, leaky trumpets and mesmeric blasts of danceable bliss, Hume's smooth and emotive voice crooned, struck and seduced throughout. Being impressed with his credentials, I was excited to see what he could offer on his debut E.P., Horizons and Hurricanes. Hume has a clear affection and dedication towards music, and has been plying and working hard to get his music together. There are many acts that arrive in music and are prepared to do the bare-minimum; there are those that put in the hard graft (and do not get their due)- the imbalance and injustice can be quite galling and frightening. Hume is in his early stages, yet has ambition and plenty of urgency to his music. The Leeds-based 22-year-old has a determination that will see rewards come his way: the initial signs are very promising indeed.

For those new to Hume, there are two acts that come to mind: OneRepublic and You Me at Six. Elements of each come into his music (Hume is a fan of OneRepublic especially), yet there is no blatant parody or mimicry. Like the Colorado Springs quintet, Hume incorporates aspects of OneRepublic's Pop-Rock/Alt.-Rock into his palette- but comes across as a bolder and more fully rounded representation. One of the slight criticisms reviewers had about OneRepublic's last L.P. (Native), is that it was a little dry and flavourless- compared to their previous work at least. Frontman Ryan Tedder is amongst one of the most important modern-day songwriters (having defined and shaped current Pop sensibilities and directions) and is still capable of surprising. Having listened to Native, it is filled with dense themes, rich sounds and plenty of depth and joy- there are the odd few fillers, yet nothing that deserves any derision. Hume has a similar sense of emotional resonance and catchiness; he is adept at weaving together stunning hooks and tender emotion. Anyone enlivened by albums such as Native and Waking Up (OneRepublic's sophomore effort), should investigate Hume. Alternative-Rock strands- You Me at Six, Bastille- make their presence felt within Horizons and Hurricanes, yet one should enter with a clear and receptive mind. Hume's work with Shiftin' Shade showcased just how versatile and potent his voice is (and can be); meaning his E.P. is a multifarious and surprising set of tracks: music that everyone should seek out and study.

The first taste of the E.P. arrives in the form of Unbreakable. A brief (but beautiful) piano coda brings the song to your ears with romantic pride- it begins urgently (Morse Code-like in its deployment) before opening up into a flourish. Early events introduce the song's heroine: she has dreams of a perfect wedding and a white dress. Hume's voice is soft and deep as he lets the story unfold- the track's subject "didn't see the hurricane, twirling on the horizon". The driving and vivid storyline swirls images in your mind: by the 1:00 mark, our heroine has lost all she planned; her dreams have been disjointed and shattered- the life she imagined has dissipated. Hume never lets his voice soar needlessly: it is measured, tender- displaying some sympathy in its tones- and filled with conviction. Unbreakable's lyrics mix the emotional sparse with simplistic beauty: our heroine's heart is broken beyond surgical repair; the tears are streaming forth. Whether Hume is recalling events from his own life (or that of a friend) I am not certain, yet the scenery and wordplay paint a lot of detail and evocativeness. Even though our heroine has juggled pieces "carelessly", you get the sense that there may be redemption in the future- there is never any judgement or condemnation. Backing a tale of disillusionment and dethronement, is the beautiful and elegant piano line: guitar threads and rushes of strings inject passion and potency, yet it is that piano sound that provides the biggest punch. There are signs of OneRepublic in the song's melody and story: Hume displays character and flavour; heart and subtlety. Whereas the U.S. five-piece achieve their results with big hooks (as opposed to subtly and softness), Hume does not come across as static or rank-and-file: there is a soulfulness and heart-wrenching quality that lifts his songs beyond that of his contemporaries. The emotive coda of "You can't unbreak what you broke" is perhaps the song's crowning touch: it enforces the song's message, and sees our hero's voice mutate, hold and soar- oddly employing swathes of Matt Bellamy and Neil Finn within the transmogrification. The composition is ever-changing and evolving: at the start it was slowed and composed; it sways and floats towards the middle- before becoming emphatic and fully charged towards the conclusion. It is Hume's voice (and words) that do the bidding- the composition is effective and gorgeous, yet never encroaches (and puts you in the picture directly): there is no sense that this is a pared-down, radio-lite vagary. Opening the E.P. in impressive and superbly crafted, Unbreakable is a song sung with intuition and from the gut- burnished, resonant and captivated. Driving piano-driven Pop-Rock is a common staple in music- from mainstays like Coldplay through a gambit of newbies- yet Hume personality and stellar songwriting makes songs like Holding On essential, new and re-appropriating. Working with a reliably yearning piano parable, Hume's voice is contemplative and deep: U.S. Soul and Country tones come through (oddly, once more, parts Eddie Vedder and Chris Cornell present themselves when Hume allows gravel and growl to come to the fore). Our hero is "counting constellations"; vacant and dreaming in his own space, he is trying to "take my mind off of this". Apparitions and familiar figures present themselves in the starry sky; Hume cannot dismiss what he sees- his voice rises and crackles with passion. Stylistically, Holding On is more introverted and personal then the E.P.'s opener: love is being looked at, but our hero puts himself under the spotlight. Emphatic and rampant piano notes score words of regret and longing: Hume longs for and remembers a bygone love; someone whom he desires to be with- his soul is colder without her. There is exploration and self-examination throughout the track; plenty of honesty and hopefulness. Our hero admits to having delusional dreams, yet never gives up on his goal: to have his sweetheart with him. The vocal is slick, soulful and unctuous (in a good way): Hume goes from a whispered sadness to a hot-bloodied cry. Crescendo and desire make the song a heartfelt triumph: there are touches of mainstream acts and Pop in places, but it is Hume's distinctive and strong vocal that transcend expectations- the lyrics and composition remain heartfelt and stirringly earnest. Till My Heart Stops Beating picks up from its predecessor (the initial vocal has a similar feel, pace and tone)- Hume is surveying a central figure, and in cautious mood. His heroine is "chasing pavement, just around the corner"; the song's ideals are more positive and heart-racing (as opposed to saddened)- Hume is pursuing a spellbinding Siren. Unlike a lot of modern-day songs and artists (that play similar music), there is warmth and playfulness here; it is not dogged or diligent- plenty of life and colour bursts through. Hume is not going to stop running red lights: he is searching for his role model, day and night. Lyrics mix directness with hyperbole (hostile deserts and untold forces will not slow our hero), yet it all adds to the mood: due to the conviction and passion in the vocal, the words seem genuine and true. Multi-track vocal lines add a choral effect to proceedings; graceful and nimble falsetto entwine with bare-chested tenor- to create a dizzying effect that drives the song forward. There is catchiness and memorable refrains throughout ("till the flames come crashing down" is the finest): Hume's peers may succumb to vague quivering and anodyne predictability, yet Till My Heart Stops Beating has such mobility that it does what a Pop-Rock ballad should do: it gets inside your head. The penultimate number (a bonus cut) is Jigsaws. Whereas the E.P.'s opening trio of numbers are enforced by piano- here guitar is at the forefront (it is springing and sprightly). Hume sees his desire: hazel-eyed and brown-haired, she is causing him to question and second-guess. Our hero wonders whether he is chasing shadows; he has a confession: he didn't mean to fall so far (in love). An optimistic and bubbling compositon- tied to a seductive and tender melody- once more ties to layered vocals: sweet-scented highs smoke alongside deep-voiced utterings. A sense of teenage innocence and chase comes through with charm: nightclubs and dank surroundings are replaced with chili fries and furtive glances- there is an American sensibility that shines through in the words. In spite of some romantic cat-and-mouse, Hume offers  self-examination: there is a breeziness and a sense of the redemptive that comes through- never does the song trip off the sunshine path. By the track's dying moments, you can imagine Hume pounding on: you sense he is not going to let go of his feelings; as well as his heroine. Bridges for Burning is Hume's most recognised- and to this moment, most-listened-to track- and completes the E.P. in style. A lot of commentators have highlighted how it is ready-made for radio: there is a quality and heartbeat that could see it feature on BBC Radio Two- as well as smaller, non-commercial stations. The track essentially draws everything together and emphasises the hallmarks: sweeping and touching harmonies, clean sound; brilliant and detailed composition as well as an original and itinerant soul. Train lines and far-off destinations and used as metaphors for love's breakdown and personal derailment. Hume summons flashbacks and less-than-fond memories: our hero has no "safety car" as a ensconcement. Trapped in Memory Lane, he is being driven mad by his scenario: absolution and resolve is pined for. The most memorable aspect of Bridges for Burning is the vocal and production: the latter is clean (but not overly polished); the former is pure, aching and dripping with emotion- the vocal harmonies augment and emphasise the sense of tension. It seems that respite is not forthcoming: our hero enters Round Two; floored "straight to the mat"- love's sucker punch has left its scars. The song's anonymous (yet alluring) femme fatale is leaving Hume dumbstruck by the curvatures of her contours: her slanted smile holds dark prophesy- as she walks out of the door, our hero is bereft.

Horizons and Hurricanes is a five-track E.P. abound with beauty and power. Hume manages to make his lyrics straight-forward but highly effective: there are similarities with other Pop-Rock acts (and their style), yet it is Hume's individuality and conviction that makes everything sound elementary and must-hear. Themes deal with various aspects of love: a lot of time our hero is on the losing end, yet there is redemptive hope and flirtatious potential within. Aside from the emotive overtures and epicness of the closing number, the quartet of proceeding tracks never seem drained or wracked: Hume's voice remains buoyant and optimistic- even when he is singing about the greatest of losses. Being inspired by the likes of OneRepublic, it is inevitable that some of their melodic gifts and catchy choruses sneak in: our hero's own versions will resonate harder with new listeners. One of the worst things you can say about music/a song, is that is lacks soul and character: many contemporaries portray dull-as-dishwater motifs and seem almost anodyne and mechanical. Hume's strong and striking personality makes his music such a force of emotion: the E.P.'s five tracks are solid enough to recruit even the most die-hard Hard Rock/Metal aficionados. The elliptical, gorgeous (yet unimposing) compositions add layers of tears and smile to the music: they parabond beautifully with Hume's voice, and bring vivid life to his words. Kudos must be paid to the production throughout Horizons and Hurricanes: it is never too polished or over-produced, yet makes sure that notes and lyrics are not sucked into the machine- allowing proceedings to come across as raw yet crystal-clear. I would offer an addendum- to anyone thinking of checking out the E.P.- which would be: clear your mind and preconceptions. It is all-too-easy to compare Artist A with Established Artist B: it not only naturally clouds your judgements, but limits your expectations. Hume's voice, style and potency are home-grown and as a result of study and hard work: it means that the most effort and attention to detail is paid to each track. Having heard (recently) a lot of U.S. Folk and Indie-filled sets, it is nice to hear a fresh and vibrant U.K.-based talent: one whom mixes current-day Pop-Rock with latter-day Indie and U.S. influence. As I said, you should always judge an artist upon their own merits- few would argue (against the fact) that Horizons and Hurricanes is a confident and self-assured opening salvo. Hume is proud of what he has acheived- as are those that have listened to it- and I hope this belief will lead to future releases. It is rare to hear someone enter a busy and competitive Pop-Rock/Indie market and manage to side-step the natural folly: get buried in the Coldplay-cum-The Fray complacency quagmire. With that voice; that sense of direction- as well a unique core- it will be interesting to see where Hume heads next.

I have mentioned how hard it is to gain satisfaction and equality in music- obtaining distinction and patronage can be as hard as anything you can possible imagine. For me (and my music), I feel that it will be a few years before anything concrete makes its mark- financial issues and upheaval have delayed proceedings somewhat- yet the determination is always there. I think that is what is so appealing about music: it offers escape and chance for expression, but also allows you to channel your thoughts and inner troubles into something artistic and beautiful. There is a catharsis and therapeutic wonder that music offers: anyone that has a voice and a clear identity is welcomed and provided a platform. I always love stumbling across something new and great, yet I have a nagging worry in the back of my mind: are great and hard-working acts getting the attention and adulation they deserve? The short answer is 'no'- there is an imbalance and unfairness that seems ineradicable and hostile. It is no surprise, I suppose: there are simply so many new musicians coming through, that it is incredibly unlikely all of them will receive a fair hearing. What you do need- in order to succeed and get ahead of the crowd- is a clear and distinct sound; a dedicated passion and love- as well as a never-say-die attitude. Hume is a young and eager musician that has already cracked the first two points- one suspects that the third is already there as well. I have mentioned the likes of OneRepublic and You Me at Six (as comparisons) yet they act as mere foundations: Hume's songs have such a distinct and incomparable personality and identity: making everything personal and purposeful. Horizons and Hurricanes is a collection not relegated to slender appeal: the energy, emotion and memorability is designed for the masses- it is music for everybody's enjoyment. When listening to the E.P., I got a clear sense of ambition and drive: Hume knows where he wants to go, and intends on making music for some time to come. One of the most impressive things you can say about a new musician is their adaptability and work rate (I touched on this when reviewing Clara Engel). Hume's voice is equally at home and authoritative when scoring scenes of jazz club dance-offs; effortless when singing about romancing and seducing shy speakeasy heroines- his efforts with Shiftin' Shade marked him out as a genuine and impassioned Swing voice (I hope their collaborations continue for a long time). Stepping away from these parables- and going it alone- Hume seems equally comfortable in the Pop Rock/Indie arena: there is a naturalness and instinct that makes the E.P. so stirring and repeatable. There is plenty of romance, yearning and introverted questioning on Horizons and Hurricanes: soulfulness and stadium-sized heartbreak are all in check. I am confident that Hume's future will be busy and prosperous- he has already covered a lot of ground over the last couple of months alone. His debut E.P. will appeal to anyone that looks for melodic flow, catchy choruses and sing-along charm; beauty and yearning are waiting to be discovered- if you are more familiarised with heavy sounds or other genres, it would remiss to ignore it. There are a lot of current artists whose appeal is niche and limited: their music is incapable of transcending party lines and drawing in undecided voters. Hume ubiquitous messages and fascinating songwriting should be enjoyed by everyone- it is free on SoundCloud, so why the hell would you not check it out?! Having spoken with both Hume and Pereira recently, I know that they are both ambitious and motivated artists: I am sure we will hear more hook-ups between Hume and Shiftin' Shade- each song they collaborate on is compelling and filled with happiness. Our hero is only 22, so he will probably not be thinking too far ahead, yet it seems there is a huge market out there. He is based in Yorkshire at the moment, but I wonder whether ideas of relocating to London are in his thoughts: venues, clubs, audiences and labels are likely to be waiting- although a nomadic life may seem a little disorienting to him right now. There is such a force of repression and fatigue when noble musicians try to make their mark- the strife of getting representation is one of the biggest headaches- and it often stems down to three factors: financial limitations, finding a large and dedicated audience and distinguishing themselves (from what other musicians are doing). Hume has already developed and stamped out an uncommon voice; his work ethic and passion will (hopefully) see him obtain financial stability- in order to keep making music- but the third issue remains: getting the people into your tent. On the evidence of Horizons and Hurricanes' gems and stunning avenues, Hume should be pleased of what he has acheived- and keep the momentum coming. Positive reviews and feedback is already coming in (for the E.P.), and I am sure a year from now, his fan base will be large and impressive- and more music with be forthcoming. Hume's debut E.P. contains smile, punch, potency; beauty, anthemics and infectious hooks and melodies- stuffed with nuance and style. When you are seeking out music to investigate and admire...

WHAT else do you need?

https://soundcloud.com/adamhume92/bridges-for-burning-adam-hume

____________________________________________________________________________________

Follow Adam Hume:

Facebook:

https://www.facebook.com/adamhumemusic

Twitter:

https://twitter.com/AdamHume28

SoundCloud:

https://soundcloud.com/adamhume

__________________________________________________________________________________

Adam Hume's videos can be viewed via:

http://www.youtube.com/channel/UCTeEvhwL0Y5gMSesF7G1RKQ

Album Review: Clara Engel- Looking-Glass Fire

ALBUM REVIEW:

Clara Engel

　

Looking-Glass Fire

9.5/10.0

　

Looking-Glass Fire is available via:

http://claraengel.bandcamp.com/album/looking-glass-fire

TRACK LISTING:

Violetta is a Mad Bird- 9.4

Lesser Known God- 9.5

Your Bones- 9.6

Be Good- 9.5

A Pound of Flesh (in Particulate Shards)- 9.6

My Beloved's Pulse- 9.6

STAND OUT TRACK:

Your Bones

RELEASED:

16th June, 2014

ALL SONGS WRITTEN AND PERFORMED BY:

Clara Engel

VOICE, ELECTRIC GUITAR, ORGAN, PIANO, XYLOPHONE, PERCUSSION:

Clara Engel

BASS:

Mitchell Girio

ENGINEERED, MIXED AND MASTERED BY:

Mitchell Girio at Slaughterhouse 754

GENRES:

Folk Blues, Folk Poetry

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Toronto's music laureate has built herself an incredible reputation (over the last decade). Clara Engel weaves mesmeric poetry: her voice is direct and certain; the songs scenic and utterly puisant. Looking-Glass Fire is her latest, tantalising move.

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THIS year has borne witness to some truly spectacular and diverse forms of music.

Whether British-born or international, a multitude and myriad of genres and styles has come under my focus. One of the things that impresses me most about musicians (mainly new musicians) is their tenacity, work-rate and determination. Many musicians I am in regular contact with face constant struggles: putting out their music takes time and money (they often do not possess); promotion and studio time needs to be booked- third parties and outside forces often provide huge- and somewhat unnecessary- barriers. The most rewarding thing to see is when these musicians overcome the proclivities and discrimination that the music industry can provide- and go on to make some wonderful, life-affirming music. Too often the rigours of the industry take their toll on eager shoulders: those that are prepared to weather and ride every storm are the ones that have the last laugh. In the U.K., there seems to be a class divide in music: many have it easier (than they deserve) and fly through life- without having too much talent on display- whereas there is a large group that have the ammunition and potential- they often spend years chasing personal satisfaction and reward. In the U.S. and Canada- I am sure there is this same kind of hardship- there is  a sense of unstifled output is coming through. The North American artists I have assessed- as well as being tireless and hard working- seem to be having an easier time of things: somehow they do not face the same sanctions and struggles that British-born acts do. As a result, acts of Canada and the U.S. are showcasing a great range of sounds; the frequency of their releases is increased- a greater sense of productivity and unconstrained alacrity is making its voice know. My featured act for today is amongst the busiest and most dependable acts in North America: her output is regular and spectacular; her unique and enlivening sound has seen many critics and listeners flock to her feet. Let me introduce her:

"Clara Engel is an independent, multi-faceted artist and musician based in Toronto, Canada. She has independently recorded and released nine albums, and has collaborated with musicians and artists from the UK, Germany, Brazil, Canada, Turkey, and the US. Engel's music has been played on Italian National Radio, as well as BBC Radio 2, making it onto Tom Robinson's show "BBC Introducing" on several o...ccasions. Record labels Vox Humana (UK) and Backwards Music (IT) have released Engel's work on vinyl. Some artists with whom Engel has collaborated: Aidan Baker (Musician, Berlin/Toronto), Larkin Grimm (Musician, NYC), Bruno Capinan (Musician, Brazil/Toronto), Stefan Orschel-Read (Fashion designer, UK), Nick Fox-Gieg (Animator, Toronto/NYC), Ebrahel Lurci (Artist, Turkey). Engel recently wrote and recorded a soundtrack for the short film "We Are Not Here" directed by Aaron Mirkin (2013), and released a new album "Ashes and Tangerines," on December 6th, 2013."

This impressive bioragphy is not the end of the story: Engel has been even busy (can you believe it?): her music has been used in films and productions, and some pretigious and high-profile avenues have been keen to have Engel contribute to their cause. The last few years have been a whirlwind of work, ambition and planning; Engel has been working her socks off:

"My music has been played on Italian National Radio and the BBC. I scored a film this year "We Are Not Here" - which won best experimental short at TISFF, and was screened as part of the Clermont-Ferrand Festival in France. I sang on the title track of Aidan Baker's recent release, Already Drowning: http://aidanbaker.bandcamp.com/album/already-drowning which BlogTO cited as one of the best albums of 2013. Vox Humana (UK) released my 1st vinyl EP in 2011: http://voxhumanarecords.bandcamp.com. Backwards Music (IT) released one of my albums as a full-length LP in 2012: http://www.backwards.it/releases/bw03.html"

My diatribe (pertaining to the nature of the music industry in the U.K.) may be a little overheated, yet there seems to be some truth in the matter. Engel has managed to produce a great deal of music over the last decade: albums and E.P.s have been unveiled (and met with acclaim)- it seems that her ambition and focus knows no limits or bounds. Kudos and paen has come in from artists, critics are poets throughout the U.S. and U.K.- international ears have been mesmerised also- Engel has amassed a huge and impressive following.

If one were to examine Looking-Glass Fire- and try to compare it with previous works- then you can see a development. New subjects and inspirations have made their way into the music; fresh and vibrant stories run throughout the album, yet for the most part, this much is clear: it is business as usual. Having recorded a multitude of records, Engel's confidence and determinations are at their very peak: she has a talent and singular voice you are hard-pressed to beat. Her individual and stunning styles are all in tact and flying high: perhaps there is a growth in maturity since her early albums- this is only natural. I Keep On Trying (released in March of last year) and Ashes & Tangerines (released in April) are both packed with punch, beauty and nuance: Engel's talent for wordplay and projection make songs such as Hope Is Heavy and Harvest, modern-day classics. Fledgling discs such as Cara Engel and Jump Of Flame have plenty of genius and captivating poetry within: I would say Engel's abilities and talent have sharpened and augmented. On a few songs- across Looking-Glass Fire- she keeps things basic and sparse: on the whole, she presents full-bodied and mini-opera offerings- the confidence in her own voice is huge, and it seems that she is picking up inspiration and influence from all different corners. The core sound and quality control is as high as ever, but it seems that Engel is at her peak: the last year has seen an impressive output and determination- her creative juices are flowing with unabatable force. For those without knowledge of our heroine, I would suggest starting from the beginning: seeing and hearing where our Engel came from; following it through to the present-day. You can see the evolution and development from album to album: the Canadian never becomes resigned or rests on her laurels. Having produced such an impressive body of work, Engel is very much in love with music: you can hear the passion and fervency on every track of Looking-Glass Fire.

It is fairly tricky to compare Engel with anybody else: such is the idiosyncrasy of her music, it stands on its own. Fans and adorers of music's finest ever poets- Bob Dylan, Neil Young, Joni Mitchell, Leonard Cohen etc.- will appreciate Engel's wordsmith credentials: she can weave compelling tableau and oblique wonder with the best of them. Her voice is possibly the most distinctive aspect of her music- it is hard to imagine another singer when hearing Engel's vocalisations. In terms of the overall sound, recollections of Bjork's finest moments come through: there is that same mix of dark Folk and natural world soundscape. Touches of Edgar Allan Poe and David Lynch's strange underworld comes through in some numbers (such as Looking-Glass' Lesser Known God); delicate and evocative compositions recall legends Kate Bush, Edith Piaf, Captain Beffheart and Tori Amos- as well as current acts Dry the River, Antony and the Johnson, and Alt-J. British poet Jeremy Reed claimed Engel's voice "visually retrieves an inner landscape converted by breadth into the rock equivalent of poetry"- going onto claim that it was "unapologetic in its disclosure" and "so sure of its direction". It is the certainty, confidence and openness that defines Engel's music: if you are seeking something with an honest soul and spellbinding potential- then our Canadian heroine is the artist for you.

Delicacy and sway opens Violetta is a Mad Bird. Engel's voice swoons with hymnal regard: not only creating an emotional atmosphere, but ensuring the words are vivid and effectively make their presence felt. Oblique and the surreal ("I pick flowers as they bloom out of her eyes") mix with observation and matter-of-fact ("the weather is harsh & the weather is mild"). The evocativeness and strange beauty of the foreground is wonderfully underpinned by the composition: the slow-moving and creeping electric guitar haunts and implores. You cannot help but to imagine and speculate (as the song progresses): the strength of the words compels you to picture and dream. Violetta (our mad bird) "can't hold a grudge or forget how to fly"; one wonders whether an actual bird is being described- or if it is a metaphor for life itself (or refers to a particular person). There is such a dream-like and somnambulistic quality to proceedings, one is powerless to resist its charms. Engel employs relatively few words, yet shows an incredible talent for economy and potency- each line manages to strike you in a different way. Our heroine's vocal projection does not change too much: her voice has operatic potential- it is powerful and full-bloodied, yet she does not need to belt or overwhelm- and puts me in mind of the likes of P.J. Harvey and Kate Bush (talents that know just how to use their voices to dramatic effect). As the indelible images flood into your mind, Engel has certain desires: "ferry me across the ocean of looking-glass fire/and along the writhing road to paradise." There is a passionate rise and sense of increased drama towards the song's end. Engel sings of a "sweet bouquet with fangs" and "a wish granted at a shackling pace": the carnivorous and foreboding images are married alongside  affirmation ("o' this gift of life")- given extra weight and majesty due to the moonlight guitar. With a final introduction of the chorus, the track comes to the end- marking the end of a stunning opening number. Lesser Known God is a different beast indeed- the word 'beast' seems very apt. Whereas its predecessor was a gentle and soft affair, here events show their teeth. Twisted and wolverine guitar brings the intro. to life: there is a Grunge-like quality to the sparse (yet heavy) guitar- it stalks and beckons. Engel's voice is darker and more forceful: there is growl and gravel in her tones; her deployment is much more direct and pugnacious. The entire track is built around a mere few lines: the opening half consists of the lines "hey princess/would you burn down your house for me?" and "hey princess/would you lay down your life for me?" There are shadows and storm lingering: Engel's vocals have a demon-like quality to them- it is quite a gripping performance. Our lesser-known god has anonymity and mystery; when speaking to her subject, Engel claims "you've probably never heard of me"- the malevolence and sly grin that comes in enforce and bolster the words. Offering some form of respite is Your Bones. Engel gives her most seductive and charming performance (to this point) on the track: there are still dark embers and odd images, yet a sense of allure comes through. Our heroine wants the snow to drift in, and her subject to disrobe: before she takes him on, she wants "to see your bones" and "see you shiver". Again, the composition revolves around simple (yet emotive) strings: they are plucked and elegantly delineate-d giving the overall mood a stillness and aching beauty. Engel claims she has "swept this floor/more than a thousand times before"; once more, you begin to wonder and imagine- and try to see what our heroine is describing. The lyrics here are amongst the finest on the album: lines such as "here we are you and I, snowblind/reflect me in your dilated eyes" means everything and nothing at all- it is a stunning thought that shows just why Engel is such a celebrated lyricist. Whether referring to a love (current or past) or the fictional, you get a real sense of conviction and honesty: Engel sounds spellbound and awash in her own thoughts. Against the backdrop of "rosy fire", black sunlight and "a great white lily", the embers begin to die: another hugely memorable track has been unfurled. The antepenultimate track arrives in the form of Be Good. Events turn towards more oppressive and dislocated themes: the spectral and child-like xylophone opening is a brief window of sunlight and refrain. Engel's voice never becomes heavy-handed or aggressive; there is a sense of calm and serene tenderness as she sings: "be good/to your brother/he won't follow you forever/and there's too many strangers/in this world." The composition has similar tones to that of Your Bones: strings are delicately played to allow the song's etherealeness to take full effect. It appears that Engel's lyrical adventurousness and effectiveness knows no bounds: the words are stronger even than Your Bones. Our heroine claims that her wound "is my shield now"- someone is pushing against her and causing pain. As the song progresses, Be Good becomes more evocative and striking. Engel is the fox in the meadow; she tears the flesh "from a swallow": the bitterest feathers, it seems, "linger on". The track's melody and incredible vocal performance are almost equal with the words themselves: the incredible story and compelling imagery get under your skin- and takes the breath. A Pound of Flesh (In Particulate Shards) employs stillness and tenderness again: the lyrics and themes differ from what has come before, and look at personal perspectives and life-and-death issues. Engel has been told that "the streets of heaven are paved with gold"- she prefers silver she claims- yet does not want to go: there is an aching sadness and redemptive spirit that mix alongside one another. Whether Engel is referencing mortality, the realities of relationships (or heartache); I am not sure, yet her words are at their most poetic. She directs to her subject; desiring to sing in their ear, she want to "turn your heart into a blackbird". The chorus here is the most effective and memorable across the album: the lines "home is wherever you shed the most dust/a pound of flesh in particulate shards" are stunningly redolent and bewitching. The song comes across as a bruised and aged soul, looking back on life (from the dusk of life's final moments). A Pound of Flesh' claims that "my visions get muddy and my heart it grows cold": desires and dreams and denied and (as people tell her) will twist and corrode. You get the sense that our heroine's ambitions and true nature is being denied and belittled; heaven is "swirling with snow", and Engel does not want to go. One of the most stunning aspects of the song (and those previous) is the ambiguity and oblique threads: words and thoughts are up for discussion and can be interpreted in different ways. Too many songwriters are direct and leave little room for imagination- Engel's incredible talent for wordplay and story mean that her lines are that much more effective and scintillating. With another typically emotive and stunning vocal performance- the composition seems fuller and slightly more cinematic and symphonic- the pace and quality does not miss a heartbeat. Bringing the collection to a close is My Beloved's Pulse: perhaps the most beautiful song of all (and the album's longest track). Engel's voice is at its most impassioned and pulse-stopping: lines such as "I found a trapdoor in this wretched night/an amethyst eye/in the void" are even more stirring. Our heroine never allows all-out happiness and joy to murk her music's memorability: there is still darkness in the light. Whilst dawn lights fire "to the bones of ravenous ghosts", Engel pays mind to a beloved figure: there are storms raging and unforgiving forces at work- her sweetheart is ensuring that she gets through it. Many commentators have paid tribute to Engel's evocative and scene-setting songwriting: not only do her poetic and incredible words captivate the mind, so too do her wonderfully powerful and elliptical compositions. With her hand on her beloved's pulse, there is the "drum of a distant surf"; Engel dares the world to test and try to break her- to test her love. An album as stirring and impressive as Looking-Glass Fire deserves a graceful and compelling swansong: that is just what it gets. Concluding a record that offer so much diversity, surprise and wonder, My Beloved's Pulse is a phenomenally touching and emotive song: few of Engel's contemporaries would be able to sum up similar emotions with equal force and conviction.

Looking-Glass Fire is a triumph from start to finish. This year, I have reviewed quite a few incredible songwriters and performers: few have impressed me as much as Clara Engel. The album is as vivid and striking as its title suggests. Its sextet of tracks take you somewhere special: the stunning and dream-like words put you directly in the song- and take your mind away. There are a lot of great and ambitious lyricists in music, yet few possess Engel's talent and flair. When reviewing Kate Tempest- a U.K.-based Rap act- recently, I was mesmerised by her stream-of-consciousness thoughts: the way she deployed her words (and the quality of them) were a startling revelation- shady characters, hostile scenes and pillow talk all mingle alongside one another. Engel's mandates do not have their heart in the grit and grime of the street; she investigates something more universal and relatable: issues of love, the human heart; familial relations and the soul's intervention. Engel incorporates oblique and indirect with the beautifully stark: the music and vocals behind the words are direct and emotional throughout- there is barely a chance for the listener to draw breath or demure for reflection. It is not just Engel's words which amaze and inspire: her voice is gorgeously haunting when it needs to be; beautiful and full-flowing at times; bare-naked and raw- it is a camouflaging weapon that ensures each track never slips from your attention. The production is incredibly concise and clear: each song comes across as pure and organic- there is no over-production or overcrowding at all. I am a relatively new fan of Engel's, yet have been stunned and taken aback by everything within Looking-Glass Fire: six tracks that demands repeated appreciation and  investigation. It has compelled me to look back at Engel's back story and huge cannon of material- and imagine what might come next. There seems to be no shortage of confidence and inspiration in our heroine's mind: this shows across the album. A lot of modern songwriters include a filler or two in an album- their ammunition runs out at some point- yet Engel shows no fatigue or slip: by the final track's closing moments, you find yourself wanting more.

Given Engel's prodigious work rate, one would expect the quality to dip slightly- that is not the case here. Most acts suffer a natural sense of fatigue and ageing after a certain point, yet Engel seems to be on the rise: it will be fascinating to see where she is headed next. Mainly resided to Canadian dates, I hope that our heroine does come to the U.K.: I for one, would love to see her perform live- and witness her music alongside others. Lately, I have made some bold proclamations and uttered some enfevered praise: it goes to show the exceptional standard of current-day music. We have a few like-minded acts (similar to Clara Engel) in the U.K., yet few that have the same sense of quality, range and ambition. Musicians such as Kate Tempest and The Glass Child- two of my recent reviews- have provided different perspectives and an equal ambition with words: Engel offers another take, and is amongst the most memorable solo acts in the world. The massive growth of her online fan base shows that her music resonates and connects with a great deal of people: in the coming weeks- when Looking-Glass Fire takes full effect- those figures will continue to surge. Whether another album is imminent, one cannot say (it would not surprise me), but if Engel does do one thing, I would suggest she heads to London- it is one of the busiest and hungriest music markets in the world. Not only would venues and scores of music-lovers latch onto her latest sounds, but radio stations as well- she has already featured on BBC Radio 2; smaller stations XFM and Absolute Radio would definitely show interest. Engel has collaborated with artists from around the globe; prominent artistic figures have offered their highest praise- our heroine claims she is a creative jackdaw (who takes from everyone). She has clearly given the music world a lot, and deserves some respiring attention. Being a new convert to her cause, I am making up a lot of ground- yet know full well how incredible her music is. Take a sip of her new album and let its songs take your away. There is no surrender...

