ALBUM REVIEW:
Transfer
Shadow Aspect
9.3/10.0
Shadow Aspect is available at:
https://itunes.apple.com/us/album/shadow-aspect/id890493250
TRACK LISTING:
Dark Behavior- 9.2/10.0
The Widow- 9.2
Kills Me Every Time- 9.4
Reflections of Home- 9.3
We Don't Have to Be Nice Anymore- 9.0
The Pace of Youth- 9.1
Hellbent Together- 9.4
Instincts- 9.5
Breeding- 9.3
If the Morning Comes- 9.5
So Long Old Song- 9.2
STAND OUT TRACK:
Instincts
DOWNLOAD:
Kills Me Every Time, Reflections of Home, Hellbent Together, Instincts, If The Morning Comes
RELEASED:
24th June, 2014
GENRES:
Alternative, Rock
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Having toured with the likes of Kaiser Chiefs- and being hailed by Q Magazine and Clash- Transfer mix the Heavy-Blues of Led Zeppelin with the Folk warmth of Simon and Garfunkel: Shadow Aspect is festival-ready set of winners; warm and epic; bombastic and melodic- guaranteed to dominate your thoughts.
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A matter of a couple of days...
after the end of the world's greatest music festival (Glastonbury), the dust is starting to settle; bands- who played the event- return to mortal realms: their universes seem a little bit smaller and quieter now. As memorable as the festival was- Dolly Parton nicked the highest honour from Kasabian- it got my mind thinking: what do we look for with regards to festival best-sellers? One would be hard-pressed to draw a line through Metallica, Lana Del Rey, Arcade Fire, Kasabian and Lily Allen: I guess each act has a certain amount- if varaiable- of force and passion; a degree of danger and menace to some of their songs- by-and-large there is a lot of difference between these acts. The fact that a U.S. Country legend (in her 60s) gained the most press just shows you how different musicians connect to certain people- whilst the headliners gained huge crowds, you cannot underestimate the so-called 'underdogs'. Gone are the days- or perhaps not- where a certain brand of music guarantees you a lifetime of musical acclaim- by that I mean sticking rigidly to a particular genre of style. The artists that are confounding and mesmerizing musos are those whom employ diversity and variation within their music. Having caught the event- from the epic atmosphere of my home- I witnessed a lot of different acts come and go: the artists that kept their sets interesting and changeable were the ones that elicited the more enthusiastic response. I guess that when it comes to history, the artists that gain the most recognition- and enjoy the longest careers- are those with the deepest and most varied albums. In my own ineloquent way, it brings me to San Diego's Transfer:
Shaun Cornell, Andy Ridley, Jason Cardenas and Matthew Molarius
"TRANSFER is an anthemic American rock band that emerged from the San Diego music scene in a big way last year with a run of international tours, festival slots, and a coveted appearance on the acclaimed documentary series Live From Abbey Road. The four principal players of TRANSFER pour a lot of soul into making storming, propulsive, rock music with sparkling hooks that can lift spirits, move hips, and satisfy even the most discerning of musical ears. Founding members Matthew Molarius (vocals) and Jason Cardenas (guitar) began a songwriting partnership at an early age in their pastoral northern California hometown. They formed TRANSFER, collaborating with San Diego artists to craft an increasingly ambitious rock aesthetic. They began recording in the studio of Shaun Cornell, who would eventually join the group as bass and keyboard player. The addition of British-import Andrew Ridley (drums) upped the ante for what would prove a breakout year. With their label debut album Future Selves in 2011 (Mascot Records) TRANSFER takes in electro psychedelia, blues bluster, Simon & Garfunkel folk balladry, and all-out prog pomp in an album bound with anthemic choruses, moody guitars, and skewed pop hooks. The live sound of their stadium-sized riffs and anthemic lyricism finds them nodding to the "five basic food groups" of rock'n'roll: The Beatles, Pink Floyd, Led Zeppelin, Black Sabbath, and The Stones. Following the release of their critically-acclaimed LP Future Selves, TRANSFER embarked on international tours with the likes of The Bravery, White Lies, Kaiser Chiefs, and most recently Black Rebel Motorcycle Club, amassing a growing, devoted fanbase in Europe. Their potent live performances have earned TRANSFER coveted spots at summer festivals including T in the Park, Hop Farm, and Hard Rock Calling. Generous with their praises, the press has repeatedly labeled the group "ones to watch" and the band most likely to emerge from America's indie hinterlands. (Q Magazine) (Clash). TRANSFER has received numerous music awards in San Diego (Best Rock Band, Best Rock Album for Future Selves, Song of The Year ("Losing Composure" off Future Selves), and their animated video for "Take Your Medicine" off Future Selves took Best Rock Video honors at the 2011 Houston International Film Festival. TRANSFER's success is measured in moments, snapshots of a journey that's taken them halfway across the world, along a sea of cherished friends and fans... including one in particular who stands out. While recording their television segment at Abbey Road Studios, Sir Paul McCartney himself dropped by to offer TRANSFER his encouragement. After their 2013 European tour with BRMC, TRANSFER returned to San Diego and hit the studio to complete their anticipated follow-up album SHADOW ASPECT, set for release in early 2014. The new album is the musical culmination of the band's experience and offers an amalgam of their collective influences. A timeless heartbeat that lyrically explores manifestations of the darker, or shadow side of the human experience, set within a sonic soundscape that is broad in range and dynamic in nature. Shadow Aspect is a focused work of song-craft offering a spectrum of sound that varies from stadium-sized anthems to the fragility of a single acoustic guitar and harmonica. Echoes of the past can be found within the multiple layers of the album, offering elements of dark, heavy blues, paying homage to Sabbath or Zeppelin, while other scenes are more expansive and painted with warm textures of horn and string arrangements. TRANSFER delivers a sound that is completely original, yet vaguely familiar, harnessing the appreciation of tone and melody, while delivering moments of fragile reverb, epic bombast, and utter intensity."
