Track Review: RKZ (Ft. Shawn Sanderson)- Think Of Me

TRACK REVIEW: RKZ (Featuring Shawn Sanderson)

Think Of Me

9.6/10.0

Think Of Me feat. Shawn Sanderson (prod. Handbook x Gifted The Great)

Think Of Me is available from:

https://soundcloud.com/rkzuk/thinkofme/s-D4TAc

FEATURING THE VOCALS OF: Shawn Sanderson (@ShawnSanderson)

PRODUCED BY: Handbook (@Handbook) and Gifted The Great (@GiftedTheGreat)

RELEASED: 5th August, 2014

The album Science X Soul is available from 21st August, 2014:

http://sxs.rkzuk.com/

GENRES: Rap, R 'n' B, Soul, Hip-Hop, Spoken-Word, Pop

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One of the country's rising stars, RKZ unveils another startling track.  With long-term collaborator Shawn Sanderson adding seductive allure, Think Of Me is a sparkling gem.  Yet another fascinating piece of the Science X Soul puzzle has been placed.

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HAVING interviewed RKZ very recently it...

gave me the chance to explore a distinct and phenomenal talent. Not only a fine and never-ending musician, the philanthropic talents of the mercurial artist left me somewhat shocked- and questioned my own personality and commitments. Inspiring me to do more and branch out, the Luton-born artist caused something of an about-face (in me). I will introduce him to you in a minute; for now, will raise one particular point. When looking at the musicians coming through; the various options and shades that are presenting themselves- there is a heady and unstoppable wave of choice available. Every style and sensation of music is represented by a myriad of different acts. It is great that there is so much ambition and fervency in the music industry; financial and social limitations are not scaring artists away- finding the finest and most distinct acts is quite a challenge. It is a subject I have beat around a lot; for today, I am concerned with personality and responsibility. I am all for musician coming through and pressing as hard as they can; making their music as impactful as they can- there is little diligence and respect beyond the boundaries of music itself. As the next week sees me embark upon a my most daunting- and exciting- project, it makes me wonder about musicians on the current scene. My business brain is setting up companies; designing a London-based music bar/cafe; an all-encompassing music website; huge initiatives- all designed to benefit musicians and struggling artists; funneling profits into the pockets of the most hungry and worthy. Not that I am bigging myself up; it just seems that few are taking the necessary time to expand horizons and consider the larger community. RKZ impressed me with his ethics and morals; his innate and unstoppable drive towards helping people- his ambassadorial work for mental health causes impressed me hugely. Before I divulge more into RKZ's particularly striking brand of humanitarianism, I have been compelled to judge and assess the musicians of the modern scene. Those that win the biggest plaudits and retain the largest number of supporters, are those that push beyond defined and rigid boundaries- ensure that they take the time to consider the world at large. I am not saying every new act needs to donate time to charitable causes and collaborative endeavours- there should be more of it. Few acts take the trouble to use their position and status to effect real change; get under the skin of society's problems and attempt to make a difference. Music is a device and art form that can mediate disputes; temporise and calm anxieties; lift the mind and nourish the body- its power and huge influence cannot be denied. When considering this, you wonder why more musicians do not unify music- and their sounds- with the community; those in the most need of revival and help. RKZ is one of the busiest and more considerate musicians in the world. Knowing how hard modern life is; what the street offers youngsters; the stresses and depression that can be seen behind closed doors- he is not standing by and letting it continue unabated. Acting as a spokesperson and representative for C.A.L.M., the young maverick is among the most considerate musicians about. Before I continue on my point; and give more insight into RKZ, let me introduce him to you:

"RKZ (pronounced ‘Ricks’) is a singer-songwriter, rapper and Spoken Word artist from Luton, England. He began his career in 2009 as a rapper before gradually developing his skills as a singer, Spoken Word poet and writer. His musical style is considered a fusion of alternative R&B, Neo-Soul and Hip Hop. Aged 24, RKZ has already released several singles, four mixtapes and three EPs to date with a fifth mixtape, Science X Soul, scheduled to release in 2014. He has been playlisted on radio stations including BBC (Radio 1, 1Xtra, 3 Counties, Radio 4, 6 Music and Asian Network), KISS and Bang Radio, and has performed nationwide - from acoustic venues such as The Water Rats and Hoxton Bar & Grill to festivals including T In The Park, Reading, Leeds and BBC London Mela. He is currently preparing the release of his fifth mixtape, Science X Soul, and debut LP, Wanderlust. In 2012, RKZ was announced as Ambassador for CALM. The charity aims to reduce the suicide rate with young men in the UK, particularly London. Suicide catalysed by depression and stress is the single biggest killer of young men aged 15 to 35 in the UK. RKZ is a prominent writer and regularly contributes to CALM's website and monthly CALMzine, where he touches on topics including depression, society and youth culture. He has self-published an online series called #MotivationalProse, which is dedicated to instilling a positive mentality and outlook in the youth of today. He also contributed to Hip-Hop blog, Sampleface, as a music reviewer before becoming the Head of UK Content in 2014. RKZ - who is slowly becoming a jack of all trades - has directed all of his music videos since 2011. He has gone on to direct music videos for artists including Cashtastic, Skott Summerz, Preeya Kalidas and more. He also produced video content for emerging arts talent platform, Be Discovered, which featured artists including Shakka, Little Simz, Tawiah, Chasing Grace, Jasmine Solano, MeLo-X, Little Nikki and more."

His forthcoming Science X Soul is going to be one of this year's most urgent and impressive releases all year. On August 21st, the public will be given a chance to witness one of the country's most promising and essential acts. It is not just charitable considerations that mark RKZ out as a distinct and noble talent- the music on offer is among the most fascinating and compelling about. I will touch more on this below; his latest cut- the second song to be taken from Science X Soul- is a gorgeous and fantastic representation of what his forthcoming mixtape offers. If you look back at RKZ's career, you can see how busy he has been. Not contented to produce a string of solo releases, he has collaborated with a range of different artists- including Think Of Me co-conspirator Shawn Sanderson. The London-based rapper's personal prosody and style has marked him aside from his contemporaries- the way he fused Spoken Word, Rap and Hip-Hop together has salivated the lips of many critics. Music fans and appreciators are flocking to hear all that RKZ can offer- this year will see the release of an album (in addition to his mixtape). It is clear that momentum, drive and potential is on our hero's side- more ambitious and busy than ever, it will not be that long until RKZ is a name synonymous to most. I will delve into his music soon, but will end with one point: fusions of genres. Mixed results occur when solo acts- bands as well- experiment with sounds and infuse various genres into one- the most successful examples have produced some stunning results. There seems to be a split occurring in music: acts that do not bother to melt sounds together; those that do and fail miserably. Not naming specific people; there are too many artists that lazily fuse sounds together; do not take the trouble to be original or define their ambitions. A lot more do not even bother at all- they are content to merely present one particular sound. If you can nail and hone a particular genre, then there is less need to experiment and tamper; those that are fresh to music should always consider expanding their designs (and instilling something unexpected). RKZ is an artist that does not simply present R 'n' B the same way as fellow acts; incorporate Rap with little consideration towards distinction. His music not only draws in genres as diverse as Spoken Word and Soul; the way he projects these disparate themes has showcased just what a talent he is. Science X Soul will prove just what I mean: demonstrate that seamless and natural voice; an artist who is not willing to be the same as anyone else. If you are new to RKZ; unfamiliar with his music and work, then Think Of Me is a good starting place. When I witnessed Still Oceans- the first release from the mixtape- I was staggered by the layers and sounds that emanated forth; the stunning mix of still and urgent- it is a song that rattles around your head and begs for fond investigation. Think Of Me expand this further and takes the listener in another direction- an honest and tender love song, it expounds how spirituality and togetherness is as vital as sexuality and physical contact (with regards a complete bond). It will be fascinating to see what other treasures Science X Soul contains; whether excursions into Hip-Hop are more prominent than soulful ballads- with RKZ that sense of unpredictability is what makes him so impressive. What is for sure is the quality will be right up there; build on his past work and showcase a new flair and passion.

To get a proper and full understanding of RKZ's present movements, it is worth dipping back and investigating what has come before. Looking at his music- in ascending order- is Superstars. Released over a year ago, it is one of RKZ's early cuts. The artist has released tracks before (Superstars); here is a brave and fully-rounded documentation of a hungry performer. Featuring Shawn Sanderson, it is a perfect and scintillating slice. Perpetuity of intrigue defines the track- it bubbles and seduces from the very first notes. The distinct and beautiful vocals blend wonderfully together; it is a psychotropic and heady brew that gets into your heart and soul. Broken and closed minds are assessed; our hero looks at ruined egos and disreputable sorts- his delivery is fast-paced and determined. Showing some early promise, the song houses great contrasts and contradictions. Sanderson's ethereal and angelic sexiness pairs beautifully with RKZ- the two unite harmoniously to create some incredible moments- Sanderson's repetition of "break it down" is particular stirring and effective. Sharp and direct vocals are married with atmospheric and potent beats- it is one of RKZ's finest early numbers. All Through The Night saw the continuation of the collaborative spirit. With the vocals of Sian Thomas on board, the soft and gentle introduction puts the listening in relaxing territory. Less inflamed and spiky than previous offerings, the subtle and lush strings mix with atmospheric and uplifting electronics. The piano notes are elliptical and teasing; sensual and still, they get inside of your mind. Stuttered, choppy and discordant snatches are layered in; the volume is increased and repressed- a disconcerting and head-spinning production gives the track a mesmerising feel. Our hero is loving through the night; his sexy and loverman skin houses a beating heart. Investigating a particular girl- someone whose man is not treating her with huge respect- is in his mind. Feeling he would be a better option, RKZ investigates a broken love- when the boy is letting the ball drop. Fast and frantic rapping gives the song a relentless attack (that defines the words)- the conviction and urgency sparks through with sheer conviction. Mingling sensuous delivery with heartfelt words, you root for our hero- hope that he achieves satisfaction. Earnest, thoughtful and lush, the track is a great development- a different side to the musician. Namaste acted as a prelude to the SOULar E.P. A haunted and anxious track; there are echoes and ghostly reverbs (from the start). Crackling and spitting beats fuse Trip-Hop of the '90s with Hip-Hop of the early-'00s. Hard and edgy delivery considerations ensure the song has a restless and punchy pace; the delineation and projection speed mutates and changes throughout. Intelligent and memorable lyrics are scored by our hero- he is seeing stars with his eyes open; a visionary of sorts. Pallid and ice-cool atmospherics link into the track's endless flow- the scattershot delivery and incredible lyrics ensure the song continues its charm offensive. The SOULar E.P. saw another step forward for RKZ. One of his finest works, it mixes so many styles and scenes together. Songs look at soulful and full-bodied deliveries; scintillating beats and electronic snatches provide urgency and danger. Elements and influences of Prince come to play; silky and developed songs fuse Soul lust with Hip-Hop freestyle- the E.P. contains a wealth of richness. Open beats and stylish production showcases an adventurous and ambitious cut- the changes in directions subvert expectations and offer a galore of surprises. Collaborative vocals and multiple vocal tones give the collection richness and variation; the lyrics and compositions are terrific throughout- the E.P. is expertly and terrifically crafted. After this insatiable and near-genius offering, RKZ released some prime and tantalising slices. Favourite Song sees our hero with the world on his shoulders- less soulful than previous offerings, the Rap assault is back. Sounding like a Spoken Word publication, the poetic delivery reminds me of Kate Tempest- a British rapper with an incredible talent. The emotional relentlessness gets inside of your brain; captivated by the juddering and spectral elements, it is a terrific and proper tune. Cool, catchy and carnivorous linger in the notes- it is a song that offer so much. A Song To Drink Tea To has clattering and lo-fi beginnings. Retro and late-night longing, the song augments and expands. The intrigue builds with a silky and serene vocal. The lyrics are captivating and deep; intelligent and quotable, the philosophical projections are stunning. Developing his pen, the track shows another bound forward- more inquisitive and striking than early days, RKZ shows a confidence and sense of direction that bellies his youth. Deep-hearted thoughts and pugnaciousness sit with frantic and tight. The jam ties threads and colours together; a dizzying trip that screws the mind and distorts the thoughts. With little regard for peacetime and ceasefire, the aural attack keeps a hold of your bones. The production has earthy elements; scorched earth vibrancy and soulful regard- not too cluttered or busy it is a stunning cut. Still Oceans is the most recent example of RKZ's lust and insatiable talent. Catchy and feet-tapping beginnings prime the mind; swelling and soothing sonics come to the fore- replaced by a heavy and pervading beat. The vocal fragments and divides; snatches are spiked in to inject urgency- the central performance is tight and focused. Having offended someone; our man is retracting and offering an affidavit- the anxieties his colleague feels have been caused by his own foibles. If the friend wasn't so closed-off and weak then RKZ would be stronger and more dependable. Suffering the effects of a warped friendship, you can feel the burden come through. Garage and Trip-Hop of the '90s is played with; the still waters that "run deep" are delivered with inflammatory directness and relevance. A busy and hectic storyline is scored with a fantastic and deep composition- a fascinating glimpse into out hero's psyche. Over the last year, our leader has shown some developments and evolution. His songwriting has become more compelling and measured; variegated and urgent, he seems to improve with each fresh song. Having cemented his authority early on, there is not a huge quantum leap- you can hear the small and impressive up-shifts. Increasing his lyrical genius; offering 'dope' and insanely memorable songs, RKZ is an avalanche of a talent (that snowballs with each movement)- the clear and fertile highs are present within Science X Soul. Think Of Me has the same quality and sparks of Still Oceans. Drawing in long-term collaborator Sanderson into the fray, her stunning and knee-buckling tones give the track a romantic and stunning gleam. The song looks at the completeness of love- how spiritual and emotional ties are as important as pure passion. The subject is a new one for RKZ- he explores love in past releases; never with this particular angle. The lyrics delve deep and touch the listener; provide insight and inspiration- guidance to love fools who are in it for the thrill of the physical. Philosophical and harmonious lyrics are matched by incredibly memorable vocal turns. It is terrific how much RKZ has packed in over the last year- improving with age (like a fine wine) he is an intoxicating and heady proposition. It means the future will be his for the taking- his creative mobility and range means he explores every subject with authority. Having so many arrows in his quiver, the next year will be an exciting one- you feel that he will strengthen once more; bring in plenty of personal memories- collaborate with some new and old friends.

When looking at acts that have influenced RKZ- our hero has some favourites. One of the most unexpected- but striking- inspirations is Jhené Aiko. The gorgeous American is a relatively new name on the scene. Her album Sail Out- with its sexy and eye-watering cover- impressed critical minds. The feathery tones and sky-high pitch resonated with U.S. audiences; the vocals float above the beats and come across as soaring and tranquil. Seen as a female equivalent to Frank Ocean, the mesmeric American has a busy future ahead. Her 2013 album showcases her salacious and seductive aspects; a relaxed album that has its heart on holiday- you are transported beside our heroine as she casts her dazed eyes around oceanic views. Seductive and slinky numbers mix with arresting come-ons and heartbreak. When she asks "Can I hit it again?" you wonder if she want to put her lips on a bong or have someone put their...well, you get the idea! The spirit of Yoko Ono and John Lennon's duvet-set love-ins are updated; the '60s Free Love movement is given a modern twist- the U.S. heroine is hip, streetwise and sassy in her declarations. Calling in an impressive rostra of guests, the album is filled with ideas and diversities. RKZ possess similar traits and qualities. He employs other singers to augment his songs- rather than come across as a novelty. Aiko's pinner of an album had its heart in the seaside; that tranquility and listlessness made the songs so effective. RKZ is able to bond those distinct moments of sexy and seductive; meaningful and introverted- he is even stronger and more assured than Aiko. I am going to mention two Bs- when thinking of RKZ- both very different. Jon B is the first example for you all. The legendary U.S. R 'n' B maestro produced a string of scintillating albums like Cool Relax. That 1997 disc saw the seductive fusion of Soul, R 'n' B and swinging Hip-Hop. Enjoyable on the surface, the album dug deeper- the incredible production, songwriting and vocals make the L.P. such a gem. Alluring and romantic, it was a triumph. Throughout his career, Jon B has been impressing listeners and developing his craft. Able to unite strands and decades of Soul and Hip-Hop, he has had an effect on RKZ. Although our hero is more stunning and prosperous; he at least instills some of Jon B's multi-talented convictions- ensuring all of his songs do not succumb to weakness and ineffectiveness. The Second 'B' I am employing is a British one: Plan B. When RKZ takes his thoughts to the street, you can hear embers of Plan B's album Ill Manors. That album mixes wise-cracking with dark humour; intelligent wordplay and vivid, violent showdowns- dirty beats are mixed with cellos on some numbers. Looking at urban warfare and hostility, a myriad of instruments and emotions are laced in- classical elements are fused with grimy and filthy slams. The writing and delivery owe something to Eminem; Plan B's unique take and personality imbues his songs with meaning and urgency- there is purposefulness and hard hits throughout. Although RKZ doesn't tread the same lines of disaffectedness- parents screwing kids up; kids being gunned down- he has Plan B's charms, talents and quality. Able to deftly weave various genres and experiences into the palette, the young Londoner marks himself as a mainstream proposition- he is no less effective and memorable as Plan B. When 'Plan' unleashed his debut- Who Needs Actions When You Got Words- critics noted how bold and confident it was. A fresh and daring album, it saw Ben Drew represent the voice of modern Britain- the disaffected youth were being documented. Mixing in that patented blend of primal beats and restrained moments, it was a hugely impressive debut. One of RKZ's influences is Q-Tip. The American's proprietary blend of sounds does not show up in too many U.K.-based music. Consider his album Amplified- you can hear some of RKZ in it. That album drew in sounds of The Love Movement- which capitulated, leading to Q-Tip's solo career- the clipped beats and tribal movements made the album so memorable- the rapping is smooth and inventive; possessing few message songs. On Kamaal/The Abstract, Q-Tip enforced his promise and sound- the album was a huge success. More introspective (than previous works), it genre-hopped; taking in Nu-Jazz, '70s Soul, Rock and Funk. The musicologist and icon went back to his love-sexy cores- the album was the one the public wanted. Quick and low monotone rapping nestled alongside influences of Prince, Stevie Wonder and D'Angelo. Fluid storytelling is projected with frantic pace; sometimes it is more relaxed- the organic production lends huge weight to proceedings. RKZ draws in sides of Q-Tip and his talent- those same qualities that define his reputation have had an effect on RKZ. Kendrick Lamar and J. Dilla are influences of our hero. Kendrick Lamar albums such as Section.80 were rife with anger, conviction and force- it looks at two central figures who cheat on their boyfriends. A concept album, it looks at infidelity and drug epidemics; the Reagan-era of the '80s- slice of American life that have caused heartache and upheaval. Good Kid, M.A.A.D. City- the 2012 release- tied Rap thrills with weighty subjects. The U.S. star appealed to mainstream and underground Hip-Hop fans; it fused subtle shades and ambitious areas- it is as far-reaching and ambitious as Kanye West's My Beautiful Dark Twisted Fantasy. The songs are complexly arranged and detailed; amazing control of cadence is bested by Lamar's incredible lyrics. Shamelessly bold and mature, the young American benefited from his rally against the playas- the biographical insights being the songs to life. Open hearts and minds come to play; the whip-smart rapper elevated his music to giddy heights- here, there are plenty of hallucinogenic hooks and attractive production inputs. RKZ has a same maturity and huge ambition- his lyrics are as intelligent and memorable. Our hero employs narrative devices and personal insights; conceptual characters and anger- he turns his attentions to the street and youth as well. Able to mix it up with the likes of Lamar; RKZ has a bold and staggering breadth of ammunition at his disposal- it is clear that he has been influenced by the American maverick. J. Dilla created the album Champion Sound- with Madlip. The late Hip-Hop producer hit his stride on the 2003 release. The album saw some blunt and forceful rapping come through- critics noted how some serious greens must have been smoked (during recording). The beats are disorienting and head-tripping; the b-boy posturing is polished by innovative and intuitive production qualities. The legacy J. Dilla left behind him- he died of a rare blood disorder in 2006- is staggering. One of the most innovative and reputable Hip-Hop producers of all-time; I can see why he has left his marks on RKZ. Our London boy instills some of the genius' style and panache in his music- sometimes his vocals incorporate some of J.Dilla's tones and delivery styles. It is a frame of reference I hope he continues to employ- it has certainly made his work stronger and more potent. The final two names I will mention- as reference points- are Ghostpoet and Frank Ocean. One of few British idols, the engaging and pioneering Post-Dubstep/Alternative artist engaged critics on his 2011 album, Peanut Butter Blues & Melancholy Jam. Sounding like it should be a Captain Beefheart posthumous release, the album was defined by its urgency and insistence. The audacious and engaging music could not be ignored. The sort of lo-fi Trip-Hop numbers- Massive Attack perfected- defined the album- the poetry on the album defined British modern-day life. Ghostpoet's Grime projections allowed the listener to engage with the lyrics; get inside the stories- the drowsy delivery doesn't always work; it marks him out none-the-less. An impressive and emphatic debut, it has inspired many modern artists. Although not a chart-busting act, Ghostpoet is one of the most distinct and engaging acts on the modern scene- I can hear shades of him in RKZ. Frank Ocean's stunning Nostalgia, Ultra coefficient mesmerised waiting ears. The pulsing, expansive and sophisticated music was unlike any that had come before- the self-effacing delivery and numbed vocal made the song so intoxicating. Quixotic and pioneering, Ocean literalises the futuristic visions and nostalgic remeberences- the romantic laments and mixtape sound looked at loss, respect and texture. RKZ introduces thematics of respect and loss; he has that same expansive and reaching ambition- a similarly smart and idiosyncratic style and writing flavour. Also influenced by Prince, RKZ has huge crossover potential and longevity. Ocean is in his 20s, yet wistfully longs for the past- giving shout-out to the likes of Marvin Gaye and Soul masters. Dreamlike spirals mix with novocaine-infused trips; rampant and swirling Neo-Disco codas wrestle for attention. As kaleidoscopic and deep as Nostalgia, Ultra was, it was eclipsed and trumped by Channel Orange. A modern masterpiece, the album has high-reaching storytelling and narratives; looking at relevant subjects for modern-day youth it shows huge wisdom and repose. A slow-burning epic, the album has beautiful impish crawls, Jazz motifs and a huge maturity. The American reached a career high- on only his sophomore effort. The casual expressiveness of Ocean's voice is easy to fall in love with; the seismic shifts take your breath away- songs such as Thinkin Bout You rank among the finest tracks of the last ten years. RKZ may not have the exposure and pulpit of Ocean, yet does not suffer by comparison. As lush, rich, high-reaching and startling as Ocean, RKZ is the British equivalent- it will not be long until his own version of Channel Orange is unleashed. Perhaps the most pertinent and stunning reference point, I hope that RKZ continues to listen to Frank Ocean- he is an act that inspires legions of new musicians. Those colourful threads and heady compositions appear in RKZ's work; the same unique blends and drunkening diamonds blow you away- his absolute statements are not subject to gradation. The current movements from RKZ have the potential to compel lovers of Frank Ocean- our young master will reach his heights before too long.

In press releases our featured track has been described in these terms:

"Think Of Me is about intimacy, sensuality and connection. The record speaks of the spiritual journey two young lovers experience and how physicality is only a small aspect of complete togetherness."

The sense of spiritual progression and sensuality is best defined by the track's opening seconds. A woozy and warped collection of electronics bubble and spin. Eliciting a dizzying and trippy blend of low notes, it is a strangely romantic sound. Far surpassing any expectations, the intro. mixes Hip-Hop sounds (of the '90s), Soul flavours and an edge of Trip-Hop. The notes trip and stutter; they race and calm- the entire parable is a hazy and delirious insight into what is to come. Our hero is first to the mark; his mind is filled with questions and desires. With his voice upbeat but firm, he poses questions (to his sweetheart): "Tell me what you think of/when you think of me?" Wondering where her mind goes; the words have an original and intelligent feel- they delve deep and push beyond the sexual. Lines such as the aforementioned could have you thinking of some rather vivid and sexual scenes; as we know, the song rebels against one-dimension thinking- it is a song that draws in emotions and spirituality. Of course, early exchanges do have a certain heat; you cannot picture a line such as that- without conjuring conclusions and certain impressions. Our hero is enticed by his lover's touch; every time she smiles and moves her fingers, it provokes shivers and hypnotising- the sweat decibels rise considerably towards the 30 second mark. Backed by consistent beats; they are urgent and direct, the conviction and passion is hard to ignore- you not only immerse your mind into the song; support our hero and open your ears to his plight. Stepping to the mic. is Sanderson; following on from RKZ's smooth delivery, her delicious and ethereal tones instantly get under your skin. The sweet and alluring delivery is filled with romance, deceleration and meaning- each word is projected with such a soulfulness, it makes you sigh and smile. Our heroine sees light- every time her man touches her skin- mixing spiritual and the metaphysical together; the story develops and unfolds. The love that she is given is deep inside; it resonates and fulfills her. Throughout the track, there is a great blend of physical and emotional- words can be taken either way. That vibrant and sparkling sexual attraction shows its soul; the desire and need burst through- the restraint and honesty that radiates is just as burning. The heroine is in the midst of a gripping and intoxicating love; a sympatico and unbreakable bond- the gracefulness and beauty that is instilled into each line is phenomenal. Wanting to spend the night with her man- "Is that alright with you?"- togetherness and détente is being surveyed. With the electronics and beats twisting and distorting, a rush of energy and electricity is unfurled- that endless compositional flexibility ensures the track never rests or limits itself. Our heroine seems happy and deeply contended. Directing towards our hero, she is appreciative and thankful; taken somewhere "I never never thought I'd go." Past the one minute mark, you get a lot more insight into the story; greater meaning with regards the song's intentions- the words give up their true meaning and relevance. Silky and smooth of voice, Sanderson dominates your thoughts and attentions- she never overpowers or ululates; simply allowing her ignited and vibrant passion to shine through. Before you become too entranced in the song, our hero is back- teed up by a rushing beat, queries and questions return to the fold. Those deep and pressing lines come back; wanting to know how true and deep his sweetheart's love is, he wants to get inside her mind and thoughts. The infectious and flowing chorus sticks in your mind; compelled by the memorable and soulful vocal, you find yourself singing along with RKZ- knowing the words (from the first delivery) you are helpless to resist. Wondering whether his lover feels the rush, the song acts like a prayer or sermon- seeking answers from higher powers, the spiritual and quasi-religious nature of events keep coming around. With those defined and repeated questions (having made their mark), our heroine offers answers and insight. With a touch as soft as the moonlight that touches the ocean, she knows how devoted and committed (he is). A pure and unbreakable relationship, you feel as though our heroine would be broken- if her man walked away. Digging deeper than any sexual connection and componency, the way the love lifts her is the main take-away- it is much more important being emotionally nourished; having someone you have an indelible understanding with. RKZ unveils a gorgeously smooth and sweet vocal line; sparring with Sanderson, it drips with lust and meaning- matching the Soul greats, the delivery has honey, chocolate and spice in the mix. Having satisfied each other's emotional needs, there is a feeling that sexual and physical desires are coming back into play- that inner longing seeps through. After the chorus comes swinging back in, the intro.'s staggering sound returns- swollen and twilight electronics tease and conspire; echoed sonics define the song's key messages and emotions. Displaying as much overt passion as deep spiritualness, the track ends triumphantly. Having been enraptured and seduced by everything that has come before, it is hard to take it all in- Think Of Me's divine charms and spells overwhelm the mind. With RKZ already having established himself as a huge star-in-the-making, he unveils another staggering cut.

Before I offer congratulations to the two vocalists, it is worth summing up the song itself. Most tracks- that tie together R 'n' B, Soul and Hip-Hop- tend to have their thoughts trained towards the bedroom. When songs look at love and passion, the subjects tend to offer little but sweat and sex- there is scant consideration aimed at deeper and more meaningful avenues. When artists go to the other end of the spectrum- more philosophical areas are explored- the words and vocals do not hit home too hard; the songs come across as weak and unmemorable. Think Of Me is a song that dares to be different; goes that extra mile and represents love in its purest and more scintillating form. Documenting the deep and unending connection of two lovers, you are caught up by the mixture of purity and tremulous desire. The lyrics have a simple heart that means adds directness and urgency; original and intelligent enough to make your mind conspire and speculate. It is a rare example of what can be achieved when you go beyond commercial expectations and cliché realms- few acts take the time to address love in its most honest and mesmerising form. Handbook and Gifted The Great's assured and incredible production helps to bring the song fully to life. Not too cluttered or lo-fi, emphasis is placed on concision and atmosphere. Perfectly fusing spiraling and delirious electronics with static and driving beats, the producers take time to consider the vitality of atmosphere. Joining together elements of Hip-Hop, Trip-Hop, Soul, Pop and Rap, the composition is a full and intriguing thing. Hard and punchy notes trade with lush and delirious swathes; backwards electronics and stutters exchange to tangle the emotions. A striking and multicoloured blend, the composition is one of the most fascinating and stunning I have heard all year. Sanderson and RKZ work wonderfully together. Our heroine's voice is sensual and utterly seductive- individual and unexpected, its glorious and stunning sound gets straight into your heart. When speaking words of dedication and longing, you believe every word- you imagine a woman who is gripped by a wonderful and fulfilling love. Able to elicit a whisper and heady rush, Sanderson's range- both emotional and physical- adds a huge amount of conviction and weight to the track. RKZ injects his inimitable and distinct voice to proceedings. Presenting the chorus with gusto, authority and emotion, he is able to get inside your head as effectively as Sanderson. I hope the two work together a lot in the future. RKZ is sensational when alone, yet something new and unexpected is uncovered when joining with Sanderson- their voices seem perfectly matched for one another. Science X Soul has already uncovered a treat- in Still Oceans- and Think Of Me is another incredible and addictive track. Showcasing a range of emotions and stories, RKZ is restless and incapable of slowing. His songwriting range and talent put me in mind of Frank Ocean; he has a similarly evocative and gripping voice- I would not be shocked to see RKZ ascend to the same levels of appreciation in years to come. If you are looking for a song to lift the mood; take you somewhere unexpected; grip you without relenting, make sure you investigate Think Of Me- a sensational and phenomenal song.

Having featured RKZ twice in the last couple of weeks- on my blog- it is always terrific to hear his music. When I interviewed him, I asked whether music could help the mentally ill- whether its power can help to balm anxieties and offer genuine guidance. Confident that music possess medical and curative properties, RKZ seems like a man on a mission- someone determined to help as many people as possible; using music as a guiding light. Our hero is keen to promote the benefits of social media- how powerful and potent it can be when you want to share music and get your name out there. It is clear that charity commitments mean a hell of a lot to RKZ- he is going to continue to work with C.A.L.M. and do as much work (for them) as he can. Having had a busy and frantic last few years, you would forgive him if he wanted to slow down- take some time to relax and sit back. Keen to make as much music as possible; reach as many as he can, Think Of Me is synonymous with its passion, directness and quality- a typical slice of RKZ gold. With Shawn Sanderson's gorgeous and sensual vocals- aiding our hero's quest- there is another glimpse into the mindset of Science X Soul. Past works- including four mixtapes- have shown just what a force RKZ is; how fertile and mobile his creative mind is- the future is going to be very bright. Once the mixtape- and his album- are released, it will surely bring in a lot more fans; convert the uninitiated and unfamiliar- ensure there are performance requests emanating from all corners of the globe. On that note, it seems the Luton-born star could have a huge international career. It appears a residency in the U.S. is not out of the question- his music and personality would be eaten up and adored by the American public. There are plenty of musicians and acts there that would be keen to collaborate; enjoy the rewards of joining their music (with his)- definitely something to consider. I am going to try my best to see RKZ in the flesh; up close and personal in the live environment- see just how his music resonates with others. He is the sort of man who could aid and assist my own multi-disciplined music endeavours- as I aim to launch my business. With grand ideas of a music charity, website, bar and website in mind, I am keen to assist and help as many as possible- recruit musicians and artists to my cause. The problem with a lot of musicians is the lack of caring and outward consideration. They are not bad people; it seems that their own personal endeavours are more important than anything else- charity and benevolence tends to take a back seat. Musicians that do more and aim further are going to be the ones that will last- there will always be a place for them. RKZ is keeping busy and ensuring that his next year is going to be action-packed and focused. Given his workrate, I would not be surprised to see more releases and singles beckon forth- he is keen to collaborate with as many different people as possible. Before I conclude, I just want to mention the artist himself- just what he is providing. Think Of Me is as authoritative and memorable as Still Oceans: if the rest of Science X Soul is as striking, we may bear witness to 2014's most essential record. Having investigate previous RKZ mixtapes, I can pay testament to just how good and nuanced they are- the songs reveal new meanings as time progresses. With an album on the horizon, it seems that there is no stopping the young pioneer. Having been inspired to run a half-marathon (for Mind)- because of RKZ- he is an artist that compels you to do more; be better and open up your eyes. The music itself is that which can compel and rouse up-and-coming artists. From my own perspective, I have been provided much to think about; witnessed a new and scintillating voice come through. What the next few months hold is hard to say- in the run up to 2015, the 24-year-old is going to be covering a lot of ground; playing to a lot of people. For those of you who bemoan the inconsistency of the music industry- me included- make sure you take solace and heart from the great artists that do come through. Not only can they put you in a better frame of mind; they can give you a new lease on life- focus your thoughts towards more positive places. RKZ is someone who will not tire from self-improvement and the betterment of others- his music highlights his soulfulness and determination. With embers of Think Of Me still spiking my brain, I am reminded of some of our hero's words. On his track A Song To Drink Tea To, the following lines were delivered: "I'm hoping that this ocean of a view/Has me sitting next to you." Given the effects Think Of Me has (on the listener) these words can be applied readily here. Take the chance to seek out RKZ and his current movements- as well as his past. One of my goals for 2014- in addition to getting some cash together- is to go and see some of my favourite music review subjects. After falling in love with RKZ's special brand of song, I shall make the trip to come see him...

I'M sure I can find the money.

https://soundcloud.com/rkzuk/thinkofme/s-D4TAc

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow RKZ:

Official:

http://rkzuk.com/

Facebook:

https://www.facebook.com/RKZMusic

Twitter:

https://twitter.com/rkzuk

SoundCloud:

https://soundcloud.com/rkzuk

BandCamp:

http://rkzuk.bandcamp.com/

MySpace:

https://myspace.com/rkzuk

iTunes:

https://itunes.apple.com/gb/artist/rkz/id321513973

Last F.M.:

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

Vimeo:

http://vimeo.com/rkzuk

VSCO:

http://rkzuk.vsco.co/

Tumblr:

http://rkzuk.tumblr.com/

Instagram:

http://instagram.com/RKZUK

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RKZ videos available via:

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

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RKZ's music can be heard here:

https://www.facebook.com/RKZMusic/app_204974879526524

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For all tour dates/gigs:

http://rkzuk.com/

Track Review: Fola- Comfortable

TRACK REVIEW:

Fola

Comfortable

9.3/10.0

Comfortable is available from:

https://www.youtube.com/watch?v=P0u7Hlkg_ms

RELEASED: 20th May, 2014

WRITTEN BY: Fola [Pensouls]

PRODUCED BY: Villi Vbeats Mambu & Femi V [@ProducerVbeats & @femi_vessel]

CO-PRODUCED BY: Fola

VOCAL ARRANGED BY:

Fola & Ideh

BACKGROUND VOCALS BY:

Areatha Anderson [@areathaanderson], Fola & Ideh [@sylviaidehuk ]

MIXED BY: LNT Music Group [@LNTMusicGrp ]

GENRES: R 'n' B, Soul, Pop, Hip-Hop

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With so many R 'n' B and Soul acts- in the modern scene- declining (as their careers progress), Fola has a consistency and sense of evolution that stands him apart. From his early days, the London-based artist has grown and built his stature. Comfortable is a fine and addictive slice from an incredible talent- his cocktail of smooth and sexual soulfulness; catchy and rhythmic R 'n' B motifs make him a scintillating proposition ____________________________________________

ONE of the best things about music is the sheer diversity and surprise...

it can provide. Having just reviewed a Hardcore/Punk band from Stoke, I now take my thoughts to an R 'n' B/Soul act from London. Two more distinct acts you could not find- there is nothing to connect them at all. I am going to mention a few points today; one revolves around Soul and R 'n' B. The genres are quite busy and well-represented- all sorts of different sounds can be heard. In terms of mainstream and popular appeal, there are few acts that resonate in the mind. With the ranks of the charts being dominated by effete and short-term appeal, the Soul and R 'n' B acts- that are in the charts- are not exactly the most heady and impressive. With the likes of Beyoncé perhaps having passed (their best days by), the job is left to fall onto the new generation- find acts that can come through and impress. Being a fan of Usher and Michael Jackson, I yearn to find acts that can unify and bond Soul, Pop and R 'n' B- draw in those glorious sounds and possibilities. When I scan around the music landscape, there are not many convincing artists that pull this off- there are one or two; they are in the minority. A lot of the mainstream- and new music- is dominated by Pop (pure and unadventurous), Indie and Rock- styles of music that fuse multiple sounds and emotions are not as widespread as they should be. Sam Smith and La Roux are two examples- I mention a lot- that have been able to melt Soul, R 'n' B and Pop together- in a riotous and colourful blend. It is a shame- it is not done more- as the results (when done right) can be tremendous and hugely evocative. If you look back at history; cast your mind to the '80s and '90s- just look at what the likes of Whitney Houston and Boyz II Men have produced- that incredible and emotive music; the sheer passion and genius. I have a few more small points to raise; for now, I will introduce my featured act:

"Inspired by the greats of the music world like: Michael Jackson, Whitney Houston, Boyz II Men, Brandy, Usher and Beyoncé, young Londoner singer/songwriter Fola is also set to make his mark in the world of music. Developing & perfecting his craft from the early ages of 11, Fola entered various talent competitions and showcases performing to different audiences around London. 2007 saw Fola branch out more by entering popular TV show The X-factor where he got through to bootcamp. The year also saw Fola tour with Grammy Award nominated singer Joshua Groban on his Awake UK tour. Fola continued to perform locally generating a following for himself as an artist. Writing and recording new original material was the next agenda for the talented singer. Fola began working with talented producers, songwriters and vocal arrangers like: Maleek Berry, DDark, J Warner, DavidB, SOS, Alex E and Richard Isongs, to create great music that would represent him well and showcase his deep, smooth, sultry vocals that set him apart from other singers on the scene today. Fola’s music has been described as mainstream r&b/pop music that is universal and highly relatable in content. Star was Fola’s first ever official single release in 2011 with UK MC/Producer DDark. The song was a pop/grime/electro club banger that did very well for both acts, opening more doors of opportunities as well as building their ever-growing fan base. Due to the great response from Star, from Dj’s across the country and fans, Fola decided to release his first solo project – GO. A mixtape consisting of some songs that he had been working on for the past 2 years prior to the release of Star. The mix-tape was a message driven body of work that dealt with love, independence and good times. In 2013 Fola decided to change his sound and go for a more acoustic driven project – After Green, released in the summer of 2013. The Mixtape was inspired by the Kinects – Fola’s fans. A lot of people took interest in Fola’s live acoustic act and wanted to hear more of that sound recorded. After Green saw the collaboration with Femi Vessel, guitarist and keyboardist from London. Fola also teamed up with Mr Damention for Swag Back, the first song from the mixtape. Swag was also produced by Femi Vessell. The mixtape also consisted of covers of Riahnna’s Diamonds and Chris Browns’ Don’t Judge Me. Beyonce’s I Miss You was also recorded following the success of his performance of the song on reload session, which generated huge interest on YouTube. Other producers that contributed to the project Akin The Producer (Diamonds & Don’t Judge Me) & Maleek Berry (Together, Open The Gates & Round & Round). Fola is now in a song writing duo called Pensouls with singer/songwriter David B. Both have been writing for other artists and Fola’s new up and coming EP – Promise Land set to be released in 2014. Fola has also formed a close collaboration with producer Villi ‘V Beats’ Mambu. The Open The Gates singer just recently signed to GMG Music Management, and is set to do great things in the future. Promise Land EP is a more mature, smooth sensual side and explores r&b/pop/soul styled music."

Male solo artists are producing some mixed results- over this last year. The solo market in general is among the most exciting and prosperous- the best of the breed are deeply impressive. Having so many sole acts on the scene, the overall consistency and quality is not as high as it should be. Perhaps feeling the weight of expectation; maybe not showcasing enough range and diversity, the current crop are a mixed bag. The very finest artists have been causing salivation and deep impressions- this is especially true of new acts. Fola is a musician that is definitely not capable of disappointing or being meagre- his ambition and flair is cementing him as a name to watch. With his E.P. Promise Land arriving soon, the mature and sensual concoctions he elicits are causing seduction and effusive praise. Not only does the London-based star explore his soulful and sexual side- up-tempo and crackling R 'n' B snaps are experimented with. A fully-rounded and ambitious act, he is going to be making serious waves in years to come. In spite of the fact he has appeared on reality TV- a subject that causes me to rant and scream- Fola has developed into a credible and unique artist- someone who is determined not be seen as just another Pop-cum-Soul act. His mobility and changing sounds have seen him develop and improve- since his earliest days, he has grown more confident, assured and striking. In terms of new music, there are a few acts that fuse similar sounds and experiences- as Fola- into their music- few do it with such a sense of occasion and conviction. One of the most bold and memorable solo artists coming through, the young Londoner will be sure to reap critical acclaim- from the release of his E.P. Before I move on, I want to explore the issue of London music. Over the last few weeks, artists from RKZ to Dana McKeon have come under my radar- both acts take their motifs and inspirations from the street. RKZ's Rap and Spoken-Word gems are literal and intelligent; draw in paragons of modern-day existence around love and ambition- he is one of the most exciting and talented musicians around. Dana McKeon's Beatbox-Pop looks at ambition and dreams- her incredible vocal abilities are stirred in a melting pot of incredible sounds. The capital is promoting a great deal of fervent and daring Urban-influenced acts- musicians that give a great and authoritative representation of modern Britain. Fola has his heart in similar avenues; his social consciousness and observations mingle with heartfelt love songs and codas of passion- marking himself out as one of London's best artists. Having recently been ensconced in a musical slump, London is starting to revive and inspire: other parts of the U.K. have been stealing focus throughout 2014. With a fresh and hungry wave of (phenomenal) artists pouring forth, eyes are being trained back at London- the ancestral home of some of history's greatest musical moments. The various scenes, sights and sensations are compelling (musicians here)- leading to some wonderfully-realised songs and albums. Fola is a man on a mission: an artist that wants to cover as much ground as possible; record music for as long as he can. His initial and early works have been met with adulation and respect; he is increasing his potential and quality with every new movement (he unveils)- this natural evolution is going to be exciting to see. Comfortable is a typically confident and memorable slice from the young star- a perfect representation as to what his E.P. will contain. New music is tempting in a lot of eager and excitable musicians- each keen to present their songs to the public. In so much as they require market share and backing, they also need some inspirational drive- acts that have proved themselves and can give guidance. With a drive and talent that demands close investigation, Fola is sure to be a valuable reference to up-and-coming musicians- many will be able to take notes from the young star's current endeavours.

For a greater appreciation of Fola's present, it is worth dipping back into his past. Having recorded so many different tracks- sometimes with other acts- there is a great and vast range to choose from. Having developed and changed since his early days, tracks like Living A Lie are some of his earliest attempts. That track has an atmospheric and haunting beginning. Sensual and romantic vocals back evocative and scenic lyrics. As the vocals are layered and built up, our hero is keeping his feelings inside- he has been hurt by his sweetheart but does not let the pain out. Prince's early-career ideas come out in the track; those smooth and hypnotic vocal sounds come forth- supported by rampant and primal beats. Trip-Hop and R 'n' B elements unit to whip up atmospheric and soulful blends- it is a stunning statement from the young artist. Antarctica is pummeling and urgent- rushing and clapping electronics beckon the song forth. The vocals stutter and tease; promulgate different emotions- lustful and pained come through to varying degrees. Smooth and gorgeous, the performance looks at the changes of life and love. Drawing some hints of Usher and Michael Jackson, the track is catchy and danceable. Crackling and sparkling with life, it is bolstered by an impressive and polished production. Fola went on to build his reputation with I'm Here. The song marries Eastern-sounding strings- Asian sounds come out- and a sensualised and silky vocal. The beats are more sparse- punchier and more packing in potency. Emotive lyrics and insights give the song many layers and shades. At the heart, our hero wants to support a girl- throw his arms out and provide comfort. Showcasing tenderness and thoughtfulness, our man is there for her- keen to get her through tough times. Taking Off features the talents of Jamkilla- a song that has more robotic and processed moments. The vocals are put through computers; fractured and echoing, there is an oddly detached and anodyne sound that comes through. This does not equate to poor quality at all- the song comes through urgently and insistently. Displaying shades of current R 'n' B and Soul, it is a fresh and vibrant cut (from terrific collaborative talents). When the mixtape After Green arrived, it saw our hero increase his ambitions and desires. Round and Round shows some karmic retribution and Golden Rule equality- the breathy and sighing beginnings are a tantalising and intriguing injection. The modern and cutting-edge production values give the song shine and clarity- it is emotive and full-bodied. Female vocal input creates a more rounded and diverse feel; the distinct tones parabond marvelously and elicit a lot of romance and sexuality. Beautiful and impressive, it is a fine number. Open The Gates is another highlight- a soft and building start reminds me of Whitney Houston and Destiny's Child. Mixing in some aspects of Prince and Boyz II Men, the song unites threads of '80s/'90s U.S. Soul with some current R 'n' B sounds. Whereas Round and Round looked to the future and the cessation of mankind- among other thoughts- here there is spark and a glowing heart. Retaining that distinct sound and personality, it is a track perfect for the warm summer evenings- when you want to sit back and unwind. Bringing us more to the present moment, Hitting The Road is another gem. A rushing and urgent intro. sees build and development occur. The vocal is insistent and lower-down; mixing greater tonal range and diversity, we see our hero's vocal range come to the fore. Direct and swelling, the chorus is a catchy and insatiable thing. Backed by juddering and vibrant electronics, it sees a bold and confident leap forwards- our man keen to develop and expand his sound and artistry. The Way You Are is a sensual and soft track- vibrating and machine-rendered vocals have some Usher-flavoured tones. Modern-day R 'n' B rawness fuses with classic and vintage Soul soothe. Comfortable continues the quality and sense of adventurousness. Mixing flavours and sounds into the mix, it is a cinematic and fully-rounded beast. More insistent and catchy, the vocal is more natural and unfettered. Beats here get your feet moving and tapping; the smooth and chocolately vocal turn spars sexy with urgent. His finest cut to date, the song is a bold and impressive statement from a mobile and hungry musician- someone who never fails to surprise and impress. Over the course of a couple of years, Fola has managed to draw in a range of influences and ideas- his newest incarnation is as unique and individual as anything. While there are embers of Usher, Whitney Houston and Boyz II Men, it is hard to compare the track with anything else- its freshness and striking memorability lodges the notes in your brain. Fola is keen to melt some familar sensations with his own inimitable voice- his songwriting is distinct and original as any I have heard. Whilst it sits well with the best mainstream examples of R 'n' B and Soul, its Pop sensibilities and undertones mean it cannot be defined and confined- the song will strike a chord with a myriad of different listeners. Incredibly insatiable and addictive, it provides a captivating glimpse into what the imminent E.P. will possess- a tableau of excellence from one of this country's most ambitious and hard-working musicians. It will be great to see where Fola goes from here- whether he stays with his current sound or develops it further. The honing and consecrations have led to his most stirring and impressive songs to date- I would be loathed to suggest improvements or changes. Having matured and learnt as a singer, Fola is now starting to come across as a bona fide star-in-the-making. More confident and alive than ever before, you can hear the passion and meaning come through- his performance on Comfortable is as tight and impactful as anything else. This all bodes well for the future months- it will see the young star transcend to the mainstream and cause excitable ripples. Over the last few years, we have seen a lot happen for Fola- his music and personal developments have enforced his music and direction. Drawing in some sound new avenues and ideas, that hypnotising concoction of smoother-edged R 'n' B magnanimously joins with fizzing and scintillating Pop crackle- the deep and soothing Soul swathes make the music so compelling and nuanced. I am sure there will be another E.P.- or album- due in 2015- a great opportunity to see just what the young master can come up with. The here and now is where we are- the elliptical, effusive and inspiring offerings are gaining momentum and huge praise. Guaranteed to soundtrack your summer, Comfortable is the concentration and distillation of all Fola's multitudinous strands- a vibrant tapestry from a very innovative and daring artist.

