ALBUM REVIEW:
The Bedroom Hour
Hinterland
9.5/10.0
Hinterland is available from 14th July via:
https://itunes.apple.com/gb/album/hinterland/id891780373
TRACK LIST:
Ocean- 9.5
Sea Without Water- 9.6
Nocturnal- 9.5
Heart Will Haunt- 9.6
Broken- 9.5
Sapphires- 9.4
Ghost of a Smile- 9.6
Ww/Me- 9.7
I See Suns- 9.5
Hinterland- 9.6
A Map Made from My Bones- 9.5
STAND OUT TRACK:
Ww/Me
DOWNLOAD:
Sea Without Water, Heart Will Haunt, Ghost of a Smile, Ww/Me, Hinterland
GENRES:
Rock, Alternative, Indie
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Previews of the album's tracks can be accessed via:
https://soundcloud.com/thebedroomhour
The album will be launched on 12th July at 10pm:
Night and Day Cafe, 26 Oldham Street, Manchester, M1 IJN
(The band will be available for drinks and a chat from 8pm)
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The Bedroom Hour have campaigned hard (to get their album made). With the backing of fans- plus a host of fresh creative inspiration- the Uxbridge five-piece present the stunning Hinterland: an album that marks them out as one of the most promising and essential bands in all of new music
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'FAMILIARITY' is a word that has several different meanings...
In life, it can breed contempt; in relationships it can create comfort- in music, it has double-meaning. The word can be applied to a lot of modern-day musicians: those that play music that is essentially the same as anything else out there. As an axiom to explain a sense of disenchantment (among music-lovers) it can cause mass shoulder shrugging- the amount of carbon copies and aimless nobodies. The word can also have another- and much more positive- meaning: bands and acts that keep putting out music and staying in your consciousness. A synonym for prolificacy- that which is conducive to high creativity- familiarity can be a very good thing- if a musician sticks around then they must be doing something right? To a large extent this is true, yet there are plenty of acts that obtain longevity due to unsavoury market forces and a meaningless sense of popularity. New musicians- who stick around and keep releasing material- do so because the public embrace what they are offering: my featured act are one of the most inspired and hard-working bands on the current scene. Here is a band that I have reviewed before- in fact a few times- and always come away from the experience with something new. On my last outing, I assessed their track, No Keys. That particular song was made available to anyone that donated to their Pledge Music campaign: the boys have been raising funds to put Hinterland together- due to the massive support that has come in, they hit their target figure. Not merely a B-side or studio 'outtake', the track was filled with stunning emotion, incredible moments and plenty of (stirring) anthemic vocals- hallmarks I have come to expect from the band. Before I investigate them in more detail, let me introduce the five-piece to you:
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."
The Uxbridge quintet have had a jam-packed and busy last year: their music gradient has increased and their output and trajectory has climbed high- bringing us to the here and now. I know how much it means to The Bedroom Hour: they have worked tireless making sure the L.P. is as strong and memorable as possible. With interests such as "Writing, Recording, Mixing, Festivals, Live Music, Unsigned bands, Rock'n'Roll, a few glasses of rum!", our heroes have intentions to take the album on the road: play to as many new crowds as they can; across new towns and locations. In addition to launching the album in Manchester (at Night and Day Cafe on July 12th), the boys will be travelling across the U.K.- playing new tracks and their older material. When we think of new music- and try to select the best that it has on display- it can be a tricky task: finding bands (and artists) that not only will be around for years to come- but have an exquisite sound- gets more difficult by the year. Too many short-term artists come (and subsequently disappear): our endeavouring five-piece are already making heady strides towards the realm of the mainstream: their sounds are ready-made for festivals and the airwaves; their output is uniformly excellent- here is a group you can hang your hat on and guarantee will not let you down. Being familiar with their past cuts, I am confident in saying that their current material is the strongest they have ever produced: the band are enjoying the business of music-making more than ever- inspired and propelled by the support from their fans, the sense of confidence and freedom runs rife throughout Hinterland.