WE'RE through the (wonderful) Looking-Glass now, people.

https://www.youtube.com/watch?v=Ypi-VFD8h30

　____________________________________________________________________________________

Follow Clara Engel:

　

Official:

http://claraengel.net/

Facebook:

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

Twitter:

https://twitter.com/clara_engel

SoundCloud:

https://soundcloud.com/claraengel

BandCamp:

http://claraengel.bandcamp.com/

Last F.M.:

http://www.last.fm/music/Clara+Engel

ReverbNation:

http://www.reverbnation.com/claraengel

iTunes:

https://itunes.apple.com/us/artist/clara-engel/id80857481

____________________________________________________________________________________

Clara Engel's music can be accessed at:

https://www.facebook.com/#!/claraengelmusic/app_6452028673　

____________________________________________________________________________________

Clara Engel's videos can be viewed via:

http://www.youtube.com/channel/UCXUESzQsiSRsMo0AXKcCl-g　

_______________________________________________________________________________________

Tour dates available via:

https://www.facebook.com/#!/claraengelmusic/events

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Clara Engel vinyls be purchased at:

http://voxhumanarecords.bandcamp.com/album/madagascar-ep

Track Review: CryBabyCry- Go Go

TRACK REVIEW:

CryBabyCry

　

Go Go

9.3/10.0

　

Go Go is available via:

https://soundcloud.com/crybabycryuk

GENRES:

Blues, Blues Rock, Indie.

_______________________________________________________________

This Yorkshire outfit source their band moniker from one of The Beatles' finest cuts: CryBabyCry are raucous, rampant Bonnie and Clyde-toppers. With influences of The Black Keys and Nancy Sinatra, the ambitious trio are guaranteed never to say "Can you take me back where I came from?"

_____________________________________________________________________

TODAY, I am re-investigating musicians that I am quite familiar with.

Having been doing this gig for quite a while, I have been fortunate to come across some of this country's finest and busiest acts: many of whom originate from Yorkshire. It has been a little while since I mentioned this fine land, so it is good to return: today's subjects are causing excited stirrings throughout the county. I am not sure how Yorkshire keeps producing so much top-notch talent: perhaps it is the air or lifestyle; the friendliness and support of fellow musicians, perhaps? A lot of current emigration is seeing musicians flock to London: the lure and history of the city's bright lights is tempting musicians into its warm ensconcement. It is understand that so many are seduced by the capital: the contacts, capital and opportunities are all there- I wonder whether too many are abandoning home and hearth too prematurely. With regards to Yorkshire music elite- Jen Armstrong, Annie Drury, Shiftin' Shade etc.- there is a rich variation and amount of splendour being produced: in terms of range and quality, Yorkshire is leading the U.K.'s musical charge. As well as a great deal of home comfort, Yorkshire seems to be inspiring the creative minds- as do the big cities such as Manchester and Liverpool. I guess it is a natural cycle: at a certain stage you will find yourself in London- that is where the biggest audiences call home. Those that are brave and loyal enough to stay planted, are reaping rewards- aa many of my recent reviews have shown. Crybabycry is not only a striking band name- and it is one of The Beatles' best late-career tracks- but the foundations of huge potential stars. Being a fan of Jonny Firth and Rosie Doonan, I am already familiar with two-thirds of the band's outfit. The third member of the trio is Nici Todd: a stunning and heartbreaking drummer that is amongst the finest percussionists in the north. I am sure that we will be hearing a lot more from Todd in the future- as part of CryBabyCry and other acts- and I know from Facebook (being one of her acolytes) that she is as good-humoured and dedicated (to music) as they come- meaning she will have a long career in the industry. Jonny Firth is Yorkshire equivalent of Jack White: a one-man army of song, he is one of the busiest musicians in the world. As a solo artist, I was lucky enough to review him last year: I found that his White Stripes Blues-cum-gritty Rock was amongst the most startling and invigorating music of the moment. Showcasing himself as not only a world-class songwriter- as well as a stunning guitarist- Firth laid out his songbook: those which were packed with fascinating characters, witty love songs and tender emotion. Fast-forward a year-or-so, and Firth has parlayed his talents into his new act, Knuckle: along with Ben Wallbanks, the duo are a hot-as-hell duo that have already played some rather high-profile gigs. Knuckle's track Living Hell is a blazing and glorious slab of Blues Rock- it will be exciting to see if the boys have a future E.P./L.P. in mind. Like Jack White, Firth has a third string (and fond love): CryBabyCry. The group have been noted for their spellbinding performance and natural tightness: marked down due to the strong friendship and understanding between the trio. With Todd's crackling and driving percussion work, as well as Firth's encapsulating vox/guitar work, there is another psychotropic ingredient in the pot: Rosie Doonan. Like Firth, I have been fortunate enough to review Doonan on more than one occasion- and with equally stunning after-effects. My first exposure to Doonan was as the lead of Rose and the Howling North: a Yorkshire clan whose Cuckoo album mixed Blues, Soul, Rock and Folk Pop. That album is still on my stereo (over a year after its release) and is a nuanced and fascinating work: its title track is a dark and sing along gem; elsewhere gorgeously still vocals marry alongside late-night firecrackers. Doonan's voice seemed limitless and chameleon-like: capable of swooning, sweeping, striking, shouting and seducing, it remains one of the finest examples in music. Her incredible songwriting range was emphasised in another form: Cissie Redgwick. Presenting Electro-Swing classics, Redgwick's music put you in mind of the Andrews Sisters and Swing greats- the sound was updated for the '00s and instilled with modern life relevance. Given all of this information and back story, I could not wait to investigate CryBabyCry: an act that promise so much without a single note being played.

Being a brand-new act, there is no previous body of work to compare (their new material to). Their sound has similarities with Doonan and Firth's other ventures: Knuckle and Firth's U.S. Blues stylings- as well as Black Keys embers- pair beautifully with Doonan's rebellious and strong-hearted heroine- blended together, the trio's music sounds at once alive and original, as well as vintage and familiar. There are quite a few acts around that walk similar lines (in terms of sound), yet none do it quite the same as the Yorkshire three-piece: the combined musicianship and voices of the trio result in something quite fresh and urgent. Too many modern acts fail to utilise past masters and current-day sounds effectively- CryBabyCry have concocted a heady and hypnotic brew. Their initial offerings not only suggest a long and fruitful recording career, but suggest what a future album will consist of: variation a-plenty as well as plenty of action, drama, love and alcohol-fuelled swagger. The perfect antidote to the music menopause of (much of) the mainstream, the Wakefield lovelies offer a perfect storm: a sound that is alive and attune with the sounds of 2014 Rock, but shows the rich heritage of '60s and '70s Blues and Pop.

Anyone that has Nancy Sinatra in their record collection will hear some lineage in Doonan's voice. Across Cuckoo (as well as tracks such as Gimme That Swing), our heroine gives off the same sort of smoky temptation as Sinatra; that power and stop-still beauty comes through in her voice- yet Doonan keeps her native northern tones fully in tact. In the same way that Sinatra employed theatrical strings and woozy shadows, so do CryBabyCry: their boots are made for stomping. The likes of The Black Keys and Jack White are dominating chart possession and fandom: if U.S. Blues Rock is your bag, then the Wakefield trio will spike your interest.

A galloping and playful intro. kicks Go Go into life. The guitars and drums elicit a five-beat kick (interspersed on the first round by Doonan's sexy and breathy "oh"). The rearing and raring stallion increases in pace: the sonic chant gains confidence and speed- as the pace quickens, so too does its catchy vibe- you find yourself humming along to it; tapping your feet as you do. Propelled and set-up by the kick-ass composition, Doonan sway to the mic. Her voice- in the early moments- is calmed and precise: there is a matter-of-fact quality that makes sure there is no ambiguity or doubt. It appears that a no-good sweetheart is messing her around; her initial line of enquiry sees her putting her man on the spot ("What you gonna say?/What you gonna do?"). Doonan is in no mood to wait: whether imploring her boy to make a move- or asking him to make his mind up in general- one thing is clear: "I won't hang around for you." Doonan's phrasing and unique delivery caught my ear on Cuckoo (particularly tracks such as Cuckoo, Cherry Ride and All These Years). On Go Go, that flair and idiosyncrasy is back in full force: she teases and tempts lines; some are given rapid-fire delivery- some are twisted around her tongue like a viper. You can almost see Doonan winking through the speakers: there is a cheekiness and smile to her tones; she knows what she wants and is in control- putting her beau under pressure into the bargain. Underpinning lines about her love's prowess (he is the only one that makes her scream) are punchy and chugging guitar parables (they mix the force and funk of Michael Jackson's Bad/Dangerous era as well as The Black Keys at their Turn Blue best). Those expecting Doonan to remain in the (vocal) limelight are put in their place: Firth arrives into the fray. Our hero's voice is smooth and come-hither. Firth is on fire and feeling fine: offering reassurance to Doonan, he professes: "This love won't ever tire". Firth's introduction is a great juxtaposition: whereas Doonan's pronunciation was full of twists and turns; Firth's is more straight-laced and direct- perhaps acting as metaphors for their intentions and methods of seduction. The two leads play beautifully off of one another. There have been many charming and cheeky musical by-plays (including The White Stripes' It's True That We Love One Another): this one has plenty of northern soul. Firth admits that he is fallible and makes mistakes- he is going to do what he's going to do- yet you sense some regret and retreat. Todd's percussion adds an incredible amount of emotion and force: at times the earthquake rumbles bring proceedings to an almost impalpable sense of sweat and strain. Firth and Doonan duet their voices briefly (imploring one another to show some diligence and respect): before long that infectious and grumbling guitar coda breaks the tension. Incapable of separation, the duo hatch a plan: they are going to take a ride- whether one of a vehicular or sexual nature I am not sure (I suspect the former)- and get away from the hurly-burly of their lives. Not to be outdone or ride in the back seat, Todd's drumming provides a sense of mobility and itinerary- it becomes more pugnacious and dominant past the half-way marker and drives the track forward. Both parties admit that they have faults: they are made the way they are but are determined to find some common ground. As the track switches into top gear, proceedings become fuzzier and more delirious: the vocals are dripping in reverb and distortion (giving them electricity and urgency); the guitars buzz and are coated in Blues/Garage Rock authority. As Todd's continues a percussive assault on the senses, our dislocated sweethearts ponder life: during the chorus they ask "Where we gonna go go go?/Where we gonna be?" The final 30 seconds consist of resolution, cliffhangers and aural attack. Guitars and percussion clash and endeavour; our love-wracked twosome makes attempts towards mediation and mutual indemnification: by the final seconds you wonder whether Doonan and Firth found compromise and satisfaction.

Go Go is a splendidly produced slice of Blues Rock: a track that needs a few listens for its potency and potential to grab you fully. It is a song that is instantaneous and nuanced: raw energy and honest mean it can be easily understood; deeper layers implore repeated listens and investigation. There is a huge amount of concision, confidence and sing along catchiness to the track- few songs this year have made me smile as broadly. When it comes to the composition (and its riffs, jolts and sensations), there are components of The Black Keys, Kasabian and Kings of Leon: U.S. and U.K. influences sit alongside one another to produce a compelling and well-considered sound. The guitar work is fascinating and impressive throughout- full-out force and delicate intricacy pair together effectively. In order for the track's capricious and two-sides-of-the-story pertinence to take full effect, the guitar work needs to be like-minded and up to the task- which it very much is. Blues and Indie tones of the '90s-'00s mutate into '70s Pop/Soul sounds- dark and rumbling marries with lighter and more effusive soulfulness. Todd's percussion is acts a third-party; watching proceedings, she is a musical relationship counsellor: she supports her clients, but also adds a little candour and fuel into the fire. Percussion is sometimes overlooked (when reviewing a track), but here it is hard to ignore: the power and polymerisation adds huge emotion and excitement; the temporized and measured drive moves the story as well as steadies the rocking ship. It is the chemistry and bond the trio share, that makes Go Go so immediate and thrilling. The performance is tight and professional- there are playful edges and free-spirited experimentation too- which means the song's themes and words are given full consideration. The production values on the track deserve mention: it is raw and sparse, yet clear and concise enough for all the words to be understood and grasped- many acts overlook the importance of great production. Go Go's rare and impressive two-hander sports a memorable set of lyrics: at once open-hearted and vulnerable; the next rebellious and intent. Doonan and Firth's diverse vocals blend surprisingly well- their individualised styles and projections come together splendidly and effortlessly well.

The next couple of weeks are going to be big ones for CryBabyCry. The trio is playing Hackney on Saturday, and after that a bigger date looms: the Futuresounds Competition 2014. On June 28th, our intrepid threesome vie for a place at the Leeds Festival. The group will be bidding for votes and support (in order to win that illustrious spot), yet it seems like they have done the hard graft: their sound and confidence seems ready-made for the festival circuit- they will be playing many more in future years. There is ample star quality in the camp at the moment: the guys are loving what they are doing and determined to keep their momentum going strong. Having assessed Doonan and Firth already, I know just what they are capable of: CryBabyCry's music (and Go Go) shows that at the top of their creative power. Todd fits seamlessly aside the duo; adds pulp, passion and palpitation: it will be fascinating to see her in the live arena. Most bands would employ circumspect before putting themselves into the public domain: CryBabyCry need not worry; their sounds and urgency are going to see them go places (both in the U.K. and abroad). Knowing the work rate and output of the band's players, I suspect that they already are plotting a future disc: either an E.P. or full-length album. That will be a mouth-watering prospect: the trio have acres of ammunition and potential- seeing it extended over the course or ten or eleven tracks seems like an imminent possibility. The market is crowded and busy at the moment, so I hope that the three participants devote as much time as possible to the cause as possible. Firth has Knuckle commitments; Doonan has other irons in the fire too: CryBabyCry have a terrific sound, so I hope that the band has high hopes and big plans. The rest of this year will be dedicated to festival campaigning and electioneering; new material will be percolating- live gigs will be near the top of the agenda. With Yorkshire producing so many phenomenal musicians, it is no surprise that Firth, Doonan and Todd have produced such a wonderful track: there is quality and consistency here that is almost unheard of elsewhere. In the wider music realm there are not too many notable and distinct trios working away: it is an uncommon dynamic that results in few examples obtaining long-term glory. In that sense, CryBabyCry have an advantage: they not only possess a rare genetic make-up, yet have the strength to make some big waves. Eager eyes will be casting themselves in the trio's direction in the coming weeks: big opportunities are up for grabs; the Wakefield band will want to grab them. I wish them the best of luck (something tells me they will be okay) and hope that they get everything they set out to achieve. Go Go is a bold and memorable step in the right direction...

LET's hope for many more.

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Follow CryBabyCry:

　

Facebook:

https://www.facebook.com/CryBabyCryBand

Twitter:

https://twitter.com/CryBabyCryBand

____________________________________________________________________________________

CryBabyCry's music can be accessed at:

https://soundcloud.com/crybabycryuk

　

____________________________________________________________________________________

CryBabyCry's videos can be viewed via:

http://www.youtube.com/channel/UCwvW8AcNigNMx5FalXuJesg　

_______________________________________________________________________________________

Tour dates available via:

https://www.facebook.com/CryBabyCryBand#!/CryBabyCryBand/events

　　

______________________________________________________________________________________

CryBabyCry merchandise can be purchased at:

https://www.facebook.com/#!/pages/Crash-Records/143659165668185

　

Track Review: Jessie Ware- Tough Love

TRACK REVIEW:

Jessie Ware

　　

Tough Love

9.5/10.0

　

Tough Love is available via:

https://soundcloud.com/jessieware/tough-love

GENRES:

Pop Soul, Indie Pop, Quiet Storm, R&B

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Two years on from the release of Devotion; Jessie Ware is back- and sounding stronger than ever. Tough Love mixes '80s Prince beats with minimalist seduction: providing a tantalising insight as to what her follow-up album will possess.

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THE mainstream coffers are stuffed with jewels and all sorts of shiny objects...

for the devoted music-lover. If your bag is band music, then there is an ample stock: any variation and kind of sound is on offer- ranging in genres and styles. This is the case with regards to the solo realm: multitudes of performers and talent are eager and keen to seduce hearts and minds. The quality can be variable at best-it is always difficult trying to discover something (or someone) genuinely worthy and impressive. Even if you do come across a potent and vibrant musician, there is the issue of longevity: a lot of time the appeal and magic can wear thin by the time the second album arrives. Jessie Ware is an artist that managed to scintillate and encapsulate large swathes of the music-buying public: her unique (yet pleasingly familiar) music resonated strongly and struck a keen vein- before long, Ware was being proclaimed as one of the finest new acts in the world. Before I go into more detail, it is best to- for those unfamiliar with our heroine- provide some background:

"Jessie Ware is a proper pop star. With her soulful, melancholy vocal, effortlessly elegant songwriting skills and, of course, that striking slicked-back hair, she marks a new era for pop. Her outstanding debut album Devotion combines the ultra-modern feel of downtempo R&B and British electronic music with the melodrama of classic stars like Sade and Whitney Houston. "I’m ready and excited," she says, of her impending stardom, before chucking in an earthy, "And I got to make a bloody lovely record, with people who are lovely, so I need to enjoy it! But it nearly didn’t happen at all. South London born Jessie started singing at school, inspired by the romance of her mother’s Frank Sinatra and Ella Fitzgerald Sings Cole Porter tapes, appearing in musicals and picking up some classical training along the way. But then she got to university and her life began to veer in a different direction. "I didn’t think it was ever going to be possible," she admits, having put her dreams of being a singer on hold. "It always broke my heart a bit. I couldn’t even do it as a past-time, because it made me feel too sick to only half do it...In the States, Jack’s guitarist introduced her to the music of a new producer he knew, now going by the name SBTRKT. He lived down the road from her in Tooting, and as soon as she got home, she went round to his house. "I didn’t think I could do it," she admits. Appropriately, they ended up writing a song called Nervous. "It ended up being a lead vocal. SBTRKT sent it to Numbers, who wanted to put it out. He said, ‘Because this is a lead vocal, we should have it as SBTRKT And Jessie Ware, not just featuring.’ I thought, this is amazing. I’m going to have a song on a really cool label, and whatever happens, I’ve got a vinyl...Her debut album Devotion contains that effortless poise within 11 laid-back, soulful pop songs that run the spectrum of sweet and dark. "I feel like I’ve been allowed to push it with the melodrama," she smiles. "Like [early single] Running was me thinking of Whitney Houston’s Queen Of The Night and romantic film scenes from the 80s, where the guy sees the girl at the prom…" The title track, she says, is the first song she wrote with Dave Okumu from the Invisible, who would become a key part of the making of the album. "That’s why I wanted the album to be called that, because it’s where it started. That’s when I felt like a singer, and could express myself in the way that I wanted, with the music I wanted"... The upbeat nu-soul swing of Sweet Talk ("one of my favourite songs") is about someone trying to pull you in even though you’re trying to stay away, sung with flirtatiousness, but also a hint of danger. Night Light may seem dark, with its remarkable and dense shimmering layers and lines about shadows and ghosts, but actually, Jessie says, "the essence of it is very sweet. It’s about my boyfriend, and being scared of the dark, and him just… being there... Devotion takes a look at other relationships, too, not just romantic ones. Next single, the tentatively desperate Wildest Moments is of particular significance to her. "It’s about my relationship with my best friend. We love and hate each other. I never fight with anybody more than her. She’s the person who told me I was an idiot and asked me why I wasn’t singing when I have a voice, so she means a lot to me… It’s about those extremes of being amazing and awful together." Taking In Water, meanwhile, all-powerful choral melancholy, is a message of support for her younger brother. "I’m proud of that one because it’s really emotional. My brother was going through a hard time, and I love him dearly, and we’ve never been very good at speaking to each other, so I put it in a song. I don’t even think he’s heard it!" 

Devotion (Ware's debut album) was released back in 2012: in the ensuing years, Ware has been busy recording and touring; she has been plotting the steps that will form the basis of her second L.P. Last week, Zane Lowe hailed Tough Love as his 'Hottest Record': that airplay led to many enfevered fans scurrying to YouTube- and paying their respects to the song's wonder. There is no firm release date for Ware's new album, yet all the signs are very positive: she is instilled with a new creative lease- as well as the interest and ears of many new supporters.

Jessie Ware's first album was hotly received when it dropped a couple of years back. Many critics were keen to note the diversity and range that ran rampant across the album's eleven tracks: Ware seemed adept at effortlessly blending genres and sounds to create a harmonious whole. Adult Contemporary, smooth and sexy Soul and sophisticated Pop mixed with signs and embers of past mistresses- Annie Lennox, Alison Moyet and Lisa Stansfield stand out firmest. It is not only the cross-pollination and breadth of sound that made Devotion a synonym for excellence- Ware's vocal allure stands out strongest. Unlike many of her peers, Ware's voice came across as  mature and powerful: there were no infantile histrionics or twee-voiced offerings. The album's culture of Art-Pop and Alternative R&B stood out from the competition for two reasons: Ware's elegance and stunning vocal beauty lifted every song; the album came across as a bona fide classic- something you could call 'proper music'. Too many contemporary examples fill their records with immaturity and shallowness: there is still too much generic and vague outpouring- Ware (despite being 27 when the album came out) sounded utterly assured and fully formed. Those expecting the heartache and all-consuming passion that Devotion provided will not be disappointed: Tough Love has a tender soul, yet adds more depth and punch into the agenda. The song contains all of Ware's unique personality traits, yet is it imbued with a renewed strength and confidence that are deeply impressive: our heroine has fight in her, as well as torment. Devotion saw Ware compared to the likes of Stansfield and Moyet; yet her latest insight sees Prince come to mind: his early-'80s work comes through when you hear Tough Love's low-beat beauty.

If you are  new to Jessie Ware's cause- where have you been for the last few years?- then it is hard to compare her with too many: she has edges of idols such as Lennox, yet is a wholly unique and striking voice- it is the emotions and feelings she summons up that are familiar. If you love strong female artists (those with a determined voice and strong soul) then you need to invest in Jessie Ware. There is heartache and introvertedness in her music; her stunning range and immense vocal capacity will win over everyone: unlike a lot of modern-day acts, Ware is not a niche act or minor star- there is ubiquity and universality in her tones. Potent and breathless R&B, mature Pop and hypothesising Soul found their way into Devotion- if any of these genres appeal to you, then you should definitely investigate Ware. One of the most abiding and forceful elements of our heroine's music is the conviction and relatability that is instilled within every track: it is the perfect antidote to the plastic and recycled Pop that permeates and obsesses the mainstream.

Tough Love starts out with some subtle temptation: a combination of bubbling electronics and duel percussive slams (acting as punctuation) are evocative and emotive. Early touches of Prince (Little Red Corvette) do come through, but Ware's projection and introductory line carries its own weight: the way that she manages to make the simplest and sparsest of sonics compel and entrance have to be commended- and spikes anticipation for what is to come. When Ware steps up to the microphone, her voice may stun (her fans and those familiar with her)- the vocal here is more experimental and daring. Whereas Devotion saw our heroine present duskier and lower-toned vocals, here there is a high-pitched and crystalline sound: Ware's voice is breathy but deliciously sweet and pin-sharp. Early words may well hint at some form of positivity: "It's a really good sign that you hold my mind/It's true." Anyone thinking that events are taking a turn towards the better are in for a surprise: it seems that an argument or riff have left their marks. Ware's voice never becomes overwhelmed or over-emotive: when speaking of anxiety and consideration ("I've been thinking of what to say all night to you") there is plenty of urgency and authority- yet our heroine's voice remains delicate and balletic. The accusatory nature of Tough Love continues, as Ware asks her lover if he has figured out what he needs to- there is a sense that the infantile suitor is dealing with things in the worst way possible. As well as the consistent and bare-naked percussive beat (that pervades and bolsters the mood), you are struck by the intelligence and vividness of the words. As Ware's voice becomes settled and slowed-down, she offers some insight: "When your heart becomes a million different pieces/That's when you all be able to recognise its feelings." As well as being a potent and memorable offering, the way the lines are vocalised are particularly stirring: Ware's lower tones rushes in waves; with nary a second for breath, the vocals engulf and dominate proceedings- and ensure that every words sticks inside of your head. That is what tough love is- realising what your heart wants when it is broken into fragments- our heroine explains; she formalizes her authority, and provides some cold truths (to her sweetheart)- and perhaps to herself too. The defragmentation of relations have caused Ware sleeplessness: in the second verse she confesses that "In the middle of the night/All I think about is you." The beat and delineations do not change; Ware's high vocals come back- yet the sense of nerves and pain (in verse two) come to the fore. Ware pleads to her beau not to be a typical man: she wants him back but wishes he could conspire with her- instead of rebel and run away. By the time the chorus swings back around, the listener feels a sense of sympathy and exhaustion: Ware's cooing vocals- combined with the shadowy and spiky composition- enforces and emphasises the sense of loneliness and aching. The final moments see our heroine provide earnest declaration: "You have me crying out, crying out for more." Ware's voice (at this stage) sweats with desire; breathless and bereft, there is a tangible sense of longing and desperation- as well as nerve-shredding beauty. With a final injection of heavy-beat heartbeat; a sojourn of electronic pummel- the track reaches its end.

Written in collaboration with BenZel (the duo of Benny Blanco and Two Inch Punch), Tough Love is a multipart triumph. Having already been a fan of Jessie Ware, my respect has duplicated. After a stay away from the spotlight, many would expect diminished returns or predictability: what is provided is not only a fresh and unexpected gem, but a reinvigorated and determined mandate. Ware has superceded critical expectation, and unveiled a song that does not disappoint: the new sound direction augments and emphasises her stunning voice. Lyrics-wise, Tough Love is a clever beast: there is finger-wagging and soul-searching; accusation and pining- our heroine displays her vulnerability and honesty with incredible brushstrokes. Flat-out emotion and oblique poeticness mingle together; picturesque twilight scenes sit with introverted confessions: few other tracks this year have (or will) have the same effect that Tough Love does. Ware's vocal is stunning- in an interview she claimed she was experimenting with her voice- and consistently gripping: her innate sense of diversity, pace and conviction brings emotion, force and beauty out with clarity- it is one of the most effecting and mesmeric vocal turns you will hear in a while. The composition and production are to be applauded, too. Every punchy note and woozy electronic uttering is presented in high-definition clarity: too many tracks suffer due to poor production, yet here the quality and sense of intelligibility makes the song a huge triumph. It is hard to say if- when Ware brings out her new album- its tone will reflect that of Tough Love: it may be a one-off but one suspects that we will hear more songs like this- Ware sounds comfortable and assured in her new skin. Her latest single is one that speaks to everyone who has had their heart-broken (pretty much everyone in the world), yet shows a unique and singular back story: one I hope will inspire new material (but not cause Ware too much pain).

The Internet is already hyperventilating with excitement following Tough Love's release. Like a fond love that has been overseas for a couple of years- Ware's musical return is a similar relief and cause for huge anticipation. A new album is starting to take shape (although it may not be released this year) and speculation is afoot: it will be fascinating to see what shape and direction a new Jessie Ware album takes. Tough Love sticks in the mind because of its wonderfully emotive and compelling vocal performance; stunningly tender and sparse composition- as well as its direct and accessible words. Devotion was (and still is) a startling testament and audacious debut: rife with confidence and professionalism, it is the sound of a young woman born to make her mark. Her first song since Devotion shows Ware in fervent mood: she has not missed a beat; instead a possible new direction has been hinted at. Whatever form her next album takes, I cannot see her slipping or turning in anything sub-par: she is an artist that has struck gold- and not about to let that go. Being still in her 20s, Ware is going to have to prepare herself for many, many more years in the music business- and years more of critical acclaim. All that we do know for certain, is that Ware will not rest on her laurels: she will not simply duplicate Devotion (on her next L.P.); but allow her curiosity and personal stories to paint fresh and vibrant pictures. The subjects of all-encompassing love, all-out heartbreak and anxiety are as common and well-trodden as any topic of music you can think of: ensuring that your version of events transcends everyone else's takes a special talent indeed. For now, we have been treated to an alluring number: a song that subverts all expectations (of Ware) and stands out as possibly her finest piece of work to date. After the dust of public adulation starts to settle, surely it will provide Ware with ample impetus and creative fuel- as well as provide much-deserved patronage and energy. The modern scene is overpopulated and overflowing with music of all varieties: too few musicians offer something worth sticking with. Ware is one of the finest female singer-sonwriters in the world: one capable of ostracising the wheat as well as providing inspiration to up-and-coming acts. If Tough Love is anything to go by, whatever Ware has in her mind...

WILL be a hell of a thing to witness. https://www.youtube.com/watch?v=okC1XE0jX2U

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Follow Jessie Ware:　

Official:

http://jessieware.com/

Facebook:

https://www.facebook.com/jessiewaremusic/

Twitter:

https://twitter.com/JessieWare

YouTube:

http://www.youtube.com/channel/UCisgqJFEjW68P8GdxZNP5aA

Soundcloud:

https://soundcloud.com/jessieware

iTunes:

https://itunes.apple.com/gb/artist/jessie-ware/id471286553

Last F.M.:

http://www.last.fm/music/Jessie+Ware

Spotify:

https://open.spotify.com/artist/5Mq7iqCWBzofK39FBqblNc

MySpace:

https://www.myspace.com/jessiewaremusic

Instagram:

http://instagram.com/jessieware/#

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Jessie Ware's music can be accessed at:

http://jessieware.com/music/

　

____________________________________________________________________________________

Jessie Ware's videos can be viewed via:

http://jessieware.com/videos/

　

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Tour dates available via:

http://jessieware.com/live/

　

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Jessie Ware merchandise be purchased at:

http://jessieware.com/store/

Track Review: The Midnight Pine- Trouble In the Blood

TRACK REVIEW:

The Midnight Pine

　

Trouble In the Blood

9.4/10.0

Trouble In the Blood is available via:

http://themidnightpine.bandcamp.com/track/trouble-in-the-blood

The album, Buried is available at:

http://themidnightpine.bandcamp.com/album/buried

 

TRACK LIST:

Trouble In the Blood- 9.4/10.0

Buried- 9.4

Tears- 9.3

Caution- 9.3

Hey There- 9.4

Edge of Town- 9.1

Markle Interlude- 9.2

Lavish in Bloom- 9.3

Mother Of Amends- 9.1

Out Here Tonight- 9.2

Pocket Watch- 9.3

Always- 9.4

Buried Reprise- 9.3

STANDOUT TRACK:

Trouble In the Blood

DOWNLOAD:

Trouble In the Blood, Buried, Hey There, Pocket Watch, Always

RELEASED:

10 June 2014

Shelbi Bennett: Vocals Alfred Howard: Circuit Bent Radio and Percussion Jason Littlefield: Upright Bass and Cello Sean Martin: Acoustic and Electric Guitars Josh Rice: Piano, Rhodes, Hammond B3, Wurlitzer, Farfisa, Vibraphone and Acoustic Guitar Jordan Andreen: Synthesizer and Accordion Mikhail Borisovsky: Violin and Cello Tim Felten: Mellotron Andy Geib: Trombone and Trumpet Tim Lowman: Electric Guitar Gerard Nolan: Clarinet Jonathan Piper: Tuba

ALL LYRICS BY:

Alfred Howard, except Lavish in Bloom (by Shelbi Bennett) and Out Here Tonight (by Shelbi Bennett and Alfred Howard) 

ALL SONGS WRITTEN BY:

 The Midnight Pine

PRODUCED BY:

Jordan Andreen and Alfred Howard

RECORDED AT:

Audio Design

MIXED BY:

Jordan Andreen

MIXED AT:

Big Fish and Audio Design

MASTERED BY:

Kelly Hibbert

GENRES:

Folk, Indie Jazz, Psychadelic

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Shelbi Bennett has a voice that has caused many commentators to palpitate furiously: backed by her brilliant musical brothers, The Midnight Pine are amongst the finest acts in the U.S. Following an accomplished and fascinating debut- which has its heart in Blues Folk Country- comes its (mesmeric) follow-up: Buried is a page-turning storybook everyone should unearth.