Being familiar with the music scene of California, it is no surprise that Transfer have accrued such acclaim and appreciation. Their Facebook and Twitter numbers run into the thousands; their fan base is worldwide and burgeoning- I would be shocked if the quartet weren't amongst Glastonbury's elite in the next few years. Their ambitious sounds- that mix '70s Blues Rock and Folk with 21st century drive- are a perfect blend: few other bands have such a conviction and confidence. With such a busy last few months behind them, who knows where the band are headed next? Their growing army of adorers will be hungry for new material- although their latest album is a week old- and keen to catch them in the flesh.
For anyone encountering Transfer for the first time: you should investigate their previous L.P., Future Selves. With Indie overtones, the album garnered a lot of positive reviews. Anthemic jams and swelling vocals stacked alongside mellow and emotional numbers. The band displayed how catchy and memorable they could be- across the album's collection of songs. The album is rife with confidence and personality. The four-piece have a clear sense of identity and drive, with no nervousness or hesitation to be found. Whilst influences such as Kings of Leon and White Lies come through, a lot of modern-day icons have been incorporated. Faded Signal and Sunken Eyes (E.P.) showcased Matt Molarius's voice more fully (than Future Selves) and were synonymous with hugely emotive and effecting vocals- as well as repeatable and incredible tracks. Future Selves employed more emphasise on sound and style- as opposed to vocal force. The album showed an evolution from their sapling cuts: their confidence increased exponentially and the band began to infuse two songs into one- they became masters of the modern-day Rock epics and displayed their incredible musicianship and energy. As terrific as their past movements are, Shadow Aspect marks a step forward. With each release, the quartet sound more assured and comfortable: their previous L.P. had plenty of wonder and stand-out bliss, yet their new release is fuller and more developed. Embers of '60s and '70s masters are thrown into the pot; they keep their '00s Indie strands but broaden their palette- everything good that came before is intact but the San Diegans have smoothed any rough edges. Some critics stated that a few songs from Future Selves failed to ignite: The likes of The Killers and Athlete could be heard too strongly. The group sound more original and rejuvenated now: bombast and stadium-sized reverb and riffage remains, yet there are fewer fillers (on Shadow Aspect)- making their overall sound much stronger and universal. There are fewer evocations of early-career Coldplay and more individuation: you can tell how hard the band have worked to ensure that their latest offerings are no slouches. It is important that every band matures, develops and galvanise their music: Transfer have taken this on board and put quality and concision ahead of cramming as much as possible into an album.
Anyone that is a fan of the likes of Athlete, Coldplay, The Killers and Arctic Monkeys will discover some familiar sounds in the band's outfit. The San Dieago boys can mix Coldplay's early-career beauty and sweeping emotion with modern-day Monkeys Indie grit- sometimes within the space of the same song. Previous outings such as Future Selves- as well Shadow Aspect- pack in faint touches of a lot of different acts: Simon and Garfunkel, Led Zeppelin, The Beatles, The Rolling Stones and Arcade Fire are just a few names. I wouldn't concentrate too heavily on other bands and artists- Transfer are their own inspiration and are synonymous with their ambitions and diversity as they are with other acts. Blues, Rock 'n' Roll, Acoustic, Alternative and Indie are represented in the quartet's music- if you are a fan of any of these sound's you will love the Californians. One of the things that strikes me about Transfer is their moods and songwriting. They do not merely stick to sad/happy; emphatic/tender- emotions are mixed together to ensure that they never lose energy or intrigue. Able to whip up a festival barnstormer or compel with something introverted and tender, the boys have a deft talent for putting the listener in a better mood. Too much new music can come across as stale, repetitive or bland: Transfer have plenty of drive, fascination and punch to grab the attention- the lyrics and songbooks are stuffed with relevant stories and deep thoughts; the vocals full-bodied and filled with conviction and urgency.