Having assessed the guys on three separate outings, I can see a clear development (from their early days). Back in 2013, I reviewed Submarine and Slow Motion Cinema. Being some of the group's earliest material, there was a definite sense of eagerness and ambition that shone through- right from the very first moments. Both tracks presented different sides: the former looked at issues such as sinking, hopeless; redemptive longing and staying afloat- the song mutated and shifted design as it progressed. Possessed of vivid and deep lyrics, the song gets into your head and make you think. Incorporating influences of Kid A-era Radiohead and Elbow, the track had its fair share of pride, glory, atmosphere and intrigue- the guys took a lot of care to craft the song. Mixing metaphors of water and sinking; being aloof and trapped- the sense of dread and need to escape was evident. The latter looked at the loss of love: the hero implores and campaigns to his love "What would I do without you?" Slow-motion images and scenes are played back: heartache and longing are examined, backed by an emotive compositional coda. Both tracks look at darker and more subjugating issues- there is plenty of redemption and hope, yet the themes explore anxious and unctuous avenues. No Keys developed the band's sound: looking at existential issues and the loss of someone dear, the song deals with eulogy, questioning and letting go- similar themes are explored (with regards their past) yet the overall sound is more confident and full. Over the course of a year, The Bedroom Hour not only grew in stature and potency, yet employed new influences and direction. Whilst their early singles saw the embers of Doves, Joy Division and Elbow shine through; on No Keys, the boys seem more comfortable in their own skin: they introduce touches of their idols, yet come across as more empowered, unique and original. Hinterland takes this paradigm a step further: the album harks back to their early days whilst offering the listener new sounds and subjects- they introduce more positivity and upbeat ideals (broadening their sonic palette into the mix). The L.P. shows another leap of confidence: the five-piece sound more assured and meaningful than ever; their songs are bolder and fuller- they have searched their creative minds and struck gold. Whereas the quality was always there- from their first track- The Bedroom Hour bring more variation and diversity into their music: the compositions seem more layered and nuanced; the lyrics more striking and multifarious- the vocals stronger and more determined. For those that are familiar with the band: you will see and hear a definite progression and sense of confidence; for those new and fledgling: the sound of a band at the peak of their powers shines through.
It is true that The Bedroom Hour have mastered their own particular sound and make-up: there are touches and suggestions of other musicians that appear in their music. Doves and Elbow's Indie/Alternative-Rock sounds can be heard in some of Hinterland's tracks. When the bands (Elbow and Doves) are at their most emphatic and awe-struck, that is when the greatest effect is created. The Bedroom Hour incorporate elements of Cast of Thousands/Leaders of the Free World-era Elbow with Doves- their The Last Broadcast work sprigs to mind. Our five-piece have some melancholy and heavy-hearted thoughts, yet are able to present them in an uplifting and enchanting way. The quintet is able to summon up a world of sounds and layers to ensure that their songs never drag you down; instead lift you up and inspire sing along moments. Drummond manages to instill a little of Jimi Goodwin's (lead singer of Doves) plaintive and impressive croon: that same strength and quality comes through in The Bedroom Hour's music. When Payne backs up vocals, you can detect the anthemic and euphoric parabond crystallised. Pink Floyd and Joy Division also rank as influences (of the band). In the same was Pink Floyd were synonymous with their atmospheric and staggering soundscapes, The Bedroom Hour are adept at weaving elements and musical strands together- to create a full-bodied and hypnotic sound. Employing electronics, keys, strings, synths. and samples; the quintet marry '70s Psychedelia and Prog.-Rock with modern-day experimentation: not only marking them out from their contemporaries, but keeping their songs mobile, interchangeable and fresh. If you are a fan of Ian Curtis's demanding and urgent voice, you will enjoy Hinterland: there are suggestions of the late great across the eleven tracks- proceedings are never too heavy; Drummond has similar chocolate and velvet rich tones. There are not too many other influences I can point to; the band have a great modern sound- they are a fan of fellow acts Crystal Seagulls and The Darlingtons. Like these acts, The Bedroom Hour are able to inspire and delight crowds into a dance-crazy frenzy- capable of making them reflect on life and love. Our five-piece only sparingly incorporate obvious influences into their music: the abiding sensation is of a band that are vibrant and authoritative- possessed of a unique and special voice. For anyone that likes their music alive and energised; romantic and intelligent; uplifting and varied: you need to check out The Bedroom Hour.