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PERHAPS the most compelling facet of any band lies in the vocal department...

and the tones of their singer. I appreciate the value and importance of composition, melody and lyrics: for my money, the biggest chills are elicited when you witness a truly spellbinding voice. In recent months, the likes of Sam Smith and Paolo Nutini have won hearts and adoration: their unique (and diverse) vocals have reduced the most concrete of hearts to a blubbering pulp- backing it up with memorable and stunning songs to boot. When it comes to words and music, there are complexities to tantalize: words need to be carefully considered and thought-out; the music should be stirring and daring- if you want to grab the imagination, then a hell of a lot of work needs to go into them. The voice transcends these rules; it subverts and negates expectations: a wonderful vocal display can turn the simplest words into something transcendent and spiritual. It is not good enough to merely have a phenomenal voice (which in itself is a huge achievement): your songbook has to be stuffed with memorable layers and colours in order to mark yourself out. It may sound like an aimless ramble, but my point is well-founded: few acts (past or present) have managed to provide scintillating vocals, transfixing music and nuanced music- the Holy Trinity of songwriting. When you do come across a band or artist that pulls off the- seemingly improbable and obtainable- feat, it is vital to not only take in all they have to offer- their music then needs to be promoted and shared (to ensure as many ears as possible witness it). I have surveyed quite a few Californian acts- from Little Dove and The Open Feel through to Quinn Archer- and tend to find that- when it comes to band formation/conception- a fascinating and filmic back-story presents itself: The Midnight Pine are no exception...

"I met Shelbi Bennett at the record store of my employ. I was ringing her up for dvds, I believe it was the Brother's Bloom and Crouching Tiger Hidden Dragon, the latter I had forgotten existed. I had just seen the first one and struck up a conversation about it, which as all conversations I have longer than 1 minute segued into music. She said she was a singer, in an instant of condescension that... comes with being a record store clerk, I imagined her singing off key Dixie Chick's numbers in the car on the way to work, I responded that I was a song writer which to her ears meant I was a lecherous old man trying to hit on her. For whatever reason we braved our prejudice and got together and the second I heard her take on a song I wrote a ways back called Stolen Wind I was floored. I called Josh and said "hey man, I stumbled into someone real special". I was already in 3 bands and working full time, but when you hear a voice like shelbi's and you have a chance to be a part of some small miracle, you find time." -Alfred Howard [Lyrics, percussion]

The store clerk-meets-aspiring hidden vocal goddess seems ready-made for the silver screen: it is a tableau that beats the mediocre and predictable beginnings most bands have- you can almost picture that initial meeting beat-for-beat. I only came across the band a matters of days ago (via a good musician friend of mine); dug into their annals and treasure chest- and came away wide-eyed and amazed. It is probably pertinent that I allow the guys themselves to sum up their essence:

"The Midnight Pine is the soundtrack to a solitary desert drive beneath a crescent moon. Lead by the haunting voice of young siren Shelbi Bennett, the Pine presents a sparse, hypnotic, eerie and beautiful soundscape. The album wanders through ghost towns of morose psychedelia, brooding folk and triumphant pop. To keep the focus on the vocals there are no drums, just found objects, chains, saw blade...s, sheet metal, utensils and short wave radios are layered to keep a subtle pulse of percussion pushing the songs forward. The Midnight Pine is an exercise in serene nonchalance, moody atmospheres and songs that braid your heart-strings into a rich tapestry. Live the band can conjure pin drop attention with its gentle movements and with a quick shift in dynamic can be a sonic maelstrom. The voice of Shelbi Bennett is a force of nature, captivating, volatile, gorgeous and pummeling."

All of this promise and paen- in some people's minds- come across as hyperbole or over-exaggeration: pick one of their songs at random, and you will find that everything they say is apt and appropriate- they sum themselves up pretty nicely. A few bands that boast such an impressive singer, often can let themselves down when it comes to song quality (Alabama Shakes come to mind). The Midnight Pine seem immune to the critical lashing: they live up to their promise and offer something genuinely new and captivating.

Last year, the group released the album Awake Now. Being their debut L.P., it was the first full representation of what they were about. Tracks such as Stolen Wind were awash with aching Country tones; Gospel-tinged Soul cuts like Time nestle alongside the dark epic Hey There; Wave Goodbye's swaying and tender-souled heartbreak administration proceeded Best Place- and its woozy strings and itinerant ambitions. The album packs a lot of punch into its eleven tracks: there are no false moments or fillers to be found- many bands would incorporate too much diversity and difference across the numbers; a singular and fascinating voice seduces throughout Awake Now. In the ensuing year, the band have increased their confidence and broadened their pallet. Where as their debut contains Country and Desert Folk tales of disenfranchisement and fractious souls; Buried shows greater redemption and hope: there are darker edges, yet the overall tone sounds a little more positive. Jazz and Psychedelic incorporations feature on the album, and The Midnight Pine sound fuller, more determined and focused: the sophomore outing is a creative and personal step forward in every area. It is good that Buried's lyrics feature on BandCamp: it shows that The Midnight Pine are more confident about their songwriting (and keen for their words to be studied). Their latest L.P. builds upon their previous offerings: the lyrics are deeper and more compelling; the sonics are richer and deeper; Bennett's voice strikes even harder and hotter here. For those that fell in love with Awake Now, have no fear: the onliest individuality remains- the group have simply build upon their sturdy foundations.

In terms of sound or 'sounds like', it is difficult to link The Midnight Pine with another: they have a very particular and singular projection. Bennett's voice has embers of Country legend Tammy Wynette; Blues goddesses like Billie Holiday- plus modern-day idols Laura Marling and London Grammar. The City in Motion's brethren incorporate multiple genres into their boiling pot: it means their sound is not elitist or exclusionary. Those that want to find something different should investigate these stunners: pleasing familiarity commingle with new and brave sounds- the effect is phenomenal. I am more enamoured of hard-hitters such as Queens of the Stone Age and Led Zeppelin, yet was drawn to the band due to my love of Joni Mitchell, Bob Dylan and Neil Young: there is that same lyrical ambitiousness and multifarious musicianship. The group's tight and rapturous performances will capture those in need of uplift and reflection; Bennett's voice possess no barrier or (realistic limits) in the mix: meaning The Midnight Pine will strike a chord with all types of genre-lovers. As much as anything, they give you direct access into a world few of have (or ever will) experience: against the lack of profundity in music, the San Diego group are a welcomed breath of fresh air.

One of the most important considerations- when it comes to opening an album- is ensuring you capture attention and intrigue. Trouble In the Blood begins with menace and crepuscular bloodlust. Echoed and vibrating strings are dark and brooding: machine-like in quality, we are in a ghost town- at the dead of night, you get a real sense of unease and unpredictability. Touches of Kid A-period Radiohead spring to mind (upon hearing the introduction); softer and soothing strings soon dissipate and erode tempestuousness: the daylight cracks and something far less unsettled makes its presence known. The first taste of Shelbi Bennett's voice comes in the form of elongated beauty: our heroine "Woke up with a fever"; biblical imagery and bedside infirmary are coupled early on- enveloped in a mesmeric and pin-sharp vocal performance. Touches of Shana Worden struck my ear: similar to the My Brightest Diamond creator, Bennett beautifully contorts and stretches her words; crystal-clear lustre brings vivid life to each semblance- and causes the listener some misty-eyed moments. Bennett was "born a non-believer", and is "ready for a flood": love's arrival and plight is mixed with Christian meteorology- giving the song a sense of grandeur and epic-ness. In the middle of stark prophecy and asperity is tender longing: Bennett implores (to her lover) "Truths, I've tried to hide/But I need you tonight." Trouble In the Blood's composition mixes '60s and '70s Folk- shades of Roy Harper and Led Zeppelin (III) are in there- as well as funereal organs: the latter becomes prescient and emphatically stirring by the 2:30 mark. Love's capriciousness is examined; our heroine's voice sounds positively anxious when singing "Sky's been clear a while/I feel the coming rain"- you sense that the song's focal lure has left irrevocable damage and marks. The further the song progresses, the more engrossing it becomes: that hypnotic acoustic arpeggio and sweeping organ are magisterially potent. Howard's lyrics are both simple and direct yet filled with polysemy and intricacy: lines such as "Hurricanes and weather/Arguments and pain" perfectly stick in the mind- and leave their impressions. In spite of the fact  Trouble In the Blood contains fewer words than most tracks on the album, its 4:39 running time packs more punch than any song- thanks in no small part to the entire group performance. The track's final moments mirror the introduction: the dying seconds are awash with animatistic and growling guitar; as well as languidly haunting organ. Trouble In the Blood is the finest of the baker's dozen of tracks (within Buried): other cuts get near to hitting its peaks- yet none of them strike quite as fervently. Bennett's performance is consistently gripping and compelling: her voice prolongates words so that they do not pass you by; the gorgeous and heartbreaking turn is one of the finest on the L.P. It is the overall sound and feel of the song that makes it so memorable. The composition is ever-moving and progressive: filled with acuity and emotion, it manages to be both epic and intimate- making the song both personable and cinematic. Howard's words deftly weave indirect and urgent into the mix: everyone can relate to what is being said, as well as feel a lot of sympathy and support for Bennett- a rare feat in modern-day songwriting. From the initial seconds, the instrumentation and sonics burst with light and shade: Folk acoustic guitars and  atramentous keys are cemented in a musical smörgåsbord: found object collages come together to create a hugely atmospheric soundtrack. With superb production values and stunning clarity, nothing gets lost or overlooked: each line, note and word is crystal-clear and perfectly mixed together.

Buried's title track is a stop-start sweeping epic: a song that looks at the temerarious nature of love; its heartaches and shortfallings. Springy guitars- sounding like a cut from Led Zeppelin III- give Hey There a dizzying and Folk-tinged charm. Our heroine's voice is softer and soothing; offering up some picturesque scenes ("A cigarette in between tulips/And a stare far from discreet"), it is one of the album's finest songs. Elsewhere, Edge of Town marries romantic and elliptical strings inside of a song that examines vicissitudes and "silent hearts"- measured out in oblique and baroque rhymes. Pocket Watch is a beautiful Nick Drake-cum-Bob Dylan number: evocative and hypnotic poetry is scored by a sweeping and evolving composition- aching and parping brass makes a rare appearance. Buried manages to cross ghost towns and desert landscapes; tracks range in terms of mood and length (Buried weighs in at 5:23 where as Lavish in Bloom is a mere 56 seconds): there is no excess or bloating at all; just evocativeness, stunning highs and plenty of raw emotion. No two songs sound alike: it means a real sense of travelogue and progression is elicited- giving the band a chance to show their full range of colours. As wonderful and stand-out Bennett's voice is, there are no clear winners or obvious star: each player and facet adds a huge amount of force, beauty and memorability to the album.

I have mentioned before- and overstated with an unregulated fervency- the quality that is coming out of the U.S. right now (I shall spare the protracted lecture). California and New York (between them) are providing some of the most original and spectacular musicians on the current scene- it is no faint praise to say that The Midnight Pine are amongst the finest. A lot of my musical insecurities stem from rigid tastes: sometimes I procrastinate when trying to step out of my comfort zone. I am glad that I was pointed to the joys of The Midnight Pine, as they not only afford me the opportunity to discover something new (and brilliant), but have led me to a rather special singer, indeed. I am by no means biased towards vocalists; it is just that when one does arrive, something inside of me stirs and rumbles- the band as a whole are phenomenal and my no means second-fiddle. A great deal of the band's future endeavours will be in the U.S.: I hope that they pop across to the U.K. (and Europe) as there is going to be an audience waiting for them. Britain has few like-minded and similar-sounding acts; not only will the Californians inspire many of our up-and-coming acts, but inject some genetic diversity into our (compared to the U.S.) rigid stock. Having produced two albums in as many years, The Midnight Pine have a steadfast and imperialist work ethic that is building in momentum: fan adulation and critical acclaim surely will spur them into putting together the strands of L.P. number three. Buried is an encyclopedic collation of emotions, scenes and opinions: a myriad of movements and wonders are contained within. A lot more music is going to come from the group, and they on a career trajectory that will see them scooping awards very soon. With the majority of their fan base located in the U.S., Buried should see their sound transition the oceans- and connect with new continents and nations. The San Diegans make music to buckle the knees and melt the heart- wrapped in the inimitable firepower of Bennett's voice. We need to start extinguishing and foregoing erroneous bands and pointless plastic, and begin to behold and promulgate...

ACTS like The Midnight Pine.

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Follow The Midnight Pine:

　

　Facebook:

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

Twitter:

https://twitter.com/TheMidnightPine

Bandcamp:

http://themidnightpine.bandcamp.com/

YouTube:

http://www.youtube.com/channel/UC8k_Ck_mh80Mg4TSPj_TFiw

Soundcloud:

https://soundcloud.com/the-midnight-pine

iTunes:

https://itunes.apple.com/us/artist/the-midnight-pine/id576791160

Last F.M.:

http://www.last.fm/music/The+Midnight+Pine

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The Midnight Pine's music can be accessed at:

https://www.facebook.com/#!/TheMidnightPine/app_204974879526524

　

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Tour dates available via:

https://www.facebook.com/#!/TheMidnightPine/events

　　

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The Midnight Pine's videos can be viewed at:

https://www.facebook.com/#!/TheMidnightPine/videos

　

Track Review: Eliza Rickman- Pretty Little Head

TRACK REVIEW:

Eliza Rickman

　

Pretty Little Head

9.3/10.0

Pretty Little Head is available via:

http://elizarickman.bandcamp.com/track/pretty-little-head

The album, O, You Sinners, is available at:

http://elizarickman.bandcamp.com/album/o-you-sinners

　

TRACK LIST:

Black Rose- 9.3/10.0

Devil's Flesh & Bones- 9.2

Over Cold Shoulders- 9.2

Through An Aquarium- 9.3

Cinnamon Bone- 9.3

O, You Sinners- 9.2

Pretty Little Head- 9.3

Start With Goodbye, Stop With Hello- 9.1

White Words- 9.2

Coming Up Roses- 9.2

Into My Arms- 9.2

STANDOUT TRACK:

Pretty Little Head

RELEASED:

06 March 2012

ALL SONGS BY:

Eliza Rickman

EXCEPT:

Into My Arms, by Nick Cave; arranged by Eliza Rickman

RECORDED IN:

Mayfair Recordings in Chicago (Mark Greenberg), North Branch Studios (Barry Phipps), JoyRide Studios (Mark Greenberg), and SOMA Electronic Music Studios (Ryan Neuschafer); except Black Rose, Cinnamon Bone and Pretty Little Head (recorded in Los Angeles by Robert DeLong)

MIXED BY:

Jason Stephenson

MASTERED BY:

Myles Boisen

PRODUCED BY:

Mark Greenburg and Eliza Rickman

GENRES:

Alternative, Chicago Folk, Pop Chamber.

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Eliza Rickman often takes to the stage with flowers in her hair; toy piano in tow. With a mesmerizing and spellbinding voice, she is capable of captivating and charming any audience. O, You Sinners is a full-bodied, hot-blooded work of faith, love, beauty and dark avenues: its standout track shows why this young American is one of the most promising upcomers in music.

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FEW observers can deny the importance of fascination and uniqueness in music.

Burgeoning ranks (coming into music) means that each new conscripted soldier has to provide something that catches the imagination- whether that involves sound, image or personality. The greatest and most enduring musicians around got to where they are (predominately) due to some U.S.P.: there is always something distinct and special lingering within their music. My shoulders often sag when I hear of a new band or artist coming through: often blandness and predictability stick in the memory. I am not suggesting that- if you are a new act- you must dress garishly; present groundbreaking and mind-blowing sounds and seduce everyone with the merest of winks: just take the time to do some research. So many bands come through, happy to do exactly what dozens of others are doing: the best they can ever hope for is the merest of appreciation. The most wonderful and enduring artists are those that go the extra mile and take risk- my featured act is the perfect example. Before I introduce her to you, I will raise one more point: the musicians of the U.S.A. Some of my fondest recent discoveries have come from this bounteous nation: the most fervent and fertile music of the moment can be found here. I find that U.K.-based artists provide consistency and longevity, yet U.S. musicians seem to have tapped a rich source of gold: over the past few months I have been lucky enough to have uncovered some truly staggering talent. This brings me to my focal subject:

"There is always a hint of menace and reservoirs of force haunting the corners of Eliza Rickman’s voice, whatever register it occupies. Her presence on stage—whether she wears flowers in her hair, or stuffed birds; whether she plays a Schoenhut toy piano or a grand piano—is an enveloping, soft darkness, impossible to ignore. It is quite a surprise that Rickman didn’t even realize she could sing un...til after she earned a degree in orchestration from Azusa Pacific University, because her voice is the most enthralling and salient feature of any on the tracks from her new album 'O, You Sinners'. And this is saying something, considering her deftness as a pianist and her subtlety as a composer. Like Kate Bush's work, or like PJ Harvey’s album White Chalk, the arrangements on O, You Sinners are edged with dissonance. Like Andrew Bird, she favors pizzicato strings over junkyard percussion and complex lyrical melodies. Indeed, Rickman’s co-producer Mark Greenberg is a frequent contributor to Bird’s albums (as well as to Wilco’s 'The Whole Love' and to the Grammy Award-winning Mavis Staples’s album 'You Are Not Alone'). Religious themes pervade Rickman’s work—her album is, after all, titled 'O, You Sinners'. She is the daughter of a pastor, and started playing piano in church at the age of 13. But like one of her great influences- Nick Cave- her writing belies ambivalence about religion. Good and evil; love, both God’s love and carnal love; sinners and saints; desire and repentance, all find a place in Rickman’s songs. They lurk behind the scrim- whatever stage she sets. The coin of her realm is stamped with the will of God, and whether you are a doubter or a believer you must deal in her currency if you want her to ferry you ashore. "O, you sinners" she sings, "hear me." And how could we not listen?"

Rickman has been recording music for many years now; surprising and stunning audiences and critics across the U.S.- as well as worldwide. The issue of religion (and its capriciousness and realities) are subjects not often explored in music; Rickman's templates are not only original and striking, but they provide the listener a chance to examine life: explore the bigger themes in life and reflect. Whether you are an atheist (like me) or a believer; the songs will resonate and hit you hard: they are not exclusive to the faithful or faithless alike. What comes through strongest- in Rickman's work- is that aspect of ingenuity. Her voice is engrossing and mesmerizing (and strangely comforting): darkness and light blend with one another; positivity and introspection mingle- it brings vivid life to the songs within O, You Sinners. It has been two years since her last L.P., yet our heroine is still making tongues wag and speculate. I am sure that brand-new music is afoot, yet it is vital that more eyes and ears seek out O, You Sinners: it is a work that demands deep investigation and consideration.

Rickman's music is not assignable purely to the ecumenical and religious: there is universality and everyday life throughout her music. Influences of Nick Cave and P.J. Harvey can be detected and extrapolated: a dark hue and strong, potent vocals rule the roost. Patsy Cline and Edith Piaf rank as influences the American: if you are familiar with either or these artists, then you will enjoy and appreciate Rickman artistry. Critics have singled out the unusualness and unexpectedness of her voice; how it sounds unlike anything out there: if you are looking for a singer that defies expectation and lingers long in the mind, then look no further. Fans of Folk and Alternative music will be charmed by Rickman's exquisitely delicate and tender compositions (the inclusion of a toy piano is infectious and stirring): embers of legends such as Joni Mitchell can be heard. Subject matter does not solely deal with religious issues: love and longing are examined, as is the nature of redemption and self-belief. Motivation and positivity are bywords that can be applied to many of Rickman's songs: for those that desire uplifting and effusive sounds, then here is the artist for you.

O, You Sinners is Rickman's first fully fledged album: making it difficult to compare it with anything else (as well as any previous output). Every one of her songs are instilled with a carnival of atmosphere and emotion. In the same way that the likes of Neko Case and P.J. Harvey ensure that every note and line is compelling and jam-packed with tease and temptation- our heroine makes sure that her songs are not easily forgotten. There is such a rarefied feel to Rickman's music; it makes it perfect for every type of listener: those that love the likes of Nick Cave are as likely to enjoy it as much as anyone else.

Softly struck strings herald in Pretty Little Head. Coming across as a lullaby-cum- murder ballad, there is a simultaneous measured creepiness and arpeggio beauty: the introduction's plucked coda- whether performed on a violin or ukulele- tip-toes and creeps intro view. Rickman soon arrives; her voice delicate and impassioned, her early words hint at some unsettle and unease: "Hook, line and sinker/drop it down to the bottom." Throughout the early stages- and the song as a whole- crypticness and oblique imagery are offered up: stark and dark scenes are wrapped up in tryptic and circuitous poetry. Rickman's voice floats and swoops with tenderness and romance (sounding a bit like Lana Del Rey and Shara Worden): they give the words an extra coat of conviction and urgency. There is a sense of the huntress on the move: whether investigating a relationship or a cat-and-mouse scenario (I am unsure), yet the vivacity and evocativeness of the words are brilliant ("Kill for the thrill/cut it, stick it where you got him"). Our heroine's strong and crystalline suggestiveness brings her mini-opera to life. Compositional components are sparse and suggestive: the plink-plink strings keeps the song ever-moving- as Radiohead did with Street Spirit (Fade Out). The chorus would make Bob Dylan and Nick Cave smile: couplets are based around straight-forward rhymes; yet the lines themselves are crammed with morbidity and mealy-mouthed candour- Rickman's twirling and suppressed-smile delivery makes lines such as "I wish you were here/I wish you'd make my bed/Dirty mind, dirty mouth/Pretty little head" sound almost child-like. By the time the chorus is despatched, heartbeat percussion merges with cymbals (as well as the propulsive core) to up the ante- and wring as much emotion and force from the song as possible. Sexuality, libidinous intent and sweat are traded in the following verse- with Rickman's voice flourishing and growing with every line. Our heroine advises (the song's subject) to "Catch yourself a looker/let him go, go, go": procreation is on the table, yet unlikely (..."I'm so so slow"). By verse end, some redemption and hope is provided: "Well don't worry honey/'cos I can't say no." The second half of the song sees the chorus repeated, as well as lovelorn tableau- the song's nature moves from the bed sheets, to the bedroom door. Speaking to her suitor, Rickman offer sage implore: "Take my breath, my heart, and hold your tongue/It's just a cog in the year of all my love." Underneath these words, the composition quivers and kisses: matching the words beat-for-beat, strings echo and vibrate; plucked strings trip and tongue-tease- the percussion rise and falls with rampancy and lust. Essences of Kate Bush seep through in the vocal deployment: that same high-pitched fairy dust magic sprinkles into the pot. At this point, Rickman lets her pipes rise and gut-punch- her voice hits its crescendo on the words "All my love." The remainder of the track is composed of classical overture and delirious abandon- bringing Pretty Little Head to a suitably majestic close.

Everything you should- and could- want from a song is all there. Pretty Little Head's words are memorable and vivid- mixing simplicity with oblique complexity, it is a perfect blend. Rickman has a huge talent for wording, and shows an intelligence and economy that few of her peers possess. Her vocal performance is hugely effective and individualised: although there are slight touches of others, the voice is all hers- there is no one around that has the same sound as her. Many have ear-marked the track as the standout cut (from O, You Sinners), and it is not hard to see why: it is relatively short, yet manages to charm and compel the pants off of you. It is always hard and dangerous trying to mix mercurial with intelligent; mordent with life-affirming: Rickman handles it deftly, with assuredeness (many contemporaries would fall flat). The production quality is incredible: it is not over-produced, yet you can understand and grasp everything- there is perfect balance and blend from start to finish. Listening to Pretty Little Head is akin to witnessing a live performance: there is a certain intimacy that makes you feel as though you are watching Rickman on a small stage. A perfect summation and distillation of our heroine's hallmarks- captivating voice; brilliant and redolent lyrics; a touching composition- Pretty Little Head is a bold and lustrous statement- from a hungry and multi-talented artist.

O, You Sinners is an album filled with nuance and depth. Rickman's incredible voice and sweet-natured toy piano (as well as grand piano) are employed in each of the eleven tracks. Black Rose has a kick-ass bass drum and looks at reaping what you sow: oblique words and a haunting vocal performance kicks the L.P. off in style. To my mind, our heroine has the innovativeness and ambition of a young Bjork. Huge and majestic strings; intricate compositions; varied and heart-melting vocals as well as rich and quirky imagery tangle alongside one another: touches of Post and Debut enter my thoughts. Coming Up Roses sees Rickman in romantic and tender mood: driven by a sweeping and aching accordion, the track is a perfect swansong- and boasts some of the album's most beautiful and emotive lyrics. Piousness and spirituality make their presence felt; love and heartbreak also make appearances- as do dark themes and shadowy figures. The range and breadth of songwriting is incredibly impressive: no two songs sound alike and each number treads a brave new path- yet everything feels pure and unfettered; never coming across as disconnected or prosaic. The gorgeous heroine has had a less-than-gorgeous road to glory: men have sapped her soul and aged her horribly. In spite of the scars and recriminations, Rickman never succumbs to histrionics or feralness: her arresting voice is a mosaic shaft of light that keeps everything levelled and above-the-waves. The listener is treated to a wealth of eye-catching imagery and deep poetry: Rickman proves herself a noble and incredible wordsmith. Black and truculent snapshots linger within the title track and its lyrics: "I'll crawl around, drop down/Writhing for thee, singing"- it is a cornucopia of dream-like delirium and biblical resonance. After listening to the album, you come away a different person: few records have the power and conviction to be able to do that. The light-and-dark juxtapositions, ecclesiastical touches and purity-infused codas are rarefied beasts: sophisticated and resounding compositions add potency and immaculateness to each number. There aren't many modern-day artists that convincingly hit each vital music facet: lyrics, vocals, music and emotion. Rickman has taken a lot of time and consideration (when it comes to O, You Sinners); each song sounds like the work of a perfectionist: yet there is a naturalness and sense of effortless abound. In spite of my review being somewhat retrospective, I published it for good reason: many more people need to attune themselves to Rickman's wonder. The next couple of years are going to be exciting and action-filled for our heroine: a new L.P. and songs will be plotted and realised; worldwide touring will be on the cards- make sure you do not miss out. I am unsure what Rickman's next album will sound like, yet I am sure that there will be a lot of similarities with O, You Sinners. Being a young and sapling artist, I was shocked at just how mature and developed her music is: Rickman comes across as someone who has been recording for decades (rather than years). This sense of professionalism and confidence will pay big reward for Rickman: no doubt she will be enjoying a long and bejewelled regency. Too much new music lacks necessary depth and repeatability: there are few that take the trouble to ensure that their songs are unlike anything else. I began this review by highlighting how important it is to subvert expectations and normality: retain your own personality, yet do not do what every single other musician is doing. Being enamoured of heavy-toned music, I find a lot of Metal/Rock/Indie bands are much of a muchness- after a while you yearn for something a little bit special. Rickman is going to be around for a long time, so it is high time you make yourself aware of her music. Beauty, sin, salvation, love; power, bleakness, spirituality and cinematic grandeur make their presence known throughout O, You Sinners (and Rickman's work): why would you want to listen to anyone else? You may be unfamiliar with her name and back story, yet one thing I can guarantee is this:

CONVERSION will be imminent.

http://www.youtube.com/watch?v=DLKZSojuhw8

____________________________________________________________________________________

Follow Eliza Rickman:

　

　Official:

http://www.elizarickman.com/

Facebook:

https://www.facebook.com/elizarickman

Twitter:

https://twitter.com/elizarickman

Bandcamp:

http://elizarickman.bandcamp.com/

YouTube:

http://www.youtube.com/channel/UCkrtn3n-wuih3ftW5qB9kCA

Soundcloud:

https://soundcloud.com/elizarickman

iTunes:

https://itunes.apple.com/us/artist/eliza-rickman/id308080781

ReverbNation:

http://www.reverbnation.com/playlist/view_playlist/-4?page_object=artist_1890224

Last F.M.:

http://www.last.fm/music/Eliza+Rickman

Instagram:

http://instagram.com/elizarickman#

____________________________________________________________________________________

Eliza Rickman's music can be accessed at:

https://www.facebook.com/elizarickman/app_123966167614127#!/elizarickman/app_204974879526524

　

____________________________________________________________________________________

Tour dates available via:

https://www.facebook.com/elizarickman/app_123966167614127

　

______________________________________________________________________________________

Eliza Rickman merchandise can be purchased at:

http://elizarickman.bandcamp.com/merch

Track Review: Suburban Dirts- Fire On the Campsite

TRACK REVIEW:

Suburban Dirts

　　

Fire On the Campsite

9.4/10.0

Fire On the Campsite is available via:

http://www.youtube.com/watch?v=36dGaSO-BoA

VIDEO RELEASED:

2nd June, 2014

The album, A Tiny Little Island in a Big Bad Sea is available at:

https://itunes.apple.com/gb/album/tiny-little-island-in-big/id689002469

　

TRACKLIST:

Fire On the Campsite- 9.4/10.0

Hose Ban Blues- 9.3

Everybody's Friend- 9.2

Ain't Nobody Ever Told You- 9.3

Punchball Blues- 9.4

You Kill Me- 9.2

Any Other Morning- 9.3

One- 9.2

Occasionally Drunk- 9.4

Queen o' Pity- 9.2

All of This- 9.2

STANDOUT TRACK:

Occasionally Drunk

RELEASED:

18 November 2013 (operando)

GENRES:

Country, Alternative, Blues

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Suburban Dirts are still in their musical nappies: displaying an unexpectedly fast development, the sextet have charmed some of the world's most legendary producers to their cause. A Tiny Little Island in a Big Bad Sea shows why (they are so revered): myriad themes, styles and genres playfully implore throughout; leaving you not only with a huge smile- but a favourite new band.

_____________________________________________________________________

LUCK and creative avarice are topics one usually does not apply to new music.

Many of the fledgling artists I encounter have had a hard struggle: born from nothing, they spend their days toiling and proffering with impassioned intent. Some of the time this attention to detail and dedication reaps rewards: acts often come across hungry fans and loyal supporters- most of the time the job at hand can be fraught and never-ending. I bring up this point, because Suburban Dirts' talents have seen them capture the ear of some rather impressive names- producer Ray Staff is amongst them. A lot of new bands take years to find a record label; maybe some breaks come along the way, but the plain truth is this: most embryonic talent have to accept the fact that enfevered adulation and patronage arrives a long way down the line- if at all that is. Suburban Dirts are a unique and ambitious group that have stumbled upon a rich vein of sound: they mix Country and Blues sub-genres with an understanding that few other bands do. Being based out of Hertfordshire, the six-piece come across as a- pleasurable at least- shock: Britain is used to hosting Indie, Rock and Pop bands- making Suburban Dirts an anomoly and stand-out.  This goes a long way to  accounting for their expeditious rise to prominence. Perhaps I should shed some more light...

John Wheatley - Lead Vocal / Acoustic Guitar / Harmonica Ryan Davies - Lead Guitar David Austin - Drums / Vocals Chris Varley – Bass Jay Seymour - Keyboards Joolz Heath – Violin

"For a band that only formed two years ago, to have produced two albums and been lucky enough to work with stalwarts, such as Ian Rossiter (Gwen Stefani, Foals & Roisin Murphy) and the legendary Ray Staff (David Bowie, Rolling Stones, Led Zeppelin) as well as gaining the attention of Boo Hewerdine (Eddie Reader, Darden Smith, Chris Difford) for his label, Haven Records, something must be going right. John, Chris and David formed Suburban Dirts and quickly enlisted Dave Moyes on Guitar and George North on percussion. They played their first gig in April 2011 at the Hertford Corn Exchange and then proceeded to work the gig circuit supporting John Otway & Wild Willy Barratt, Chris Helme and Dodgy. George left the band. They recorded their self-titled Debut album in a day at Loveday Studios and eventually enlisted Jay and Jools to complete the sound. Suburban Dirts was released on March 26^th 2012 and gained critical acclaim around the Blues, Roots and Americana blogosphere. The Summer of 2012 proved to be very busy. Suburban Dirts were picked to play the Secret Garden Party and Standon Calling, as well as establishing their own residency at the Corn Exchange. In November 2012 they were offered an opportunity to go into Metropolis Studios and record a number of  demos. Having a dedicated work ethic, they decided that they could record more than just a number of demos and, once more, recorded their follow up album in a day, in order to capture the energy of their live performance. The resultant tracks were mixed and produced by Ian Rossiter. Dave Moyes played on the album, but decided to pursue his own solo career shortly after recording finished. Early in 2013 Russell Sheffield saw the Suburban Dirts playing at their residency and was introduced to John through Daniel Fell (ex The Argonauts). Russell was suitably impressed and offered to lend support where possible. In May 2013, after hearing the rough mixes of the second album, Russell introduced the band to Ray Staff and enlisted his talents to master the album, A Tiny Little Island In The Big Bad Sea. Shortly after circulating the album amongst confidantes, Russell decided to sign the band to his company, operando, and the album is being released under licence to Boo Hewerdine’s label, Haven Records. A Tiny Little Island In The Big Bad Sea is due for release on 18^th November 2013. The third album is already underway…"

Electric Trailer Trash Country and Country Blues, are sounds usually found in the U.S.- it is rare to experience them in the U.K. There is no sense of cliché or parody to the band's sound: if you appreciate Blues music with a twang of the Deep South (laced with humour, spark and rawness) then you need to check out Suburban Dirts. Having such a fond appreciation and knowledge for the likes of Bob Dylan, Ryan Adams and Neil Young; you get plenty of yearning, intelligence and passion come through: if you have any of these legends in your record collection, you will find some pleasingly familiar shades. Critics have pointed out how original the sextet are: they have vintage tones, yet do not take from any other artists. What you get is bare-boned campside singalongs; Alternative and Folk tenderness; optimism and soul-searching: it is music that can be enjoyed by all- that which imposes no limits.