The opening moments of Dark Behavior promise something quite epic. Rumbling percussion and cymbals are joined with swelling organ- romantic longing and a sense of resplendent mix with one another to welcome in the track. Before you let your mind drift into a world of church scenes and respectful processions, an emphatic and heady rush is summoned- the boys unite in a chorus of 'woahs' and 'ohs', backed by clattering percussion. Molarius steps into view to offer his thoughts and insights. Speaking to an unnamed paramour, he advises them- I would imagine it is a former love- to consider the future: "Before you leave" she needs to step back and think. Offering images of blood running in the street; the cessation of innocence, a primal and pulsating drum smash adds energy and a sense of danger. The vocal switches from paced and powerful (before the 2:00 mark) before it explodes- and Molarius lets his voice soar and explode. Marking an emphatic and anthemic start to the album, the entire band are tight and in the mood: electricity and passion are kicked into top gear, as Dark Behavior hits its mark. Imploring to his subject to hold on, our hero will hold and support her when the weather turns- explaining that it is hard to find her in the darkness. Few other names and acts come to mind- when trying to find comparisons; maybe a few Indie acts, but nothing obvious- instead you get the sense of a young man on the precipice of an emotional conflict: the way the band conspire and support emphasises this longing. With squealing and wracked guitars, the last few seconds are a maze of chorusing and evocative lightning strikes. With one last roll of the dice ("It's too hard"), the story ends- leaving you wondering if our heroine got swept away or was offered a hand of salvation. Yet more pugnacious and rampant percussive notes greet in the next number: The Widow is a slicker and groovier beast; it crawls and jives in the opening exchanges- baying for blood but with a smile in its heart. Like Black Holes and Revelations-Muse the intro. covorts and sexily pervades. When our frontman comes to the mic., there is a sense of compassion and inquisition on his lips- his voice is restrained and calm but filled with direction. Backed by a driving and propulsive support from his brothers, the central figure is investigated: Molarius asks what an old girl is to do "in need of a friend." With loneliness and emptiness present- the widow and our hero stand solo- the frontman's voice is at its impassioned best- you can hear the sense of anxiety and pain come through. Similar to the opening salvo, The Widow boasts a rich composition: the pace changes and it has a great sense of mobility and ambition- funky bass and guitar changes to Indie guitar-paced calm in the space of seconds. It is perhaps the vocal that shines through hardest here: intensity and a gravelled gusto scores every line- making the song immediate and hard to ignore. Continuing themes of morbidity and death is Kills Me Every Time- although in less of a literal sense here. Beginning with the same sort of energised and seductive intro. early-career Rolling Stones/Hendrix would recognise, you instantly bond with the song. Our frontman is in impassioned mood once more: on the point of explosion, he struts and campaigns with a hot-bloodied belt. With his voice quivering, the band whip up an appropriately striking composition: the percussion clashes and smashes; the guitars lick their lips and spit; the bass is laden with plenty of charm and libidinous intent. Having been treated "like a dog" (every time), our hero is bereft and exhausted: a devout believer in passion and love, strips are being torn from the flesh- it seems that Molarius has been here before, and may be here for the final time. Once more shadowy guitars and sonics are instilled to provide a sense of day-night shift; acting not only as a memorable punctuation but a perfect dose of contrast- amidst the fast-paced and rifled vocalisations, it allows you to draw breath. Stepping away from the pulpit of demonized longing and regret, Reflections of Home provides solace and calm: with haunting embers in his voice, Molarius laments about "Too many years and too many things gone wrong." In spite of the reflective nature of the song, there is still room for the typically pointed percussion: acting like an accelerated heartbeat, it ensures that a sense of unpredictability remains in the background. Returning back to "where I belong", the aching and tender performance makes you long for our hero: everywhere he goes there are reflections of home, it seems. Everything comes back to the chorus- and the central message- with gracefulness and plenty of heart: the inclusion of elongated and urgent trumpets add an extra layer of emotion to proceedings. Like tracks before, there is a sense of catchiness and indelibility to events: you will find yourself humming the chorus and recalling the sway and arms-in-unison spirit of the song. Order is restored when We Don't Have to be Nice Anymore arrives: belting percussion spars with vibrating guitar- amongst scenes of celebration, the song's (anti-) heroine "had to ruin everything." The galloping pace of the vocal gives the song urgency and a feeling of angst: whether the aftermath of a birthday or date, the damage has been done- our hero has no intention of being civil anymore. Cardenas, Ridley and Cornell manage to add spades of movement and colour, yet let the central vocal say its piece: having more in common with modern-day Indie, it is the closest equivalent of their Former Selves. With another overwhelmed and soulful vocal display, the song urges you to sing along and support the Transfer's leader- it is slightly less spectacular than before but no less potent. The Pace of Youth is suitably slow-building: shuddering electronics beckon in our frontman- emotions and introspection once more come to the fore. With our hero and his subject swimming across the sea, he implores those that send prayers across the ocean to save one for him- it seems that life is throwing up roadblocks and trials. The composition is probably the most fascinating and interchangeable: a mixture of darker and languid strings blend with beautiful and haunted refrains- the former puts me in mind of The Great Escape/Blur-era Blur. Molarius is living on the run (with his generation) and in need of support. A rousing refrain of 'ahhs'- and twisting trumpets- give vivid force and conviction to the final moments- catchiness and darkness sit alongside one another again. Soft and elliptical notes welcome Hellbent Together. Our frontman is at his most effecting and shivering here: the vocal is awash with emotion in the early stages- backed by acoustic guitar. Wondering whether his sweetheart has been calling out his name; it appears the duo are hellbent together: it seems like they have drifted apart but clearly have feelings for one another- the song acts like a call across the ocean. Lonesome and Blues harmonica strains put me in mind of early-career Dylan: that same blend of instrumentation and vocal delivery sit beside one another- the song's theme has D.N.A. with many of Blonde on Blonde's most touching cuts. Whilst the tears dry, Insticts provides a necessary cocktail: spiky and pressing percussion; intoxicating electronic growls roar- the intro. is a heavy