Ocean perfectly opens up Hinterland: starting with far-off and building electronics, the atmosphere echoes and beckons- sensing that a distant ship is moored at sea, the combinations of '80s synths and moody and evocative sonics instantly intrigue. The listener strains their ear and searches for our frontman: the wash and soothing audio mantra compels and spikes the imagination- before long, a distant coo presents itself. The vocal is background and aching: an elongated and pained cry calls out from the ocean- whether an S.O.S. or a Siren's song; you can sense some a mixture of beauty and pain. Backed by a swirling and scenic composition, you become enveloped and immersed in Ocean- its call-across-the-waters mandate is a gorgeous and eerie opening gambit and unexpected treat. Most bands would open an album heavy and urgent: include as much force and directness as they can- thinking that the listener may wander off if they do not do so. The Bedroom Hour have an authority and conviction that makes Ocean such an appropriate opener: displaying their talent for composition- both musical and emotional- the combination of throbbing electronics (and sprinkling, rushing elements) act as perfect metaphors for the oceanic view. Some of Kid A Radiohead can seen in the track: that same ethereal and ghost-in-the-machine vocal that Yorke cemented shows some influence here. It is a tender and emotive number that leaves instant impressions: by combining '80s, '90s and modern-day influences- with their own individual voice- the band ensure that the mood is set right from the off. Whereas Ocean dealt with the expanse of water; the lure and loneliness of the sea, Hinterland's sophomore track looks as Sea Without Water. Following a brief magisterial rise, the track suddenly bursts into life- a juxtaposition to the opening, here the mood bursts, explodes and delights. A cheeky electronic kick gives the song a swagger and sense of purpose; the persistent and determined percussion gives it a strong backbone- bass and guitar provide a pulsating and measured heartbeat. Our frontman approaches the microphone- with a slight burden afoot. Allowing his voice to lengthen and emote, early words promise fractious emotion ("I have cried myself dry")- all is not well with our hero. Stating it is no wonder he is dying inside, the strains and realities of life are taking their toll- whether assessing a falling relationship (or other strains), you can sense the conviction of emotions. The rudderless lead seems aghast and motionless; stating "I'm sailing with no tide", the semi-operatic delivery that comes through is rife with pained emotion- blind in the sea, he is desirous of direction and support. With an effective and forceful composition- the electronics sway and rise like waves; the band inject passion and drive a-plenty- you get sucked into a tableau of disconnection and introspection. After an exhaustive outpouring, the boys combines to provide ballast: an impassioned and catchy (strange but true) parable breaks the tension- backing vocals are spectral and beautiful. Boasting a huge and animalistic vocal performance, our frontman roars and lets his lungs belt: not only making the track that much more emotional, but stirring the soul at the same time. The swirling and dark-toned guitar line that opens Nocturnal puts me in mind of early-Joy Division: twanging and arpeggio strings melt and conspire- before springing into life and flying into the atmosphere. The way the composition flourishes and grows- with upbeat and elliptical heartbeat- builds up the fascination. When our hero steps up, we are looking at a central figure: explaining that it doesn't matter what has happened; it cannot be changed. Singing of jealousy and fragmented love; our frontman sleeps through the day and is saddened: unable to picture his love with anyone else, it is tearing him up inside. An impressive and atmospheric rush backs up the urgent and emotive vocal- there are stadium-sized anthemics at work here. Gorgeous and flowing guitar notes twiddle and race: seamlessly representing our frontman's pulsating thoughts, they whip up a sense of daze and delirium. Whoever is on our hero's mind, it is causing heartache and strain- pulverising and punchy percussion emphasises this towards the song's end. It is perhaps the intent and sleep-deprived chorus that stays in the mind (longest): delivered with a sense of regret, you can picture our frontman awake at night- wondering what could have been, and where things went wrong. A ticking and thudding heartbeat opens Heart Will Haunt. Less emphatic- in the early