TRACK REVIEW:
Indiana
Heart on Fire
9.3/10.0
Heart on Fire is released on August 24th. It is available to pre-order from:
https://itunes.apple.com/gb/album/heart-on-fire-single/id880851717
℗ 2014 Sony Music Entertainment UK Limited
The album No Romeo is available from 1st September. It can be pre-ordered from:
https://itunes.apple.com/gb/album/no-romeo/id877685078
℗ 2014 Sony Music Entertainment UK Limited
GENRES:
Alternative, Electronic, Trip-Hop, Dance, Pop.
_______________________________________________________________
Her album No Romeo is released in September: it will be the first L.P. from one of the U.K.'s most exciting talents. Few others possess the same majestic voice and stunning sound as Indiana. If you have not experienced the thrill-ride and mesmeric beauty of the Nottingham-born heroine- investigate the wonders of Heart on Fire.
____________________________________________________________________
OVER the next few days, I am...
going to be reviewing two very different female artists. Later this week I will be featuring Little Sparrow: a Manchester-based artist whose Wishing Tree album is gaining excited whispers and great applause. Being familiar with Little Sparrow, it is not surprise her album is so effective and memorable: she is one of a few young acts that is likely to have a very big future. In so much as I love bands and what they do- the range, excitement and sound they provide- it is always great to find a terrific solo act. The guys- in the mainstream at least-- have been making some impressive headway. I have mentioned the likes of Sam Smith- endlessly, in fact- but Ed Sheeran (not a fan, but people like him) and many other young stars are making impressions. When I look at female talent I am getting rather excited: some of the voices and acts I have heard coming through are among the most exciting musicians in the world. In my pages, I have assessed everyone from Annie Drury to Nina Schofield- two young solo acts that are starting to get tongues wagging- I find that the same after-effect is elicited: they will be very big this time next year. Indiana is another artist I am confident is going to be unfamiliar to nobody very soon- many music sites and radio stations have already proclaimed her one of the most promising acts of the moment. The Nottingham-based artist has a voice and sound that is compelling a wide range of listeners. Mixing '80s synths. with of-the-moment vibrancy, her music has been inspiring new musicians around the world- so many fans have connected with it and have been waiting in anticipation for new material. Not too much is known about the young heroine. Her Facebook, Twitter and online sites are filled with photos and her music- little is known about the woman behind the music. In a sense is creates a sense of mystery and intrigue: it would be great to garner and learn more from the young wonder- find out what makes her tick and who inspires her music and mindset. I was made aware of Indiana by a music contact, Phil Cass: expounding the virtue of her voice, I was compelled to dig a little deeper; seek out her music and see what all the fuss was about- the effects were quite transformative and profound. Across the years, I have heard a great deal of new female musicians: some are fantastic and linger in the mind; others stick around for a while- most tend to subside and dissipate after a few tracks. It is the nature of the music business today: with so many different artists pervading and electioneering, it is incredibly difficult making yourself known and remembered- the sound you offer has to distinguish itself from the raft of like-minded peers. Before I continue on this point- and mention Indiana more- let me give you a (small) biography:
"Indiana is a Nottingham, UK, based artist making music with 80's inspired synths and haunting vocals. Her EP Smoking Gun features the tracks Smoking Gun, Blind As I Am, Animal and her cover of Frank Ocean's Swim Good and is available on iTunes on 30th June, 2013."
Indiana has an alluring and tender beauty: being young, she projects a sense of innocence and tenderness- there is plenty of passion and soul behind the young heroine's eyes. The fact that she has already released so much material speaks volumes about her potential- I shall touch more on this a bit later. Before I investigate Indiana's music, I want to mention the current scene: the acts and artists that define today's music scene. When I look at mainstream artists- and what they are saying- I find myself looking for a whole lot more: there is plenty for everyone, yet it seems that there are gaps; something is missing- new and fresh artists need to come in and fill the voids. I love the likes of Smith (and his ilk), but feel that the mainstream is still defined by a slightness that is putting off a lot of listeners. For every credible and incredible solo artist, there are dozens of weak and terrible examples of the breed- whilst typing this I was struggling to make a list of great sole talents. It is still the case that bands are pulling in the big bucks: solo acts have their market share but are doing battle with the much sought-after band dollar. The way to remedy this imbalance is to proffer the best that new music is providing- encourage the finest young acts coming through in the hope that they will add diversity, quality and balance. The great thing about new music- as opposed to mainstream acts- is the sheer range and width of talent- every genre, sound and sight is covered. Funereal and grand organ-based Pop songs; tender and stunning Soul movements; emphatic and upbeat Electro. classics- whatever your particular tastes, there is something out there for you. One of the big problems- when it comes to putting the best newbies in their rightful place- is the communication links on social media. There is still too much homogenisation and balkanisastion: fans and music-lovers are sharing certain artists (with their friends and followers), yet that is as far as it goes: the buck stops there; the music is not being passed on further- meaning it often does not reach some very eager and hungry ears. I shall not go into too much depth on this point- lest I scare everyone off- but we are in danger of missing out on some truly wonderful acts: fresh and ambitious artists like Indiana should not be overlooked or ignored. The early signs are very promising: her demand and appeal is shooting up; her songs are getting stronger and more focused- it seems she is going to be someone we are going to hear a lot more from in the future. In order to explain why, I better get down to business...