Although Fola is a distinct and fresh voice, he does dip into music's past- inspired by some of the greats of music. One of the most treasured icons- for Fola- and distinct names is Michael Jackson. When looking back at Fola's early work, I could detect signs of the King of Pop. The best Jackson album- to use as a reference point- is Off the Wall. One of Jackson's lesser-renowned works- it did scoop Grammy awards- some of its most emotive and sensual moment have resonated with Fola. The 1979 masterwork was the first true work of genius (from Jackson). Songs such as the title track and She's Out of My Life are classics that have aged incredibly well; Rock with You is an insatiable and upbeat jam- Working Day and Night is a classic cut that is under-appreciated among music listeners. Although Off the Wall did not make the same strides as Thriller, it was a hugely impressive disc. The album remains a slick and authoritative R 'n' B/Pop hybrid- a seamless and wonderful fusion that is the leader of the breed. With a Disco-flavoured slant, the album marked a huge leap of maturity- gone were the immature and naive cores to be replaced by something harder and more grown-up. The class and epic grooves that spill out of Jackson's album have compelled and inspired generations of new acts- Jackson's style and technique (as a singer) were cemented and augmented. Voting committees and the press were more ambivalent- than Jackson would have hoped. Thinking the album deserved much wider acclaim- he has a point- that spurned his burning ambition to impress and seduce- ensuring critics did not ignore him, the thrills on Thriller left no-one in doubt. Fola instills a lot of Off the Wall's majesty and styles. That similar maturity and edginess comes through in his music; his singing technique and projection mixes sleek and smooth with jagged and rugged- the boy and man personas tussle and wrestle with one another. Songs like Comfortable combine heartfelt sentiments with some knife-edge thrills and slices. Jackson marked himself out as a gifted and peerless vocalist- on the album- and used that elasticity to bring life to each song. Fresh and vibrant, tracks like She's Out of My Life and Get on The Floor remain solid works of genius. Strong melodies, rhythmic hooks and the dazzling production galvanised the album- Quincy Jones and Jackson's mix of Disco beats and funky guitars added life and layers to all of the tracks. Fola imbues his songs with similar consideration and depth- making sure snatches of different genres and instruments add intrigue to the surroundings; Jacko has had a clear effect. When looking at other legends of song, the likes of Stevie Wonder come to mind. When I consider a Wonder album to introduce- I can parallel with Fola- it would be Innervisions. Perhaps the closest-sounding album (to Fola's sound), it remains a real and personal collection of tracks. Wonder is the central genius that everything else revolves around- his inventiveness and range of movements is quite astonishing. Taking in the likes of Blues, Soul, Folk and black music means the disc is a compelling masterpiece. So much depth and knowledge went into it- you can tell just how cultured and astute each note and thought is. Not keen to micro-manage, Wonder mixes the lyrical and didactic into one- his lack of literal vision is heightened in the glaring clarity and sight of his music. Themes range from real-world problems to subjugation and entrapment- the young master looks at the poison of the city; the lies we tell children; the ill effects of drugs. Fola has a similar knowledge and love of music: having incorporated so many different genres into past work; on his current offering he solidifies and tightens this natural affinity and talent. Having a vision for emotional resonance and passionate depth, he makes sure all of his songs differ and do not overlap- the range of topics he explores is phenomenal. The narrative catchiness of Innverision's finest tracks marries hard-scrabble cautionary tales with stunningly startling commentaries. Fola has been inspired by the likes of Stevie Wonder: the way he deftly intertwines pressing issues with melodic resonance is highly effective and uplifting. Maybe many would not think that Whitney Houston has had an effect on Fola- she definitely has. One of the most captivating and applauded artists of our time, her finest work remains My Love Is Your Love. Whilst her Whitney album was perhaps a bit more personal and immediate, her 1998 startle hit harder with listeners and critics. The mature consistency on the album marked a career high-point- the mixture of survivor instinct-cum-heartfelt lover makes everything sound so elemental and imploring. The music transformed into something less rigid and more supple- Houston introduced vocal improvisations and fewer restrained boundaries (to her performances). The album showcased how effortless she commingled Disco, Dance, Pop and R 'n' B together- sometimes within the same song. The L.P. does have some old-fashioned sludge; for the most part the crossover appeal and potential cemented it as a modern classic. It is the emotion and conviction- Houston injects in every song- that makes her such a hugely influential singer. Able to hit heady heights and seduce when events are calmer, her emotional spectrum is only matched by her impassioned and gripping voice. Fola tends not to let his voice belt and operate as emphatically- he is more effective and distinct when letting his crooning and smooth side work. There are five more names and artists I will list; before that, D'Angelo sticks in mind. The Neo-Soul legends has inspired legions of modern-day singers- in no small part due to his dynamic and electrifying range. Brown Sugar was the album that introduced the world to D'Angelo. Mixing '70s Prince with Smokey Robinson, critics were impressed by the updated sounds and lack of over-familiarity. The revolutionary rebel sees R 'n' B revitalised and reinvigorated: dosed with a spoonful of kick and passion, Brown Sugar remains one of the most important album of the '90s. D'Angelo looked back at the legends of Soul and injects Hip-Hop potency into older sounds. Later in his career, D'Angelo forsook bootylicious for disquiet and evocation; he did not succumb to tune-and-hook- it was the blueprint for post-Soul music. Incorporating Vaudeville-Memphis, Ragtime-Blues fusion and Jazz notations, the Voodoo album (D'Angelo's 2000 work) was his masterpiece. Before I elicit a quartet of legends, I will mention a big influence- for Fola- Boyz II Men. The U.S. vocal harmony group started out bombastically with Cooleyhighharmony. The production saw throwback elements infused with contemporary stylisations- the "Hip-Hop Doo-Wop" group put a collegiate spin on the traditions of Doo-Wop. Imbuing everything with a modern edge, the boys (or Boyz) sparred swinging anthemics with tender and rousing emotional ballads- letting their incomparable and unmatched vocals do the talking. Libidnal melisma, swaggering arms-aloft stutter and sonic cherry bombs came out in the album- something that was expanded upon on future albums. Although the U.S. legends received mixed critical reception- following their early albums- you cannot deny the effect II had. Their finest hour, the album sees high-soaring jams ensuring crowd-pleasing moments. The slower numbers are the ones that resonated the hardest- when the group mixed their stunning tones together. Fola draws in a lot of Boyz II Men's best aspects: his soft and emotive vocals elicit the same sort of chills as Boyz'; he is able to soar and seduce- reflect and introvert. Possessing the same smooth and sweet tones; the updated versions of vintage sounds- Fola is a modern-day distillation of Boyz II Men. Whilst unable to summon up the same army of vocals, our London hero does include just as much emotional weight and soulfulness. When he brings the lights down- on the more soaring and romantic numbers- that is when you hear the familiarities. Continuing the run of U.S.-born influences, Prince is another name- that you can draw with Fola. When listening to Fola's past work; his vocal acrobatics and incredible collages of tones- I could hear some mid-career Prince. Two Prince albums come to my thoughts- when looking at Fola's work. Purple Rain is the first of his albums (I will mention). Lauded as a work of genius, the album must have featured on Fola's young mind. Although the L.P. delves into Rock and Heavy Metal territory, that experimental and unrestrained sense of ambition can be compared with Fola. Hard and funky beats- on Purple Rain- sat with majestic ballads and Neo-Psychedelic oeuvres. Fola- in his previous incarnations- has introduced Funk-laden moments with eerie and more potent sounds. When listening to Comfortable, I caught a D.N.A. mix of Take Me With U and Computer Blue- maybe some of When Doves Cry's luster is there too. Prince hits home hardest- with me at least- when he is in more sensual and romantic territory. When his voice slinks and whispers, you get some of his most potent offerings. The Gold Experience is a Prince album that I can compare with Fola. The stripped-down Funk and delicate balladry made thew album so emphatic; the dynamic range- seen throughout the album- impressed fans hugely. If you listen to wonders like The Most Beautiful Girl in the World, you get a stunning and spine-tingling love song. Prince introduces some of his highest and lowest notes; the breadth and depth of his passion and panache- it is a Philly Soul tribute that grips at your soul. The tightness and array of sounds made The Gold Experience such a joy- the scintillating stories and confidence displayed cannot be faulted. Fola has demonstrated his versatility and dynamism in his past work; on Comfortable he elicits the same purity, beauty, power and curiosity (as seen in The Gold Experience's finest moments). The final trio of influential guides are Brandy, Usher and Beyoncé. Brandy is an artist most of us have heard of- maybe few listen to regularly. The American hit her initial peak on Never Say Never. That album saw a mingling of Adult-Contemporary with streetwise edges. Subdued and smooth vocals made her lyrics- some of which were distinctly below-par- urgent and essential. The pizzazz and charm that radiated throughout the album was only bested by a unique mix of jaded emotions and gleeful outpouring. The quality of the songs and production elevate the album beyond easy criticism and derision- the sense of adventure and ambition mark it out as a solid and impressive work. Fola has more consistency and quality (than Brandy) yet does instill some of her hallmarks and elements. His fusions of streetwise and soft make his songs so deep and compelling; the soulful and uplifting deliveries make all of his words so compulsive and necessary. Usher is a favourite of mine; someone who has inspired the Comfortable star. My Way is perhaps the best of Usher's earliest works- the album that saw the ambitious pretender hit the big leagues. Tracks such as You Make Me Wanna... stood out in the imagination- that sexy and seductive lick is hard to overlook. Refined, tasteful and gentle; the album was a sensual and mild-tone work. Sweet-natured and not too one-minded, the album showcased a distinct and defined personal voice- one that was threatening to explode (on previous albums). Throughout the years, Usher has been developing his style and projection- there are fewer down-tempo numbers (on recent works) than his early career. The refreshing offerings on discs such as Here I Stand stand up to repeated listens- that album shows Usher more matured and destined for dancefloor pantheons. While a lot of R 'n' B purveyors- of the '90s and '00s- came across as atrabilious and uninspired; Usher developed and reinvented himself. The king of R 'n' B, Usher shows- on every album- just what a force he is; all backed by that indisputably glorious voice. Fola has changed and evolved just as much (as Usher)- keen to remain fresh and inspired. Having covered bachelor boy days and grown-up reflections, the Londoner has managed to defy expectations and protocol. The last name I shall mention is Beyoncé. Perhaps an unexpected influence, the U.S. giant confounded critics on her Beyoncé album. Having solidified her reputation, few were expecting something so scintillating and vital. Sexed-up falsettos and ramped-up emotions sat with effortless swoops and determined and defiant rebellion. Although Fola does not tread the same feminist lines, he does contain and present the same swooping and sexed-up swathes- able to unite diverse sounds and make them sound utterly compelling. Gospel power and Hip-Hop flow goes into his music; his technical range and emotional depth can be compared to Beyoncé- a singer that is regarded as one of the most talented on the modern scene. Loose song structures and sexuality marked Beyoncé as a triumph- made for the clubs and contemporary venues, every track seemed like an essential and pressing made-for-radio hit. Sonically experimental and clashes of emotions married bold exploration and self-examination- topped off with music that drew in as many men as women. Not megolomanical and braggadocio, Beyoncé's feminist presentations were not crafted to rebel against potential listeners- they were aimed at attracting as many as possible. Monogamy, romance, heartache and mixed-message come-ons united metaphorical with literal. Fola is uncompromising when it comes to emotions and barriers- his music dips as deep and ambitiously as Beyoncé's. If you are a fan of any of the artists above; not overly-keen on any of them, then do not fear- Fola is an act that is as distinct and individual as any. Only incorporating the touches and shades of his idols, the abiding sound is one created by a striking and special talent.

A futuristic and blissed-out vibe heralds Comfortable in. Psychedelic and spacey electronics wail and echo- it is a smooth and intriguing rapture that begins things with a heady and insatiable kick. Joined by finger-clicks, the parable starts to relent and calm- romantic strings are introduced in the background to offer serenity. Right up until the initial vocal offerings, the composition is kept busy and layered. Elements of Soul, R 'n' B and Pop are married alongside (slightly) heavier elements. When our hero does approach the mic., his voice is determined and urgent. Speaking to his sweetheart, he is in romanticised and supportive mood. Whatever happens with her; if there are any issues at all, our man is "gonna be right by your side." As the night draws in, the mood starts to get sexier and slinkier. The vocal is velvety and entrancing; switching from Prince-inspired sounds to a darker and more chocolate-toned line- the combination of vocals (Fola's) gives the song an additional weight and sense of occasion. You can picture the scenes and sights that are unfolding. As he directs to his woman, the lights are dimmed and the night draws in. Always being there for her, our hero will "give it all to you"- if she wants to party and dance then he will follow her. That sense of satisfaction and romantic intention is clear; the sensuality and electricity of the performance never relents. The production is polished and clear enough to allow the vocal to shine; it does not bury the compositional layers too deeply. The percussive beats crackle and spark; the swathes of Soul-tinged electronics keep the sweat and sultriness very much alive. If his sweetheart wants to move her body way down, then the night is primed for that- whatever the mood and situation dictates; our hero is by her side and ready to accompany her. There is no pressure and forcefulness; that relaxation and freedom enforces the sound. Against the scenes of late-night adventure and action, the supportive sounds layer and build. The vocals weave in and out of one another; tripping and spiraling, the energy and fascination grows by the second. Supported by atmospheric and kinetic compositional crackles; Comfortable grows ever headier. The title is the abiding point and message- our hero just wants his girl to be comfortable. Not just training his thoughts to the bedroom, Fola does not succumb to male intuition- the most predominant aspects of a lot of R 'n' B artists. As a female vocal is offered in- to bring the heroine to life- an additional aspect of beauty is presented. Her sweet and sensual tones blend perfectly with Fola. The duo work with one another and ensure an elliptical and scintillating unity- one that perfectly gets inside of your head. Having been washed up in the swathes and waves of sound; the enraptured and imploring vocals- the next verse arrives. Our hero restrains his desires to offer up some sage advice. Scenes and sets are drawn into the song. The girl is very much on (Fola's) mind and arresting his desires; his movie queen sweetheart is making his mind and thoughts spin- wanting to "kill the scene", the sexual tension grows once more. There is long-term ambition and intent in our hero's thoughts; wanting the girl for more than a night, he seems to be in the throes of love- perhaps her alluring and unforgettable charm is settled inside his heart. When the vocals- once more- slither and slink inside one another, you catch glimmers of other artists. Being inspired by the likes of Boyz II Men, Michael Jackson- having elements of Prince to his sound too- that adds enormous potency to the voice. Able to weave in that same captivating fascination (Prince pioneered), the sexiness and stunning range; the smooth and delirious harmonies of Boyz II Men- the crackle and snap of Michael Jackson. Mixtures of high and low notes mingle with a range of different emotions- lust and desire sit with mature and restrained offerings. Caught up in the multifarious and uplifting vocal combinations, the song never stops fascinating and overwhelming- its rushes and energy mandate the listener to become involved in the song; get their feet tapping and let the music take them away. Comfortable has a great vintage vibe to it: uniting the classic Soul and R 'n' B sounds of the '70s and '80s- the Pop magic of the '80s and early-'90s- it fuses modern-day and current sounds. The way Usher updates older and more established cuts- with a veneer of modern shine- makes him such an authoritative and legendary figure.  These are the same qualities that can be applied to Fola. His voice and music could easily fit in the halcyon days of Soul; just as relevant to the music of 2014, it is an intoxicating and detailed blend. Among the scenes and proclamations of sensuality, the hero allows his mature and protective side to come out. All of the other men- who have messed his girl around- have left her bruised and cynical- our man is the only one that will keep her safe and not let her down. You believe the words that come forth. In part this is down to the performance and conviction that emanates; largely it is because there is no good reason to lie. Having taken in everything that has come before; the directness of the words- the latest revelations and promises seem natural and wholly viable. Because of this, the song gains extra credibility and weight. Lesser artists would either bog their songs down in innuendo and sexual ruminations or else come across as saccharine and desperate. Fola seamlessly blends emotions so that a perfect balance is created: you are rooting for him (and his girl) to be together; hoping that his intentions are true. At no point does the song seem disingenuous or ineffective. In the chorus, the vocals rise and layer; high and sweet utterances bond with low-down and silken projections. Towards the final stages, you have more of the story (and facts) at your disposal; the luxuriant and devilish glee keeps gripping the soul- the track never lets its sense of magic and impressiveness dip. Even when the vocal ends- and the outro. comes into effect- you are hooked and immersed. Finishing with a cocktail of snapping beats and languorous, aching strings- the track comes to its conclusion. Having packed so much into his agenda, Comfortable is a scintillating and hugely memorable track that struggles to remove itself from your brain.

Being a new convert to the wonders of Fola, I have spent a few hours investigating his back catalogue and beginnings. Some of his early track hints at the promise shown on Comfortable. To my mind his latest cut is the ultimate testament to his true talents and potential. Never has he produced so an urgent, honest and impassioned track- the Londoner means serious business. Before I commend Fola's various distinctions and talents, it is worth reflecting on the track. The production values are incredible throughout. There are no detractions I could hint at; everything is mixed and blended perfectly. Sometimes there is a lack of clarity in the vocals- some of the lyrics get passed over because of over-urgency and pace. A similar fate has befallen solo singer George Ezra. His album has taken a slight knock because of similar issues. Some of his lines and songs are delivered with too much speed and urgency- meaning words can run into one another and lose their clarity. It is not a huge issue or problem to worry about- the busy and packed composition sometimes becomes a little over-zealous and pressing. In spite of some minuscule dents, the overall sound is one that grips and impresses hugely. The production does not come across as too polished and perfected- there is plenty of room for raw emotion and passion to come through. Having the sound and flavour of an old-school R 'n' B track, Fola seems at home and natural here. The brilliant inclusion of past masters- and their voices- bonds with current and contemporary vibes- the ensuing concoction is a mesmeric and scintillating one. The backing vocals add a huge amount of passion, delicacy, sweetness and sensuality. Seductive and breathy at times; heavy and hot the next, you become enraptured by the beauty and sparks that are elicited. It is worth focusing on the man himself; investigating his roles. Comfortable contains some concise and impressive lyrics. Never juvenile or ineffective, they are tight and well-considered- mixing honest and mature sentiments with libidinous lust, they defy expectations. A lot of modern-day artists are derided due to their lack of depth and lyrical ability; their pen often is not as sharp as their voice- Fola does not suffer this same setback. His words are as crackling and rich as his tones; lines and scenes mix detailed with oblique; they are direct and lush one moment; sparse and free-form the next. Demonstrating an ear for story and pace; an authority and love of classic R 'n' B and Soul kings, he mixes this into Comfortable- a song that is packed with detail and fascination. The composition keeps busy and mobile; it never lets seems to slow or lose its momentum. From the introductory crackles and pops, stylistic shifts are presented; multiple genre sounds are thrown in- it is a rich and variegated composition. When our hero lets his voice swoon and seduce, the composition is appropriately smooth and sensualised- kicking back and ensuring every note hits its mark. When electrified and urgent, the music matches this level of luster- strings and beats augment and rise in partnership. It is the vocal itself that impresses the most. Making every word sound convincing and utterly essential, Fola provides his more assured and stunning performance to date. Gone are the vocal treatments and Auto-Tune moments; the sound and sensation is of a naked and unmodified voice- one that packs an incredible punch. Taking in some sensations of Prince and Usher, the mixture of sweetened falsetto and velvet sensuality elicits some terrific reactions. Weaving and changing projection, the vocal matches the mobility and unexpectedness of the composition itself- making sure the song is insanely fresh and gripping. Overall you are left with a track that seems perfectly suited for the summer weather. It has such an insatiable and relaxing vibe, it is perfect for those lazy days and beach-side parties; able to soundtrack epic drives and long journeys, it is a song that has no boundaries. Able to unify balkanized clans of music-lovers, it supersedes and breaks barriers- it is not a song restricted to club members of R 'n' B and Soul. The relentless passion and elliptical promise (the track provides) means it is a ubiquitous and universal slice- a number that reminds you of better times.

A lot of my own cynicisms have been dispelled and eradicated. When I look at an artist's biography- and see the words 'X Factor' mentioned within- I am predisposed to balk and scoff with derision. It is understandable: my sense of irritability and rage is shared by the majority. Fola is an artist that has caused some creative inspiration and direction- my own music has been given a kick of new life. There are a lot of artists- on the scene- who project R 'n' B-cum-Soul machinations; sprinkle in some Pop gold-dust- ensure the resultant hybrid is as exciting as possible. Few contemporaries have a flair and quality that marks them aside from their peers- Fola is a talent with a clear identity and instantly resonating music. Comfortable is a cool and seductive slab that is impossible not to like- it has hallmarks of past giants, whilst retaining a very modern and personal voice. The London-based artist is going to make moves the rest of this year- including the release of his E.P.; make sure you keep your eyes peeled and trained. Being a fan and devotee of the likes of Michael Jackson and Smokey Robinson, I can hear that same blend of power, sweetness, passion and raw emotion- the deep and mesmeric words; the catchy and addictive codas- there is no reason to suggest Fola should restrict his sites and ambitions. With the music industry being tightly-packed and jostling, it is important to ensure those with genuine potential are given breathing room- allowed to move and grow with little repression. I have not heard all of Promise Land- I have surveyed the full body of Fola's past. Seeing a development and evolution, the young star is getting stronger and more determined with each release- he is not contended to stick with one voice and style; changing and developing his art in accordance with his inspirations and desires. As I said up top: London is starting showcase some immensely promising musical talent. Having been suitably blown away by Dana McKeon's blend of Beatbox-Pop and Soul, I did not think the capital had the ability to surprise and confound- bring out more acts like Fola and we shall see something incredible happening. Musicians- located elsewhere- are progressing and relocating to London; their itinerant and sojourn ambitions are seeing them settle and rest in the capital. It seems like the burning and white-hot hub for creativity and inspiration: an area of the world where so many different styles and genres are being represented. I do not think reality/talent shows are the most evil thing in the world; they are at least wholly unnecessary and cancerous- the artists that win the contests have provided no difference and quality to the music industry; their disposability and brevity is highly irritating. The acts that choose to do things honestly and without motive- the only reason you go on a talent show is for shallow fame and publicity- are going to be the ones the public will embrace and proffer. Too few innovative and surprising musicians arrive in the mainstream- new music tends to offer the best choice and sense of ambition. It will be fascinating to see what Fola does next- whether he brings out an L.P. or reinvents himself; takes his music across the world or focuses his energies on the here and now- whatever he has in mind, it is likely to be met with support and excitement. Before I wrap things up- and prime my mind for a new act and sound- I want to offer up some advice and tips- for new acts coming through. So many samey and predictable Indie bands get filtered through- the vague and unpalatable sludge that forms is causing tarnish and depression. Being a well-represented genre, a lot of the public are turning their attentions elsewhere- looking for music that differs and provides unfamiliar sensation. With the exception of some noticeable and well-known mainstream (and newly-bred Soul and R 'n' B artists), they are few and far between. When the alchemy is perfected; that potion and concoction is mixed with the right balance of ingredients, something wonderful can be stirred- strike the balance of sexiness and restrain and you are onto a winner. Comfortable is a song that has a soothing and sweaty heart; its soul is emotional and determined; its tongue sharpened and sexualised- the combustible coloured sands are mesmerising and eye-catching indeed. If you are unfamiliar with Fola and his past work- make sure you set time aside and investigate it with full creativity. His forthcoming E.P. is a bold statement from a deeply exciting and talented proposition- an artist that gives the music world an infusing slice of salacious cool and red-hot vibrancy. His voice and delivery is hard to ignore; his words universal and personal (all at once). If you are stuck for ideas this weekend...

LET Fola's magic take your mind away.

https://www.youtube.com/watch?v=P0u7Hlkg_ms

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Fola:

Official:

http://www.officialfola.com/

Facebook:

https://www.facebook.com/officialfola

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Fola's music can be heard here:

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For all booking enquiries:

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Album Review: All The Best Tapes- All The Best Tapes

ALBUM REVIEW:

All The Best Tapes

All The Best Tapes

9.5/10.0

All The Best Tapes cover art

All The Best Tapes is available from:

http://fxdrecords.bandcamp.com/album/all-the-best-tapes

TRACKLISTING: I Want To Believe- 9.5/10.0 Nine Masks- 9.6 Life Of Gold- 9.5 Conservatoria in Threes- 9.4 The Iron Rod- 9.6 New Ribs- 9.6 Soft Light- 9.4 I've Been Bored Since 9/11- 9.6 We Judged It By The Waves- 9.7

STANDOUT TRACK: We Judged It By The Waves

DOWNLOAD: Nine Masks, The Iron Rod, New Ribs, I've Been Bored Since 9/11, We Judged It By The Waves

RELEASED: 13th June, 2014

PRODUCED BY: Bob Cooper & All The Best Tapes at H.Q. Studios, Manchester, U.K.

MASTERED BY: Paul Hundeby at City Pro Recording, Florida, U.S.A.

LABEL: FXD Records

GENRES: Punk, Hip-Hop, Metal, Hardcore, Punk-Rap, Screamo

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Guided by the likes of At the Drive-In, The Ramones and Bad Brains; the Stoke-based trio provide raw and exhilarating songs- mixed with unexpected compositions (and surprises) they are a mobile army of sound. Visceral and direct; teasing and experimental, All The Best Tapes certainly leave impressions

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AFTER reviewing a run of tracks- from solo acts mostly...

I am stepping back into album territory. It is great to hear a band arrive with such a bang and fervency. My featured act has released a couple of records before- nothing as complete and explosive as their album. I shall investigate the band in more depth, yet want to bring up a couple of points. The first issue revolves around musical geography. Too many bands seem to be emanating from very particular spots- not a bad thing; it means that there is compartmentalisation and a division. London is hosting a fair few dynamic and stunning bands- solo acts too- that are capable of making huge splashes in the future. Up in Yorkshire- Leeds particularly- there are masses of new acts poking out- many of which I have reviewed. Whilst there are heavy and primal sounds coming from some Leeds-based Grunge masters; a fair amount of melody and beauty from the capital's finest- finding artists (in-between- these areas)- is a hard task. Recently I reviewed the Devon-based band Lightknife; I have assessed some artists from Bristol, Southampton and Surrey- this is a rarity. Today I am looking towards the Midlands- a region that I am not overly-familiar with. Having a grand and busy musical history (a fair few bands have come from these locales)- not many new musicians emanate from here. It is a strange thing- when you think about where bands hail from- but there must be a collocation and reason (behind it). Obviously, London is making impressions due to the size of the city; the sheer number of musicians living here. Yorkshire is thriving because of the same reason- there are so many eager musicians there it is impossible to see a decline in quality and output. Elsewhere, you start to imagine what could be causing (a restriction). It may take some figuring out: for now, I am glad that a Midlands group is in my thoughts. In addition to being one of the most enlivening and exciting acts at the moment, they are putting Stoke back on the musical map. More associated with Robbie Williams- Slash was actually born there too- you will not get the two acts confused- our boys are a trippy and primal group that would make Williams wet his underwear. Having fallen in love with the likes of Allusondrugs- and spending the last week reviewing softer sounds- it is good to be back in gritty and lusting territory. Diversity and range are essential in music- ensuring that we have a great spread of artists leads to prosperity and a strong future. The Midlands boys not only take the listener to a busy and under-appreciated area for music; they provide a mixture of sounds I have not heard played. Their love of Psychedelia and Grunge marries with Prog. and Hardcore considerations- the resultant potion has been knocking people off their feet. Too many bands play things safe and predictably: not looking to fuse and experiment, they stick with what is familiar and tested. All The Best Tapes have built up a solid reputation and name: their previous work has captured critics and upped momentum and intrigue- bringing them to the here and now. With their self-titled album wetting mouths and setting tongues wagging, I better introduce the act to you:

Marcus Barker: Vocals & Guitar. Luke Medlock: Bass, Vocals & Programming. Danny Beardmore: Drums

"Formed in the Post-Industrial wasteland of Stoke and Cast from a heavy obsession with Aliens, The Occult, Psychedelia and mind-bending sounds, All The Best Tapes fuse the melodious Chordal technicalities of Fusion Jazz, the grit of Hardcore and the shameless riffage of tripped out Prog into a glorious cacophony of skull fucking power. A departure from their previous offerings "This is not a record, This is All The Best Tapes" and "The Gnar" All The Best Tapes strip down to a three-piece to create a new wave of effects laden, cutting edge punk rock."

When new acts come through, you can always see some restrictions and limitations from the off. Their initial moves have some timidity. All The Best Tapes went in hard and meaningful: listening to the likes of The Gnar tells you all you need to know- here is an act that mean business. Their huge range of influences- from Kate Bush to MC5- have been thrown into the mix- the sheer range of sounds and diversions they incorporate makes their music so intense and layered. Their album expands on early promise and gives a full summation of the boys- across the nine songs, you barely have chance to breathe; the passion and urgency that screams out is hard to brush off. It is not just the band's pioneering blend that makes them so special- the quality and addictiveness of their songs stick in your mind. Not just a group that make a hell of a noise and racket; the lads ensure all of their numbers are deep and fascinating- some of their compositions and lyrics are among the finest I have heard this year. With the mainstream offering some spaces and gaps; it is high time that listeners and music-lovers embrace what new music is showcasing- welcoming the finest we have (and promoting their name). If the likes of Allusondrugs have shown anything; it is that by mixing heavy and brutal codas (with nuanced and more composed lines)- a huge amount of atmosphere and evocation can be elicited. All The Best Tapes have a bond that cements their music tightly- the sympatico and friendships they share makes all of their sounds come across as urgent and authoritative. The leaps forward they have taken- since their earliest work- shows a band that are getting better as they progress. The confidence and spirit they put out on their album makes you wonder just how more potent and effective they can become- they are an act that will certainly be making music for a while longer. Making such a fascinating and original sound, it seems the trio are going to have their sights set on the future- their momentum and passion leads me to believe they will be formulating new sounds and releases before too long. Before I get down to focusing on the band- and their music- I will conclude by stating just how impressive new music is. Strengthening and confounding by the month, I am always stunned by just how brilliantly-realised and bold fledgling sounds are- there are no jitters and false moments. Bands are dipping back into musical history; being inspired by their heroes and heroines- daring to incorporate a myriad of diverse and disconnected sounds together; to elicit something wonderful and fresh. All The Best Tapes have a huge cannon of favourite musicians; they do not limit their sites to specific genres and decades- meaning their ensuing sounds are as full-bodied and colourful as any you will hear.

Looking back at the work of All The Best Tapes and you get a glimmer of how they started out. On their debut, you got that exhausting and exhilarating listen. Songs such as Old Device demonstrated this primal and animalistic urge. The track builds and tempts the listener in. Melodic and restrained beginnings give way to pummel and rumble- the intro. expands and feasts without warning. Determined and raw vocals come to play- screeched and bellowed with lustful fury. Breathless and determined, the song never lets go of you. It is a Hardcore thrash; a Punk rush that is determined to get mosh pits excited and bustling. Pious Fool has warped and spacey starts. The Psychedelic/Prog.-Rock influences present themselves. With some touches of Muse and The Mars Volta it is warped and fascinating- completed with a Libertines-esque riff, you are drawn in. Eager to allow determination to succeed, the vocal then bursts and shouts. Propelled by constant percussive slams; an endless and smashing drive makes the track burrow into your brain. There are melodic areas and avenues that allow reflection and chance for refrain- the song has some great quiet-loud dynamics. Caterpillarism twangs and twiddles at the start; the Foo Fighter-esque anthemic intro. puts your mind in Indie/Grunge avenues- the track contorts and twists with abandon. One of the band's most intriguing cuts, it has the potential to superpose Hardcore and Punk boundaries- find its way onto stations like XFM and Absolute. The Gnar saw the band become more ambitious and varied. All of the early hallmarks remained in place- the vocals particularly had no intention of calming down. Le Fingers has haunted and twisted lyrics. The songwriting is sharper and more fascinating; deeper and more varied- disturbed souls and skulls are featured here. Blood-curdling and deathly, the vocal flair and roar matches the intensity of the composition. Seven Pairs of Scissors gets down to business from the off- hardcore thrashes grab the listener by the throat. There is lyrical economy and concision here- the words are not needlessly unfocused and rambling; they are tight and measured. Poetic elements marry with direct and savage proclamations. Sweeter vocal interjections mix with spaced-out bliss- sharp shocks arrive to take you off of your feet. The title track is longer and more epic- than Seven'- and begins with a pummeling and rambunctious percussion intro. Reminding me of Moby Dick by Led Zeppelin, it is a tantalising start. Byzantine and weird snatches of lines look at volcano haircuts and tour life- having no money and stealing as you go. The band show development and growth- from their debut. The lyrics are more fascinating and compelling- the stories and scenes they offer have more depth and story. The vitriol and anger is more overt and striking- the vocal performances are more impassioned and full. Mixing in some sweeter and more controlled moments, the compositional range increases and augments- the performances are tighter across the board. The current offerings (on their album) show more steps and progressions. Again, the band increase their confident and adventurousness. The palette become more varied and multicoloured; the themes and issues explored change too. I Want To Believe has stutter and sting; tumbling musical notation means there is a heady and unpredictable energy that runs through it. Vocal work is as focused and primal as any I have heard- less guttural at the beginning, I can detect the hallmark highs of The Gnar. Life Of Gold skips and catches you by surprise; the intro. is more Rock/Indie-influenced; calmer and softer than previous offerings. A bigger and wider track, the song builds and layers- that mixture of approachable personality and pained belting fuses perfectly- nothing sounds inorganic and forced. Changing direction and skin, the song is endlessly mobile and shifting. New Ribs goes back to frantic and desperate; the band elicit one of their most pressing and violent performances- it is a track that once more is destined for mosh-pit fights. Rousing the listener into a frenzy, it bowls you over with its sheer energy. I've Been Bored Since 9/11 is one of the most interesting cuts off of the album. A single release, it is more relatable and lovable. Whilst there are some controversial lyrics and subjects, the boys are not trying to terrorise and rebel against sanity- their songbook is packed with some standout and quotable lyrics. Not adding too much more, the band remain firm and solid. The Gnar was a big leap forward and was the most solidified the band have sounded. Their self-titled album is more ambitious and open; new sounds are mixed in; some new subjects explored- in terms of the overall sound and flavour, you get some familiar and relatable moments. The band did not need to reinvent themselves and improve too much- what we have now is the most rounded and defined representation of All The Best Tapes. The band performances are as tight as ever; the vocal sound is more rounded and solidified- a greater emotional range is presented now. With compositions that draw in multiple genres and diversions, the band have never sounded as alive and meaningful. It will be great to see where they go from here- if a new album or E.P. will come through. You can guarantee whatever comes will be imbued with the same headiness and raw energy (as their previous outings)- the boys are building in stature and momentum; focusing their sights on the future.

If you are looking for some other bands- that compare with All The Best Tapes. Being a Hardcore-Punk band, it is quite hard to draw in too many influences- it is not one of the most over-represented genres in music. The band themselves have a huge a list of influential bands; from U.S. to U.K. artists, the boys have clearly absorbed a lot of different artists. The Ergs! are a Punk-Rock U.S. band that have won legions of fans. When listening to the band's (2007) album Upstairs/Downstairs, you get a dizzying listen. Songs range from a few seconds to 18 minutes; the head is spun and blown apart by the lack of consistency and predictability. The breakneck pace and ramalama melodies whiz by. The tracks all seem to end in an instant- they are so addictive and compelling that you have to listen to the album to draw it all in. Bratty and charming songs mix with some juvenile and infantile offerings- the band mix clever and smart with puerile. Although less silly than previous albums, there is still comedy and humour to be found. There is plenty of maturity and focus on the album- it certainly ages well. All The Best Tapes have a similar talent for mixing humour and pathos; portraying that frantic and frenetic pace- drawing the listener in for a thrill-ride of intensity. Less silly than The Ergs!, the band do take some of their influence- capable of putting plenty of humour and witness into the darkest of tracks. Before I look at some more U.S. influences, I will mention an unusual name: Chumbawamba. The legendary Brits had a hugely successful career and have influenced a lot of bands- including the Stoke trio. Their Tubthumper album is probably their finest moment. Here, Chumbawamba mix big Dance-orientated beats with anthemic and party-ready sing-alongs. The Pop and Dance elements overtake political radicalism; the band ensure their music can be chanted from the terraces- there is laddishness and drunkenness; rebellion and defiance. All The Best Tapes draw this into their quiver: whilst not as chantable as the British icons, they do compel you to sing along and become invigorated- similarly rousing and fascinating, the band have political and socio-economic motivations. When you read some of the band's lyrics, they rally against governmental forces; there is dissatisfaction to be found- angry young men being short-changed. Drunken nights and recklessness come to play too- like Chumbawamba, the boys recognise the vitality of youthfulness and lack of inhibitions. The cottage industry pioneers make sure all of their songs are intelligent and focused; distinct and memorable- later albums throw in more melodic vocals and sweeter Folk songs. All The Best Tapes showcase an intelligent side; mingle it with anger and rage and you have quite a concoction. Away from Punk bands, The Flaming Lips have had an effect on the endeavouring trio. If you look at The Flaming Lips' album Yoshimi Battles the Pink Robots, it topped many critics' end-of-year polls. Haunting as it is splendid, the L.P. mixes lush electronic sympathy. Whilst the band have more sunshine and upbeat sedimentation (than All The Best Tapes), the best comparisons are uncovered when digging deeper- the ruminations of everyday struggle and survival. Older and more traditional- for The Flaming Lips- values mixed with new experiments and sentimentality. The album Yoshimi' use psychedelic reveries from simple sounds and compositions- something more frantic always threatens to come out. The unorganised and primal rushes look at battles and wars; fighting forces of repression and hardship come out. The album looked at metal warriors and robotic controllers- if you look at All The Best Tapes, it draws a lot of comparables. The music has developed from the early days; mixes bittersweet themes within psychedelic swathes; huge and epic landscapes- the height of the band's creative output. The anguish and pain that The Flaming Lips put into their current moves- The Terror- shows there is fear and black hole rage. All The Best Tapes match this level of inflagration and fire- the lyrics (by both bands) do not go for the obvious; they investigate deep themes but present some oblique and poetic moments. The Ramones are a Punk act that seem to have ressonated with the trio. Having taken a lot of guidance from U.S. sources, it seems that the hard and frantic American bands do things best. Albums such as Subterranean Jungle took Hard-Rock riffs and joined them with a Punk heart. The album is alive with meaning and energy; it draws audiences in and is the most pleasing of their mid-career efforts- subtle rhythms and hook-laden tracks mark the album out as one (of the band's) finest. The vitality and sheer urgency of the disc calls for repeated listens. If you witness the self-titled debut- from The Ramones- you hear those early signs of genius. The album was a firecracker in the Rock mainstream: unexpected and rare, it redefined music. The themes and lyrics are simple; the songs are back-to-basics gems; lust and need are projected with as much guts and violence as you could imagine- wit, weirdness and lust spilled from the speakers. The blinding speed and relenetlessness can be applied to All The Best Tapes- from the very first notes they do not give you a chance to rest. Twisted takes on Pop convention make the Stoke trio a like-minded act; they subvert expectations and conventions to provide something radical and bone-shaking- the intoxicating rampancy of each number gets under your skin. Whilst All The Best Tape's songs aren't always as concise as those within The Ramones, you cannot deny that comparable vigour and youthful anger. Horror schlock, maniacal stupidity and gleeful violence came through in The Ramones' finest work- it is something that our endeavouring trio have taken on board. City Of Ifa and Allusondrugs are two modern bands that should be mentioned. Whilst not direct influences, you can draw some lines between the groups. The experimental movements City Of Ifa present define their sound- they are a pioneering and ambitious group that mix Screamo with Prog.-Rock facets- mixed together it is a heady and stupefying blend. All The Best Tapes take elements of Prog. masters and provide their own Screamo take- they are a similarly urgent and passionate band. Allusondrugs instill Grunge glory with some Punk and Hardcore shades- their fiery and enraptured codas are enlivening and seducing Yorkshire crowds. Having been booked for the Leeds Festival, the band are striking a chord- the public want to hear more of their scintillating music. All The Best Tapes have a level of grit and blood-lust that matches the Yorkshire outfit: their songs are as packed and atmospheric; the vocals as gripping and intense- you imagine festival spots are awaiting the Stoke boys. Being a fan of Bad Brains, I can hear some of the Americans in All The Best Tapes. The Thrash-Metal-cum-Hardcore minglings cemented the band as one of the most evocative and potent in the U.S.- influencing everyone from Nirvana to Jeff Buckley. The band's self-titled debut was a cassette-only issue; the propheteers of Punk turned into Heavy Metal gods- over the course of a track. The rage is channelled into positivity and drive. When their I Against I album dropped, the declaration of violence was a focused and concise work. Funneling all their influences together, the band used bel canto baritone; screeching falsetto- the visceral and beautiful tie together. Here, the group present passionate refrains and tender moments; virtuosic displays are as synonymous as raw directness and demented blisters. The vocals range from machine gun-fire delivery to considered and teasing- the same elements All The Best Tapes draw together. The rampant and staggering Metal and Hardcore jams- Bad Brains have perfected- inspire legions of bands (whether they know it or not) and you can hear embers within All The Best Tapes- that same inimitable sense of surprise and quality. There are a few more names I should mention here. At The Drive-In count as one of the Stoke band's influences. Cedrix Dixier's ferocity and incomparable vocal luster made albums like Acrobatic Tenement so special. The way the songs contains subtlety and nuance mean softness and melody sit alongside fury and vermilion rage. Tempo shifts and rhythm changes make the album endlessly fascinating- something that All The Best Tapes have employed. The trio ensure that their songs are not one-dimensional and samey. Snaking and edgy bass notes combine with dual guitars and edgy percussion- the same qualities you can hear in Acrobatic Tenements. Catchiness and power fuses with intense and driving Punk riffs; the Texan band consecrated this in In/Casino/Out. The last two acts I will mention are MC5 and Fugazi. The former are U.S. legends that changed the face of music with Kick Out the Jams. The album remains one of the most immediate and timeless Punk/Hardcore records ever made. On that album, the entire band were in-tune and in-step. The ferocity and firepower of the guitars, bass and percussion were only matched by the authoritative and thunderous vocals. The firepower and back-breaking pace of the songs threatened to combust at any moment- the band gained legendary status in next to no time. While MC5 incorporate more tender and restrained numbers, you can draw comparisons- with All The Best Tapes. If you have not heard of Fugazi, then you should do- not only have their inspired the Stoke trio; they are a phenomenal and underrated group.Also inspiring the likes of Blur, their legacy is timeless. Repeater was the debut effort (from Fugazi)- an album that hit the ground running. Later works such as In on the Kill Taker stepped away from the early sounds: rusty and nail-scraping guitars joined with unappetising moments. Whilst the force and unending urgency of the album can be seen as off-putting- Screamo and Hardcore is not that digestible- the tracks offer plenty of treats and recommendations. Diverse tracks see lurching and crawling numbers sit with explosions of aggression- the sequencing across the band's back catalogue is impressive. All The Best Tapes ensure they are as smart and considerate- when it comes to tracklisting. Liveliness, twisted humour; random skronks and plinking notes nestle within gut-kicking and brainy acidity. Fugazi are still producing music and evolve from album to album- offering something new into the bargain. All The Best Tapes place off-kilter and random notes inside atomic bomb blasts; ear-shattering emotional larceny- they seem the U.K. equivalent of Fugazi. If you are inclined towards any of these acts- you should check out All The Best Tapes. If you are off-out by any adjectives and descriptions; balk at the idea of relentless force and urgency- you should still give the music a try. Melody, experimentation and beauty lingers where you least expect it. The Stoke band have perfected their own blend and want to embrace listeners- not repel them. If you seek music that gets you invigorated and builds you up, investigate the group- you won't regret it.

The blushes of silence are spared instantly by I Want To Believe. A clattering and tumbling psychedelic intro. gets things off to the races. Putting me in mind of The Mars Volta and At the Drive-In, it is a dizzying and head-spinning way to kick the album off. Melodious and catchy, you are caught up in it. Soon, it levels off and continues its aural assault- that colourful and insatiable gleefulness elicits a smile of contentment. Before long, our hero approaches the mic. Words "proof positive" reflect across the night; the light reflects across the sky. The determination and passion of the vocal rules the sound; you cannot get away from the urgency of the delivery. Calm, measure and melody still linger in the background- the song is not too forceful and overwhelming. With the vocal growling and graveled, you wonder how he has any vocal chords left- it is impressive how strong and consistent that primal belt is. Dissatisfaction and discontent seems to be on our hero's mind- he is angered and striking against the world. As with previous All The Best Tapes releases, byzantine and oblique lyrical snatches mix with the direct and potent- the band like to ensure that things are not too simplistic or detached. The light splits "across the sky"- images and scenes fill your mind; apocalyptic perhaps or slightly less epic, the atmosphere is built and expanded. Backed by a militaristic and pummeling percussive smash, the avalanche never relents. A lot of emphasis is put on mood and force as opposed to clarity. Lacking lyric accompaniment, some of the words will get lost among the effusive and rifled projection- the most vital snatches are intelligible and clear. Having to piece together the story through occasional glimmers of clarity, you focus upon composition and vocal- both of which press on the brain. The warped and spacey composition is robotic and intergalactic- juddering and evolving it beeps and crawls; evolves and strikes. Mixing the psychedelic Prog.-Rock of The Mars Volta with some of the vibrancy of Bad Brains, the parable catches the imagination- the transformations and delineation is stunningly realised and fascinating. With our hero spitting against repressive forces- "you're not making it up"- the demented charm of the composition comes into play- those colours and lines combine to create some mesmeric moments. Tumbling and dizzy guitar spirals unite with scattershot percussion; electronics buzz and percolate- the vocal growl is lustful and pugnacious. The band's incredibly tight and impressive performance stands the song out- creating the most effective and direct opener I have heard. Towards the final stages, a kick-ass and white-hot guitar riff bounces and jumps: restrained and measured it is a catchy and indelible punch that takes the song in a new direction- stretches your brain open. Mingling At the Drive-In, Fugazi and MC5, the boys whip up some Punk flair and rabble for the closing seconds- it slows in the closing seconds bit by bit; a gorgeous and lilting last note gives the song a Calypso/tropical feel. Having covered so much ground and blown the mind, the boys do not let the pace drop. Nine Masks begins more strikingly and harder. That same mixture of high and low notes- on guitar and bass- project colours and myriad emotions- the restless and ambitious introduction gets your feet and fists pumping. Swaying Blues-Rock guitars pervade behind Punk/Metal-tinged percussion- the combination combines melody and harmony with raw sexuality and grit. The mesmeric unpredictability shows its hand again. The composition slams and feasts on bones; it drops down and starts to stumble- before calming and seamlessly blending into tranquil and romantic calms. Our hero takes his voice from blood-curdling into reflective within the space of a few seconds. Perhaps aimed at his sweetheart he asks: "Did you ever think of me?"- they are such the perfect pair. The passionate and springing bass adds some luster and majesty; the Blues-cum-Jazz combination is a beautiful treat- the sweet falsetto vocals a perfect instrument for reflection and personal introspections. Gripped by a new sound, your mind is eased. Turning the mood on a dime, the song explodes and carpet bombs. From the calm of before, we go into Metal/Screamo territory- the vocal bellows and growls like Satan on fire; the guitars stagger and violate; the percussion joins the frenzy. Still mixing in some sweeter and breathy notes and vocals, the juxtapositions are incredible- one half of your brain is enraptured in the delirium; the other soothed by the gentility of the interjections. Taking our hero aside, the composition is given chance to roost: the spindling and delirious riffs marry some Mars'-esque psychedelia with the Indie anthemics of Foo Fighters and The Libertines- the band are able to be distinct and populist all at the same time. You can sense some disarray under the skin of our hero- the insatiable and blinding switch from romantic to blood-lusting is phenomenal- by the final moments you find yourself running out of breath. Impressed by the continued determination and passion (of the band), it is another song that gets into your mind- howling execrations and paens of vengefulness. After an emphatic 1-2, you wonder just what Life Of Gold will offer up. The opening moments retain the band's distinct and familiar sound- the initial phases here are more buoyant and celebratory. Gone are the devilish rushes and insanity to be replaced by something spring fresh and harmonised. Imbued with plenty of power, the opening riff has charm a-plenty. Stormy and weather-proof, the mixture of sensations elicited strike the imagination- its simplicities and complexities subvert expectations and ready you for the ride that is forthcoming. Becoming hardened and more projectile, the juddering and snatching guitars focus. Echoed and held, the electronics are punctuated by snaring and rifled percussion- the blend of eerie-cum-atmospheric builds the tension and sense of occasion. Dreams have been wasted and there is perturbation summoned from our frontman: his voice is reliably firm and rampant. Mixing that blend of quiet and loud, the song transforms and mutates as it progresses- positivity comes into effect as the words develop; there is less overt discrimination and rebellion here. Sounding less castrated and more concentrated, the vocal performance is as emphatic and interchangeable as the previous number. Amazed at how much weaponry the band have at their disposal, the composition and stylisations transmogrify and evolve- the boys are not contended to rest on laurels and offer nothing but feral noise and attack. After a hypnotic and unexpected trio (of songs), Conservatoria in Threes intrigues you with its title alone. A short song, we see hell-fire, brimstone and the "face of God" lobbied into the song (with nary a by-your-leave). Wasting no time with introductions and welcomes, the band launch straight into the vocal organism. Catching you by surprise, you swear you are entering the song at the one-third mark- it is a disarming and unexpected moment. After you compose your thoughts, you start to relax. The switch between ecstatic and rushing- calmed and reflective concessions- occurs in short bursts: there is not the same experimentation and freewheelin' sound (as with previous tracks). More level-headed and simple than the opening trio, the track is by no means minor or second-best- its beauty comes with focus. The composition concentrates less on diversity and multifariousness; more towards emotion and atmosphere- the band combine seamlessly to back up the hero. With his voice shifting from sweet and ethereal- to animatistic and urgent- the song provides a cleansing and much-needed interval- another glimpse into the band; their indefatigable breadth of adventurousness and ambition. The Iron Rod arrives next. Squalling and raptured guitar coda gets things under way- teed up by a rampant and lascivious percussive weave, our hero is keen to come to the mic. A buffet and banquet of dark and fragmented images. Highlighted by vocals- which switch from bellowing and satanic to measured and spectral- the song packs a huge punch. The band ensure that your body is not allowed to rest or settle; the amount of intrigue and colour they provide is impressive. Between the bellicose and frantic Death-Metal/Hardcore slams, there are beautifully reflective and intelligent Jazz-Rock parables. Reminding me of Aja-era Steely Dan, its breezy and effortless beauty contrasts brilliantly with the rabble and desperation of the vocal. Displaying the conviction and authority as the likes of Bad Brains, At the Drive-In and MC5, the boys keeps things mobile and fascinating. The amount of consideration and thought put into the composition tells you how much the song means to them- you can hear the passion and work they have incorporated; there are no lazy or loose moments. Towards the two-thirds mark, there is an extended instrumental swathe. The lads subtly build the tension and augment their centrifuge of kaleidoscopic Jazz notations. By the 2:41 stage, urgent and emotive guitar notes start to infuse and commingle- the track slowly develops and you sense that a final explosion is going to occur. Becoming more twisted and snarling, The Iron Rod is not done with its attack- our hero is coming back. Ensuring his messages and voice are not forgotten, the sense of urgency and determination resonate strong. New Ribs is a track that has been gathering critical acclaim and attention. One of the L.P.'s longer tracks, it begins with a vocal assault. Coming in hard and fast, the vocal is as ecstatic and to-the-point as it has ever been- managing to restrain itself and switch voices. Fatigue and insomnia are lobbied in- the lack of sleep is making the hero feel so tired. The guitars- on the track- demonstrate a new side and sound: trippy and experimental, they mix Psychedelia, Indie, Rock and Pop. Not as virulent and barbed wire as on previous offerings, there is a greater consideration towards emotion and support. The vocal is at its more interesting and unexpected: between sighing and delicate soothes are violent and raged bursts- that mixture is quite a psychotropic and heady proposition. Displaying as much range as in any song, our hero showcases the quality and limitlessness of his voice- giving the words and track depth and authority. Once more, the band tempt in some sun-kissed and Jazz-infused notes- romantic and seductive, they add something extra to proceedings. After the sheer rush and pace of the tracks, it is a surprise to find that Soft Light is the ante-penultimate cut. Beginning with some gentle and elliptical notes, the track soon ensures that anger and explosion are provided. Subsuming the title's promise, that ecstatic 180 begins a violated and rebellious vocal assault- our hero produces one of his most insatiable and frenzied vocal performance. Able to provide ample light and relax, the majority of the performance is taken up with inflamed and pissed-off projection. Supported by an army of juddering and brain-melting sounds, the song is a spares no-one. Our frontman is at his most impassioned and direct here. The way he manages to snake his voice is incredible: shifting course and pace, it is one of the most distinct performances on the set. When calmed and emotive, I caught glimmers of Terrence Trent D'Arby and Thom Yorke- believe it or not. Few modern vocalists have such a multifarious and staggering range- the band provide equal mesmerisation. Bass notes drive and attack; they then merge into jazzy and trickling. The guitars have sting and venom the one moment; transforming into relaxed and sedate before you know it- the percussion has a similar unpredictability and surprise. A modicum of reflection and calm is offered during the final moments: the composition keeps clattering and pervading; it is not as insatiable and repressed as previously. The single I've Been Bored Since 9/11 causes tongue-wagging before a note has been uttered. Whichever way you interpret it, you cannot deny its immediacy and urges. The intro. starts with a frantic percussive tumble; instantly dissipating and giving way to melodic guitar, the band unite all of their previous highs into the mix. After a brief grab for glory, our hero comes into the spotlight. That endless sense of urgency is represented in various different shades. Grumbled and bellowed vocals are mingled with strained and wracked utterances. The dislocation and anger come through with alarming directness and meaning. Our frontman ensures that his voice and words are heard- the unease and anxiety is not uncomfortable, egregious or off-putting; it is insistent and gripping. The guitar work is particular stand-out during the track. Weaving and tripping, there is a heady and swirling majesty created- strained and vibrating notes are tempted into proceedings. Not succumbing to the heady highs of previous numbers, the vocal is more concerned with concentration and focus- ensuring the messages and central missive resonates. Trippy and weird, the guitars incorporate Robert Fripp, The Mars Volta and Muse- the combinations of unrelated notes is a tantalising treat. The music- when All The Best Tapes compose- mix various styles and themes; incorporating various styles, whatever feels right goes into the music. Throughout I've Been Bored Since 9/11, you can tell a lot of study and thought has been expended. The musicianship and experimentations are impressive; so many different emotions and contours are explored- it is perhaps the richest and most rewarding song on the album. Perfectly priming the senses for the album's swan-song. The longest track on the album, We Judged It By Waves starts with a reliably exciting and action-packed beginning. The boys weave colours and tapestries together; the combination of Psychedelic freestyle and Jazz-inspired motifs come together exquisitely. Hard and vengeful, the opening onslaught pricks the senses- readies you for what is to come. Open and expansive, the band allow the composition a chance to implore- so much ground and emotion is summoned up with the schizoid blends. Going out with a bang, the rampant and primeval percussion tees up electric guitar noodlings; the pace changes again and the boys let their instruments ignite. Compelling and gripping, the sheer rush and headiness of the intro. never relents- you wait for a vocal that seemingly never comes. Caught up in the mesmerising grip of the composition, the tight and incredible performance is a delirious and staggering treat. The song has such a flair for experimentation and Psychedelia: the band throw in so much weight and striations that you struggle to absorb it all. Juxtaposing hell-yeah fist-pummel and drunkening and drugged swagger, the listener is immersed in a whirlpool of insanity. Freak-outs of biblical proportions are overtaken by a carnivorous and yowling beast of a line. The percussion patters and tempts; the guitar echoes and echoes. Transforming the rampancy of previous efforts, the song mutates into something darker and shadowy. Atmospheric and hunting, this coda is traded with a brevity of attack- combining with one another, these diverse strands seem perfectly natural and essential. Pausing and resting, the band then offer explosions and rises. The pauses increase and elongate; a calmer and woozier smoke bellows in- it is hazy and delirious in its movements. Ethereal and ecumenical electronic sounds give the track a reverence and saintly side- sitting with the calmed guitar you are given chance for reflection and rest. All of the sonic words have been offered; so many different scenes and avenues have been explored- with a fading light, the track comes to an end. It completes a splendid album that is impossible to compare with anything else- it is one of the most immediate and relentless collections of the year.