Suburban Dirts unveiled their self-titled (debut) L.P. in 2012: an album that captured a great deal of attention and praise. The ten-track collection was rife with confidence, bravery and incredible production values: they came across as a band that had been recording music for a decade or so. The album contained energy, relaxation and other such contradictions: so much range and diversity was apparent, that you struggled to take it all in. Such a rich and bounteous album was always likely to turn a few heads: the respect and feedback that was paid lead to- possibly the best album title ever- A Tiny Little Island in a Big Bad Sea. There is more confidence on their second cut: the production values are even stronger; you can sense how hard the group have worked to ensure that each song is as good as possible- there are no shortages of ideas and movements. In terms of genres and sounds, there is not a huge seismic shift: they pick up when A Tiny Little Island' left off; building upon their original templates- and ensuring that their hallmarks and distinctions are fully in tact. Life has changed and events have developed- all of which are documented throughout the L.P.- and new stories are being told: there have been changes, yet nothing that will alienate existing fans.

The hoe-down, low-down Blues sound pays no quarter to silence: instantly a slap-kneed percussive beat is tempted in; keen to motivate feet-tapping and clapping; Wheatley steps to the fore. His voice is in boisterous and inspired mode; rousing the troops, he pays paen to the evening's phlogiston: "we all wanna see something burn." After a subtle and mood-building opening 30 seconds, energy and uplift is presented. Our frontman heard the train coming ("from miles and miles around"); immersed in the spirit of the moment, schemes and plans fill his head- an audible smile comes to his lips, and you can sense there is merriment afoot. Although Wheatley has "had it easy", he is trying to prove his worth; compelled and reinvigorated, a new lease of life is unfurled- the sense of itinerant and transitory intent comes through in the vocal performance. The band whip up a festival of Country/Blues kick: the composition is simple and sparse, yet instilled with merriment, gravity and perpetual charm. Before too long, you know what's coming: that indelible and sing-along chorus come back in- you find yourself joining in; full of voice, smile on face. After the reintroduction of the chorus, violin is interspersed between percussion, bass and guitar- adding to the palette and layering in romantic undertones. The song's story keeps moving and developing: this new scene depicts our frontman awoken; in a hollow woodland, he has thoughts of a black crow on his mind- a sheet of paper in one hand. Confused and disoriented, he reads what is written on the page: "Who is tweedledum without tweedledee?" This tantalising treatise paints some rather vivid and colourful images- I imagine our frontman in some dark recess; unshaven and in need of answers. A locomotive and chug-chug guitar skiffle is a steam-powered sonic projection: backed by his comrades, Wheatley is jumping the rails and heading back home. When he arrives, he is a mere stranger ("Where do I belong?") Having rocked up in his hometown, Wheatley is a different man: possessed of a new spirit and fresh ideals, there is some internal conflict. Adding texture and sparks into the melting pot, Suburban Dirts allow Davies's Blues-infused guitars to electrify and swoon; blending with acoustic guitar, an odd sense of sexuality and sweat enters the innocent-hearted tableau. Your mind is transported from the forest, into the bar: a certain Jack Daniels-soaked stagger does its plying- and the smile (on your face) widens.

The take-away one gets from Fire On the Campsite is one of pleasure, happiness and pure old-fashioned fun. The production values on the track are incredible: every note and word comes through crystal-clear. One of my biggest (and most regular) criticisms of artists, is that a lot of their music is inaudible, indecipherable and unintelligible. If it is difficult picking up lyrics or certain sounds, the music suffers because of it: because of production quality or poor projection, I am not sure why. Fire On the Campsite not only sparkles and glistens (it is by no means over-produced), but atmosphere and vintage Blues and Country bid and tease throughout. The song itself is a busy, charming and compelling track that can shake one out of complacency- and improve your day considerably. U.S. acts like Seasick Steve, The Ozark Mountain Daredevils and Soggy Bottom Boys can be extrapolated: our British heroes have a bona fide ability to evoke the grizzly spirit of the Deep South. If you are normally associated with heavy sounds and other genres (of music) then you should not ignore this track: it is borderless and able to transcend any mood or predicament. At the heart of the track is fun and sing-along wonder. The sextet prove themselves to be deft and detailed songwriters: able to present a huge amount of story, intrigue and scenery. I was impressed by how tight and intuitive the band are as a whole: each member adds a huge amount, and beautifully cojoin with their brothers- making sure that Fire On the Campsite never relents or slouches. With a catchy and memorable chorus, root-for-the-hero lyrics and a captivating composition: we have a sure-fire winner. Wheatley is a singer with a unique voice: he has his own distinct tones, yet can also summon up plenty of good ol' boys candour and hirsute merriment. Each word sticks in your brain, and there is a sense of disappointment when the song ends: you always want to hear a little bit more. Davies and Austin play brilliantly: the percussion is time-keeping and mood-driving; firm and steely when needed- soft and romantic at times. The guitar work throughout (from Wheatley) is impressive and full of life. Acoustic guitars get your feet moving and present as much Country-fried candour as they can; the electric Blues-ridden strings smoulder and crackle with sexuality- there is never too much force; everything is seamlessly incorporated. Varley, Seymour and Heath are elemental and essential throughout. The bass work keeps the energy and grin-o-meter set to 'maximum'; violin work is exhilarating, soul-searching and uplifting; keys and classic elements add softness and tenderness- and ensure that this unforgettable song compels you to listen to it again and again.

It is no coincident that high-profile producers are lining up to work with Suburban Dirts: their music is rife with detail, pleasure and hidden treasure. A Tiny Little Island in a Big Bad Sea is abound with stunning music: perhaps best represented in Occasionally Drunk. There are rampant testaments to the joys of inhibition loss; touching and tender singalongs; raucous tracks like Punchball Blues- the list goes on. Few bands can cram as much energy and range across an L.P., yet Suburban Dirts do so- perhaps it isn't the case- with effortlessness. Slinking harmonica and guitar parables provide classic Blues touches; Everybody's Friend's Americana- cum-Soul marks itself out as a highlight- if you do not like one track, another gem is waiting in the wings. Even though you can hear embers of Bruce Springsteen and Bob Dylan (circa Highway 61 Revisited), nothing comes across as ripped-off: quite the opposite in fact. The sextet gleefully slink '60s U.S. swathes inside of-the-minute Indie joy: A Tiny Little Island in a Big Bad Sea is a stunning opus. Full-out Blues has been curtailed and temporized slightly: here, there is richness and greater leaning towards the Americana masters. The band evolve and grow stronger with each release; bands such as The National do this confidently, yet few new musicians are capable of it: kudos to Suburban Dirts that their confidence and adventurousness results in golden quality. There are so many different bands and acts on the current music scene: if you want to grab attention and pull in the big dollar, your music needs to separate itself from the pack: Suburban Dirts are marking themselves out as future leaders. Some may argue that their sound means that they will play only a handful of festivals: perhaps it is a little niche and distinctive. I would argue that there is enough within A Tiny Little Island in a Big Bad Sea to thrill the tents and muddy fields of Reading and Leeds; enough anthemic multifariousness to inspire the nodding heads of Glastonbury- as well as progress into the mainstream. I hope that the group keep the sound that they developed (for A Tiny Little Island in a Big Bad Sea): if they keep the pace and quality consistent, then few ears will be able to ignore them. Given their rate of output and turnaround, the group are probably almost through album number three- I shall not put too much pressure on them! They clearly love what they are doing, and are keen to connect with as many new followers as possible: they should have no trouble with new recruitment. Their fast-rolling ball of music is gathering pace and potency...　

ENSURE that you get in its way. http://www.youtube.com/watch?v=36dGaSO-BoA

____________________________________________________________________________________

Follow Suburban Dirts:

　　

Official:

http://www.suburbandirts.com/

Facebook:

https://www.facebook.com/suburbandirts

Twitter:

https://twitter.com/suburbandirts

Bandcamp:

http://suburbandirts.bandcamp.com/

Soundcloud:

https://soundcloud.com/suburbandirts

iTunes:

https://itunes.apple.com/us/artist/dark-furs/id663846497

___________________________________________________________________________________________________________

Suburban Dirts' videos can be accessed at:

http://www.youtube.com/channel/UCB0xbh2cLk1kD9gz88brbkg/videos

　　

____________________________________________________________________________________

Tour dates available via:

http://www.suburbandirts.com/gigs

　 

______________________________________________________________________________________

Suburban Dirts' merchandise can be purchased at:

http://www.suburbandirts.com/category/

E.P. Review: Dark Furs- En L'air

E.P. REVIEW:

Dark Furs　

　

En L'air

9.6/10.0

En L'air is available via:

http://darkfurs.bandcamp.com/album/en-lair

　

TRACK LISTING:

See Her- 9.6/10.0

Magnetic Man- 9.6

1984- 9.6　

STANDOUT TRACK: 1984

RELEASED:

18th March, 2014

ALL SONGS WRITTEN BY:

Dark Furs

PRODUCED BY:

Nico Essig and Dark Furs

RECORDED, ENGINEERED, MIXED AND MASTERED BY:

Nicco Esig at Jim Henson Studios, Hollywood, California (Feb. 2014)

ASSISTANT ENGINEERS:

Zachary Reynolds, Derrick Stockwell, Pablo Hernandez and Navon Weisberg

ALL DRUM TRACKING BY:

Nathaniel Meek

GENRES:

Dream Pop, Indie Rock, Mood Rock.

________________________________________________________________

The L.A.-based duo have a lot of local competition: they mark themselves aside with their distinct and unforgettable music. Dark Furs'debut E.P. saw May and Phillipps capture critical assiduity: En L'air is an authoritative pilotage that will lead to big things.

_____________________________________________________________________

WHEN it comes to 'D.I.Y.' acts and making a name for yourself...

the task at hand can be daunting indeed. Those whom have label backing and a host of bodies doing their bidding, worry not about the day-to-day life: there is less hassle and strain when it comes to music, and the business of promotion. The musicians that have to take care of everything, often have a lot more to prove: the resultant sounds are a lot stronger and convincing because of it. I know that most new acts can be classed along these lines, yet there does seem to be an hegemony and imbalance: some have a much easier ride than others. One of the most pleasing things- when it comes to discovering new music- is the back story and origins: how the participants met and fell in love. Music is an art form that brings like-minded souls together; those that share voices and ideals often happen upon one another by chance- and go on to create some wonderful moments. Dark Furs are a duo that connected instantly; with a shared passion and sense of adventurousness, an impassioned partnership was formed. Let me give you a little background:

"Dark Furs is a female-fronted independent rock band. Founded in East Los Angeles, a chance connection in 2011 between UK-raised vocalist Suzanne May and LA native Chad Philipps sparked an immediate songwriting partnership. They mix intricate melody lines and commanding vocals with dark and dreamy instrumentals to create their own brand of "Mood Rock." In 2013, the duo headed into the studio to rec...ord their self-titled EP with producer Dan Long (Henry Clay People, Local Natives) which BuzzBands.LA described as "a sophisticated reverie" and landed them on multiple Bands to Watch lists. They recently completed the recording of their follow-up EP at Jim Henson Studios with producer Nico Essig, slated for a Spring release. Dark Furs is ready to kick off 2014 with new music, videos, and an international tour."

Since their biography was written, the duo have released their latest E.P., En L'air. The E.P.'s title refers to a ballet move (it literally translate as 'in the air'). The music itself has balletic and graceful glide; plenty of flight and birdsong beauty can be detected throughout the trio of tracks: one thing that is not in the air is the future of the two-piece. May and Phillipps have been recording together for a while now: garnering praise and adulation through L.A., their stock is on the rise- marking them out as one of the most promising acts in town. Having investigated neighbouring duos such as Little Dove and The Open Feel, it is clear that Dark Furs have a busy future ahead: like the aforementioned acts, they have a confidence and heightened sense of awareness. Their music transcends beyond L.A. and its borders: infused with dreaminess as well as darker tones, it can be understood by all. Atmosphere, sass and romance playfully mingle throughout their tracks- the act come across as relatable and human, yet unlike anything out there at the moment.

If you like your music awash with conviction, heart and attitude, then Dark Furs are the ones for you. Anyone familiar with fellow L.A. D.I.Y. duo Little Dove (and frontwoman Vanja James) will be able to appreciate May: her voice has a comparable belt and urgency. Elements of London-based acts Florence and the Machine, Lily Allen, London Grammar and Kate Nash come through: a small amount of each seeps through in Dark Furs' music. The pace and energy that is synonymous in each track puts you in mind of the Punk greats of the 1970s; Indie gods of today can be heard too- there is a brilliant blend of moodiness, emphatic flair and spiked heels. It is hard to compare the L.A. act with anyone else (directly, anyway), so I would advise that everyone puts their feet in the water: Dark Furs do not push you away; they do not appeal to a small sect of people. Their sounds are those that incorporate Indie, Grunge, Pop and Punk. If you are discriminating and limited when it comes to your musical tastes, then do not fear: there is light and brightness to found within. Powerful and heart-winning vocals from May- combined with Phillipps's innovative and enticing strings draw you in- and ensure that they capture your attentions completely.

The self-titled debut featured the talents of Garrett Henritz (on drum tracking): the E.P. is a banquet of soulful searching, painful confession and love-gone-wrong: May's voice walks the line between bruised and rebellious. Tracks such as Concrete Corners looked at dislocation and new ambition: May is bored with her current predicament; keen as she is to "break the ceiling." Won't See Me's surveyance of a broken-down love- one where May sees her former love move on- has bitterness and recrimination: there is an unease menage a trois at hand. Modesty, self-reflection and humble ache can be found elsewhere: Dark Furs is an E.P. that covers a lot of ground. The sound has developed and progressed since last year (when the E.P. was released). The stunning and invigorating compositions are all in tact, yet there is greater confidence and assurance on En L'air. Themes of heartache and soullessness remain, yet a sense of cohesion and concision is apparent (there are a trio of tracks here, as opposed to their debut's five). On Dark Furs, the duo proved themselves as one of the most arresting and unique acts around: over the quintet of tracks, every ounce they had been poured out. Their latest E.P. sees the quality meter high, yet there are fewer nerves and a greater sense of assurance: the key themes and scenes remain, yet the duo seem more comfortable and confident in their skins: this comes through throughout the disc.

A pleasing and swirling wave of electric strings opens See Her: it has flirtations of Jeff Buckley; smatterings of Wild Beasts- it is pressing yet temporized opening. With emotion in her voice, May surveys a tempestuous scene. The song's focal heroine is causing much chagrin and reflection: our frontwoman knows she has had a thousand tries, to "fit between the lies"- you sense she is yearning for something that she cannot have. There is an air of resentment and fear that lurks beneath the surface: one gets the feeling that May longs for a different outcome. Her (former) suitor is on her mind; whilst our frontwoman stands "in the chorus line." One of the earliest plaudits one can levy towards the track, is the vocal performance. Most singers would simply allow the mood and sense of anger overwhelm. The two share glances and pass one another in the street: such a scene has been played out in numerous other songs- May ensures that the build-up is suitably evocative. Her voice swoops and coquettishly plays: hints of Adele and Lana Del Rey make their presence known. May lets her voice glide and syncopate; pausing and retreating, she whips up a hell of a storm. Driving guitars and steadfast percussion ensures that the song never drops a step or loses pace. Our intrepid and brave heroine has some figuring out to do: she asks her subject if he'd look away ("while I figure out another hand to play"). You imagine city streets: the dying light sees the song's players walk by- each with their own thoughts and feelings- as the rest of civilisation casually walks by- the strength of the vocal and composition allows your mind to wander and imagine. The chorus has a familiarity and catchiness to it: bright and breezy as well as teasing and tempting; contemporary tones and past-day beauty nestle alongside one another- it adds huge weight to the song. A propulsive and captivating composition grabs your attention; the honest and heartfelt lyrics grip your mind- it is the gliding and elliptical vocal that hits hardest. Darker strings greet  Magnetic Man: it is a brief moodiness, however. Phillipps deftly transitions from shadier and downbeat to upbeat and light-hearted (in the space of a few seconds): the intro. is brief but brilliant. Whereas See Her saw erroneous intentions and inner heartache, here May seems more flirtatious and sexy: her voice is awash with intention. Such is the power of the duo, you pick up on instant hallmarks: the unique vocal deployment and pace; the exciting and layered sonics- they are all present and correct here. May sings a paen to her magnetic man: a human that has given her power and causing quite an excitement. Although there is some bite and curtness under the skin, our frontwoman appears breathless and girlish- defined by her electrifying vocal performance. High-note Kate Bush transforms to huskier Lana Del Rey; London Grammar operatic beauty changes into salacious growl. I mention other artists, yet I employ them only as examples (as opposed to obvious standouts): May has the talent of the aforementioned, yet wraps everything up in her inimitable and striking silks. The percussion acts as a heartbeat: steady when May campaigns and implores; rampant when her hair stands on end. In spite of some shivering sweat, there is a lingering resentment and wounded pride. Our frontwoman wants to be "unforgotten": the song's centrepiece has had his share of attention and patronage. Once Magnetic Man completes its surveyance, you are left spellbound: the pace, energy and mesmerizing grip each track has leaves you hungry for more- whilst words and melodies are repeated in your brain. Smoky and shadowy strings tangle with primal drum beats: 1984's intro. has a sense of paranoia and fear to it. Issues such as celebrity and death are examined: players and figures are trotted out and examined: befitting of the song's title, the nature of fame and fulfilment are put under the microscope. Dizzying electronics (touches of '80s synths. present themselves) spar with Wild West guitars (as well as pulsating percussion)- when the chorus hits, the song's largest and more exciting explosion is elicited. Anti-heroes (and heroines) arrive and make their entrance (with it being said: "no one cared"); May's voice is at its more direct and menacing. Huge and bewitching power augments and elevates the song's words; Phillipps and (stick man) Meek inject as much gravity and colour into 1984: ably and impressively supporting May's breathless convictions. By the closing stages, you are swept up in the track's dance and sway: bringing a stunning E.P. to a memorable close. Over the course of a trio of numbers, so much emotion and scenery is crossed-off: there are no wasted breaths or hollow moments. The production is impressive and strong; the music is given a clear voice and chance to shine- making everything hugely vital and direct. Phillipps's strings project such a compelling sense of occasion and atmosphere: he never overwhelms or comes on too strong; instead ensuring each note and line is as meaningful and mobile as possible. Meeks's percussive strength makes tracks such as 1984 and Magnetic Man what they are: at once dominating and hard-hitting; the next softer and more reserved. Too many bands and acts negate the importance of percussion (little thought is provided), yet here it is right at the fore- blending perfectly with Phillipps's taut and expressive workings. May wonderfully brings to life the E.P.'s effecting and stunning words; her voice is a riot of sounds and sensations. I have highlighted the likes of London Grammar and Lana Del Rey: our frontwoman manages to eclipse both. Each track twists, swoops and burns: May shifts and transforms her voice to ensure that every word becomes as compelling as possible- it is quite possibly the most impressive aspect of En L'air. My only minor gripe would be the issue of lyrics: the need to include them on Bandcamp. The duo's debut was accompanied by lyrics (for each track)- there does not seem to be any for En L'air. Some of the lines and words get mixed too deeply within the compositions, making it easy to miss (or misunderstand) certain thoughts. Dark Furs have shown how strong they are as lyricists, so it would be great to see their words on the page: ensuring that you do not misconstrue anything. It is my only slight against the E.P., which is an embarrassment of riches. By the final notes of 1984, you are left wanting more: eager to hear more fromwhat lies in store for Dark Furs.

Since their debut E.P. Having been impressed and stunned by the impressions their music left, I was in no doubt that En L'air would be a suitably intriguing follow-up: it is one of the finest E.P.s of the year. I am always stunned when a duo (and small D.I.Y. acts) come along and whip up so much majesty and curiosity- given the dominance of bands and their lack of restrictions. Through En L'air, you are sucked into the music: the duo have a knack of pulling the listener in, and making sure their words and notes resonate and remain. Subjects and themes of old remain- broken hearts and personal strife- yet there seems to be more optimism and diversity here: the past year has seen Dark Furs go from strength to strength. One of the most distinctive aspects of the two-piece are their lyrics: intelligent, original and literary (with some cryptic edges). impassioned and stunning vocals bring vivid life to each track; atmospheric, gutsy guitar work lodges in your mind- topped off with melodies and lines that demand repeated listens. This eye-catching U.S.-Anglo alliance have been receiving glowing reviews off of the back of En L'air: critics and commentators have been extolling the virtues of their magnetising music. Their names may not be synonymous and well-heeled in the U.K. (as-of-yet), so I hope that more radio stations and ears pick them up- ensuring that thousands of new fans come their way. May and Phillipps will be embarking on U.S. tour dates throughout the year- I hope they come and visit London (and venues throughout the country) as well. It is always rewarding and pleasurable when you hear a unique act come through- and present much food for thought. Music is crowded and compacted; so many artists have their names out there, making it hard to find breathing room- many more find the sense of suffocation too overwhelming. Plenty of Indie, Blues and Metal goodness has reared its head (in terms of new music): if that is your bag, then there are plenty of options out there. Few acts come through, that seamlessly pair Mood Rock and Dream Pop together- whilst ensuring that the end result is so strong. Dark Furs have plenty of aces up their sleeves: new horizons and fan bases are going to be on their mind. If you have not encountered the glistening and ardent young duo: make sure you make amends to resolve this...

AND experience the wonder.

[youtube https://www.youtube.com/watch?v=kAbD4QjdUyI&w=560&h=315]

　____________________________________________________________________________________

Follow Dark Furs:

　

　Facebook:

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

Twitter:

https://twitter.com/DarkFurs

Bandcamp:

http://darkfurs.bandcamp.com/

Soundcloud:

https://soundcloud.com/darkfurs

ReverbNation:

http://www.reverbnation.com/darkfurs

iTunes:

https://itunes.apple.com/us/artist/dark-furs/id663846497

Tumblr:

http://instagram.com/sunkenseas#

Instagram:

http://instagram.com/darkfurs#

____________________________________________________________________________________

Dark Furs' videos can be accessed at:

http://www.youtube.com/channel/UCwolkWWPLrDEq44lPrhCrEA

　　

____________________________________________________________________________________

Tour dates available via:

https://www.facebook.com/#!/DARKFURS/app_123966167614127

______________________________________________________________________________________

En L'air can be downloaded at:

https://www.facebook.com/DARKFURS/info#!/DARKFURS/app_204974879526524

E.P. Review: Sunken Seas- Cataclysm

E.P. REVIEW:

Sunken Seas

Cataclysm

9.3/10.0

Cataclysm is available via:

http://muzai.bandcamp.com/album/cataclysm

TRACK LISTING:

Asylum- 9.2/10.0 Seesaw- 9.2 Slide Away- 9.3 Cataclysm- 9.3

STANDOUT TRACK: Slide Away

RELEASED: 6th September, 2013 RECORDED BY: Nick Roughan at The Lab, Auckland ENGINEERED BY: Nick Roughan and Olly Harmer MIXED AND MASTERED BY: Nick Roughan GENRES: Alternative Drone, Space Rock, Ambient Shoegazing. ________________________________________________________________

Sunken Seas' debut (Null Point) was an accusatory and politicised work- one that shared a voice with New Zealand's disaffected young generation. Its follow-up sees bills progressed through parliament- whilst their sound becomes fuller and more emphatic- with progression realised: Cataclysm is a varied and tantalising vote-winner for the hungry masses. _____________________________________________________________________

GEOGRAPHY and influence can be just as vital as pure talent...

when concocting your overall sound. If the mainstream teaches us anything- the artists whom rule the airwaves- is that quality and unpredictability arrives when you try something different: good old reliable force gets results- yet the best movements arrive when a sense of daring and innovation are sprinkled into the mix. With the release of Jack White's Lazaretto and Kasabian's 48:13, we are going to be hearing a lot of Blues Rock strut and muscular Rock posing: epic fist-lofting anthems will be seducing ears through the summer months. If you look elsewhere (around the mainstream), you find yourself asking: what else is on offer? I adore grit and pummel as much as any other music-lover- my mind often looks for a sense of escape and wonder. There are a few artists that offer this, yet new music is doing the job best: stunning and mesmerizing acts are ruling the underground- spiking hearts and causing impassioned whispers. When discovering the best that new music has on offer, I have found that locale and geography play a huge part, with regards to the final product- certain areas and regions seem to bring the best out of the native musicians. It seems that a lack of stress and hostility (it may be obvious saying this) are important factors (with regards to creating the finest sounds)- the hustle and bustle of some major cities can squelch creativity. In the U.K., there are some notable hotspots- Yorkshire, Scotland, Brighton- whereas international climbs have provided their fair share of glistening new-found heroes- L.A. and Adeliade are amongst them. It's been three years since Wellington-based industrialized space-rock group Sunken Seas released their acclaimed debut album, Null Hour.

Ryan Harte- Vox + Bass Luke Kavanagh- Guitar, Backing Vox David Provan- Guitar Jordan Puryer- Drums

"Over the course of that time, events have conspired not only the shift the dynamic of their sound, but the dynamics of the band itself. Cataclysm, released September 7th, harkens on the temperament of the band; possibly even the general mood of a nation post-GCSB. With Null Hour rooted with political opinion (single “Paid Your Price” being more overt than others), Cataclysm is Sunken Seas' ossified post-script. Justifiably so – leaders standing down, strongly opposed bills passed through, main sources of export viewed as tainted along with the image of a country. These almost seem to prophesize some form of upheaval, and a violent change to the surface of New Zealand's social fabric. A cataclysm, if you will. Recording, mixed and mastered by the highly regarded Nick Roughan, the challenge met by the group was to expand on what was already an atmospheric series of songs the album presented."

Our quartet are amongst the most promising new acts around. I have featured few New Zealand-based acts in the past, so it was a pleasure coming across Sunken Seas: a group that have gained a respectable and impressive amount of positive press at home. The Wellington boys provide Space Rock energy; widescreen ambience- as well as a hell of a lot of energy. Whereas a lot of their contemporaries go for raw and visceral smash- sounds that border on Grunge and Metal- our four-piece come across as a welcome sea change: an act that provide plenty of relatable tones, yet offer that little bit extra. Having been recorded for several years now, the boys are growing in confidence: new music is on the horizon, and big plans are afoot- they will be act that will be familiar to most before too long.

The splendours of New Zealand- as well as their cannon of influences- has been conducive with regards to spectacular music: their debut album, Null Hour. This L.P. contained political dissatisfaction and anger: songs looked at the sorry state of affairs and the disenchantment felt by the country's youth. Plenty of bile and punch lingered in the album's songs: it is an urgent and direct manifesto from a band with plenty to say. Since then, the quartet's sounds and influences have shifted somewhat- events across Cataclysm are slightly less politicised (in terms of anger and rebellion); perhaps more developed and progressive. The band assess the E.P. in their own words:

"Cataclysm is Sunken Seas' ossified post-script. Justifiably so – leaders standing down, strongly opposed bills passed through, main sources of export viewed as tainted along with the image of a country. These almost seem to prophesize some form of upheaval, and a violent change to the surface of New Zealand's social fabric. A cataclysm, if you will."

For those uninitiated with the band, there is much to discover: their music does not impose limits and restrictions- it is for everyone's benefit. When it comes to influences, Sunken Seas mention the following: Pumice, And Also the Trees, Stereolab, Bailter Space, Children's Hour, Medicine, The Fall, Neu!, Seefeel, Black Sabbath, The Dead C, Sonic Youth, Hella and Spacemen 3. Flavours of Heavy Metal, Punk and Rock can be detected amongst (the illustrious) names: the quartet recognise their favourite artists, yet use their influence as a starting point. The Cataclysm E.P. is abound with Shoegazing wonder; scenic Rock and operatic splendour- as well as ample injections of modern-day themes and political edges. In spite of there being less overt finger-wagging on the E.P., the band are keen to dissect and investigate social issues: their words and voices represent 21st century youth struggling to make their voices heard. Anybody enamoured of the great politically-motivated artists of the '60s and '70s will appreciate Sunken Seas' motifs.

One of the most immediate and prescient aspects of the E.P., is the sense of drama and atmosphere: opener Asylum wastes little time in getting down to business. Bouncing and punchy bass mixes with a dark-toned fuzz: there is a spacey and dislocated sound to the intro. Harte's voice has a slight drawl and restlessness- a fatigue and somnambulistic quality come through. These words are not synonyms for 'unemotional' or 'blase': the projection is appropriate (given the song's title), and is designed to effect and strike. Early scenes are sleepily delineated: Harte's voice whispers and hangs in the air- sounding a little like OK Computer/Kid A-era Thom Yorke. You get the sense that we are in the asylum; in a place with no real escape (whether a secure facility or a life that is undesirable): our frontman has a weight and burden on his shoulder- one that ia augmented and emphasised by the pervasive and echoing strings. Gradually, the energy rate begins to build- scenes become more vivid and striking, as the decibel level increases. Harte's voice elongates and holds words; a female figure is breathing on his shoulder- the tension and nerves in his voice rise unabated. Kavanagh, Provan and Puryer ensure that proceedings are both atmospheric (that is to say, emotive) as well as melodic. Harte's voice is a hypnotic instrument that perfectly blends with the backing; delirious and wide-eyed, it captures your attention- and puts you in mind of some of the all-time greats. Some of Morrissey's phrasing comes through within Asylum; Ian Curtis's rich and dark chocolate tones add conviction and urgency- there are memories of Thom Yorke's falsetto highs. Towards the final stages, guitar, bass and drums ramp up and strike: twanging and crunching strings spar with industrialised and heavy-duty percussive smashes. Like pills taking effect, your mind swirls and becomes intoxicated- as the composition sinks in. Our frontman looks at a brand new day; headed down the highway (with the song's subject breathing on his shoulder), he is looking for escape. A spectral sway gives way to a percussive burst: introducing Seesaw in an instance. Like its predecessor, the track hosts a captivating and memorable vocal: Harte has anxiety and inner-turmoil at the precipice, yet has redemptive longing. Our frontman takes a walk "to elevate my mind"; imploring his subject(s) to "hold on tightly". Themes of breakdown and build-up are explored: the sonic projections are evolving and machine-like- there is almost an audible storm at work. The guitars particularly stand out to me: straining and roaring, they infuse electricity and a huge amount of atmosphere. Harte looks at the economy: the effect that it is having is detrimental and straining. Souls are inner-resolve are being sucked and evaporated- although one suspects that the words are meant as a call-to-arms, as opposed to a woe-is-me statement. Anyone expecting an Oasis cover (on Slide Away), will be disappointed: this track has more teeth and intention. Harte looks at the importance of saying what you feel; broken dreams are looked at: wrapped around a delirious vocal display. Sounding like (I hope Harte will forgive me for mentioning him alongside others) Meat Is Murder-era Morrissey-cum-Lou Reed, there is that mix of romanticized croon and darker-edged menace. Amidst shattered dreams and ideals (and objects) out of reach, the band stir up a hailstorm of sonic luster: the bass and percussion keep the driving force constant; the guitars spring rubber-like. Twisted rubble and thunder clouds rumble underneath; Harte's vocal elongates and stretches: the song causes you to become immersed in the mood- you findyourself, well... sliding away. The E.P.'s swansong (and title track) builds with epic intent. Guitar buzz and growl pairs with fast-paced cymbal work: Pixie-esque rumblings enter the fray as Cataclysm starts to evolve and mutate. There is definitely a Grunge/Indie sensibility within the track- embers of Doolite are evident- that breaks away from previous numbers: scale and a huge farewell is being unveiled. Furious stamp and near-biblical climb makes you stand to attention: it is one hell of an intro. After the guitar lurks and strikes; the percussion rifles and smashes (separated by an ellipsis); the bass supports and pushes forward- then our frontman arrives. His voice begins heavy-hearted: looking for answers, it gets buried beneath the weight of the song. Harte is swimming against the tide and is the grips of a panic: cracks are showing, but our frontman is in no mood to let it lie. His voice is at its most pressing and persistent here: it is a breathless performance that adds colour and huge evocation to the song. The entire band are near their peak here: the instrumentation and composition is deeply impressive. The percussion stands out to me here: frantic the one moment; controlled the next- it is a stunning display. Guitar refrains put me (once more) in mind of Radiohead and Pixies: there is a nice blend of late-'90s U.K. Rock and '80s U.S. By the time the song reaches its conclusion, you can imagine that the band are exhausted and aching: such is the energy and force that is instilled within every note and moment. The track acts as a fitting finale to an inspired and stunning E.P.