Bound was one fo the first things to arrive from Indiana. Displaying a romantic and tenderly gorgeous heart, it sees our heroine presenting a softer and more introverted number. Later work would see her offer bigger and bolder compositions, but here the emphasise is on something sparser and more considered: the incredible vocal is what you concentrate on. Our heroine feels weak in love; compelled by a dangerous voice, the serene and smooth voice brings the words to life- you cannot help but to feel a sense of lust and desire seep through. The songwriting is strong right from the very start: Indiana mixes some familiar and common themes with a very distinct writing style- the way she presents her stories and characters separates herself from the masses of unoriginal and uninspired solo acts. There are those hallmarks- that would go onto to synonymised her work- but in the intiail phase, Indiana was intent on making a firm step: too much experimentation may have crowded the song and put off some listeners. Following on from Bound; Smoking Gun marked a step forward- that was emphasised on Mess Around. Later work would be defined by more full-bodied and evolving compositions: here, the track has a pace that does shift but is not as expansive as the likes of Heart on Fire and Solo Dancing. That said, some of Indiana's experiential touches and considerations start to come through. Portishead and Massive Attack perhaps are the biggest influences: those cinematic and swelling loops and samples are presented in the track. Indiana's teeth are showing here- as they do in Mess Around- they impressive to see: someone is in her head and our heroine wants to hurt them just for fun. Whether a dishonest boyfriend or an unpleasant friend, Indiana showcases her tough and more determined side: throbbing electronic and quick-fire beats summon up a host of atmosphere and hard-edged danger- oddly, you find yourself rooting for our heroine throughout the song. Her voice is even stronger than on Bound: she lets her darker and more breathy edges work alongside sweeter and elliptical layers- giving the song extra weight and potency. Mess Around saw another leap forward for Indiana. Adding in juttering and burbling percussion (and stuttering electronics), elements of Bjork come through in this number. The vocal is delirious and strong; captivating and entranced- breaking away from Bound's more romantic and softer line. This is the first real taste of modern-day Indiana: big and changing electronic beats crackle and sizzle; Trip-Hop and Dance elements combine to create an evocative and hugely atmospheric track. The track contains a catchy and unforgettable chorus; Indiana's voice firm as she asks "Don't you wanna mess around?." The biggest shift from Bound- aside from the sound- is the themes of the song. Our heroine lets it be known that suffering completes her; she has vengeance on her mind: perhaps a no-good man has playing around too much and is prime for a downfall- the conviction that is displayed throughout is infectious. A bolder and more emphatic cut, our heroine develops superbly from her debut- the quality is still as high and unique as it was then. Solo Dancing is a step away from Heart on Fire. The song looks at Indiana dancing by herself: backed by heavy synths. and primal beats, it is a heavy and hard beast- our heroine has chosen her path and is determined not to break from it. Strings and orchestral undertones are mixed together to give the song a richness and fuller sense of emotion. Indiana's voice is both smoky and smooth: remaining composed for the majority of the song, she wins you over with her mesmeric and captivating tones. The track has its heart in the clubs and on the beach: there is sunniness and sense of energy that pervades; a rush and deliriousness that compels you to move and dance- not necessarily solo. Backed by stuttering vocals and beats, there is an element of danger and menace lingering beneath the surface. Being one of Indiana's most recent works, it is filled with confidence and renewed strength: her early days saw our heroine bold and brash but here her sound is even more assured and stunning. Mixing in her past work- injecting new elements into the mix- Solo Dancing brings new topics to the table: she wants to be on her own and has clearly suffered some sort of set-back. You can hear the emotion in her voice; there is a strain of vulnerability beneath the surface- at the core is a determined and strong vocal that says everything will be okay in the end. Heart on Fire draws from past songs and sounds: it brings all of her threads together and augments her majesty. The latest song has all the dependable beats, electronics and grand compositional cores; the incredible and emotive vocal is all there too- Indiana's songwriting and sense of passion has grown (once more). No Romeo will be an exciting album to witness as our heroine gets more confident and assured by the release: in Heart on Fire, she brings in new stories and topics- revelations and personal events have compelled her to write her most immediate and fantastic song to date.