It is quite a task trying to sum up a Herculean and epic album. There are hardly any negatives I can point at really. It would be great to see some lyrics accompany the album- perhaps on the BandCamp site. On previous efforts, All The Best Tapes put their lyrics together with the tracks- it would be good to see them accompany their album. Due to the intensity of the vocal and the attack of the composition, it can be hard interpreting and understanding a lot of the lyrics. Most of the words lack necessary intelligibility and decipherability- it is not a huge point however. Having the lyrics would allow interpretation and study: reviewers such as myself would be able to dig deeper and extrapolate true meanings and definitions. The album rarely lets up with its heaviness and assault- it means it can be an exhausting listen for the uninitiated. The album is best enjoyed and appreciated in chunks: sitting down and investigating a few songs at a time is the best way to start. These minor considerations do not detract from the fact All The Best Tapes is one of the most urgent and compelling albums of the year. It is not a huge drag that some of the words are lost; the emphasis is very much on the overall mood and sound. With incredible and perfect sequencing, the album does not lag or suffer any setbacks. The best tracks are appropriately arranged and deployed; the heavier and most primal numbers are spaced out- meaning you do not get fatigued and weighed-down. Although the production does mean the vocals lack complete clarity and concision, it perfectly blends all the various instruments and sounds. Such an ambitious and wide-ranging album would suffer- were the lines and notes mixed incorrectly. Due to some precise and expert production, the compositions are allowed to breathe and inspire- the listener is allowed to absorb all of the disparate strands and stories. Before I applaud the band's players, I shall mention the songs themselves. Never aimlessly wandering and bloated, they are tight and focused missles. The longest tracks clock in at a few minutes; even the grand-standing finale leaves you wanting more. Their nuance and sheer weight really bowls you over. The band have stated- in interviews- how inspired they are by different genres; concerned with getting their sound just so- you can hear just how hard they have worked; how much effort has been expended. Each number offers glimpses of genius and mesmerisation- whether it is a riff or vocal projection, you are witnessing a band with few rivals and comparables. On that note, it is great to hear such immediate and primal music. So many bands have limits and barriers- All The Best Tapes seem to define themselves by how hard they can push and encapsulate- damned be any borders and rules. Although the album is predominantly heavy and overwhelming, it is not something that should be ignored or dismissed. If you are clever and considerate- when investigating- you will revel in its potency and charms. After a while all of the music reveals its beauty- you will be immune to any fractious and jarring elements. The band performances and turns are what makes the songs so incredible. Percussion work throughout is staggering. Eliciting the strength and pummle of a dozen octupuses, the flailing and pulverising moments put me in mind of Dave Grohl, John Bonham and Neil Peart. Beardmore marks himself out as one of the finest and more authoritative drummers in the U.K. Few percussionists are able to sound as effortless when pounding with fury- he is adept at offering something gentler and more inviting. When songs and vocals are more restrained, the percussion provides ample emotion and reflection. Not just a simple and one-directional performance, Beardmore creates scintillating fills and unexpected twists- showing the expertise and talent of a modern-day Grohl. The most urgent and primal moments of the album are created by the percussion and its emphatic guidance. Medlock's contributions are stunning and mesmeric. In addition to offering spacey and trippy electronics; stunning programming- his bass work is phenomenal. Jazz-inspired and sexy the one moment; driving and guiding the next, the amount of force, rhythm, lyricism and passion is deeply impressive. The multi-instrumentalist colours the songs with his own inimitable and unique touches: combining seamlessly with his band, Medlock showcases a huge talent and impressive amount of skill. Most bass players tend to be in the band to keep songs levelled and together- not stepping far outside boundaries. Medlock summons the force and conviction of an entire band- able to weave so much richness and emotion into each song, the album would be weaker without him. When offering vocal support, he brilliantly backs our hero- his voice is incredibly diverse and striking; capable of lustful rage and tempestuousness- our man is a Jack-of-all-trades. Barker is the voice and guitarist that leads by (fine) example- one of the most arresting and phenomenal frontmen in all of music. I was staggered how strong and consistent his voice was- throughout the album- and stunned he did not shred his throat to bits. Few singers have such a huge range of emotions and styles at their disposal. Barker is just as natural and impressive when unleashing his falsetto beauty (as he is gripped in the intensity of delirious rage and aggression). Having been nurtured with Jazz, Folk and Hardcore influences, his voice draws all of this in- he is not just a point-and-shout Screamo merchant. Too many bands- who play similar music- have a lead with little variety and potential. In Barker, they have a genuine star- someone whose divine tones have a hell of a lot of potential. It will be great to see just where they explore on the next record. With some epic and electrifying shredding, our hero lets his axe run riot. Inspired by the likes of At the Drive-In and The Ramones, Barker mixes schizophrenic and psychedelic jams with Punk swagger- de-touring via Indie and Rock avenues. Never sounding unfocused or fragmented, his guitar work seamlessly bonds divisive and multitudinous sounds and genres together- giving the songs a solidity and uniformity. The entire band work wonderfully together: tight and focused, they are a unit that are unlikely to break up at any point- such is the brotherly bond, all of their music sounds utterly convincing and urgent. In All The Best Tapes they have demonstrated what a force they are. Maybe incapable of transforming cynics into fans, it will appeal and resonate with those whom seek depth and texture- lovers of music that dares to be different and better.

With all my words- nearly expounded- I have to come to a conclusion- point to the future of the band. If you are not a fan of Punk, Punk-Rap, Hip-Hop and Grunge then All The Best Tapes are an act that can convert your thinking- they inject plenty of calm, passion and melody into their direct and punchy mandates. The determination and ambition they demonstrate makes their album such a terrific treat- you are powerless to escape the wonders it offers forth. I hope the boys come down from their home venues and rock out London- take their music around the U.K. and think about wider considerations. Having cemented their reputation and name in the Midlands, the trio are on the warpath- after their album was released, they drew in a mass of new fans. I for one would love to see them in the live environment; check out how their recorded releases translate in the flesh- just what a force of nature they are. Having witnessed some fervent and striking bands come through, my mind struggles to take it all in- see just who is going to make it big in the future; which acts are going to remain in the memory. A few I have reviewed will have some short-term acclaim; others are sure to transcend to the mainstream- others leave me weighing things up. I feel All The Best Tapes will make it all the way to the halcyon and lofty heights- they will not want to get there too quickly. Keen to keep playing to local crowds and make honest and personal music, you can tell just how much fun the guys are having- they are determined to keep working and press on. With a sound and projection that is perfectly ready and primed for the venues and festivals (of the summer); it will only be a few years before the Stoke trio are a familiar name on the airwaves. Having digested their self-titled debut, the boys have a lot to say; they have anger and dissatisfaction in their minds- the way they channel it is alarming and captivating. It is not just rage that defines their motives and inspirations: the group have such a love for vintage and classic music, they stretch their palette and motifs to cover issues such as love, modern life and meaning. Everything is draped around electrifying and direct sounds; the performances are uniformly tight and together- the songs are nuanced; meaning you keep coming back to the album to seek out hidden meanings and new findings. Before I wrap things up, I will dovetail back to my point about musical geography. Leeds boys Allusondrugs are leading Yorkshire by the teeth; putting the county squarely in the music world's sights. London are making sure they do not lag behind at all- the diversity and range coming through is staggering. As much as I yearn to hear new artists from these regions, I am more keen to seek out new and unexpected treasures. All The Best Tapes have a distinct and rare combination of sounds that means they stand out- not contented to follow the pack, the boys have more determination and urgency than most bands I have encountered. With that unbreakable and solid bond, the music on their album is scintillating, action-packed and colourful- investigate what they have to offer and find out for yourself. With a lot of bland and boring music still being trotted out; a huge amount of musicians not pushing boundaries and limits- it is always a relief when a brave and hungry act come along. Perhaps not powerful enough to sway those that prefer Pop and Jazz sounds, the boys will at least capture some new hearts- people who seek out musical swagger and lust will love All The Best Tapes. As the year progresses, the boys are continuing to play and seduce; taking their music around The Midlands. I hope they are thinking further south: train their methodology down my way and embrace the eager and hungry fans down here. Their music translates across the country; there are plenty of venues that would promote the lads. Whilst they keep plugging and pervading, I am keen to listen (again) to All The Best Tapes- an album that never lets go of you. If the Midlands (and Stoke) have any other similarly terrific bands waiting to press through, I will say this...

KEEP them coming.

[youtube https://www.youtube.com/watch?v=ABQz3k1au64&w=560&h=315]

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow All The Best Tapes:

Official:

http://www.allthebesttapes.co.uk/

Facebook:

https://www.facebook.com/allthebesttapes

Twitter:

https://twitter.com/allthebesttapes

SoundCloud:

https://soundcloud.com/allthebesttapes

BandCamp:

http://allthebesttapes.bandcamp.com/

ReverbNation:

http://www.reverbnation.com/show/9468372

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All The Best Tape videos available via:

https://www.youtube.com/channel/UC3owVF2ZP6Vjm9JnLpK50OA

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All The Best Tape's music can be heard here:

https://www.facebook.com/allthebesttapes/app_204974879526524

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Tour dates available at:

http://www.last.fm/music/All+The+Best+Tapes

Track Review: Dana McKeon- Street Art

TRACK REVIEW:

Dana McKeon

Street Art

9.6/10.0

Street Art is available from:

https://www.youtube.com/watch?v=plpvYkMT24E

Purchase the E.P. Street Art at:

http://danamckeon.bigcartel.com/

Written & Composed by:

Dana McKeon

Produced & Recorded by:

Treana Morris, Vernon Lake, Daniel Cassar, Dana McKeon

Main Vocals & Beatbox:

Dana McKeon

Backing Vocals:

Treana Morris, Vernon Lake, Dana McKeon

Instrumentation :

Treana Morris, Vernon Lake, Dana McKeon, Daniel Cassar

Music video by:

Take 2 Entertainment

Concept & Story:

Dana McKeon, Carlos Debattista, Abigail Mallia

Director:

Abigail Mallia

Production:

Mirko Galea, Julian Calleja

Director of Photography:

Mirko Galea

Camera:

Isaac Fenech

Assistant Director:

Julian Calleja

Editing:

Abigail Mallia

Colouring:

Mirko Galea

Makeup, Hair & Body Art:

 Justin Brincat

UV & Reverse Graffiti:

Moose Curtis, Amands Ericsson

Street Art E.P. Photography by:

Pink Portico

Artwork by:

Andrea Meli

GENRES:

Pop, Soul, Beatbox-Pop, Acoustic-Folk

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Over the coming weeks, Dana McKeon will be seducing the nation's capital. Having established her name and reputation in Malta, her blend of Beatbox (and Pop-cum-Soul) beauty stands her aside from the competition. Street Art is a vibrant, bursting and uplifting song (from one of the most fascinating artists currently working). If you need a redemptive and inspiring tale; something to compel the mind and heart- look no further...

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I have been lucky enough to review a string of different...

songs, from some very diverse artists. Canadian bands that provide Grunge and Indie have sat alongside British Electro.Pop- every time a track comes to my attention I am provided with something new and alert. Giving me a chance to investigate an artist or band- in a wider sense- it also points as to what new music is coming up with. Not just contended to project the minimum of intrigue, the world's freshest and most urgent acts are to be commended- the quality coming through is quite startling. It is not just the range and diversity that is impressive- the passion and conviction summoned is breathtaking. Because of this incredible competitiveness and choice, the market is going to see quite a battle- the artists that make it to the mainstream are those that truly separate themselves aside. There are loads of Indie bands; a lot of Pop acts- our fair share of Grunge acts. When someone comes along that gives the listener something unexpected and fresh- THAT is what is going to stand them apart. My featured artist is someone I am very excited about. Hailing from Malta, it gives me a chance to return to the country- a nation that has provided Fran Galea (Chess). One of my regular review subjects, Chess is one of Malta's most distinctive and popular musicians- her stunning songs have won awards and airplay; she is going from strength-to-strength. Being a fan of Dana McKeon, Chess is familiar with her work- she has told me how impressed she is by the music and stunning effects it elicits. Keen to seek her out, I was bowled over by how approachable and friendly she is. Keen to connect with fans and followers, she is one of the nicest and warmest musicians out there- that personality is equalled by her scintillating and magnificent music. Before I introduce her to you, I want to mention (a practically unheard-of genre): Beatbox-Pop. Being a devoted boyfriend to London, I bask in the capital's warmth as much (as my wallet will allow me)- my first port-of-call is always Covent Garden. Escaping from its cramped and tourist-packed lifts, I make my way out of the tube station- if you do so during a Friday evening, you are in for a treat. Leading into the weekend, a selection of Beatbox artists play outside of the station- their freestyle and stream-of-consciousness is exhilarating and hugely entertaining. Drawing in huge crowds, the vocals are phenomenal- they rap with authority; the tics and mannerisms are perfect; the passion and flair is electrifying. Sound effects are thrown in too; the Beatbox masters provide the sound of percussion, electronics and instruments- all siphoned through their elastic and multifarious pipes. Two things stagger me (when considering them): why do we not see more of them; how come it seems male-dominated? Perhaps there are parts of London- and the world- where there are a lot of female Beatbox purveyors- around London there seems to be far more men. The genre and style is something that instantly connects with people- tourists and pedestrians stop and are entranced; they applaud widely and are caught up- it is the most immediate and gripping form of music out there. Mixing in Pop and Soul elements- to Beatboxing- can give it an extra layer of beauty and style. Drawing in mainstream and contemporary touches makes it primed for glory. There is a huge gap and space waiting to be filled- there are so few Beatbox-Pop/Soul acts being played on commercial radio, it stuns me slightly. Dana McKeon is capable of bringing about a revolution- changing attitudes and giving the world a much-needed dose of magic. Being a new follower of hers, I have been seduced and overwhelmed by Street Art- in addition to her videos and collaborations. Having performed with the likes of Bruno Mars; enticed and inspired legions of people- it seems like a matter of time before she is familiar to everyone. Before I carry on, let me introduce her to you:

"With her debut single Street Art topping the Airplay Charts in Malta and featuring on radio stations worldwide, Dana McKeon is making waves with her fresh Beatbox-Pop music. Dana is a Maltese singer-songwriter & international beatbox pioneer, having officially represented Malta and single-handedly putting the island on the Worldwide Beatbox Map. Dana's music is a unique display of genre-fusion and versatility, showcasing world-class vocal percussion techniques, a captivating voice and synchronised multi-instrumentalisation. Her musical ventures have taken her all around Europe, with performances ranging from intimate, high-profile acoustic gigs to large-scale concerts where she got to turn up the volume for audiences of up to 5000, both solo and alongside her band." Top Gig Listings Duke of Edinburgh Award Forum, 2012​ ft HRH Prince Edward, the Countess of Wessex & the President of Malta The 2012 Paralympics, London Coca-Cola Beatbox stage Runway Gibraltar, 2013 | Runway Malta, 2012​​​ MTV Malta Music Week, 2010 World Beatbox Battle Convention, 2010 Malta Music Awards & Bay Music Awards​ Various festivals in the UK, Sweden, Germany, Finland & Malta Track Record: Female finalist (ranked #5) @ 2012 World Beatbox Championships Female Vice-Champion @ 2012 & 2013 UK Beatbox Champs 1st place @ 2008 University of Malta's Singer-Songwriter Showcase

Quite a stunning C.V. from one of most beautiful and talented musicians in the world. With the likes of McKeon putting Beatbox firmly on the map, she is capable of recruiting a mass of new followers- for anyone that may balk at the idea, then listen closely. If you have encountered street performers and their art- not been impressed by it- do not assume that McKeon is just the same. She has the phenomenal talent and ability; her music goes deeper and aims wider- marrying Pop, Folk and Soul into her cannon- the sounds she offers are as fully-rounded and stunning as any you will hear. That central Beatbox core is what gives the music such an urgent and vibrant grip- every note and lyric is nailed into your brain. In various reviews I have been complaining about some mainstream artists- how impersonal and detached they are. With little regard for their fans, they provide no transparency- regressing into the shadows, they are not exactly warm and welcoming. For this reason, you do not get a full impression of an artist- their music is the only source of biography. Dana McKeon is someone who appreciates the importance of connection- ensuring her music is available far and wide, she is one of the most open artists I have seen. With an official website that is bold and informative, the first image you see is her smiling face- the synonym and definition of her artistry. Wanting to ensure her sounds gain exposure and representation, Street Art is a song that sets the tone- a dazzling and unmatched display of raw talent. It is a song that you are hard-pressed to compare with any others; such is its distinction, the track will never shift from your mind- you repeat it just to get a grip of things; understand and take in all it has to offer. The Street Art E.P. is going to be the chance for the world to witness McKeon in her full glory- it will contain the same sort of treats and sounds as its self-titled lead-single. With new music providing a lot of great sounds, McKeon is going to be one of the biggest names to watch- her future is going to be very bright. Commentators on YouTube have provided ample praise for Street Art; reviewers and listeners have been keen to highlight its wonder- if is a fresh and sizzling cut from one of the country's most promising and inspirational artists.

Street Art- the single and E.P.- sees McKeon collaborating and drawing in various instruments and sounds- it is the first example of our heroine going out on her own. Her singular and distinct personality is what comes through sharply; the true testament of an incredibly hungry and talented artist- it is worth looking back and seeing where she came from. In her past, McKeon has collaborated with a number of different artists- lending her voice to other musicians' tracks. A few months back, McKeon collaborated with DJ Pioneer and TJ. Renowned in the underground and House scene, McKeon lent her vocals to the track Circles. Backed by some entrancing and insistent beats, our heroine puts her soulful blends into the mix. The song catches you with its energy and sense of passion. The lyrics see her drawing someone close in- they are not close enough; she seductively entrances them forth. Alluring and tender, the vocal is terrifically standout and impressive- it backs wonderfully with the insatiable and gripping beat. After the swelling and punchy intro, that sense of drive and relentlessness continues- providing a mixture of danger-cum-serenity. McKeon's smooth and gorgeous vocal makes every word stick and resonate. Being one of her last words- before Street Art- is gave the world a taste of what she is capable of. Previous to that, McKeon played at Beat Box/Sofar London (#618). A live performance recording, Hip-Hop sounds begin a rushing and instant turn. Intoxicating and mind-melting vocal projections grab you right from the start. Our heroine's Beatbox rushes and mannerisms are a wonder to behold- her frantic and unpredictable delivery is like few you have ever heard. Her voice summons the sounds of Trance beats; Hip-Hop percussions and trumpets- an entire urban orchestra is elicited. Drawing in some samples of James Brown, it is a mixtape of captivating scintillation- staccato and syncopated; pulverising and intense, you can not ignore her glory. Cinematic and epic; operatic and tender, McKeon demonstrates just why she is just a huge name. The same sort of flair and talent that made her name in London; hypnotised the London crowd- the reaction she gains (at the end) is ecstatic. Between this recording- and her collaboration- you get a full sense of what McKeon is capable of- the Beatbox luster and energy; the soulful and Pop-inspired passion. These threads and strands are tied together in Street Art. Beatbox beats are what we hear at the top- our heroine lets her vocals offer some percussion. The track has a wonderful fresh and contemporary vibe- the vocal draws in some elements of Ellie Goulding and her peers; that warm and bird-like beauty shines. With a clear and concise delivery, the words speak of redemptiveness and uplift- our heroine is effusive and elliptical throughout. Looking at ambitions (and not limiting your mind), the song urges the listener to look inside themselves and unleash their potential- let their colours come out onto the canvas. Employing metaphors and literal scenes, the song is a gripping and layered example from a brilliant young talent- someone who has huge mainstream potential. Street Art is the sort of song that could be on rotation at Radio One and Two- in addition to some of the underground and specialised radio stations. Drawing in her Beatbox majesty and distinctions, it is a full-bodied assault on the senses- you are caught up in the light and charm that comes out. It is a confident cut from our heroine- something that develops from her earlier days. Before Street Art, McKeon had built her name and performed with a range of artists- there was little chance to see her fully-rounded personality come out on its own. With the single giving the public a glimpse of the Maltese star, it shows a great leap forward. Few acts are that vibrant and confident out of the blocks- most go in with cover versions and restrained performances. McKeon showcases instant authority and direction- she has cemented a sound that blends sights of the mainstream with underground Beatbox swathes- the fusion gives the music such a distinct and incomparable edge. The rest of Street Art (the E.P.) will see this developed and built- the tracks will augment this pride and passion. The future is likely to see McKeon's multi talents emphasised and experimented with. Being such a vocal force, she has unlimited potential- she can bend her voice and make it sound natural in any setting. Just as home in Jazz and Soul and Pop and Electro., she has so much room for maneuver. This will lead to a very exciting and tantalising future- if she does put out an album, who knows what will come forth? Few artists have so much potential and promise: McKeon is an act that will be making music for years to come; making sure her sounds reach as many people as possible. The early signs are encouraging and prosperous- off of the back of a few recordings, so many people are lining up to pay tribute to her. With growing social media numbers, we clearly have a star in our midst- make sure you get in on the ground level.

When thinking about other artists- that inspire McKeon- I am faced with a difficult task. Most acts usually have some obvious influences; our heroine is so distinct, that there are few that I can point to. When her voice instills Pop beauty and soulful passion, I catch hints of Ellie Goulding. When reviewing Nina Schofield- last time out- I caught glimmers of Goulding in her music. McKeon has that same arresting beauty and urgency (Goulding possesses). When thinking about the best comparison, one should look at Halcyon- Goulding's most recent example. On that album, she showed her epic, luxurious and insistent voice- it made all of the tracks compelling and nuanced. The album looks at a variety of topics and ruminations- from young love through to uplifting the soul; it is a deep and rounded album. Appealing to young listeners and older alike, it hit hard with the critics. McKeon has a similar talent and gift. Her voice has that richness and huge impressiveness; she presents myriad themes and scenes- aims to welcome as many people in as she can. Able to move and shift sounds and genres- within the space of a verse in some cases- she showcases a similar mobility and innovation. Big choruses and huge hooks add weight and measure to her voice- the well-crafted and perfected songs show such detail and colour. Goulding's voice has emphatic sweetness and tenderness- she is as authoritative when introverting as she is bellowing and rallying against the world. The vocal- from Goulding- warbles and strings itself out; original and striking, it really stands out in your thoughts. McKeon incorporates a measure of Goulding's sounds and style; tying it around her own unique and tailored pipes- seamlessly and deftly drawing in melodicism and vibrancy. With McKeon's voice being high in the mix; the compositional elements consist of cut-up fragments and samples- you can a bit of Halcyon offer itself up. The same way Goulding experimented with sounds and genres; manipulated her voice to elicit the greatest effect- that is what impressed reviewers most. Gargantuan synth. stylings and long-form anthems were contained within Halcyon- McKeon compresses this potency into Street Art. Pulsating buoyancy, crisp beats and enigma makes Goulding such a huge prospect- to my mind, McKeon is even more mesmeric. Before I highlight a few other influences- and relevant names to Dana herself- a couple of Hip/Trip-Hop names come to my thoughts. Portishead and Massive Attack are two legends of the '90s Trip-Hop/Dance scene. Portishead are mentioned because of their experimentation and stylisations. Their self-titled album is dark and dangerous; deep and trippy; it is a collection of songs that demand your attention. The dreamlike qualities the band infuse in the album emphasise all of the numbers- transcend them beyond the ordinary. Beth Gibbons's emotive and Siren voice floats in the mix and haunts the listener- beautifully working with the captivating backing. McKeon instills plenty of drama, atmosphere and fascination into her music. Perhaps not as disturbed and dark as Portishead- or Dummy for that matter- but it does match the band's sense of ambition and assuredeness. McKeon mixes sounds and samples- often created by her own voice- to whip up a heady and psychotropic atmosphere- with her gorgeous and rainbow voice, our heroine perfectly blends darker and more intense undertones with sweeter highs. When thinking about Massive Attack, their Mezzanine album strikes my thoughts. If you look at songs like Inertia Creeps, the range of effects, sounds and eerie atmospherics make it a standout cut- I can apply these considerations to McKeon. When hearing our heroine Beatbox and enthrall crowds, her voice elicits electronic instruments; takes in Hip and Trip-Hop elements; fuses dark and seedy undertones with electronic light- she is a Massive Attack album all in one! That earthy and ethereal blend- on Mezzanine- is pulled off due to some hugely talented performers. McKeon is as gifted as all the performers on that album; her ear and eye for texture and rhythm is expert and assured- few other artists have such an ability to melt so many different sounds and styles into a single song. Two female singers- that came to mind- are Nelly Furtado and Lana Del Rey. Furtado's debut album Whoa, Nelly! was a staggering and incredible debut release. The music on the album is multicultural and relentlessly upbeat- heartfelt and hopeful, it is designed to put the listener is a better mood. Furtado's restless vocalisations see her scat and rap; she rapidly repeats and bends notes- melismas come out when the moment calls for it. McKeon reminds me of the audacious songwriter (in Furtado). On Whoa, Nelly! you hear notes bent and contorted; she is bare-naked and honest- laying her emotions out it is a frank and soul-bleeding album. McKeon is a like-minded and nurtured act: she does not have the same over-eagerness and naivety (as Furtado)- possessing more confidence and concision. McKeon's curriculum pull together exotic hybrids and cosmopolitan sounds- together with the vibes and beats of the street. That rare fusion is what sets the starlet aside (from her peers); Furtado's huge worldwide grasp made her album such a varied and jam-packed thing- one that housed multiple genres. Juxtaposing surreal sounds, Furtado instantly marked herself out; some found it quirky and endearing, others took time to wrap their heads around things- McKeon is likely to strike a chord much more instantly. Another female singer- a bit more modern and relevant- is Lana Del Rey. If you look at Del Rey's Born to Die album (released in 2012); the magnificent melodies and superbly-crafted Pop songs were made for radio- few tracks pushed the listener away. Whilst Del Rey is more laconic and somnambulistic, McKeon elicits her own ethereal beauty with power and grace. Del Rey- criticised for being a "pneumatic marionette"- was able to haunt and seduce; her songs dug deep into the soul and caused huge results. McKeon is a most more assured and confident artist; she is ready to play and means serious business- the slightest hint of Del Rey is incorporated. When McKeon's sweetness and spectral sides come out, you can detect embers of Del Rey- the similar sense of passion and serenity comes out. A trio of artists- that have meant a lot to our heroine- are James Brown, Bobby McFerrin and Tracy Chapman. Encapsulating a wealth of soulfulness and powerful prowess, the distinct singers have inspired a lot of McKeon's current movements. If you listen to James Brown albums like In the Jungle Groove; that disc it is profoundly funky and upbeat- one of the finest albums from the Godfather of Soul. An exceptional and unparalleled band leader, Brown showed his chops as a sonic innovator and rhythmic guider. The way he bends notes, introduces tics and effects; powers through lines and verses is exhilarating and exhausting. Inspiring millions of Hip-Hop followers, the album transcended boundaries and barriers- spoke to a whole new generation. I can hear Brown in McKeon- when hearing her live testaments, that same irresistible and unquenchable power and control is evident. The dance workout and unstoppable grooves stand up to the test of time- Brown is an artist that has inspires legions of new artists. McKeon has that flair, drive and panache- when she is solo, she commands presence and grips the audience; a natural-born leader, you know how much music means to her. Bobby McFerrin's legendary reputation for vocal acrobatics can be applied to McKeon. McFerrin could switch from bass notes to falsetto- virtuoso displays that made his music so distinct. Listen to albums like The Voice and you see this come out with force- one of the finest vocal albums of all-time. McKeon has a huge talent for octave-jumping and transformations- her Beatbox work is a paragon of experimentation and expectation-defiance. Tracy Chapman is an artist that must have inspired- our heroine's- young mind. The emotional resonance that comes out- on Chapman's self-titled album- mixed with modern and relevant scenes (compiled around classic production values). Chapman displayed activism and gutsy performances; keenly observed writing make the songs timeless and genre-defying. The beautiful Folk and Pop meltings can be heard on McKeon's latest cut. Our heroine's ability to pen modern-day gems and slice-of-life codas find their lineage in the work of Chapman- completed by astonishing vocal conviction and you have an artist that could be a modern-day comparable. All of these examples give you some background and reference- McKeon is so distinct that you will struggle to hear anyone else come out in her voice. The way she commingles vocalised beats and Pop lyricism aside one another is an endeavour few attempt- she should provide guidance for up-and-coming stars.

All of this brings us to the key coal point: Street Art. The song has been gathering a great deal of praise and fervency; its video has impressed YouTube viewers with its original storyline and incredible scenes- its reverse-graffiti tableau is not often covered. A yearning and aching electronic yawn brings the track into life. Accompanied by McKeon's powerful and Beatbox percussion, the vocal divinity starts to come into effect- it is a stunning open to the song; it does not go in with too much force; plenty of intrigue and curiosity is elicited. Soul-inspired serenity makes the sonic elements seep into your consciousness; you are relaxed and calmed by the swaying smoothness (of the electronics); arrested and stood up by the firecracker beats. Our heroine steps to the microphone, with an enlivened and gorgeous vocal. With a smattering of Ellie Goulding's choral beauty, it is a sharp and stunning sound- imbued with passion, force and urgency. McKeon speaks to her friends; a subject is being addressed as she implores "Tip-toe, stay low"- the cops are near-by; if (her subject) gets caught then they are going to go to jail. Given the song's title and street scenes, one instantly feels that graffiti has been crated- mistaking it for vandalism, you can hear the echo of the sirens forthcoming. If the song's focal point is locked away, they will never get to see the day when they can realise their ambitions- everything will be squandered and wasted. The vocal projection means the words trip and flow; the gorgeous and effective delineation gives the early moments a terrific flow and consistent energy. Propelled and supported by insistent and punchy beats, the track grows in meaning and stature- with every new word, you are given a new piece of the puzzle. The hero will lose; ruin things because they "can't let go." Early impressions revolve around that song title. Our hero is painting the city with tags and unique designs; choosing to project their art on concrete walls- it is going to see them taken off of the streets and behind bars. Capable of so much more- by embracing the street and respecting it- they have the chance for freedom and development- scenes and thoughts of love are tempted in. Whether literally referring to graffiti (or the colourful and lasting impressions of heartache), McKeon cleverly keeps the full truth bridled and enclosed. One part of you looks at graffiti murals and boys running from the police; the other sees someone heartbroken and bereft. Defining the limits of his mind, the hero is encouraged to let their personality shine- go out onto the streets and project the colours of his soul. Advising not to "sleep at night" more tantilisation and intrigue is proffered forth- some ambiguity teases the creative mind. Whether encouraging the song's hero to go out and literally paint- or as a metaphor for embracing the people and sounds of the city- you are left to imagine. That drive towards dream-fulfillment and ambitions comes through blindingly: our heroine's voice is filled with so much passion and drive you cannot ignore the potency of the words. With a great melodic sound, an upbeat and rousing chorus, it is not long until the song starts to become infectious and irresistible. At night, there is no time for sleep- there is so much quiet and solitude; the chance is there to work. Such a black-and-white city- you wonder if London is being referred to- there is incentive to make it sparkle. Picking up the palette of colours, the hero- or heroine: my apologies- is pushed to go forth and be overcome. The green lights provide inspiration and spikes the mind- the way the lines are delivered make them sound elementary and completely essential. Some thoughts are syncopated in a flow; others stuttered and carefully deployed- that range of considerations makes the track fresh and unpredictable. The city is a canvas that is waiting for something fresh and daring- someone to come along and liven it up. Every boring shade and concrete pertinence has the potential to be transmogrified and reborn- the sheer delight and passion McKeon gives to her lyrics makes you wonder if she is referring to herself. That hunger and soulful passion mingles Goulding-esque delivery with something much more unique- when the pulsating rhythmic beats are uttered; it can be nobody else but Dana McKeon. Colours focus highly on the song's lyric rostra: the heroine uses them as metaphors and jumping-off points- the hero is 'blue' inside and has a chance to change that. The unique and spellbinding mixture of shades makes the song sound so different and refreshing- you are as captured by the different colours as you are the scenes unfolding. The hero has so much ambition and inner longing, that repression is threatening to explode. Dreams and talent should not be denied; a person's true self should not be denied- McKeon is providing social commentary and relevance; the likes of which Tracy Chapman would be proud. When the chorus swings back around, the meanings and truths start to come through with clarity. Wrapped up in the addictive and insatiable appetite of the vocal, you start to sense that things will change- the song's focus will rebel and paint the city with colours. It is terrific how the mind stays split and open: to a degree I was thinking that love is being assessed; someone has been heartbroken and being advised to go out there and not give up. Taken literally, the song could refer equally to art as music itself- with the big cities lacking necessary bite and vitality; the opportunity is there for the most talented and original to make their mark. Refreshingly ambitious and fresh, the song is mesmeric enough to draw in multitudes of fans- it is not just reserved for the younger Pop-orientated minds. Juxtaposing my earliest impressions, our heroine decries the lack of tolerance and acceptance- the graffiti is "fleeting." Being eradicated and discouraged, it was providing true meaning and purpose; the subjugation and repression is leading to anxiety and heartache. With the likes of London distinctly grey and samey- beautiful but not bright- there is ample room for some multifarious inputs; eye-catching deigns would lend an original and much-needed flavour to the skylines. The original sinner is the vigilante of London- the one who roams at night seeking fresh canvases. Musical and personal ambitions are encouraged: on a level you sense that the song may have a lot of personal relevance; McKeon is representing herself to a small degree. With so much narrowly-defined and constricted musicians out there, her potent and startling voice is the spark of light needed- the antidote to the miasma of the mainstream. Enraptured in the charm and swirl of the composition- it packs in a myriad of notes and injections- the vocal rides highest. Sweet and passionate; inflamed and climbing, it is a magnificent performance. While the final moments approach, you get another taste of that Beatbox rawness- a perfect conclusion to a tale that has its heart on the city streets. You wonder whether a satisfactory resolution was arrived at; if the hero managed to overcome forces and add colour to the night. Such is the curiosity and fascination presented, you are left speculating and theorising- I would like to think that thinks worked out for the best. It is that deliriously beautiful and elliptical vocal that makes the song such a treat for the ears- the way the lines are delivered takes your breath away. With enough urgency and quality to sit alongside this year's most addictive songs, Street Art is a track that has no limits- you will be listening to it when you need inspiration and necessary boost. Spirited, defiant and uplifting, it is what the music world needs right now.

With music lacking necessary economy and prosperity, it is terrific to see what new music is promoting- the likes of Dana McKeon are going to be names of the future. Having been intoxicated and mesmerised by her Beatbox work- that utterly disengaging and overwhelming sound- I could not wait to investigate Street Art. If the rest of the E.P. has the same flair and memorability- as the title cut- then it will represent one of the most potent opening moves of any new artist. Being Maltese and a proponent of Beatbox-Pop, McKeon already stands out- how many others do you know that promise this same diversity and combination? With heart-melting looks and a voice that could stop traffic, it seems our heroine should be formulating plans- I hope a lot more music is in her mind. Street Art is a song that makes you smile- simple as that. With impassioned and insatiable vocals; a huge and all-encompassing melody- you get a track that hits you instantly. Revealing treats and hidden treasures upon future listens, the track is a studded and glistening number- something that has put me in a much better mood. Before I get down to specifics- highlighting particular standout elements- I will wrap up the song evaluation. The lyrics have a unique and ever-relevant voice- looking towards desires and dream fulfillment; they are strange in their redemptiveness. Few artists project something inspiring and positive- it makes McKeon a fresh and unexpected treat. Tight and focused, Street Art covers a huge amount of ground; unveils a lot of story and development- keeps you gripped from beginning to end. Backed and bolstered by a huge and life-affirming chorus, it is going to be a track that will set many dancefloors alive. Like Nina Schofield, Dana McKeon has an authority when it comes to Pop and melody- able to summon up a magisterial amount of energy and joy, it is great to see these innovators come through. Few tracks possess so much heart, soul, grit and passion- the key components for every great song. It will be interesting to see what else Street Art offers up- whether the remaining tracks are packed with the same sparks and fascinations. Kudos must go to McKeon herself: a clear star with a big future, her endless authority and conviction defines the song. Elevating it to rarefied heights, that insatiable and gorgeous voice gives the song smile, charm and kick- when her vocals portray beats and Beatbox, she is equally potent. A skilled and intelligent songwriter, there is nothing juvenile and inexperienced being offered- Street Art is a song that is instilled with maturity and a terrific amount of skill. Able to unify genres like Pop, Trip-Hop and Urban; our heroine is a daring and mesmeric talent. These are the very early days; the moments where personality and ambition are starting to build- the ensuing years will see just how much potential and longevity McKeon has. Judging her first solo effort, things seem to be very rosy indeed- it is clear the Maltese star has an unending passion for what she does. I wonder whether the audiences and crowds compel and inspire her- if the creative output is the reciprocity from the enraptured reception (she receives). Let us hope that our heroine does not relent touring; brings her music to the masses- I for one need to catch her in her natural environment. Having obtained just a few sides to McKeon, her E.P. will expand her promise and sound- the public will get the chance to witness something quite compelling and spectacular. I hope that the likes of McKeon inspire new songwriters to do things in a similar way: break away from predictable avenues and do something different with music. When you open your imagination and infuse originality, the results are quite stunning.

Hopefully I have provided a good overview of Dana McKeon- as well as Street Art. Her name and profile is starting to gain some serious momentum- the amount of supporters she is gaining shows you just how hard her music is resonating. Already a big name in her native Malta, McKeon has played all around Europe- performing to various-sized crowds, she has been very busy indeed. Over the coming months, our heroine will be playing throughout the U.K.- including a host of gigs around London. The capital is providing some of the world's most distinct and exciting urban and street acts- artists that take Rap, Hip-Hop and R 'n' B- providing a new spin and sense of adventure. With so few Beatbox artists around- fewer that mix in Pop, Folk and Soul into it- we need to embrace and promote acts like McKeon. Her talent and authority is hard to deny; there are few artists that sound so confident and assured. Mixing in lyrics that make you think and assess situations; topics that delve deep and take their soul into myriad avenues- Street Art is a thought-provoking and gripping song. The perfect introduction to a wonderful E.P., we are being given a chance to witness one of the nation's best young talents showcase her work- the next few years are going to be exciting and prosperous. I am not sure where McKeon will head from here. Having a huge draw in Malta and around Europe, it is clear she will be touring and gigging internationally- who knows what markets will come calling. Having a contemporary flair and multitudinous sound, I would not be shocked to see her transcend to the U.S.- there are plenty of venues and stations that would eat her music up. For that matter, large parts of Australia and South America would welcome her in- the potential she has is immense. Perhaps wanting to keep her feet planted (for now), McKeon is watching the effect Street Art has on people- its striking and unforgettable video scores a song that is as insistent and memorable as any I have heard in a long while. One of the best things about my reviewing role is being exposed to genres and forms of music I would not usually seek out- highlighting sounds that are not widely played and pervaded. That mix of multiple instruments; stunning vocal projection and spellbinding technique makes all of McKeon's output sound elementary and absolutely vital. Being so close to London, I have no excuse for missing out on the live experience- seeing our heroine in the flesh and seducing crowds. Make sure you investigate Street Art in its full glory; snap up the E.P. too- keep Dana McKeon at the top of your thoughts. Before I go, I want to focus again on Beatbox and the genre- a style of music that we need to hear more of. It may not be to everybody's taste, but that is not to say we should ignore its impact- too many people turn their noses up without giving it a chance. Assuming it is going to be uninspired and jarring, they tend to bridle and pull away. In order to broaden your mind and welcome in something new, you have to be brave and bold- take a chance on music and give it a fair shout. After investigating Street Art, I have been inspired to check out similar acts and sounds- delve deep into the history of the form. McKeon infuses elements of Pop and Soul; beauty and passion sit alongside insistent and vibrant beats- all backed by her inspiring and incredible voice. With a multifaceted ability (few others possess), she is going to have a huge future. Collaborating with other artists means that an album may be in her thoughts- she has enough drive and potential to turn in an incredibly striking and varied L.P. Again, I shall not get ahead of myself- instead just let you focus on the here and now. For those that bury your heads in confined and samey sounds; are nervous about embracing something unexpected and unfamiliar- do not let your mind shrink and contract. One listen of Street Art and you are hooked in; our heroine wants to embrace and welcome as many listeners as possible. An artist that is so warm and open should not be left to chance and serendipity; she is making some huge impressions right now- make sure you do not let Dana McKeon get away...

EMBRACE her instead.

[youtube https://www.youtube.com/watch?v=plpvYkMT24E]

 

   About the Author:

       http://musicmusingsandsuch.wordpress.com/about/

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Follow Dana McKeon:

Official:

http://www.danamckeon.com/

Facebook:

https://www.facebook.com/DanaMcKeonMusic

Twitter:

https://twitter.com/Dana_McKeon

YouTube:

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

SoundCloud:

https://soundcloud.com/danamckeon

ReverbNation:

http://www.reverbnation.com/show/13702052

MySpace:

https://myspace.com/danamckeon

Last F.M.:

http://www.last.fm/music/Dana+McKeon

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Dana McKeon's videos are available via:

https://www.facebook.com/DanaMcKeonMusic/app_212104595551052

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Dana McKeon's music can be heard here:

http://www.danamckeon.com/#!music/c10tw

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Tour dates available at:

http://www.danamckeon.com/#!gigs/c9a0

Track Review: Nina Schofield- Over It Under It

TRACK REVIEW:

Nina Schofield

Over It Under It

9.5/10.0

Over It Under It is available from:

https://soundcloud.com/ninaschofield/over-it-under-it-nina-schofield-1

The E.P. Colours is available to order via:

https://itunes.apple.com/gb/album/colours-ep/id847601556?utm_content=buffer2c670&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

RELEASED: 07 April 2014

TRACKLISTING: Over It Under It Colours Everytime We Touch Breakaway

GENRES: Pop, Electro.-Pop, Soul _______________________________________________________

Her E.P. Colours is one of the finest records produced in 2014: a vibrant and passionate representation of a young woman with huge potential. Nina Schofield unveils one of the E.P.'s finest cuts- Over It Under It unites the catchiness and melody of Pop; the deep emotions of Soul; the shimmering beauty of the likes of Tori Amos and Ellie Goulding. Here is a talent that should not be overlooked

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HAVING spent the past few days reviewing musicians from Canada...

it is good to be back on home soil- featuring an artist I am very familiar with. Nina Schofield is someone I have reviewed previously- when her Colours E.P. dropped I was keen to get to work. It is great to see so many great female solo artists come through: each offer something unique and different; their own projection and personality- Nina Schofield is among the most talented and striking around. Her music is emotional: with resilience and strength, she mixes defiance with tenderness- bringing the listener into her deeply personal heart. I will touch more on Schofield's music- and her thought process- but will raise one issue: the solo market. Having consecrated my attentions towards bands- over the past week- I am reflecting on something more insular and unique- the music proffered by solo acts. The likes of La Roux have stamped out some of 2014's most distinct and stunning albums- the solo market is offering phenomenal works. As well as the boys are doing, it is the female side of the market that is impressing me most. In the mainstream, there are some terrifically confident and distinct artists emanating forth; each one seems to be in a league of their own- the realms of new music are providing even greater anticipation. Having assessed quite a few different (female solo acts), I am stunned by the audacious conviction and passion that comes through- with each new artist I take away something different; find myself inspired and surprised. The U.K. is hosting quite a few of the best and brightest in the world- from Soul-based divas to hypnotising Electro.-Pop mistresses; this country is showcasing just what is coming through. The next year will (hopefully) see some of our finest talent transcend to the mainstream; get their just rewards and hear their music put on a pedestal- the sheer effort and hard work they put in (to their craft) should see them succeed. Of all the artists I see coming through, Schofield is one of the most worthy and impressive. Few modern artists work harder than she does- having toured extensively this year, she is still going out and bringing her music to fresh and new crowds. Being familiar with her E.P. Colours- and having reviewed it- I can pay testament to just how amazing and full the music is. Drawing in influences of some of her idols- wrapped inside her distinct and original voice- you get terrific tracks that speak to every listener- few are going to be immune to the potency and weight of their majesty. Instilling lashings of flair, urgency and heartfelt sentiment (into her songs), Schofield mixes myriad themes and emotions- digging deeper than most of the contemporaries. Before I go into more depth, let me introduce my featured artist to you:

 Keys and Vocals- Nina Schofield Guitar - Rob Harral/Chris Swan Bass - Ollie Chipchase Drums - James Birt/Pete Brazier/Callum Swift

"To mix thoughtful and catchy songs with a uniquely arresting voice and breathtaking beauty is a classic recipe for pop success. But singer/songwriter Nina has also shown a mature determination to achieve an international career. Classically trained and having successfully completed a Degree in Vocal Performance at the Academy of Contemporary Music she has done a great deal of professional work to widespread acclaim. Known as a singer from her early years she has performed in public since the age of 16. Nina was delighted to be invited to perform at the Montreux Jazz Festival, sharing the bill with the likes of Black Eyed Peas, Seal, Lily Allen, Jeff Beck, Gnarls Barkley and Ben's Brother. Since then, she has continued to perform live as well as working closely with internationally noted Producer Richard Niles (Sir Paul McCartney, Ray Charles, Mariah Carey, Kylie Minogue, Westlife, Tom Jones) with whom she has already produced two singles. She has worked in collaboration with musicians such as Richard Cottle (David Bowie, Seal, Tina Turner), the famous photographer Angelo Valentino (Kate Moss, Naomi Campbell, Usher) and one of America's hottest designers, Arianna Power (Kayne West, Estelle, Metro Station). Nina has performed her songs at venues across the UK such as The Buxton Dome, The Stoke Mandeville Stadium for the Paralympics Torch Lighting Event and many festivals. She was given the honour of singing at a British war hero's funeral at Winchester Cathedral and has since taken a passionate interest in supporting British troops including composing a beautifully moving song, “Slow Down Soldier” performed in support of Help for Heroes. The song reached number 4 in the iTunes Singer/Songwriter charts, overtaking both Damien Rice and Eva Cassidy. As well as supporting John Power (The La's/Cast) on two occasions, she has taken part in the semi-finals of the BBC Radio 2 Young Folk Awards. Radio airplay includes coverage by local stations such as Win FM, and, in addition to recorded plays, live studio performances for BBC Southern Counties Radio on South Live (syndicated across the southern counties), BBC Solent Radio, Hampshire and Guildford University Radio, Surrey. In addition to interviews on local TV, Nina recorded with the ACM Gospel Choir as aired on the BBC2 TV show “Genius” in March 2009 and was a featured artist on the Channel 5 advert for "Don't Stop Believing" with Emma Bunton in a national campaign."