and swagger beast. There is a sense of sexualisation and lust that drips from the speakers: our frontman is "not an animal" yet is bound by his natural urges- backed by fuzzy and reverbed guitars, whispers of The Rolling Stones come through again. A familiar and sought-after beau is calling: like an echo being recalled, images are not enough- the sheer memory of a desired moment is causing Molarius's soul to be ripped apart. As hard as the vocal presses and pervades, it is the guitar work that elicits the biggest hits- echoes of Muse, Jack White, Led Zeppelin and Black Rebel Motorcycle are detectable. As the song's sand grains are drained, the sense of imminent coming together forces its way in: the composition sweats and seduces; you know that something (or someone) is going down. Animalistic and Jack White-esque Blues glory elevates and defines the track: displaying a juxtoposition of what has come before, the band show just how adaptable and adventurous they are. Pummeling drums, trickling guitars and magisterial organs back our hero: there is nothing on his mind (tonight) but getting satisfaction- possibly at the expense of his own sanity. Precoitial come-hither remarks are offered up- by the final moments, it seems that Molarius is totally spent. If Instincts was suggestive, Breeding suggests something even more explosive. The bellicose and intentful percussive build- tied to a chugging and machine-like guitar line- does nothing to dispel this. Telling his target to "have your babies" and sit in the dark; intentions here are less crotch-inspired- although no less emotive. See what comes; "let 'em grow"; heavyweight hearts and life's realities are examined: fact-of-the-matter truths and cold facts are laced around an evocative and pumped-up vocal- the band rustle up plenty of steel, soul and sagacity. Various guitar elements are fused and entwined: industrial and mechanical buzz, lighter Indie shades and '60s Rock swathes perfectly push the song forward and present a myriad of contours and colours- topped with another all-male choral coda, Transfers complete another gem. From the first seconds of If the Morning Comes, you know that something curious is afoot: embryonic gentle strings evolve into something bloodlust and surging- the atmosphere mutates and grows teeth within a few steps. "I could never love you more" it is said- by our hero- yet it seems that words are more self-deprecating and regretful than you would imagine. His former lover is with her new man; he could never break her heart and let her down- "the way that I can." The album's deepest and most mature moment arrives here: our frontman is earnest and honest as he admits that if he could do things all over again- nothing would change and he would do the same. The hero is not incentivized to lie or be dishonest: he is built the way he is and feels resentful that he could not be a stronger man- or at least one that is more suited to his lost love. Organs and swirling guitar stirs emotion into an already fraught boiling pot- the vocal never feels sorry for itself; instead remains dignified and dry-eyed. Fractions and impressions of Elbow come through in the song's bare-chested wounded pride: one could draw some comparisons between the two. Bringing Shadow Aspect to its close is So Long Old Song. A paen and tribute to an old song is paid: in need (the song) of comfort when growing old, our hero seems like he is speaking to a friend or relation- rather than anything musical-based. After the rambunctiousness of past songs, some time for contemplation is afforded: the vocal is reliably passionate and dedicated to the cause- when singing "Do you remember when you were bold in your youth?", the vocal seems wracked and pained. Letting the radio play and the melody stay "for the whole night thorough", you get the feeling that there is double-meaning and ambiguity at stake: I get the impression that a past lover or fondly regarded friend is being addressed. As the last haunting notes trip away, the album reaches its stunning conclusion.
Marking a leap of confidence and a lack of asperity; Shadow Aspect shows fatuous critics just what they were missing all along: the beauty and power has always been there. I myself have compared songs to other artists; mentioned Transfer in the same breath as others- if you train your mind that way, you will never hear past these limitations and expectations. Whilst Former Selves had one or two pallid songs, the album as a whole possessed huge potential and foresight- the band have simply added to this and become more convinced by their own ability. I suppose that critical recognitions and high praise proclamations propelled the boys through their last creative spell- the results seem less anxious and more relaxed than on previous outings. Fantastic production values highlight the band's strengths: a brilliant contrast of softer and bolder numbers; consistently tight and controlled performances; plenty of compositional surprises as well as deep and relatable stories- topped off with urgent and impressive vocals. The album's running order is well-considered and just about spot-on: gentler numbers nicely break up a run of bigger anthemics; the album is not top or bottom-heavy- meaning you never lose interest or can predict what is coming next. The fact that the band is as confident and convincing when playing the role of libidinous lovers as they are disaffected young men shows a lot of bravery, talent and flexibility- and means that their album is fuller, richer and more compelling. Maturity and infantile recklessness add weight and elevation when necessary and the band ensure every track is tight, urgent and full of life. On that note, my final footnotes go to the guys themselves. Lead by a charismatic and multi-talent singer, Molarius makes sure that every word he sings sounds essential and must-hear: his voice goes from a seductive and dirty whisper to an emotional and staggered scream- a few singers possess such a range, yet few apply it to songs as strong as within Shadow Aspect. The guitars, bass and drum all combine wonderfully, and none steal focus: Shaun Cornell, Andy Ridley and Jason Cardenas support one another splendidly and never succumb to vote-winning or posturing. The guitars- when the mood is darker- creep and crawl; they growl and buzz like a psychotic swarm of hornets. When things are more reserved and tender, they are up to the task- capable of eliciting as much soul and comfort as required. Such is the sonic range: the fuzz and buzz; the rainbow stripes and Blues-Rock epicness- it brings so much life to the L.P. Bass lines keep everything in check, but add tautness and muscular cockiness at times- smoothness and sophistication in equal spades. The bass is often overlooked- when it comes to assessing music- yet here it is a vital component: the stoic alpha male; it makes sure that everything is authoritative and focused. Final kudos go to percussion: so many of Shadow Aspect's tracks contain (or begin with) punch-drunk and mesmeric percussive smashes- it shows just effective and elementary the instrument is. A lot of bands such as The National are synonymous with their phenomenal percussion- listen to their albums and find out- Transfer have hit upon a crucial formula: add weight and force with subtleness and nuance- then times it by eleven.