It is really quite difficult comparing Indiana with any other act. Her voice is so unique and special that you get wrapped up in it- I have been trying to think of similar acts but have come up blank. I guess you could say she has essences of a few familiar artists (in her tones and projection). When listening to her past work, I get a flavour of Bjork come through. Similar to the Icelandic queen, Indiana has a distinct smokiness and whisper: that Bjork-esque accentuation and style broke its way to the surface. When Indiana lets her voice climb and sit in the middle range, I could hear some of Bjork's Post-era work make its mark. It is not an obvious comparison, but it is an impressive one: few modern singers have that distinct edge and sound- Indiana manages to invoke a lot of Bjork's beauty, passion and underlying darkness. As her compositions are busy and full- containing electronic beats and percussion- Bjork also came to mind: when you listen to Indiana's work, (her best work) contains tumbling and stuttering percussion; shadowy swathes of orchestration; pitter-patter electronic heartbeat- creating emotion and scintillation. Indiana has a great ear for composition and mood: her songs elicit weight and power in spades; some of her songs are an equal match for Bjork's most intense and memorable work. If you are a fan of early-career Moloko, then you may find some recommendations in our heroine's work. Roisin Murphy (Moloko's lead) has a voice that mixes breathy and sensual tones with electrified and urgent rushes: Indiana has a comparable balance in her voice- at times I heard a bit of Moloko come through. If you step away from the vocal comparisons- it is hard to really tie too many artists to Indiana- it is the sound that may house more similarities. The likes of Portishead and Massive Attack sprung to my attention- when assessing numbers like Smoking Gun and Dancing Solo. These songs change pace and style: they have tender and calm moment before rising and swelling with force- they put me in mind of the glory days of the Trip-Hop/Dance legends. Able to fuse the most dynamic and exciting aspects of Eletronic, Trip-Hop and Dance, Indiana has mastered the necessity of atmophere and quality: her songs tangle strings, beats and stunning electronics into an exciting boiling pot. Maybe some of Beth Gibbons (lead singer of Portishead) presents itself: that same inimitable and distinct vocal has made an impact on Indiana. Our heroine employs shades of Third-era Portishead: not only in some of the vocals but the sound of the compositions. It is rare to find a talent that has this overall sound and sense of authority: too many solo acts do not project that much potency and excitement in their music- Indiana is a breath of fresh air. With undertones of Lana Del Rey creeping into the background (of some of the tracks), she clearly has a huge range and a very impressive sound. It is unfair of me to lump her in with any of these artists. It is true that she can- and certainly will- match the same sort of intriguing highs as Bjork, Massive Attack and Portishead: our heroine's music is more individual and personal- modernised and unique, it only possess embers of the aforementioned. It is the voice itself that has been gaining the most fevered praise: a singular instrument that makes all of her songs so essential and ethereal. Instilled with a maturity, duskiness and tender beauty, it is capable of presenting multiple colours and emotions. A lot of modern singers are too limited and focused when it comes to the vocal: Indiana keeps her personality firm, yet offers so many different takes and diversions- one moment something dark and foreboding is at work; the next a more redemptive and delicate side comes through. If you want to discover an artist that truly stands apart; takes you back with her incredible voice and amazing music, then seek out Indiana- you will not hear anyone else like her come along.