A lot had happened in the last few years (for Nina). In addition to releasing an E.P., Schofield has been touring far and wide- she has been taking her Colours across the nation. Playing to crowds as diverse as school children and pub goers, all have been seduced and enthralled by her incredible live performances. Schofield aims to make her music as big and atmospheric as possible- she takes dark subjects and adds lightness and heart to them. In spite of having suffered heartache and upheaval, Schofield makes sure her music connects with people- her beautifully impassioned style and intelligently deep lyrics resonate with fans and listeners. Inspired by current acts like Ellie Goulding, Temper Trap and Lea Michelle; Schofield has her ear to the ground of current music- mixing in various sounds into her palette- separating herself aside from the majority of singer-songwriters. Schofield has never had a plan B: music is what she has always wanted to do; this conviction and drive has led to some incredible releases. Since 2010, our heroine has been producing music and collaborating with other artists- it is her dedication and consistency that makes her such a special treat. Spending her days glued to piano; melodies falling down on her, Schofield immerses herself in music- you can tell that few other things in life matter as much. Growing up in a musical household, Schofield was inoculated and entranced by various artists- enforcing her young mind and inspiring her path. She is going to be touring for the rest of the summer; absorbing all that new music has to offer- and the mainstream too- and soaking all those elements in- the sounds that our heroine produces draws in a wide range of different threads and considerations. With Colours gaining so much support and momentum, Over It Under It is being snapped up and paid tribute- it is also one of Schofield's favourite tracks. It is clear that a lot more music is going to come from her; with an unending and indefatigable passion for what she does, sounds are always being put out- every day new ideas and touches are being added. With so few of her peers possessing such a drive and determination, the next year will surely see Schofield go from strength to strength- new and illustrious tour dates; fresh releases; promising new endeavours. Knowing Nina personally, it is great to see her so full of life and fortitude- nothing will stand in the way of her goals and dreams.

Schofield's current endeavours arrive off of the back of a prosperous and busy history- the young artist has covered a lot of ground and been very prolific. In additioin to collaborating (with other acts), our heroine has produced a lot of original material. The songs Slow Down Solider (released in 2010) and He Said She Said (released in 2011) both featured on the 2011 album Drifting- other tracks from that album were also released. Having investigated the album I was impressed by how strong and meaningful (Schofield is) right from the off. That distinct and solidified personality is already developed- there were no nerves or anxiety (on her debut L.P.). It's Impossible sees revenge and retribution in mind- the track skips and trips with meaning and menace- the vocal is strong and soulful. Showcasing influences of Kate Bush- in the composition- there is a pleasing familiarity and classic Pop edge. With a resolute and focused flair, the song is the perfect opening track. The title track is grander and more sweeping- taking more time, our heroine stands strong and is in emphatic mood. Backed by strings and classic oeuvres, the song is lush and full-bodied- the mixture of romance and strength make it an instant draw. This Time shows Schofield presenting a ripe and fresh gem: a track you could see Ellie Goulding or Foxes cover, it is a big and mesmerising stamp of authority- compounded by that distinctly operatic vocal turn. Poppy and electric; spright and gritty, our heroine mingles multiple genres- underpinnings of R 'n' B and Electronica sit with Pop and Indie layers. Movie scenes and crowded rooms comer to view; Schofield's gift for storytelling and projection puts the listener in the heart of the song- you are captured by its charms and honesty. Mr. Nice Guy is lighter and more restrained- in the initial stages. Fettled and controlled, Schofield lets her softer side come through- the big and imperious chorus takes the track up a level. I Should Be Happy sees our heroine reflecting and thankful: if she falls and crashes to the ground, her friends will rally round- it is the most redemptive and inspiring track of the album. Instilling quirkiness and distinctly eccentric delivery, Schofield beautifully sprinkles elements of Never for Ever-era Kate Bush with shades of The Killers. Staggered by the breadth and ambition on Drifting, Schofield proved what a strong songwriter she is- at such a young age, it is staggering to see how much quality is on display. Showing no weak moments, it is a potent and compelling collection. Since then, I think she has improved- her confidence has risen and her songs are deeper and more layered. Backing away from avenues of Bush and the like, Schofield's voice sounds more developed and matured- she has child-like sweetness, but imbues more soul and nuance into her delivery. Colours sports an emphatic and uplifting title track. It is here where the transformation begins- with urgent and emphatic vocals, it is a standout track. Smoother and more serene (than previous offerings) our heroine indulges her silky and slinky corners; presents melodic and soulful sweetness- take that powerful chorus into consideration and you will not get the song out of your head. More extroverted and assured, Schofield is less introspective and heartbroken- the club-ready delirium (of the multiple layers) makes it a hugely impressive adventure. The likes of La Roux are portraying similar-sounding numbers- considering her album Trouble In Paradise is such a gem, that tells you all you need to know. Possessing equal authority and talent, Everytime We Touch keeps momentum strong. Sweeping and romantic, the ballad has sexy and seductive edges. Electro. beats make sure it has harder and primal lingerings; a stunningly addictive cut- it is a song as suitable for the summer beaches as it is late-night club scenes. Breakaway is introverted and emotional. Tender and delicate, you are caught up in the sheer beauty of the song. Our heroine looks at the world- if you need to find space and focus, then get away from things; ensure you make time for yourself. Coming from the diary pages of our heroine, it is like she is letting you into the world- giving the listener something intimate and personal (as well as) universal and endlessly relevant. The entire E.P. is assured and fascinating- it builds off of Schofield's incredible start and adds more power and beauty. Having augmented and galvanised her voice; increased her lyrical and compositional range- our heroine is at her most inspired and positive. Over It Under It is a rushing and catchy tune- an insatiable jam that looks at ego trips and proclivious figures. Showcasing a desire for tightness and focus, the track covers a lot of ground (in little time)- the song's direct and unabated drive makes sure the listener is fully on board. All of this points to a very bright next few years. Schofield gets more confident and impressive with each release- it will be phenomenal to see what she comes up with next.

Schofield is an artist that has a very particular and specialised personality. Showing an originality and distinction, she is among a small number of truly different musicians- those not indebted to anyone else. If you are looking for inspirations and some undertones (of other acts) I can recommend a few names. The first I will provide is Kate Bush. The queen of all music (in my view), I extrapolate and detect some of Bush's quirk and cuteness in Schofield- the two share the ability to bend and seduce words; provide lustful atmosphere and magic with scant effort. In terms of an album reference point (from Bush) the finest example is Never for Ever. That album remains a classic because of the range of songs- the spectrum covered is hugely impressive. The strange and beguiling power of Babooshka sits with the haunting and breathtaking Army Dreamers- where Bush mutates her voice from growling and tripping (on the former) to child-like and crystalline (the latter). Bush sounds more confident and solid here- after The Kick Inside gained mixed feedback. The dramatics and theatrical deliveries define the songs' perfections- rather than coming across as absurd and Muse-like- giving the album such a weight. The curvatures she puts into her voice make overt seriousness gripping and convincing; flights-of-fancy measured and controlled- when he voice pirouettes and dances, it never spirals recklessly. Schofield is a similarly impressive talent. Her voice springs and tip-toes; she can go from low and guttural smoothness to pin-sharp and howling execrations- every shade and colour she proffers seems elementary and divine. Bush tailored her vocal acrobatics around simple and storybook themes- Babooshka's motherly instinct were made golden with that peculiarly addictive vocal performance. Schofield's artistry and personality has some background in Bush's 1980 diamond- Colours draws some inspiration from Hounds of Love (Bush's defining moment). When Schofield lets her Pop side out it may be closer to Never for Ever- when dramatised and emotive, Hounds of Love seems to come through. The album showcased fear, anxiety and curiosity- revolving around tales of love, Bush managed to unite these diverse and disparate themes. Making people dance to the sound of a rusty pipe, the songs' bitter and haunted cores possessed manifest deliriousness and etherealness- Running Up That Hill (A Deal with God) is one of her most staggeringly exotic numbers. Tribal potency spars with lush orchestral moments; twisted boundaries mean the music is free and open- no shock that it remains her most inspired work. Natural world songs nestled with confessional love stories- the craft and memorable melodies stand up to repeat assaults. Schofield is similarly realised and ambitious- she has authority when ensconced in dreamy whirlpools; potent when striking outwards- her talent for tantilising compositions and gorgeous arrangements put me in mind of 1985 Kate Bush. The ormented and divergent grasps do not feel fragmented- every song and sound fuses wonderfully well. Colours does likewise: the E.P. has a similar headiness and entrancing ability. Tori Amos is another female icon- I can hear in Schofield's work. Perhaps more synonymous with her debut album period (Schofield), Amos's influence comes to the fore. Little Earthquakes (Amos's debut) is the most pertinent and apropos comparable. That album saw the young princess offer some uncomfortable moments and sarcastic output. While Schofield does not project these components, the intimacy and frankness is the most obvious familiarity. On Little Earthquakes, Amos seemed vulnerable and open- letting the listener into her tales of independence and defiance. That mixture of pained and empowered sits within Schofield's work. As passionate and potent as Amos, our heroine presents mini-operas and touching sagas- drapped around a stunning and gripping vocal. When Amos revealed Midwinter Graces, critics saw her break into colder and more reflective realms. I mention the album due to its serenity and diaphanous qualities- Schofield is as hypnotising when letting her voice campaign and seduce. The evocative and stately compositions- on Midwinter Graces- is scored by tranquil and seductive vocals. Schofield- when she goes into ballad terriroty- ensures that there is loftiness and gracefulness to proceedings. Before I mention some British influences, I will draw in one more American name: Michael Jackson. The way Jacko presented his distinct and unique vocal styles- the tics and mannerisms- made him such an inspirational figure. He could make gritty and urgent songs as unexpected as any song you have ever heard- his huge talent went into ever note. Schofield has a similar ear for vocals and style- she does not lazily implore or become predictable; the way she contorts and shifts notes; changes directions and elicits some personal mannerisms make her songs pop and fizz. On Jackson's Bad/Dangerous tenure he transformed from softer and more emotional boyfriend to an incriminated and discriminated-against rebellion. The former album saw anxiety for sure; it was more Pop-orientated and romantic- the hooks and panache made Bad so addictive. Rich, sexy and edgy, the album was a huge triumph- I can see embers within Drifting. Those same tales of love-against-the-odds, the strike-against-the-world determination and insatiable catchiness make its songs so nuanced and repeatable. When Colours came out, it seemed like Jackson's transition to Dangerous. That album has harder edges and more intent- it has that raw and strengthened focus; a wider range of sounds and emotions. Channelling pain and demons through the scintillating songs, the album is more rounded and intriguing. Schofield introduces more directness and confrontation on Colours- she keeps the cores of Drifting in tact and stretches them outwards. The crackling and body-popping jams of Dangerous effortlessly parabond with emotive and ethereal emotional tracks- it is a stunning acheivement. Schofield is as adept at fusing these sides; she presents more positivity and effervescence- whilst ensuring her songs have striking and addictive beats and dance. Two names- that inspire Schofield- are Ellie Goulding and Coldplay. The former artist is someone Schofield aims to see perform live- catch her new album out in the open. You can hear some familiar tones between the two. If you look at Goulding's 2010 debut- Lights- that album saw gushing and breathless rushes sweep the listener away. Tracks like Starry Eyed were undeniable smashes- that song is as addictive and indelible as any I have heard. The lush production and star-in-the-making confidence shines (in the album)- sparkling Pop and Folk-tinged heart blend without any fractions. Goulding made sure her personality and inner joy came out- there is no fakery or pretensions at all. Schofield makes her music equally inspiring and joyous- she introduces lush and swaggering compositions; danceable riots and earnest and heartfelt inner-visions. Schofield has the ability to craft modern-day dancefloor codas- the type of songs that get you onto your feet; can whip festival crowds into a sweaty whirlpool of dance. The skillful songwriting- of Lights- offers detours and sharp turns; superseding expectations and surprising listeners- it delves deeper than 90% of the Pop market. Synthesisers and drum beats provide primal urge; pianos and strings have cinematic draw- the album combines so much. Schofield manages to match Goulding for that mix of sounds and talent- an even stronger songwriter; our heroine keeps her songs unpredictable and endlessly fascinating. Goulding's album Halcyon (released in 2012), saw dynamism and opaque lyrics grip the heart- the staggering range of sounds make the album such a treasure. Huge wrecking ball Disco beats sit with robotic stutter; bird-like beauty and punchy Dance. The musical genealogy is amplified and upgraded; Goulding makes bids for stardom and glory- the leap she achieved showed a developed and consecrated sound. Schofield has made a comparable jump- her latest moves tie all of the Goulding hallmarks together with an ambitious and meaningful result- Colours is the sound of an artist who belongs in the big leagues; rubbing shoulders with her heroines and heroes. A Rush of Blood to the Head is one of Schofield's most treasured favourites- an album that has inspired her. Whilst Coldplay do not reach those heady heights now, the 12-year-old album is rightly regarded as a classic. Gone was the timidity of Parachutes: the band came across as confident and meaningful- songs such as In My Place and The Scientist are bona fide standouts. It is a planet-straddling and dictatorial album- one that wants to conquer all others. Sparse, strange and catchy could be words levied towards the album- they can be applied to Schofield's work too. Equally adept at making piano-led ballads entrancing and overwhelming, our heroine is just as comfortable when experimenting with sounds and themes- some of her songs match the best moments from A Rush' . The conversational and entrancing elements of the album ensure they resonate with the listener- the songs do not draw you away or divide attentions; they capture everyone and reveal layers over the course of listens. Surges, lustful passions- backed by a developed and pin-sharp falsetto- make them snapshots of life- events and capsules that every listener can relate to. Solid lyrical arrangements are bolstered by ambitious and ballsy musicianship grabs- few bands have such an ability to throw so much together with startling results. Schofield has taken the cores of the album to heart- her work possesses the same teardrops and heartfelt quiet; rampant and driving ballads; swirling and colourful codas- Colours contains the sort of tracks modern-day Chris Martin would steal. Before I go, I want to quickly introduce a quartet of names: Chloe Howl, Imogen Heap, Foxes and P.J. Harvey. Chloe Howl's Synth.-Pop songs have a rawness and combined sense of fun- she has sultriness and allure plus teenage rebellion and power. The way she channels frustration into chart assaults- songs like Rumour- make her a name to watch- quips and attitude are backed by huge Pop choruses. Schofield has enough spike and wit at her disposal; she turns subjects of resentment and accusation into stunning made-for-radio pumps- displaying the same innovative and direct hits (Chloe Howl perfects). Imogen Heap's modern movements (on Sparks) show crystallised and distilled emotions- she manages to compact so much emotion and sound into single songs. Heap introduces a range of characters and players; her odd phrasing and unique lyrics give the music a flavoursome and charming wink- her albums are packed with a wealth of fascination. Schofield makes sure her tracks are not stale and stolid: the way she manifests inner pain and joy is done with full regard towards individuality- you get a clear sense of a woman with her own distinct voice. Foxes' album Glorious was lauded because of its late-night passions and lustrous crackle- dark impulses and shadowy melodies make her work so outstanding and urgent. That tonic of carefree and haunting is what marks Schofield as such a relevant and daring artist- every mixed emotion she presents is authoritative and deep. P.J. Harvey is the final name I will present. Harvey's gut-wrenching and dramatic compositions come out in To Bring You My Love- an L.P. that has accessibility written all over it. Avant-garde sweeping emotions are focused by tight and controlled songwriting. Schofield manages to make her songs as evocative and stunning- she draws all of these artists into the background; keeping her foreground very much her own. It is because of these considerations and cohabitations so many people are excited.

Before I get down to reviewing Over It Under It- eagle-eyed may notice I have assessed the track previously. Determined to re-investigate one of this year's most urgent songs, one other strange thing may catch your eye- it has gained an extra point. Having listened to the track on and off- since Colours was released- I understand I was too cautious and closed-off- it is a song that reveals its true potency after repeated spins. It is immediacy and intimacy that start the song. With a piano flourish that is lush and rich, you are put in mind of Coldplay's A Rush of Blood to the Head and Hounds of Love Kate Bush- magisterial and tenderly emotional. Rolling and tumbling, it acts like rainfall- there is a consistent movement and flow that washes into your skin. Backed by echoing and warping electronic parables, that parabond gives the intro. an emotive and prosperous early life- you are compelled and intrigued by the fledgling seconds. Rushing and sweeping, the initial refrain splendidly leads our heroine in. Her voice determined and breathy, we see her in fragile and vulnerable mood- the first line is "Caught on my own again." Keeping her soul and focus levelled gives listeners a chance to bond with the soft side of the song. Schofield presents a teasing and alluring vocal side- something that has been shown in a lot of her early work. With our heroine lost in confusions and doubts, one feels that a love may have broken down- perhaps her man has walked away or an argument has occurred. The sense of dislocation and hurt comes through in the performance- you instantly sympathise and yearn to hear the details (behind the lyrics). The track begins to build; Schofield becomes more urgent and insistent as she builds her words up and up- her boy has shown recklessness and a lack of maturity. With arrogance and inconsiderate behaviour being displayed, it is perhaps a good thing (that the love has dissipated)- it seems her man was not all he was cracked up to be. As each line grows with anger, the vocal rises to the challenge- it is breathier and much more determined. By the :40 mark, the chorus explodes into life. A dazzling and vibrant spectrum of colours, the edges break- the restraint is gone and Schofield lets her voice soar. Propelled by dizzying and rambunctious electronics, a summery and dance-ready swagger comes into effect. Our heroine does not portray rancorous anger and virulent accusations- she is over the worst of it; seemingly relived to be clear of such a human, the performance is instilled with loftiness and huge energy. Perfectly conjoining Ellie Goulding's heady and atmospheric Halcyon cuts- with some of Coldplay's early gems- the chorus is punchy, packed and pugnacious. Our heroine lets her voice power and project- the amount of strength she manages to whip up make sure you are singing along; caught in the wave of emotion and directness. After that burst of rebellion, Schofield calms and retreats. Her boy has clearly screwed up and taken too many liberties- our heroine ensures that he does not get back into her life. Imploring him to go away, a tactility is shown- not wanting to be touched, it is obvious things are beyond repair. Displaying a soulful maturity, Schofield ensures the words do not succumb to immaturity and histrionics. The stronger and ethical party, she is free to cast blame and aspersions. Her loser boy has clearly been catting around town; pursuing a woman- she is what he wants - any sympathy is obsolete. The disreputable idiot is chasing a woman who seems wrong and immature- Schofield has little time for his indiscretions and unfaithful lust. When things go bang- and they will- she advises not to pine or come crawling back- if he wants a comforting shoulder, he should look elsewhere. Thinking of "anyone but you" our heroine wants her former beau to fall- get a taste of his own venomous and poisoned medicine. Throughout the verse you can feel the vocal start to rise again- the tones because higher and crystal as the atmosphere swells and grows. Displaying an intuition for pace and composition, the song is not too crowded or cluttered- the vocal is up front in the mix; fascinating undertones of electronics add energy and potency. When the chorus comes back home, you learn more about the circumstances- can empathise with the heroine and join her in song. Instantly on her side, she is not downtrodden or woeful- her full and sky-scraping vocal is designed to get feet moving and arms swaying. Sparring club beats with Pop rushes; electronic parable with pummeling percussion, the lines and sounds go straight to your head- it is a drunkening and heady concoction. With her ex being such an egotistical and cancerous human, the song ensures that everyone roots for Schofield. When the words "I'm over it" are repeated and echoed- the stuttered and juddering delineation adds spark and electricity to the song's key message- our heroine demonstrates her cutting-edge and contemporary qualities. A vocal and presentation that could easily dominate the charts, the likes of Goulding, La Roux and Foxes struggle to offer a similarly evocative and ear-catching semblance. Slinky, moody and low-down, the vocal is huskier and more alluring- beautifully partnering the sweet and high-sounding backing (vocal), the track steps up another gear- such is Schofield's talent for mobility and transformation it almost passes you by. Too good to be made a fool of; too proud to cry her heart out, she is brushing the boy away- emasculating him with her cutting and meaningful sting. Whomever inspired the song is being given a thorough dressing-down. Just when you think the chorus is coming back to roost- most contemporaries would launch into the chorus- Schofield defies expectations; taking the song in another direction and ramping up the curiosity. Returning to previous lines- about being over it- this time the projection is different. The vocal- in the background- becomes more echoed and haunted; electric guitar lines are infused- the twirling and dervish-like composition elicits more of an energised rush and sense of smile. Never letting the song become depressed or mordant, our heroine keeps the energy high- that bright and glaring soul shines from start to finish. The song has the potential to soundtrack any occasion- just at home on stereos of cars pounding the open road; for the late-night rendezvous of clubs; the festivals under the burning sun- Over It Under It has no barriers or limitations. Before the mantra is repeated, our heroine punctuates the bridge with a swooping and vivacious electronic swallow. Building the foundations ever higher, Schofield backs her voice with cooing and wordless interjection- the sense of emancipation and freedom shines. One of the best kiss-off tales, you would imagine the nameless suitor feeling appropriately shamed- few songs have lashed as insistently and dangerously as this. Before the song comes to its conclusion, our heroine takes the volume down- the electronics disappear and dissipate (to be replaced by piano). Soft and conclusionary, Schofield shows her soft and graceful side- ensuring that she keeps the listener guessing and surprised. Few would expect the song to wrap up with such a beautiful sound- electronics are offered back in but stay demure and non-intrusive. By the final notes, you try to digest everything that has come before- it is a dazzling song that lodges in your brain and compels you to instantly replay.

With Over It Under It gaining some positive and impassioned reviews, it is only right I provide my support and praise. Having known Nina Schofield for a while, I am always delighted when her music comes out- something new and fresh is offered up. With every move she grows in stature and confidence; adding something new into her armoury- her latest single is the sound of a young woman with huge ambitions and intention. Someone who is primed for the mainstream- it cannot be long until she follows her heroes- I hope she gets as much appreciation and patronage as possible. Colours clearly struck a chord with listeners: receiving unanimous praise, you would forgive Schofield if she relaxed and took some time off- having worked so hard this last year. The young singer wants to get out there and perform: from school children to local revellers, she wants to make sure she touches as many as possible. Too many modern-day acts put in little effort; detach themselves from people; are contented to settle back and wait for the cheques to come in. Schofield is one of the most itinerant and tireless musicians out there- it is this determination and unwavering passion that will see her succeed. I fell in love with her E.P.; was amazed at the developments and new stories that came to life- the way each song was portrayed truly takes your breath. Not confined to fans of Ellie Goulding and Coldplay, her work is ubiquitous and bordeless- the sounds and sensations can be enjoyed and appreciated by every type of music-lover. Over It Under It keeps snaking and moving; the developments and progressions throughout the song take your mind in all sorts of directions. The production on the track is stunningly clear and consise- it allows the voice to shine (and ensure that none of the compositional strands get buried or distorted). Shiny and polished, it means the song comes across as hugely energised and urgent- not too shiny; it ensures the song isn't gaudy and hollow. The performance from Schofield is stunning indeed- it is one of her most powerful and dominating vocal turns to date. Switching from gentle and tender to an emphatic and belting climb, she switches emotions and directions without stumbling or losing momentum- her vocal authority and passion never relents. Renowned for her distinct and compelling voice, it is put to full use here- few other songs see so much colour and contour projected (in such a short time). Of course, songs do not often succeed from vocal turns alone. With a stunningly emotive and sparkling composition- drawing Electro. rush with piano-led Pop swathes- it is a rich and deep mandate- with multiple layers and some incredible details. A clear eye for melody and nuance means the song keeps offering something new- the intelligence and thought imputed differs from a lot of the mainstream. Other acts- covering similar themes- would simply throw in as much force and volume in as possible- with no regard for concision and passion. Schofield makes stories of deceit and cheating sound upbeat and elliptical- the same sort of trick the likes of Kate Bush and Tori Amos pull off. Marking herself out as one of this country's most unique talents, her blend of quirk, stunningly gorgeous vocals and musical talent makes her a fully-rounded and indefatigable talent- one who never stops working. Capable of mingling simple and direct messages with deep and emotive insights, Over It Under It is a song that will soundtrack the summer- if you listen to it (and do not sing along) you may technically be dead. The fact that Colours is filled with songs of equal weight- or higher- shows how consistent and high-reaching Schofield is- how many new musicians can grab you so instantly? If you are looking for a track that can elevate your mood; keep your thoughts occupied with fascinating scenes, dreams and thoughts- you need to investigate Over It Under It.

One of my ambitions this year is to see Nina Schofield in the live environment. The gorgeous Surrey-based singer is one of the most engaging and nicest artists I have come across- her songs are those which break through barriers; provide new spins on topics of love and loss; inspire hosts of listeners and people. Being someone enamoured of Indie and Grunge territory, I find myself yearning for more Schofield-produced music- when listening to her songs, your mind is freed and taken somewhere quite special. Entranced by her vocal magic- melting shades of Coldplay and Ellie Goulding in addition to her sensual and sweet-natured sound- few other singers resonate in the mind. Her lyrics go deep but stay relatable: Schofield takes in universal and ubiquitous topics; marrying them with her own inimitable personality and blend of sounds. Backed by compositions that are full-bodied, emotive and multifarious; our heroine skillfully blends in various genres- '90s Indie-Pop, '70s Soul and modern-day Electro. are commingled. It would be axiomatic to say that things are going to get better for Schofield- with such an innate passion for her art, we are going to hear a lot more work come from her. Her seductive and staggering beauty is only surpassed by her insatiably addictive music- it is small wonder she is gathering so many fans and so much pace. Colours is an E.P. I have reviewed before; Over It Under It is a song that I have focused upon- its ageless and nuanced quality compelled me to re-investigate it. Having published such a layered and diverse E.P.- which retains Schofield's personality- I keep coming back to it- repeating songs and being swept up in the rushing power and vibrancy of the music. In an industry where the mainstream artists are starting to tire; the band market is starting to take the majorative market share- it is down to the solo acts of the underground to come through and shine bright. Nina Schofield is a mature and focused artist that has worked her socks off- and seems incapable of slowing or relenting. I shall wrap things up with a few more words- pointing out just where our heroine is headed. Having such a love for Pop and Electro. acts (like Coldplay and Ellie Goulding), it is clear Schofield has a passion for contemporary and current sounds. Growing up with so many fascinating and legendary musicians, this mixture of old and new makes her music so inspired- you are going to struggle to find many other artists that do things quite like her. As we reach the final months on 2014, Schofield should be very proud of what she has achieved- having touched so many people, there is going to be big demand (for her) in 2015. Over It Under It is a stellar statement from a young woman with a huge soul- someone who never stops moving and creating. With so many great new musicians coming through, it is wonderful seeing the diversity and quality shining. So much is on offer for the hungry listener; Nina Schofield is a colourful and eager artist that deserves huge success and patronage. Given her tireless work ethic and relentless creativity...

THAT will not be too far away.

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Track Review: Black Lady Soul- The Fall

TRACK REVIEW:

Black Lady Soul

The Fall

9.7/10.0

The Fall is available from:

https://www.youtube.com/watch?v=znDsEGiELUM&feature=youtu.be

The album Black Lady Soul is available to pre-order via:

http://blackladysoul.bandcamp.com/

RELEASED: 16 August 2014

TRACKLISTING: The Rise (Intro.) The Fall El Dorado Counting Sins (Vices Prelude) Vices Corin Anchor Penny Water Subway Fare (Penny Water Reprise) When Lions Roar You & Me (Corin Reprise) The Riddle

GENRES: Neo-Soul, Soul, Hip-Hop, Rock, Indie, Rap, Alternative _______________________________________________________

Determined to set themselves aside from other bands, Black Lady Soul are an engaging and hugely ambitious prospect- their self-titled debut will bring this all to life. The Fall is a song that hits you straight away; it compels repeated investigation- it stuffed with grace, power and punch. A band who seamlessly fuse multiple genres, they are among the most inventive players on the scene ______________________________________________________

I am somewhat relieved that Black Lady Soul have come along.

I will investigate the band in more depth, yet their arrival marks something of a change: a back-story and style of music that I do not get to encounter often. For so long, I have been buried beneath music: most of the acts and biographies tend to tread the same sort of lines; offer similar fascination and appeal. My featured act separate themselves apart hugely- their diverse richness and ambition has marked them out as a band with a huge future. Before I investigate the act in more depth, I will raise one key point: Street-Soul. More a genre than a point, those two words will seem unfamiliar to many- a style of music that is not often experimented with. Although Black Lady Soul have a huge range- and more at their disposal than one particular genre- you do not often find a new act that dip into the annals of urban street life. Most fledgling artists play with safer and more predictable styles- Indie, Rock and Pop are among the most popular choices. Few upcoming musicians go that bit deeper- explore something with a vibrant and cutting edge. Not only providing new and rare force, the genre of Street-Soul offers a lot of potential- it is such a wide-ranging and prosperous style of music; I am surprised more acts are not utilising it. What my featured act do is to use it as a starting block; employ its grit and darker hues- tie it to something more elliptical and redemptive. Dismayed by the lack of true originality in the mainstream, Black Lady Soul seem like an act worthy of transcending to the highest ranks- they have the ability and talent to make a big name for themselves. Completing my trilogy of Canada-based music reviews- I am sure I will be investigating more in time- the band made me smile. They were formed from an open mic night: having never met before, the members all collaborated at Big Mic- a Toronto Hip-Hop showcase. Assembled from the remnants of other bands, the boys found an instant bond and common ground- it was a night that was to start a very prosperous and fantastic career. They are in their early stages, yet have a bond and sense of solidity few of their contemporaries possess- this is enforced in their fantastic music. Compelled by their history and wide-ranging music, I could not help but to study them in more depth- find out just what makes them ticks; distill their epic sounds into words. With a few thoughts on my mind, it is best I introduce the band to you (first of all):

"Black Lady Soul embodies a dirty rock groove, while embracing urban street soul. An experience that is moody and lyrical, backed by beat-driven drums and bass, alongside smooth, dynamic electric leads. "Neo-soul" and "indie rock" are used to attempt to describe Black Lady Soul’s sound, but the genres do not justly illustrate the band's varied creations. Their songs change wildly in style, from upbeat dance grooves to melancholic rock pieces, shifting to orchestral ballads and moving seamlessly to down-tempo beats. Their art knows no form and is eclectic in nature although it has been described as "sounds like good sex".

Black Lady Soul are looking forward to the release of their self-titled album- it will show the world just what they are capable of. Boasting hugely impressive sounds; wide-ranging styles, plenty of ambition- the album will show new acts just how much can be achieved. The best way for music to flourish and grow is to make sure it is as deep and diverse as it can be- not just sticking with stolid and predictable sounds. Too many acts focus too narrowly- their albums and E.P.s do not really go the extra mile. When you restrict your sonic output; confine your potential output- the results are going to be stifled and limited. The acts that broaden their horizons; dip into a varied and colourful palette are those that are going to stand out- survive the test of time and reach a wide number of different people. Black Lady Soul are a band that are hard to pin down- they have myriad styles and genres at their disposal; the way they incorporate and mingle sounds together is stunning. Cemented in their lead single, the Canadian act are sure to have a long career. It is clear the boys have a great bond and understanding- united by a common cause, the sense of closeness makes them sound so assured and confident. Few new acts arrive with such a bang and sense of intent- the ambition and quality that shouts out in The Fall is a very potent benchmark. The remainder of their album has plenty of story, heart, guts and glory- the 12 tracks provide a wealth of sound and information. Before I get down to investigating the band in more depth, I'll raise one further point- the band market. I know I have bored the pants off of many- raising this same old issue- but I am coming at it from a different angle today. Reviewing such an eclectic band, it makes me wonder why more do not employ this same adventurousness and range- how come so many new acts are limiting themselves? Perhaps there are risks involved with expanding your horizons- by instilling that degree of ambition, a sense of focus and identity is lost. I have witnessed many new acts present an album or E.P. with huge stylistic shifts- from song-to-song new genres and avenues are explored. Freewheelin' and experimenting like an early-career Beck is only effective if you are Beck- lacking his professionalism, intelligence and authority can leave you coming up rather short. It is impressive to see bands really going for it- if you diversify and aim with a nonchalance then you risk ruining your career (and being forgotten about). It is a sticky and dangerous avenue, this- getting the balance right is a hard job; retaining a distinct personality is one of the most important considerations every new act must fulfill. Black Lady Soul do not put out something as fragmented and kaleidoscopic as The White Album- if new bands tried something so insane and barnstorming, it may frighten off critical ears. Their self-titled debut- and lead single- is not too far off of the mark- you are amazed by how many different sights, sounds and flavours they infuse into their music. Not only do they manage to make their music cohesive and engaging; they mark themselves out as one of the most arresting acts out there- those who understand the vitality of ambition and defying convention. Having heard so many great things about them; seen the fervency and praise The Fall has garnered- I feel it is prudent to delve more into what makes the band tick. They are a sturdy and expectation-defying band that are a breath of fresh air- an act that we definitely need to keep our eyes open for.

When it comes to reflecting back at the band's past work, it is a hard task- the guys are putting down their first fully-fledged movements now. The Black Lady Soul album is going to be the first chance to see the cohabitation of the group's stunning ambitions and sounds. Our heroes offer up and provide unique experiences: their live performances are legendarily energised and memorable- fans have come away open-mouthed and revitalised. The marriage of dirty Rock grooves; that underbelly of silky Soul- coupled with a dynamic and stirring electricity- stands the band aside from most of their peers. As the group are formed off of the back of others, it is difficult to tie them in with past endeavours- what you hear now is a fresh and urgent new sound. The most contextually apt thing to do is to judge them on their mission statements and current moves. Having a distinctive and textured flavour, Black Lady Soul are a fresh breath of air- followers of nobody. It is going to be interesting to see how they follow-up their album- whether they look to do another L.P.; a series of E.P.s- or offer up some singles intermittently. Judging their present state of mind and ambitions, it is highly likely we will see more material in 2015- the momentum they will garner (from their album) should compel them to redress to the studio; lay down some new cuts- unleash them on the public. It is impressive how quickly and assuredly the band have put together their album: not contented to dangle their toes in the water; the group has gone straight in with a vibrant and full-bodied assault. Showcasing no loose edges at the seams, the boys come straight in with direct and meaningful intent- they have fervent and overflowing creative minds. Their next year should see them tour extensively; enthrall North America- in addition to wider avenues. Whatever material does arrive (will build from their current songs)- perhaps new inspiration will be provided; new genres explored and mastered. The great thing about the band is their range and multitudinous grasp: being so open and nuanced, they have huge potential- let's hope this translates into some incredible future sounds. For now, the lads are sitting back and seeing how their album is received- the reception should be universal; most people will be giving it an assured thumbs-up. The affirmative, intriguing and fascinating songs (they elicit) will see them score hordes of new fans and supporters- putting them on the road to the mainstream.

When it comes to influences and inspirations- that have compelled the band- there are a few names I could offer in. One of the bands that come to mind- when analysing Black Lady Soul's experimental side- is Portugal, The Man. The Alaskan band have a huge reputation for big ambitions (and a vast array of styles). On their album Evil Friends, they brought synths. and warm elements in- songs shift and change course over the space of a few seconds. With the tracks mobile and unpredictable, it is a thrill-ride that never lets go. Psychedelia and R 'n' B flavours come into the mix; distorted guitars and washed-out electronics augments the band's luster. Backed by phenomenal productions; worldly and cutting lyrics- that tackles a range of issues and subjects- it is a stunning and assured album (from one of the world's most prolific acts). Looking further back, In the Mountain in the Cloud is a dreamier and deeper album. Whereas Black Lady Soul combine elements of both albums, you can hear touches of Mountain' in their single The Fall. Cohesiveness and warmth mingled with edge and passion- on In the Mountain in the Cloud- an evolved album that tied together all of their previous work. Black Lady Soul delves deep and far- they have a tender and composed heart; their music wraps in blissed-out guitar riffs; teasing and tempting vocals- a whole host of different sounds and experiences. When Portugal, The Man unveiled Church Mouth, some of their primal urges came forth. Mixing in Led Zeppelin's raw Blues sounds with some elements of Jane's Addiction- it was a harder and more primitive beast. Songs with such drive and passion were always likely to prick critical ears- the fact the boys offered their own unique take on Zeppelin's style was impressive. Countermelodies infuse with overlapped vocals- the band's stream-of-consciousness deliveries did provide some mixed reviews. Whilst a lot of the lyrics and vocals suffered a lack of intelligibility, the sounds they proffered meant the album stood up to repeated listens- it is a deep work that ages incredibly well. When I look back at The Satanic Satanist- one of Portugal, The Man's best works- there are some toned-down and warm Pop moments. Less experimental than later works, it has bright and breezy middles- the falsetto vocals and beautiful cores made the album resonate with fans. Crystal sounds and Chamber-Pop tracks bonded with '60s Groove-Rock; Motown jams- the album's friendliness and familiarity meant there were no derivative moments. Flawlessly crafted- and boasting wonderful chord progressions- it is one of the band's fullest works. Black Lady Soul draw in swathes of Portugal, The Man's past work. The Fall shows heartfelt and softer moments; it changes directions and course- the melting of various styles and sounds gives the song a huge weight of conviction. Whilst a brand-new band, it seems they could- one day- ascended the heights of Portugal, The Man- provide the music world the same sort of nourishment and quality. When looking at Street-Soul acts, The Roots are a name that occurred. If we consider their album Things Fall Apart, we can see some causal links. The Roots' panache for promoting irresistible beats and smooth rhythms makes the album such a terrific work. Hip-Hop elements are provided with deep and thought-provoking lyrics- the band look at life on the streets and issues of poverty, wealth and reality. Black Lady Soul address comparable themes and topics: their ideals investigate the harsher elements of life; go beyond normal and predictable areas- delve deep into very relevant and pressing cores. In addition to sharing The Roots' lyrical themes, Black Lady Soul create unpredictable instrumental lines; nimble rhythms and fantastically addictive tracks- that was fully addressed in Things Fall Apart. When The Roots unveiled The Tipping Point, they included Sly & the Family Stone shades; popping and locking beats come out- head-bobbing jams and well-constructed tracks shine through. Although Black Lady Soul have a bigger range (than The Roots) there are some familiar D.N.A. strands- those deep and meaningful lyrics; the mixture of addictive and upbeat sounds; the unpredictability. When surveying Black Lady Soul's experimental drive, Beck entered my thoughts. Odelay is perhaps the most assured and stunning Beck album- the disc that showcases the man's full genius. The 1996 masterpiece is one of my favourite; I am a fan of the likes of Guero and Modern Guilt- albums that show he has lost little of his steam and charm. In addition to being one of the finest albums of the '90s, Odelay saw Beck confound expectations. The album joined shorter bursts with longer, sprawling songs- Black Lady Soul's debut has a similar flair for concision and economy. Black Lady Soul provide collages and rainbows of sonics; they toss together disparate styles and genres; mix it together- come up with jam-packed and dizzying nuggets. Dirge-Blues numbers like Jack-Ass sit with hazy and brilliant cuts such as Where It's At. Although Beck lobbed everything into the pot, the album does not feel over-stuffed or too rushing- the album flows smoothly and gives the music a dense sound. Soul reworks (Hotwax) and Rap reinventions (Where It's At) are as comfortable with Blues juggernauts (Devil's Haircut)- the man seemed to have no limits. Odelay is complete and solid; every track is compelling and gripping- because of that insane ambition and cornucopia of sound. Black Lady Soul show a similar attitude towards genre restrictions: their music hops and diverts; they cut-and-paste different strands into songs- the results are incredible. Beck draws in the listener with his tales of down-on-his-luck street life: his tracks pound the concrete and take you into bawdy and seedy sidewalks. Rough-hewn clubs are documented in Where It's At; the man is disaffected and disconnected (in other numbers)- there is no heavy reliance on love songs and the first-person narratives. Black Lady Soul match Beck's blend of deep and affecting lyrics with a maverick's approach to sonics- the band are no hipsters; they have an authoritative ear for composition that bellies their embryonic state. When listening to the guitars and vocals on The Fall, a few names entered my consciousness. Soundgarden are a band that Black Lady Soul have never been compared to- I am sure they are not one of their biggest influences. Not quite matching Chris Cornell's possessed and demonic screams, there are touches and suggestions of his graveled and groaning lowest notes. Superunknown- one of my favourite albums- shows a band at the peak of their powers. The album looked at alienation and despair- perhaps more harrowingly than In Utero- and is a phenomenal achievement. Soundgarden look at dislocation and depression; the harshness and struggle of modern life- the sense of repression and upheaval everyone has to face. In so much as I detect some Cornell-esque vocal hues, some of Black Lady's themes and lyrics could fit within Superunknown. Black Lady Soul infuse Stoner-Rock licks- the likes of which Kim Thayil cemented- with galvanised, kinetic and catchy sounds. In addition to some passionate and masculine vocal distinctions, Black Lady Soul's leader has a range and depth in his voice- capable of sky-scraping power and intense focus; it is a full-blooded and unrestrained animal. When put high in the mix, the vocals are given a chance to shine and guide- at times you wish the voice was higher still. Soundgarden- on Superunknown- dabbled with Pop and Psychedelia; they offer more detailed and melodic songs- everything blossoms and holds onto you. Black Lady Soul let their heart and soul become bleak and introverted: when they look around at the streets and dangerous corners, their pen bleeds readily- that same hard-hitting emotion- that Cornell is synonymous with- defines their work. It would be great to see Black Lady Soul incorporate some Grunge elements into future releases- perhaps coming up with something Soundgarden-esuqe. The Fall provides some scintillating and rapturous guitar work. When the strings spark and combust, I am reminded of Jack White. Perhaps more similar to his solo work- than his White Stripes tenure- there is a detectable similarity. Blues-Rock crawls and lascivious jams made Lazaretto such an instant hit- an album that showed White's fastidious work ethic (it leads to wonderful results). Lazaretto saw fewer monster riffs: the album is a weirder and more unsettling listen- there is rife anger and accusatory slams; cagey, unhinged and itinerant. White is a diarist-cum-mad inventor: an artist that is focused as well as shape-shifting. Black Lady Soul's guitar work has aspects of White's ferocious and bizarre edges- if you listen to The Fall, you can imagine White would nod his head in approval. The band also instill some of White's disaffectedness and overt anger into their pot- the malaise directed towards the current generation can be heard in Black Lady Soul. The word 'sex' is synonymous with the band- whether fables or urban myths, fans have been known to get their rocks off to their songs. It is hardly a huge stretch when you consider it: that seductiveness-cum-sexuality that eek through in their wicked sounds is enough to make a eunuch horny. Not relying on inflamed and rambunctious strings- to get the juices flowing- the vocals are appropriately louche and drunken. When I was reviewing The Fall, I caught whispers of Pixies and The Mars Volta. A lot of the track remains controlled and focused; our frontman lets his slithering and cooing instrument rouse forms of terror, shadow and conviction. When you hear some of Doolittle's (Pixies album) whispers and slurs- parts of Tame and Gauge Away- hat theatric and insistent draw echoes in the vocals. Through The Fall- you sense explosions are imminent- when the high-points do arrive, they pack plenty of punch. The Mars Volta showed melting beauty and insanity on Frances the Mute. The vocal work brought every song into clear view: visceral and powerful projections stand the lyrics out; ensure the listener is attentive and enraptured. Whilst more restrained than The Mars Volta, Black Lady Soul ensure the vocal work is equally imperious: their album also injects plenty of brilliance and far-reaching musical ambitions. Frances the Mute seemed like a live album: the sounds and performances are raw and bare- Black Lady Soul's production values promote that same direct live sound.

The Fall does not so much as begin with a bang- more like an interrobang. Questions and exclamations are raised within the squalling and frightening opening seconds. Tense, nervy and high-pitched; the strings are elicited with a menacing receipt- the listener is jarred into life with its unsettling force and shriek. Twanging and soulful bass notes are louche and cool: juxtaposing the infantile cry of before, they calm the senses- make the listener relaxed and at ease. Soon the two factions unite; joined with direct and driving percussion, the song's intro. mutates and evolves- within 25 seconds the band cover a wider sonic spectrum (that most acts pull off in an entire song). Ensuring the fascination levels do not drop, the parable never escapes your attentions. The occasional sharp high-pitched utterance is blended with the bouncing and burbling iciness of the bass notes; the light and impassioned percussion adds colour and soul- the ensuing cocktail is dizzying and hypnotising. When our hero arrives to the mic., his voice instantly hits the mark. Sounding like no other, his tones have a hushed whisper; a gravel and growling undertone- resonating conviction and passion to boot. The lyrics intrigue the senses and compel the mind- both direct and byzantine; oblique and meaningful, you search for deeper meanings. "Sweet on her eyes/flutter and refined" are the initial offerings- the way the lines are projected really enforce the words. I imagine some quixotic and alluring heroine; a mercurial and beautiful blend that is causing twitterpation and unparalleled lust. The way our frontman breathes and punctuates his words gives the lines a sensuality, seductiveness and lustful quality. When our man is alone, he is a "beggar in your honied home." I love the way the last word is delivered: submissive and tongue-licking, it puts me in mind of the likes of Black Francis and Kurt Cobain. I did not mention Nirvana- when looking at comparable bands- and perhaps should have. There are definite hints of Francis in the delivery and slight eccentricity; Cobain's masculine heart and inimitable tones show themselves- I do not often get to hear these two mixed together a lot. Bolstered by that rousing and indelible composition, events get heated and more amplified: the vocal roars and becomes scratchier; possessing Grunge elements and Soundgarden-cum-Nirvana-via-Pixies swagger. Our hero claims that "Under you is the truth": perhaps it looks at literal falling and gravitational pull; my mind was taken to the bedroom. Metaphors for sexual positions and control, it seems like we are in the fire of a passionate encounter- the woman is perhaps using our man and trying to control things. I may be over-reaching and digging too deep; I suspect the band do not mean their words in a literal sense- they encourage the listener to think harder and let the music enforce their mindset. When our relegated frontman proclaims "Maybe I am no use to you", you can pick up on that deflated and angered façade- you know that a huge expressive burst is just around the corner. It does come; before we get there, Jazz elements- the bass breeze; finger-clicks; sedate and romanticised flow- bonds with eerie and spectral Grunge/Indie motifs- the band showcase just how fertile and unrestrainable they are (as sonic innovators and masters of their craft). When our hero comes back to the throng, his voice is spiked and reinforced. The words are spat and studded; he lets his tongue sting and stutter- the urgency and potency which with he delivers the lines are hard to ignore. "You took it too far" it seems; the heroine perhaps has been screwing our man around; overplaying her hand and forcing issues. The beauty of the song is down to the open nature of the words: as I scan the lyrics, the lines could apply to governmental forces; life in general; dark forces suffocating the soul- your mind does not have to go straight to romantic possibilities. Every listener has their own take and interpretation- that is the gift music gives- yet I am sure the band have an absolute truth- it will be interesting to see how it differs from my offerings. With one lobe of my brain towards the sweat of the bed; the other concentrated towards gritty and urban dislocation, the track keeps on pounding and campaigning. Enthralled by the intense and urgent vocal; the continued flair and fascination of the composition, you are curious to see how things work out. The band fill in a lot of the story's chapters- their tight and intuitive performance makes The Fall so heartfelt and authoritative. Completely in line and as one, the unified brothers ensure every note and crepuscular semi-quaver is gleaming with lustful and lascivious wealth. Our frontman is in philosophical and considerate mood: when singing "am I the mirror you choose?", I begin to wonder about my initial impressions- I am leaning towards lines that look at fractured relations and the nature of truth. The beguiling and frustrating tease the lines promote get your mind working overtime: forced into overdrive, you endlessly dig beneath the surface- try to gain some semblance of cohesion and well-founded fact; understand just what is being reflected. That oblique nature makes the song so impressive and tantalising. After the linear and straight-ahead projection of the previous lines, the song shows some more compartmentalisation- the next lines are woozily and dreamily drawled; in the throes of exhaustion and disarray, our hero becomes enraptured in the spindly and lucrative Jazz backing. Some of the final thoughts offer deep and penetrative glimpses- into our man's psyche. Stating "Beauty in the darkened room is everybody else/she is you she is me she" your thoughts (once more) percolate and extrapolate- it is yet another nugget that takes your brain in different directions. Before you can delve into the recesses of your own imagination, the band ensure you focus upon them- a firestorm, barn-storming riff is pulled out of the bag. Spacey, electric and deranged, it is the sort of line Muse would kill for- you could see it scoring a Absolution-era gem. Eviscerating and punishing, the squealing and brutalised guitar regime bays for blood- backed by double bass, it is a perfect storm. That jazzy and refined element works well against the undisciplined and spoiling-for-a-fight menace of guitar- Jekyll and Hyde all at once. Propelled by some avalanche percussion and guiding bass notes, the song keeps building up and up- our man is not done talking yet. The chorus comes back into play- almost acting as a final fit; his final belly ache. Not prone to pouting or tantrum, our hero is strong and forceful- when delivering his lines- he knows there is nothing he can do, and senses he will have to walk away. The final 20 seconds provide some form of closure and deliverance: the echoed and space age guitars keep pervading; the percussion is more temporized and delicate- the mood starts to come down and settle. With one final burst and throw of the dice, a lightning flash is presented- the song comes to an end. Being only 3:41, it staggering how much ground is covered; the reactions (the song) provokes- you are compelled to replay the song time and again. Assuaging any cynicisms or doubts- that a band with so much at their disposal can sound focused- The Fall is a triumphant and glistening track. Providing the first taste of Black Lady Soul, it will have many mouths salivating in anticipation- I am going to be one of the first to snap up their album.