stages- than previous numbers, it allows the mood to settle and relax. When the words are delivered, they are done so with consideration: the lines are projected with weight and (slowed) pace- ensuring that the meanings and sentiments get inside your thoughts. The heroine is letting silence take over her: our man seems fed up and at breaking-point. The vocal is once again operatic and stirring: he is thinking of the girl, but it seems that no good can come from it. Having put a hex on our hero, his sweetheart "still haunts me": her green-eyed beauty lingers in his brain. The band keep the composition potent but understated- during the verses- the vocal is given a chance to shine through and pervade- during the chorus extra weight is lended but it does not encroach on the foreground. Heart Will Haunt never lets its sights slip: the sensations and memories that flood back are doing their damage and leaving him hollow. The entire performance here is tight and considerate: each musical element adds to the beauty and potency of the track- there is no needless energy or noise; everything is detailed and perfectly deployed. Grumbling and rumbling bass gives Broken a shadowy and crepuscular beginning: punctuated by wailing string, a galloping (but light) percussive beat builds up the sense of danger and bloodlust. The affected frontman is being taunted and affected by words; feeling the strain he wonders when his brittle bones will "crumble beneath me": it seems that too much hostility and anger has been shot his way; he cannot take any more. Proceedings are kept compulsive by the band combination: the vocal is not heavy or foreboding- it is passionate and strong- tantalising and picturesque guitars summon up a myriad of images; the bass ensures that they reflect our hero's deepest feelings. The chorus allows the frontman to strike and rebel: belting the words emphatically, the wolf has been scarred and is fighting for his life. Embers of Bruce Springsteen and Guy Garvey come through when the emotions become too much: whilst repeating "I'm broken", the most powerful moments are elicited. By the time the song comes to its end, you wonder how our frontman will fare- it seems that he is trying to keep going but is fighting the war alone. Sapphires picks things right back up: the composition is temporized and measured; the vocal calmed- in the opening exchanges- and words more redemptive. Our frontman knows that sub-zero temperatures could never freeze the air his sweetheart gives: the breath she provides can withstand the steeliest of weathers. Images of single sapphires, romantic dance and longing are all painted: whoever his desired love is, it has caused enraptured, spellbound paen- with another powerful vocal, it appears that the anxieties (that lingered in previous numbers) are starting to wane. A rousing and stately composition adds flames to the fire: as our hero is lost in his thoughts, the band ensure that the track's tender images are given incredible resonance and consideration. Capable of inspiring hundred of gig-goers (to get their hands swaying in the air), the sheer conviction of the vocal makes the song a charming and romantic air: not only acting as a welcome emotional respite, but showcasing another side to the band. Wasting no time for lay-in, a powerful and grand piano roll introduces Ghost of a Smile. A god is being offered (that our hero) will never see: self-doubt and introspective topics are being investigated. Not knowing who he is, our frontman can see so much resentment "inside my own reflection": it appears that some examination and answers are required. As the powerful and passionate vocal looks inwards, the composition pushes outwards- perhaps the most accomplished one to this point. Jazzy and catchy strings play the one moment; insatiable keys the next: the range of sounds and moods is incredible. While biblical inspiration is being offered forth, it seems that the answers- to the problems at hand- reside inside of our hero: too many demons linger for them to be eradicated by false messages. The band manage to stir up so many layers in the song: the composition is ever-evolving and fascinating; the vocal mutates and shifts- the lyrics are simple yet highly evocative. Possessing the same kind of flair, musicianship and quality (the best bands of today offer), Ghost of a Smile is a mid-album gem that leaves you excited for what is to come. Ww/Me comes as a big surprise: a choral and gospel-style intro. mixes celestial beauty with shimmering light- if you thought the title was intriguing, the first few moments (of the song) are even more