Having grown in strength and conviction- since their early days- it seems that Transfer are on a trajectory that will include festival headlining and world tours. As well as having some important tour dates already under their belt- and in their futures- they are gathering momentum like a wrecking ball. Former Selves is an assured, nuanced and bold album- a perfect starting block for Shadow Aspect. With emphasis placed on atmosphere and intense moments, their original- yet as they put it, "familiar"- tones will thrill their existing audience; bring in a lot of new fans- whilst ensuring that positive and effusive reviews come their way. I have only been investigating the band for a couple of days, yet am impressed by their drive and overall quality. There are legions of bands around the world that offer the same promises- that Transfer do- but few actually deliver enough to ensure they remain in the mind: the San Diego quartet separate themselves out and seem likely to have a huge future ahead of them. Shadow Aspect hints at their early days, whilst building upon it significantly: gone are any unsure edges and narrow focus- the band have dispensed with the Coldplay/The Killers heavy hearts and replaced it with something more unique and ubiquitous. Having just witnessed a hell of a music festival, I have a sort of hangover: I want to hear epic and anthemic sounds; something captivating and interesting- that mixture of soft and considerate; huge and noisome. Transfer provides plenty of cure and remedy: Shadow Aspect demands repeated listens so that its charms fully reveal themeselves- there is immediacy and urgency as well as nuance and layers. San Diego is perhaps California's most fervent and prosperous music spots- putting the U.S. city ahead of even New York. Having previously encountered The Midnight Pine and Little Doves, I can see a lot of them in Transfer. The former's mix of thought-provoking and deep lyrics and the latter's heavy sounds and primal urges find their way onto Shadow Aspect- although our boys do things in their own particular way. Plenty of U.K. and European music outlets (and venues) have switched themselves onto Transfer's lust: I suspect that the four-piece will be gaining even more positive press and attention when the album is fully-digested. My mind and desires invariably find themselves yearning for new and hungry bands: those that provide fascinating songs and bags of personality. Transfer ensures that their music and information is easy to find- they have an authoritative and full official page- and can be connected with in a heartbeat- their Facebook and Twitter pages are kept current and tantalizing. Music offers so much choice and availability, that it can be difficult deciphering what is good; what is good for your particular tastes: it is a positive minefield of differing sounds and sights. The San Dieago clan are improving and growing with every new release: Shadow Aspect is not only a brilliant album, but hints at what their future holds. Given the adulation and patronage they have already received (from magazines, radio stations etc.), the boys have no intention of slowing down or toning down their ambitions. In an industry where critics behold bands like they're in a Dutch auction- and offer little in the way of widespread and reliable investment- Transfer have no intention of defrauding and embezzling...
THEY are money in the bank.
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Follow Transfer:
Official:
http://www.transferband.com/
Facebook:
https://www.facebook.com/transferband
Twitter:
https://twitter.com/transferband
YouTube:
http://www.youtube.com/user/transferband
Last FM:
http://www.last.fm/music/Transfer
MySpace:
https://myspace.com/destroyclearchannel?ref=atw
iTunes:
https://itunes.apple.com/gb/album/losing-composure-single/id448050301
Spotify:
https://play.spotify.com/artist/01WbpPclP0irRybrR5J6A9?play=true&utm_source=open.spotify.com&utm_medium=open&ref=atw
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Transfer's music can be accessed at:
https://itunes.apple.com/us/album/future-selves/id463978926
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Gig dates available through:
https://www.facebook.com/transferband/events
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Transfer's videos available at:
https://www.facebook.com/transferband/app_311253165568475
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Band page accessible at:
https://www.facebook.com/transferband/app_178091127385
It is hard to compare An Eclipse of Ships with any of David J's previous outings. Having played in Gothic-Rock bands such as Bauhaus- as well as Alternative-Rock act Love and the Rockets- our hero has played a range of genres and incarnations. Fans of David J will not be disappointed by his latest effort: Not Long For This World (released in 2011) was his previous release and you can hear similarities between the two albums. All of David J's unique traits have remained solid; they have been expanded and built upon- An Eclipse of Ships is perhaps his most assured work in recent years. One of the most distinct aspects of David J's music is his lyrics and wordplay. His current L.P. is packed with vivid imagery and eye-watering scenes. Tales of drugs and drunkenness mix with intellectualism and self-reflection (across the eleven tracks): depending on what you are in the mood for, David J has it on offer. In a sense he is a musical chemist: no matter your malady or predisposition, our hero has the medicine for you. His music has a redemptive and restorative quality: the compositions are rich and detailed; his lines prick your mind and vividly put you in the song- his voice ties everything together with its sense of directness and authority. Right the way from Etiquette of Violence (his debut solo release) through to Not Long For This World, David