Fascination and energetic urgency ensures that Heart on Fire makes instant impressions. An echoed and hypnotized vocal lodges straight into the composition: swaying and rhythmic, it is an unexpected way to begin proceedings- instantly you are drawn in and excited to hear what comes next. Backed by slight and pitter-patter percussion- in addition to a sweeter backing vocal- and sighing, aching electronics; a heady and exhilarating atmosphere is built up- something grand and huge is upon us. Just a moment before our heroine comes to the mic., the composition changes: the gentle and teasing beginnings transform into blood-rush electronics- see-sawing their way into the mix, they have a symphonic urgency and rush that catches you by surprise- as your mind and brain are transposing one another, the first words are uttered. Indiana is in a buoyant and positive mood ("I really wanna make this happen"). Her vocal is soothed and romantic: tiny flickers of lust come through a sound that is confident and meaningful- it seems that she wants to take the fall. My first impressions concern romance and longing love: it appears a brave and huge step- committing to this person- but she is ready and prepared to do so- clearly they mean a great deal to her. The words are delineated with consideration for mood and emotion: the pace is slowed to allow each word to come through with clarity; there is a pause between lines to allow reflection and absorption- a sense of restraint and calm mandate the opening moments. After this interval, percussion explosions are laid in: the composition gets heavier and more weighted- that echoed intro. comes back in to add to proceedings- as Indiana continues her story. Whatever is at stake is clearly causing her to hesitate and refrain. It appears that she needs necessary courage and commitment to enter the relationship: she starts to doubt her own strength and it seems that her nerves are on edge. Hesitancy and procrastination come to the fore- the repetition of the words "If only I..." beautifully highlight the sense of trepidation and uncertainty. Our heroine has a lot of determination and assuredness: something is causing her to resist and play it safe- maybe there is too much to lose if things go wrong. The song not only wins you over with the honesty and openness of the words: the composition and sound get inside of your heart and make the blood lust. Gorgeous and well-considered notes mix with backing vocals; pulsing electronic beats nestle alongside swelling undercurrents. Before the song (once more) expands and rushes, our heroine lets her voice whisper: imploring not to be pushed, she is close to the edge- it appears that one false move could ruin everything. Your mind instantly assumes love is being related to- it seems the most obvious interpretation- yet there could be another meaning: the nature of ambition and making your way in the world. Perhaps referencing music and her dreams, I sensed there may be several different meanings to Indiana's heartfelt words. It is clear that a great deal of passion is in her soul. As she tries to step away from the ledge, the composition fizzes and crashes once more: the electronics and percussion expand and cannibalise- Indiana is in the mix and trying to stay afloat. Keeping her vocal impressively strong and focused; with every heartbeat "I'm falling"- maybe the fact that she is watching her love from the sidelines is causing her much chagrin and pain. Every Indiana song is instilled with conviction and power: here she reaches new highs as the music augments and overwhelms- among a wave of sonics, our heroine is trying to swim against the tide it seems. Building her mantra of heartache to the skies, the melody resonates and compels the listener: providing emotive backing vocals, the sense of loss and anxiety makes the mood almost palpable. The enthused and sun-kissed essence (of the electronics) keep affairs from becoming too heavy and repressed: they beautifully balance Indiana's vocals and create a harmonious whole. Before the next verse arrives, your mind gets drawn to some nice details: skipping and sparring electronic touches create speed and franticness; the levelled and firm percussion acts as an audible heartbeat; the entire composition represents her state of mind and state of body- not only adding conviction but making sure the listener is drawn in and on her side. After the unforgettably striking words that have come before, the composition is taken down: our heroine's voice becomes calmed and solid once more- the storm has passed and she is trying to keep going. The complicated and pernicious nature of her desires is tearing her up inside. Perhaps people are pushing her into this romance too firm; maybe her logic is holding her back- whatever the scenario, it is taking its effects on her body. When our heroine sings "I'm losing my convictions"; you sense some resignation and regret in her voice: in the early stages she was impassioned and ambitious; now maybe reality is coming on too strongly- the listener instinctively wants to hear more (to see if she can find a solution). On the brink of completely losing her mind- you get the impression it is not pure metaphor- Indiana keeps her voice romantic and tender: she has not given up on her desires and will not let the strain show. With a suitably atmospheric composition- backing up her outpourings- words such as "The first fall is the deepest" strike hard- those particular sentiments probably stand out above all else. Whether this particular love is her first real one- or if she is recalling her first genuine love- it appears to have affected her thoughts. When she sings the line "The deepest I know"; a sadness and sigh creeps into her voice- our heroine has perhaps already lost quite a large chunk of herself in the battle. There is a war between her heart and her head: the former is making her fall hard and fast; the latter is trying to keep her in tact and sane- I get the impression when saying the words "I'm falling"; it can either refer to falling in love- or falling emotionally. The intelligence and simplicity of the lyrics ensure that an ember of ambiguity come into play: whether each heartbeat increases her love; if it causes her downfall, it is on a see-saw and knife-edge- the vocal is impassioned enough to suggest that it could be either. Towards the final stages, more intrigue and insight are proved by our heroine: the next coda does not have a huge energy; instead it is elongated and precise- Indiana has some sage and pressing words. Advising- I would imagine her friends and family- to leave her heart on fire, she wants them to "Read between the lines"- perhaps the message wasn't clear when she was telling them before. Once more, the language is direct and tantalising: I was wondering if there were doubts or hidden thoughts in her mind- if something deeper was not recognisable in her facade. Throughout the song you could sense that either side of desire is being referenced: whether the fire is caused by burning longing or heartbreak- it keeps you guessing and in two minds through the duration of the track. As our heroine lets it be known that she is flying, your mind errs towards avenues of contentment: perhaps whatever is being felt and experienced is what she wants; it is causing her some hurt but is a feeling she cannot ignore. The anonymous object of her affections imbues her voice with a degree of coquettishness and serenity: among scenes of internal strife, tremulousness and smile does pervade- the vocal in the chorus is instilled with plenty of breathlessness. While the final notes die out- and that chorus keeps going- you cannot stop our heroine: her heartbeat is ticking; she is falling ever further- you wonder whether she gained the satisfaction she craved...