so. Leaving the Evangelic dust behind, a stirring guitar and drum duel turns the song into something more driven and lustful: scoring a song that speaks of doubts and poor horizons, it is a tantilising beast. The vocals are suitably inflamed as all of the doubts- the stresses and the negative outlooks- are "world war me": a state of mind that will see casualties for sure. Previous songs have kept firm with a particular path, projection and pace: here there are multiple parts and changes of scenery. Following from the firm-headed and straight-ahead mentality- that was seen in the composition- the atmosphere changes: guitars wail and rattle; the percussion clatters and pervade recklessly; the bass snakes and strikes- before the chorus comes back into view. If you are going to represent internal angst and warfare in a composition, then you should hear The Bedroom Hour's interpretation: at 2:24 the guitars howl and scream in the darkness; they ramp up and expand with menace and ghostly cries- the percussion never stops cantering and pummeling. Unleashing a firestorm of sonic lust, our frontman- Drummond and Payne combine on vocals- states that it is "do or die": caught in a quagmire of regrets and doubts, he needs to take action- the mobility and rush of the composition gives the impression of our hero running towards a new life; desperate to get away from the existing one. A breezy and Pink Floyd-esque mandate opens I See Suns. Apocalyptic imagery and suns that blind "set fire to skies": the vocal is matter-of-fact yet powerful; never overwhelming, our hero remains relaxed and firm to begin. Backed by a driving and gut-punch band performance, the song never loses fascination- each member combines wonderfully to whip up a sea of emotional sound. Our frontman sees mankind slipping through the smoke of every fire made: standing atop a mountain, the message carries weight- there is no smoke without fire too. Intriguing and oblique, it appears that a general state of affairs is being examined. Spurred on by twanging and funky bass; buzzing and hornet storm electronics (topped off with belting vocals), the song gets inside of your mind- wondering just what has inspired this missive. As you get wrapped up in the atmosphere and huge rush of the song, you hope that it will not end- before you know, we are in the final moments and left to soak in the rally cry that has gone before. Whereas I See Suns sported perhaps the album's most diverse composition, the title track tries to top it. Starting faded down- with our frontman's voice distant- the volume builds and builds. Swelling electronics and clattering percussion beautifully combine to score a tale with a foreboding message: we all take from the sea, and one day we shall return here. Whether referring to the state of the climate/world- or something less potent- you cannot deny the sense of purpose and meaning: in-between these events, we all need someone to love. Being the shortest track on the album (it clocks in at 1:18), everything is dealt with quickly and succinctly; the core belief is thus: every person longs and needs love. It is impressive just how effective the sprite track is: building up so much emotion and grandeur, it hits you instantly and leaves you wanting more- as has become synonymous with the songs on the album. Keen to quell your thirst, A Map Made from My Bones ends Hinterland. Once more, we are treated to a hymnal and ethereal intro. Less emphatic and stated as on Ww/Me; nether-the-less it perfectly opens the song. After a modicum of refrain, the song bursts and bursts: a pulsating and awe-struck sonic rises; the energy flourishes suddenly- our frontman has some choice words. His love breaks easily it seems: fragile and frail, she seems to shatter at the slightest provocation- dumbstruck and alone, she is in a place she does not know. With a typically defiant and urgent vocal, the song's suggestions inspire vivid thoughts. Whether referencing an ex-love (or a friend), our frontman advises "Don't be so afraid": compelling her to keep going, he will provide a map from his bones. Earlier numbers have looked at loneliness and recrimination, yet it seems that the album will end with something redemptive: the crystal-boned heroine looked like she will smash into pieces; our frontman offers some form of helping hand- his words are hot-bloodied and filled with emotion. A fitting swan song, A Map Made from My Bones provides axiomatic 'Bedroom Hour components: an emphatic and dizzying composition; a huge and powerful vocal- combined with compelling lyrics )that the listener can empathise with).