J has ensured that every song has ambition and personality at their core: his consistency and quality have hardly dipped in the last 31 years. Many critics became ambivalent and mixed towards Love and the Rockets' late-career Heavy-Rock sound; Bauhaus's swan song was met with critical acclaim- in a sense An Eclipse of Ships is more familiar with Go Away White than Sweet F.A./Lift. David J has not tried to recapture his past days and early triumphs: his current offerings have moved forward and provide a mature and developed sound. Those that miss the days of Bauhaus and Love and The Rockets will not be disappointed: there is plenty of energy, rush and fascination; darker and shadowy mandates; powerful and emotional numbers. Perhaps the most distinct development (since David J's early days) is the overall sound. An Eclipse of Ships is a more laid-back and gentler affair- compared to our hero's band output- and provides more soothe than it does feral force. Those that are looking for something deeper and seductive should check out his new album. As difficult as it is to compare David J's current album with his past work, it is perhaps harder to compare him with other acts. David J's voice is quite rich and deep. Artists such as Tom Waits and Bob Dylan might crystallise (in people's minds) when listening to tracks such as Where The Bloodline Ends (Vasectomy Song) and The You of Yesteryear. The entire album is wrapped around a chocolate-toned and evocative vocal line: those that are fans of masters such as Dylan, Waits and Neil Young will discover a lot to enjoy here. The lyrics across An Eclipse of Ships are the strongest David J has come up with: the words mix oblique and poetic with direct and intoxicated- there is such a wealth and range of topics explored that you struggle to take it all in. Few modern lyricists have such a detail for mood and scene-setting. If you have investigated some of my recent review subjects such as The Midnight Pine, Clara Engel and Kate Tempest; then you will appreciate An Eclipse' and its amazing details. It is an album that not only appeals to lovers of intelligent and well-considered music, but those that have an affection for classic Folk and Acoustic sounds. Anyone that prefers their music more demonized and bloodcurdling- perhaps with more electric guitar- should not shy away from David J's latest love affair: the sounds on offer will speak to anyone that prides conviction and beauty over emptiness and ephemeral brevity. Shades of current sweetheart Laura Marling can be extrapolated in An Eclipse of Ships' tantalising wordplay and biblical scenery: tender and charming stories unfold in the mix, to allow a sense of balance to come through. 
An upbeat and joyous vocal performance give energy and rush to Dust In the Wind. Backed by yearning strings and pattering percussion, the song looks at the itinerant ("It's a long way from Manilla to Amsterdam") and vagaries and strife of life. The opening verse looks at a "poor wild gypsy girl": her head and love life a mess, it seems as though fleeing and escaping is the only possibility. After the trepidation of the opening verse, we progress to something more redemptive: opportunities arrive that are "too good to rescind"- our heroine switches course and becomes dust in the wind. The alluring central figure has David J in a trance. Dangerous of hips and alluring of charms, the gypsy girl throws off all suitors: there is an essence of Bob Dylan's Blood on the Tracks as our hero mixes stunningly vivid scenes with a tender but potent composition. With little more than percussion, mandolin, violin and acoustic guitar, we witness the seductress leave "sweetmeats and black lillies"- before departing and leaving our hero alone. Sweeping you up in a whirlpool of odd romance and intoxicating imagery, David J's voice is instilled with conviction, passion and wisdom- the vocal line is optimistic and never loses its smiling kick and sense of movement. Hot Sheet Hotel opens with a gorgeous and sweeping coda. Country-flavoured elements come through in the song's aching composition- matched by David J's soothing and tender vocal. In a house of lasciviousness, guests arrive incognito: cheap patio furniture is chained down and rooms are "rented by the hour." One may normally expect to find these kind of lyrics scored by electric guitar and full-bloodied vocals. Our hero brings the song to life with his swaying and determined vocal. As the tale comes to its conclusion, wives at home are "seeking retribution"- the no-good husbands that have cheated are getting their just-desserts. Humour and tongue-in-cheek (as well as other parts of the body) are fused to create a song that could easily fit on Leonard Cohen's I'm Your Man- there is that same wit and mixture of beauty and impurity. Offering some reformation and salvation is You Suit A Rainy Day. David J's voice matches the peppiness and pace of the album opener: here we investigate a more traditional muse. Visions of Tangled Up In Blue (apologies for going to the Dylan well) come to mind. Our hero's sweetheart works at a strip joint ("On the east side of Tinseltown"): amidst a sea of clowns and fools, our heroine is working her way towards rebirth. A simple and effective composition beautifully support David J's stunning fable. With storms brewing and a Victorian sofa waiting, our heroine smashes her glass and loses her phone- the sense of klutziness wonderfully blends with the poetic. In spite of the provocative weather, our hero sees his heroine in more palatial surroundings: on her way to the Grand Palais; lavish splendour would suit her just fine. Combining Rhodes piano and acoustic guitar, you get a wonderful sense of light and shade; stormy and sunshine- it is a song that makes you smile from start to end. Contradictions, perfectionism and vanities come to the fore in Little