It has been great stepping away from albums for a bit- I have been reviewing songs recently; in fact the next two reviews I will write are singles. As much as I love seeing a band offer a full L.P., it is terrific to be able to focus on one particular song- pick it apart and try to get to its heart. Most of the time, I can interpret tracks pretty well- I have a few misses but my strike rate is pretty high. With The Fall, I hope I have got some way near the mark- one suspects the band will correct me with regards any misinterpretation and over-analytic insights. The song is so deep and fascinating, it is a track you will hopeless try to understand and crystallise- the lyrics have that seductive blend of directness and distance. Speaking about love- or perhaps wider considerations- it is a track that is impossible to dislike. It speaks to everyone; in a way every listener can find something relatable and personal in the words- we have all been in similar situations; the same thoughts and outpourings in our mind. Before I pat the band on the back, I will give some last impressions (on The Fall). Within their album, the boys will explore multiple genres and sounds: concision and ambition are hallmarks that will make it an essential purpose. As taut and meaningful as anything they will produce, The Fall is a track that hits you straight away- it has such a unique and odd beauty is it impossible not to fall in love with. Providing some Grunge elements- it will be great to hear this explored more in future records- the band tie in Jazz and Soul; some Pop moments nestle beneath- that Urban/Street-Soul fusing runs rampant throughout. With a determined and impressive centre, the planets that orbit the core are no less startling- each of the instruments and lines perfectly unite with one another. A song that never outstays its welcome; one that never needlessly rallies and shouts, it wins plaudits because of its contrite elements. It may seem odd- given Black Lady Soul have such an array of weapons- but the boys do not go overboard or jam too much in- they ensure that a muscular and urgent sound enforces the words; the way they blend this with compositional innovations is stunning. Eerie and spacey, hard-hitting and venomous; you are left impressed by the quality and passion throughout The Fall. Few modern bands produce such deep and intelligent music- it is a sad fact- so it is great the likes of Black Lady Soul are upon us. The boys are fully in-tune and of the same: their close relationships and bonded souls mean the song is tight and professional. Seamlessly coming across as a live recording and well-rehearsed, I love how assured and rounded the track is- I can point at no foibles or quibbles whatsoever (they'll be relieved to hear!). The vocalisations and singing is what lodges in my brain. Having heard no singer like Black Lady Soul's leader, I was taken aback by the performance. At once restrained and domineering, I was caught up in the mesmeric effect of his pipes- the projection, emotion and pacing brings life to the song's lyrics. At once syncopated and unusually-paced, the next levelled and punchy; the distinctions brought in make the song so compelling and layered. Drawing in brief suggestions of Black Francis, Kurt Cobain and Cedric Bixler-Zavala- it is a heady and unexpected brew defined by a stark originality and personality, the vocal is rare and distinct- few modern singers dare to be themselves these days. The guitar work throughout The Fall is insatiable and unleashed: always showing itself as a threat, the divine and ghostly string stings lodge in your brain- in the intro. they are particularly effective. When psychedelic and psychotropic swathes are lashed, you see another side to the guitar- something full-bodied and intractable. Showcasing as much range and nuance as the vocals, the guitars say so much without having to flex too much. Double bass and bass notes provide guiding light and stability- in addition to offering drive and emotion. Few listeners would expect to hear a double bass feature on a song like The Fall- or any for that matter: chic, groovy and sophisticated, it is the mature and refined gentleman of the piece. By no means effete or minor, a passionate heart and soul is summoned up- those Jazz elements give the song so much light and fascination. Percussion strides are elicited with great consideration for atmosphere and story- they do not aimless smash and fill in the blanks. Austere and firm when needed; loose and playful towards the outro., the percussion is one of the song's most important comrades. When the chorus arrives, it becomes tightened and more teeth-bearing- truculent and galvanised, you cannot escape its draw and lure. All of the combined elements- including some leading and lyrical bass work- make The Fall such a gem. The band are committed to what they are performing; determined to make the song stick and pervade- I predict big things for the boys. They seem ready-made for the big leagues- they sure as hell need to come to London and put their music on the capital's stages.

Having burbled and rambled for a while- sorry about the word count- my loquaciousness and excitement is well-founded: this Canadian group are a distinct and brave act that deserve big succeed. Too many new artists play things safe: arrive with a honed and restricted sense of lust- too concerned with nailing a particular sound or style. So much more can be obtained when you widen your sights; take the time to do something different and genuinely new- Black Lady Soul have impressed me greatly. Before I heard about the band- they contacted me to see if I would like to review their single- the music they present was a little fresh to me. Certainly I had not heard anything quite like The Fall: that fascinating and fresh sound; a vibrant tale from a very hungry and dedicated band. It will be fantastic to see how their album is received by the general public- just what sort of praise and feedback the boys will be reaping. The early signs and impressions are all very encouraging: The Fall has been garnering widespread YouTube acclaim- commentators and listeners have given it a resounding thumbs-up; impressed by its intoxicating sound and terrifically engaging quality. I hope that my words have done justice to the song; drilled down to its bedrock- assessed it the way the boys would see fit. If I haven't, then apologies; the band have such a sense of force and defiance, you find yourself scrambling to find the right adjectives- f*** just about sums it up. The music industry is getting pretty packed and claustrophobic at the moment- as I speak, 3000 new boy bands have formed; 20,000 Indie groups have named their first single- the competition is pretty damn high. The growth of musical output almost parallels the worldwide birth rate- it is exhausting keeping a track of all the musicians coming through. Too many acts and solo artists have such a thin and hollow skin- they make a decent stab of things but essentially just get in the way of things. The acts that project something more compelling should be brought to the forefront- not only to set a good example but appeal to as many listeners as possible. Over the next few days, I am reviewing two stunning female artists- Nina Schofield and Dana McKeon- who are two of the U.K.'s most compelling and fascination young artists. Their combined make-up provides electrifying Pop and passionate vocals; street sounds and modern-life mandates- plenty of sex appeal and restrained beauty. I am loyal to Britain and the wonders we provide- I am equally keen to see international acts flourish and gain a multi-national foothold. Incandescent, virulent and artistic, the Black Lady Soul boys are the rarest of things: a band that retain a distinct identity but do so with such a wide-ranging and eclectic projection. Street-Soul is a sound and form of music that does not do a lot of bidding down this way- we have Rap, Grime and Hip-Hop; nothing that really sounds quite the same. I know just what the lads are going to bring forth- with the release of their album- the beautiful and quiet moments; orchestral and symphonic moments; dancing grooves and introverted Rock pieces- it will be dizzying to see just what they manage to come up with. If The Fall is anything to go by, we will be hearing a hell of lot from these Canadians- a band that are not hear for a short stay. I shall wrap up in due course, but will leave you all with one consideration: the music of 2015. Having seen some great mainstream acts fly high- from La Roux to Sam Smith- it makes me wonder just how things will fare for the new musicians- who will survive and which ones will fall. When reviewing various acts- from all across the world- I instinctively know who will be around for years to come; who will capitulate and crumble; which are less predictable. Black Lady Soul are in their infancy; they have a lot of music to put out- the good thing is that there will be a big market for them. If they were a tired and fatigued Rock act, then I would not be so assured- the fact that their first steps are so forceful leads me to believe that they will do just fine. As I bid farewell to Canada- for a week at least- I have seen some diversity and huge quality- from the three bands I have assessed this last week. If this damn nation keeps stamping out such terrific acts, I may well have to move over there- somewhere that isn't too cold at least! The U.K. is offering some phenomenal and terrific music; Canada is still edging the race by a slight gap- I am still unable to fathom just how they do it. Whilst I draw up some equations- to try to crack it- I will let you investigate a bright and stunning act- one that proffers something genuinely unexpected and bountiful. Make sure you listen to The Fall; pick up their album and fully explore an ambitious and bold group of young men- those who cannot be labelled and defined by particular genre guidelines. The Canadian chaps float to the heavens like a balloon; glide the breeze with a sense of freedom and independence- both ethereal and eye-catching. It is my hope the lads will come to the U.K. and let their Black Lady Soul add colour to our lives. Until then, I shall say one thing: Bye bye black balloon...

SEE you real soon.

https://www.youtube.com/watch?v=znDsEGiELUM&feature=youtu.be

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Follow Black Lady Soul:

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BandCamp:

http://blackladysoul.bandcamp.com/

YouTube:

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SoundCloud:

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Last F.M.:

http://www.last.fm/music/Black+Lady+Soul __________________________________________________

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Track Review: Royal Tusk- Shadow of Love

TRACK REVIEW:

Royal Tusk

Shadow of Love

9.4/10.0

hiddenpony’s avatar

Shadow of Love is available from:

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

The E.P. Mountain is available via: https://soundcloud.com/hiddenpony/sets/royal-tusk-mountain

RELEASED: 10 July 2014

TRACKLISTING: Shadow of Love- 9.4 Engine- 9.3 Smoke Rings- 9.4 The Letter- 9.5 Years Ago- 9.3 Jesus Saves- 9.4

STANDOUT CUT: The Letter

DOWNLOAD: Shadow of Love, Smoke Rings, The Letter, Jesus Saves

GENRES: Americana, Soul, Rock _______________________________________________________________

Good luck stopping these mammoths! This Canadian quintet unleash Shadow of Love: the opening track of Royal Tusk's E.P., Mountain. Backed with punch, passion and accusation; it is a musical powerhouse that sets out their agenda- one that is hard to refute ____________________________________________________________________

HAVING just read an interesting article in the Irish Mirror; a distinct point struck my mind.

In an interview conducted with Wild Beasts, their frontman- Hayden Thorpe- was decrying the state of mainstream bands. Exhausted by the flock and overabundance of rent-a-band compositions; the Yorkshire singer pointed out the lack of passion and genuinity in the music scene. Being a huge fan of the band- especially their Two Dancers album- I couldn't help but agree. If you look at Wild Beasts themselves, you can hear and feel the sympatico and brotherhood: all of their recordings are instilled with a bond and sense of togetherness that makes them so compelling- they are not merely a group thrown together to flatter the frontman's ego. Having just come out of a recession, there is a slight freeze on these unwanted ranks- the numbers have been capped a little. When in the midst of the financial crisis, the mainstream seemed to be stuffed full of wealthy and fame-seeking bands: artists that were desperate to put their faces on as many pieces of merchandise as possible. Concerned with profit and fame- over credibility and music- it caused many fans and listeners to balk and retreat- in addition to money being tight, few were willing to indulge the greediest and least honourable bands. Unfortunately, the disease has not been eradicated: there are too many acts playing that do not have their hearts and minds in the right place- the lure of money still compels. Thorpe went onto state (that there is too much careerism) and the lack of risks- saying music shouldn't always make sense; it should make you think. Decrying the influx of singer/songwriters- who simply employ musicians to fill out their sound- the band market contains too many posers and pointless examples. When Wild Beast came about- towards 2008- they were awkward and different: sticking out and emanating (from regions that did not have a cultural movement), they were a moonshot- perhaps they would not have survived if they had been formed post-recession. Because of this mainstream malady, more people are becoming inspired by new acts- those that see corporatism as evil; choosing to rebel against it. In the course of my duties, I witness so many acts (that back Hayden Thorpe up): boys and girls that are together to make their music touch people- they are not on the scene to rake in big bucks. When mainstream acts capitulate, there is an element of Schadenfreude- when new acts crumble, there is genuine unease and worry. A lot of time the acts are strong and ambitious; they cease to exist because of the fierce competition. It is great that there is so much quality coming through; I hope the most worthy acts do make their mark- my featured act are an example of a band that deserve big rewards. A community of like-minded and dedicated brothers, the musician minds of Royal Tusk instill their sounds with as much passion and dedication as you could ever find. Flicking between ruminative Americana, potently emotive Soul- hard and driving Rock- the band are one of the most mobile and hard-working bands today. I am in the middle of a Canadian 1-2-3: having just reviewed Ontario's City and the Sea I am preparing my mind for Toronto's Black Lady Soul- the country is keeping my mind busy. What I find- when looking at Canada- is the sheer conviction and solidity of the bands: the musicians associated have a fond respect and appreciation for one another- making their music as stunning and potent as they can. I want to expand on this point- and refer to another point Hayden Thorpe raised- but will introduce you to my featured act:

Daniel Carriere Sandy MacKinnon Motorbike James J. Eygenraam Kurtis Schultz

"You can’t stop a mammoth. Especially a rock ‘n’ roll mammoth led by singer/guitarist Daniel Carriere and bassist Sandy MacKinnon. Royal Tusk is the name of their beast — a shaggy, tenacious force with hints of Americana, soul, and a whole lotta heart. Their first six-song EP, Mountain, is due June 10 on Hidden Pony Records. You could say the title refers to the pair’s immovable friendship, but it’s also a cheeky nod to their persistence as musicians — not even a mountain can deter Royal Tusk. “We’ve been pushing a cart uphill for years,” Carriere chuckles. “We just don’t know how to stop,” MacKinnon admits. You might recognize the two from Ten Second Epic, one of Edmonton’s most beloved rock bands. After 12 years, three albums and two Juno nominations, Ten Second Epic is winding down, but Carriere and MacKinnon still want to make music together. “With the experience of Ten Second Epic, we learned how to do it right, so we know which tunes to put forward …,” says Carriere. “… And not to be so sensitive if something isn’t as good as something else,” adds MacKinnon, who sports a tattoo of a bass-playing mammoth on is right arm. “Not to mention having spent the last 12 years in a van.” “Some of these songs are really old. I feel there’s a certain amount of climbing … and learning what you really wanna do. There’s also a certain amount of catharsis, as if you’re closing a chapter by writing these songs,” Carriere says. “Most of them, kind of cryptically, address certain people, relationships that I’ve had in my life. During some downtime from Ten Second Epic, Carriere also briefly co-fronted DreamFace, a pop band. “I wanted to make sure Royal Tusk was very player-oriented, whereas in DreamFace, I pretty much wrote every part and recorded it,” says Carriere. Keyboardist Motorbike James, guitarist J. Eygenraam and drummer Kurtis Schultz round off Royal Tusk. “With Royal Tusk, I get a rough idea of a song and say, ‘OK, guys, let’s go, write your parts!’ I wanted to get excited again, hear what they bring to the table. Sometimes if you write every single note, you’re like ‘What is this?’ It’s the dynamic between people that makes music fun and inspires you.” You can hear the fun and excitement on Mountain, produced by Gus Van Go (The Stills, Said The Whale, Hollerado). Even when Royal Tusk is tackling heartache, regret or indecision, their songs seem to burst with joy — thanks to bubbly organs, soulful grooves, elasticized riffs, and Carriere’s warm, but defiant vocals on tracks such as the first single, Shadow of Love, and The Letter. With a forth-coming EP and impending tour dates, Carriere and MacKinnon will once again get in the van and continue pushing forward. Nope, you really can’t stop a mammoth."

I will investigate Royal Tusk's music anon; first I am compelled to raise another point. Harking back to that man Hayden Thorpe- another interview point really spoke to me. In 2014, we have as much stored music and resources as any time during history- the baffling and mind-boggling array of recorded sounds is confounding. New artists are faced with an exhausting and baffling task: which sounds and artists do you incorporate into your music? The Wild Beasts frontman weighed up the blessing and curse of choice- having so much at your disposal can cause many to sweat with exhaustion. Perhaps the risks- of dipping into musical history- are outweighing the benefits- new bands tend to limit their sonic output and variation. As much as I love Indie and Rock bands- the wonder and passion they can enforce- I yearn for sounds that do things a bit differently- take their mind away from the predictable and surprise the listener. Royal Tusk are no workaday average band: their blends of Americana, Rock and Soul are a treat for the ears; they have been seducing critics and setting their sights apart. Just to look at the striking five-piece is to see something different: our hirsute and intriguing heroes are not the predictable mass of ripped jeans and moody stares; no man necklaces and dark glasses appear in their publicity photos- they are MEN who make epic music; the epitome of the brave new wave of artists coming through. Imbued with as much determination, ambition and force (as most bands out there), the guys have cleverly dipped into music's (vast and bounteous) chest of resources- infused elements together to elicit something genuinely fresh and stunning. The band is clearly very close and tightly-knit: the music is player-orientated and a solid foundation. There is no dictatorship; the guys are not preening and genuflecting (to the beat of the frontman)- everything is equally-distributed within the ranks of Royal Tusk. The Canadian band have overcome two near-insurmountable objects: not only are they a genuine and honest band; they ensure their music is distinct and fervent- stunning enough to blow away the cobwebs of predictability. This brilliance and artistry is cemented in their E.P., Mountain. I will be giving the E.P. a short review- in the conclusionary paragraph- yet have been compelled by their latest single- the brilliant Shadow of Love. The lead-off track from their stunning E.P., it has caused many excited Internet tongues to proffer a-wagging: commentators have been quick to point out the song's joyous mix of beauty and soul- the hard edges and the gutsy and tender middles. Few bands have such a terrific blend of sounds and sensations- they are an act I will be following for as long as I can.

When it comes to assessing Royal Tusk's previous work, it proves to be a difficult task. The band was formed from the ashes of acts like Ten Second Epic- the group contained Royal Tusk members Daniel Carriere and Sandy MacKinnon. Albums such as Count Yourself In contained a lot of Emo and Rock edges- the songs were more consistently hard than Royal Tusk's latest work. Displaying some of the hallmarks that have gone into Mountain- the band's follow-up- Hometown was awash with catchy riffs, soaring melodies and insatiable lyrics. Others such as Stand Up and First & Foremost impressed critics greatly: the songs striking riffs and huge memorability stood out in the mind. Whereas a lot of the tracks were guitar-driven- the album clocked in nearly an hour long- there was plenty of diversity and range. Warm Pop moments and atmospheric avenues were mingled; the band opened up their palette and created one of their finest works. Having gained huge acclaim throughout Canada, it is a shame that the band decided to call things quits- you can hear the development from the work of Ten Second Epic. Retaining those distinct guitar sounds and sense of range, Royal Tusk offer something new: the band seem more in-tune and together; the songs more fully-rounded and effortless- the democracy and openness of the creative process has led to richer and more rewarding songs. Dipping more into Americana and Soul sounds, Royal Tusk have a lot at their disposal: the songs on Mountain are testament to the fervent and unadulterated ambition (and talent at work). The biggest development and change is the band themselves: they sound different and separate themselves from Ten Second Epic- Carriere and MacKinnon have not simply put together a duplicate group. Because of this, you must assess Royal Tusk on their initial work- the sounds and sensations emanating from their E.P. Shadow of Love is warm and has trippy edges: the intro. takes your mind away from Ten Second Epic and towards something new and alert. Showcasing some biblical and elephantine riffs, the song is a mixture of surprises and huge fireworks- the boys are in inspired and compelling mood. Smoke Rings has heart-felt and emotive melodies: the song has a mellifluous and breezy soul that ties the myriad and multifarious riffs together. The Letter is a tender and emotive ballad that has strength and plenty of passion- it is one of the standout songs on the E.P. I shall review the tracks in greater depth, yet it is clear that this exciting outfit mean business: their E.P. is not merely a collection of samey songs and tired retreads- there is plenty for everyone to enjoy. Whilst some reviewers may have yearned for more riff-heavy kicks, it is a minor detraction- Mountain is impressive because of its different contours and colours. An E.P. that was chocked with heavier and more psychedelic sounds would grow tiring- it would not contain necessary nuance and diversity. Appealing to a wide range of listeners and fans, what Royal Tusk have done is put together a solid and fascinating work- one that will surely lead to many more recordings. Their sounds are assured and confident; completely intuitive and together- the partnerships between the band members has solidified and galvanised their music- the performances are universally compelling.

When trying to look at influences for Royal Tusk, it is a difficult job. Having such a unique and fresh sound, you can only detect the most minor of influences really- bits of choruses and riffs put you in mind of other artists. In interviews, the band have hinted at inspirations and influences; some of Mountain's songs have whiffs of well-known acts. When hearing some of the spellbinding and energised guitar work- on the E.P.- I was put in mind of modern-day Muse. Albums like The Resistance were packed with shout-choruses and huge atmopsherics- the big musical ambition and vocal virtuosity made the album so compelling. Mountain contains similar themes and qualities: the biggest numbers have anthemic flair and headiness; choruses and lines that compel the listener to shout along in unison. Hugely titanic guitars and multi-layered melodies made The Resistance such a huge proposition- there was Rock-Opera and bombast; extravagance and epics. Whereas Royal Tusk do not employ Rachmaninoff-style pianos and classical overtures, they do instill some of Muse's upbeat and foot-stomping grandeur- songs such as Shadow of Love are testament to this. The vocals on Mountain are suitably sky-scraping and lustful; like Bellamy's performances- on The Resistance- there is huge soulfulness and crooning emotion. The 2nd Law saw Muse continue their charm offensive: the album contains slick production and a sonic innovation. Pushing themselves further than they have before, Muse incorporated a wide array of sounds and genres- it was one of their most diverse discs. Although The 2nd Law came off a little disjointed and scattershot, Mountain manages to tie its diverse threads together- there is more cohesion and solidity within the E.P. Like Muse's 2011 album, Mountain has plenty of emotion and introspection. Muse- on The 2nd Law- looked at personal demons and harsh emotions; themes of alcoholism and depression were explored- wrapped up in atmospheric and deeply touching sonics. Royal Tusk tie together Muse's latter-career work; that same mixture of fist-pumping jams (and deep and compelling gems). Arctic Monkeys is a name that I will mention. Usually reserved for Indie bands and U.K.-based artists, I can see some of the Sheffield boys' artistry come through in Mountain. When the riffs get dirty and primal, I heard embers of AM- the band's latest album. Carrying on from Humbug's Josh Homme-inspired inputs- darker riffs; Desert Rock sounds; something altogether sexier- the band produced an album filled with muscular and taut Rock (and melodic Pop moments)- they united their Humbug and Suck It and See work. Royal Tusk infuse some Hip-Hop-influenced guitars- the time signatures and distinct patterns that Arctic Monkeys experimented with on AM (can be seen on some of Mountain's songs). The endless energy and fun- that defined Arctic Monkeys' early work- has influenced Royal Tusk- the band never sound anything but intent and meaningful; even their most introspective songs contain plenty of light and beauty. AM possesses plenty of craft, musicianship and confidence- the songs were uniformly tight and nuanced. Royal Tusk ensure their music is well-crafted and studied- there are no loose edges or aimless jams to be found. Strong rhythmic moments, fuzzy guitars and lust. AM was a work by a band who wanted to be seen as artists; rather than Indie boys- it screams ambition and professionalism. The slow juggernauts, hand-clap moments and electrifying luster- that defined AM- can be seen in Mountain. Royal Tusk may not lace their lyrics with as much potery and wordplay; their compositions are jammed with power, story and unexpectidness- they subvert expectations and create something quite startling. Having mentioned the Homme-produced Humbug- I shall mention Queens of the Stone Age. Mountain contains some Desert-Rock crawls; slinking and snaking riffs- you can compare it with Like Clockwork... On Queens' latest disc, the boys upped the volume and crunch; made sure the album had as much denseness (and tautness) as they had ever displayed. Gone were the sprawls and Desert-Rock reliance: instead the band incorporated interwoven riffs and purposeful tightness. The cuts on Like Clockwork... were more song-orientated and mature; catchier and more assured than anything that had gone before- something Royal Tusk employ. The Canadians draw in these elements, but install some of Era Vulgaris' ragged and wild energy- those direct and missile hits come into the bargain. Royal Tusk possess some of Queens' current grooves and razor-sharp songwriting- songs go from shuddering and dark through to swaggering and sexy. no two songs sound alike; the mobility and colourfulness that comes through defines Mountain. When choruses become impassioned and emotive, I hear touches of early-career Matchbox 20. The Florida band's debut work- Yourself or Someone Like You- was synonymous with Rob Thomas' heartfelt and stadium-sized vocals. That albums draws in the basic elements of '90s Rock; augments the blueprints of Classic-Rock- married them in a boiling pot of melodic and catchy bravado. Centered around Thomas' emphatic and sturdy vocals, the band's early days won over masses of fans. Although Royal Tusk are stronger and more impressive, they do mix in some of Matchbox 20's qualities. When Mad Season came about- the band's sophomore album- here there was plenty of mainstream American-Rock catchiness; huge craftsmanship that emphasised melodies and brought fun and shine into proceedings- something I can hear along Mountain. The Canadian quintet instill plenty of well-produced and rounded songs; gems that stand up to repeated listens- songs that are perfect for sunnier climbs and warm days. Before I hint at some band-specific icons- that Royal Tusk are influenced by- I will mention one more name- My Chemical Romance. The now-defunct icons won over legions of supports with their distinct and alert sound. Of the band's four albums, The Black Parade and Three Cheers for Sweet Revenge are the most relevant comparables. The mega-decibel kick of The Black Parade made every track- on the album- so alive and emphatic; there was Rock-Opera and H-bomb bombast. Although The Black Parade was a concept album, it engaged critics with its blend of interesting storybook characters-cum-Progressive ambitions. Combining Prog-Rock swathes with Rock-Opera riffs, it is My Chemical Romance's most cohesive and scintillating work. Royal Tusk project some of these elements with Three Cheer for Sweet Revenge. Stompers like I'm Not Okay (I Promise) showed a relentless drive towards energy and claustrophobic realms. Although Royal Tusk do not portray the same blood-stained scenes, they have an ear for thematic storytelling- their tracks draw you into some fascinating and eye-catching tableaus. With harsh and pummeling percussion- on numbers like Ghost of You- The Black Parade was a varied and action-packed collection. Royal Tusk make sure Mountain has its fair share of atmosphere, urgency and story- topped off with My Chemical Romance-esque anthemics, and you have a band that mean business. Dipping into interviews- conducted with Royal Tusk- there are some names that influenced their creative progress. Jeremy Fisher, Said the Whale and Lyle Lovett are the final three names I will draw in. Jeremy Fisher is a fellow Canadian songwriter- albums such as Goodbye Blue Monday were rife with quality songs. Rollicking shuffle, charm and charisma made songs like Jolene and Scar That Never Heals so fascinating and addictive. Lay Down's swaggering and confident chorus made it a standout song; stories about pining for home and comfort gives it a personal and emotive edge- it is a layered and multicoloured work of art. Royal Tusk install plenty of personal songs and relevant travelogues; their music has stunning confident and restrained moments- it is clear that their fellow countryman has had an affect. Lyle Lovett's I Love Everybody offer change-ups and engaging stories; dour humour and deep emotions resonate in the songs- brought to life with stunning band performances. Whilst Royal Tusk employ the faintest hints of Lovett- when they go Country-field and Folk-orientated- his legacy comes out. Said the Whale are a prolific Canadian Indie-Rock/Indie-Folk band. When investigating their album Islands Disappear, you can see it had an effect on Royal Tusk. That album possesses natural landscapes- investigating the effect scenery has on the mindset. The band explore their environment; pine for various towns and getaways- take the listener inside their mind to somewhere special. Layering their songs with sing-along charm and quality, it is a deep, layered and rich album. Royal Tusk have a similarly evocative and scenic scope: their songs take your mind along with them; put pictures and images in the brain- have that same wistfulness and romantic side to their songs. Mountain sees numbers explore similar ventures- Royal Tusk has the ability to calm the senses and relax the hurried and stressed listener.

With all of this information on board; given what we know about the band's inception (and background)- a lot of pressure must be on them. Shadow of Love is a rebirth and embryonic step: the world's first taste of what Royal Tusk are all about. Anyone expecting something slow-building and passive are in for a surprise- the band ensure that you are hooked from the initial moments. A funky and springing step welcomes the track in. Fusing swirling moments of Americana; The Resistance-era Muse; some touches of Soul- the sapling seconds whip up plenty of potential and promise. Already hooked into the song, it carries you along with its gleefulness and insatiable beat. Dancing along to its brief- but beautiful- lead in, out hero approaches the microphone. The initial words paint at unease and heartache. Our frontman has done things he didn't want to do- he should have listened to his friends; they said "lie to you." The vocal is determined and impassioned; not prone to overdoing things, there is plenty of strength and resentment mingling with one another- whomever the culpable sweetheart is, she has caused a world of issues. Perhaps things are not so one-sided. My initial thoughts saw the girl at fault- it seems like our hero may be dropping the ball. He clearly is enamoured of the girl; realises mistakes have been made- perhaps his attention has been diffuse and wavering. Proclaiming he'll make the dinner he never did; rectifying his transgressions- our man seems to be in honest and confessional mode. Doing what he was "never supposed to do" he has been running with the boys; prioritising his friends- ahead of his girl- it seems that some damage has been done. It is rare to find a song that casts blame on the author- ordinarily there is accusations and finger-pointing; not here. Desperate to make things right, our man is turning over a new leaf. The band nobly support their brother's quest: the guitars swagger and grumble with Arctic Monkey-esque prowess; the mood is light but forceful- it is a perfect blend that means the words resonate and stick. Ensuring that his words hit the mark, the vocal increases and augments its urgency. Our hero's mother has offered sagacious words; truth is the focal point of the song. Caught in a Catch-22 situation, something has been said- to his sweetheart- that has caused the riff: knowing he should never lie, perhaps our man has been TOO honest. Whether he has committed an indiscretion or been too open, I am not sure- it appears that he was following logic and truthfulness. Coming back around to bite him, the chorus offers up the most effusive and impassioned plea. Vocals unite; the band combine tightly- the insatiable and rushing delivery highlights the sense of pain and upheaval. Whatever has been said between the two; whatever truths have been unearthed, our hero just wants her back- deep down he is the same man that she fell in love with. Making sure rambunctious swing mandates their sounds; the band bolster and emphasise their roles- injecting plenty of force and momentum into proceedings. Scared of his shadow of love, the track mutates and jives: the guitars rampantly shift and contort; the bass guides the men forward- the percussion clatters with lustful abandon. Changing direction mid-line, the boys pull off an AM-esque track: subverting expectations and keeping the track endlessly fresh and alive. Arctic Monkeys solidified this on that album; kept everything vibrant, vital and dangerous- the Canadian quintet show a similar intelligence and adventurousness. Packed with plenty of sing-along might; emphatic fists-in-the-air quality, the song draws you in. Just as you are ready to submit yourself to a tidal wave of energy and force- the song dips back down. Our hero offers apology and reflection- he wonders whether it would have been best if they had never met. Causing his woman trouble, there is an air of sarcasm and insincerity: perhaps the other party is over-reacting and being too unrealistic. Our man has been honest and genuine; expending energy and time- she has got back what she put in. Perhaps not pulling her weight; not being committed- it is unsurprising she is dissatisfied and disgruntled. Putting her to rights, our hero wages war- he is not going to be seen as the victim in the piece. His apologies are premature: if he had of said sorry it would have been another lie- you get a great glimpse into a complete picture. It seems that both are being a little stubborn and guilty- it is probably best that the relationship has come to a natural end. Dizzying and tripping electronics bond with the guitar, percussion and bass- acting as a post-chorus parable, it rustles up plenty of renewed intrigue. Our hero comes across as a dominant and alpha figure: he is not going to back down or repent; all your initial summations are instantly contradicted and redefined. Combining elements of Muse's latter-day work; Arctic Monkeys' latest album; plenty of anthemics and atmosphere- you never lose interest at all. Before the 2:20 mark, a spiked and buzzing riff is unleashed- not too heavy or primal, it perfectly keeps the mood tense. Our frontman has an air of detachment and aloofness- he has done all he can and seems unwilling to break his back. Wonderfully sitting alongside the likes of The Black Key's break-up gems- the songs heard on Turn Blue- our boys present their own take- one where sorrow does not dictate things. It is the charm and endless bonhomie that makes the track so distinct and buoyant: it never relents or seems willing to submit- ensuring every line and note gets the listener standing to attention; moving their feet in time. The song's title acts as a ghost and curse: our man is still scared by his own shadow- his sweetheart should be similarly aware and cautious. Lacing the composition with so much catchiness, addictive sting and rousing strings work, the track never succumbs to the worst traits of the mainstream- that ready-for-radio sound that consists of humdrum and mediocre compositional values. It is the incredibly passionate and distinct contributions from the band- tied to their leader's stirring vocal- that makes the song their own; ensures that it never escapes your mind. As we go into the final seconds, the boys are not done talking. The song title is elongated and stretched; the words punctuated and underlined- the band back it up with a rousing and unfaltering dedication to the subject matter. Providing the same kick as we found in the intro.; the last moments snarl and feast- the hungry mammoth has done with his victim.

I shall give plaudits to the band; for now, I will sum up the song. It is a rousing and stunning opening cut- from the Mountain E.P. I shall go into a little more depth- with regards to the individual numbers- but few E.P.s open with such clout and purpose. Drawing in elements of Ten Second Epic's previous work; instilling a huge amount of new and fresh inspiration- and some hints of others acts- the band have unveiled a fully-rounded and deep song- one that stands up to repeated listens. One of the biggest problems with the mainstream is the musical Lazarus syndrome. A lot of critics call time on bands; their pulses have stopped beating- they are verbally declared dead. What happens is they come back- seemingly from the dead- and confound- either reuniting or providing unexpectedly good work. My point is, this declaration is made because their current output is so sub-par and ineffectual- sometimes it occurs right at the start of their careers. New bands have to ensure their very initial steps are as meaningful and potent as they can muster up- I have seen too many enter the scene with such a whimper; I am shocked they have an audience after such inexcusable sloppiness. Royal Tusk know how important first impressions are: with a rich musical heritage behind them, Shadow of Love is an authoritative, confident and taut track. Both moody and uplifting, it mixes so many different strands and colours into the melting pot- without compromising its ideals and working-class background. The band themselves make the song such a triumph. The vocal is completely convincing and gripping. Not owing too much to any other voices, the performance never loses its step and force- that urgency and compelling grasp are what makes the words so standout. The themes have been trodden before; few bands keeps you guessing and provide twists and turns- the band have not simply done what everyone else does; their unique testament should inspire other bands to write similar songs. The guitar work is emphatic and mesmeric throughout. When the solos arrive they are not too overbearing and cloying- injecting just the appropriate amount of drive and weight, they provide some of the most memorable moments. Although there are touches of Arctic Monkeys- and by extension, Queens of the Stone Age- luster and sound; the band do not simply rebrand it and copycat- their sound is very much their own. During the choruses, the strings provide ample and impressive backing; the bass work is tremendous and strong- it keeps everything authoritative and determined. Never letting the foreground run away and become too overladen, they offer restraint and discipline- whilst ensuring lyrical and melodic invention comes out. Drumming on the track is stout and stern- passionate and raw, it makes sure the song never drops its head (or gets out of your mind). In the same way the likes of Foo Fighters can unleash band-orientated smashes- here Royal Tusk have carved a stunning and vibrant song. The perfect start to their E.P., it ensures listening ears investigate everything they have to offer.

Throughout Mountain, you are given something new and surprising. Engine starts tenderly and emotional- our frontman lets his smooth and impassioned voice implore. Needing to get away and escape, he hits the road and escapes a bad situation. Never more sure of things, the song pops and sparkles: the composition starts sparse and effective- it bursts to life in the chorus. Displaying the most fervent and wracked vocal performance, the hero rallies against his girl- she will never know what she lost; get what she thinks she should have. The rage and anger pours with venom- you believe every word that is uttered. Throwing in some melody and light, the song rises and falls- the energy levels never rest at all. When the story moves forward, our hero is surrounded by bottles, alcohol and girls- he has broken away from the shackles of a relationship; found himself somewhere more freeing. This is his rebellion and emancipation. Smoke Rings begins with a catchy and spirited cry. Giving him what he needs (whatever that refers to), our hero lets his voice shine- mixing whispered falsetto with crackling roars, it is a terrific performance. The song looks at a flighty and unreliable subject- someone who likes to "come and go." Whether causing annoyance and unrest- or just taken as red- the heroine is never around. Our man seems to have given up caring. Backed by a focused and strong composition, it is one of the E.P.'s most immediate and urgent songs. The Letter is more emotive and tender. Looking at a letter- that was written a while back- our man never sent it. In his drawer- having been through the wash- there is hesitation and nerves. Not having mailed the letter, our hero looks back on events- he was dreaming; not having said what he should have, events have turned how they have. It has its heart and soul in a romantic comedy: the will-they-wont-they scenarios; the recriminations and regrets; the sense of mystery too. Whether the two have separated and cannot come back; dedication and tribute is paid- the other party always had his back (when things got hard and other started to doubt). Possessing the most ambitious and fascinating composition, there are spacey and trippy electronics (and layered vocals)- that sense of importance and grandeur comes through sharply. Years Ago has Americana and Blues tones. Softer and more measured, it hits you with its initial sway. The song sees our man try to forget about a love; push the memories aside- our hero wants to love again but is scared that things will break. Complex and mobile, the composition adds a lot of energy and intrigue- the band have found great inspiration in this song. Wondering whether he can love and move on, there is determination and focus- our hero has not given up on things. Jesus Saves is a stunning closing statement. After its catchy and cool-as-hell lead-in- where funky guitars and bubbling electronics are tempted- the vocal is forceful and direct. Jesus will not save our man; the impure thoughts in his mind cannot be cleansed. Not worrying about consequences, the hero is looking for answers and directions- he has lost his soul and been torn up. Letting his girl go, you feel like things will not repair- we see the heroine running after the bad boys. Imbued with the catchiest and most foot-stomping kick, the song is insanely memorable- a definite festival gem-in-waiting. Mixing the sunniness of Pop; the grit and force of Indie and Alternative- with some Soul undertones- it is a wonderful concoction. The track superbly ends the E.P.- making the listener yearn for more. With every new review, I am afforded the opportunity to witness something fresh- music that a lot of people have not heard, We in the U.K. are seeing Canadian acts filtered through gradually- it is a shame that there is such a clog in the pipes. I know the media is keen to proclaim and promote homegrown acts; it seems that eyes are a bit short-sighted- it is incongruous and foolhardy to ignore such terrific music. Having surveyed the likes of The Tallest Tree and City and the Sea, I am being afforded first-hand opportunity to see some of the world's most fascinating acts progress. Royal Tusk are a band that have really peaked my interest: it has been a long while since I have heard their particular brand of music. So many acts go straight for the bones: lace their music with heaviness and anthemic qualities- negating the importance of surprise and difference. With so many like-minded artists coming through, the greatest patronage will be paid to those that stand apart- the Canadian quintet have deftly and intelligently side-stepped musical pratfalls and pits. It will be interesting to see what they offer next year: if they will sojourn in the studio for another record- or take their music as far and wide as they can. I hope they can balance the two- it would be great to see Royal Tusk come over to the U.K. and give us an earful. Songs like Shadow of Love do not come around that often- E.P.s with Mountain's peaks are a rarity indeed. When these types of events do come along, it is vital we do not let them remain in the shadows and crumble to the sea- encourage them to flourish in the light (and consecrate their stature). For all the po-faced and uber-serious bands out there- they could learn a lot from the rugged and charming Royal Tusk. Not gravitated around a preening and pretentious figurehead, they are a galvanised collective: a pure musical force that are as weighty and dangerous as their name suggests. Before I leave you all, I will circle back to my original thesis: that interview with Wild Beasts. Although Hayden Thorpe's crew are among the most inventive and stunning bands in the world, it is the truths and facts they expound that resonate hard- how many new acts do you see that stick long in the mind? Most of my review subjects have stuck with me; few mainstream acts deeply impress me- the occasional band have sufficient gravity and arsenal to do some talking. The real treats are going to (the acts and artists) poking from the underground quarters of new music- this is where the finest examples are shining. Hayden Thorpe stated- in the interview- how the choice of music- the sheer collection of historical sounds- is off-putting and daunting. He explained it in these terms: "It’s a huge privilege to make music now with such resources at hand, but equally it can be a weight." I shouldn't think the mighty Royal Tusk are intimidated by weight...

THEY are a mammoth, after all.

https://www.youtube.com/watch?v=3H5BqD4MKtg

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Royal Tusk:

Official: 

http://royaltusk.com/

 Facebook: 

https://www.facebook.com/royaltusk

Twitter: 

https://twitter.com/ROYALTUSK

Last F.M.: 

http://www.last.fm/music/Royal+Tusk

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Royal Tusk gig dates available via:

http://www.songkick.com/artists/8124918

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Royal Tusk's music can be purchased here:

https://itunes.apple.com/ca/artist/royal-tusk/id878060298

Track Review: City and the Sea- Venture

 

 TRACK REVIEW:

City and the Sea

 

 

Venture

9.2/10.0

Venture is available from:

https://www.youtube.com/watch?v=K-nIanKe9LI

RELEASED:

15 July 2014

WRITTEN BY:

City and The Sea

PRODUCED BY:

Carl Jennings

MIXED BY:

Carl Jennings

RECORDED AND MIXED AT:

Westmoreland Studio, Hamilton

MASTERED BY:

Brian Lucey at Magic Garden Mastering

LABEL:

Red Coast Records

GENRES:

Alternative, Hard-Rock

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Inspired by the likes of Jimmy Eat World and Foo Fighters; City and the Sea are one of Canada's most intriguing acts. Having been recording for a number of years, they present one of their most impressive and emphatic songs: Venture is a fresh and fists-in-the-air swagger- determined to rouse frenzy and impassioned support

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AS I subjected my blog to a bit of a revamp and overhaul...

it got my thinking about a number of different things. The first consideration- that bubbled about my brain- was musical reinvention and discovery. When you look out at the new musicians muscling forth, there is a lot of ambition coming out: acts are determined to inject life and renewal into various genres of music. Electro.-Pop acts are revitalising and redefining rather staid and placid sounds; Grunge artists are infusing their music with something compelling, complex and cross-pollinated; Soul stars are stirring in bits of Blues and Jazz-Rock- it seems that the new generation are determined to make their mark. It is impressive that this is being done: so many musicians come across as unadventurous and boring; it is nice to hear artists that take the trouble to do something unique and unexpected. Genres such as Pop and Soul are- in my view at least- a little easier to transform and diversify: the likes of Rock, Alternative and Indie are much harder (to do anything with). Over the last week- and the week coming- my attentions are going to be focused upon Indie and Hard-Rock avenues: assessing bands that prefer their output to err towards the heavier side of things- fitting into a marketplace that is crowded and competitive. A lot of music-lovers and commentators are keen to overstate the situation of current music: a great deal are claiming that innovation and ambition is seeping out by the month; the new crop coming through are not putting their heart, brain and soul into music- some acts definitely are culpable of this. What I find is that the sense of wonder and experimentation is high and fervent- the sapling artists are as original and unique as anything I have heard. Of course, you do get a lot of samey and stolid acts; for the most part, new musicians are taking the time to do things right- provide the listener with an experience that is compelling, colourful and distinct. My featured act is an Alternative/Hard-Rock act; yet dare to be that much more bold and different: if you have any predetermined- and prerequisite- thoughts, then feel free to abandon them- the guys are not your workaday and average band. Possessed of a cool, quirky and unique personality; the group provide melody and nuance; peace and light- among a tantalising whirlpool of sonic innovation and force. One of my biggest gripes- when it comes to music in general- is the homogenisation of sounds: so few mainstream acts really resonate and stick in the imagination. I am not sure whether it is because of the mass numbers; the sheer pressure that is put (onto musicians)- or something else- but some form of revolution needs to be undertaken- the hungry clan of unsigned and new acts are waiting to pounce and spring. I would expect to see something happen into 2015: the best and most stirring newbies are likely to gain some form of foothold; start to make their way into critical minds- begin the shift into the mainstream. Before I continue on this point- and raise another one- I shall introduce my featured act:

Nick Cino- Lead Vocals, Guitar

Jon Daly- Lead Guitar

Dave Marini- Bass

Joe Piccolo- Drums

"City and The Sea are well aware that their name spells out the acronym CATS, and they’re cool with that. Cats are nimble and instinctive creatures who are ready to pounce on their next prey. City and The Sea is a melodic rock band from Hamilton, Ontario. None of them currently own any cats. Some say the band was abducted by aliens many years ago, shown the ways of interstellar space travel and given the gift of great songwriting. Others say they unearthed an ancient tomb where they discovered the magic of rock ‘n’ roll. The more believable story is that the members of the band have spent countless hours writing great melodies mixed with hard rock guitars and have played show after show singing them to audiences. Their sound has been compared to the Foo Fighters, Jimmy Eat World, and Smashing Pumpkins. Hell bent on bringing real rock ‘n’ roll back from the brink, City and The Sea is a force of nature. Lead singer Nick Cino is equal parts Dave Grohl and Chris Robinson, projecting a melodic and strong vocal style usually hidden behind a mane of hair. Jon Daly is the boy wonder on lead guitar – honoring the indie styling of St. Vincent mixed with the riffs of Led Zeppelin, never going on stage without a pair of Chuck Taylors on. Dave Marini is the magic man on bass, born a Leo, and founder of the International Bass Academy of Awesomeness. And behind the skins is the man with the mohawk, Joe Piccolo, the hardest hitting drummer in the Hammer, channeling the ability and dynamics of John Bonham. "Venture/Trouble" – the new double A-Side from City and The Sea is more of a mission statement than a pair of songs. "Venture" is the stadium-ready rocker, kicking off with a distorted riff before breaking into a chorus even Noel Gallagher wished he’d written. "Trouble" is the pop song, the ass-shaker, already becoming a live favourite. Both songs showcase the band’s ability to write incredibly catchy tunes with heart and a quick punch to the gut. The guitars are loud but the harmonies are sweet. The new single comes off the success of the ACTION FIGURES EP, released in 2013. The EP spawned two singles "Strange Feeling" and "Living It Up". City and The Sea hit the scene in 2010 with "Leave A Light On". That EP’s first single "Fool’s Union" received airplay on MuchMusic and MuchLoud. The last few years have been a whirlwind of activity: tours of Europe and Canada, showcases in New York City, opening slots for Wide Mouth Mason, Die Mannequin, The Reason and Rusty; a featured slot at Supercrawl 2013, sharing the bill with the likes of Passion Pit, Joel Plaskett Emergency and Fucked Up. Airplay on college and commercial FM stations across Canada (Rock 95 – Barrie/Y108 – Hamilton/FM96 – London/K-Rock – Kingston/The Wolf – Regina/The Bridge – Nelson/Mountain FM – Whistler). Kids are catching on to their fun and high energy stage show, these guys don’t fool around in the rock ‘n’ roll department. CITY AND THE SEA are ready to believe you!"