'Hinterland' roughly translates to 'an area lying beyond what is visible or known'; the lands and recesses away from the coast that few will ever witness. It is a fitting title for an album filled with treasure and far-off islands. From the opening numbers- that spoke of oceans and open waters- through to the title track's climatic messages; waters, islands and distance feature heavily. This is not just employed literally: emotional seas and depths are explored; those thoughts and feelings that are buried dark are investigated and highlighted. Hinterland is an album with a huge amount of depth, fascination and nuance: the songs are immediate and urgent; revealing new layers upon each new listen. The perfect tracklist means that the emotions and weight is well-balanced: the quality never drops and heavier moments are not packed together too tightly. This all leads to an L.P. that seems to get better as it goes on: a lot of albums lose edge towards the end (Hinterland contains some of the best material here)- it leaves you wanting more when the final songs finishes up. Before I conclude, it is worth mention the band themselves. Drummond shows himself to be one of the most impressive and powerful vocalists there is: his huge and captivating voice makes each song sound essential and filled with conviction. Whilst there are hints of Guy Garvey and others, you cannot deny Drummond has a unique set of pipes: he can run a range of emotions and colours; go from soft to overawed- few modern-day singers have such a compelling voice. Hinterland would be weaker in lesser hands: it is the conviction and sense of purpose Drummond puts forth that means you re-visit songs again and again- keen to witness the man put his heart on his sleeve. Payne's vocals add huge weight and support: it is rare to find one great singer in a band, let alone two- they remind me of Wild Beasts in that sense. When Drummond and Payne combine, some of the album's most electrifying moments are elicited: the guitar playing is phenomenal and stunning throughout- Payne is able to say so much with few notes. Seamlessly limitless, he ensures that each of the eleven tracks (on the album) are stamped with his authoritative guitar notes: bringing a sense of vitality and emotion to every track. Cooper's bass and Cosham's percussion are mighty twin pillars. The bass keeps everything in check and controlled: ensuring that the songs move forward- but do not wander off- the performances are wonderfully assured and confident. Cosham's ecstatic and potent drum work keeps the band's back strong and firm, and the duo act as guardians: they make sure order is kept and everything is disciplined- in addition to adding incredible passion and emotion throughout the album. With Dudley's keys and synths. providing excitement, headrush and strength (plus some wonderful hints of Joy Division), the entire band are tight and impressive throughout. There are no weak or lesser tracks to be discovered: each song provides something remarkable and memorable. Few musicians could create something so confident and essential (so early in their careers): The Bedroom Hour instill an immense amount of impact into each of Hinterland's eleven gems.
Having concluded three previous reviews of The Bedroom Hour, I always come to the same decision: here is a band that has a huge future ahead; that know who they- the inspiring and compelling music should be listened to and enjoyed by everyone. Today is no exception: Hinterland is testament to a group that have no intention of retreating into the shadows- the band's trajectory will see them go from strength to strength. Their previous singles (and work) impressed me hugely: the depth of sound and stunning sensations presented not only stay inside your brain, but connect with something deep down. The guys have worked tirelessly to ensure that their current L.P. is a fitting representation of their true potential- on that front, they should have no fear. Contained of no lesser tracks and moments, the album is a huge triumph from five men that are among the most impressive musicians in the U.K. The band realm is a hugely competitive and busy network; the likelihood of huge market share is slim at best- many acts fail to overcome the hurdles and limitations put in place. One of the biggest issues- when bands fail to make an impression- is the sounds on offer: few take the chance to differentiate themselves from the rest of the crowd. The fact that bands such as Crystal Seagulls are on the rise is that their music is inclusive and universal: they want everyone to listen and be enraptured by their songs. The Bedroom Hour have ensured that their future will be prosperous and assured: their music is intelligent and varied; their songs are packed with insight and fascination- you come away from listening with an inspired mind. It is clear that more music will be coming from the group (in years to come), so it is important that as many people as possible connect with them- few contemporaries have such a drive and sense of urgency and passion. I know that the guys will not rest on their laurels or take it too easy (just yet): they have gigs and promotion to complete; plenty of faces and ears to seduce- they will want to take their music as far and wide as they can. It doesn't really matter what your taste in music is: if you prefer things to be heavier or softer- if you want to find something that ticks all of the boxes, you need to investigate the band. With every step and move, they are building on what has come before: ensuing albums and E.P.s are likely to show fresh inspiration and showcase new tales and developments. For now, the Uxbridge band of brothers have unveiled something that is likely to soundtrack many people's summers: Hinterland is an album that should be blared from car stereos (as you cruise through town); accompany get-togethers and parties; seduce quiet moments- where you need to think things through. If you have not gone onto iTunes to pre-order your copy...