Miss Impeccable. Looking at the stars and the moon's trail, our hero follows the mess of contradiction. With her "burqa drag" and "Goth Lolita" wardrobe; Champaign giggles and drunken pratfalls- you start to picture a rather shallow and messy figure. David J's voice remains controlled and potent: he is caught up in the madness and wonder of what is unfolding- determined to ensure every word sticks. Displaying his gift for wordplay, our hero mixes apothecary and caprice with iTunes stores and lemon balm- once more the listener is afforded a wealth of rich imagery and fascinating story. Topped off with a fast-flowing and effusive vocal performance, Little Miss Impeccable keeps the album's sense of strength and ambition riding high. Inspired by real-life events, David J recalls being stranded in Japan. Yokohama Blues' emotive slide guitar adds weight and texture to a fascinating tale. Sipping sake by himself, our hero meets "this beautiful girl." Having had an auspicious last few days, the two converge to Yokohama (her home) where he receives a golden fleece. You can practically hear the grin on our hero's face as he is in her company. David J's vocal is softer- yet more romanticized- than previous numbers: backed by a Blues-inspired composition, his pleasure is cut somewhat short. Memories in mind as part of him wants to return home and his "part geisha, part go-go dancer." Visitation (Song for An Elegant Angel) sees David J let his darker tones do the talking. Recalling a "midnight apparition", our hero's voice is low-down and determined. Recalling memories- of his beau being a nerdy kid- "On a school trip to foreign towns", witticisms, romantic longing and off-colour remarks are exchanged. His lady of the night is an "Elegant Angel" (the production company she is contracted to); you can David J's voice possesses touches of Leonard Cohen- he has a steady and gravelled projection throughout the song- and the same lyrical talents. As the lovers exchange suggestive remarks, his girl dissapears- our hero wonders if she was "a digital download, alas!" (referring to the fact that the song is about a porn star). From the previous landscapes of Japan- we are now in Germany, In The Blue Hour In Berlin sees our hero hearing the cabaret calling: hitting the U-Bahn, he meets a perfect stranger- someone who causes him awe and admiration. The composition is sparse and simple as our hero's voice plays up front: it is more upbeat than its predecessor and instilled with a sense of playfulness. If the vocal has more energy at heart, subjects have darker back alleys: doom and gloom, cold eyes and oxygen deprivation mingle with hopes of romance and missed opportunities. As it is said (beautiful women) "disappear like phantoms", there is a sense of resignation in the performance- David J will miss them like "IV heroin withheld from a junkie." The listener is brought into Berlin night scenes: evocative and provocative images put you in the song and have you rooting for the hero- wondering whether he obtained the satisfaction he desired. Shades of Blood on the Tracks-Dylan come through (again) within Excruciating Allure. Looking at desire and unrequited love, our hero looks at what could have been: "The river rushed on" beneath hero and heroine; so near yet so far, it seems that David J's heart will go unsatisfied once more. Sleep alludes the mind as a "screaming hole" appears- to replace the image of his muse and sweetheart. Few other tracks on the album are as wracked and anxious than Excruciating Allure. David J is a man "Crushed by the screws/Of a lost posession"- with a heavy heart and rain in the soul, one of the most urgent and direct vocal performances is presented. "Calico and crimson" are the first images of La Femme de Montreal's beautiful soul. With mentions of a Leonard Cohen concert, you can't help feel that our hero has Cohen inside him: Being in Cohen's native country, David J weaves tales of trapeze artists, ice buckets and kisses that leave bruises: sexual liaison and death-defying double acts are explored and investigated. Boating one of the most memorable melodies and compositions, the track trips and weaves around our hero's hot-bloodied vocal. By the track's final seconds he elicits a breathy sigh- enraptured in the scenes and images he is weaving. Where The Bloodline Ends (Vasectomy Song) is as vivid as its title suggests. Humour and grizzled sarcasm linger within early words: lines such as "'Cos lust can lead to the sack and sin/And sin can lead to kin/So let's get this damn thing over with/Pass the Valium and the gin" will make you smile. Unwanted pregnancy and conception are at the forefront of the track. Our worried hero wants a steady-handed doctor to "...eradicate the prospect/Of a pregnancy unplanned." The middle-aged warrior does not want anything tying him down and ruining his winning streak. As he prepares to- with winking euphemism- "hang the pope", the drugs and anesthetics are administered: the bloodline is going to end with one simple- yet sore- procedure. After the surprising merriment and humour of the penultimate track comes our final number: The You of Yesteryear. Nervousness and self-doubt are examined as we look at a central figure: someone trying to recapture their past; she is selling all their old clothes and in need of moving on. Maybe an unpleasant lover has made our heroine transform and change: there is sympathy in our hero's voice as he continues his moving tale. David J's voice is at its romantic and sensitive peak: backed by a tender and powerful composition, there is hope (for the heroine). As she packs away her belongings; her fiery love life is replaced with glowing embers- those embers "Can still kindle desire." The track implores the subject not to change or cry: she is still a beauty and pretty special- ending An Eclipse of Ships on a redemptive high. 