Before I applaud Indiana herself, I will mention a couple of necessary points. Heart on Fire has a great traditional and current feel to it. Lighter and more romantic than previous numbers, it shows elements of early cuts like Bound. Since her embryonic days, Indiana has seen her confidence and ambitions grow and expand: here she manages to instill aspects of all her previous work- the upbeat energy is here; darker and more introverted tones remain; those fascinating and direct lyrics come thorough emphatically. With touches of modern-day Pop icons like Ellie Goulding- I could hear some of her voice in Heart on Fire- it is a track that is sure to inspire dance floors and clubs- in addition to armies of old and new fans. The song has a openess and universality that means it is not just restricted to sweaty night-time arenas: there is a sunshine energy that means it is just as suitable for the beaches and open roads as it is quiet bedrooms. Indiana has written a song that will be relevant to all ages and types of music-lover- it is not solely for young women. It connected with me because of the sheer passion and conviction being provided: every word came across as raw and stirring- I was keen for a happy resolution by the very end. Zane Lowe has already made the track his 'Hottest Record of the Week' on BBC Radio One: he doesn't always make wise choices; here he is spot-on. As suitable and appropriate as it is for Radio One, it has enough quality and range that means Radio Two would eat it up- smaller stations like Capital, XFM and Kiss would too. If you can write a song that is that effective and mobile, then you are onto something rather special- Indiana has unveiled her most ubiquitous and memorable song to date. There are a lot of different reasons why Heart on Fire sticks in the imagination: the alluring and passionate heroine provides nearly all of them. I have been in love with Indiana's voice ever since I heard it- as recently as a few weeks ago. Being familiar with some of her back story, Heart on Fire brings the young artist another step forward: the track provides a fascinating glimpse into her future album release. Too many contemporaries do not possess the necessary beauty, firepower and passion in their voice: through Heart on Fire, our heroine compels and seduces with ample ease. Many young listeners will be able to empathise with the story- and recognise the vocal sound- and fully get on board- for everybody else, it is the overall composition that wins you over. The voice is an emphatic and unforgettable centre- the way it is supported and highlighted is incredibly effective. Keen not to make it too thin or overpowering, it offers just the right amount of balance and energy- neither the vocal or composition sit too high in the mix. Filled with fantastic details and plenty of layers, the track needs repeated listens- for its full potential and beauty to be recognised. Elements of modern Pop/Dance blend with Trip-Hop, Dance, Experimental and Electronic: stirred into a fantastically rich song, it certainly leaves its mark. There is catchiness and fantastic hooks that run through the song: the chorus is impossible to shake; the driving and colourful compositions makes you smile and sing- by the time the track comes to the end, your body and vocal chords are pretty fatigued. Ordinarily I would not seek out a song like Heart on Fire- if someone described it to me. Being familiar with the mainstream and the type of music being produced, few acts manage to make any sort of memorable movements- it would be foolhardy to ignore a fantastic song without listening to it. The likes of Laurel and Ivy & Gold are fronting some of this country's most sensational and impressive singers. Indiana not only wins you over with her fantastic and emotive portrayals, but her overall songwriting: a clear maturity and gift for melody is evident. Heart on Fire- in anyone else's hands- would have been a lugubrious and sentimental cast-off: here it is an assured and nuanced gem that is going to get many people hotly excited (for the release of her album, No Romeo). Clearly Indiana has experienced her share of crushes, lost loves, unrequited desires and personal pains: the way she adapts and channels them into music is stunning.