DO so now.
https://soundcloud.com/thebedroomhour/heart-will-haunt-preview
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The Bedroom Hour's music is accessible at:
http://www.thebedroomhour.com/#!music/cdeb
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Gig dates available via:
http://www.thebedroomhour.com/
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The Bedroom Hour news accessible at:
http://www.thebedroomhour.com/#!news/cwt0
A typically evocative and scenic intro. welcomes in Rain: it is gentle and graceful with plenty of atmosphere and intrigue. The piano notes glide and beautiful roll; the audible sound of rain puts your mind right in the song- yearning and aching strings cascade and flow. Before Masri approaches the microphone, the composition transforms slightly: arming itself with a charming kick, the instruments grow larger and more emotive- the tone seamlessly blends upbeat and sunshine with romantic and introverted. Our heroine's voice is instantly urgent and impassioned: there is no sense of fear, yet she is compelled and keen to get her message through. Whether speaking to a missed friend- or a lover perhaps- Masri attest that "It's really good to see your face again": the soulfulness and delicacy that emanates forth makes you smile and melt into the song- picture what is being described and let the beautiful vocal take effect. Masri finds herself returning home and glad to see that nothing has changed: she is in love again and realises all that she had before. Perhaps an old flame is back in Masri's acclaim; you can hear the passion and sheer sense of comfort present itself in the early stages: with a crystal-clear and delectable vocal, it is impossible not to be won over by Masri's charm and seduction. Delirious and overcome, Masri is in love and wants to experience everything she can: an aching heart has been quelled and comforted it seems- whether it is a romance and kinship that continues to this day, I am not sure. By the time we reach the chorus, it seems that reflection and reality is being surveyed: Masri attests that you can never stop the rain and the harsher elements of life; only wish "for a better rain." Whether an explosive love story has found some limitations or our heroine is open-minded, there is never any caution or reticence in her performance: that bright disposition keeps events positive and inspired- with emotive and augmentative vocals and a tender guitar line, early sentiments are soothing and motivational. As the song progresses to its next stage, our heroine shows some humility and concern. The relationship- as it is made apparent- broke down and dissipated (perhaps forcing Masri from home): the hero was left hurt and scarred; the wounds appear deep and fresh- Masri wonders why he let her treats him this way. It is a rare angle to find in a song- there is genuine regret that comes through; the heroine wants to make things right and eradicate any bad feelings that remain. As the tender percussion starts to hit a little harder- the backing vocals more soulful and insistent- it seems that thoughts and feelings are being kept bottled in: the hero clearly has something to get off of his chest; without doing so there is no chance the relationship can be repaired. Desperate to broker a deal (that means they can be together), Masri keeps her emotions in check: the vocal keeps its back firm and heart sturdy- only occasionally do you sense a slight chink in the spirits. The subject and nature of rain comes through literally as well as metaphorically. The sense of natural storm and emotional turmoil combines splendidly: one gets the impression the rain beats down outside, as the two sweethearts try to find common ground and compromise. Before a fresh conversation is brought into the room, Masri steps away from things: wordless coos and swooping (and soaring) vocals mix with backing vox- it not only provides an audible sense of light and relief, but adds incredible beauty to the song. When our heroine allows her confessional side to come out; she admits that she should not have walked away- perhaps she did not give the relationship time to flourish and grow. Perhaps her beau was not as attentive as he should have been- Masri felt (at first) she could do better. Perhaps the two were in different head spaces: her love has belief (in her) and was keen to nourish and support; maybe having waited too long, the relationship and passion faded and lost its spark. The issues that are deeply ensconced are those which cannot be eradicated: they cannot return to how things were; only hope that the same mistakes are not made again. Before the song reaches its conclusion, evocative and emotive piano notes come back to the fore: reminding me of Kings of Convenience and The Cinematic Orchestra, there is a combined feeling of stirring emotion and hollow longing- a certain coldness seeps through the warmth. The way the vocals- in the background- rush and campaign has a very contemporary feel: U.S. Pop and Latin-Pop makes it impressions. As our duo reach the end of the night, there is nothing really left to say- they need to clear their heads and figure things out. Masri ensures that there are no wasted breaths and notes: the final moments see a gorgeous and spellbound piano coda combine with strings- making you reflect and hope that things will work out okay. As Masri- for the sake of transparency- re-introduces the chorus' core ("You can never stop the rain") she remains strong- you feel that she knows things will not work out as she had imagined; this love story is far from over...