Aside from a lack of mobility, one thing that annoys me about music- sounding like an old man here!- is the cessation and dissipation of personality and identity. So many artists- predominantly in the mainstream- do not come across as personable or inspirational. Contented to stick their heads down and do the bare-minimum, the masses are determined to avoid the lure of capturing hearts- preferring their music to do all of the talking. I understand music is not a beauty pageant; yet connecting with a musician on a personal plain is as important as connecting with their music- the artists that understand this are proving to be most popular. My favourite new musicians are those that have big hearts and keen smiles: they take the trouble to chat with you and open up; reveal a little something about what makes them tick- illuminate their inner-most thoughts and secrets. Without giving too much away, you can gain a lot to fans- provide something deep and desired; you do not need to strip yourself naked and pour blood everywhere. A lot of mainstream acts are plastic and faceless: committed to secrecy and scant revelation, they are one-dimensional and flat- struggling to truly inspire wannabe musicians and fans. City and the Sea are one of Canada's most charming and interesting new acts- defined by their fun and alive stage shows, their music is a comparable feast of festival, scintillation and effusiveness. Not content to sit on the sidelines, the band embrace the listener- bring them into the music and try to get them fully on board. Not compromising their ideals and direction, the clan is equally eye-catching and unexpected- they are an act that we need to see more of. I wonder how they will fare into the next year: whether the Canadians can transverse the oceans and find their way to the U.K.- they have toured Europe before and built up a solid reputation. City and the Sea's music differs greatly from what we have- over in Britain- and is sure to resonate and fascinate fans here- let's hope social media and music websites understand this; proffer the band's multicoloured and gleaming luster. Having had a busy and adventurous career, the quartet are making their new moves- Venture is a fresh and stunning cut that could well make its way onto a future E.P. (or album). I have not questioned the band- with regards to future releases- but it seems that we'll be seeing something sooner rather than later- a fresh chapter from a vibrant and ubiquitous band. My attentions and heart are going to be residing in Canada for the next week- it seems I am quite popular here- and assessing various acts across the nation. For now, Steeltown's brave and bold four-piece are putting Hamilton- and Canada- on the map; inspiring minds and offering ubiquitous and universal sounds- music that cannot fail to seduce the most cynical of listeners.

Looking at Venture, you can see a clear development from the band. The group's first E.P. arrived in 2008. Entitled Long Time Comin' the record was a stunning and memorable debut. A Little Bit of Soul has organs and Soul-inspired dance- it implores you to move your feet and jam along. Questioning whether he is right or wrong, our frontman is questioning himself- it mixes deep and introspective themes with full and lush music. Some Revolution has parts of Dylan's 1965 output: joining Highway 61 Revisited and its electronic swirls, it is a Blues-Rock riot. Blonde on Blonde's gorgeous and deep compositional elements come into play. The track boasts gorgeous and romantic vocals; against a track that sees revolution coming, our man is down in New Orleans- the song is deep with stunning imagery and exciting story. I Tried So Hard has gentle and romantic sides; our hero does not want to be separated from his love- sweeping and grand emotions seep through. The band's embryonic cut is a packed and multifarious collection: covering so much ground, it also cements a unique and individual sound- one that differs from the regurgitated and obvious sounds of the mainstream. Two years later, the band unveiled Leave A Light On- another E.P. that contained more than its fair share of gems. Fool's Union begins with a fade-in: Country-esque tones mutate into crunching and harder riffs- chanting and bolstered vocals give the song an instant rush. Buzzing and chainsaw guitars are foot-stomping and anthemic. Our hero is feeling like a fool; being taken advantage of- there is an angry and determined drive in the vocal. The title track is spacey and trippy- in the opening few seconds- before enclosing itself. Introverted and calmed, subjects look at loneliness and detachment. Some people- according to the hero- are half-alive; some not so- the images and avenues are vivid and scenic. Gimme Back My Soul sees City and the Sea usher up a sing-along and rousing coda: a song destined for open highways and sun-touched cities. Embers of the like of Black Crowes and Foo Fighters mix to inspire one of the band's most direct and uplifting songs. The two years saw the band develop and expand their sound. They retain their softer and more melodic centre; expanding it, harder and more vibrant jams are unfurled- they develop their Hard-Rock side and seem more fully-rounded and complete. Sounding tighter, more confident and urgent, the band stepped up a gear; instilled more lust and passion into their music- drawing in new fans and listeners. Strange Feeling was their 2012 single- it later appeared on their Action Figures E.P. The song builds and teases before unveiling a raptured and Indie-esque sound. Parts of Oasis' 1994/5 period comes to light; that stature, determination and anthemic pride is showcased- it moves your feet and inspires you to pump your fists. Looking at bloody scenes and the issues of being controlled, there is paranoia and nervy utterances- one of the band's most invigorating and complete songs, it is a startling cut. The aforementioned E.P. arrived a year later. Footprints is teasing and contorting- a hard and determined beast. Living It Up has Foo Fighter moments- their softer side- that draws in the band's early work. Our hero's eyes are faded; not belonging and feeling alone, he is rallying against the world. Showing sensitivity and recrimination, the song is a rousing and emotional number- one that perfectly marries soft and tender with bolstered and inflamed. How Do You Do? sees Radiohead-esque guitar strings introduce some stillness and ethereal longing. Demonstrating their affection for Black Crowes, a deep and resonant song is unfolded. Looking back at relationships and love; the hardness and proclivity of a bond- our hero is in full voice. The composition stutters and is juggernaut; sweet vocal harmonies add some beauty and touching heart. One of the most diverse and full songs, the band once more layer their ambitions and focus. Having stepped on from their 2008 output, City and the Sea showcase renewed inspiration- solidifying that perfect blend of quiet and loud dynamics. The E.P. brought in new supporters; built the band's reputation for surprising and invigorating musicianship and mood- their lyrics are more varied and tight. The performances are equally tight and in-tune: the band solidify and galvanise their majesty; everything became more astonishing and fresh. Venture builds once more: showing the flair and energy of Strange Feeling and How Do You Do? the track is the heaviest and more primal band offering- softer and elliptical stages are in the mix too. The strength and passion shown- in Venture- could parlay into a fully-fledged album or E.P.- such is the momentum and quality of the song, it is sure to snowball. Having been recording for over six years, City and the Sea have improved and strengthened their sound- each new release shows something new and unexpected. It will be fascinating to see where they go from here: whether they retain this core sound or go in another direction. Such is the mobility and sense of adventure, the band are restless and unstoppable- they have plenty in their arsenal to achieve great results. In all of their work comes a mixture of U.S. Driving-Rock, Alternative maturity and youthful Hard-Rock and Indie- few acts offer this myriad of different contours and blends.

If you are looking around for other acts- that could have inspired City and the Sea, then I can offer a few names. One of the most distinct bands- I can compare with our quartet- is Jimmy Eat World. The legendary Arizona band have been impressing critics since their debut (the 1994 self-titled cut). If I were to draw parallels to one particular album, it would be Bleed American. Perhaps their peak achievement; it sees driving guitar work and catchy melodies seduce the senses. The L.P. saw spacey Emo work alongside straight-to-the-point Punk and Rock 'n' Roll. Able to seamlessly and naturally blend- such disparate genres- the resultant album is a stunning work of fluidity and precision. Showing a love of impassioned and gorgeous backing vocals; it is tied with urgent and vintage guitar sounds. Toying and playing with lyrical themes- borrowing from other songs into the process- the U.S. monsters created a work that inspired a legion of new rockers. City and the Sea mix understated and majestic beauty with primal and gravelled swagger- you could see Venture easily nestling near the top of Bleed American. Jimmy Eat World showed new colours during Futures- the follow-up to Bleed American. On this album, the diamond-like and layered guitars were buttressed with sweet vocal harmonies and pummeling drums. The album infused atmospheric and symphonic mixtures with intense and heart-warming vocals. Jim Adkins' unique and emotive performances made the album such a stand-out work- Nick Cino has a comparatively deep and compelling set of pipes. Jimmy Eat World's most recent offerings see a lyrical and mature approach: they present gut-punch break-up songs around lush and full-bodied compositions- the band hark to their pasts and pull some treasure out of the trove. City and the Sea instill that inimitable fusion of maturity reflection and youthful rambunctiousness- the tantalising rushes and sensitive diary entries work wonderfully together. So few modern bands are influenced by Jimmy Eat World: they remain one of the most underrated and inspiring bands working today. Another name I can give you is Foo Fighters. I mentioned this act- when reviewing Monkey Punch Radio (a U.K.-based Indie band) and stated how they managed to evolve Grohl's stomping stadium rockers- into their own stunning songs. City and the Sea have a shared love of the U.S. warriors. In addition to being able to pen some nuanced and addictive swaggers, they go deeper down- able to offer the listener so much more. If I were to compare the band's past work- and Venture- with a Foo Fighters album; it would probably be There is Nothing Left To Lose. This album marked a departure for the band- on a side note: the legends also formed in 1994- who before had favoured pace and energy over melody. Grohl's voice is more developed and professional- he comes across as a bona fide singer rather than a screaming Grunge persuader. The sense of unity, focus and togetherness defined the album- Foo Fighters turned out their most complete and hard-rocking disc to date. The sense of fun mandates a lot of numbers; the band sound like they are having fun at every moment- there is no sense of fatigue or disinterest. Songs like Breakout parabond melody and epic definitions- it is a song that sticks in your head forever. Modern-day Foo' (or 2011 anyway) sees positively-charged and back-to-basics tracks getting the messages across- that vitality and urgency is hard to shake off. Redefining their gift for soaring choruses, Foo Fighters made sure each song- on Wasting Light- hits the listener- you repeat songs over and over. City and the Sea include plenty of winning (and vote-seeking) chorus work: their ability to rouse the soul surely finds some D.N.A. in Foo Fighters' impressive body of work. The songs on Wasting Light are written to give each band member breathing room- they are not a showcase for Grohl's wracked vocal. City and the Sea have a similarly considerate and thoughtful creative process: their music allows the band to flourish as a unit- rather than revolve around vocal and guitars. If you are looking for British influence, then you can hear embers of Oasis- certainly in City and the Sea's most up-to-date output. The father figures of many current Indie bands, I was impressed to see some of the Mancunian legends make their way to Canada. Understandably a huge and influential band, I did not foresee shades of (What's the Story) Morning Glory? find its way into the quartet's work. That album -(What's)'- was released in 1995- City and the Sea have a fond affection for mid-'90s music; the finest period in music history. There are no laddish histrionics within City and Sea's ranks; they have plenty of tension and fight- it is witnessed in the pages of their music, rather than the seedy underbelly of the tabloid press. Oasis' early-career masterpiece have populist and universal appeal- the simplicity of tracks like Roll with It and Some Might Say are designed to be chanted by eager festival crowds. When Noel Gallagher put his heart on his sleeve- Wonderwall and Don't Look Back in Anger- he managed to rustle up a riot of passion and emotion; keep the riffs and compositions huge and delirious- ensure that the listener sang along rather than wept into their coffees. Liam Gallagher's textured and developed vocals made the songs come to life; Noel Gallagher's borderline-plagiaristic riffs created familiarity- the ensuing seduction overwhelmed critics. City and the Sea possess far more originality- in addition to a huge vocal clout- ensuring their work is very much their own. The final influential source I will mention is The Black Crowes. Two relevant albums- from The Black Crowes- I can draw to City and the Sea is By Your Side and Amorica. The latter is their 1994 high-point- that year keeps coming home to roost- and was critically-lauded. The Black Crowes offered their most impressive set of songs- to this point- seeing Blues-Rock jams sprawl and captivate; investigating the glory days of Rock they transform bygone masters around their own ideals- keeping the songs original and fresh. Able to join the likes of Led Zeppelin and the Rolling Stones- around offbeat and multicultural beats- The Black Crowes unleashed an album of startling ambition. By Your Side- released in 1999- witnessed the band having good dirty fun: they draw in all of their influences and ensure that the L.P. is stuffed full of focused and nuanced nuggets. The basic and uncluttered songs have concision and precision- you can tell that the band rehearsed the songs a lot to make sure they sounded authoritative and genuine. The plaintive and emotive vocals lift the songs to new heights: the entire band are as in tune and compelling as their early days. City and the Sea draw a line through these two albums- adding their own personality into proceedings. Able to elicit the same sort of straightforward and uncomplicated rockers on By Your Side; they also have a knack for making sure the vocal performances are direct and captivating- at one moment aching and tender; the next emotive and emphatic. City and the Sea have moments of experimentation and freewheelin' ambition- some of their songs take in Blues-Rock sprawls and Progressive-Rock parables. Actually, before I go, I will mention one more band: Radiohead. When the quartet offer some soft and spectral guitar strings, I was put in mind of The Bends-era Radiohead. Again- having been formed in the mid-'90s- the seminal album clearly affected the Canadians- some of their early work has a very Bends-esque quality to them. When Cino's voice soars to falsetto delicacy, I detect signs of Thom Yorke: that same choir-like innocence is beautiful to behold. When The Bends rocked-out- the title track, My Iron Lung and Just are the best examples- you can see some influence within City and the Sea's work. Capable of summoning up an inimitable distillation of chest-beating lad culture with angst-ridden desperation, the Canadians neatly parlay it into their work. Although City and the Sea are hugely influenced by '90s bands- the 1994/5 period seems particularly relevant- they have a lot of modern-day urgency and extrapolations. Use my comparisons as a starting-point: what you get from the Hamilton band is something distinct and special. If you have an affection for 'Britpop'-era legends; '90s U.S. Rock stalwarts (and of-the-moment Hard-Rock brilliance), City and the Sea are a great band to behold- they expertly mingle these variable elements around a striking and incomparable freshness and uniqueness.

Venture wastes no time in making its presence felt. A swirling and determined riff gives the track an instant kick. Mixing the likes of Foo Fighters, Muse and Queens of the Stone Age- into a boiling pot of electric intrigue- you are hooked. Swinging, swaggering and shouting, the intro. sets a very vivid scene. Before long; percussion joins in the fight: pattering and pulverizing, it builds the tension and sense of atmosphere- leading to a mazy and tripping coda. With guitar snaking and yelping, the percussion becomes bolder and fuller- the loucheness and unbridled dance gives the initial seconds a dizzying charm. The band lay in as much sonic curiosity as they can- in these moments- ensuring that they crank the volume all the way up- you wonder just what can follow the delirious and intolerant sapling salvo. Our hero steps to the mic. with fervent intent- he is hitting the highway and determined to get away. Pounding down a lonely road, you are gripped by some initial offerings. Speaking to an unnamed figure, our frontman claims that he does not need "your forgiveness." Whether a relationship has broken down- and one of the parties has caused the cessation; or an argument has broken out between friends- I am not so sure. The determination and urgency in the voice enforces the words and ramified them. Our man claims that he- and his subject- are growing old. Having been burnt by the lies- that have been told- my interest and curiosity augmented- speculating whether he was running from his sweetheart; scenes and images began to circulate my mind like a centrifuge. Soon, it is said, they will find out what they "are living for"- an ultimatum and judgement day is upon them. The composition remains taut and muscular in the initial phase- it has plenty of oomph, yet never overpowers and recklessly wanders. The bass propels the momentum forwards; keeps the strands together and ensures discipline and force. With a catchy and insatiably passionate riff, the electrification of the song promulgates the lyrics- delivered with conviction and sheer direction. Backed by rushing and bolstering waves of percussion, the band are tight and completely in step- unleashing a venomous and lustful performance. As the chorus approaches, our hero states that the "sun keeps rising all over town": his voice employs a measure of desperation and anxiety; that wracked delivery leads me to believe that he is pining for something- a hole is evident in his life. As the song progresses, the infectiousness and indelibility begins to grow. Living life and carrying on, things are just not the same- as the words are delivered, cooing and atmospheric backing vocals are tempted in. Uniting elements of Foo Fighters' incredible passion (and fists-in-the-air chorus); Black Crowes' ability for memorability and lyrical fascination, the story progresses- more and more I am sure that a relationship has ceased existence. Perhaps blame can not be readily ascribed; the circumstances behind the fracture is unknown- whatever has happened, our hero is feeling the emptiness and burden of loneliness. Life and scenes are not as they should be; a gaping valley has been left in his heart- you feel as though all purpose and relevance has been sucked out (of his life). When testifying (as to his) situation; our frontman highlights the futility of his situation- everything he is living for has gone. With that sense of purposefulness now eradicated, the band step up to the mark- the ensuing compositional mandate is rife with tension, passion and renewed urgency. The guitars weave and dizzily trip; frantically portrayed, the listener has their brain whipped into a frenzied mush- supported by an ample percussion clatter and authoritative bass; it is a verse break designed to keep fascination high. Hooked by our hero's plight, he finds himself travelling down "a lonely road." In spite of the fact he is riding solo- and probably been in this situation a few times previously- there seems to be an air of resilience and stoutness. Not needing- or willing to wait for- forgiveness; our hero is going to go his own way. Because of the sheer energy and impassioned drive of the vocal, you feel as though our frontman is not too heartbroken- there is pain for sure; the abiding sensation is one of determination and moving on. The song's title could signal a new adventure: something that needs to be obtained and realised. After the subsidence of relations, you would expect some wallowing and woe-is-me outpouring- Venture seems to promote against-the-odds bravery and rebirth. With every sunrise, we are told what we're living for; the meaning and true purpose behind each day- dispensation is provided and guidance offered. Throughout the track there are mixed emotions and sentiments- an underlying ambiguity and obliqueness that keeps the song fresh and tantalising. Not giving too much information away, the listener is left to speculate the back-story- what has happened and started the course of events. My interpretation still revolves around a huge argument: lovers split by an eventful fall-out; both going different directions. Our hero is re-appropriating his life; balancing things up and trying to find the meaning behind it all. The mixture of angst-laden and overwrought pain blends with strengthened and natural focus. Having surveyed the scenes and assessed the situation, our man is "home alone"- trying to make sense of what has happened and how life has evolved. Supported by his band members, a whirlpool of hypnotising sonics are elicited- towards the final stages, the fury and determination grows ever more. With the guitar particularly prevalent, a spiraling and frantic outro. takes form- it has all the clout and conviction of the hardest-hitting songs. With thoughts still conspiring; a lingering curiosity failing to relent, the song comes to its end- Venture has concluded its insatiable attack.

Before I focus upon the band members- and pass out praise- it is worth giving impressions about Venture. Everything feels tight, controlled and focused throughout. Clocking it at just over three-and-a-half minutes, it never outstays its welcome or is needlessly bloated- everything is said and wrapped-up perfectly. The themes of loss, dislocation and uncertainty are not new subjects- the band are never going to break new lyrical ground. The way their version of events is presented gives Venture a sense of originality and distinction. Words mix byzantine and oblique; direct and to-the-point; simple and effective- the story moves forward and you are caught up in the drama and speculation (that is provided). Showing a sense of uniqueness and personality, the song does not come off as copycat or overly-predictable. In spite of the striking flair of the track, the band manage to incorporate small elements of other bands. I can hear some of Foo Fighters' anthemic and stadium-sized fist-pumps (within Venture). The way the U.S. giants are able to get fans bouncing and chanting can be detected here- you would imagine Grohl using Venture as one of Foo Fighters' opening tracks (on a new album). That is not to say the song is a too close for comfort- far from it in fact! The opaqueness of the sounds puts it directly in City and the Sea's camp- the band skillfully incorporate embers of other acts; wrapping it around their assured and unique voice. Drawing in the mesmeric moments of Muse, Jimmy Eat World and Oasis; the band has managed to create a layered and fascinating number. It seems designed for the festival scenes and summertime parties: hugely powerful and urgent, it is the sort of song that is meant to get the feet moving- voice fully-charged in unison. City and the Sea will be unveiling another song soon- Venture forms one half of a double A-side. I will be interested to see what they partner their latest cut with- just what direction they will go. Their past work has shown how mobile and diverse they are: capable of taking their music in all kinds of unexpected places, ears will be primed and curious. Their last full-bodied work was released last year; I suspect that the band are going to be eager to put another E.P. out- the conviction and sense of ambition here (will surely compel the boys to put down some more tracks). Venture has hallmarks of their early work- the rush and grit of their hardest numbers- but introduces new themes and avenues; the sense of confident and conviction is at its peak- the overall performance is tighter and stronger than I have ever heard. Having picked apart all of their previous tracks, there is development and progress here- the Canadian quartet sound more determined and purposeful than at any point of their career. There are a lot of Hard-Rock and Indie bands presenting the same sort of themes; drawing in similar influences and idols- projecting songs that tread the same ground. It is inevitable that Venture will have siblings and classmates- the way the band go about their business differentiate themselves from the majority of their peers and contemporaries. Nick Cino has a voice that spares no prisoners: when at its most insistent, it is a potent and powerful thing indeed- full of body and passion, it makes sure that his words are not ignored. Possessing a great and full emotional range, he is capable of mixing tenderness and stillness with full-bodied assault; seamlessly switching mid-verse- in order to keep the songs fresh and unexpected. Most singers mumble and over-project their words; leave the listener a little dazed and overpowered- on Venture, he takes the time to make sure everything is clear and easily understood. Displaying an innate and passionate performance, you are hooked in (due to the power of that voice)- its ability to enforce every word (and make the listener root for him). The track contains its share of ambiguity and openness- the mixture of emotions and feelings give the track intelligence and simplicity. Blending his guitar perfectly into the mix, Cino showcases his flair and passion for the instrument- his contributions inject plenty of magic. Jon Daly mesmerises and intrigues with his guitar work: able to transform it from a recoiling viper into an insatiable hunter, it is an impressive performance. Focus and fluidity come out- Daly never allows his guitar to wander off or aimlessly implore. Summoning up plenty of power and movement, it drives the song forward; throws colour and passion into the track- without needing to wail and scream like a stroppy teenager. Dave Marini is the fatherly figure that keeps Venture taut and lean. His bass has plenty of melody, lyricism and mobility to it- the most impressive thing about it is its range. Changing from snaking and slithering, to forceful and pressing; Marini keeps things fresh and unpredictable. Joe Piccolo's percussion strength gives Venture a huge amount of potency and swagger. When the lyrics are inflamed and urgent, Piccolo meets the challenge at hand- presenting plenty of support and rampancy. Clattering the one moment; calmed and levelled the next, the drum work is uniformly impressive and assured.

I said in the intro; Canada is going to be with me for a week or so more- the country is turning out stunning acts at an unparalleled rate. Not only is it giving reviewers (like me) the opportunity to be itinerant and inspired; Canada's mass outpouring is influencing musicians in the U.K.- I have heard of artists here that are taking note of what is happening over there. One of the problems we face here- with regards to new music- is that it is relegated to the pages of social media and music blogs- the mainstream media has limited time and space available. Given the soaring and unregulated rise of new musicians, a lot of great talent are having to fight hard- work tirelessly for years to get the meekest and most meagre forms of appreciation. In lieu of any short-term fix, the most important thing we can do- the listening public- is to expand our minds; proffer the most worthy and distinct musicians; keep them at the peak of our mind- whilst allowing our eyes and ears to wander around the globe. It sounds like a daunting task, yet is brings huge rewards and pleasures- I wonder what I would have missed out on, were it not because of my journalistic contacts. The acts that are deserving of the greatest market share are those that touch the listener in a number of different ways- not just content to put music out and say nothing more. City and the Sea have a clear and defined personality; they are an act that want to embrace and befriend their fans- in addition to mesmerising with their fun and colourful stage shows. It is no surprise they have seduced and enthralled their native country; I just hope that they bring some of their magic across the ocean to us here- I can foresee no outcome where the residences of London are not completely spellbound and hooked-in. Venture is a step away from some of their earlier work; a brave and evolutionary step- that shows just how far the band have come. Retaining their unique and distinct sound, the quartet have augmented and solidified their incredible talents. This bodes well for the future: a forthcoming release is sure to provide similarly confounding gems of sound- keep your peepers trained to the shores of Hamilton. Before I depart, I want to wrap up one final point: reinvention. What I have found- when redesigning my blog and pages- is that you have so much more scope and potential: just the slightest of tweaks can lead to fresh and prosperous avenues; expansion and unmitigated joy- it all begins with that desire and goal. So many musicians display a timidity and cloying lack of testicular fortitude; that part of the brain that wants to be distinct- it is always pleasing when acts come through who rebel against the maelstrom of the mainstream. Sure to see their stock rise and burgeon, the Canadian Hard-Rock/Alternative band are a new name to my thoughts- an act that I will be following closely in the future. Having sought out and listened to their body- of past work- I can see just how diverse and exciting they are- able to develop and mutate their sound without losing their distinct personality. New music will thrive- if bands like City and Sea keep making cosmopolitan waves- and grow; inspire new legions coming through- ensure that you seek out the stunning quartet. There is not a lot more for me to say- you'll be relieved to know- apart from one thing. Having investigated Venture, it strikes me with its mixture of beauty and epic-ness; the range of sounds and harder moments- that urgency and alertness. If it were a movie, it would be Casablanca: it has that strange and wonderful mingling of layers, nuances and standout moments- a sweeping piece that packs a serious punch. Allowing myself to drift into third-person narrative; quote a famous line- that was never uttered in Casablanca itself- and speak investigate a familiar Venture; I am saying only one thing:

PLAY it again, Sam.

https://www.youtube.com/watch?v=K-nIanKe9LI

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

________________________________________________

Follow City and the Sea:

Official:

http://www.cityandthesea.com/splash/

Facebook:

https://www.facebook.com/cityandthesea

Twitter:

https://twitter.com/cityandthesea

YouTube:

https://www.youtube.com/channel/UCIf43XecWh-3RY-LlL1Pymg

Bandcamp:

http://cityandthesea.bandcamp.com/

ReverbNation:

http://www.reverbnation.com/cityandthesea

MySpace:

https://myspace.com/wearecityandthesea

Instagram:

http://instagram.com/cityandtheseaband

__________________________________________________________________

City and the Sea's gig dates available via:

http://www.cityandthesea.com/blog/shows/

____________________________________________________________________

City and the Sea music can be heard here:

http://www.cityandthesea.com/blog/music-2/

____________________________________________________________________

City and the Sea's videos are accessible at:

http://www.cityandthesea.com/blog/videos/

Interview: RKZ

 

   RKZ INTERVIEW: 

"Don't be afraid to do what's different"

 

_______________________________________________________________

By Sam Liddicott

17:00 31st July, 2014.

[twitter-follow screen_name='samliddicott']

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The mixtape Science X Soul is released on 21st August, 2014.

RKZ's music is available to purchase at:

https://itunes.apple.com/gb/artist/rkz/id321513973

_______________________________________________________________

Renowned for his philanthropy, humanity (multi-talented abilities) and stunning music; RKZ is one of this country's busiest talents. Still Oceans is a tantalising glimpse into (the forthcoming) Science X Soul: a record that will distinguish the Bedfordshire-born Rikesh Nitin Chauhan as one of the most vibrant names on the scene. I ask the 24-year-old about his influences; how music helps vulnerable adults in society; what drives his process- plus any advice he would offer up-and-coming musicians.

____________________________________________________________________

IT is rare to meet anyone in music that has such an...

entrepreneurial and humanitarian approach. Aside from names like will.i.am- who seems to be financially-driven and technologically-focused- few modern-day musicians take the time to consider others- the focus is on their own worth and ambitions. I guess it is hard to balance that sort of work ethic: make sure your mind is committed to your passion; allowing some room for charity and unselfishness- whilst making sure you do not burn out. I am always impressed when someone comes along; able to negate the pitfalls (of this balancing act); ensuring they dedicate as much attention to others- as they do to their own craft. It is a well-heralded belief that musicians do not give enough to the public- too much attention is on commercialism and financial gain. This is true of a lot of mainstream acts: those who have their heart in the right place ensure rigid focus is placed on benevolence and community. Recently, I was introduced to a rather special and tremendous talent: the vibrant and compelling RKZ. Before I pay tribute to one of the U.K.'s most special artists, let me shed some biographical light:

"RKZ (pronounced ‘Ricks’) is a singer-songwriter, rapper and Spoken Word artist from Luton, England. He began his career in 2009 as a rapper before gradually developing his skills as a singer, Spoken Word poet and writer. His musical style is considered a fusion of alternative R&B, Neo-Soul and Hip Hop. Aged 24, RKZ has already released several singles, four mixtapes and three EPs to date with a fifth mixtape, Science X Soul, scheduled to release in 2014. He has been playlisted on radio stations including BBC (Radio 1, 1Xtra, 3 Counties, Radio 4, 6 Music and Asian Network), KISS and Bang Radio, and has performed nationwide - from acoustic venues such as The Water Rats and Hoxton Bar & Grill to festivals including T In The Park, Reading, Leeds and BBC London Mela. He is currently preparing the release of his fifth mixtape, Science X Soul, and debut LP, Wanderlust. In 2012, RKZ was announced as Ambassador for CALM. The charity aims to reduce the suicide rate with young men in the UK, particularly London. Suicide catalysed by depression and stress is the single biggest killer of young men aged 15 to 35 in the UK. RKZ is a prominent writer and regularly contributes to CALM's website and monthly CALMzine, where he touches on topics including depression, society and youth culture. He has self-published an online series called #MotivationalProse, which is dedicated to instilling a positive mentality and outlook in the youth of today. He also contributed to Hip-Hop blog, Sampleface, as a music reviewer before becoming the Head of UK Content in 2014. RKZ - who is slowly becoming a jack of all trades - has directed all of his music videos since 2011. He has gone on to direct music videos for artists including Cashtastic, Skott Summerz, Preeya Kalidas and more. He also produced video content for emerging arts talent platform, Be Discovered, which featured artists including Shakka, Little Simz, Tawiah, Chasing Grace, Jasmine Solano, MeLo-X, Little Nikki and more."

http://www.youtube.com/watch?v=TgYJ2nKWkH0

Few other acts are as busy and driven as RKZ- it seems he is immune to fatigue and self-absorption. Committed to charitable avenues (and the importance of good mental health), he is the ambassador and figurehead of a new wave of musicians: those that take the time to help struggling and vulnerable. RKZ does not make music a catalyst for his charity work- or vice versa. The two work with each other but do not encroach- RKZ has as much passion and conviction for both disparate realms. As warm and caring as the young artist is, his music is among the most electric and potent in this country. Having been recording since the age of 17, he set up the record label DAS Records: he left the label is 2009, before embarking on the first of his series of mixtapes- a classic series that shows the full extent of his ambition and experimentation. Already having released four mixtapes- and a series of E.P.s- the Luton-born rapper has no sense of slowing or relenting- his album Wunderlust is released shortly; in addition to his mixtape Science X Soul. Following a prestigious spot at last year's Reading and Leeds Festival (on the BBC Introducing stage), the momentum has been building- this year, the assiduous artist has been as busy and creative as ever. In addition to his loyal charity work, RKZ cares about his fans and listeners: his official website is the most detailed and informative I have ever seen. Ensuring new eyes and ears do not miss out, RKZ has a distinct and unquestionable love for music- something that has compelled me to find out more. As the video for Still Oceans is released- Science X Soul and Wunderlust are imminent- I was keen to find out who influences the 24-year-old; what his plans for the future are- how important poetry and lyrics are (to the development of his music)...

You are renowned for your fusions of various genres - built around a Rap core. Do you think that cross-pollination is the key to a richer and more fascinating sound?

Art doesn't have boundaries, it continuously evolves. I've always lived trying to learn and experience new things - quite often that takes shape through different styles of music. I don't start creating with the intention of emulating a certain sound, I just do what I feel works best. What sounds good, and what feels good. For me the key to a richer and fascinating sound comes from being your truest self and losing all constraints.

What do you think of current music - in terms of quality and innovation?

There's so much scope for experimentation, for inspiration. A lot of things are happening in the world right now that have inspired people to raise their voices. The best art has always been the product of (usually) politicial-driven triggers. You begin to see a lot of rappers speak more consciously, producers are going back to their roots, writers and composers are able to bring attention to things we wouldn't necessarily be exposed to. And in similar vein, it's bringing out incredible records that preach positivity and make people want to get up and move. Music is great right now - it never stopped being great - it's just down to where you've been looking.

Are there particular artists - on the modern scene- that you are impressed by?

Of course. I'm always first to praise the likes of Jhené [Aiko] and Kendrick [Lamar]. They've been my favourite musicians for a minute. Their sound is so undeniably fresh, and that struck a nerve with me. I've also been listening to a lot of Jordan Rakei, Common, Ariana Grande, ScHoolBoy Q, and I'm getting into Snarky Puppy. In the UK artists like Daley, Ego Ella May, Little Simz, Shakka, Shawn Sanderson, Wretch, Tawiah, Eric Lau… the list is endless, man.

Your fifth mixtape - Science X Soul - is released shortly. For those new to your work: what can you tell us about its content?

It's an amalgamation of R&B, spoken word, rap, groove and a lot of awesomely subtle BVs! I've enlisted some incredibly talented producers and collaborators in the likes of Gifted The Great, Shawn Sanderson, Raxstar, TINYMAN, Kaly, Handbook and more! I keep my music conscious - everything needs to have a strong moral or purpose behind it. I love records with good groove and warmth so I always try to intertwine all of those elements where possible.

Still Oceans (RKZ's latest single) is gaining praise for its chilled and seductive sound - who are your main and most important influences?

The record was inspired by an acoustic version of In LOVE We Trust by Jhené Aiko. I've sampled her on my last two mixtapes (Stranger on 21 and Jhené's Song in Words of Adrenaline) so it was only right to keep that going. Generally - I'm influenced by the things I see around me and experiences people go through. I like to position myself in their shoes and write about how they feel, if it's something I've not personally been through. I'm told I'm quite good at doing that.

Your debut L.P. - Wanderlust - is forthcoming. What is that album going to offer; how will it differ from your mixtapes' sounds?

It’s not as raw as the mixtape. It’s very intricately arranged – vocal heavy as opposed to rap led - melancholic, sultry and honest. I love making music you can sit and chill to, something that takes the listeners away into their own world. With R&B and Soul the music alone can speak volumes, so having the entirety of the album produced in that way really allows me to be in my element.. creatively, lyrically.

Many modern artists overlook the importance of great lyrics and words. How important are lyrics and poetry in the development of your identity?

I'm a writer, so they're THE essential element for myself and my art. I've never really been able to express myself as well as I do with music, poetry and spoken word. It's gives me a canvas to build a story on and allows me to paint a picture for everyone else to absorb. I don't necessarily think it's overlooked but it depends on the kind of artist you are. A lot of what we see in the mainstream is the product of a business. They create what's trending and make music that doesn't really provoke. This isn't to say that it's not a skill - making pop music is very, very difficult to do. Rather poets, writers, and musicians that want to share their collective thoughts, ideals and stories, favour lyrics as the primary and tie music AROUND that.

Do you think that social media - and the rise of the digital age - is helping or hindering new acts?

If it hinders you, you're not doing it right. Social Media is a fantastic tool that's revolutionised music promotion and the DIY attitude. Of course the flip side is you're exposed to a lot of 'spam artists' that send generic tweets to a million people, but no one pays attention to that shit. And yes, the digital revolution did change the face of the music industry but we need to accept that and find ways to utilise the situation at hand. Social Media is the first place I hear about new releases, videos, etc. Everything is moving over to digital - if you're not with it, you're falling behind.

http://www.youtube.com/watch?v=k6QITU5iuB4

In addition to music, you are an Ambassador for C.A.L.M. (a charity that aims to reduce suicide rates of young men in the U.K.) - how important and crucial is that work to you?

It's important to put good energy into the world. CALM is a fantastic cause that aims to help men tackle their demons and destroy the stigma surrounding depression. It's played a massive part in my development as an artist, a person, a human being. They've helped a lot of people through tough personal situations, and every other day I get someone new wanting to know more about them. It's so important to get people talking about their feelings and make people more aware about mental health.

Having worked with a lot of depressed and vulnerable young adults; how important a role does music play in their life? Is there a way the music industry can help those affected (by mental illness)?

It transcends beyond music. ART overall is such a massive part because it gives people that aren't great with their words an outlet. They can express through that, in surroundings that are more comfortable to them. CALM actively works through the arts across London to reach the younger audience from working with musicians like myself, to graffiti artists to maintaining presence at festivals, street parties and general events. Just check out their website and you'll know exactly what I mean.

In regards to the music industry, Soul Culture took a massive positive step forward with the launch of their blog focused on depression and mental health - OK Not To Be OK. It's a case of opening up and putting shit out on the table. When we talk, we're empowering ourselves, and that needs to happen more because I know there are some phenomenal stories out there. Slowly but surely we're making headway.

In terms of plans for the next year- what is forthcoming?

That very much depends on how this year pans out! I've got two singles following this mixtape, as well as the LP. Ask me in December and I'll be able to give you a better answer, ha.

What would be your advice for any young and eager musicians coming through?

Don't be afraid to do what's different.

https://twitter.com/RKZUK/status/494744661572202496

It is clear that RKZ is a young artist with a great deal of heart. Committed to raising awareness- of vulnerable and mentally ill adults- his hard-working drive should inspire many other new musicians- enforce and compel a new way of thinking. In addition to continuing his role as a C.A.L.M. ambassador, Chauhan is making sure that his music reaches as many people as possible. It is clear that music has the power to lift and soothe the mind: people who suffer mental illness- such as myself- find redemption and inspiration in music- it gives the affected something to find comfort in. I have been listening back- at RKZ's body of work- and seeing the progress and development (he has made). Seemingly more fervent, hungry and striking- with each release- he is one of this country's most important and prominent musicians. His compelling blend of Rap, Spoken Word and Hip-Hop influences creates unique and wonderful music- draped around atmospheric and direct vocal deliveries. If you haven't heard of RKZ- and his majestic blends- then make sure you make it a top priority. Few understand the importance music plays in helping troubled minds- reaching out to the most susceptible and vulnerable. Ensure that you absorb the music and magic of RKZ and his fascinating back-story- where has come from- and just what is to come...

FEW other artists would appreciate it more.

http://www.youtube.com/watch?v=AQkMaww3ZRg&src_vid=k6QITU5iuB4&feature=iv&annotation_id=channel%3A53d6e2e7-0000-2db1-829b-001a1140b372

Special thanks to Tracey Hills of Brick London Ltd.

__________________________________________

Follow RKZ:

Official:

http://rkzuk.com/

Facebook:

https://www.facebook.com/RKZMusic

Twitter:

https://twitter.com/RKZUK

SoundCloud:

https://soundcloud.com/rkzuk

MySpace:

https://myspace.com/rkzuk

ReverbNation:

https://www.reverbnation.com/playlist/view_playlist/-4?page_object=artist_110892

Vimeo:

http://vimeo.com/rkzuk

VSCO:

http://rkzuk.vsco.co/

Pinterest:

http://www.pinterest.com/RKZUK

Instagram:

http://instagram.com/RKZUK

Flickr:

http://flickr.com/RKZUK

_________________________________________________

RKZ's music is available to stream at:

http://rkzuk.bandcamp.com/

___________________________________________________

Events and gig dates available via:

http://rkzuk.com/

__________________________________________________________

RKZ's video can be viewed here:

http://www.youtube.com/user/RKZUK

 

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Album Review: Gorilla Punch Radio- Gorilla Punch Radio

ALBUM REVIEW:

Gorilla Punch Radio

 

 

Gorilla Punch Radio

9.4/10.0

 Gorilla Punch Radio, Gorilla Punch Radio

Gorilla Punch Radio is available from:

https://itunes.apple.com/gb/album/gorilla-punch-radio/id888458114

TRACKLISTING:

Bragging Rights- 9.5/10.0

Pick Yourself Up- 9.3

I've Got Your Back- 9.3

Burn this City to the Ground- 9.4

Shadows- 9.2

Follow You- 9.4

Tease- 9.2

Breathe- 9.4

Song for the Underdog- 9.5

Jane- 9.3

STANDOUT TRACK:

Song for the Underdog

DOWNLOAD:

Bragging Rights, Burn this City to the Ground, Follow You, Breathe, Song for the Underdog

LABEL:

Gorilla Punch Records

GENRES:

Rock, Indie-Rock, Funk, Pop, Punk

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Yorkshire is producing ounces of terrific bands and artists. Riding high in the mix is Gorilla Punch Radio: an act capable of some terrific things. Their self-titled debut album sees them explore balkanised fighters; deep and longing passion; dirty and seedy pub scenes- all tied around an axis of force, passion and pressing urgency. For those bemoaning the lack of ambition and diversity- in modern-day bands- here comes the case for the defence...

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LOOKING out at the band market today...

and you get a clear sense of developments occurring. I am referring to the mainstream largely: the case is the solo market seems to be making serious ground. In previous reviews, I have stated how dominant bands are- in people's thoughts- and how far ahead they seem to be- in terms of demand and popularity. Through the course of 2014, I am finding that solo acts are taking most of the critical glory. From the likes of new heroes Sam Smith; through to current heroine La Roux, the public are connecting with the lone stars- those whom proffer their inner-most thoughts and emotions. I am not sure what accounts for this reversal and transposition: whether the quality is not what it should; tastes and trends have enforced this move. Whatever is behind the shift, it is fascinating to watch. Part of the reason- why solo acts are fascinting and compelling- is that they can be more distinct and individualised: you are focusing on the human being rather than an overall sound. What you tend to find- with regards band music- is that the overall projection and sound is focused on; it is harder to distinguish yourself aside- solo artists have a much easier time of things. If you take the cases of Sam Smith and La Roux, you would be hard-pressed to compare them: the former is a master of heart-aching and stunningly evocative introspections; his voice gliding and haunting every scintillating note. La Roux has a more energised and vibrant disposition, yet still errs towards the recesses of personal insight- giving the public an insight into her psyche and life. Icons of different genres; the two are equally potent and effective- I worry that bands are suffering from a lack of mobility. Over the past year, we have seen a rise and growth that has been unparalleled- the sheer force of new acts coming through has stifled and suffocated the scene. Making it hard to discern the quality from the quantity, the public have been faced with a Herculean task: deciphering which sounds are worth holding onto; which you should negate and dispose of. One of the most sought-after and in-demand genres is Indie- and Indie-Rock. Accounting for the majority of new bands- coming through- it seems to be the favoured and the in vogue style of song. I can understand why bands tend to prefer Indie- over other genres- as it is a great middle-ground between harder and more intense sounds and softer and less striking ones- there is a lot of mobility and potential within these areas. The major issue is that not a great deal of diversity is being summoned: the bands that are aiming to seduce the heart are starting to numb the mind- only a small few manage to resonate and enthuse. Because of this, there might be some trepidation and scepticism- among listeners- as to the future potential of Indie- new bands coming through are offering some form of redemptive hope. Having reviewed more than my fair share of Indie and Indie-Rock bands, I have seen a mixture of quality- quite a few are pretty average; there are a fair number that have the potential to make some serious waves. In order to separate yourself apart, your sounds, lyrics and formation needs to be striking- too many new acts are the epitome of boredom and unadventurous thought processes. My featured act understand the necessity of these points- just seeing their (band) name and you are hooked in. In addition to their music (being alert and endlessly compelling), the quartet seem like they can be a name to watch- their debut album is certainly no slouch or minor work. Before I go into more depth, let me introduce them to you:

James- Vox

Boothy- Gtr.

Sam- Bass

Paul- Drums

"‘Bragging Rights’ is the lead single from the electrifying self-titled debut album by Gorilla Punch Radio. It explodes with a rhythmic guitar riff that’s reminiscent of the Hives and serves up a lyrical commentary of the drunk and seedy shenanigans of folks out on the town getting messy. The single includes a video shot on the streets of Leeds, documenting the evolution of the band from Gorilla’s to people as they make their way to perform a sound check at Leeds’ very own Brudenel Social Club. ‘Pick Yourself Up’ is the second single and is a reflective ballad about moving past heartbreak. It includes an Rn’B style beat underneath a fingered guitar rhythm that provides a very unique and fresh sounding groove. A video will also be included upon release of this single. The album will be released on Friday 25th July and was written and recorded by the Leeds based multitalented musician James Booth better known as Boothy. He recorded and mixed the record at his studio in Headingley and is preparing several videos to promote it, including the aforementioned ‘Bragging Rights’ that will be released alongside the record. The songs that comprise the record are incredibly diverse with each song providing a different feel and tone whilst still retaining the same underlying guitar driven sound. This diversity comes from a wide variety of influences with soaring chorus’ reminiscent of Foo Fighters and Coldplay on tracks such as ‘Burn this City to the Ground’ and ‘Follow You’ alongside more delicate tunes like ‘Pick Yourself Up’, ‘I’ve Got Your Back’ and ‘Shadows’ which take lyrically from the style of Michael Jackson and rhythmically from Red Hot Chili Peppers. Songs like ‘Bragging Rights’ and ‘Tease’ provide a more cynical lyrical style influenced heavily by Arctic Monkey’s with pumping grooves that belong on any dance floor. The underlying sound of the album however is driven by the masterful guitar work."

Focusing on- and revolving around- the guitar; the band's diverse and distinct songs cover a lot of ground: they are not contented to stick with one formula and style. Adept at transmogrifying their projection; keeping their roots and core focused and solidified- the Yorkshire band have created an album that offers so many different avenues and possibilities. One of the biggest issues I have- when it comes to new and established Indie bands- is their lack of adventurousness and range. Too often they are concerned with being unique, they overlook the relevance of motility and surprise- leaving the listener cold and somewhat disinterested. Solo acts like La Roux have shown how a fertile and ambitious focus can reap serious rewards- without compromising your ideals and uniqueness. Gorilla Punch Radio draw in a wide range of influences; their songs are striking and unexpected treats (that put your mind in overdrive): you do not have a chance to be fatigued or bored; everything they offer digs deep and elicits a big response- it is no surprise they are garnering some effusive praise and support. I have given up staying away from Yorkshire-based bands: there are so many coming through, I am going to have to accept that the county is never going to stop being awesome- there are no two acts (in Yorkshire) that sound alike or play along the same lines. For those among you (like me) that prefer their music band-driven, we are all looking around for something different and interesting- which breaks away from the grey quagmire of the new scene; the gloomy bog of predictability. Given that social media- and music websites- have a hard task ahead of them- making sure the best and most worthy bands get their due exposure- it is a mind-boggling proposition. It is down to people like me to make sure Gorilla Punch Radio draw in some new supporters- I have witnessed too many fantastic acts fall by the wayside (due to lack of dedication and fans). The self-titled L.P.- from the quartet- is sure to give the guys a huge boost: there are few that will be able to ignore its direct and sagacious propositions.

Being an embryonic and new act, the first offerings are the ones you are hearing. Of course, the quartet have been recording and playing for a while but their fully-fledged and most concrete work is their album- the first chance for the public to witness them in their full potential. It is hard to say how much they have developed- given this is their debut L.P.- yet it is clear they have a solid and familial bond. Most bands show some loose edges and weaknesses; their music has some ragged minor notes and bum proffering- inevitably everything is not that polished and assured. That is not the case with Gorilla Punch Radio: they sound like a band that have been recording for decades- such is the emphasis on conviction and tightness, it is impossible to point towards any weakness. Every one (of the album's 10 tracks) is assured and instilled with confidence- these songs have been worked on and given a lot of due attention and consideration. Able to sound live and effortless, the band skillfully come across as professional and jamming: they mingle the rush and urgency of live performances with the defined and full sound of a studio-recorded act. Few artists are able to pull of this kind of feat- kudos goes to the band for this. The reason acts and artists develop and improve is due to their solidity of their bonds. If the relationships are not solid and assured, then the music is sure to suffer- the best and brightest musicians are those that have a clear respect for one another. When listening to Gorilla Punch Radio's sapling cut, I was astounded by how natural and dominant the music was- I have witnessed few artists that project the same amount of luster and energy. The passion and directness really bowls the listener over: even when songs are more temporised and restrained; the sense of assuredeness is hard to shake off. Being such a fully-formed and rounded band, the biggest test is where they go from here- how will their next move compare to what they have unveiled (on their current album). I would expect to hear the same mixture of influences and dynamics: mixing unique and unexpected lyricism with some mobile and fertile sounds; making sure the guitar fascinates and overwhelms- keeping the palette multifarious and deep. Drawing from personal experiences, the group will certainly have enough material (for new recordings)- how they solidify and distill them will see whether they keep the momentum going. I am wholly confident the Yorkshire quartet will increase and grow- draw in some new sounds and sights; augment and widen their appeal. A lot of new Indie acts are somewhat limited and constricted- due to their rigidity and narrow focus- but Gorilla Punch Radio will not have this worry- they offer such a distinctive and heady brew; they have ammunition to confound and impress for many years to come.