Having only recently discovered Sunken Seas, I am still taking their music in: New Zealand's bravest souls present music that demands thorough study- in order for the full effect of the songs to come through. The E.P. is awash with spellbinding sounds and struggle-against-the-tide themes- compounded and emphasised by the band's incredible tightness and intuitiveness. Before I touch on the positives, one or two (small) detracting points must be raised. It would be good to have an accompanying lyric sheet to each track, as certain lyrics and lines are hard to understand- buried underneath the music. The production is focused and impressive, yet the vocal is too far down in the mix: you are left with tones and impressions more often that words and lines- there is a slight issue with decipherability and clarity. These are minor negatives to my mind, but perhaps- the inclusion of lyrics- would have given light and insight into the tracks. That said, the abiding take-away is positivity: there are very few set-backs and issues within the music itself. Each song betters the last: there is a progression and rise in quality as the E.P. develops- the final track makes you wonder just how good the next release will be. In spite of the fact the E.P. is a year old, its themes and subject matter- political discontent; personal development and progression; a need to move on and improve- are relevant and meaningful today. Sunken Seas distinguish themselves by their unique sound- this is the biggest plus. Since the '30s and '40s, bands have been trying to differentiate themselves from others- in order to gain durability and longevity. Today- with the sheer mass of players- the job at hand is harder than ever: Sunken Seas manage to set themselves apart. The compositions are consistently stirring and emphatic- they will stick in your thoughts long after you have completed investigation. Harte's vocals employ embers of past masters such as Thom Yorke, Ian Curtis and Frank Black- certain tones and threads of each are laced into the music. Harte comes across as an impressively distinct and potent vocalist: his phrasing is splendid and evocative; his range is huge- every word he sings comes across as elemental and vital. Kavanagh and Provan mark themselves out as future guitar kings-in-waiting: each has their own style and role. The amount of power, prowess and flair the duo summon up is stunning: each track is elevated and memorable thanks to their talents. Puryer's drum work runs a gauntlet of emotions and speeds: it can be scattershot and frantic when the mood calls for it; softer and sparser at times. Few modern-day percussionists stick in my mind, yet Puryer has the potential to be a vital future prospect: imbued with the power of Dave Grohl and John Bonham. Harte's bass work propels and pushes each song forward: nothing is ever stagnant or dull, thanks to the taut and effusive bass lines. The overall sound is one that I have not often heard: the range of sounds and sights is incredible. A huge amount of consideration and hard work has gone into each song- meaning the band have spent a lot of time and effort making sure the E.P. is as impressive as possible. Factor out my quibbles about lyrics and vocal ranking, and what we have is the signs and positive directions from an ambitious band: four boys who will be making big waves soon enough. Their music suits every weather and emotion- their political edges and motifs do not try to convert you or preach- whilst their words have meaning and importance to us all: the quartet write music that is designed to inspire- as well as make you reflect. It will be fascinating to see what the next year holds in store for the four-piece: the momentum gained from Cataclysm should compel them to aim even higher.

The rest of this year is going to be a transitory one for the boys: new music will be forthcoming (I am sure), yet the four-piece will be evolving once more- building their confidence and updating and developing their sound and subject base. The Antipodean stunners are familiar with- and have naturally at home- in the U.K., so I can very well imagine them playing quite a few gigs over here: there are a lot of London residencies and venues that would eagerly host them. Their incisive, ever-relevant and compelling words fuse spectacularly with their sound: ranging from hugely emotive to calmer refrains, they walk an impressive amount of land. Cataclysm was released last year, yet it is still unfamiliar and new to many ears: there are stations and media sources here that would love to hear their music. It is incredibly hard making headway in the music industry (what with the amount of competition), so if you have a special edge- a distinct sound and style- then you are already one step ahead of the rest: this will mean that Sunken Seas will not shipwrecked any time soon. I guess they will be thinking (in time) of relocation: possibly basing themselves in a big city such as London- that way, they have a direct link to a large fan base and hungry audience. For now, they should be very proud of what they have achieved already: Cataclysm is a stirring and emphatically confident work. With each new release the boys become stronger and more authoritative: it means that future endeavours will be very exciting indeed. As well as being unique and (in sound terms) a rarity, Sunken Seas have a sense of kinship and pride in their music- it makes everything compelling and memorable. Let's just hope that something mouth-watering and momentous is in the back of their minds (no pressure): if it is, then they could transcend to the echelons of the current-day big names. I know how hard and unforgiving music can be- new acts get swallowed up regardless of how great they are- so I will not get too ahead of myself. Based on the evidence within Cataclysm, there is enough to suggest the New Zealand quartet...

WILL truly make a mark.

[youtube https://www.youtube.com/watch?v=ntyDIkv40ng]

____________________________________________________________________________________ Follow Sunken Seas:

Official: http://www.sunkenseas.com/ Facebook: https://www.facebook.com/#!/sunkenseas Twitter: https://twitter.com/sunkenseas YouTube: http://www.youtube.com/channel/UCi1GO3-hICM1mjQYXWsOE1g Bandcamp: http://sunkenseas.bandcamp.com/ ReverbNation.: http://www.reverbnation.com/sunkenseas iTunes: https://itunes.apple.com/us/artist/sunken-seas/id533715585 Instagram: http://instagram.com/sunkenseas# ____________________________________________________________________________________ Sunken Seas' videos can be accessed at:

http://www.sunkenseas.com/videos

____________________________________________________________________________________ Tour dates available via:

https://www.facebook.com/sunkenseas?ref=br_tf#!/sunkenseas/app_308540029359

______________________________________________________________________________________ Sunken Seas' music is available at:

https://www.facebook.com/sunkenseas?ref=br_tf#!/sunkenseas/app_204974879526524

Track Review: Jack White- Lazaretto

TRACK REVIEW:

Jack White

Lazaretto

9.5/10.0

Lazaretto is available via:

http://www.youtube.com/watch?v=qI-95cTMeLM

The album Lazaretto is available to pre-order via:

http://www.amazon.co.uk/Lazaretto-Jack-White/dp/B00JFIPSOG

TRACK LISTING:

Three Women- 9.4/10.0

Lazaretto- 9.5

Temporary Ground- 9.2

Would You Fight for My Love?- 9.3

High Ball Stepper- 9.3

Just One Drink- 9.2

Alone in My Home- 9.0

Entitlement- 9.1

That Black Bat Licorice- 9.6

I Think I Found the Culprit- 9.2

Want and Able- 9.1

STANDOUT TRACK:

That Black Bat Licorice

DOWNLOAD:

Three Women, Lazaretto, Would You Fight for My Love?, High Ball Stepper, That Black Bat Licorice.

LENGTH:

39:13

PRODUCED BY:

Jack White

LABEL:

Third Man, XL Recordings, Columbia.

GENRES:

Blues/Blues Rock.

________________________________________________________________

Recently, Jack White has found himself resided in music's Court of the Damned- having embroiled himself in controversy (following some ill-considered remarks). Here is the advocate for the defence: a magnetising assault of moonstruck guitars, Blues carnality and lenitive sonic impurity - the verdict is clear-cut.

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THE past few months have been turbulent for Detroit's famous son...

Entangled in a tit for tat exchange of words with The Black Keys' Dan Auerbach: the two have re-ignited a feud that has been dragging on for a long time now. White attested that The Black Keys have been lazily ripping off his music- agahst of ideas, the duo are mere copycats. Both camps reside in Nashville and have been keeping a wide birth of one another- as wide as you can when you live in the same town. There is validity in White's claims: I have found that The Black Keys tread too carefully and closely to White's Blues Rock template- the same one that he cemented and popularised during the late-'90s/early-'00s. On Turn Blue (The Black Keys' latest album), you would swear that White were playing guitar on certain tracks- It's Up To You Now features a face-shredding riff that could have been lifted straight from Elephant (or Blunderbuss). In spite of some imitation and limitations (on behalf of The 'Keys), there is another side to the argument: Blues and Blues Rock is infamous for its lack of originality. White himself has been culpable of replicating other artists in his work (the guitar melody that features on The White Stripes track Ball and Biscuit is a dead ringer for Bob Dylan's Meet Me in the Morning). Fearful of a truncated battle of words, White has retracted his criticisms and complaints: a détente has been reached (for now). It is a shame that rivalries and copyright issues have marred the musical waters: each act has their own sound and projection when you look at it- overlap and familiarity is always going to occur. When you factor out the truculent spats and verbal pugilism,  only one thing should remain: the validity and worthiness of Jack White. As a commodity, his golden sheen has gleamed for decades: the man has barely put a foot wrong since the inception of The White Stripes. As the founder of the Detroit duo (and forefather of the Blues Rock revival), John Anthony Gillis has been responsible for some of the most urgent, inspiring and staggering albums of this generation- Elephant, White Blood Cells and Icky Thump are just a few examples. A modern-day Rock colossus, White has parlayed his talents into 'side projects', The Dead Weather and The Raconteurs- whilst not scaling the Stripes heights, he has at least shown he is incapable of mediocrity. White's debut solo album Blunderbuss arrived on 23rd April, 2012: a critical juncture and lukewarm period for the revered axeman. His work with The Dead Weather and The Raconteurs (as well as being received with muted acclaim) was in the past; many wondered if White had any creative juice left in him- a high-profile divorce from the English model-turned-actress Karen Elson did not help issues a jot. I am one of the most ardent and dedicated Jack White fans on the planet, so was suitably nervous when his debut disc dropped: I was not disappointed. Country-tinged love ballads nestled alongside blood-curdling Blues screamers: sexualised paens to masculinity juxtapose tender themes of redemption and self-respect- a myriad of emotional and sonic ground are covered. As well as stand-out cuts like Freedom at 21, Hip Eponymous (Poor Boy) and Weep Themselves to Sleep, there was a lot of tantalising ingredients thrown into the pot: a bubbling cauldron that proved White is amongst the greatest songwriters around. Near-universal critical acclaim must have come as sweet relief for White: the music was talking loud and large; ensuring that its author was in the press for all the right reasons- the confidence and finger-to-the-world attitude of the music helped in this transition... Fast-forward two years, and we arrive at the feet of White's sophomore L.P., Lazaretto.

Unlike Blunderbuss, there has not been a terrible amount of speculation and hoopla surrounding Lazaretto- critics sort of know what to expect and know that White has his own impeccably high personal standards to match and top. Fulminations and hot-bloodied confessions lurk in the soundtrack: the album has as much overt anger and screw-you attitude as it does reflection and demure chivalry. Whereas Blunderbuss was a testament and representation of Jack White The Solo Artist, Lazaretto comes across as Jack White The Angry Voice of Music: that is not to say that the album is negative; White has had a lot to deal with and is healthily exorcising his demons through his art- the striking results show how conducive inner-turmoil can be towards genuine soul-discovery and truthfulness. Critical feedback (thus far) has been positive and celebratory: many note that the new album is not quite as good as his debut- the words 'solid' and 'impressive' have been used as banner headline by-words. I shall dissect the album in due course;, yet I have been compelled to assess Lazaretto's title cut- off of the back of its official release and stylistic video. Shot in black-and-white, it is a riot of explosions, testicular swinging and sweat: White's guitar explodes; rubber burns; our hero mugs to camera- the Jonas & François-directed clip is an eye-watering, juttering, whip-lashing animal.

A teasing and strutting riff beckons Lazaretto in. Crunching and slinking, it tip-toes and stops: before White walks to the mic. With a free-form Hip-Hop/Rap delivery, our hero is pumped and primed: "My veins are blue and connected/And every single bone in my brain is electric." Disconcerting and vivid images are underpinned be a dancing guitar line (that- by White's standards- is muted). After a brief Spanish coda ("Yo trabajo duro/Como en madera y yeso/Como en madera y yeso")- where our frontman expounds his itinerant work ethic- his attentions turn towards the ecumenical. Training his eye to God (represented in female form), White offers pro forma personal insight: in spite of his effortless tire and scam-making, the almighty never helps him out "for free." Whether our hero is talking about personal romance (employing God as a metaphor) or being direct and to-the-point I am unsure.  Soon enough White's voice begins to rise: the anger grows and you can sense imminent implosion. With his most cryptic and intriguing protestation, White is inflamed: "When I say nothing, I say everything/Yeah when I say nothing, I say everything." The composition still bids and tempts: guitar strikes are slinky but not- as of this moment- combustable; percussive beats are punchy- more propulsive than domineering. White's delivery is breathless and striking: with barely a pause for breath, he scattershots the next verse- having been tossed in the lazaretto, he spends his days "Makin' models of people I used to know/Out of coffee and cotton." The slight whine and nasal quality (that White employs) adds venom and pugnaciousness to the lyrics- a sense of tempestuousness creeps in. Mixing personal discombobulation and upheaval ("And all of my illegitimate kids have begotten/Thrown down to the wolves, made feral for nothin'") with a desire to break from his shackles ("I'm trying to escape any way"), our frontman steps up a gear: the pace quickens and the sense of frantic desperation rises. Talking of time running out; offering his hand to a feminine deity, White spits with vermillion intent: his episodic trajectory is about to spill off a cliff. At the half-way marker, our hero unleashes his axe: an O.T.T. and hysterical riff bursts, stings and intoxicate (like a kick in the teeth)- White demonstrates why he is one of the finest finger-pickers of this generation. Having endured a lot of emotional outpouring- where soul-searching and petulance are mixed- the listener is afforded no anesthetization: instead an electric orgasm is unleashed- at once biblical and apocalyptic; the next swaying and louche. White brilliantly subverts expectations and tradition- there is certainly no quaint verse-chorus-verse structure here! The song's first half consists of syncopated and intertwined verses- with nary a moment for predictability or reflection. Its second half begins (and develops) around instrumental ideals: after the delirious riffing, White lets his guitar tip-toe and creep: like a pantomime villan, it progresses with cartoon malevolence. Breaking from the Hip-Hop parable, the vocal becomes less staccato: White punctuates and considers his words (yet imbues them with emotion and force). With a pulverizing percussive thunderstorm, White's mesmeric tableaux turns darker:: "They wanna blow down in prison/They're lighting fires with the cast of the masses." Hoedown and heel-clicking violins parabond with fuzzy and delirious guitar: the final showdown is epic, indeed. With a furious flurry, our tale is concluded- bones and ashes lie strewn on the floor.

Lazaretto is a slight abberation- given the context of the album- in the sense that it is an odd child: a crazed one-off that is amongst the most immediate and exhilarating songs White has produced- a psychotic irreducible polynominal. Our hero's guitar-playing chops are at their peak: ranging from elephantic to ratcheting; White runs a gamut of emotions and colours- a breathtaking display. Paranoia and self-flagellation mix with obscurantism and accusatory rage: the resultant cocktail is one that leaves a fascinating after-taste. It is White's vocal delivery that indivduates and elevates the track: the song's conjecture and half-truths are made compelling by frantic and wide-eyed delivery; kick-in-the-face spit demands your attention- the song's funky and catchy flow implores you to mobilise and move your feet. Rap, Hip-Hop, Blues and Garage Rock are all tossed into the fire: resulting in a gloriously captivating jam (by the end, White's wheels are definitely showing their camber).

Few prosaic moments make their way into the L.P. Loneliness and hollow hearts linger within Would You Fight for My Love? and Alone in My Home: the former casts blame on his sweetheart- you can practically hear White clicking his tongue as his love walks out of him. Libidinous and lascivious sexualisation runs rampant throughout Three Women: White boasts about his triple conquest and stunning prowess. Trust, religious doubts and what-have-you-done-to-me mandates lurk throughout. Temporary Ground looks at God and issues of abandonment; I Think I Found the Culprit sees White's nerves shredded: his finger-wagging tongue sheaves with accusatory paranoia. That Bat Black Licorice is Lazaretto's most gripping and memorable largess: anger and self-laceration are at the fore once more. Austerity and self-worth are investigated within Entitlement; pulchritudinous longing and beauty have their place in a smattering of tracks- there is enough diversity and mood range to appeal to everyone. The album cross-pollinates genres and themes effortlessly; there is no predictability here: White ensures that each track has its own emanciapted identity and voice.

Jack White has encountered more heartache, stress and upheaval than most people do in a lifetime- he faces (and overcomes) pitfalls with cartoon-like determination. Perhaps it is part of being a modern-day Rock icon: shit will invariably hit- and clog- the fan. The way White overcomes proclivity and repression is through his music: subjugation at its most inspiring. Whilst Lazaretto is not as freewheelin', loose and sparse (to say atmospheric) as Elephant-era White Stripes, it is in way a detraction: the Jack White solo incarnation is a different beast altogether- gone are the limitations and constraints of his alma mater. It will be fascinating to see what the future holds for him. As creator and commander-in-chief of Third Man Records, White will have his producer/scouting hands full: but what of future musical endeavours? It is hard to say whether we will see another album by The Dead Weather or The Raconteurs (most people's breaths are far from baited); one thing is for sure: there will be (at least) another Jack White solo album. I hope that when that L.P. does arrive (one would expect it to be between 2015-2016?), life is a lot fairer to our hero: fewer stresses and conflagrations; a happier and more prosperous love life- he deserves a break, let's face it! We have seen a lot of anger-inspired records from White (aside from his two solo albums, Get Behind Me Satan was bleak and self-recriminating): it can create some astounding moments of brilliance- as demonstrated across Lazaretto. Anger, separation and disenfranchisement limits creativity and musical flair as much as depression and writer's block: White's strongest moments arrive when he is love with music- free from the shadows of love and conflict. If White can keep his head down (and not spread himself too thin), the next L.P. could be a masterpiece: we all know just what the man can achieve when he is at his best.　

For those only aware of Jack White through The White Stripes (or those who have no knowledge of him at all), Lazaretto is as good a starting point as any. Its title cut is a fever dream of electricity: a song that punches you in the guts and seduces hard- all at the same time. It is not the strongest moment of the album- it is not far off- (but in my opinion) the quintessential statement of the former White Stripe: vivid imagery; frantic and hypnotic guitar weaves; raw emotion and kick-ass 'tude- laced within a bloody heart that never stops beating. Music offers enough tranquility, romance and stillness: everyone yearns to discover something primal, elementary and gripping. This year, music has proffered mutual indemnity, escapism and here-for-the-moment heroics: few have dared to gift something that grips your soul as well as your head. Lazaretto's twisting tongue, convulsing bones and psychotropic lust is the summation of an imperialistic young artist- with a lot of talking and playing left to do. Witness this compelling slice of punch-drunk love...

BEFORE a certain Ohio duo beat him to it.

[youtube https://www.youtube.com/watch?v=qI-95cTMeLM&w=560&h=315]　____________________________________________________________________________________

Follow Jack White:

　

　Official:

http://jackwhiteiii.com/

Facebook:

https://www.facebook.com/jackwhite

Twitter:

https://twitter.com/thirdmanrecords

SoundCloud:

https://soundcloud.com/thirdmanrecords

YouTube:

http://www.youtube.com/channel/UCaHBeIm2u-nD3LhGsCmSqBQ

Last F.M.:

http://www.last.fm/music/Jack+White

iTunes:

https://itunes.apple.com/gb/artist/jack-white/id826980

Instagram:

http://web.stagram.com/n/thirdmanrecordsofficial/

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Jack White's videos can be accessed at:

http://jackwhiteiii.com/media/　

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Tour dates available via:

http://jackwhiteiii.com/tour-dates/

　　

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Merchandise available at:

http://thirdmanstore.com/bands/jack-white

　

E.P. Review: The Byzantines- Colourvision

E.P. REVIEW:

The Byzantines

　

　Colourvision

9.4/10.0

Colourvision is available via:

http://thebyzantines.bandcamp.com/album/colourvision-ep

TRACK LISTING:

C.F.C. (Colourvision Football Club)- 9.4/10.0

Punch On- 9.4

Black Teardrop Woman- 9.4

Cats Got Boots- 9.5

Spaghetti Western- 9.5

STAND OUT TRACK: Cats Got Boots

RELEASED: 20 September 2013 WRITTEN AND PERFORMED BY: The Byzantines. RECORDED AT: Hillside Studio. MIXING AND POST-PRODUCTION BY: Luke Godson. TRUMPET BY: Eric Santucci. ADDITIONAL GUITAR AND PERCUSSION BY: Matt Hills. ADDITIONAL SYNTH BY: Luke Godson. MASTERED BY: Evan James. ARTWORK BY: Alex Mullen.

GENRES: Electronic, Electronic Rock, 'Britpop', Indie Rock.

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These Australian innovators have a fond affection for British music: with a nod to Primal Scream; The Byzantines infuse drama, history and beauty- making Colourvision that rarest of musical treats.

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INTERNATIONAL acts have always provided me a chance to...

investigate what is happening in other parts of the world. The music industry in this country is growing and varied: producing quiet a few genuine drops of joys in an ocean of middle ground- when you do come across a phenomenal act, it is always a huge pleasure. A lot of time, foreign acts are overlooked: there is a concentration on home-grown talent- meaning that some terrific musicians struggle to make their names heard in the U.K. Over the past couple of years (when looking at international music) I have had the chance to feature quite a few U.S. acts: everything from Electro-Pop to Metal, through to '70s Pop. Each time I investigate act, I am left with a certain sense: there is a freedom and diversity that few British acts possess. Maybe it is due to geographical issues; perhaps the music press in the U.S. (and other nations) is a little less critical and pressurizing: there seems to be a flair and adventurousness that I would like to see more of here- of course there are the exceptions to the rule. I bring the issue up, as my featured act provide something unique: they have British sensibilities and influences, but inject a beguiling blend of Psych-Rock and Indie- laced with an inimitable Australian charm and gutsiness. Australia -in my estimation- is a relatively untapped market: a nation that eyes should train themselves towards- as a lot of striking and effusive sounds are emanating from this golden land. The Byzantines have a filmic and cinematic blend: as if Quentin Tarantino were in a lab accident with James Bond- and the resultant progeny were trying to escape its foreboding confines. Mix in a measure of modern-day U.K. Indie influence, and you get a sense of what the band resemble. Let me introduce you to them:

Mike Pietrafesa- Vox/Synth

Rhys Overall- Guitar/Synth/Samples

Dave Zammit- Guitar

Jose Moucho- Bass

Johnny Zervas- Drums

"The Byzantines, an indie-electronic-rock band conceived in nightlife from the sordid and shady streets of Adelaide, Australia.  An emerging local force, the band are described as having a predominantly British feel reminiscent of Primal Scream and early Kasabian. The five piece are a result of late nights and fast times spent around Adelaide. They come from a variety of musical backgrounds in producing an excellent blend of electronic based music, with strands of psych-rock and pop intertwined. The boys have spent the last 12 months earning their stripes on the Adelaide live circuit, releasing debut EP 'ColourVision', and collecting a slew of local and interstate support credits along acts such as The Belligerents, Conics, The Infants, Sincerely Grizzly and Pigeon. In late 2013 the band were also selected to perform at Revolver Bandroom (Vic) as the interstate feature act for the ‘Melbourne Fresh Industry Showcase’. Their debut EP 'ColourVision,’ released in October of 2013 was engineered by Matt Hills (Fire! Santa Rosa, Fire!, Wolf & Cub) at Hillside Studios. The band enlisted the talents of Adelaide’s own Luke Godson (The Swiss, Luke Million) on production duties, giving their already attitude-laden sound that extra punch. It has been described by Music SA as "a brilliant blend of synth, fuzz bass, driving beats and well structured arrangements."

There is enough (in the biography) to water plenty of mouths: few other artists mix so much variation and stunning back story into their locker- the press and adulation the boys has received pays testament to this unique brand of music. The guys are touring the U.K. and Europe very shortly: it will be great to hear the reception they are afforded over here- and how people respond to their music. There are not many acts in the world that perform the type of music The Byzantines do- Electronic Rock-cum-'Britpop'- with such conviction and a sense of adventurousness. One of my biggest criticisms (when referring to new music) is the lack of passion and energy: there is a timidness and listlessness that is still ever-present and dominant. The Australian quintet are the antithesis of that: an indefatigable troupe of musicians intent on putting a spark back into music- and create songs that are ready-made for the summer.

As well as the likes of Kasabian, The Byzantines are inspired by the likes of Gorillaz, Primal Scream and Massive Attack: a distinctly British-born colour chart. That is not to say that there is no sense of distinction and individuality (to their music). If you are fond of the aforementioned groups, then you will find something relatable in The Byzantines' music: an authoritative melting of '90-modern-day elements; a stunning urgency and directness- as well as lashings of native tongue. You can hear sounds of 2014 Australia too: the boys presents sounds that are endemic and synonymous- a few of their local contemporaries have a similar ambition and projection. What marks the five-piece out from a lot of modern acts is their attention to detail: music is not just cobbled together and aimlessly recorded- there is a perfect mix of looseness and perfectionism. Songs come across as studied and incredibly well-considered- yet are instilled with a sense of ease and breeziness. The cinematic and widescreen motifs that are rife throughout Colourvision have earned huge plaudits: the idiosyncracies and bravery have paid huge dividends

From the very off, Colourvision makes its presence known. C.F.C. (Colourvision Football Club) starts with a flourish of organs, cymbals and keys: a rush and majestic build-up pricks your ears and stands you to attention. With embers of Icky Thump-era The White Stripes and Origins of Symmetry Muse, you can practically hear the opening credits roll: a hard-hitting and noir revenge flick is beginning life. Few E.P.s (or songs) begin with such a bang, so it is impressive that The Byzantines possess such instantaneous kick: the opening salvo is a punchy and balls-to-the-wall romp. When Piatrefesa steps to the microphone, his voice is filled with purpose and directness. Speaking to his subject (a lover or sweetheart perhaps), he implores them to "give me what you're made of": in an excited and direct coda the heroine (subject) is "Lighting up a Molotov." Early hints of The Raconteurs and Primal Scream (in the composition) and Kasabian (the vocals) come through, yet what is axiomatic is the strength of our frontman's voice:  it is one filled with direct longing, urgency and passion. As you digest views of an alluring figure, other images come to mind: balkanized football supporters and rampaging armies. Words proffering pitchforks and blood spiral in; in my mind perhaps two football clans come together: a pre-match showdown is being witnessed. Such is the power and prowess of the lyrics, that they get your mind working: various scenes and scenarios are conjured. When Piatrefesa sings "spread your love" (and drops to his knees), you can sense the conviction and meaning in his voice: they dance merrily in a wash of synths. and joyful electronics. The composition is impressively bold and captivating. Stuttering and robotic dark notes blend with multifarious lights: a whirlpool of synthesised sound marries alongside emotive and emphatic guitar, bass and percussion. With our frontman spitting blood (and the band summoning up a firestorm of mood and atmosphere), the track comes to an end- concluding an impressive start to the E.P. Punch On begins affairs differently (to that of C.F.C.): the sense of majesticness remains. A gong smash leads to bubbling and jumping synths.; guitar elongation and feline notes intersect and blend- the band are particularly impressive when it comes to ensuring tracks hit the ground running. Fist-pumping sonics commingle strikingly: leading to tales of a "tropical paradise" where its sights and smells buckle the knees. Whereas the previous number was built around various electronics and synths., here there is more emphasis on guitar and percussion: there is a definite Indie Rock flavour at work. Our frontman's voice is inflamed and effusive: a passionate delivery brings vivid life to the track's words. Where disparate junkies and proclivity-seeking figures lurk, "We don't stop to think about the consequence": whatever life throws at you, just roll with the punches- something we can all relate to. The band is particular tight and impressive during Punch On: the percussion is dominant and energised; guitar and bass notes are hypnotic and swirling- the synths. are captivating. Swinging guitar vortexes back our frontman's mandates: he is the common man advising common sense. Black Teardrop Woman boasts an impressive futuristic-cum-Primal Scream opening. Juggernaut electronics and synths. mobilise and mutate. Our frontman is keen to disrupt the mood: implore (his subject/the listener) to sit back, strap in "and let the trip begin." The mantra is repeated amongst a shuddering and vibrating audio swirl: creating a hypnotic parable that gets inside of your head. Pietrafesa turns in his most impressive vocal performance on the set: filled with passion and emotion, it is a compelling showcase. Words are stretched and elongated; others are quickly dispensed: keeping the sense of anticipation and unpredicatbility high. The song's central figure is an alluring and dangerous one: someone whom causes our frontman to lie awake and wonder. The mood throughout the song is slightly darker than previous numbers: the synths. and guitars especially have a midnight and stalker-in-the-shadows quality. Modern-day Kasabian have a similar combination of sounds and shades- they do not deploy them as effectively as The Byzantines. The song's raven-winged Siren is causing all manner of twitterpation and dislocation: compelling your mind once more to drift and imagine. By track four, a certain dependency and band uniformity has emerged: dizzying and spiraling synths. and coercive intros. are top of the list. Cats Got Boots (perhaps) sports one of the most fascinating introduction of the E.P. It is brief, yet draws in parping and ecstatic Jazz trumpets: together with buoyant synthesisers, the track gets off to a terrific start. Lyrical themes mix engaging and mythical sights; tempestuous central figures are present once more- as well as stark and eye-catching bon mots. Early lines look at truths and lies; Haitian queens and vivid emotional imagery ("the penny drops and the child dies"). After a tumbling and breathless chorus, echoing and anthemic guitar strands are traded: the song has an effective sense of punctuation, that keeps the music compelling. After this brief sonic presentation, our frontman is back in focus. Investigating strifes, business suits and "Growing up in underground", there is a little more venom and outward projection here: a political edge comes into view. The song focuses on current issues and universal malaise: its messages can be extrapolated and relate to all. What hits me hardest (when it comes to Cats Got Boots) is the song as a whole. The vocals are as direct and urgent as any throughout the E.P.; the lyrics are catchy as well as purposeful- perhaps the composition itself does the most bidding. So much colour and texture is incorporated: authentic Jazz brass and '90s synths. tangle with Indie Rock laddishness and Spoken Word interjection. By the time you have ingested all that is on offer, you are compelled to replay the track- in case you have missed anything. Completing Colourvision is Spaghetti Western. So far (in film terms) we have looked at charming Indie flicks; Rom.-Com. avenues and full-throttle chase epics- are we about to witness something that carries a six-shooter and crawls the desert? Short answer: kind of. The song is the shortest on the disc, yet wastes no time in making its voice heard. As with Cats Got Boots, we are treated to Jazz and Latin-infused brass. Here, the mood is more romantic and seductive: it sets us up for something a lot more epic. Early announcements put me in mind of a Tarantino soundtrack; bits of Green Day's Espionage and Black Holes and Revelations Muse are in there- we are going out with a bang. Spaghetti Western changes tones and skin: guitar lines have Western flavours but also mutate into Prog Rock and Indie shapes. There is itinerary and storytelling throughout the instrumental: you can well imagine a grizzled hero stalking the desert floor; approaching a saloon, there is a show-down afoot- and only one man will survive. A great deal of epicness and excitement is concocted: it is as though the title credits are rolling after a huge blockbuster- leaving you wondering whether we will be seeing a sequel. Whereas the E.P.'s first four tracks had certain messages and ambitions, here there is playfulness: the band have done all the hard work, and are having fun- and leaving the listener with a big smile. Spaghetti Western is very nearly the standout of the set (Cats Got Boots wins that award): it is one that will always put you in a better mood- and destined to feature in a film some time very soon. By the end of the E.P., you sit back and asses all you have heard. The production is incredible throughout: clear and concise, no instruments and vocal lines get buried or muted- neither is there any over-production. The band as a whole is intuitive and close-knit: you can hear the affection and sympatico between the members. Percussion and drumming is authoritative and impressive throughout: in each track it not only drives forward the energy and mood, but adds weight and passion. The bass work is superb and tight: keeping the backbone in check, it adds so much colour and vibrancy to the music (kudos to Zervas and Moucho for their incredible work). Overall and Zammit's guitar work is strong and stunning across the board: plenty of Indie Rock and 'Britpop' majesty is elicited- as well as soul and passion in spades. Synthesisers play a huge part throughout the E.P., and beautifully augment and define the songs- few bands mix synths. with guitars so effectively. The Byzantines ensure that all synthesiser elements are varied and different: each track (where they are featured) has a unique sound and identity. Pietrafesa's vocals wonderfully mix hints of Kasabian, Primal Scream and Kaiser Chiefs- without employing any of these acts too compulsively. His voice is capable of going from a strong and blood-lust belt, down to a more introverted calm: the songs on the E.P. would be weaker and less impressive in poorer hands. The Colourvision E.P. is a brilliant testament to a band that have a clear sense of direction: they know where they want to go, and who they are. Each of the songs has its particular charms and recommendations: focus and urgency are high on the agenda, yet there is playfulness and cheekiness when needed. You will not only be singing along to the songs (after a few listens), but will force yourself to re-listen- so the quality and potency of the compositions can be fully appreciated. It is their first disc, but it points to a band with serious credentials and talents: it is obvious that they will be riding the festival waves (in the U.K.) very soon. I know they have received adoration and paen in Australia, yet are a lesser-known quantity here- that will all change when they come a-knocking.