Forgive my tumescent ramblings and long-winded reviewing: it is rare to come across an act that not only has had such a long and successful career, but one does not seem to have missed a step along the way. Similar to legends such as Dylan and Cohen, Haskins has no plans to abandon his passion for music any time soon. You can tell just how much music means to him: An Eclipse of Ships drips with emotion, fascination and urgency throughout. In my mind, there are few lyricists that are as talented and spellbinding. When reading the album's lyrics- I was sent a copy of the album for reviewing- I was taken aback by the brilliance and intelligence coming through. There are quite a few stunning wordsmiths on the current scene, yet few that have such a flair for story and projection. Having underlined a few lines in each track, it has given me inspiration for my own music: the mark of a truly great artist is one that compels your creative side when you listen to their sounds. David J has had a successful and prolific solo career, yet he has hit his peak here- it seems that he is as much in love with recording and performing than he has ever been. I know that he has plans to tour the album internationally; he will be making stops across the globe with the hope of connecting with as many fans as possible- if he arrives in London, I will be making sure I come and see him play. Haskins may have been performing for decades now, but it does not mean that his music is relegated and directed towards similar-aged fans: there is as much for teenagers and the young as there is for older listeners. A lot of modern music makes it moves based around the principles of heavy sounds and sheer energy: few newborn acts take the time to offer something deeper and more cerebral. I could spend hours dissecting David J's words; take hours out to get inside of his mind and find out what inspires him. As you can tell the artist has been creatively compelled by a range of different events. Evidently our hero has had an adventurousss and fun-filled (is that the word?) last few years- if it leads to albums such as An Eclipse of Ships then I hope he has many more! The former Bauhaus master has produced his most complete and stunning collection of songs to date. Divine songwriting, terrific production, multifarious compositions and urgent vocals make it a must-hear L.P.: in a year where most of my favourite albums have been synonymous with heaviness, it is a huge pleasure to discover something different. If you are seeking an album (and artist) that takes you somewhere rather special.. YOU are spoiled for choice here. http://www.youtube.com/watch?v=ZxJ5u9b_N04
After a brief percussive slam and pummel assault, James arrives on the mic. Flavor's newborn moments are packed with Indie and Punk rambunctiousness: the vocal line swaggers with alpha male roar and spit- it brings to mind the '60s/'70s Power-Pop/Punk heyday, and kicks the track off emphatically. Twisted, oblique and spiked words get the listener in inquisitive mode: "I was born not breathing/Since I've woke up everyday" are the opening lines, and harbour a mixture of teenager sentiment, anger and moodiness. The entire band is tight and completely in step with one another- you can tell they have been performing with each since high school. The percussive kick, guitar punch and bass strangle mean the words tumble, poke and blaze: a huge amount of emotional rush and headiness is elicited in the opening seconds. Mentioning "the victims of the U.S.A.", James seems in unsympathetic mood: "They all keep talking but have nothing to say." You can sense a feeling of unease and discontentment in our hero's tones: he seems aghast at the state of things, and utterly saturated by events. Whether referring to his fellow generation or addressing a wider malaise, you can hear the conviction and urgency come through: the vocal is hammer-blow and razor-sharp- it manages to twist and weave. Our hero modulates and teases his vocals; certain words are elongated and emphasised, whilst others are scattershot and bellowed- flavour notes of U.K.-based idols Alex Turner and Mile Kane come through in the accent and phrasing. Few young acts have such a sense of understanding- of classic Power-Pop and Indie- yet Twin Peaks come across as an established and legendary act: you get the impression you are hearing a fresh band from the '60s hitting their creative peak. No loose edges or open seams linger: the performance is constantly engaging and solid throughout the early stages. By the time we reach the end of the first verse, so much energy and campaigning has already been completed- you are hooked and compelled. The song's chorus ("Flavor your heart and your soul") acts as a truncated mantra: James's full-bloodied and epic vocal delivery is designed to get your arms pumping- and will no doubt get future festival crowds pogo-ing and leaping about muddy field (with excitement). After a thorough debriefing and missile strike, the boys swing round for verse two and a sense of personal revelation comes into the fray. Whereas the opening sentiments looked at victim culture and dislocation, new ideas point towards contentment and contemplation. James has been through a hard past ("I searched and drifted and grieved, man") in order to discover who he wants to be: the inflamed and viper-like delivery make every word sound wracked with desperation and need. As well as being accompanied in vocal unison by his band members, the individual players make their sentiments known. Frankel's guitars combine with James's: they are secondary (in terms of force) to the vocal, yet drive the song forward and instill a huge amount of grit and alcohol-fuelled lust. Dolan's bass is a muscular and taut monster; able to join the vocal and guitar together, it also contains looser corners- able to inject some cool detachment to proceedings. With Brodner's striking percussion ensuring the song never misses a beat, you get plenty of genuine classic Power-Pop pummel. James took a trip to the sea; laying beneath evergreen trees, he engages in self-assessment and discovery- concluding that he is best as he is and no need to change. The anxiety that stung within the opening verse ("It had me seizing up/and so the season's up") is reversed and eradicated: with this new-found sense of belonging, our hero seems in a better frame of mind- and ready to ramble on. After a reintroduction of the chorus, the electricity and bluster takes a back seat: tripping and twirling acoustic notes take its place, and offer a sense of relaxation and calm- for a brief moment at least. Once more for the chorus it seems: repeated and reinvigorated, it is the perfect end to the track- the listener is free to consider all that has come before.
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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...
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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: "