Gorilla Punch Radio have their own unique sound- they do have some idols and influences that has inspired their music. If you are looking for comparable acts- or artists that have resonated with the quartet- then there are a few names that can be provided. The first band I would mention are Kasabian. When Gorilla Punch Radio swagger (and let their sense of adventure mandate their sounds), I catch hints of that pumped-up and hedonistic swing. Able to mix social commentary with a sense of fun and smile, Kasabian's latest album has been impressing critical eyes. Whereas Kasabian's lyrics are hardly impressive, they do make sure that excitement and entertainment comes to the fore- modern-day anthems and jams seduce and enthrall the listener. Gorilla Punch Radio instill these properties (writing much finer lyrics) into their motifs: they have managed to master the art of entertaining the crowd; ensuring their tracks get feet moving and fists pumping- they could very well be a future festival act to watch closely. During Empire, Kasabian provided twists and turns; rave-ups and changes of skin- their songs were not samey and confined. Gorilla Punch Radio provide comparable diversity and mobility: their songs mutate and develop as they play; each new number reveals something unexpected and original- without losing the sense of focus and guidance. One other band that came to mind- when hearing Gorilla'- is Red Hot Chili Peppers. The Funk-Rock mesmerisation that made them legends can be heard in Gorilla Punch Radio. Perhaps the best album comparable is Californication. The vocal soulfuleness, range, pitch and melodic sensibility made the album such a phenomenal work: the way Kledis improved and strengthened his vocal ensured that critics were raving- tied with taut and addictive jams, the L.P. is seen as one of their finest works. Although Gorilla Punch Radio do not have their lyrics in California- and similar themes- I can hear those same Funk-laden epiphanies. The introspectiveness and relaxation (that gave their tracks its power) can be seen on the Yorkshire quartet's album: when the band go into Funk realms there are embers of Californication's finest moments. Red Hot Chili Peppers' mix of esoteric mythology; divine musicianship and soul-lifting stylisations has resonated with Gorilla Punch Radio- they incorporate the best elements of them into their sounds. By this stage- Californication- John Frusciante was back on board: his revolutionary and compelling guitar work transformed the band. Capable of going from lush and reserved; scorching and Western-themed and Hendrix-inspired it is a riotous and genius performance- the album would have been weaker were it not for him. Gorilla Punch Radio employ similar guitar-based wonder: they can merge disparate and unique strands into a full-bodied whole- change course and direction; keep songs fresh and unpredictable. Foo Fighters are a name that come to mind when thinking of our quartet. The way Grohl's mob provide emphatic and anthemic classics has had an effect- a lot of Gorilla Punch Radio's most urgent moments can be linked to Foo Fighters. If you look at one of their mid-career gems like One by One: that album mixes introspective qualities with potent guitar riffs. Even the quiet moments have impassioned and stirring middles- it hits the guts and resonates with the listener. Exploring relationships and various heartache, the album is an emotional high-point- a work that meant a lot to Grohl. Gorilla Punch Radio explore similar love-lorn themes and tenderness- they imbue their songs with a similar sense of atmosphere and nuance. When Wasting Light arrived (in 2011) the fiercest and less compromising side of Foo Fighters arrives- they are less trampled and confined here. Positively-charged and affirmative lyrics mix with anthemic and crowd-lifting bonhomie. A lot of Grohl's vocal growl and gravel comes through in Gorilla Punch Radio's most gripping moments- the band make sure they tie affirming themes with the importance of consistency- their tight and compelling anthems could easily fit on Wasting Light. When the quartet become more introverted and emotional, you hear whispers of Coldplay's most lauded work. The band (Coldplay) are derided and less potent now- their latest album was universally mocked- but if you look at Parachutes: that album has elegance and uplift abound. The graceful and real emotions that came through transcended the band's identity crisis- too many hints of Jeff Buckley presented themselves. Able to make sorrow and emotional themes uplifting and life-affirming, the genuine and earnest emotions- complete with classic guitars and piano-laden washes- made it such a phenomenal work. I can see that Parachutes- and early Coldplay- has inspired Gorilla Punch Radio. When the Yorkshire crew's softer and emotive numbers come to play, you can extrapolate some Coldplay-esque gracefulness and style. A lot of modern acts are inspired by Coldplay- they tend to incorporate the band's worst and most cloying aspects- Gorilla Punch Radio have instilled the headiest and most resonant aspects of the band (into their delicate and stirring mandates). Two names I would like to mention are U2 and Green Day. Sharing little common ground, the two acts have struck a chord with our quartet. U2's legendary quality for larger-than-life stories made albums like The Joshua Tree so mesmerising. U2 managed to link the bombast and volcanic prowess of their early albums with the lush and scintillating emotion of their newer releases- something that Gorilla Punch Radio have taken to hear. The band spar anthemic and driving Rock with tender and considered ballads- everything is packed with soul, heart and grit. Vitality, restraint and exultant nuance- seen in The Joshua Tree- sees mainstream pride and unabashed swagger sit with tailored and honed classics- similar elements I can see in Gorilla Punch Radio. The broad palettes of Achtung Baby has arty guitar textures and a lack of pretentiousness; moving from economical and save-the-world rallying, it looked at relationships and personal strife- a more fascinating and compelling album awaited. Metallic and invigorating guitar sounds saw darker themes lurk with reinvigorated and inspired Pop classics. Gorilla Punch Radio incorporate similar qualities and aspects into their music- the guitars are emphatic and variable; the range of sounds as diverse and rich; the quality meter as high as can be. Green Day seem to have inspired the Yorkshire quartet. I can hear some of Billie Joe Armstrong's vocal quality (that was solidified in Dookie). That album sees humorous apathy and catchy (and infused Pop rush) unite; the true identity and personality comes through. Whilst adolescent snottiness and vitriol is heard on that album, the biggest hallmark is the hooks and sense of fun- Gorilla Punch Radio instill these essences into their unique- and deeper- songs. Peppiness, maturity and slickness came out in Warning. The album contained rebellion- it was far less petulant than predecessors. Softer numbers like Warning and Macy's Day Parade sees Armstrong lose the snide and cutting side of his voice: opening it up, he lets his tenderness and emotion come through. Gorilla Punch Radio- in their calmer moments- elicit some of Warning's passion and qualities. I want to mention three more acts- that could have inspired Gorilla Punch Radio. Oasis come to mind- in the band's most uplifting songs- the spirit of 1994 'Britpop' can be discovered. Definitely Maybe sees a bed sit dreamer- Noel Gallagher- make it in music: surveying the streets and modern youth, the song takes in love and the essentialism of ambition. The messages look to uplift and inspire the masses; raise the downtrodden and overly-hopeful- inspire the deepest and most burning dreams. There is bravado and confidence in spades: the record covers so many topics, it is a dizzying cornucopia of sonic experience. Gorilla Punch Radio fuses anthemic paens to youthful longing; the proclivities and inequality in relationships; the desire to make a better life- those fundamental philosophies that defined Oasis have compelled our quartet. Those aching and delirious guitar codas; the impassioned and striking vocals; the deep and catchy songs. The Yorkshire quartet have incarnated the spirit of Definitely Maybe; skimmed away some of the fat- appropriated it for their own means and ideals. Michael Jackson is a name you may not expect to see- linked with an Indie band. The biggest comparison one can levy is towards his lyricism and pace. If you hear songs on Thriller, Bad and Dangerous: those anxious, frantic and delirious jams made him the true King of Pop. Jackson's genius for melody, composition and nuance enforced the albums- made them such timeless works. What Gorilla Punch Radio have done is incorporate some of Jackson's distinct and innovative beats and rhythms. Their most Funk-infused and upbeat songs skiffle and dance; they have that same rambunctious and captivating drive- embers of Billie Jean, Leave Me Alone and Dirty Diana can be heard in some songs. Thriller's zesty and determined energy sees a range of different sounds come in: strutting jives, asphalt arias and cool chills linger. Gorilla Radio Punch incorporate this range and ambition: the band are adept at fusing these emotions and diversions into solid wholes. The final name I will introduce is Radiohead- particularly their The Bends era. When Gorilla Punch Radio become more introspective and focused, I hear some of Yorke's distinct and angst-laden tones. Thoughtful and instantly memorable, the 1995 masterpiece joined challenging soundscapes and haunting melodies- there was something for every listener. Gorilla Punch Radio sees (Nice Dream)-esque guitar swoon with My Iron Lung-style rage and direction. Incorporating various elements of The Bends, it is clear that the album has played a big role in Gorilla Punch Radio's build-up- it will be great to see if they expand on this in future releases. As much as I have mentioned other acts, it is worth stating that the Yorkshire band follow no others- their L.P. is unique and original as anything out there. If you dig deep and listen hard, you can detect shades of other musicians; fragments and moments that have inspired them- nothing glaring or obvious comes through. Few bands take the trouble to be distinct and unique- it is pleasing that Gorilla Punch Radio step away from their peers' worst tendencies.

Given the band's potential and promise, you eagerly wonder what the first notes of their album will offer. Bragging Rights is up first- dragging the listener in with the first notes. Echoed and machine-like electronics put me in mind of Michael Jackson and Radiohead. The emotive and anthemic grandeur of The Bends' (most immediate moments) nestles with Jackson's Bad-era sonics. An intro. that rouses the soul, it sets the album alight from the first seconds. When our frontman steps up to the microphone, his voice is determined and impassioned- it is clear that his messages need to be expounded immediately. Taking us into bar rooms and alcohol-filled climbs, we focus on the song's subject: walking into the bar, we see a man who has "evil in his eyes"- whether referring to a drunken patron or a jealous friend, the words are delivered with a punchy directness. The man seems to be a cad and bounder: someone who is capable of seducing and entrancing, it seems like he is honing in on his prey. A disreputable and cheating sort, it appears he uses the bar as a hunting ground- using women; buying them breakfast then dispensing of them. Back in the bar, our hero- buys the girl- a "gin and tonic", yet is acting kind of cold- ill-concerned with personalisation and bonding, his procedures seem routine and formulaic; he has done this many times before. Able to take a person's reputation, it seems the heroine doesn't really care- perhaps intoxicated and uninhibited, nothing really matters much. Possessing an ember of Billie Joe Armstrong's vocal sound and delivery, there is a great U.S.-Punk aspect coming out- it is an urgent and youthful coda that never loses energy. When the chorus comes in, the chugging and rumbling guitars whip up the mood- the song becomes anthemic and puts its heart in the stadium. With singalong pride, the band unite with a tight and passionate performance- ensuring that the words are as indelible and memorable as possible. The girl- of the story- is the hero's bragging rights; when the morning comes he has had his fun- no intentions of repeat performances, he is moving on to his next conquest. Perhaps it is no surprise that events have conspired as they have. With the heroine spilling drinks down her top; making a mess of herself, she is far-gone and adrift- the sharp-tongued hero has whiskey on his breath and has honed in on his latest victim. The evocative and scenic pictures put you right in the bar- the sights, smells and spills tumble through; the pugnacious and spirited vocal enforces every word and consideration. Building that infectious chorus back in, the song increases its momentum and cores- you will sing along by the time you get to the half-way mark. Lacing in some scorpion-sting guitars; psychedelic weaves and acid trip, the band unleash a firestorm of sonic potency- emphasising the urgency and danger of the mood. Scintillating and Slash-esque; it is a dizzying and insatiable guitar riff- one that bays for blood and never lets go of your mind. After more chorusing, the song comes towards its end- marking the cessation of an immediate and stunning open coda. Pick Yourself Up begins life more restrained and gentle. Our hero's voice is soothing and soft; whispered and emotive, we are following him through the city- the cold wind is blowing his mind. Scarf around his neck, our frontman loves the city; he wouldn't be anywhere else in the world. In spite of the embracing arms of the city, there is doubt and ghosts haunting his mind. Some bygone love is swirling around his brain- her "smeared mascara" is a memory that is impossible to shift. Acting as a demon burden, you feel the weight on his shoulders- listen to Thom Yorke's delivery on High and Dry and you are half-way there. Propelled by a rousing and classic-sounding guitar rush, our hero has his girl on his mind- whatever the circumstances behind the break-up, there are unresolved issues. The effusive and swaying composition lifts the spirits and causes a smile; our hero looks outwards- needing a pick-me-up and soul raise, he is trying to inspire his spirit and move on. When the next verse comes around, it seems that it is not going to be easy to get over things- sleep is alluding him. Listening to the silence- which helps him to sleep- our hero is being kept prisoner by the secrets he keeps- as is everyone else. Whether this signals a guilty conscience; if he has secrets he needs to get off his chest, you find yourself intrigued- something is keeping him up at night. Obsessed by his sweetheart, our hero does not want to feel sorry any more- maybe moving on is the only sensible thing that can be done. Mixing Radiohead's The Bends with some early Coldplay, it has a Pop-Indie feel: inspiring and emotive, it possess a contemporary and modern feel- its messages are as relevant now as they have always been. Most listeners can relate to that sense of lingering romance- trying to hold onto to something that should die. Sitting "on the fence" there is a lot of mixed emotion happening; weighing things out, our frontman looks back on life- the good and bad times he shared with his girl. Wondering whether he should do the right thing- whatever that may be- effective and atmospheric backing vocals add to the sense of urgency and emotion. Arriving in a myriad of Funk-infused promise- stuttering and jiving percussion; grooving and dancing guitars- I've Got Your Back is instantly gripping. We see lingers of Red Hot Chili Peppers come in. Our hero has some anxieties on his mind: being on life's trapeze, he knows he could be knocked off by the "slightest breeze." Radio-friendly but not too mainstream, the track marries a mellifluous and insatiable charm with introspective and edgy inners- there is a great mix of positivity and vunerableness. With his voice ragged, growling and strengthened; we are seeing a special figure being introduced- someone who our hero is looking out for and supporting. When their back is against the wall, they should have no fear- our frontman is going to be there for them. Reminding me of some of Crowded House's Woodface-era gems, the melody and constant movement gets into your head- its addicitiveness and memorability is one of its stand-out qualities. Consistently motivated and determined, another rumbling and psychotropic guitar arpeggio comes in- it is fierce and buzzing; hypnotising and strong. Offering motivational codas and thoughts, our hero projects his mind to his subject- advising them to keep their head straight and back firm, he is the voice of resilience and faith. Wonderful things can happen when you are not looking; random chance can favour the unfortunate- it is waiting for the song's subject. Ensuring the song never succumbs to glibness and ineffectiveness, the band punctuate the verses with vibrating and stinging guitar swagger- counterbalancing and juxtaposing, it is a needed and balanced condiment. Raging and jumping, you allow yourself to become entranced in the lust and ambition of the riff- before our frontman comes back to the fore. Reintroducing his direct and honest outpourings, you know how much he means everything- that conviction is hard to ignore. Riding the song to its conclusion, the band ensure the chorus remains in your thoughts- that central message defines the song and the ambitions at work. Burn this City to the Ground begins with a rampant and determined swing: Punk energy and Foo Fighter-esque force makes the song instantly gripping. Our hero is determined not to stop dancing; no one is going to get to him- a "10-tonne man couldn't stop me from living in the now." Overlapping and overlaying vocals, the primal rush and rampage puts me in mind of early Green Day- that same authority and passion can be detected. Gritting his teeth and biting his tongue, our hero is not going to remain silent- he has something to say that his target will not appreciate. Whether speaking to the government, his musical peers or a girlfriend, you can feel the pent-up rage increase- that nervy and frantic energy makes sure the messages resonate. Determined to burn the city down- you can kick him, kill him- our man is not relenting or submissive- he is determined to make his way and say his piece. I get the impression that the song refers to ambitions and personal identity; maybe enforcing yourself through music, the hero is striking against the modern-world (and ineffectual) colleagues- presenting something braver and more memorable. Whether off the mark or not (my interpretation), the weaving and transformative compositions hits your ear- the guitars contort and tease; a Punk rave-up-cum-Funk odyssey; it drives the track with immense force. With his voice full-bodied and intent, our frontman is not letting anyone overthrow him. Spurred by tripping and funky bass; clattering and insatiable percussion; carnivorous and trippy guitar, the full weight of the lyrics hit home- my mind was changed towards the final moments. Stating that he will do things his way- "so we don't get it wrong"- maybe a relationship is being rebuilt and reappraised- the heroine may have screwed things up; this time our hero calls the shots. Creating some mystery and ambiguity, the listener is left to project their own course of events- it is a rousing and compelling song that is synonymous with its unwavering and lustful energy. Shadows takes the mood down again- the beginnings are rampant and pummeling; they subside to something more measured and refined. After the pounding percussive build, our frontman comes into the light- looking at a stranger tapping the concrete, we are viewing the streets once more. With the voice impassioned and elongated, our frontman stretches notes and thoughts- his voice is aching and tender; strengthened and determined. At night, he walks alone; his sweetheart's shadow is there with him- loneliness and heartache seem to be playing on the mind. Watching empty streets in silence, words are whispered from the trees- you sense that our hero has lost someone dear to them; that void is causing tremulous desire and longing. The moonlight shines and seduces; our frontman lets his voice soar and proffer- you put yourself next to him (as he watches the world go by). Showcasing a mix of traditional values- scenes of broken love and haunting ghosts- with an original and fresh spin, the song compels you with its earnestness and honesty- nothing is disingenuous or forced at all; nothing overdone or over-emotive. The compositions keeps things in-check and balanced: never encroaching or interrupting things, it nobly backs up our hero- his voice and words are firmly in focus. Composed with an innate catchiness and alacrity, the charm of the song (and Pop edges) lift it high- few can overlook its intentions and multiple qualities. Consisting of few words, the chorus- once more- is the most pertinent thought: it is reintroduced and instilled frequently to ensure that the sense of hope never pervades. You wonder whether our hero is longing for something he cannot have; whether his mind is weighed-down and overcome- he seems hopeful in spite of everything. Gorgeously gentle strings beckon in Follow You- making me think of Radiohead and Jeff Buckley- with romantic and delicate regard. Aching, beautiful and inviting, you get caught in its flowing breeziness- that sweet-natured and riparian sound is enough to soothe the weariest of bones. The glass is cracked- it is professed- our hero still able to see through: whether a metaphor for a relationship that has ended, I am not sure- the aching and emotive delivery makes you think that we are surveying the development of a love story. Pondering life's big questions; wrestling conflicts; our hero found comfort in his girl- she was able to make him forget about such repressive issues. Now that things are through- those problems- are "here to stay"- the teardrop vocal gives me the impression the relationship is unsolvable. The song soon explodes; the guitars and percussion smash and strike- joined on backing vocals, the track kicks up a gear and elicits genuine surprise. Our frontman is running away; unable to get any traction, he cannot face the world- nobody is able to make him forget about the problems he has. Finding no answers, our man is seeking redemption and guidance- unsure of what he really needs. The relationship he had was close to completion- the loss of which has caused defragmentation of his soul and heart. Having to make his own way, you can detect that desperation and loss- emphasised by the atmospheric and busy composition. Twinkling and high-pitched notes mingle with persistent percussion; lower bass notes fuse with the vocal- creating a vibrant and stunning whole. Keen to follow his subject- whether his girl or an unnamed guide- the course is set and plans made- nothing else is left for it. Letting his falsetto seduce and campaign, our frontman's voice mutates and shifts; keeping the energy and passion levels high, it is an impressive and stand-out performance. With the band tight and intuitive it is one of the strongest songs on the album- the group show just how effective they can be when electioneering in Acoustic and romantic avenues. After a song that looked at direction and rebirth, there is now some Tease afoot- the opening notes certainly seduce and compel. Gentle arpeggio strings are underpinned by pattering percussive elements- mingling the likes of The xx with Radiohead, it is a curious and impressive initial gambit. Our frontman is having some doubts and problems: when he looks into the face- of his new love- all he sees is an ex- a girl (who still plays heavy on his mind). Wracked by the confusion and lingering affections, there is some turmoil and pain- events turn towards more romantic and honest considerations. When singing "I could simply sell my soul/just to watch you sleep"- you wonder if a particular sweetheart is being referred to. Whether concentrating his attentions to his current love- or looking back at a lost romance- there is certainly conviction in the vocals. Willing to give everything up (to watch her breathe), the romantic and urgent proferrings speak deeper- our hero does not want to "be alone tonight." The mind is split; the truth not so elementary- when touching his girl and caressing her skin; you feel he wishes she was someone else. The truth would be destructive and calamitous: living a pretense, our man cannot shake the feeling he is with the wrong girl- when looking in the mirror, he sees her staring back. Whatever is holding back his true desires- maybe the relation is beyond repair- he is trapped in a relatively loveless bond; he would endure this rather than sleep alone. Cinematic and romantic compositional elements bolster the song's bargaining position- the band provide maximum effect with few notes and histrionics. Wanting his love to breathe him in, I am reminded of Crowded House again- the band's legendary gift for melody and smart songwriting is being portrayed by Gorilla Punch Radio. The lines are evocative and scenic; by the final moments, you questions whether things will work out right- or whether the two will never know the absolute truth. Dispelling the serenity of songs past, the creeping and devilish electronic spring that starts Song for the Underdog promises something heavier- initial moments are controlled and focused. A particular person has rocked into town- whether an old foe or enemy- they are willing to "take the crown." There is an instant balkanisation: our hero's crew will not back down at all- it seems like a rumble is imminent. The spirit never dies; the clans come together- punctuated by rushing and clattering guitar injections- the mood builds. With his sisters and brothers, the scene is set- they can not antagonise or defeat the brave band of warriors. The commonality and community (that is bonded) is unflinching and solid- whomever dares challenge them will suffer the consequences. Whether the song refers to a literal coming-together- or an emotional tug-of-war- the intentions and convictions are evident. Stepping into Muse/Green Day territories, the mixture of bombastic and motivation implore- you could imagine the song featuring on Black Holes and Revelations- nestles with Punk youthfulness and spirit- the intoxicating infusion whips up a toxic fire of fight. Unleashing furious and venomous guitar snakes, the song teases and strikes- backing off slightly to let the vocal come back in. Leading the army, they will "take it all"- the band back up the hero with a majestic and intent composition. Determined to not stand down or demure, our frontman keeps his soul sharp and resolved: the stadium-sized projection is enough to get legions of fans singing along in unison. Showcasing some of Foo Fighters' nous for anthemic tribal calls, Gorilla Punch Radio bring their own brand to the party- the electrifying and delirious guitar line- that occurs near the end- gets quicker and quicker; the sense of drama and tension reaches its fever-pitch. Sensing imminent destruction, the song dies down- the listener is left to imagine scenes of carnage and triumph. Ensuring that some calm quells the broken glass (of the previous number), Jane provides some relaxing and soothed strings. Folk-tinged and tender, our frontman comes to the mic. "Deep inside the candle of goodwill and good intent"; he can hide away- the warmth touches his skin. His sweet and redemptive heroine (Jane) is keeping his heart good and true- inspired by her personality and natural goodness, her flame is keeping him alive. A medicinal love, our man is swept off of his feet- protected from the "morning's rays", there is a cocoon formed- Jane has ensured her man is protected and safeguarded against the rain. Free from the vicissitudes of life, the vocal is relaxed and natural- you can hear a sense of a relief and contentment radiate perfectly. With Jane on his mind- in his thought and on his side- her legacy cannot die- our hero clings onto the memory. Perhaps keen to have her back, there is a sense of sadness: this protective layer may not last forever; wherever she is, you feel our hero wants her back. Having provided him with a new lease on life, she is surely someone who needs to return- I am left wondering the true meaning behind the song. Maybe reflecting on a night with his love- in the heat of the moment- or looking back on days past, there is a spectral lingering- as though Jane is a spirit that hovers in the breeze. Romantic and utterly devoted, the track is the perfect way to bring the album to a close- wonderfully bookmarking a deep, compelling and stunning collection of songs.

Before I highlight the band themselves, I shall give some initial impressions. The album is a rich and marvelous work that seamlessly blends serene and romantic acoustic numbers with emphatic and rousing anthems- few bands manage to pull of this feat. It would be great to hear more Foo Fighter-inspired tracks like Song for the Underdog and Bragging Rights. Two of the album's best cuts, the braggadocio and machismo- that is ready-made for arenas- shines through- the band are at their most confident and inspired here. That said, there are no real criticisms I can levy. The emotional and romantic numbers are never overdone or too numerous- that balance seems just about right. For transparency's sake: it may have been good to see some more Funk-inspired moments- I know the Red Hot Chili Peppers are influences; when Gorilla Punch Radio let their relevance come out, they elicit some of their finest moments. The track order is spot-on: the strongest tracks are well placed; there are no long runs of acoustic numbers (or harder-edged jams)- they are ordered so that the album never loses momentum or becomes predictable. With some assured, polished and stunning production values, the L.P. is allowed to flourish and roost- every note and song is clear, concise and beautifully represented. Few new bands possess as much confidence and conviction as Gorilla Punch Radio- this comes out emphatically in every track. They manage to incorporate influences but never make it seem glaring- the abiding sensation is of a band with their own sense of identity and direction. The album is perfect for the current weather: able to perfectly soundtrack hot days, it is a collection of songs that never lose their charm and quality. The softer moments are apt for those times of reflection- when one yearns to escape the pace and fervency of modern life. Tight, structured and nuanced, the Yorkshire quartet's debut album is going to see them go far- if they can keep the pace up, their next offering will be very good indeed. The imagination, musicianship and diversity- within the album- leads to huge results- it is strong enough to draw in a wide range and sector of different listeners. It is worth mentioning the band members themselves. Paul's drumming is one of the album's biggest draws. It never impedes or overcrowds songs- instead keeping the backbone firm and assured. When the band present heavier and more anthemic songs, the percussion is dominant and primal; unleashing fury and vengeance it is a magnificent performance. When songs became more reflective, the drummer does not become too quiet- able to provide enough passion and guidance to lift the song to new levels. Working perfectly with his bandmates, Paul's precise and impressive contributions provide a huge amount of passion, weight and lust- I can imagine he is one of the best live drummers around Yorkshire. Sam's bass provide some lyrical and beautiful notes; able to snake and sting with venom, it is a multicoloured and variable instrument. Making sure every song propels forward and does not relent, I was impressed by Sam's contributions- few bands have such a potent and talented bass player. Capable of melody and tender backing; able to step into the spotlight and offer something divine, you are compelled by that sense of spirit and determination throughout. Boothy's guitar shredding is quite epic indeed. Able to transform his axe into a wailing and psychedelic animal, you have to tip your hat- so much invigoration and tantilisaion is summoned forth. Fully competent of changing directions, the guitar work is endlessly inventive and mobile- no two songs have similar riffs and lines; terrific arpeggio moments are traded with psychotic and blood-thirsty finger-shredders. For a band that provide so many different sounds, you need a guitarist who is up to the job- most bands employ two guitarists to cover their spectrum. In Boothy, they have an ambitious and mesmerising strings man. The figurehead of the band, James is the voice of Gorilla Punch Radio: the mouthpiece of one of Yorkshire's finest Indie bands. You are never truly reminded of other singers- you get embers of Thom Yorke, Billie Joe Armstrong and Dave Grohl but it is never too pressing or obvious. Able to move between Punk sneer, composed and delectable falsetto; ragged and masculine gravel, it is quite an instrument- not many singers have such a huge and varied range of emotions. Equally convincing when letting his heart bleed- as he is when summoning armies of fighting comrades- here is a definite singer to watch- it will be intriguing to see how his voice develops (and is employed) on future records. So much passion, energy, urgency and fight is provided; capable of rustling up myriads of scenes and sights- the ten vocal performances are uniformly stunning and extraordinary. I was left deeply impressed and gripped by Gorilla Punch Radio: a new band to my thoughts, I am going to be watching them closely over the next year. Yorkshire is spawning so many terrific bands, that it may be hard for some to distinguish themselves- our quartet have such a distinct and singular sound that no other band really come close (in that sense). If you want to unearth an Indie/Indie-Rock band with oodles of heart, soul and adventurousness- this should be the logical first stop.

A great deal of time- when concluding a review of an Indie band- I am left in two minds: whether there is genuine room for improvement; just how long the act will last. It is not that I am a hypocrite or prone to over-exaggerating reviews; but the reaction you get when you first hear a band can wane- the appeal can subside on repeated listens. The main reason behind the devaluation and depreciation is the element of freshness: the bands that lose their sparkle tend to provide little in the way of shock and intrigue. Gorilla Punch Radio strike me with their name alone- although for some reason I get images of that Goddamn awful loan advert with Chesney Hawkes! They are a dapper and fashionable band: not contended to deck themselves in jeans and a T-shirt, their eye for style is reflected in their music- here is an act that appreciate the importance of range and diversity. Having such an original and distinct sound, they manage to sprinkle in some elements of other acts. With that drive and anthemic punch of Foo Fighters; the to-the-jugular stun of Nirvana; the lyrical componency of Michael Jackson (and so much more)- they are a band that have a clear authority and affection for music. The likes of Red Hot Chili Peppers and Oasis feature in their rotation- fans of (any of the aforementioned) are likely to find much to appreciate. There are some remembrances and scenes of Arctic Monkeys- it seems the natural starting-point for every new Indie band- yet it is not a major sticking point- Gorilla Punch Radio employ the Sheffield band's hitting and stirring punch without mimicking or hanging onto their coattails. This is something that impresses on me a lot: too many new bands want to become Arctic Monkeys; ensuring their music pretty much replicates the band's outpourings- leaving the scene rather uninspired and listless. Gorilla Punch Radio's lack of homogenisation and yawning predictability is what will bring in the fans- in a scene that is busy and hungry, they have given themselves an early edge. Before I wrap up, I will finish on two different points: their album and the current scene. When listening to Gorilla Punch Radio, you are left feeling distinctly uplifted: the L.P. has so many fascinating edges and nooks, you replay tracks over and over- seeing if there is anything you have missed. Both instant and nuanced, the album is one that stands up to repeated spins. The reason behind this discovery is the band themselves: the quartet have such a love for music, that all of their songs are imbued with passion and unmitigated conviction. Solidified and galvanised- because of their unwavering friendship- each note is rich and compelling. Leaving no room for austerity and slightness, the ten tracks- on their album- will win you over. If you are a fan of slower and more emotive songs, then you will not be disappointed. If you prefer things more potent and energised, there are songs for you; if you want to be dragged onto the dance floor and compelled to move- this is the album for you. New music is showing plenty of heart and hard work: the acts coming through are tireless and as ambitious as any that have come before. There is plenty of choice and diversity to be found; the issue comes when we arrive in certain genres- Indie is particularly culpable of lacking imagination. Although Gorilla Punch Radio work in various different genres, their Indie-flavoured output is as unique and distinct as any I have heard- they differ from the mass of contemporary sludge-makers. For this reason, it will be interesting to see how far they can progress- the initial reaction to their album seems positive and assured. The real test will be when it comes to promotion and sharing- making sure the songs are projected as widely as possible. I would implore everyone to seek out the band's music; make sure you pass it along the channels of Twitter and Facebook- ensure as many ears as possible (get the chance to enjoy a real treat). The band is gigging and planning their next move; seeing how the album does- they are plotting the rest of 2014. I hope that dates in London are a proposition for the next few months- there are plenty of people who would want to see them down here. Having a reputation for chewing up and spitting out unworthy acts; many new bands are scared of the capital- it can be a cruel and uncaring mistress. I do not think Gorilla Punch Radio have much to worry about- I have seen many less exhilarating and high-quality bands do very well in the London scene. Over the next few days I am going to be assessing a couple of different Indie acts- based out of Canada- to see how North American sounds differ from U.K. ones- I find that over there the new artists are a bit stronger and less rigid. With the likes of Gorilla Punch Radio leading the charge, it will not be too long until the mainstream is given an overhaul: we will see bands take to the throne and rule with impunity. The likes of Foo Fighters and Arctic Monkeys will not last forever; their best days may be behind them- eager eyes are looking towards the new wave of wonders. If you are bored and uninspired by the raft of insipidness- coming from Indie quarters- then make sure you check out Gorilla Punch Radio...

THEY are going to be here for a while.

https://soundcloud.com/gorillapunchradio/song-for-the-underdog

 

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Track Review: The Tallest Tree- Boat

 

TRACK REVIEW:

The Tallest Tree

 

 

Boat

9.5/10.0

 The Tallest tree’s avatar

Boat is available from:

http://www.youtube.com/watch?v=9qbjWpXgty8&feature=youtu.be

PRODUCED BY:

Dan Weston and The Tallest Tree

GENRES:

Independent-Rock, Indie-Folk, '60s Pop, Garage, Grunge

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The blissful love story behind The Tallest Tree's incarnation is almost as uplifting as Boat: a track that is destined to find sunshine where there is rain. With so few musicians offering comparable redemptive music; this Mexican-Canadian husband-and-wife act should be in everyone's lives. Sit back and let it take you over...

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A number of different thoughts entered my...

mind- when The Tallest Tree contacted me. Their debut single Boat has been garnering a wave of adulation- helping the proud oak sprout, flourish and bloom. I shall go into more depth- with regards the act themselves- yet have been inspired to divert my mind- somewhere pleasant and less stressful. Over the last few weeks, sleep and satisfaction have been elusive- music is attempting to fill the (massive) void that is present- an aural remedy that is only making small dents. A lot of my recent reviews have centered around energetic (but forceful) music- with harder and dangerous edges. Concluding that what is need- considering I am watching a lightning storm as I type- is something elliptical and sunshine-infused, the arrival of The Tallest Tree could not have been better timed- their incredible and glorious musical rush is enough to quell and soothe the most downtrodden souls. The duo have a charming and delightful back-story: they are a husband-and-wife duo who are building a reputation as one of the most impressive new acts around. That milieu and formation- married couple making music together- has been explored in a number of different acts- the likes of Fleetwood Mac have seen partnerships and relationships change; inspire songs and cause friction. It always seems like a risky avenue: if the love breaks down or is subverted; the music may suffer- causing entropy and break-up. The flip-side is relevant, mind: if the passion and sympatico- between the lovers- is strong and unbreakable, it can lead to something truly wonderful and enduring- as is the case of The Tallest Tree. Modern (British) acts like Knuckle, Royal Blood, Red Blood Shoes, and Huxtable build their reputation because of the close-knit bond of the duos involved- most of the music to be heard here revolves around Grunge, Indie and Alternative themes. With the exception of Red Blood Shoes, the aforementioned are male-only. In California, acts like Little Dove and The Open Feel provide boy-girl componency- they marry heavier and harder sounds with scenes of modern life and the realities of love. In all of these cases- all the musicians mentioned- the relationship involved is friendship- it is a collegial parabond that enforces their strength and direction. Having seen the likes of The White Stripes- the (former) husband-and-wife Detroit duo of Jack and Meg White- play so marvellously; create some of the best music of the last two decades- closer and more intuitive bonds can lead to terrific things. In the case of the Garage legends; it was various other factors which lead to the duo's end: Meg's anxiety; Jack perusing solo avenues etc. I have been thinking a great deal- with regards to what mandates the most effective and genuine music- what creates the finest and most unbreakable units: if you have a shared passion for music, as well as each other. It may be unrealistic to suggest that those in love make better sounds- the scene would be formulaic and rather unpredictable. The essence and passion that radiates from Boat is infectious and rare- it could only come from musicians with a natural and unimpeachable connection. There is still too much pernicious and unethical behaviour (and motive) in music: too many established and big-named acts are in it for the money- concerned with advertising, promotion and self-edification. The lure of the shiny dollar is seeing faceless and empty musicians put their image and voices on cheap and pointless technology; plastic and cheap appurtenances- the industry is slowly transforming into a stock exchange. Those that are dedicated to music itself- doing things honestly; unconcerned with the evils of money and selling-out- are the ones that are eliciting the biggest reactions- you can hear how much the art means to them. My featured artists are the embodiment of the rebellion: true musicians that want to create songs; connect with people and give as much as they can- completely devoid of the natural necessity to rattle their money tins. Before I expand, let me introduce them to you.

"We met a couple of years ago when Armando's band, The Oats, was playing in Canada.

And that's when Armando fell in love with Dawn.

Now Dawn and Armando are married.

This is starting to feel a little like a short story….

Every time Dawn came to visit Mexico City, we would write a new song...

We're not sure if the shell shock of getting torn apart at an airport will ever wear off. But now we are joined at the hip and we're getting to do what we love together. "The Tallest Tree is a band formed by Dawn from Dundas, ON and Armando from Mexico City. They met a couple of years ago when Armando's band, The Oats, was playing in Canada. Now Dawn and Armando are Married. This is starting to feel a little like a short story. Then Armando said "Let's have a band together" to what Dawn replied "And we'll call it The Tallest Tree". Every time Dawn came to visit Mexico City, they would write a new song. They both sing and write music that they love. They like simple, straight forward, grungy music with a hint of folk and garage. They have a simple philosophy of a do-it-yourself, use-what-you-have nature and simply enjoy doing every part of what they do. We believe the music business has gotten twisted and crooked and weird. There is wonderful music out there, but a big percentage of it isn't signed or promoted by the big guys. Support independent music. The Tallest Tree feels that people in a position to give should help people who aren't, and that's why a part of our merchandise sales goes to charity."

Independent music is seeing the hardest working people make impressions- having to do everything themselves, you have to admire the fortitude and determination. The Tallest Tree's band moniker is inspired by nature; its words look at evolution and growth- the same proponents and ethics that are synonymous with their drive and zeal. Determined to return music to grass-roots- do things yourself; connect with the public- they are shrugging off the seduction of commercialism and marketing- funneling a percentage of their profits to charity. A benevolent, considerate and warm-hearted duo, this is no cynical ploy or hoodwink: that efficaciousness and delirious urgency comes through in their music- they are as honest and open as anyone you could mention. After my last review- surveying Reverend Moon's album Coyote Gospels- I find myself back in Canada: with The Tallest Tree being based out of Dundas, Ontario, I am in familiar territory- I have seen many great acts emanate from here. The likes of Indie-Rock, Punk and Folk masters play here (Ontario); a wide and diverse swathe of musicians live- The Tallest Tree provide another chance to expound the virtues of one of Canada's most fertile musical avenues. Having a cross-pollinated, multicultural and mixed heritage, the duo espouse this diversity in their sounds and music- the divine and scintillating allure of Mexico City has seen the capital's flavours (and inspirational scenery) come into Boat. Before I delve into the duo themselves, I will bring up one point: uplifting and summery music. At the moment, there is a general lack of bonhomie and positivity coming through: too many bands and new acts tend to portray darker and more introverted sounds- they negate the vitality of vitality. In a harsh and unpredictable time, we all need something that puts us in a better frame of mind: takes our anxieties and woes away; subsumes our deepest and most ignoble thoughts- creating a paen of light and renewed energy. The Canadian-Mexican duo's sense of commonality and community is what stands them aside from (most of) their peers: their drive towards apportion and rationality is going to stand them in good stead- they are an act that should be embraced and supported. Having come from such storybook and filmic scenes- you can imagine a captivating Indie flick being made about their coming-together- they are making their first splashes into the waters of music- determined to make some serious waves indeed.

It is difficult to compare Boat with the duo's previous work- being their debut musical venture. The first signs are incredibly promising. Most new acts do not come through with anything that strong- at the very start- and seem nervous and reluctant- the hesitancy and restrain they show restricts ambition and any development. In a scene where competition is high; spaces in music are a at a premium- you have to make sure your first footsteps are as explosive as they can possibly be. The Tallest Tree make sure that their debut single contains all the hallmarks they will go on to cement: the mixture of Garage, Folk and Independent-Rock; the effusive and stunning vocals- tied around memorable and swirling compositions. As emphatic and tremendous as Boat is, the future sounds will show how the duo have evolved- that will be the true test of character. I do not feel The Tallest Tree have anything to worry about- you can hear potential from the very first notes (they proffer). It will be intriguing and interesting to see where they go from here- whether a new single or E.P. is going to come forth. In terms of comparable acts; often a three or four-track E.P. is unveiled: containing a range of ideas and sounds, they are all keen to showcase just what they have at their disposal- I suspect that The Tallest Tree will follow this course. Unlike most of their peers, the Canadian-based duo have some hidden and clear potential: if their debut single is this vibrant and catchy, then there is no stopping them- they have a flexibility and mobility that few others possess. Having a love for and authority in a number of different genres- as diverse as Grunge and Pop- eyes will look to see just how well they can unite them- if they produce an E.P. (in the coming year), just what are we going to see? It is clear that there will be progress and evolution: new themes and stories will explored; some fresh sounds injected into the mix- retaining that distinct and original sound. What would be great to see (from The Tallest Tree) is some two-hander love songs: something that documents their road to now; how the duo met- something that takes us into Mexico City- a succinct and delirious coda. Perhaps The Tallest Tree will delve deeper into sunny territory: unleash a sunny-as-hell smile that builds on Boat's charm- soundtracks beach parties and sun-drenched drive. Their first outing has some terrifically assured lyrics and vocals: I suspect that some firmer and more introspective numbers will come to play- with more impassioned grit and guts (to be seen). The most apt and appropriate thing I can do is to project outwards: see how The Tallest Tree compare with those around them. The vocal harmonies and driving determinism does not put me in mind of anyone else. I shall look at some influences and possible reference points (below), yet 2014 is not showcasing any comparable acts- no-one has quite the same mixture of qualities and sounds. The modern scene sees quite a few acts that play Grunge, Indie and Alternative- most of the tracks look at love and the problems faced in love. Enforced by traditional values and public demands, most of the songs do not differ or surprise too much- occasionally bands come along that will subvert expectation. When reviewing Bi:Lingual- a Rap-Rock band- their direct and original songs looked at reality TV, hollow fame and the waifishness of modern music. Similarly- when assessing Grunge band Allusondrugs- there was a clear sense of (a band) that followed no-one else- their songs stepped away from overly-trodden soils; planted seeds in new hectares; leaving their listening public satisfied and treated. The Tallest Tree have some pleasingly familiar undertones; they ensure that the music and composition is striking and unparalleled; the vocals have a true and different projection- their mandates and themes step aside from any common and undistinguished quarters- the results have led to a song that is potent as it is memorable. It is this potential and strength that is going to see them thrive in the future: when (and if) they do release an E.P., that will be one of the most sought-after and tantalising records of the year- it is worth keeping your eyes open to see how the intrepid and entrepreneurial duo progress.

As distinct and fresh as The Tallest Tree are, I can find a few bands- and acts- that may have influenced their sound. One of the most impressive names- when it comes to influences- is The Beatles. The Liverpool legends' gift for melody (and stunningly evocative Pop) sounds enforced their greatest albums. When listening to Boat, I was put in mind of two Beatles albums: Rubber Soul and Abbey Road. The former is my personal Beatles favourite- not many people share that view- because of the melodies and superb compositions. On that album, the four-piece did not sacrifice their ethics and background: establishing themselves as music's forerunners (by 1965), the guys did not compromise their Pop ethos- the songs across Rubber Soul retain their cores and hallmarks. The tightness, intelligence and artiness (that came across in the album) can be applied to The Tallest Tree (and Boat). The sophistication and artistic depth that ran rampant through the album's first half seems to have had a baring on the band. Listen to songs such as You Won't See Me, Think for Yourself and The Word- tracks 3,4 and 5- here is a trio of taut and catchy numbers. Cooing and atmospheric vocal harmonies are backed by incredibly deep and rich compositions- the lyrics mix harsh truths, dislocated love and pure affection. Joining adult themes with traditional- and young audience-targeted themes- The Tallest Tree make sure they appeal to all ages- bringing in mature listeners and younger alike. Expanding the instrumental and lyrical parameters (of the Indie and Rock genres), The Tallest Tree display a Beatle-esque sophistication and maturity. Pushing beyond purely romantic boundaries, Boat has some ambiguity and mystery to it- Rubber Soul's deeper and more curious moments have oblique cores. When their final album- to be recorded rather than released- Abbey Road came out, you could tell that the boys were having fun- following the turmoil that synonymised Let It Be's torturous recording process. Hard edges and vibrant guitar sounds- that came to the fore during their self-titled L.P.- made their way onto the disc. Abbey Road saw The Beatles indulge their passion for lovely phrasing and beautiful segues; mixing various themes into a complete whole- the album is a symphonic and united effort. The Tallest Tree have a similar passion for collage sounds and variations: Boat has various colours and distinct strands; coupled tightly and authoritatively, their gift for phrasing and melody sees a weight of light and conviction come through- possessing some semblance of the '60s legends. With similar lushness, depth and emasculate production; The Tallest Tree ensure their debut cut is as urgent and pressing as it can be- compelling the listener on multiple plains. Wistful sunniness came out in Here Comes the Sun; unity and direct messages in Come Together; recriminations and accusations in You Never Give Me Your Money- those stylistic shifts made the album such a phenomenal work. The Tallest Tree pack similarly disparate and diverse themes into their music: exploring various aspects of humanity and love, they show a restless and innovative spirit. As The Tallest Tree have Garage elements, one pertinent name (you can compare with them) is The White Stripes. Being a devoted fan- and mournful at their loss- of the U.S. (modern-day) legends- I can see that The Tallest Tree are fans as well. Jack White's spellbinding and emotive riffs made their early work such forceful records. White Blood Cells was the first true work of genius (for the band)- Elephant perhaps was their second. It was here that White fully seduced the critical minds; brought Blues and Garage elements into powerful and simple numbers. Introducing meditations on fame and love, the songs win you over with their honesty and sheer passion- the mixture of strength and sweetness is what makes The Tallest Tree so compelling. White- when writing White Blood Cells- ensured that every number had a very distinct sound; nothing sounded tired or overly-rehearsed: making the album fresh and timelessly classic. The Tallest Tree show some of the Detroit giants' ear for authoritative and ragged riffs; backs-against-the-wall percussion- with those delicate and sweet embers coming forth. Boat puts me in mind of tracks such as I Can't Wait, I Can Learn and Dead Leaves and the Dirty Ground: these Stripes gems married romantic and genuine middles with spiky and rushing compositions- the sparring of precise, cutting lyrics and passionate vocal turns can be seen in Boat. As The Tallest Tree instill some Grunge gravel and grumble, there are a couple of reference points: Pixies and Nirvana. The former comes out in Boat's more squalling and raptured moments. When the guitar bays for blood; allows itself to become more rampant and lustful- it put me in mind of the band's (Pixies) seminal work, Doolittle. The scintillation, drama and atmospherics that made Here Comes Your Man and Hey such standout cuts- I can hear suggestions of each within Boat. Minus the berserk histrionics and demented screaming, The Tallest Trees have skimmed that away- they instill that Pixies dust into their motifs; putting you in mind of the heyday (of one of the world's finest bands). When proceedings become determined and hypnotic; when the sounds and riffs crank up the heat, it reminds me of Nevermind-era Nirvana. Cobain- being one of the world's most underrated songwriters- was noted for his incredible range and intelligence: his songs could be honest and romantic; spiteful and direct; bizarre and disturbed. Boat mixes the bite and endless catchiness of Come As You Are; the swagger and louche tongue of Lounge Act- together with the vocal hypnotism of Polly and Something in the Way. Nevermind was lauded for its nuance and addictiveness: tunes you just hummed and sang all day long- The Tallest Tree have that same talent for infallibility. The deep textures, mood shifts and scintillation is the reformulation of Nirvana's stunning masterpiece. It will be interesting to see if The Tallest Tree indulge Grunge territory in future E.P.s and releases- crank up the amps and investigate typical and traditional Grunge themes. A few more names I can suggest step away from Grunge and Garage elements. The Magic Numbers came to mind- when assessing the vocal harmonies and elemental sway- of Boat. When the two female vocals blend in sweet unison, I catch glimmers of The Magic Numbers' debut album. Cuts like Long Legs and Love Me Like You capture you with their swells of vocal rushes; the insatiable charm echoes strongly- The Tallest Tree have so many more strengths. Building on The Magic Numbers' foundations, our heroes are more obstinate and deep- the vocals more authoritative and enforced. The Tallest Tree ensure memorable hooks and repeatability mandates their sound. Whilst Romeo Stodart's (The Magic Number's lead) voice seems reedy and feminine, Armando's assured and convincing delivery is much more concrete and fascinating- backed by ethereal and dexterous female tones. When Dawn and Marra let their gorgeous pipes blend together; you hear tones of The Magic Numbers' most compelling and urgent moments- the swelling grace and shimmering beauty can be extrapolated. The Tallest Tree have more balls and fashionable movements (than The Magic Numbers)- who were criticised for being too twee and middle-aged- and make sure their music is livelier and more enriching. Perhaps a more credible and sustained name- you can draw with the band- is Noah and the Whale. The lead vocals put me in mind of Charlie Fink. Having his voice somewhere across the Atlantic, some critics saw it as an acquired taste- having no real backing and contrasting tones. Armando's voice is more cinematic and atmospheric: it can ruminate and tenderise; it is a baritone possessed of vulnerability and fastidious longing- there are no twee and soporific moments to be found. When Noah and the Whale hit their stride- on The First Days of Spring- many found it a progressive leap forward: the band mixed openness and bleeding wounds with rich and lush sounds- the songs stepped away from insane chirpiness to provide something deeper and more enriching. The band dug into the soul and came up with a gem. The Tallest Tree are masters of mingling light and breezier oeuvre, with vulnerable moments (and signs of anger)- tying together the most potent aspects of Noah's eponymous sophomore disc. The final two names I am going to mention are Fleetwood Mac and The Auteurs. Perhaps a lesser influence, Fleetwood's Folk and Alternative beauty made albums such as Bare Tree such relevant early works. The first key work from the band, it saw earnest genius Spare Me a Little of Your Love so true and earnest- the conviction and low-key brilliance made that track lodge in your brain. When the group developed and launched (their masterpiece) Rumours, something incredible happened: among fractious and fighting scenes, the band managed to record a phenomenally cohesive and stunning album. The rhapsody of sarcasm and underhanded deception fused with eccentricity and diversity. It is an urgent record that leaps out of you; bowls you over with its style and panache- Boat has a similar (instant) appeal and force. That mix of anguish and cheerfulness gave Rumours such a fascinting core: it was not one-dimensional or predictable; tears and smile could be found in every song. Tracks looked at break-ups and tormented proffering- the band's two couples were undergoing infidelity transitions and huge fall-outs- shining like diamonds, nothing outstays its welcome- its instantly redemptive harmonies and staggering compositions make Rumours such a classic. Boat- and The Tallest Tree- instill all of these properties into their house: minus the squabbles and fragmentation, the music packs so much in; seamlessly parabonds emotion and spike with something more romantic and tender. When witnessing Boat's more ragged and low-down guitar swaggers, one song came to mind: Lenny Valentino. Taken from The Auteurs' career-best gem Now I'm a Cowboy, Luke Haines' distinct and sneering anthem really hits the mark- it is staggering in its immediacy. Filled with aplomb, feral intent and sexiness, that track- and album- seduced critics and fans- all bowled over by the movement and conviction (of the off-kilter and influence album). Boat sees some of Now I'm a Cowboy's determined riffs surface in its layers- you can hear a similar majesty. Those are a few names you can investigate- if you want to see where The Tallest Tree came from. It is always a good idea to separate expectation from reality: what you are provided with has far more distinction, personality and originality than most songs out there- possessing the slightest touches of other acts.