Having thoroughly studied Colourvision (and the band themselves) I was stunned by the wealth of material on offer. Each of the E.P.'s five songs have their own personality: within the tracks is a huge amount of scintillation, force and passion. The boys have a fond affection and knowledge of the genres they play: the confidence and authority that seeps out of every track is hard to ignore. One of the most impressive aspects of The Byzantines is their originality. I would be hard-pressed to compare the quintet to anyone else: there are a few bands that tread similar lines, yet none with the same potency and nuance. The likes of Primal Scream and Muse can be detected in various songs (within the E.P.), but these bands are employed as stepping-stones: each band is used as a stepping stone; toes are never trod on. The conviction, urgency and stylishness of the music marks The Byzantines out as a band to watch: few acts do what they do as well as they do. I started the review by mentioning Quentin Tarantino: you can imagine each of Colourvision's five tracks scoring one of his epic films. A lot of Indie/Rock bands either favour pure force or (what they conceive as) genuine appeal  and authenticity: they can often be bywords for timidity and recklessness. The Byzantines' conviction and urgency means they can marry force and passion; tie in romance, sex appeal and cinema- and drape in dollops of sunshine and smile too. The guys have no intent on being selectively mute: they are going to travel far and wide to ensure their music is heard. In September, The Byzantines are heading to the U.K.: before travelling across Europe. Having seduced and entranced Australia, the quintet are going from strength to strength- I would not be surprised if new music was on the horizon. It will be fascinating to see whether an L.P. is in-the-works- I would love to see The Byzantines' sound expanded across an album. That may be some time off, but for now, enjoy Colourvision: an E.P. that is as striking as any I've heard. For those that prefer their music heart-felt, urgent and uplifting- with swathes of kick-ass riffs and raw power into the mix, then check out the Adelaide crew. If you are in need of something to blow away your woes and stresses: get rid of the negativity, and replace it with something a lot more agreeable, then...

THIS is the band for you.

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Follow The Byzantines:

　

　Facebook:

https://www.facebook.com/pages/The-Byzantines/197935706924007?ref=hl

Twitter:

https://twitter.com/The_Byzantines

SoundCloud:

https://soundcloud.com/thebyzantines

Triple J Unearthed:

https://www.triplejunearthed.com/artist/byzantines

Instagram:

http://instagram.com/the_byzantines#

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The Byzantines' videos can be accessed at:

https://www.facebook.com/pages/The-Byzantines/197935706924007?ref=hl#!/pages/The-Byzantines/197935706924007?sk=videos

　

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Tour dates available via:

https://www.facebook.com/pages/The-Byzantines/197935706924007?ref=hl#!/pages/The-Byzantines/197935706924007?sk=events

Track Review: The Bedroom Hour- No Keys

TRACK REVIEW:

The Bedroom Hour

　

　No Keys

9.6/10.0

No Keys is available exclusively to those who donate to the band's Pledge Music page (you can pre-order Hinterland here):

http://www.pledgemusic.com/projects/tbhp1

The album Hinterland will be released on July 14th. Its debut single Ocean can be accessed via:

https://www.youtube.com/watch?v=n-ojOVUxiBg

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Ahead of the release of their debut album Hinterland, the endeavouring boys of The Bedroom Hour unveil No Keys: an authoritative and fascinating Indie object of virtu. No pareil conviction mixes with compelling storytelling- wrapped inside a soul-stirring and potent composition: it is an absorbing listen.

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THIS will not be the first time that I have featured this London five-piece.

Last year I was fortunate enough to review their emblematic tracks Slow Motion Cinema (in May) and Submarine (in April): on each occasion I was compelled and fascinated by the music on offer. The former is a dreamy and effecting tale: one where the loss of a sweetheart is documented; pain and yearning come through to the surface- there are touches of The Cure, Muse and The Smiths. Submarine, meanwhile, looked at the heat of emotions: tribulations and trials of love are investigated and covered- the band inject elements of Radiohead and Elbow into the pot. Each time I reviewed The Bedroom Hour, I came away deeply impressed: stunned by their confidence and musical amelioration, the quintet seemed to have no limits- capable of summoning up a huge amount of emotion and force over the space of a couple of tracks. It is no shock that their E.P. Themes (released last year) was greeted with such approval and glee: positive feedback and love is still coming in- a year after it was unveiled. Our Uxbridge-based wonders consist:

Stuart Drummond- Lead Vocals Rob Payne- Guitars and Backing Vocals Mark Dudley- Keyboard Andy Copper - Bass Lewis Cosham - Drums

"Described by BBC Introducing's Gary Crowley as 'epic, big sounding, widescreen pop-rock', the bedroom hour are a unique blend of psychedelic soaring guitars, ethereal synths, haunting melodies and original emotive lyrics."

Themes was released to a delighted fanfare: critics were impressed- not only by the ambition and authority that seeped through in every track- by the range and conviction throughout. Topics such as terminated love and dreams were examined: common issues were focused upon and documented- yet the band did it in such an original and bold way, that they breathed a new lease of life into the subjects. Since the arrival (and digestion) of their debut E.P., the quintet have been busy indeed: touring throughout the U.K., the boys have been spreading their legacy and motifs throughout Britain. You may notice that our featured act are from London: a great deal of my recent features have revolved around London-based musicians. Over the next few weeks I will be broadening my horizons- moving my thoughts to international acts as well as those based beyond the capital- but for now, a pressing thought comes to mind: the nature of the London band market. Acts such as Crystal Seagulls and Los and the Deadlines have come under my radar; a few days ago I featured Rap/Hip Hop artist Kate Tempest: the range and variation of music in London is deeply impressed. A resurgence has taken place recently: last year was a fairly spotty and mixed year for London musicians- this year something incredible has happened. The Bedroom Hour are one of the most original and captivating bands the capital offers up: they will be big future heroes- and will be scoring and dominating festivals in years to come. The five-pice are incredibly down-to-earth and honest: in love with the business of making music, a clear sense of passion and determination is displayed- which reflects in their music. On Facebook, the quintet list their interests as: "Writing, Recording, Mixing, Festivals, Live Music, Unsigned bands, Rock'n'Roll, a few glasses of rum!" Amongst the rum-filled writing sessions, the lads have been preparing the release of their debut album, Hinterland. I shall talk more about their L.P. anon, but shall mention one further point: their overall sound.

The Bedroom Hour are influenced by the likes of Doves, Elbow, Death Cab For Cutie, Pink Floyd, Joy Division, and Simple Minds: touches and flavours of each act can be detected within their music- as well as elements of Radiohead, Muse and The Smiths. The Uxbridge clan seamlessly fuse '80s U.K. Indie with modern-day Indie; classic '70s Psychedelia and U.S. Alternative Rock are all present and correct- a huge range of sounds and genres seep their way into the Bedroom Hour palette. If you are inclined towards any of these bands (or genres) then you will love the quintet: there is a great understanding of past masters as well as of-the-moment anthemics- yet the guys have a deep sense of uniqueness and focus. Each of their influences are deployed subtly: there are no obvious overtones of other acts in their music- the abiding sensation is of an ambitious quintet determined to project their own voice and present their own style- this will be surmounted and cemented in their debut L.P.

Hinterland is the next release from The Bedroom Hour (No Keys does not feature on it): their debut full-length album, it will see the band's striking style expanded and represented fully- and show how they have mature and evolve over the last year. The subject of music-based crowd-funding (donating to a band/act so they can finance their music) is a divisive subject: some are all for it (as it allows the fans to become involved with the production of the music); others are against and aghast (feeling it a dishonest and easy way to raise capital). I am in the former's camp: many musicians are capable of working and financing their own music- yet choose to involve the listener more directly; giving them the chance to receive updates and news with regards to the associated project. The Bedroom Hour are launching two separate crowd-funding pages: the first has surpassed its target (the band have obtained 233% of their required funds). On their Pledge Music page, the group assess their goals, thus:

"Here’s where you come in. With your pledge, we can raise the money to get these songs into your lives. We wanted to give you the chance to get your hands on the album first and offer you a load of exclusive stuff that isn’t available to everyone else. We’ll also be doing updates from the studio, including videos and blogs, from us, the band. We love the personal relationship we have with our fans and think that by doing pledge it brings us all closer...We want to give you these songs, help us to make it happen."

The advantage of using crowd-funding is the financial gain. The artists receive a fairer financial percentage of the monies: enabling them to fund the recording production and cover the costs of touring - essential elements in promoting the music. The Bedroom Hour would not have been able to record Hinterland, were it not for the support of Pledge Music donate-ees: a worthy cause, that helps support one of the most promising bands in our midst. 'Part two' will be launched soon, but for now, the boys are preparing for the launch of the album: initial buzz suggests that it will be stronger even than Themes- a cornucopia of relatable fables and tales, from a band with no shortage of quality. When the album is released (on July 14th), the public will get to witness what the five-piece have dreamt up. I have been looking at an exclusive track (it is only available if you donate on their Pledge Music site): it provides a tantalising indication as to what Hinterland will consist.

A sense of triumph and rabble-rousing greets No Keys: its beginnings are awash with woozy electronics (synths.) and spirited percussion- putting me in mind of Modern Guilt-era Beck (Profanity Prayers perhaps). There is a light breeziness that runs through the opening coda: no suppressed rage, the intro. is upbeat and purposeful. Indie shades come through early on: early-career Elbow and Joy Division can be detected. You could imagine Ian Curtis getting up to sing this song: that sense of elliptical-cum-shady lingers in the electronic waves and drum-beat staccato- you cannot help but feel energised and pumped-up. The initial moments are no slouch either: there is a sense of fastidiousness and meticulous in the notes; everything has been honed and considered- no loose edges are on display. When Drummond steps up to the microphone, his voice has a delicate croon: there is restraint and measure to the tones, which add conviction to the words: "Someone you love's/been taken from/the world in the cruellest way." The Bedroom Hour are inspired by the likes of Joy Division, Elbow and Simple Minds: you can hear a little of each within the vocalisations. That dusky and authoritative style Ian Curtis perfected and cemented is there; ashes of Guy Garvey's power and humanity percolates: Jim Kerr's soothing and emotive pronunciations are evident (as well as some earnest tenderness). You would have to be a huge fan of each of these singers to detect anything glaring or obvious: Drummond's voice is an urgent (yet seductive) beast that has no progeny- a singular sound. The band beautifully punctuate lyrics: after the initial refrain, a dizzying and cinematic twirl is unveiled: widescreen synthesisers and angular percussion commingle with tight and focused bass lines- a dazzling array of components are employed in the mix. After some embryonic haunt and disquiet, lyrical themes become less eulogistic: Drummond's voice rises and powers through the chorus; emphatic conviction and potency come through- beautifully backed and supported by a swelling and compendious composition. Our frontman asks (in the next verse) whether you (the song's focus) questions God: whether existential and philosophical musings and desires play on their mind- each year more and more young people have their lives taken away, it is attested. There are deep questions and issues posed throughout No Keys: kept compelling and light-hearted by Drummond's vocal (and the band's effusive performance). Drummond keeps energy and fascination high with innate sensibility: certain words are elongated; others are emphasised and stoutly punctuated- it means that each line and utterances hits as hard as possible. Whether referring to a recent tragedy or the mire of a disquisition, I am uncertain: it seems that heartache is rife and emotions have flared- our frontman comes across as empathetic and straight-to-the-point all at once. Before I conclude, I shall share out kudos and commendations. No Keys has a great mix of '80s Indie/Electro and of-the-moment North of England: that parabond of Joy Division, Soft Cell, Elbow and Doves come through. The boys have their influences, yet do not for one second tread closely to anyone: lesser bands would copycat or replicate; here there is the faintest whiff of others. The guitar work is energised and progressive: it moves the story, as well as flexes its musical muscles- Payne wields his axe perfectly and never succumbs to histrionics; instead each note and line is perfectly considered. The bass work from Cooper keeps everything in check: the backbone of No Keys, it stays mobile and supportive- and adds colour and vibrancy to the track. The percussion drives and pervades: a strong and focused performance from Cosham not only augments the vocal, but almost steals the show. Keys and synthesised notes are multicoloured and romanticized: you swoon and sway when you hear them; coruscating and fascinating, they stick in your mind (thanks to Dudley)- and could easily fit in an album such as Closer or Once Upon a Time. Drummond's vocal sticks in my mind: emotive and imploring, they manage to make everything sound fascinating. During the chorus (towards the end of the track) he holds notes: eliciting a huge amount of force, it is almost quasi-operatic in nature. Even though subjects deal with death, reflection and break-up, nothing is delivered with a heaviness: passionate heart and swelling soul mingle wonderfully. I have often found some vocalists too narrow or limited: Drummond has an impressive range that adds so much life and flair to No Keys- and I am sure it is even more potent in a live setting. No Keys is a go-between and conduit: a track that fuses their past and present; hints at what direction they are headed in- and what Hinterland could contain. If No Keys is a fair representation (as to the L.P.'s themes and sensations) then you are in for a treat: the track is taut yet packs in so much punch and nuance, that it demands repeated spins. If you do donate to the Pledge Music campaign (I would advise it- just so you can hear this song) or not, then I would implore this: get hold of the forthcoming album. The band is at the height of their powers; in no short supply of quality tunes and for-the-masses evocativeness- expertly demonstrated within No Keys.

The Bedroom Hour have put Ocean (the first single to be taken from Hinterland) on Youtube: affording the public the chance to get a sense as to what the album will sound like. I would advise that you give the song a listen (as well as get a hold of No Keys) as the London boys have been tirelessly working on their album: slaving days to ensure that the final product is as stunning and memorable as possible. Crowd-funding raises awareness and much-needed financial assistance: whether you are ambivalent or cold on this issue (without such sites) many musicians would not be able to release music. I will be sure to review Hinterland closer to its release date- it will be a fascinating and compelling disc. No Keys is no slouch or latchkey child: it is a stirring and emphatic slice of song- one that builds on the band's past sounds and motifs, but updates their projection with new-found inspiration. A great deal of the music industry needs extirpation: too many fly-by-nights and short-lived idols exist still- and take up a lot of real estate. Bands and acts that are willing to put in the hard graft: stick around for as long as possible and offer something new- they are the ones that we should be focusing on (and are the antithesis of the modern Pop scene). The Bedroom Hour offer no grandiloquence: their sounds are pure and unfettered; honest and direct- songs written for the people. Once Hinterland drops, the public will get to witness the realisation of the band's ambitions and hard work. Few new acts offer staying-power and much fascination (and any sense of noblesse oblige): ensure that you investigate the Uxbridge quintet. As the rest of this year ticks along the boys are going to be very busy indeed. I am sure that their hard work and ambition will pay off: festivals and high-profile London locales should attune their eyes Bedroom-wise. After a long and hard-working year...

I hope they make it there.

[youtube https://www.youtube.com/watch?v=n-ojOVUxiBg?rel=0&w=560&h=315] ____________________________________________________________________________________

Follow The Bedroom Hour:

　Official:

http://www.thebedroomhour.com/

Facebook:

https://www.facebook.com/thebedroomhour

Twitter:

https://twitter.com/thebedroomhour

SoundCloud:

https://soundcloud.com/thebedroomhour

YouTube:

https://www.youtube.com/user/thebedroomhour?feature=watch

ReverbNation:

http://www.reverbnation.com/thebedroomhour

Last F.M.:

http://www.last.fm/music/the+bedroom+hour

Instagram:

http://instagram.com/thebedroomhour#

iTunes:

https://itunes.apple.com/gb/artist/the-bedroom-hour/id639762435

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The Bedroom Hour's music can be accessed at:

http://www.thebedroomhour.com/#!music/cdeb

　

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Tour dates available via:

http://www.thebedroomhour.com/　

June:

12th: Cafe Drummond, Edingburgh

13th: Bannermans, Edinburgh

July:

5th: The Prince Albert, Brighton

12th: Night and Day Cafe, Manchester

19th: Southlands Live, West Drayton

26th: Derrstock Festival, Newton, Nottinghamshire

August:

2nd: Blackfest, The Blacksmith Arms, Harworth

30th: Wigan Live Festival, Wigan

September:

6th: The Hop, Wakefield

Track Review: El Born- Kangaroo

TRACK REVIEW:

El Born

　

Kangaroo

9.4/10.0

Kangaroo is available via:

http://elborn.org/track/553746/kangaroo-album-version?feature_id=116713&trackship_id=680321

The E.P., Kangaroo can be purchased at:

https://itunes.apple.com/gb/album/kangaroo-ep/id799529003

TRACK LISTING:

Kangaroo (Radio Edit)- 9.4/10.0

Catch the Sun- 9.3

1982- 9.3

Kangaroo- 9.4

STANDOUT TRACK: Kangaroo

RELEASED: 09 February 2014

℗ 2014 Strata/Kangaroo Zoo

GENRES: Alternative, Alt-Rock, Pop.

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This London-based duo have influences of John Mayer and Ryan Adams- as well as Jack White.  Huge and emotive vocals mix with songs of fragmented love: tales of life-gone-bad mix with dislocated emotions.  Few acts are brave enough to tread these party lines (fewer still actually do so effectively): El Born do so with passion, conviction and daring confidence.

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I am always keen to seek out acts that are that little bit different.

'Different' does not have to equate to divisiveness: the artists that stick in the mind are those whom take risks- and stand apart from the crowd. As well as extolling the rise of London-based music, I have keenly discovered (and heralded) some great duos: ranging in sound and presentation- each providing something unique and special. There are a lot of featherweight and disposable acts- vague and generic sounds are too often heard it seems. With the arrival of every new band (as well as the inevitable media hysteria), I always advise caution: too much praise and focus is given to those undeserving of it. As great as Indie music is, it is always nice to be afforded a break away from it: witness music that exchanges rush and bounce for something deeper- and strikes a deep-down chord. London has been providing some fantastic new music: everything from all-female Punk through to male-female Folk duos; Desert/Hard Rock semblance and Hip Hop poetry- the capital is leading a multicultural and cosmopolitan charge. Having investigated (over the last couple of weeks) a few of London's finest, I was keen to get down to studying a particularly impressive duo- Si Connelly and Hils Granger:

"El Born is about new beginnings," says the bands frontman and songwriter Si Connelly. With Coldplay already name checking the lead track "1982" off the band’s album - produced by Brit winning producer Chris Potter and Grammy winning Dom Morley – Si Connelly & keyboardist Hils believe they have created something truly original. The London-based band recently completed their debut album. It contains 11 emotionally charged songs, each showcasing stunning vocals. Chris Potter (producer of Verve’s Urban Hymns) and Dom Morley (Amy Winehouse’s Back to Black) were so keen to produce the album – they did it for no upfront fee. The band are named after the bohemian El Born district of Barcelona. A beautiful piece of abstract artwork (the aptly titled "Long Time Coming", by Michel Keck) reminded Si of the area and inspired him to name his band after it. Further inspired he contacted Michel Keck directly and, once she'd heard the music, told him El Born could use her paintings as their artwork. Musically speaking, the band sit somewhere in the field of alternative rock, with a widescreen, un-pasteurized sort of a sound. Pop songs with testosterone and an adrenalin rush. Kind of John Mayer meets Jack White meets Ryan Adams with a box of grenades. But the dynamic twists, classically infused keyboard fills and rolling bass are always there to stop the songs festering for too long on the purely dark side. Lyrically, there's a heavy nod towards songwriter Si's relationship with his past. People, places, love, hate, abandonment, burning your house down: the usual stuff. A past, which, it seems he variously, wants to escape, return to, forget and repeat. A past seen through a kaleidoscope, which won’t stop turning and is now being squeezed through the prism of the present. It’s these conflicts and collisions that create the glorious tensions in the lyrics and the wild-eyed edginess in the delivery... Now, with everything in place El Born are finally looking forward to coming into the world."

When it comes to distilling their essence- trying to categorise their sound- and labelling El Born: they are best summed up as Alternative Rock. If you enjoy the crazy-hot guitar weaves of Jack White; the intelligent and entrancing music of Ryan Adams: plenty of wonder and relatable joy will be discovered. There is no flimflammery or sleight of hand: genuine music and passion are what you get with El Born. Swathes of Blues Rock and Indie can be heard; U.S. and U.K. influences sit alongside one another: meaning the music will find appreciative ears in America- as well as throughout Britain. Despite the Rock emphasis, there are plenty of aspects (to El Born's music) that can be appreciated (if you are not a fan of this genre). The lyrics- penned by frontman Si Connelly- look at his past: the heartache, hardships and tribulations; the optimism and the ambitious of the present- as well as all the potential the future holds. There is a charming and alluring mix of introspection and swimming-against-the-tide heroics; tales of abandonment and disillusionment: underdog fight mixes with grown-up rebellion. For music-lovers that appreciate a fine lyric: songbooks that are skillfully-penned and compelling- then this stunning two-piece are the duo for you. Every subject- whether looking at love or regret- is laced in energy, fervent delivery and unabashed wild-eyed passion: the music compels you to be involved and come along for the ride- which may account for the duo's huge (and growing) fan base. With acclaim and support from the likes of Coldplay, El Born are getting serious recognition: their music has no boundaries or club rules- it is urgent and multifarious tantalization for the masses. Their E.P. Kangaroo is gaining some impressive adulation- so I felt it best to sit down to investigate its title cut.

A driving and intriguing intro. means that Kangaroo gets off to the races instantly: its swirling Indie Rock guitars blend with solid and passionate percussion. An energetic mood is whipped up as Connelly steps to the mic. Early lines mix ambiguity and evocativeness: personal doubts and questions mingle with romantic haunt. When singing: "I don't know where I slept last night/I don't know why/I felt your shadow at my side/I don't know why" you can hear the conviction and soulfulness in the vocal: there is a bit of Keane in the overall sound. El Born's songs often look at unfortunate proclivities and darker themes: it seems that our frontman is down on his luck. Connelly also possesses a little of Jeff Buckley and Thom Yorke: that same impressive tenor and urgency comes through. The track looks at the realities of love and relationships; people do not change and the heart often rules the head: Connelly is determined to give the relationship a go, but is finding it hard-going. Byzantine and oblique ("I spin like circles in the sky, like tangerines") marry alongside cute and imploring ("And if I should fall my Kangaroo"): Connelly clearly has a flair for words and delineation- making the song that bit more gripping and fascinating. Granger arrives to provide some uplifting and augmentative vocals: wordless coos and firm-hearted support add passion and emotion to the words- and lift the song higher and higher. I have mentioned the likes of Keane, yet the track has U.S. roots: artists such as John Mayer come to mind, as well as Californian Sunshine Pop. When Connelly and Granger combine in the chorus: 'Ohs' and 'ahs' swoop and swing- the track hits a peak and the most evocative and memorable moment is elicited. The composition has an Indie/Pop feel to it, but it is not too imposing: the percussion and guitar add energy and support, yet never encroach upon the vocals. As the final verse arrives, Connelly is angered: disappointed by circumstance, it appears that his heart is to remain broken: "It's true nothing ever changes/See it's all just the same girl/It's true nothing ever changes/See it's all just the same girl." The lines are repeated and reinforced: Granger joins in to add support and emotional weight- the lines become a mantra of sorts; spun and punctuated upon each cycle. In spite of the anxiety and disappointment (in the lyrics), the vocal and composition keep the song upbeat and catchy: you cannot help but to sing along and join in- there is an addicitiveness and compelling aspect to the lyrics. Connelly's voice becomes stronger and more determined as the song progresses: reaching a gravelled and overwhelmed belt by the final stages. The final minute-and-a-half mixes composition with vocal: the former ducks and dives; the latter is haunting and striking. Connelly steps away from the mic. to allow Granger a spotlight: her voice rises and glides with spectral acclaim. Just as we think our frontman has retreated to the shadows (to dwell and reflect) he is back in focus: determined to have the final say. Speaking of dislocation and losing those close to him ("I separated all my friends from high to low/And in-between the two of us I let them go"), Connelly seems to have sacrificed a fair bit: you wonder whether the romance and longing was worth it at all. Any questions or doubts are answered in the final seconds, as the addictive coda ("It's true nothing ever changes...") comes back to the fore: blood-curdling of voice, our frontman is inflamed and overwrought: incensed by the outcome of events. The track has aspects and elements of modern-day Indie bands; a sprinkling of a U.S. Pop and Rock can be detected as well: the abiding sound is very much that of El Born, mind. I am pretty good when it comes to pairing sounds and bands (attesting which bands sound like whom)- a stark uniqueness and individuality comes through in Kangaroo. Connelly proves himself to be an agile, effective and skillfully pen-wielder: able to blend emotions beautifully. The words are economical and stunning: strange and wonderful imagery sits alongside bare-boned emotion and outpuring- meaning the song will resonate with a wide sect. His vocals are empowered and emphatic throughout: ranging from soulful roar all the way to measured calm- Connelly will be certainty be a torch-bearing singer to watch in the future. Granger's vocals range from calming and entranced to atmospheric and stunning- the duo combine perfectly. Granger is another vocalist to keep a close eye on; the duo are at their strongest when their vocals combine- something just clicks. The composition is persistent and urgent throughout: never too hard-hitting or spoiling-for-a-fight, it perfectly supports the foreground- and adds vibrancy in spades. Kangaroo is a track that will speak to the teen demographic and well as older audiences: the words and meanings are directed to everyone. With touches of vintage U.S. Rock and Blues, it will appeal to American audiences strongly- meaning the duo could have an exciting future there. With exceptionally clear and concise production and mixing, Kangaroo is a song that will be enjoyed and appreciated over and over- a perfect introduction to the two-piece.

The rest of this year is going to be a jam-packed and exciting one for El Born. Kangaroo (the E.P.) is rife with gems and brilliant moments. 1982 is a gentle and beautiful number: a hugely emotive and impassioned vocal performance from Connelly looks at a relationship and its vicissitudes. With heart and soul in his voice, a direct and striking message comes through: "Did somebody hurt you?/Did somebody let you down?" Other men have hurt (Connelly's sweetheart), but he is not the same: a waiting saviour, in essence. With self-recrimination and self-flagellation mixing with hope and redemption: it is a power and potent number- and a great spin on the love-against-the-odds angle. Connelly's gravelled and emphatically soulful vocal is stirring; Granger's gorgeous backing adds purity and (much-needed) feminine beauty into the track. Plaintive and yearning strings give a John Mayer-cum-Jeff Buckley feel: you can hear Americana Blues and Rock come through strongly. Catch the Sun has wooziness and gentle haze: Connelly's vocal projection is more introverted and self-examining. Our frontman once more is caught in a spider's web: a sub-continent of loneliness is his destination, and he is keen to emigrate as soon as possible. Immersed in a relationship that is showing its cracks, Connelly is a worried man- he is losing his girl. The Coldplay-championed stunner (1982) was more bombastic: here there is plenty of force- yet elliptical embers and delicate falsetto do their bidding. As Connelly proclaims: "So I don't connect with my soap-opera side when I falling in line/This daily routine wears me when I go out, it's a desperate decline"- you can hear the pain in his voice. Granger- once more- adds some emphasis and sturdy support: this time her voice is much more electrified and pulsating. The E.P. is a confident triumph, from a duo that seem ready-made for one another: there is a kinship and intuitive understanding between the two which comes through in the music. The lyrics and music are fascinating and detailed: every listener can relate to what is being said, and how it is projected. Connelly's vocals are powerfully imploring and tenderly delicate: able to shift from a crystalline falsetto to a belting tenor- few other vocalists have such a range and quality. Granger's tones are gorgeous and powerful, too: adding necessary colour, support and etherealness- they beautifully parabond with Connelly's. Guitar, keys and percussive notes are swelling, direct and varied: Blues and Rock tones fuse seamlessly with Pop and Indie shades. Away from the E.P. (and the positivity it is receiving), El Born are set to release their debut L.P. In anticipation of the album's release, they are releasing a new single: You Made Me (it will be unveiled on July 7th). The future is going to be an exciting and adventurous one for the duo- make sure you check them out. Their fan numbers are rising, and it seems like their ambitions grow with every passing month: you can hear this come through in their music. June and July see the London-based twosome embark on a string of tour dates: taking in venues across the U.K., Granger and Connelly will be very busy indeed. On the evidence of Kangaroo (and the E.P., as well as the latest single), it will be fascinating to see what happens next: what the album will sound like, and what is in the minds of our enduring and glistening duo. Modern music sees too many negatives: narrow and bland ambition; samey and generic groups; few wonderful moments. It is comforting to hear El Born- an act that will succumb to none of these aspects, and prosper hard for many years. The music industry needs to engage in supplication: embrace and behold acts that have something genuine to say, and do it with soul- and ensure that its authors have a necessary platform and assured longevity. El Born may have had an inauspicious start to their careers- Connelly struggling to make ends meet, etc.- yet the music they provide is instilled with a sense of effortlessness: as though this is what they should be doing in life- that naturalness and sense of contentment shines through. With fresh music afoot, I would advise you investigate the Kangaroo E.P.- its title track and all it has to offer- and drink it in. One thing is certain: as 2014 ticks by; as the days roll on...

WE will be hearing a great deal from this duo.

[youtube https://www.youtube.com/watch?v=3JpJQpTSYTI?rel=0&w=560&h=315]

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Follow El Born:

　

　Official:

http://www.elborn.org/home

Facebook:

https://www.facebook.com/elbornband

Twitter:

https://twitter.com/elbornband

SoundCloud:

https://soundcloud.com/elbornband

YouTube:

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

ReverbNation:

http://www.reverbnation.com/elborn

Last F.M.:

http://www.last.fm/music/El+Born

Instagram:

http://instagram.com/elbornband#

iTunes:

https://itunes.apple.com/gb/artist/el-born/id644624270

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El Born's music can be accessed at:

http://www.elborn.org/music--2

　

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Tour dates available via:

http://www.elborn.org/tours

　

　June:

Hairy Dog, Derby

Thursday, June 5 @ 8:00 PM

The Hairy Dog, Derby DE1 1QT, Derby

Debut Derby show

http://www.hairydogderby.co.uk

Age limit: 18+

Kasbah, Coventry

Friday, June 6 @ 9:00 PM

KASBAH / BAR CLUB VENUE Primrose Hill Street Coventry CV1 5LY, Coventry, Coventry, GB

Returning to one of our favourite U.K. venues.

http://www.kasbahnightclub.com

Age limit: 18+

Exchange, Bristol

Saturday, June 7 @ 8:00 PM

72 – 73 Old Market Bristol BS2 0EJ, Bristol, Manchester, GB

El Born debut  for the first time at this amazing venue and city. Supporting Misty's Big Adventure

http://www.exchangebristol.com

Age limit: 18+

Barfly, London

Thursday, June 19 @ 8:00 PM

49 Chalk Farm Road, NW1 8AN London, London

El Born return to co-headline this legendary London venue. Last time El Born sold this venue out, so book now to avoid disappointment. Co-headline show with Adam Isaacs

£5 T: 0844 847 2424

Age limit: 18+

Boileroom, Guildford

Thursday, June 26 @ 8:00 PM

The Boileroom, 13 Stokefields, Guildford, Surrey, GU1 4LS , Guildford

El Born return to this wonderful touring venue.

01483 440 022

Age limit: 18+

July:

Haslemere Fringe Festival, Haslemere

Friday, July 4 @ 3:00 PM

Haslemere Fringe Festival, Haslemere, Surrey, GB

We can't wait to play this amazing festival.

www.lionfest.co.uk

Age limit: All ages

Chaplins, Bournemouth

Saturday, July 5 @ 8:00 PM

529 Christchurch Rd, Boscombe, Bournemouth, Dorset BH1 4AG, Bournemouth

El Born return to this wonderful venue for an intimate acoustic performance. Perfect setting, so grab tickets now.

http://www.chaplins-bar.co.uk

Age limit: 18+

Single Released

Monday, July 7 @ 7:00 PM

Everywhere

Single release date.

Exclusive Secret Event

Monday, July 7 @ 8:00 PM

Secret Location

Exclusive secret event. Details will be disclosed at the time.