After listening to Heart on Fire, I have been compelled to closely study Indiana's past work. Being so young, one would expect a certain sense of naivety or inexperience to come through in her music: this is far from the case; every track she has produced has been instilled with confidence, bravery and a strong and determined voice. The vocal aspect is a very important facet: it is something that is focused on massively; it seems to be the defining mark of any truly great talent- so few live up to their potential or give the public something truly captivating. There is something about Indiana's voice that is hard to ignore and forget: a sense of beauty and wonder come through; an underlying power and passion makes her words so elementary and urgent- she seems to be the genuine article. It is not just the voice that is so mesmerising: the lyrics and tracks have an intelligence and individuality that sets her aside from her contemporaries. Up until now, Indiana's E.P.s have consisted of a single(s), accompanied by remixes of said song(s)- it would be great to see something more fully fledged in the near-future. The talent and determination Indiana shows hints at a young artist with a lot to say: a five or six-track E.P./L.P. would showcase different sides and stories- highlight just how striking an act she truly is. For anyone looking for that necessary resolution, you will not have to wait too long: her debut album No Romeo is out on September 1st. In addition to containing the previous hit single Solo Dancing- and other previous tracks- it will be terrific to hear what Indiana has on her mind: she has shown so much potential already and I expect a diamond of an album to come forth. Our heroine has enjoyed some rather prestigious and exciting dates lately- she has performed at Wireless (in London and Birmingham). In future weeks she will be taking on Camp Bestival and Leopalooza Festival: that sets up her biggest ever gigs- performing at Reading and Leeds. The video for Heart on Fire seems to have been a ball: it shows Indiana as an undercover D.E.A. agent- cocking her gun, she is positively bad-ass. She is having a great deal of fun with music: in love with recording, filming and performing; that natural charm and happiness comes through in the music- underpinned by a soulfulness and tender longing, Indiana is going to be one of the most important artists to watch (next year). I shall leave you be in a second, but just need to end with one point: female solo artists. There are plenty out there at the moment, you see: depending on your tastes and preferences, you are pretty well-stocked- the trouble is, too many of them are short-lived and temporary. Indiana not only has the ammunition to enjoy a long and memorable music career, but plenty of range and difference in her music: she does not simply stick to a rigid sound and one-dimensional construct. Filled with love, life, vivid imagery, heartache and positivity; there is a wealth of information and passion in every track: No Romeo is likely to cement her reputation as one of the most potent female talents in the country. In the U.S., Indiana is The Hoosier State: the 38th most populus state (in terms of area), with a rich and diverse economy- other states offer more, alas. Indiana the Artist is Nottingham's proud daughter: few other acts provide more fascination and potential- in terms of competition, she is pretty high up the list right now. Heart on Fire is a stunning track that showcases a fervent and ambitious young woman: someone whom wants to succeed and play music for as long as is possible. Having witnessed- in the music mainstream- plenty of terrific band-produced albums; some great solo works (mostly male)- I find myself yearning for something different. If you are unfamiliar with Indiana; if you have only heard one or two of her tracks, make sure you let (the full extent of her entrancing voice) allure and seduce. The gorgeous 27-year-old is not going to be a relative secret for too much longer...
THAT is a fact.
http://www.youtube.com/watch?v=g0NbhIKG3PQ&feature=youtu.be
About the Author:
http://musicmusingsandsuch.wordpress.com/about/
_________________________________________________________________________
Follow Indiana:
Official:
http://www.indianathegirl.com/
Facebook:
https://www.facebook.com/indianathegirl
Twitter:
https://twitter.com/Indianathegirl
SoundCloud:
https://soundcloud.com/indianathegirl
YouTube:
http://www.youtube.com/user/IndianaVEVO
Last F.M.:
http://www.last.fm/music/Indiana
Tumblr:
http://indianathegirl.tumblr.com/
Instagram:
http://instagram.com/indianathegirl
_________________________________________________________________
Tour dates accessible at:
https://www.facebook.com/indianathegirl/app_123966167614127
___________________________________________________________________
Indiana's music can be purchased here:
https://itunes.apple.com/gb/artist/indiana/id844177436
____________________________________________________________________
Indiana's videos available via:
https://www.facebook.com/indianathegirl/app_182222305144028
_____________________________________________________________________
________________________________________________________________________
_____________________________________________________________________
______________________________________________________________________
______________________________________________________________________
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...
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
________________________________________________________________________
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.
____________________________________________________________________________________