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With its effects being felt long after it has completed, Cinnamon is a track designed to bounce around your head: it holds mystery, oblique potential and plenty of energy and passion. I have mentioned Nirvana's Nevermind a few times- I understand that the Seattle legends cannot be toppled here, but lend their influence out- and The Dirty Nil fit comfortably into this mould. They are not simply trying to rewrite history or include a further hidden track into the 1991 masterpiece: they are their own men and have a distinct and native soul. If Cobain's spirit lingers in some of the vocals, then Punk masters contribute to the lyrics: that sense of rebellion, detachment, anger and defiance is giving a fresh coat of paint and new lease of life. One of the great things about the track is the open nature of the words: at first I felt that political issues were being batted about; towards the middle of the song, events turned to personal and introverted quarters. The band themselves know just what they are trying to say, yet cleverly leave space for the listener to write their own version- everyone will have a different movie scene projected against their mind. Displaying a knack for precision and concision, The Dirty Nil get everything off of their chest in two-and-a-bit minutes: so much weight and ground is packed into the song, that it can be quite dizzying. Of course the trio have every intention to disorientate and intoxicate: the performance is determined and hard-hitting to the max: each player steps up to the challenge and makes sure that the listener is sucked into their vortex of song. Highlighting the leap forward the band have taken, the production is solid and clean; the sound is a lot deeper, richer and more developed than their embryonic days- the performance are especially confident and convincing. Whether this is a one-off apparition or a sign of what their future holds, it is great to hear a young band that are so mobile and prolific: their output is not only consistent and impressive but they manage to cover a wide spectrum without ever compromising their intuition and D.N.A. Few U.K.-based acts have a knack for blending genres and periods of music: three decades and three genres are incorporated within Cinnamon- I am sure that upon hearing the song, some of our homegrown bands will find inspiration and direction. It is not the fact that groups here are more mature and reserved, it is just the fact that we can not do youthful dissatisfaction and Punk-ridden anger that well: there are a few groups that can but many more come across as petulant and insincere.
Chess has been inspired by some of the greats from music. Soul legends such as Ella Fitzgerald, Elkie Brooks and Aretha Franklin inspire her more passionate and tender tones: if you listen to T.T.T. (Things Take Time), you would imagine that one of those illustrious goddesses were being witnessed. As well as having a gorgeous and rich voice, Chess elicits the biggest shivers when she allows her voice to climb and belt. With Christina Aguilera, Tracey Chapman, Lady GaGa and Chaka Khan ranking as heroines (of Chess) you can detect a little of their essence in the music: that same ecstatic passion and raw power that they incorporate in so many of their classic numbers. It is not just female quarters that stand in our heroine's camp: aforementioned legends Freddie Mercury, Prince and Michael Jackson are hugely important idols. Like Prince and Jackson, Chess is able to allow her huge range to cover a gauntlet of emotions and subjects: she has the same ability to go from a charming and childlike coo to rampant and hot-bloodied scream- making her music that much more flexible and stirring. Prince is renowned for his soulful sexiness and sweat-inducing passion: throughout Tuxedo you could hear that same ability and talent. Stevie Wonder also enters your thoughts- when listening to latter-day Chess- few can ignore our heroine's affection for the U.S. great. In short, if you are a fan of the greatest and most impressive voices, you will discover much to enjoy and recommend. It may be a few more years before the Maltese Siren climbs the heady heights her heroes have there is enough potential and passion in her voice to ensure that it is a distinct possibility. The twin elements of passion and power make Chess's music so authoritative and white-hot: if you prefer your sounds to be empowered, inspirational and uplifting, then you should definitely investigate Chess in greater detail.
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.
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...