Cellars at Eastney, Portsmouth

Saturday, July 12 @ 8:00 PM

56 Cromwell Road, PO4 9PN, Portsmouth, Portsmouth, GB

http://www.thecellars.co.uk/contact

Age limit: All ages

Musician, Leicester

Thursday, July 24 @ 8:00 PM

42 Crafton St W, Leicester LE1 2DE, Leicester

Returning to Leicester.

http://www.themusicianpub.co.uk

Age limit: All ages

Library, Leeds

Friday, July 25 @ 8:00 PM

229 Woodhouse Lane, Leeds, LS2 3AP, Leeds, Leeds, GB

Returning to Leeds to support City of Lights

http://www.leedsmusicscene.net/gig/57176/

Age limit: 18+

New Adelphi, Hull

Saturday, July 26 @ 8:00 PM

89 De Grey Street, HULL, HU5 2RU , Hull

El Born return to Hull and this legendary music venue to support City of Lights

http://www.theadelphi.com/index.html

Age limit: 18+

Tramlines Festival, Sheffield

Sunday, July 27 @ 3:00 PM

http://www.tramlines.org.uk, Sheffield, Sheffield, GB

El Born are so stoked to be taking part in this year's Tramlines Festival.

http://www.tramlines.org.uk

Age limit: All ages

Album Review: Kate Tempest- Everybody Down

ALBUM REVIEW:

Kate Tempest

　

Everybody Down

9.7/10.0

Everybody Down is available via:

https://itunes.apple.com/gb/album/everybody-down-bonus-track/id824948670?ign-mpt=uo%3D4

　

TRACK LISTING:

Marshall Law- 9.8/10.0

The Truth- 9.7

Lonely Daze- 9.7

Chicken- 9.6

The Beigeness- 9.7

Theme from Becky- 9.6

Stink- 9.6

The Heist- 9.7

To the Victor the Spoils- 9.6

Circles- 9.6

A Hammer- 9.7

Happy End- 9.8

STANDOUT TRACK: Happy End

RELEASED: 16 May 2014

℗ 2014 Big Dada

GENRES: Hip Hop/Rap Music, Spoken Word, Rap, Rock.

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There is tempestuounsess and bleak modern-day tableaux throughout Everybody Down. With a compelling and mesmerizing sense of story, Kate Tempest draws you in (and down to genuflection): providing the listener a beguiling and hypnotic listen. As reclamation unabashedly flirts with danger, our heroine leaves an inextirpable mark- and gets under your skin.

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ONCE in a while a musician arrives that leaves you somewhat senseless and speechless...

Since the discontinuation and entropy of The Streets, few current acts have come through that have projected a similarly imperious and potent blend: a relevant and poetically laced set of songs that speak to the young generation- and inspire them to put down their shields, and pick up their pens. In the current climate, there are a few notable lyricists: those whom are able to take the breath away with their skill and intelligence- wordsmiths like Alex Turner and Laura Marling come to mind. Those disparate examples provide ample wit, wisdom and love-gone-down-the-crapper insight: plenty for the young and restless to relate to- it is a solemn and sparse hegemony that provides inspiration, for sure. Artists such as Kate Tempest come along so rarely, that it is difficult to not become twitterpated and excited. When Mike Skinner first launched The Streets, tongues excitedly wagged: sensing something fresh, urgent and wonderful, many young listeners turned their attentions to his spellbinding motifs; the psychotropic and cinematic novellas that were poured forth- a new street-dwelling hero was born. Kate Tempest is no mere 'female equivalent' (we have all had to suffer through twee and irritating examples such as Lady Sovereign). My featured artist is a phenomenal talent that has won paen and patronage from the media and music-loving public- all spellbound by her phenomenal stream-of-consciousness genius and vivid mandates:

"Kate Tempest grew up in South-East London, where she still lives. She started out as a rapper, toured the spoken word circuit for a number of years, and now works as a poet and playwright too. Her work includes 'Balance', her first album with her band Sound of Rum, 'Everything Speaks in its Own Way', her first collection of poems, published on her own imprint Zingaro, which comes with a CD and DVD of live performance; 'GlassHouse', a forum theatre play for Cardboard Citizens; and the plays 'WASTED' (Published by Methuen Drama) and 'Hopelessly Devoted' for new writing theatre company Paines Plough. Her epic poem Brand New Ancients won both the Ted Hughes Prize for innovation in poetry and a Herald Angel Award. It is published by Picador and is touring nationwide until April 2014. After a sell out show at St Anne's Warehouse, Brooklyn, Brand New Ancients received a rave review in the New York Times and came to international attention. She continues to work with music, and featured on the track Our Town, a collaboration with producer duo letthemusicplay (Greco-Roman.) She also featured on the track Hot Night Cold Spaceship (Speedy Wunderground) and has collaborated with Sinead O’Connor, Damien Dempsey and Bastille. Her debut solo album comes out on Big Dada in 2014, which she made with acclaimed music producer Dan Carey. She has performed at Glastonbury and all major UK festivals, as well as performing internationally. She sold out the Old Vic Theatre in London for the launch of Everything Speaks… and has appeared on BBC TV and radio many times performing her poems. She has been commissioned to write for The Royal Shakespeare Company, Amnesty International, Barnado’s and Channel 4 Television. Her second poetry collection will be publisher by Picador in Autumn 2014 and her debut novel The Bricks that Built the Houses will be published by Bloomsbury in 2015."

Kate Tempest herself is influenced by the likes of Bob Dylan, Bjork and Dali- how many other acts list these three artists alongside one another? To be fair, if you are a fan of The Streets and their ilk:  you will find a lot to appreciate and love. Tempest's music will draw in and seduce those that adore words and their potentiality: followers of Bob Dylan, Neil Young and Joni Mitchell will uncover pleasing familiarities. Although a large proportion of Everybody Down's tracks are Rap/Hip Hop-based, that is not to say that it the music is exclusionary: fans of Rock and Folk will feel comfort and logic within the music. The startling and evocative poetry speaks to- and can be extrapolated by- all; the stark and corsucating imagery are filmic and cinematic: bleak and depressive moments do not divide or alienate- there is redemptiveness and sympathy to be found. If you are tired of the risk-free and unambitious movements of many current acts, then investigate Kate Tempest: a pertinent remedy to musical malaise- and a talent that deserves an accomplished and augmentative fan base.

Everybody Down's earliest projectiles hit hard and fast: Kate Tempest makes sure her voice is announced with scant fanfare. Little time is wasted as Marshall Law introduces the album's protagonists: Becky is first up. Setting the scene, we are introduced to an imperialistic and dank dive: one where disreputable loudmouths and cretinous extras raise their voices "to prove they exist." In an inhospitable bar (I imagine somewhere around Chelsea or Fulham) everyone has a double-barreled surname; "decadant fabrics" and cacophonous white noise set the scene: where flavour-of-the-month bands rub shoulders with industry hob-nobbers- the ensconced hoi polloi are a veritable who's who of the who-gives-a-crap. The exhaustion and extinction of dignity are scored by a tribal beat: one that is relentless and animalistic- backing Kate Tempest perfectly. Visions and conversations are breathlessly projected: pretentious fops and posing, postulating pop stars lift drinks with Marshall Law- an aureolin-clad artist being given a strict dressing-down. Becky meets Harry, as the two find a necessary escape and relief: the intrigue is in its embryonic stages. With visions of a better life: class bars that serve real music; sans chichi bands giving "blow jobs to mic. stands." Becky's visions of dignified adulthood are positively Shakespearian: you can feel the modern-day Romeo and Juliet parable run through the opening number. Switching voices between first and second-person is an effective modulation: the breathless syncopation keeps the energy level at an uncomfortable high- making the narrative more urgent and realistic. As class boundaries, lascivious businessmen and financial wastefulness are anglicised and ostracised: we reach the end of a pendulous impasse- and furiously paced- opening chapter. A Dub-Step-style beat heralds in The Truth. Kate Tempest looks at things we take for granted: love and relationships are examined; lovers are found, canonised and casually tossed aside- "determined to waste what you've found." Philosophy and predeterminism are examined: the nature of truth and the reality of life is put under the microscope- and our author encourages us to examine our own lives and put things into perspective. Cardinal numbers are skillfully deployed as metaphors for characters: allowing Tempest to cross-pollinate and overlap; employ homonyms to dazzling effect- and keep the album's momentum high. Hesitatators and neigh-sayers are concisely denounced within The Truth- Lonely Daze does not allow us a moment for reflection and temporization. A woozy and tribalistic composition sees Tempest continuing a pugnacious rite-of-passage: the vocal is less angered; there is warmth and understanding to be found. Becky is sleep-deprived and somnambulistic: agog in an aloof city she "don't wanna see her heart get ruined." Redemptiveness and moratorium is offered, as Tempest roots for the heroine: a new lease of life starts to take effect. Shy glances are exchanged (between Becky and the hero); loose change is fumbled and disinterest masquerades as nervousness: in a small cafe it seems that Becky's rut may soon be over. Lust-filled eyes are not secularised: it seems that Becky felt a spark, too- the hero remorseful at the fact he did not take a leap. A nocturnal incarnation provides a second bite of the cherry: synthetic laughter is muted by tremulous desire- in the end coyness and coquettishness leave a question mark in the air. After a charming vocal performance, hypnotic composition and a fascinating will-they-wont-they conjecture: Chicken adds further progression to the story arc. Foreshadowing potential heartache, a mordent sonic echo underpins the tale: one where Harry examines his lot. Sifting through the emotional rubble of his childhood home, Harry casts his mind back. Picturing his dad and his "silent ways" (no-thrills and all), regret and recrimination are under the spotlight. Harry regrets his emotional whorishness: having been too open with Becky, his mind is a turbulent vortex- insidious flashbacks race through his mind. His mum and new suitor (the present day tableaux) juxtapose with the images of the night just gone: Harry's body is dormant, yet his mind tries to make sense of his family predicament- as well as search for answers in relation to his romantic conundrum. Tempest beautifully shifts between the two realms: with economic regard she manages to tell so much story over the course of three minutes. After a dizzying quarter of tracks, (the magnificently named) The Beigeness arrives. A funky and groovy intro. provides recourse and (brief) suppression: which gives way to a gleefully catchy vocal performance. Looking at a fake and desperate emotional underclass, Tempest is more buoyant and pragmatic: there is an emphasis on moving forwards in life. Looking at an inner spirit which "comes out on the coldest days", there are double-edged swords and disingenuous emotions on display- as much repression as expression. The antithesis of a humdrum middle-aged loser, Tempest is rebelling against beige conformity: if you have dreams and ideals for a better life, then do not keep it all in- otherwise plain-sailing will swallow you. Theme from Becky puts the album's heroine in full focus. Evolved from a bitter and optionless past life, Becky is now awash in a more tranquil life: a masseur by trade, her calling has been located adoring of the silence and clientele conversation- it seems that things are on the up. Boardrooms and hollow suits are once more thematically reignited: as synonyms for emptiness and an aimless life, Becky cannot believe the life they lead- tactile to touch and running on fumes, they are the antithesis of the dream she dreams. Keen to act as a portal to a louche and sensual life, Becky is no moral compass: she has rent to pay and provides an open mind to businessmen who are slaves to a robotic existence. An inspirational call-to-arms-cum-f***-you mantra, the track imparts wisdom and escape- why spent life in a faceless office when you could be living a better life ("Each person's rhythm is unique"). By the final moments, disquisition, displacement and louche disquiet creep in: her boardroom-dwelling sweetheart is causing her to reassess her ambitions and question herself. With spiritual revocation and loveless kisses, the heroine is slipping down a rabbit hole- enmeshed in a life she has always loathed. Given the anxieties and cliffhangers that Theme from Becky left: Stink ties up loose ends with expiditiousness. A post-coital afterglow begins the track; breathless and sweat-bedewed, the song's participants are helicaly entwined. Just as we think contenment will reign, the flip-side is examined: the fighting and tit-for-tat begins. With the venom being spat all over the walls, Becky and her sweetheart are walking on eggshells. After the emotional ballistics have been fired, the two parties appear segregated: Becky goes to work to escape; Pete stares at the world outside- trying to keep it all in. Becky has to support herself and work herself into the ground (to make it through her studies): Pete is jobless and judgemental: enveloped in a web of jealousy and mistrust, openness and conversation devolves into quarrels- pulling the lovers further apart. Away from the love-on-the-rocks tribulations, The Heist sees Harry back in the frame. In a shady and bustling club, recidivism and low hanging fruit intersect- Harry is taken to the back room, as something epic is being planned. The introduction of a shark tank acts as a perfect prop: the cloak-and-dagger machinations take place, as a baby shark circles the tank- all manner of images and possibilities come to mind. The beat and mood become heavier and more frantic: the song's gradation sees cocaine pushers bartering and prophesying false ideals- violent threats are traded and exchanged. Harry is angst-ridden and nervous, as coke is snorted: Harry stashes the goods in his coat pocket and reluctantly gets sucked into a dark criminality. To the Victor the Spoils looks at an ersatz father-daughter bond: Becky finishes her shift at a local restaurant as her uncle Ron looks on. As Ron pours his woes and troubles out, the duo are distracted. Tempest lets it be known that "Nothing don't heal 'til it hurts"; those who don't toil or break their backs with honest labour will never be rewarded- Becky is the antithesis to the work-shy generation. A character called 'Uncle Ragz' enters the fray: a dead-eyed hard man, he is angry after being swindled- having been duped and dishonoured during a drug deal, vengeance is on his mind. Harry is mentioned (he is being hunted down as the culprit): tying the story threads together, your mind is trained towards Harry's fate- as well as Becky's plight. Ron dreams of disenfranchisement and potential wealth: picturing himself as a heavy, he sees a way out of the 9-5 rut- and it seems that Harry's life is in distinct danger. A swirling and knife-edge electronic beat introduces the listener to Circles. Tempest's circles are not concentric or coaxial: they are ragged and zigzagging "Like a dog on a lead going mental." A heart full of love changes to cold hands: love- it is decided- rots the soul and is a worthless currency. Everything is cyclical and ever-moving: problems that were buried come home to roost; positivity turns to scornful negativity- the reverse is also true. The song deals with how events in life repeat themselves: our heroine is caught in a spiral of ever-changing fortunes and outcomes- on balance, the scales are tipping in her favour and leading to avarice rather than poverty. A Hammer begins life as a ghostly and foreboding missive. With a figure who has the complexion of "chewed-up bar snacks"; eyes, an evocation of potholes: a grizzly and macabre shadow lingers over the song. Tempest splits subjects into two groups: (the tooth-and-)nails and hammers(of the gods)- if you are a hammer all you see is nails; nails are there to be hammered. Pete is back in the consciousness; unwilling to decamp and demure, he is pissed off and aghast- resentful of Becky's job, he knows the life of their relationship is in its terminal stage. Jealous hangs around Pete's neck: the proverbial albatross, it is a carcass whose decomposing scent is intoxicating his sense of judgement. He knows that (Becky) works "to pay the bills and exist"- the resentment and pettiness he has displayed have smacked him in the face. Pete is hammer: swinging blithely (at Becky the nail) his nonchalant disregard and small-minded anger has turned back on him- as the final moments eek away, perhaps some much-needed clarity and maturity is afoot? The swan song arrives in the form of a 433-second epic: Happy End. Many (without hearing the song) may see this as an ironic red herring: our author putting the final nail into the coffin. Set against Harry's birthday, the album's participants meet and mingle: Harry and Ron are introduced and all the threads and storylines are dovetailed at this venue- a final showdown as it were. Events are going okay at first: the mood is ebullient (when compared with previous numbers) and looks to offer positivity: things soon go sour. Pete is offered a punch in the face: flashback to the Hotel Hacienda, Becky's beau has a colourful and eventful past. The dossier open, our capricious characters go about their business: Ron washes his hands (in the toilet); Harry is jonesing for a gramme of gutter glitter- having virtually inhaled the last batch, he is pumped and wired. In this London House of the Blues, the neon lights shine; the rain pours down: inside its moodily lit recesses, our players combust and fight- and tempers flare. Rambuctiousness and simmering tension turns to bloodshed: as a melee erupts. The upshot of it all is: Becky, Leon and Harry head out- and it appears that Becky and Harry get the happy ending they crave. The final beats drop and smoulder, and you are left to....breathe.

Dislocated lovers, double agents, prima donnas, patrician facade and drug lords feature high on the playbill. Poseusrs and knob-joint 'avant-garde' bands break bread with rich-by-circumstance business suits; tokenism and effrontery are as emblematic as razor blade flirtation- there is a cornucopia and a Smörgåsbord of personalities throughout Everybody Down. Kate Tempest presents a myriad of styles of genres across the L.P. U.S. Blues guitars and U.K. Dub-Step grime mingle alongside staccato electronics and rapid-fire Rap. Each new location brings with it an apropos wardrobe. The opening salvo's East London nightclub possesses extubated  and gasping synthesisers and high heels beats: Marshall Law's authenticity and evocativeness perfectly kick-start the album. Events play out like a Shakespearian tragedy: the words are compellingly (borderline-genius), yet it can be hard to find too many chinks of light. It is worth digesting the album is several sittings: investigate 3-4 tracks at a time; relax; come back and continue- and once you are inoculated and comfortable with the album, treat it to repeated adoration. Tempest's scintillating firepower and conviction means every song comes across as urgent, essential and engrossing- I was a mass of goosebumps and ill-formed goo by the close of Happy End. Each storyline and tableu vivant represents different aspects of the 'lost generation': this modern-day life, where pecuniary woe and economic inequality are rife- the hard-working get poorer and the least-deserving get fatter. There is no finger-wagging at the government: Tempest detaches herself from politicizing and protest- preferring to grip you with her flair for story and context. Each player comes across as real and relatable: you hope that Becky makes it out of her miasma and entrapment- the final lyrics put a wry smile on your lips. Like an epic Indie movie, there is a lot of grit and depression to sit through: Everybody Down has enough redemptiveness, witticism and cheeky banter to ensure that palliative care is provided. The churlish and boorish get their comeuppance; the hard-fighting and struggling find absolution and rectification: the album not only perfectly represents 2014 Britain, but also provides a phenomenal storybook- one that implores you to investigate again and again. Overall, I was gripped by the noir tones and fascinating insights: Tempest not only shows herself to be one of the most all-encompassing and itinerant lyricists of our time, but proves herself as an incredible composer- a cross-splicing and mutating chameleon that effortless moves from one end of the emotional spectrum to the other. If you have not heard Everybody Down: ensure that you do so as soon as possible.

With a debut novel on the horizon as well as (I'm sure) more music: the future is going to be bright and busy for Kate Tempest- further cementing her reputation as one of the U.K.'s most reputable and worthy talents. Music is a meritocratic system: talent and worthiness gain you reward; the most striking are always likely to succeed- Tempest is amongst the very best out there. When reviewing Gypsyfingers' (a London-based duo consisting paramours Luke Oldfield and Victoria Coghlan) debut album Circus Life, I was struck by Coghlan's staccato, tumbling vocalisations- she is able to rap with syncopation and furious speed. The lyrics (on the appropriate tracks) were filled with city life observations; broken love and life: anxious pleas and proclamations were offered up- and left me hugely impressed. I see Coghlan as a tandem artist: someone capable of matching Tempest's range and potency- it will be interesting to see if future Gypsyfingers releases incorporate more Rap and Hip Hop elements. A multitude of reviews have expounded the virtues of Everybody Down: the album has been gaining enormous kudos- pundits eager to distill the majesty and wonder of South East London's finest. Kate Tempest is one of the most relevant and finest songwriters anywhere in the world; possessed of an intellect and mobility few of her peers posses, the rest of this year is sure to see our heroine's stock rise: it seems that with every move she makes her confidence and ambition grows. Being a recent convert and fan, I am making up for lost time: investigating the back catalogue and annals of Tempest's past- trying to get inside the mind of the startling songwriter. I am not sure what the next couple of years will hold for Kate Tempest; it is clear that her music (amongst the clandestine) will not remain entre nous: cloistered ears and minds are starting to turn themselves onto her stunning songcraft. Having fully examined (and replayed) Everybody Down, I am determined to see Kate Tempest in the live arena- it will be exhilarating to see her music come to life in the flesh. Whilst some have ambivalently stated that (the album's) overall themes and storylines are too bleak to gain mass appeal, I take issue: some of the greatest songwriters to have walked the planet present much duskier themes- and are rightfully regarded as legends. If you drill down to the bedrock and examine the songs (the meanings, nuances and innermost visions), then you will find necessary enlightenment and persuasion. Since the '90s, there have been few acts and genres of music that have dared to be bold and enterprising: Kate Tempest is an artist capable of kick-starting a resurgence and uprising. Music needs more artists like her: those able to compel as well as inspire. I shall conclude with a quote from Shakespeare (taken from Hamlet): "...we know what we are, but know not what we may be." Kate Tempest is a musician wholly confident in her own skin; yet one who has a lot of talking left to do. Everybody Down is the (brilliant and bold) thesis of the here and now- it will be fascinating to witness...

WHERE she is headed.

[soundcloud url="https://api.soundcloud.com/playlists/35025941" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Kate Tempest:

　

Official:

http://katetempest.co.uk/

Facebook:

https://www.facebook.com/katetempest

Twitter:

https://twitter.com/katetempest

SoundCloud:

https://soundcloud.com/katetempest

ReverbNation:

http://www.reverbnation.com/show/10109669

Last F.M.:

http://www.last.fm/music/Kate+Tempest

iTunes:

https://itunes.apple.com/gb/artist/kate-tempest/id327874333

____________________________________________________________________________________

Kate Tempest's videos can be viewed at:

http://katetempest.co.uk/video

　

____________________________________________________________________________________

Tour dates available via:

http://katetempest.co.uk/shows

　

Track Review: Formby- The Sea of Tranquility

TRACK REVIEW:

Formby

　

The Sea of Tranquility

9.4/10.0

　The Sea of Tranquility is available via:

https://soundcloud.com/formbyofficial/the-sea-of-tranquility

The album, Black Hole King is available at:

https://itunes.apple.com/album/black-hole-king/id580325127

TRACK LISTING:

Reign- 9.6/10.0

Black Hole King- 9.7

Ghost Shadow- 9.5

Tides of War- 9.5

Some Velvet Skies- 9.4

The Sea of Tranquility- 9.4

Goblins- 9.7

Abdication- 9.6

STANDOUT TRACK: Black Hole King

RELEASED: Nov 20, 2012

℗ 2013 Formby

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These Berkshire boys have been busy making plans for their second album. Formby's debut L.P. (Black Hole King) contains a mesmerizing blend of Prog majesty and swaggering Rock; delicate and beautiful soundscapes- as well as bucketloads of anthemics. In an album of lunar proportions, The Sea of Tranquility provides an ocean of tantalising reflection.

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RECENTLY, I have been surveying a lot of acts...

whom offer up something melodic and soft; romantic as well as hypnotic- their music is definitely the sort you look for when in need of relaxation and seduction. The arrival of Formby has meant I can investigate something more hard-pressing and heavier: sounds that definitely compel you to get up and move your body- that said, The Sea of Tranquility is one of their most tender and melodious offerings. If the name is not familiar to you, here is what you need to know (with regards to Formby):

Formby are a 4-piece Alternative Rock band from Reading, Berkshire. Intelligent sassy U.K. Prog. They have taken the Prog Rock rule book and ripped it up. For fans of Pink Floyd/Faith No More/System of A Down/Porcupine Tree. Formby have been playing for the last year and a half together, in which time they have started building a fan base over the south of England. Since the release of our debut album "Black Hole King", Formby have been receiving great feed back from our live shows as well as radio stations and magazine reviews. Now they are currently writing and performing the new material from the new album which is due to be released and recorded later this year.

Danny Sorrell- Vocals, Guitars, Synths and Programming

Leland Freeman- Guitars

JFK- Drums

Josh Harding- Bass

In spite of the fact that Black Hole King is a two-year-old, there are plans afoot for new releases: a fresh album is on the horizon and the boys are preparing a return to the studio- and the initial buzz and speculation suggests we could witness something even more arresting and compelling than Black Hole King. A lot of fervent, original and daring music is coming from London and its surrounding counties- it seems that a resurgence of sorts is occurring. In the past, I have postulated that the likes of Yorkshire and Scotland are providing the hungriest and most ambitious act (whereas London and the south seem to be lacking)- yet it seems that a new wave of young artists is coming through. Formby have been gathering a lot of heady praise and fond affection from a lot of reviewers and fans. Latching onto their pure rush of electrifying song: mouths have been salivating and digesting all the quartet have to offer- it seems that the band are primed for a long-term career. Having toured around Reading and Berkshire over the last few weeks, the group are being exposed to new avenues and fans- Formby are gaining confidence from the warm reception they have received. I am not sure what form the upcoming album will take: it is likely to be infused with the same sort of authority, rush and mesmeric cuts that are synonymous with Black Hole King. It is an album that deserves a wider audience and a lot more investigation- for that reason, I sat down to investigate The Sea of Tranquility.

Formby themselves claim to be influenced by the likes of Pink Floyd, Black Sabbath, Muse, Opeth, Porcupine Tree, Smashing Pumpkins and Queens of the Stone Age- it is a pretty good starting point. As well as ignoring (and subsequently tearing up) the Prog rulebook, the group do things their own way- and have their own unique sound. If you are a fan of any of the aforementioned groups, you should check out Formby. There is the hard Desert Rock crawl of Q.O.T.S.A.; the eccentricity and huge proportions of Muse; the rampant thrash of Black Sabbath- as well as touches of early career Pink Floyd. The music they present is instilled with heart and guts; blood and barbwire- as well as plenty of soul and passion. Hardly surprising, then, that the guys are getting exposure and patronage- in a world where band music can come across as predictable and muted, the quartet dare to be bold. I have reviewed acts such as Los & The Deadlines (whom have a similar set of influences and distinct sound): but it would be great to hear more of it- music that sprinkles elements of past masters, yet is very much a modern-day and idiosyncratic monster.

The band show how deftly they can mix paradoxical sounds alongside one another: here is an example of the 'softer' end of their spectrum. The introduction is built around growing and romantic guitars: acoustic solidity mixes with vibrating and echoed electric guitar- the kind of intro. you might expect to see on The Bends. Formby demonstrate their keen attention to detail and consideration; lines and guitar offerings are intelligent and atmospheric: the pace and sound mutates and develops gradually building up a mesmerizing sense of occasion and anticipation- ensuring that the listener is on the edge of their seat. The vocal from Sorrell is evocative and calmed; his voice impassioned yet restrained- it is an impressive and effective performance. Whereas other tracks on Black Hole King provide breathlessness and a heady rush: The Sea of Tranquility is appropriately cosmic and twilight. Sorrell speaks of "waiting in shadows" and "feelings don't compare"; introverted investigation and moonlight metaphors blend, to give the impression of a young man in need of answers and direction. The strained and aching vocal at times put me in mind of a young Thom Yorke (I hope that is a fair comparison): there is that same quasi-operatic power in the lungs: that pleasing and stunning tenor (with hints of falsetto)- adding weight and emotion to the song. The most atmospheric and stunning aspect of The Sea of Tranquility is the composition itself. Covering so much ground, the sonics mutate and evolve: there is a sense of itinerary and time shift. Haunting and yearning strings play alongside pugnacious, stirring and stoic percussion- the energy and mobility is scintillating. One of the most pleasing moments occurs at the 2:37 marker (after the chorus has been completed; it reminds me of (Nice Dream) by Radiohead): a subtle but powerful shift occurs that takes you by surprise- one where underpinned strings ascend to rule; a percussive crackle kicks the dust away and you cannot help but be impressed. Before long we are in Dark Side of the Moon territory: a spoken word sample arrives, giving the song some Pink Floyd embers- as well as providing a nice contrast to the central vocal. With a final bow from the chorus, the track reaches its finale: emotions have poured out and a great deal of burden has been exorcised. Before I highlight all the positive aspects of The Sea of Tranquility, one or two minor negatives come to mind: concerning intelligibility and clarity. At times it is hard to understand some of the lyrics; whether because of the production or weight of the composition, Sorrell's words can be hard to decipher and understand- some of the voice gets buried down in the mix. It is not a major gripe, but some of the lyrics and words get missed or misconstrued- making it a little difficult to put all the jigsaw pieces together. That said, it is the most slight of criticisms: every other emotion that comes from me is possessed of positivity and fond tribute- so I shall begin. The band performance is tight and intuitive; no loose edges or rough surfaces can be heard- you can tell that there is an innate sense of affection and understanding between the members. The vocal from Sorrell (in spite of my moan) is emphatic and filled with nuance. I have hinted at early-career Thom Yorke: smatterings of Matt Bellamy and Bono come through, but I found Sorrell's voice to be more unique- there is no infantile whine or needless over-emoting. When assessing any song, the vocal is at the forefront: as such it needs to impress and convince- which it does with ease. The composition itself is perhaps the star of the show; each band member adds something unique and distinct- making the song rich and filled with emotion. The guitars are contrilled and measured, yet add so much colour and life to the track: parables and codas shift from snaking sensuality to cosmic exploration. The percussion keeps everything in check and focused: shifting from powerful to gentle, it is stirring and eye-cvatching throughoput. The bass work is solid and urgent throughout: impressively subtle at times and potent the next. The Sea of Tranquility is a song you will listen to again and again: the melody and composition require repeated investigations, and you will find yourself addicted to certain moments and movements- such is the gravity of the song itself. Whilst not the most urgent and direct moments on Black Hole King, it is one of the most detailed and fully rounded numbers: a gem from the band that is hard to forget- and highlights their talents to the full.

Black Hole King's title track is abound with chugging riffs, rifled percussives- and a powerful and impressive vocal performance. With a potent quiet-loud dynamic and epic swathes of strings, it is a song that you will struggle to forget in a hurry. Tides of War is a sub-two minute gem of contemplative beauty and purity: an instrumental that mixes Pink Floyd proportions with The Cinematic Orchestra-style transcendence and aching beauty. Goblins is a kick-ass slice of Absolution-era Muse, mixed with System of a Down-esque grit and punch. Some Velvet Skies is a made-for-the-mosh-pits headbanger: a swaggering goliath that mandates you to turn up the volume- and surrender yourself to the music. Having spoken with JFK (the band's drummer), I know that Formby are heading back into the studio soon- new material will be released later this year. Since the release of their debut L.P.: the four-piece have been busy touring and promoting their music; picking up fresh inspirations and stories- raring to parlay them into cracking new numbers. I am still seeing reviewers and publications feature Black Hole King- it is an album that you will not get tired of, and find new surprises each time you investigate it. The Sea of Tranquility is a perfect starting place (if you are thinking of investigating Formby): I would advise you check the album out in full, and replay the tracks- there is something in there for everyone. It has been great looking at gentler and more introverted music (as-of-late), but my thoughts and attentions invariably turn towards bigger and brasher sounds- like a musical dowsing rod. The home counties are producing some wonderfully diverse and intent acts; from Electro Pop anthems through to Led Zeppelin-esque epics- a great deal of bold and eye-watering music is coming through. It will be interesting to see what 2014 has to offer (with regards to home counties musicians): but one thing is for sure- Formby will laying down plans for a big future. Their debut album marked them out as one of the most instantaneous and striking acts around: so their sophomore offering is sure to tip then over the edge- and see them rise to the ascendency of national radio mainstays. This young quartet is still learning and experimenting; pushing themselves as an act and seeing what they can come up with- they are getting stronger, more optimistic and focused with each passing month. For those of you that have grown tired of generic Indie Rock misfires; the dragging and ponderous musings that leave you cold- steer your ears towards Formby. The rest of this year will see touring, songwriting- and the conception and completion of their new album. I have been informed that the material (that will feature on the album) will be their strongest year. The Sea of Tranquility is an insatiable and glistening slab of Prog brilliance; so if their best days are still to come...

THAT will be a very exciting proposition indeed.

[soundcloud url="https://api.soundcloud.com/tracks/76987844" params="auto_play=false&hide_related=false&visual=true" width="100%" height="300" iframe="true" /]

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Follow Formby:

　

Facebook:

https://www.facebook.com/formbyofficial

Twitter:

https://twitter.com/formbyofficial

SoundCloud:

https://soundcloud.com/formbyofficial

YouTube:

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

____________________________________________________________________________________

Formby's videos and music can be viewed at:

https://www.youtube.com/user/FormbyOfficial/videos

　____________________________________________________________________________________

Tour dates available via:

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

Track Review: Mapstone- Go Solo

TRACK REVIEW:

Mapstone

　

Go Solo

9.7/10.0

Go Solo is available via:

https://soundcloud.com/map-stone/go-solo-demo-1

RELEASED: 31st March 2014.

PRODUCED AND MIXED BY: Chris Cookson

© & ℗ 2014 Mapstone

__________________________________________________________________

Having recently been featured on BBC Radio Shropshire, it seems that Go Solo is impressing itself on a lot of minds (with a patented blend of homely electronics and efficacious vocals). Mapstone may be fresh out of the box, yet purvey music that does what good music should: comfort the soul; warm the heart; compel the mind- and remain long in your thoughts.

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IT is not often that I get to witness a brand-new act making their very first steps.

A lot of times, a featured act or artist will already have a fair few songs online- or else have established themselves to a certain extent. Many new musicians are fearful that unless they have a wide-ranging campaign and portfolio available, critical and music-loving ears will look elsewhere. It is understandable that there would be reticence and anxiety (in this respect); but being someone very much in the fledgling era of my own music career, I am always looking out for acts fresh from the womb- those putting their first moves onto tape. It is great to have selection of fully fledged and well-rounded tracks, but when you come across songs that are in the 'demo' stage; it allows you to envisage where the song may go; what touches and additions will be made- and what the final version will sound like. It takes a lot of confidence, bravery and openness for an act to put these kind of tracks out in the ether. When looking at Mapstone, I have cause to believe that we will be hearing a lot more from them over the next few years. Chris Cookson is the sole voice and author behind the act; a pioneer whom mixes and produces the tracks (as well contributes all the various elements). Cookson's act is an Alt-Pop outfit based out of the Welsh Hills.  Mixing large vocal harmonies with electronic beats, they provide a terrific blend of etherealness and power; a striking blend of power and composure- something you can not say about many acts. Having reviewed Second Hand Poet (Surrey-based artist Jamie Tipson), I was taken aback by the intimacy and warmth of his sound. Recording tracks out of his bedroom, he is one of a small number of acts taking D.I.Y. music to new places; negating the lure of the shiny studio- and letting the listener into their own four walls. A lot of music comes across as sterile, impersonal and overproduced, so it is always great to come across sounds that touch you with their genuineness. That is not to say that homemade and D.I.Y. music is not impressive- far from it. You do not need huge guitars and layers of noise to encapsulate the listener; if you have a solid and original projection to begin with, then you will be sure to win many hearts- as Mapstone surely will.

Being a fresh conception, it is hard to compare the outfit to any new act- or any existing artist. If you appreciate the importance of warmth and closeness, then you should definitely investigate this act. For those that like their music tender, earnest and honest, then you cannot go far wrong. As well as displaying a lot of soul and softness, you cannot ignore the vibrancy and urgency of the sounds provided. If you are more familiar with Indie Rock or Dance say, then I would advise you investigate Mapstone; as not only does the music provide ample excitement and passion- but I am sure that future singles and releases will see Cookson expanding and broadening his palette.

The fledgling moments of Go Solo are composed of crackling and triablistic electronic percussive beats; sparring with hand-clap interjections, it is a dream-like and evocative musical Morse Code- a vibrant and atmospheric opening gambit. The teasing and bubbling sounds put me in mind of Present Tense-era Wild Beasts, as well as latter-day Radiohead- there is a pleasing mix of austere (but exciting) percussion and sighing electronic haze. When Cookson comes to the mic., his voice is soft but imploring; painting romance-filled words, he is in a daze ("Tonight we lie alone"). Being the arbiter of the song (and the sole voice), Cookson puts his emotions and thoughts on the line; with no input or disturbance from anyone else, the lyrics come across as deeply personal and relevant- yet those which can be interpreted by anyone. When singing "The sun is crying out", the vocals layer and augment; you feel your hairs virtually stand on end- and become encompassed in the delirious weightlessness of the moment. As much as I have mentioned other acts (as comparisons), what comes through is a strong personality with a crystalline and dedicated vision. Embers of Electronic acts come through, but I am hard-pressed to compare Mapstone with any other artist- making the song feel organic, singular and stronger. Visions percolate and entwine in my brain; you can almost picture Cookson singing by a fireside- lost in his own thoughts and awash with fond remembrance. Any angers or stresses you have are dissipated by the sweet-scented melody.  I transported myself to an open space; a deserted beach bathed in shy moonlight- romanticism and seductiveness pour through. When Cookson sings the line "I don't know if you care", the final word is held; stretched and then modulated- a sighing and beautiful falsetto sends the word into the heavens. There are whispers of In Rainbows-King of Limbs Radiohead that work away in the background (songs such as Bloom, All You Need and Lotus Flower came to mind); the soulful (and almost gospel-like) vocal layers could well be chanted and evoked by festival-goers before too long- I can see throngs of mud-covered music-goers singing along to the track at Glastonbury in years to come. Towards the song's mid-point, there is a cinematic interval- a chance for the listener to relax and absorb what has come before. Spectral and orbital vocals link hands with fire-crackling percussive annotations; with evocative charm, the composition gets inside your head and soothes the mind- and causes you to elicit a relieved sigh. When Cookson comes back into the fold, his words are considerably deployed: "Surrender/To the madness/I can see it/There in your eyes." Whether referring to his girlfriend (or something fictionalised and detached), I am not sure, but you can hear the conviction and passion come through- leading me to declare that the song's themes have their roots in personal romance. Just as you are picturing scenes of the song's heroine; imagining what form of waltz and seduction is afoot, the infectious and choral coda is back ("I don't know if you care"). Gorgeously delicate electronic notes are sprinkled into the track; not only offering multifarious sunlight- but adding weight and mesmeric quality into the mix. The final seconds consist of gradual decomposition; notes and vocal lines are eliminated as the song gracefully comes to land- all that remains (by the end) is that touching electronic arpeggio. Going Solo is a track that puts you in a better frame on mind; whether caught in the rain or basking in the sun, it makes you relax and reflect- and fall in love with what is on offer. The song has a mix of gallantry and postulancy; a cocktail of romantic desire and infantine abandon- you cannot but help but smile throughout. The production values are assured and professional; I did not have to strain to hear what was being sung- something that bugs me when I review quite a few other acts. Being a fan of acts like The National, Dry the River and Ray LaMontagne (without hyperbole), I can compare some of Mapstone's qualities with these giants. Mixing U.S. flavours and home-grown inspiration, Go Solo could seamlessly blend into albums such as High Violet, Shallow Bed or Gossip in the Grain- Cookson's voice conjugates Berninger-esque chocolate-toned reflection and Peter Liddle-style haunting falsetto. It would be transgressive to compare the song with anything out there (and would do a disservice to Cookson), but such is the quality and sense of beauty that one cannot help but to do so. Few artists and acts launch authoritative gems from the very off- so if Cookson keeps this pace and quality up, it makes for an incredibly exciting future E.P./album.

I know Mapstone's inventor has big plans for the future, and wants to remain as busy as he can. As the lead singer of Halflight, he showed himself to be one of the most impassioned and determined creative voices on the circuit. Mapstone is a project and act in the newborn stage, yet it is clear that we will be hearing more very soon. As well as Go Solo, Shelter is also available- and is another memorable and solid track. Although the twin tracks are in the 'demo' stage, they point at a promising future. The production is impressive and clear, and the songs' elements are mixed beautifully- everything is projected with clarity, decipherability and evocative atmosphere. Shelter is a warm and snug Indie-Pop number; while not instilled with the same production values and clarity as Go Solo, it still resonates hard- and hits the mark emphatically. Cookson turns provider and safe haven here; imploring his subject (with him) to stand their ground- it is a track imbued with redemptiveness, motivation and strength-against-the-current mantra. Burbling and dancing percussion beats marry alongside Cookson's focused and emotive voice- the track's nuances and strengths reveal themselves fully over repeated listens. Recently, Go Solo was featured on BBC Radio Shropshire- the first airplay for Mapstone. I know how much it meant to Cookson, and I am sure that BBC Radio One (and Absolute) will be spinning the likes of Go Solo and Shelter before too long. Go Solo (as well as Shelter) share common D.N.A., and hint at a clear sense of identity- an original and potent sound. Acts such as Wild Beasts, London Grammar and James Blake have demonstrated what can be achieved when you mingle stunning and evocative vocals, with direct and heartfelt electronic compositions. It is highly probable that Mapstone will be making big waves in time, as the act has struck on a rich vein of style and substance- a perfect genetic mix that resonates long in the mind. If they do make it big (which is a distinct future possibility) it will not be due to kismet or luck- it will highly deserved. I know these are the early days, but it seems that the move from London has done Cookson a lot of good- the tranquillity and serenity the Welsh Hills provide has provoked a lot of creativity and direction. I am not sure what comes next: a few more singles; an E.P.; tour dates possibly- but it will be exciting to see what is on the horizon. I for one, would love to see Mapstone perform (perhaps in some charming and familial coffee shop or bar).  I shall not get ahead of myself, instead allow for some final reflection and modesty. Music is a hard and capricious business to crack, and relies as much on fortitude and talent as it does popularity. In spite of a modest online following (and the odd smattering of reviews), Mapstone will see follower numbers rise- as fresh eyes train themselves in their direction. In a turbulent political week, which has seen the venomous cockroaches of society rise to governmental prominence (voted for by the lowest of the low); music provides some loyal and indiscriminating stability; a tender touch to comfort the soul. When it comes to soothing and comforting (with plenty of force)...

FEW acts do it better.

_____ [soundcloud url="https://api.soundcloud.com/tracks/142360033" params="auto_play=false&hide_related=false&visual=true" width="100%" height="300" iframe="true" /] _______________________________________________________________________________

Follow Mapstone:

Facebook:

https://www.facebook.com/mapstoneband

Twitter:

https://twitter.com/Map_Stone

SoundCloud:

https://soundcloud.com/map-stone/

Interview: Elena Ramona

INTERVIEW:

Elena Ramoma

 

Word by Sam Liddicott

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After a busy and productive year (which saw the release of her debut E.P., Hold On), Elena Ramona reveals her current plans; what influences her songwriting process, and how she writes "lyrics and music that my listeners will connect to on a personal level."

__________________________________________________________________________

THE next few months will be a very busy one for the Surrey-based artist.

When Hold On was released back in February, it was met with huge respect and acclaim. The sounds, urgency and talent displayed throughout the E.P. showcased a young artist with a lot to say. Tracks such as Addiction particularly stood out, and its messages certainly hit a chord. Confident songwriting, simple and effective lyrics mixed with layered and nuanced compositions- all backed by Elena Ramona's striking voice. Able to go from sexy to revenge-filled; soft to impassioned; yearning to introverted, it is a facet that made the E.P. so impressive and confident. Since then, a string of gigs have been performed (within Surrey and London), and there are some impressive and important dates on the horizon.

The likes of Best of British and Eagle Radio have featured the music of Elena Ramona; her debut single Rise is still garnering a huge amount of attention and feedback, and it seems that ears and eyes are turning their attentions to this future star. The rest of 2014 will see plans and ambitions come to the fore, and it will be interesting to see what comes next (and where the Hold On heroine is headed). Having interviewed Elena Ramona last November, I was keen to see how life had changed; what plans there were for the rest of 2014- and how the reaction to Hold On has affected her.

You have been performing gigs around Surrey and London. How have you found the experience, and do you think it has given you more confidence as a live performer?

It’s been great fun. Being on stage singing my own material so far has been an amazing experience.  My audience has responded well and I have found connecting with them comes naturally.

How did you react to the massive positive attention Hold On received?

I was very touched. I was not expecting everyone to react in such a positive way to a debut E.P. It has given me the confidence to carry on making music the way I do.

In your opinion, what are your main themes and elements that inspire your songwriting?

This may vary depending on what mood I am in and what I want to say. I write lyrics and music that my listeners will connect to on a personal level.

Hold On looked at a variety of subjects- from family and friends through to love and holding on (obviously)- how has your songwriting style changed since then? What sort of themes and subjects might we expect to see in the future?

I don’t believe my songwriting style will change drastically, as the way I write has had positive feedback; however, my second single and second E.P. will have more edge, vocally and musically.

There are a lot of challenges that face artists in the modern climate. What are the biggest challenges you have faced?

The biggest challenge I have faced so far is getting exposure for my music. I am currently working hard to promote Hold On and Rise through magazines, blogs and radio.

Can you provide any advice to any new songwriters coming through at the moment?

Write songs that you believe in and not what you believe people will want to hear. Enjoy it as there is nothing more beautiful than telling the world how you feel through music. There are many genres, and it is sometimes hard to find one that suits you best- so experiment, write different styles and slowly one will just fit. Finally, concentrate on pleasing the people who support you (and not the people who don’t).

Finally, what are your plans and ambitions for the rest of this year/next year?

I am currently working on the release of my second single, Lying Blue Eyes- which will also have a music video. I am very excited to release this track, as it has taken a long time to get it all together. I have begun to write for my second E.P. We are aiming to release fresh new songs this winter. Having had so much fun gigging locally, I have applied to perform at various festivals next summer, such as Boomtown, Glasto (Glastonbury) and Pride- look out for me on the acoustic stage.

Elena's debut E.P., Hold On can be purchased at https://itunes.apple.com/gb/album/hold-on-single/id814494744

[soundcloud url="https://api.soundcloud.com/tracks/140173881" params="auto_play=false&hide_related=false&visual=true" width="100%" height="450" iframe="true" /] ________________________________________________________

Follow Elena Ramona:

 Facebook:

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

Twitter:

https://twitter.com/elenaramona90

YouTube:

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

SoundCloud:

https://soundcloud.com/elenaramona90

ReverbNation:

http://www.reverbnation.com/elenaramona90

Track Review: Ivy & Gold- Not Had Enough

TRACK REVIEW:

Ivy & Gold

　

Not Had Enough

9.7/10.0

Not Had Enough is available via:

https://www.youtube.com/watch?v=vO0IdVg8MOM

The E.P., Eye of the Storm, is available through:

https://itunes.apple.com/gb/album/eye-of-the-storm-ep/id857797802

RELEASED: 28 April 2014

℗ 2014 84 World Limited

　

TRACK LIST:

Eye of the Storm- 9.7

Lions- 9.6

Love Is a Sacrifice- 9.6

Not Had Enough- 9.7

Standout Track: Not Had Enough

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The eye-catching duo fuse bygone English and U.S. sounds with cutting edge and modern wonder. In a music scene where you either get beauty and soul, or passion and mystery- Ivy & Gold provide both, with noble aplomb. These distinct London-based seraphs are sure to be huge future festival leaders.

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IT is quite a rarity to come across a duo whom provide...

such a weight of emotion, beauty and gravity- without resorting to a hailstorm of guitar and percussion. In the U.K., there are quite a few duos; yet a great deal of them offer Grunge/Indie/Blues Rock sounds- few mix Pop and Electro together with 1970s Rock and Blues. Ivy & Gold subsume various influences and styles into their palette; mix it together with a stunning and vibrant original identity- the results have been stunning audiences, critics and reviewers. I shall investigate the duo more; but first, a little biography:

Jamie Davies - Producer/Keys Rachel Wilkinson - Vocals

"Ivy & Gold are an electro / pop duo from Broxbourne, Herts, consisting of Rachel Wilkinson and Jamie Davies. Bonding over a shared love of Mike Snow, Fleetwood Mac and Ellie Goulding, the band set out on a journey to write their own hit songs. Their debut release came in the form of ‘Awake’ a 4 track digital EP, released in early 2013. Having played various support shows around the capital, the band headed back in the studio ready to unleash their next batch of songs. These new tracks will be launched over the course of the year, as a series of digital EP’s, in conjunction with their boutique store and limited edition merchandise range."

Those with keen ears and (musical) may recognise the band moniker- it is the title of a Bombay Bicycle Club track (from their album, Flaws). It is a wonderful song title, and an even more perfect name for a duo- it sums up their luster, talent and qualities. In addition to being fans of the Crouch End Indie Rock quartet, the duo have a fond appreciation of the past. Tori Amos, Fleetwood Mac, Jeff Buckley and Incubus are amongst their lists of idols- as well as current-day idols such as Laurel (a musician I recently surveyed), London Grammar and Ellie Goulding. The back story of Ivy & Gold implores you to smile and sigh. There was no surruptitiousness or Hollywood luck; just two like-minded souls bonding over a shared love of some wonderful musicians. There are so few modern acts influenced by the likes of Fleetwood Mac and Tori Amos, so our well-educated two-piece come as a huge surprise- and they manage to incorporate elements of the aforementioned into their melting pot. Rachel Wilkinson must rank amongst the most beautiful and stunning women in the world, and in terms of voices, hers has few equals- possessed of a divine strength, power and tenderness. Jamie Davies is an assured and bold producer; one whom is no maverick, but is capable of adding ambition and wonderful atmosphere to the duo's music. You can hear the close friendship and understanding between Wilkinson and Davies. It is clear that they are consumed by music and all it offers; concerned with little else, this impassioned and fevered adoration blends magnanimously into their striking templates.

If you are a fan of current-day queens such as Florence Welch, Adele, Hannah Reid and Ellie Goulding, then Wilkinson's voice and projection will please the heart and mind. There are embers of each in her tones, yet it would be incongruous and remiss of me to lazily compare her with others. If you look for conviction and raw etherealeness; potent and spellbinding allure and beauty, then Wilkinson's voice will compel you. The stunning production quality and mesmeric compositions separate Ivy & Gold aside from their peers- yet this is not to say that they alienate themselves from those whom prefer classic and vintage sounds. There is as much history and retrospection as there is urgency and modernity; tablueaxs depict wounded hearts and disenchanted souls; whirlpools of dislocation and hope intersect, and the London-housed pair possess an impressive range of artillery in their armoury. Essentially, if you are seeking music that overwhelms and entrances, then seek out the gilded twosome.

Before I review the featured track, I will get one thing out-of-the-way: the issue of London Grammar. In spite of the duo being fans of Hannah Reid, Dot Major and Dan Rothman, too many reviewers have too directly compared the acts. It is true that both are fronted by staggeringly divine women; boasting immense vocals and detailed compositions- that is where the comparisons end. Ivy & Gold are no bandwagon jumpers; no tribute act or second-rate equivalent- they acknowledge shades of the Nottingham act, yet employ it as a point d'appui. Not Had Enough beckons us in with delicate and soothing notes; a subtle interplay of electronics and piano give way to our heroine. A fire is burning her down; the voice has duskiness and coffee tones; weighed down by the circumstances of life, Wilkinson in a reflective state of mind. Perhaps recounting the cessation of a relationship, a message is directed (to her former suitor): "Gone/You left me like a ghost." In the early stages there is a ready-for-the-clubs feel; a driving force that possesses a toe-tapping and metronome beat. With an authoritative composition (that put me in mind of Mezzanine-era Massive Attack and Little Earthquakes Tori Amos), you cannot help but to be sucked into the song. Our heroine prophesies that "We fall and fall again"; drowning in confusion and lost desire, her voice is powerfully direct- but instilled with heartache. The percussive and electronic components are kept restrained but persistent; never encroaching on the vocals, a huge subconscious weight is added into the mix- one that not only augments and supports the central voice, but adds a modicum of fear, tension and tear drops. Backed by Davies's compelling mandate, Wilkinson beautifully twists her voice; letting it rise and present a paucity of smile; before dipping into the soul- and letting a sensitive and impassioned side come through. Natural forces, dark scenes and harsh weather are all employed to give definition to our heroine's anxieties.  When she sings "There's no escape to bring me round", you not only sense the conviction and meaning in the words, but picture her vividly- enveloped in a harsh wind, her mind is turning and the whites of her eyes clearly come into focus. Although the subject of solitude and dissipated love have been surveyed multitudinously, Ivy & Gold bring something new to the party; a sense of optimism amongst the shadows. The chorus- as well as being one of the most infectious you will hear all year- possesses an upbeat and fist-pumping sense of rebirth; Wilkinson's voice swings and rallies- she is a woman who has not yet been defeated. That said, it seems that this 'pattern' of events is a compunctive malaise ("I'm addicted/Locked in on my own"); as the song reaches its half-way mark, Wilkinson's voice hits it emotional peak- the full extent of pain and reality come through. One cannot help but to be impressed, not only by the range and snake-like shift in the vocals, but the power that comes through- our heroine can go from a high-pitched belt to softer whisper in a matter of nanoseconds. Whomever has caused our lead so much regret and sadness, has not defeated her (it seems that "it carries on"). As the track comes to its conclusion, key phrases (the chorus in particular) are re-introduced, and an emotional firestorm of percussion, electronics and keys is whipped up. When reflecting on the track, a number of aspects strike your mind. Wilkinson has some tints of modern-day golden voices such as Hannah Reid and Florence Welch, yet I feel that something distinctly fresh and improved is offered; Wilkinson's voice is a lot more addictive, nuanced and rich than these dual idols.  Instilled with hints of past mistresses (Tori Amos and Bjork), the abiding impression is of a majestic sound that is all her own- and shall be inspiring a lot of up-and-coming singers as well. Davies's production is perfectly balanced and impressive; he allows the voice to shine with crisp clarity, yet does not negate the importance of the composition. Each segment and thread is beautifully presented and represented, and the song- as a result- is packed full of movement, emotion and layers. Not Had Enough is a song dedicated to (but not exclusively reserved for) those whom feel as Wilkinson does and have had similar experiences. It is a cut that will draw in hungry club-going feet; score beach sunsets and seduce car stereos- as you roll down a sun-kissed road. With its mix of emphatic and introvertedness; honest and bracing diligence- few will resist its allures. A fitting and hugely memorable coda, it is deeply impressive how confident and authoritative Ivy & Gold sound so early on- and it will fascinating to see how they evolve and grow.

It would not be hyperbolic to suggest that Ivy & Gold have a rich future ahead of them. They are a rare and sought-after commodity; a fact that is already being recognised throughout London- and the entire U.K. before too long. Having surveyed (their debut E.P.) Awake, it seems that the duo become more confident and galvanised with each ensuing release. It is judicious to assess Wilkinson and Davies on their own merits, rather than lump them with another act (Not Had Enough shows how intentful and determined the duo are). With heady emotion, encapsulating beauty and sexiness; as well as multi-coloured and evocative sonics throughout, it is testament to two humans intent on remaining in the public consciousness for many a-year to come. Eye of the Storm builds upon this, and displays an abundance of wealth- that which can be appreciated by everyone. The title track and Love Is a Sacrifice have introverted and reflective cores; bolstered, augmented and inflamed by Wilkinson's enticing vocals- as well as Davies's musical and production brilliance. New material and movements are imminent, and it is clear that Ivy & Gold are busy creative minds; inspired by positive feedback and a shared musical tastes, it seems they will be huge names to watch. They are tantalising audiences across the capital, but should brace themselves: the entire nation will want to see them in the flesh. It may still be early days for them; many pens mention London Grammar too frequently, yet I am convinced of one thing...

THIS essential duo are going to surpass the Nottinghamshire trio, very soon indeed.

[soundcloud url="https://api.soundcloud.com/tracks/147114436" params="auto_play=false&hide_related=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Ivy & Gold:

　

Official:

http://www.ivyandgoldofficial.com/

Facebook:

https://www.facebook.com/IvyandGoldBand

Twitter:

https://twitter.com/Ivy_and_Gold

YouTube:

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

SoundCloud:

https://soundcloud.com/ivyandgold

ReverbNation:

http://www.reverbnation.com/IvyandGold

Last F.M.:

http://www.last.fm/music/Ivy+&+Gold

Songkick:

http://www.songkick.com/artists/7540434-ivy-and-gold

iTunes:

https://itunes.apple.com/gb/artist/ivy-gold/id635827342

Tumblr:

http://ivyandgoldmusic.tumblr.com/

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Tour dates available at:

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

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Previous videos can be viewed at:

http://www.ivyandgoldofficial.com/#!gallery/c24vq

　

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Ivy & Gold merchandise available at:

http://shop.ivyandgoldofficial.com/

　

Track Review: Fernando Perdomo- California Moon

TRACK REVIEW:

Fernando Perdomo　

　　

California Moon

9.6/10.0

California Moon is available via:

https://www.youtube.com/watch?v=DzMKZCHpFh8

The album, Warm, is available through:

http://fernandoperdomo.bandcamp.com/album/warm

RELEASED: May 01, 2014 ℗ 2014 Fernando Perdomo

COUNTRY OF ORIGIN: U.S.

Produced by Fernando Perdomo "We Fight" Produced by Fernando Perdomo and Victoria Kashtan "On Sunday Morning Produced by Fernando Perdomo and Per Sundlin Mixed and Mastered by Zach Ziskin Engineered by Fernando Perdomo, Per Sundlin, David Alon Gielan, and Greg Byers Recorded at Reseda Ranch Studios, Melody Maker Productions, and Tambourine Studios All Instruments and Vocals by Fernando Perdomo All Cello’s by Greg Byers Drums on "Home" and "This Too Shall Pass" - Eddie Zyne Bass on "Home" and "This Too Shall Pass" - Vincent Cuevas Flute on "This Too Shall Pass" - Cynthia Kivlan Viola on "Home" - Dave Torre Piano on "Home" by Max Farber Vocals on "We Fight" and "Girl With a Record Collection" - Alih Jey Vocals on "Home" and "On Sunday Morning" - Durga McBroom Hudson Vocals on "On Sunday Morning" - Michelle Vidal All Songs written by Fernando Perdomo (BMI) except "Girl With A Record Collection" written by Fernando Perdomo and Derek Cintron Cover Lighting effect by Jessica Hundley Photo by Laurel Stearns

TRACK LIST:

Photographers in Love- 9.6

Warm- 9.5

Home Is Wherever You Are- 9.5

Girl With A Record Collection- 9.6

1970- 9.5

We Fight (Because We're In Love)- 9.5

California Moon- 9.6

This Too Shall Pass- 9.5

Angel Lust- 9.4

Find A Lover- 9.5

On Sunday Morning- 9.5

Standout Track: California Moon

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Fernando Perdomo relocated to L.A. from Miami; bringing along a chest of stories, covetous yearning, flashbacks, love stories and emotions- Warm is a cornucopia of wealth from a tender and zealous heart. With the album picking up an impassioned momentum, I investigate its most striking and touching track.

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MY thoughts, once more, turn towards American shores...

Fernando Perdomo is creating quite a buzz around California (as well as the U.S.). Having been a musician and performer for many years now, it is unsurprising that his L.P. (Warm) is receiving such high praise and attention. It is not just filled with authority and fascinating soundscapes, but ties together various sonic threads. Differing moods, subjects and towns are crossed off across the album's itinerary- it is a stunning and multifarious achievement. If you are unfamiliar with Perdomo, let me shed some light:

"Fernando Jose Perdomo (born August 17, 1980) is an American singer-songwriter, musician, multi-instrumentalist, record producer . Originally from Miami Beach, Florida . He has toured, performed and recorded with various artists in many different genre's. He is the co-producer of "The Soul Of All Natural Things", the new album from the legendary Linda Perhacs. In 2010 Fernando Perdomo and his band Dreaming in Stereo were signed to a management deal with Bill Aocoin, under his company Aucoin Globe Entertainment. However, Aucoin became ill and died due to surgical complications from prostate cancer. Aucoin has also been credited with discovering, developing and managing the legendary rock band Kissand Billy Idol. Dreaming in Stereo 2 followed in 2010 to glowing reviews. The band showcased at SXSW 2010 and also backed up the legendary Andy Pratt. In 2012 Perdomo released his debut Solo EP, "Home is Wherever You Are" produced by Grammy nominated producer, Chris Rodriguez. Perdomo moved to Los Angeles in 2012 and opened "Reseda Ranch Studios" in Reseda. His first project is co producing (with Chris Price) the long-awaited second album by Linda Perhacs. He is also currently producing The Defiant, Jim CamachoLittle Dove, Robert Avellanet, Rooney Anne James, Graham Marshall, Trudy Miquelerena, Apryl Electra, Rebecca Schwab, Nicole Marcus, Melissa Thatcher, Andy Pratt, Melissa Thatcher and Records and Tapes. In 2013, Perdomo formed Records and Tapes with Jennifer Jo Oberle. The band has released 2 singles and a music video. His new single, "Photographers in Love" came out on 11/08/13."

In addition to recording, Perdomo runs Reseda Ranch Studios in Los Angeles, and is amongst the busiest, most talented and ambitious musicians around. His mature, assured and tantalising musicianship and songwriting will reap rewards- and ensure that these sensibilities bring in a varied and impassioned fan base.

Perdomo's wide range of sounds and styles means that his music does not subjugate and discriminate. If you are a fan of '60s and '70s classic U.S. Folk acts then you will find much to appreciate. Similarly, there are Beatle-esque touches (within the L.P.) that will please aficionados of classic British 1960s music. Openness and honest mingle with introspection and personal tragedy; swelling and touching made-for-movies scenery rubs shoulders with sun-drenched multifairiousness and light. Kaleidoscopic and dream-like visions run rampant, and each track is gorgeously crafted and considered. Not confined to a season or narrow sense of occasion, the songs can be appreciated in any weather, and at any time. Nothing is transient or sluggish; songs make their impressions known and linger long in the mind. If you appreciate music which offers its heart on its sleeve; that which implores you to look within yourself; to be uplifted and invigorated- then Fernando Perdomo fits the bill exquisitely.

The opening notes of California Moon tenderly set the scene. Twisting and springing guitar notes evoke a myriad of scenes. Instantly, your mind is transported to some post-dusk Los Angeles highway; nothing but contemplation and open road lays ahead. Undertones of (Bryter Layter-era) Nick Drake and Ray LaMontagne come through, yet it is a sonic sojourner that soon gives way to our frontman's entrance. Talking of "dancing in the dark", Perdomo's voice has a husky and calming air; earnestly speaking to his sweetheart, he implores her to join him- to go dancing under the heady glow of the moonlight. It is hard not to be put in mind of the Folk legends of the '60s and '70s- there is that same sense of authority and quality that comes through. The guitar is subtle but evocative; saying so much with few notes, Perdomo deftly puts the listener in his thought. It is nigh-on impossible not to imagine and speculate as to what the song's author sees- the sights, smells and sensations are all there. The chorus marries Drake-esque vocal touches with an impassioned and direct coda: "California moon/Shining on you". Whereas a lot of contemporaries infuse some negativity and cynicism into their love songs, here the mood is ripe, receptive and honest- Perdomo and his love are entwined in the night's air, nary a trouble to be found. By the time the chorus is repeated and weaved, it solidly sticks in your head; its infectious and simple charm is hard to ignore. The melody and vocal projection put me somewhat in mind of Prefab Sprout (particularly their albums Crimson/Red and Let's Change the World with Music); you can hear that same charm and urbane reflection within. Similarly, one could imagine Paul McCartney penning a similar track in 1967/8- if you listen to The Beatles, you could envisage California Moon slotting right in the mix. Comparisons aside, Perdomo has a real flair for song craft; able to mix contemporary Folk and troubadour sensitivity with latter-day Pop glory. By the final third, guitar notes mutate and evolve; from acoustic arpeggio flow through to electric wail, the atmosphere is kept alive, vibrant and filled with life. As the closing stage arrive, our frontman once more expounds the wonders of the night and ensures that the insatiable and indelible melody remains in your thoughts (for a long, long time). California Moon is a track that wins you over with its simple beauty and conviction, providing a much-needed breath of fresh air- away from the negativity and bait-and-switch that a lot of modern-day music promotes.

Warm is a natural evolution from previous works such as Dreams and Home Is Wherever You Are; one where Perdomo steps from the solo spotlight and collaborates with Linda Perhacs. Where past discs contained all the typical confident, flair, range and emotion (one would expect from Perdomo), Warm builds upon this and updates the listener on recent events. The songs seem more effortless and natural; there is a sense of passion and increased confidence throughout, and Perdomo has produced his most assured and fascinating set of songs to date. Photographers In Love looks at different photographic preferences and styles; beautifully employing them as metaphors for love (and contrasts and differences in relationships); presenting a sunny take on a unique love. Girl With A Record Collection is a paen to alphabetized vinyl, and a girl that blows the author away ("Without saying a word"). This Too Shall Pass employs Grieg-esque spring-time woodwind amidst a song that looks at life; all the woes and hardships that are faced daily- offering redemption and hope that things will turn out right. Warm is a perfect starting point for new listeners, and will appeal as much to lovers of modern-day cinematic Folk/Indie as it will to those accustomed to 1960s Pop. Being one of the most respected and hard-working musicians in the U.S., Perdomo's future is assured and safe. His latest L.P. will bring in many new fans from all around (including many in the U.K.) and reinforce his status as one of music's biggest hopes. Having produced for the likes of Little Doves, Perdomo has his finger firmly on the pulse of modern music- an intuition and talent that comes through in his own music. I am sure that future projects and collaborations are already taking effect (or at least percolating in the back of Perdomo's mind), so it will be fascinating to see what comes next. If you are looking for something new; music that can put you in a better mood, but also compel you to dig deep within yourself and reflect...

THEN your search should start (and end) here.

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Follow Fernando Perdomo:

Official:

http://fernandoperdomo.com/

Facebook:

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

Twitter:

https://twitter.com/fperdomo

YouTube:

https://www.youtube.com/channel/UCbvhsBwZEyQ75FYd4vBYC2w

SoundCloud:

https://soundcloud.com/fernandoperdomomusic

Bandcamp:

http://fernandoperdomo.bandcamp.com/

ReverbNation:

http://www.reverbnation.com/fernandoperdomomusic

Last F.M.:

http://www.last.fm/music/Fernando+Perdomo

Songkick:

http://www.songkick.com/artists/3659076-fernando-perdomo

Websta:

http://web.stagram.com/n/fperdomo/

iTunes:

https://itunes.apple.com/us/artist/fernando-perdomo/id6540435

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Tour dates available at:

http://fernandoperdomo.com/shows

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Fernando Perdomo's previous videos can be viewed at:

http://fernandoperdomo.com/videos

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Fernando Perdomo merchandise available at:

http://fernandoperdomo.com/store