Beginning with some tense and disciplined guitar strings, the opening coda (to Boat)  is a powerful and forceful one- the duo want the song's urgency and sense of drive to resonate as soon as possible. Carrying a hypnotising and entrancing twang, it is backed up by enthusiastic and impassioned percussion; bass underpins it with a determined and vibrant punch. When our hero comes to the microphone, early words are delivered with a real sense of purpose and weight- his voice begins fairly structured before rushing and running through the words. The opening couplet sees the lines- "All this time for one decision/seems like an important mission"- leaving you wondering what is being referred to. Maybe ill-at-ease with his current life; anxious and displeased with his situation, the hero is determined to get away and find something new and more nourishing. The obliqueness and ambiguity finds the listener curious and teased: the duo know the real influence (of the lyrics); making the words open for interpretation and speculation. Looking at a journey (and imminent travel), the decision is being mulled over- whatever is backing this escape, our hero thinks that "this shit is just a waste of time." With some Charlie Fink-esque vocal intonation, the voice drops slightly on "waste of time"- that disaffectednenss and resignation comes through sharply. Whether our hero is keen to shed off the skin of his current endeavours; find something away from the chaos of life- I am not sure. It put me in mind of the romance of Armando and Dawn. Perhaps Armando is stuck at home- looking for romantic satisfaction and a new lease on life- he finds someone to take him away. The initial thread of the story looks at a heavy heart- some deep thinking is being done (and decisions weighed up). The song never loses its momentum and sway; with little room for breath and audio punctuation, the lines are strung together- stream-of-consciousness in their delivery- as though the lines need to come out as soon as possible. That urgent and breathless outpouring means the song gets inside of your brain: caught up in its agendas and aims, you are helpless to resist its determination. As the compositions becomes fuller- the static and twanging core remains; the mood lightens and expands- you get more pieces of the picture. The heroine arrives with her boat- the hero states that "I got paddles." With thoughts of transition and relocation (on his mind), the duo just need (that) "thing that rattles." Sensing this heroine represents something new and much-needed, you are mandated to become involved with the story development: almost able to picture the micro scenes and conversations, the adventurers make their way for new lands. In a sense, the lyrics act as metaphors: our hero's empty heart needs an engine and catalyst; his girl's mechanical rejuvenation and fuel is spurring him on- infusing his soul with meaning and new purpose. When the verse comes to its end- and the line "hope for something great that we can all live by" is presented- the first real signs of the backing vocals come in. Marra and Dawn project- in this interval- lower and calmed introversion; matching our hero's tired and overwhelmed bones, it takes the song to its most relaxed and calmest realms. The chorus signals rejuvenation and revitalisation: the vocal- from Armando- is more upbeat and inspired; you can detect a smile and galvanisation- that required spirit and helping hand is enforcing his passion and urgency. The backing vocals offer sweetness and heart-rending passion. Imbued with a catchiness and compulsive charm, the addictive mantra sees the trio unite in a chorus of "She's got to take me anyway"- when the vocals are blended, the song elicits its more electrifying and rousing moment. It is curious whether that particular line signals compromise- not able to leave him behind- or a shared desire to forge new beginnings- though you can hear the resilience and light come through in the song. The compositions makes sure that the listener taps their feet and nods their head. The percussion keeps a steely and punchy head on things: it makes sure the heartbeat keeps determined and solid; that drive and constant momentum never subsides- the song pushes forward and never loses its step. The bass's swinging and dancing strings keep the sense of occasion upbeat and firm- elliptical restitution, it perfectly segues the song into its next phase. The guitar has its soul in dimensions of Indie and Garage: stinging and vibrating; insistent and rampant, it is never too heavy-handed- it's textured and wonderfully evocative. When a microsecond riff- showing signs of Lenny Valentino (by The Auteurs)- it made me smile. The song throws in so many unexpected and fresh notes; it is not just a straight-ahead and aimless thing. Our hero thought that it would be boring "running on the beach this morning"; he found out that "shells, they come in plastic bags." The wordplay here is wonderful: those vivid and peculiar scenes come rushing to your mind- I got visions of a tourist shack selling bagged shells; offering the scenes of the beach- but in the comfort of indoors. Throughout, there is an element of cool detachment- in Armando's voice- that subsides exponentially; the distinct and pressing vocal delivery does not modulate or overemphasise (like Charlie Fink)- our hero is capable of nestling sensitivity and disconcertedness in single breaths. Mystery and byzantine curiosity comes to the fore (in subsequent lines). When speaking "I'm alright, you feeling jolly?"; the vocals from our hero have a determined and strong luster: there is little smile or tell; that sense of masculine pride means he never becomes entrenched in the sentiments- giving the words a sense of irony. Speaking to the heroine, he admits: "Tell me darling, that old story/I forgot, I guess it doesn't matter." Backed by wordless and entranced vocal offerings- from his sweet cohorts- that Noah and the Whale composite hits new heights- the band present their own inimitable version of events. When the chorus comes back around, you can not overlook the sense of fun and care-free regard. Released from the shackles of a previous anxiety, (the trio of voices) summon up sunshine and passion: the energy and youthfulness of the chorus makes the words that much more addictive- you will be signing along by this point in the song. At the 1:30 mark, there is a slight break. The rush subsides and things become a little more temporised. The percussion clammers, clatters and elicits (some subtle and primal beats); vocal coos and chorusing see ethereal and spectral haunt enter the fray- it is a beautiful and nerve-settling presentation. Building in that sense of atmosphere and repetition, the song presents a new line: "She got me good." The mountain peak of Boat, the full effect (of the heroine) has taken effect: With Dawn and Armando uniting in voice, they share the sentiment- their distinct tones perfectly mix and blend a myriad of different emotions. Our hero seems contended and satisfied- never succumbing to overt happiness, his pride and assuredeness comes through. Dawn's sweet and emotive calling is addicitvely effusive and uplifting- you are caught in the midst of another gravitational pull. With that percussion smashing- intermittently- and adding staunch and rigid clout, the bass keeps an undercurrent of energy going- not as emphatic as before, it has plenty of melody, identity and character. The guitar lines are stinging and vibrating (when elicited). The mood starts to build up and up. Assessing the precipice of relief and satisfaction, the vocal-instrument parabond shifts- to give way to a delirious and rampant guitar break-down. The inflamed and compelled axe unleashes a rapturous and defiant howl- containing some of Pixies Grungy wail, it is unexpected to say the lease. Whereas bass and percussion keep levelled and measured, the guitar contorts and transforms. Sunnier and jumping strings settle with howling and stoning execrations- mixing in Garage fuzz, Grunge beasts (and '60s Pop) into the same refrain. Before you become enthralled in the potency and conviction (of this coda), the chorus comes back into life- the sun is back out and the cheer is reinforced. Joining hand-claps and grinning smiles into the palette, the song mutates once more- the listener's head is taken back to previous realms; trying to take in what has come before. Unable to ignore and shake off the intuitive need to lift and please, the trio ensure that the final moments are as compulsive and catchy (as the first). Marra and Dawn provide vocals: blending together the one moment; working in a round-robin the next. Our hero seems content and relaxed at least: less nervy than the initial moments, it seems that has obtained some form of relief and escape. The ambiguity and oblique lyrical style means that the story could have a parallel- something less satisfactory and storybook may be projected. It is that sense of mystery- tied with the band's enthused and incredible delivery- that gives the song such a depth and multi-layered appeal. The Tallest Tree know the true inspiration behind Boat: I like to think of it as a moment from the husband and wife- perhaps the moment they met and the way they bonded; that alacrity and passion- that resonates- is infectious and endlessly fascinating. As the song comes to the end, you still have moments and lines circulating and prodding; vocal melodies and blends obsessing the mind- embers of bygone scenes replaying in the front of your mind.

Boat is the type of song that does not come around that often. An impressive and emphatic debut cut, The Tallest Tree are going to be a band to hold closely. A lot of music is so po-faced and serious- it is nice that something with a lot of grace and smile comes along. Never overly-cheery nor needlessly depressive, it strikes a perfect balance: the contradictions and emotional blends are what give the song a nuanced feel; you are compelled to dig deep into the lyrics- discovering what they refer to and what lies behind them. The tight performance gives Boat a clear solidity and authority: every note and vocal proffering is assured and filled with conviction- the trio never suffer fatigue throughout. Marra Koren provides some captivating and incredible support- especially on vocals- mixing splendidly with Dawn. Adding extra depth and beauty to the song, her voice is an essential contribution- increasing the level of evocativeness and sensuality, it gives the track some terrific backing. Dawn's vocals are compulsive and memorable. Able to provide something sweet and soothing; go to strong and powerful, you cannot imagine Boat without her voice- it elevates the words and gives moments ethereal and tender bolstering. Armando's captivating lead beautifully keeps the song fertile and engrossing. His sonorous tones give depth and meaning to the words; even when the track calls for some aloofness, he ensures that the listener is still hooked- able to inject emotion and interest in all of his thoughts. I have mentioned Noah and the Whale's lead a few times: there are definite flecks of Fink's enthralling and unique voice- with Armando, it is less forced and much more natural. Most singers over-project and over-sing songs; many more do not provide emotional resonance or anything truly convincing. Armando's distinct vocal is one that has great flexibility and depth. It can portray so many emotions and sights and will be fascinating to see what it is capable of in future records. When he combines with Dawn, you capture the closeness of their relationship- that mutual understanding and bond comes through emphatically. The sound they rustle up is a fantastic and multifarious blend- it means that the public will want to hear a lot more. It is not just the vocals that stand-out, mind- the lyrics are distinct and worthy of close investigation. Too many songwriters present words that are over-simplified and cliché; a clan of songwriters too highfalutin and intellectual- both camps push listeners away to an extent. Boat has some simplicity and directness- it does things with a great ear for imagery and economy of language. Employing few different lines, an incredible amount of curiosity and scenic projection is summoned. Thanks to determined and incredible performances, each word has your mind racing- you never have a chance to switch off or become bored. When a one-line repetition is unveiled, The Tallest Tree show how impressively they can burrow a single thought (into your brain). Compositional regard is not a scant consideration- each aspect and elements adds a huge amount to the track. The percussion is austere and focused- when the song needs some levelled and tight sounds- and can shift to something more inflamed and direct. Adding plenty of kick and lust, the mixture of pleasantly upbeat (and springing) beats raises the one moment; towards the song's final moments, you hear embers of grittier and more snarling influences- shades of Grunge and Garage come forth. Like the vocals, it will be great to see how this develops across future releases. The bass keeps everything in-check and solid: not allowing the song to become overly-energised and unfocused, it is lyrical and simple; snaking and elegant- infusing vibrant and sun-kissed melody when the song calls for it. Making sure the song is tight and focused- in spite of the shifts and moods offered- it is a fantastic and assured performance (that is by no means left in the background). The solid and honest production is quite polished and fresh- it is not too gleaming, however. The guitar notes give Boat a driving motion: in the early moments, the sound is sparse but enticing- there is a consistent energy that does not lose its head or break (from its own sense of determination). When the solo comes up, the guitar opens and swaggers- an unexpected jolt, it is a rushing and awe-struck beauty. When you put all of this together, you get a perfect blend: every part of the song is perfectly fused to elicit the biggest sense of occasion and emotion. With codas and lines (you will be singing forever), not one listener is immune to its charms and power.

The Tallest Tree are one of the most genuine and warm acts you are likely to hear- instilled with such a passion for music and people; few other musicians deserve acclaim more. They have no ill-driven motives and ideals: profitability and market share is at the back of their mind; at the precipice is the desire to connect with fans and new listeners- ensure their music resonates as strongly as humanely possible. Boat is a staggeringly emotive and beautiful song that is the bottled perfume of summer itself: soothing and sensual flavour notes mix with multifarious lights; rawer and more urgent edges provide oomph and passion- it is a creation to overwhelm, inspire and motivate. Being embryonic and newly-bred, it is always hard to see- in the case of most acts- where they are headed- you know The Tallest Tree are going to make music for as long as they can. A compendium of spirited beauty, the Dundas duo are a name that are on a lot of lips: they have received airplay in Manchester; been recipients of multiple (glowing reviews)- building a reputation in the U.K. and North America. It cannot be too long until this wave of momentum parlay into European, Australian and Asian acclaim- you wonder who can resist the allure and draw of such powerful (and evocative) music. I hope that The Tallest Tree have thoughts of an E.P.: it would be great to see the expansion and augmentation of their talents and sound exposed to some more luster and wonder. The rest of this year is going to see the duo perform gigs; interview and promote Boat- look to the future and what is holds. Capable of creating hypoxia and awed admiration; few other artists can evoke that same sort of reaction- it is clear The Tallest Tree are going to be growing and expanding in a very short time. No sooner have I absorbed (fully) the mesmerising and unshakable wonders of Reverend Moon- and his Dylan-esque parables of religion and dreams- than another Canadian treasure comes into view- you wonder just what sort of magical elixirs are put into the water there! As the thunder and lightning pervades- like a stroppy infant wanting food- I have been compelled to spin and let Boat absorb into my subconscious: a startling and fresh mission statement from one of the music world's most intriguing and impassioned new acts. Before I let you all be, it would be incongruous to ignore one pressing subject: independent music and the most worthy acts. The Tallest Tree have gone to a lot of effort to ensure they get their name out there. Their official website is eye-catching and vibrant; informative and easy to navigate- they ensure that new listeners are treated to all the information and links (they demand). Our duo make sure that their music is as effective as possible. Mingling Garage charge and energy with simpler Folk beauty and restraint, they hustle the senses- put you in mind of some terrific legends whilst projecting an air of distinction and clear personality. The closeness of Armando and Dawn is what makes the duo such a phenomenal proposition- the love they have for one another is as solid and determined as their music. For those seeking out something different; challenging and unexpected; new and enlivening- check out this wonderful double act. Boat is the sound of musicians who want to...

MAKE your day that much better.

http://www.youtube.com/watch?v=9qbjWpXgty8&feature=youtu.be

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow The Tallest Tree:

 

 Official:

http://www.thetallesttree.ca/

Facebook:

https://www.facebook.com/thetallesttreeband

Twitter:

https://twitter.com/thetallesttree0

SoundCloud:

https://soundcloud.com/thetallesttreeband

YouTube:

http://www.youtube.com/channel/UCQI43NsDoPXL2giGMKpxcCA

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Gig dates available via:

http://www.thetallesttree.ca/#!shows/c1f1g

 

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The Tallest Tree's music is accessible at:

http://www.thetallesttree.ca/#!music-/cobn

 

Album Review: Reverend Moon- Coyote Gospels

 

ALBUM REVIEW:

Reverend Moon

 Coyote Gospels cover art

Coyote Gospels

9.6/10.0

 Coyote Gospels cover art

Coyote Gospels is available from:

http://arachnidiscs.bandcamp.com/album/coyote-gospels

TRACKLISTING:

Old Graves- 9.6/10

Reaper Man- 9.4

A Message For You- 9.5

Mary Says- 9.5

Satan, Hear My Song- 9.6

Drinking With Jesus- 9.7

Black Sun Rising- 9.5

Resurrection Day- 9.7

Deeper Down- 9.4

God Culture- 9.9

Singing The Blues- 9.7

God Don't Love Us (Like The Devil Does)- 9.6

Apocalypso- 9.9

STAND-OUT CUT:

God Culture

DOWNLOAD:

Drinking With Jesus, Resurrection Day, God Culture, Singing The Blues, Apocalypso

RELEASED:

11th August, 2014

LABEL:

Aracnidiscs Recordings

ALL HYMNS WRITTEN AND COMMITTED TO TAPE BY:

THE ESTEEMED REVEREND MOON DURING WHISKEY & OPIUM INDUCED PROPHETIC VISIONS

(BETWEEN THE YEARS 1994 & 2014- AS THE SPIRIT MOVED HIM)

GENRES:

Experimental, Avant-Garde, Bluegrass, Psychedelia, Folk, Acoustic, Punk-Blues

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Instilling the genius and emphatic leadership of early-career Dylan, Reverend Moon is a startling voice in music.  Having taken 20 years to complete; Coyote Gospels offers religious themes, twisted streets, animal rulership and distorted dreams- I dare you to find a more immediate and emphatic album in today's music.

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WHEN reviewing Australian Christian-Rock/Funk band The Updraft Imperative recently...

it seemed like there was a cartoon angel sitting on my shoulder. Guiding me to the lighter and more ecumenical side of life, I found myself becoming more enlightened and open- when reviewing their music. Not quite potent enough to convert my atheistic mind, I did at least gain some insight and wisdom; became fonder of Christian-Rock- more fascinated by Funk and hopelessly positive music. The band is gaining in stature; getting gigs and interviews through the U.K. and Australia- they are a name to watch carefully. That experience made me feel purer and more cleansed as a human being- today the cartoon devil sits on my right-hand shoulder. Waving away any spiritual and divine intervention, the pitchfork and studded hoof has gripped into my back- music with a darker flaming (inferno) heart has come to play. Before I unveil my featured act, I want to bring up one particular topic: the shadowy and more frightening side of music. In the current scene there is plenty of enticing and sweetly-uttered music; a number of acts that tread the lighter side of the street- ample music to uplift the heart and soothe fevered brows. Aside from Rock, Indie and Grunge bands, there is little of the flip side: sounds that have one eye in the gutter and one on a bottle of whiskey- something smoky and utterly compelling. This is especially true of genres like Folk and Bluegrass. Folk is- during 2014 at least- more synonymous with ethereal and romanticised movements- music that aims to entice rather than envelop. It is understandable that musicians- working in this genre- choose this path- if you frighten away your listeners, then it is pretty hard to come back. It is not to say that being unique and daring means dangerous and threatening- those that expand their ambitions (and sprinkle ashes into the melting pot) will always gain greatest plaudit. If you look at living legends such as Tom Waits: here is the example of a musician who offers cigarette-ravaged, whiskey-soaked growl- his enraptured and blitzkrieg burr has scored some of the most evocative and fascinated songs of all time. Wrapped up in that unmistakable and overpowering voice; tracks that proffer back alley losers, twisted lovers and corrupt governments reign: the U.S. master is adept at weaving phenomenal lyrics with full and strange compositions- backed by his ravaged and inflamed voice. There is little heretic and atheistic rebellion in Waits' work: for the most part, he is the pastor of truth and knowledge- keen to guide disillusioned and confused voices towards a very comforting light. His messages may sound stark and foreboding- at times- but that is what great music should do- grab you by the scruff and makes you consider the world at large. Reverend Moon is hardly the voice of the Antichrist; nor is he the embodiment of Lucifer himself- not a twisted idol keen to push satanic themes and a proclivity-fuelled lifestyle. Mixing in religion and God; looking at faith and understanding, his music has an edge and sound that is hard to top- he mingles seedier and drunken scenes with pure reflection and consideration. Before I expand on my motives, I will introduce my featured act:

"REVEREND MOON is Jakob Rehlinger of Toronto-based psychedelic space-rock band Moonwood and founder of the Arachnidiscs Recordings label. Over the past 20 years the Reverend has been slowly working on Coyote Gospels, an album of 13 songs of ersatz-praise and upside-down faith. The song cycle was born in the manger of university poetry workshops beginning in 1994. It grew into an awkward adolescence at the dawn of the millennium when Rehlinger suffered a nervous breakdown and was paid for his trouble in what he called several "dark prophecies" in the form of visions. These hallucinatory cosmic messages from beyond are recounted in the songs "A Message for You", "Black Sun Rising" and "Old Graves" — wherein animals reclaim the Earth from humans. Since 2007 Rehlinger has been polishing these heretical-hymns and pseudo-psalms over several demo versions before setting out to record them in earnest beginning in 2012."

It is not surprising that I find myself back in Canada: the country has been throwing some of music's finest examples my way. Distinct and more ambitious than their U.S. neighbours, the nation is a veritable hotbed for creative wonder and diversity- from Punk-Rock and Folk, my mind has been nurtured by some phenomenal musicians. Reverend Moon's compelling and made-for-the-big-screen background has a cinematic edge; an ember of classic literature- he seems like a Beat Generation hero making his way into music. With a personality and struggle few can comprehend or compete with; Rehlinger's alter-ego is the sound of a vibrant and daring artist- providing a sound that is guaranteed to compel the mind. I shall move on in due course, yet need to mention a couple of different topics. Looking at Reverend Moon's list of influences- I shall expand more on this with appropriate investigation- my eyes and mind were spiked. Drawing in the likes of Waits and Bob Dylan, you know- before you hear a note- a comparative husky and stirring voice will be elicited- lyrics that have intelligence and poetic potency; compositions with plenty of wonder; music that differs from the modern-day norm. Having been- over the last few weeks- involved with reviewing a lot of Indie, Folk and Pop bands- that have their very own styles- it is great to discover a North American treasure- a musician that draws in elements of '60s and '70s masters- with a very modern edge. Able to appeal and entrance multiple genres (and clans of fans), his songs look at mystical and spiritual realm; odd scenes and surreal dreams; incarnations and reincarnations- an evolutionary hegemony that sees animals taking over the world. Many may see these subjects akin to oddball antics- too detached and quirky to appeal to anyone- but the songbooks are filled with storybook wonder; fascinating and vivid scenes- new and distinct projections that are what the music world demands. If you look back at artists such as Captain Beefheart- for anyone under 40, take a look back at his back catalogue- you cannot deny how compelling and phenomenal his fever-dream and hazy psychedelia (captured your imagination)- with a voice as hypnotic as his, he is one of the most underrated acts of all-time. Music has too much conservatism and predictability: new acts do not stray too far from commercial ambitions- tending to ensure their records do not cause too much alienation. It is a real shame that acts such as Reverend Moon- theoretically; he is still making his mark- are relegated to niche and clandestine avenues- seen as alternative and unable to penetrate the mainstream. His distillation and cocktail mix of harsh life experience and spirituality (and religion) has been expounded and mastered by some of music's most assured acts: from Dylan to (Leonard) Cohen; Neil Young to Beefheart; modern-day geniuses like Laura Marling- why are there so few current acts pushing the boundaries? Writing about love and personal relations is all admirable- it is the common experience everyone can relate to- introducing something more byzantine and reverent can go a long way- it makes songs richer, more fascinating and inspiring. Keen to differentiate himself from the musical masses; instill the same kind of wonder (the legends of old possessed)- Coyote Gospels is as intriguing and emotive as its title suggests.

Being the debut album from Reverend Moon, it is difficult to give an impression regarding development- how the artist has progressed over the years. The best thing to do is to compare- Coyote Gospels- with its author's (Rehlinger) other projects. Being a member of groups Moonwood and Babel, the Canadian is one of the busiest and most diverse musicians in the country. Hexperience is Moonwood''s experimental highpoint- an album of improvisations and Krautrock cuts. Playing like a blissful acid trip, the album sees Captain Beefheart's influence come in. Strange, beautiful and entrancing, the album is the most updated incarnation of the band- the peak of their combined powers. With compositions that have Prog.-Rock elements, it is a record that will appeal to fans of the genres- its fascinating sounds and collages will appeal to everyone. Filled with plenty of stunning moments, it is a break away from Reverend Moon's Bluegrass/Folk offerings. Before then, Moonwood produced albums such as Trans Wasteland Express. This album is fuzzier and more ragged: containing red-hot Blues-Rock jams, it is less experimental; more concise and straightforward. None of the fascination and unique personality is lost. Jim's Super Bee is a Hendrix-esque distorted mandate: echoing guitars and wailing notes marry Pink Floyd and Muse- it is a head-spinning jam that is impossible to shake. Dave's Arrow is a determined and ragged swagger- fizzing and popping guitars make it a stand-out cut. Lizard Wizard has a different skin: more crawling and strange; the song is moody and haunted; dark and dangerous- showcasing another side to the band. Ghost Aberrations saw Jazz-infused and twisted horns come into songs like Freezone. With a mix of Charles Mingus and Kid A-era Radiohead, it (Freezone) is a dreamy and dizzying assault. The band stick in psychedelic and experimental territory; the album is more Jazz and Funk-inspired- Aubade is gentler and builds up; acoustic elements add serenity and haunt. The far-off vocals put me in mind of Pink Floyd's Dark Side of the Moon tenure- that trippy and sleep brilliance radiates through. One earlier album is Forest Ghosts. Giving early impressions into Rehlinger's mind, it is an experimental gem. Dreamsnatchers is as evocative and delirious as the title suggests: sound samples and effects give the impression of disturbed sleep and bizarre dreams- the relentless force and eeriness get inside of your head and muddle your senses. No Past, No Future has a spectral and mordant sound: wailing and echoing cries see ghosts lurk in the woods- the creatures call and cry out for mercy. Reminding me of Yma Sumac- and her Voice of the Xtabay work- it fuses World, Mambo and Exotica threads. Moonwood is an avenue (Rehlinger can explore his experimental and far-out visions): Reverend Moon is more traditional and composed- Coyote Gospels showcases the same strong and unique vocals; the compositions vary greatly. Showcasing what a talent he is, you would not think that the same man was responsible for such a wide range of music. Like Jack White, Rehlinger is not contended to be in two acts- his third incarnation is as part of Babel. Similar to Moonwood, the band are concerned with Prog. and Experimental genres: this is emphasised in Rillingen's luster. Pink Floyd-esque guitars marry all shades of mood and thoughts: a heady and intoxicating blend of sound snatches, it is an epic work- one that tells so much with instruments alone. Earlier disc Zahlreiche sees the Hammerschlag series throw up huge intrigue. Hammerschalg.01 is dark and feline; creeping and contracting, it teases and hypntoises- injecting the sound of someone knocking on a door (it is a tense and shadowy work). Hammerschalg.03 recounts Asian avenues: samurai movie darkness showcases a song that could have featured in the Kill Bill trilogy- it is a track Tarantino would snap up. Perhaps with its eyes in horror films, it is dangerous and menacing; with softer moments it also provides some tenderness as well. Alphabeta is a more 'traditional' album in a sense: the song titles are less byzantine and weird; the compositions more Psychedelic and Blues-Rock- the sense of oddity and fascination is as high as ever. Caged is light and flowing; colourful and rushing- endlessly rushing, it has elements of Bjork's happy and delirious Homogenic period. Dead is fuzzed and demented; robotic and rampaging- there is feedback of epic proportions. Bee is a continuous hum: an elongated and held note follows from demonised and demonically fast riffage- it is a track that has peculiarity and charm in equal measures. Given what Rehlinger has- and is still- created over the years, Coyote Gospels sees a different side to him. In a way, the album's lyrics would fit perfectly in his other work: that same identity and mix of ethereal, spiritual and odd linger in his work. His voice seems more emotional and striking- in his current work- the compositions are more restrained but less divisive- more likely to draw in a larger number of supporters and listeners. Showcasing a huge songwriting talent, there is a definite sense of development: the work on his latest offering is as result of fastidious and impassioned hard work- it is more concrete, deep and compelling than anything he has ever created- the finest and stronger album he has produced.

When looking at similar acts, there are a few names that I can introduce. Beck may seem like a peculiar first port of call. The maverick experimentalist is renowned for his shifting sounds; that sense of pioneering spirit and restless innovation- the mutation from albums like Odelay and Morning Phase is incredible. Rehlinger's creative brain is never contented to stick with one theme or sonic idea: like Beck, the Canadian understands the importance of mixing sounds and ideas. Perhaps more befitting of his side projects, the same glorious mixture of moods and scenes come to play. Even more experimental and psychedelic than Beck, Rehlinger's music sees odd and unexpected sounds unite in a glorious and multifarious way- tapestries that are deep and filled with odd avenues. Part of Led Zeppelin's album Led Zeppelin III can be seen- within Coyote Gospels. When you look at that album's most stirring and rousing Acoustic-Blues themes, you can see a bit of that (in Reverend Moon). Able to unveil stomp and feet-tapping jams, Coyote Gospels has plenty of early-'70s glory: you could imagine Plant and Page loving Reverend Moon. Not as overly bombastic as the legends of Rock, Coyote Gospel does contain that Zeppelin-esque mingling of Bluegrass, Folk, Acoustic and anthemic punch. Another- perhaps minor influence- I can incorporate is Neil Young. The fellow Canadian is a rightful legend: one of the most astute, impressive and staggering songwriters ever; his songs are as influential and mesmeric than any ever produced. I mention Young because of his Country sound. Reverend Moon reminds me of Young's Harvest/Time Fades Away period. Although Time Fades Away is the representation of the zeitgeist of '70s America, its mix of bad karma and electric attack. Like Dylan mutating- from acoustic guitar to electric- this album marked a sonic shift: the mingling of pessimistic coda and slice-of-life truths did not resonate with critics when released- it is an album that has gained acclaim and paen decades later. Coyote Gospels is equally bare and open- an album that is emotional and honest as anything out there. In the same way Young funnelled anger and rage into his palette; distanced himself from his early work- here, Rehlinger offers a sonic gem that is a step away from his Moonwood and Babel life. Continuing down the Country road, Johnny Cash is another name- that comes to my mind. Although Cash's voice is deeper and more velvet (than Reverend Moon) his authoritative and spellbinding stomp can be seen (in Coyote Gospels). Cash's works American IV: The Man Comes Around and America III: Solitary Man are his latter-day diamonds: mixing theological and religious messages (with introspective and heart-aching confessions), they are albums that demand deep investigation. Coyote Gospels has a comparable mixture of spiritual and ecumenical longing and consideration; personal confessions and reverence- that inimitable blend of direct and detached. Backed by tantilisingly dark and shadowy guitar chords, Cash's black night oeuvres find themselves incarnated in Rehlinger's current spirit. In so much as I am reminded of Nick Drake's Pink Moon regency- when listening to Coyote Gospels- you can find that same gentle and late night performance. Drake recorded his masterpiece over the course of a night: wracked and possessed by depression, it is a wonder it was recorded at all- the beauty and phenomenal songs that were offered are a remarkable achievement. Reverend Moon does not have that same anxious and deathly submission; the biggest comparisons come when the songs become lighter and more melodic- you can hear some of Drake's expert finer-picking within Coyote's thirteen tracks. The Acoustic-cum-Folk beauty has made an impression on Reverend Moon: he blends that essence and strength in his album. One of the most obvious influences is Captain Beefheart. Having seen some of Beefheart's lunatic and experimental brilliance (make its way into Moonwood and Babel's cannon); Reverend Moon injects some into his debut album- the master's early work has had an effect on him. If you look at Lick My Decals Off, Baby: that work is a refined and deep album; surreal wordplay, jagged rhythms and fervent imagination mandates that work- our Canadian hero incorporates some of the album's stripes. Coyote Gospels has some bizarre and trippy moments; hugely imaginative and storybook themes- tied with some compelling and unexpected riffs, signature and compositions- you can hear a hint of the 1970 classic. With some of the eccentric prowess of (his finest work) Trout Mask Replica, Reverend Moon instills some of that Avant-Garde and Blues-Rock colour- there are comparisons one can make. Singalong moments, atonal melodies and jagged (and intricate) guitar parts mingle with detached complexity and disjointed surrealism. Reverend Moon's album is less disjointed and random- his songs are more cohesive and flowing. He does instill that same adventurousness and passion: his surreal and unique poetry has elements of Trout Mask Replica's unique and striking identity- fusing the same sort of considerations and themes. Tom Waits is an artist that has had a bearing on Reverend Moon. When songs look at God, the Devil and intoxication; you get lingers of Waits' Mule Variations- back-streets Blues-Rock and Bluegrass ran riot in that album. Blood Money (released in 2002) sees religious imagery and tales come into play: God's Away on Business looks at abandonment and the reliability (and truth) of religion. More elegant, refined and structured- than early work- the album's dark and spiked tongue introduced warped characters and dialectic aphorisms- his wordplay and musical innovation reached unparalleled heights. Reverend Moon incorporates theatrical and unique stories into his work: evil and heart-aching miniatures; spiritual and poetic paens and caricatures spar with bleak, funny and unexpected contradictions- the same richness and diversity (in Blood Money) can be seen on Coyote Gospels. On Apocalypso (Coyote Gospels' closer) you get a real feeling of Bad As Me: that hard and pugnacious swagger; the biblical and crunching riffs; twisted and contorted sounds- you hear lingers of the title track, Satisfaction and Hell Broke Luce (sic.) here. I shall save the biggest influence for last: Bob Dylan. Rehlinger's voice is unmistakably enforced by the U.S. legend. That same tone and sound resonates throughout: the aged and mature croon; that impassioned and distinct delivery- there is no copycatting; our hero presents his own version of events. The vocal and compositions are perhaps the most obvious comparisons- when it comes to lyrics, the two artists differ slightly. When Dylan became born-again, he explored his faith in Saved and Slow Train Coming. Whilst extolling the virtues of Christianity and God, they contained some of Dylan's most assured and fascinating songs- the mix of religious and spiritual images was backed with deep and consistently brilliant compositions. The albums acted as exorcism, release and tribute: Dylan was renewed and inspired; keen to pay tribute to a new lease of life. Reverend Moon finds inspiration in dark visions and religious quarters: while less concerned with sermonising and protesting, it does share similarities with Dylan's mid-career masterpiece. When Oh Mercy (released 1989) saw Dylan reconnecting with his past, critics were impressed by the arty and refined production- it was atmospheric without being unsympathetic. Reverend Moon connects with his youth, past indiscretions and harder times. Whereas the voice and compositions may put you in mind of Dylan, Coyote Gospels cannot be compared with any Dylan album too directly- in terms of themes and subject matter. It is best you judge the album on its own terms: Reverend Moon is very much his own artist, and someone who you cannot readily link to anyone else.

Old Grave begins life with springing and spiraling strings: teasing a tempting line of riparian notes, it is a spirited and upbeat start. The song looks at animals overthrowing the human population. Rehlinger's Dylan-esque smokiness adds huge evocativeness and emotional weight to the song's surreal and apocalyptic images. In the midst of a revolution and new order, the human population are being held down whilst they sleep; dogs and cats are pining them and physically dominating- the images one projects are quite vivid and strange, believe me. Creatures and animals are "coming down from the trees"; the animalisitc plague is infesting the towns and streets- teeth sharpened and eyes blank, there is nothing that can be done. A percussionary smash (tambourine) adds atmospheric punctuation; the endlessly swelling and persistent guitar contortion keeps the momentum flowing; the mood is edgy and urgent- enforcing the scary and foreboding forecasts. Terrified and anxious- of imminent death- our hero's voice seems nervy and edgy: you can feel the walls closing in bit by bit. The raccoons and tree-dwellers unite with cats and dogs; balkanized against mankind, the animals first eat the "hoes and hobos"- feasting on their flesh, they go for the weakest and lowest- making their way across the street. As the rats join with the crows, the duel guitar lines- reminding me of Captain Beefheart's most compelling compositions- increases the tension and palpable sense of destruction. Employing embers of Bob Dylan's The Freewheelin'- and nightmarish visions such as A Hard Rain's a-Gonna Fall- you are swept up in the bizarre and fascinting tale. Rabbits sit beneath shady trees; sharpening their teeths with "rusty screws" our man sings the blues- like the Titanic going down, there is nothing that can be done but play; just hope for a swift and merciful end. Judging by the engorged junkies and flesh-picked promiscuousness, there is no escape or logical end- the animals are teasing and tempting fate. Cougars ride the back of bears; the mountains are bare of their carnivorous dwellers. Our hero wants the asphalt stripped from the road and the children stuck "in a zoo"- whether representing animal enslavement or a safe haven, you feel that reality and logical fallacy has transposed things: luckily it is dreams that are being foretold- not a coming judgement day. With mouldy bones lying around; dogs "all dug from old graves", it is a stunning and scintillating opening number- one of the most impressive starts to an album I have heard. A swaying and heel-kicking rouse brings Reaper Man into the frame. With the vocal less rushed and urgent as before, our hero takes his time and projects his words: early thoughts say "It's not hard to read the signs/Written in neon lights." Selling your cash for gold, prophesies are lighting up the sky- you get the feeling Reverend Moon is rallying against corporatism and modern-day consumerism; the way the world is transforming and mutating. Professing that "the end is nigh" there is the sense of a pastor preaching to the flock: warning them to renounce the proclivities of the street, the direction and passion in the vocal- and composition- cannot be denied. The reasons this is occurring; why things are unravelling is because of who you are (and where you have been)- our hero advises to clap your hands and "stomp your feet." Howling and rapturous guitar parables interject doom-laden and end-of-the-world musings- no matter what happens, the morning will signal the apocalypse. Razor wire squalls underpin tales of Judas and Jesus; a "house in the sky" and having fun- biblical treachery and teachable moments are dispensed around a sonic whirlpool of suffocation. The bellicose chant gets stronger as the song nears its end- limbs are tumbling and our hero wants to fly; with the dawn light near, escape is on his mind- perhaps there will be no chance of survival. Ending with a psychedelic and rampaging guitar myriad, the song ends with an appropriately epic flourish- another prophecy-laden and haunting number has been unleashed. Seeking some type of cleansing and (brief) relief, A Message For You has a hopeful title. The sapling moments see lighter- but bouncy- guitar whip up a buoyant and dancing mood: our hero is determined to get his words across as potently as possible. With unmistakable embers of you-know-who enforcing the vocal delivery, you stand to attention- enraptured in that familiarity; impressed by Reverend Moon's pressing and phenomenal sound. Not sure (if his subject will hear him), our hero has a message: not knowing what it means; it is perfectly clear. There is a sense of ambiguity and obliqueness early on: the anonymous and vague message can be blown in smoke signals; written down- its truth and clarity has not come to light. Whether a guiding light or an elemental truth, the 'message' seems a pertinent and relevant one- something that is backed by an atmospheric and energised backing composition. The determined and one-dimensional thought keeps pressing- "there's only one word." No one has heard this "joke" before; it is a byzantine and inscrutable mistress (you are keen to undress)- and see its true beauty revealed. Having not appeared on TV or radio, the mystery and fascination grows: in my mind, so many images came to the fore; perhaps a religious truth is being explored- our authour keeps his cards close to his chest. That taut and hypnotised composition expands past the half-way mark: introducing Bluegrass twang and Country kicks, it is rousing and swelling. Like Chinese whispers, the message is being passed around from person to person: more and more you believe that some ecumenical assignation or invocation is being represented- something clairvoyant or spiritual? Such a tantalising and curious song, each listener will have their own views and interpretations- only Reverend Moon know the real truth. Boinging and echoed acoustic strings mix with hand-claps; Johnny Cash-cum-Tom Waits scintillation and darkness presents itself- Mary Says boasts an intriguing and purposeful birth. Taking its mind into religious avenues- with vocals multi-tracked- we look at Mary and the baby Jesus- "everyone knows" that the baby is Joe's. Attesting there is no God; they are trying to trick you into "playing nice." The sense that by thinking someone is watching over you, makes you scared to act human or wrong- every movement and thought is carefully choreographed and planned. Mary has heard the prayers and praise; they have got it all wrong- the evocative and striking words get your mind working overtime. Transporting yourself into biblical scenes, the issue of reality and omnipresence is investigated: there is nobody upstairs "pulling the strings." Few songs have trodden these themes with such an original and unexpected essence- Reverend Moon's gift for words and story makes Mary Says a fascinating and compelling song. No one cares about the truth- that a higher order is controlling events- so "you might as well sing"- nobody is listening. A feeling of loneliness and uncertainty mixes with the nature of reality and religion. Mary is a meek and real figure: not a spiritual magician, she never turned water to wine; rose from the dead or amassed a vast kingdom- her life and situation is genuine and humble. There is a great modernity and relevance in the song. A lot of people have to struggle and deal with the limitations of life and reality: God is the antithesis of this; he is being praised without having to have endure hardship and pain. Our hero is keen to point out (that nobody is watching); you can dance and try to impress- all you are doing is projecting to an endless infinity; eternal nothingness- no spirit in the sky. From stories of God's existence, we progress to Satan, Hear My Song. A light and gentle guitar introduction may act as a red herring- for those looking for a soothed and sensual Folk ballad may come away slightly short-changed. Subverting expectation and predictability, hints of Pink Moon Nick Drake come out. The song looks at issues (as proclivious and nonsensical) as fame and fortune. If you want to be famous, all you gotta do is "say his name"- call out and strike a deal with Nosferatu. Initial impressions lead me to believe our hero is rallying against fame-chasers and the desperately shallow- the lack of empathy in his voice certainty takes my mind that way. Morality, effort and purity are examined: our man has lived a good life- it is taking too long to get to heaven- and doesn't think "I can make it old"- Satan will need to take his soul. The one-stop shop for the needy and tired, the dark prince is the confidante of weary souls and disaffected dreamers- any willing to forsake eternal happiness are welcomed forth. Past the 0:50 mark, the album's most urgent and electrifying moment is elicited: a ragged and buzzing electric guitar swarm adds menace and power to the song- it fuzzes and rampages with psychedelic luster. Backed by stomping percussion, our hero's voice entwines and contorts; layers are brought in to emphasise the sense of confusion, helplessness and compromise. Heaven is not worth the wait; there is no guarantee to be found- the sorry state of the world is always likely to cause people not to hold onto something so far-fetched. Our hero looks at the selfishness and ruination of modern youth: they steal from the future; raping the land of anything good or lasting, nothing will be left- when the meek inherit the earth. Looking at the digital age and the unconcerned public, everything is being squandered and digitalised- the good is being overlooked and a hollow and barren world is being left. Squelching and hornet guitars make the point emphatically: our hero is ready to end the strife; Satan can have his soul if he can make things better- perhaps he just wants out altogether. After parabonding with Satan, Drinking With Jesus seems to promise a flip-side. A similarly ebullient opening gets the song to life; our hero's voice is more Country-fied and matured here- not meaning to brag or boast, he is friends with the holy ghost. Drinking his "wine-coloured blood" Satan cannot drag him down- he has Jesus backing him up. Our hero never cried when his parents died; he seems detached and unemotional- the suicidal background gives the song a haunting and disturbed twist. Making it look like a suicide, our man had a hand (in the death)- blithely unconcerned, he is untouchable. With an evil glint in his eyes, an eerie and crawling backing echo augments the terror and defiance- our hero is spiraling and damned be the consequences. Being thankful for what he has received, you sense the hero is speaking from the other side- maybe having got his comeuppance, he is reaping the rewards of eternal immunity. The epic story is the most evocative and detailed on the set: you follow the course of events and become fascinated by each development. After repenting sins and atoning, that wistful lack of concern gives the song a huge weight. When his parents were buried; the hounds of Hell released, the song's hero was taken in- living a sheltered and disciplined life; punished and beaten in a strict and draconian school. With the central figure being found dead, our hero hit the road: unable to face the music, there is a dead girl in the trunk of his rusty car; "a lousy lay", the wheels keep spinning- the untouchable and itinerant soul keeps pounding on. Packing the song with so many characters, scenes and twists, it is a stunning and brilliant track- a song that is an epic movie in itself. After dalliances with Jesus, Black Rising Sun cleans the slate: the uplifting and brief intro. spares no time in getting things underway. Taking us into his dreams' landscapes, our hero saw "we're all going to die." In a rather bleak and frightening apparition, the mind once more errs towards apocalyptic themes. In this story, the "mother dies when the child is born"; child grows to be a man- "sells his seed and rapes the land." With that black sun rising- a euphemism and metaphor for death and genocidal arrival- the disturbed and harsh landscape (of the song) gets inside of your brain. Ensuring that the song packs compositional clout- in addition to lyrical and vocal- a blood-rush coda snakes in: sparing no prisoners; Blues-infused and whiskey sour- a clattering chain gang rally, it is a striking sound. The portentous visions get through in under 2:30: after the epic nature of the previous number, it is a tight and focused track- that leaves you with plenty to think about. Resurrection Day perhaps offers no light and relief. On Easter, Jesus was laying "on his side"- we are back in the waters of biblical regard. Not keen to be resurrected, Jesus is lazily refusing- sullen and fatigued, there is another saviour "two doors down"- a charming and witty sentiment for sure. Wanting to pass the buck; bequeath his scars and responsibility, Jesus wants (the unnamed woman) to inherit the burden- the saviour is in a bad frame of mind. Keen to remonstrate; remind Jesus of the achievements gained- by the song's subject- the exhausted messiah shows little interest- an exploding compositional burst ramps the song up. Jesus has moving on his mind: to destinations unknown, he wants to take in the world- almost 'find himself'. With the highway ahead, the hirsute figure sees a world out there- cars, planes and modernity are all waiting to be seen. The crunching, catchy and stomping composition makes sure everything resonates and sticks: whether reinterpreting biblical passages or investigating modern-day responsibility and strife, it is a phenomenally fascinating number- showcasing Reverend Moon's full potential. Deeper Down continues where the previous number left off: that insatiable and rousing kick welcomes the track in. Looking at rebirth and new life; the dying grass gives way to a "brand-new lawn." With a distorted and grumbling backing vocal- injecting some Captain Beefheart-esque oddity- our hero looks at digging deeper down- to find something new- recycled and cliché jokes have all been told; all prayers have been exhausted- all plays have been played. There is a sense of weariness and exhaustion- everything new has been used and over-used; if you want to discover something rare and unique, you need to dig deep- the messages and lyrics can be applied to multiple situations. Perhaps musicians are not being ambitious enough; not breaking ground and making waves- if they open their mind and expand, then they can achieve clarity and uniqueness. Maybe human beings seem stifled and boring- if you want to make a change, you can do so. God Culture has a funky and intriguing opening- after some skipping strings, a low and echoed voice comes to narrate. Telling a story "2,000 years old"; the New Age girl met an older man- we all know what is being revealed. Not having a say (in what happens), the seed was planted in her soil- a witty and a little dirty, it is a stand-out thought. With a vocal that marries Beefheart's legendary and dark croon with Johnny Cash's velvet tones, you are hooked into proceedings. Unable to escape, Mary is trapped and confused: no immaculate conception, something darker and more violent is at heart- a seedy and unsanitary underbelly is being pulled apart. Avant-garde and crunching riffs give the song a dizzying and hypnotic feel- the track has psychedelic swathes that pulls your mind and brain in different directions. If what is in the Bible is true- the conception was immaculate; it was done right- then the truth is "some virgin's getting raped, each and every night." Keen to uncover the flaws in religion; uncover the plain truths and realities, the track highlights a religion that celebrates "predators and vultures." Aside from discrimination, horrors and inequities (Christianity espouses), we are now through the Looking-Glass- Reverend Moon's darkest fable is being told; the dark and determined voice is pouring out. Whether this is deliberate- using a different vocal sound to detach himself from the subject- or a character, you can feel the sense of hatred and anger come out- it puts me in mind of Tom Waits' distinct and determined growl. Mixing Waits, Beefheart and Cash into a raging cauldron of judgement and hell; no one cares what happens behind closed doors- "boys will be boys" and girls will be "drunken whores." Drinking with Jesus strikes you with its detail, length and story- God Culture overwhelms you with its brevity and effectiveness. Two contrasting sides of dark themes, I was staggered that any song could top Drinking'- it just did. Belching, groaning and drunkenly swaggering, the song is a psychotropic is an unforgettable and direct missile- it will be hard to lodge it from your consciousness. Well enmeshed into the final third, Singing The Blues arrives next- it is a lighter and unexpected turn. Our hero's voice is relaxed and romantic: with a sweetness, he is backed by a gentle and swaying guitar. People have been signing the blues for years; since people been singing, "brothers been singing the blues"- sisters too. Stating that these people would rather be happy, it is said they don't get to choose- the melody and vocal delivery is one of the most impressive and stirring so far. Letting his words gently sway; the song's distinctly emotive resonance and projection makes the lyrics stand out. A subtle and tender number, our hero turns in his most emotive vocal. Looking at the father than uses all his crops; the young man "gunned down by the cops"- mothers have been singing the blues all these years. Haunting and still, you sit and let the words take you in- it is a stunning and spine-tingling song. When God Don't Love Us (Like The Devil Does) arrives, you need a moment to clear your head- having witnessed so much; been initiated to some truly divine offerings, you wonder what could possibly come next. Deranged and pulverising beginnings give you no room for doubt- here is another kick-ass and urgent slice. Fuzzed, distorted and panicked, the compositions rushes and runs; Beefheart brilliance lingers- another song decrying the gift of God has arrived. He waits until we are in our graves- to speak to us; offer a home- when we die and are reduced to ashes; if God won't take us "the Devil must." After the plain-speaking and recidivism that lingered (in God Culture), our hero employs more scepticism and disillusioned truth- why would a loving God not protect us during life; only rewards us after death? The ecstatic and yelling compositional bursts add urgency and spike to events- there are a lot of people buried underground; you wonder whether they could possibly have transcended to Heaven? If God is not there- unwilling to embrace the departed- the only way is down: the Devil has a warm and fiery shelter. The message conveys a sense of harsh truth: we still have rape and war; pain and hunger- in spite of what you believe, these things go on without intervention or retribution. The reality is that "sex and drugs are all we got"- a religion with nothing but truth (and uplifting) and redemptive potential. The Devil provides contraband goodness; sexualised pleasures and temptation- all the richness and satisfaction one could hope for. Flip it against wars, terrorism, pillage and famine- are we making the right choice? Whether saying that faith- is at best- a zero-sum game; or that it is best to not pin your hopes on salvation- the song certainty wins you over. Leading us nicely into the finale, it is a tight, muscular and rebellious mandate- with a beating heart of heretical Rock 'n' Roll. Drawing in the most demonic and whiskey-inflamed moments of Tom Waits, the primal and terrifying Apocalypso arrives. The next door girl is introduced; with a myriad of images coming to play- foreskins, sex-smelling objects, toenails (and all manner of lasciviousness) the song has a staunch and unforgettable lust. That Beefheart-esuqe vocal- that synonymised God Culture- is the arbiter of downfall and disease; recklessly preaching about seedier avenues and twisted scenes. In this place, the TV screen's static is a "perpetual motion machine"- the entranced and overwrought guitar wail gives the lyrics a distinct and alcoholic kick. In an Alice in Wonderland-esque delirium, the world is crumbling; the walls are flying- we are taken to San Francisco where a whore "warms the room"- the Beat Generation and beatnik hero pounds the sidewalk; ensconced by "Kamikaze moths" and the peculiar vibrancy of the surrounding. Whether the result of an acid trip; the psychedelic and Salvador Dali-esque portraits seem like the fevered last moments of the world- the apocalypse is nigh; destruction is close. Underground clubs, grunge and blind swagger are introduced (by that hypnotic and preacher voice)- with all the potency and darkness you could imagine; the howl of sex rolls with the rumble of beasts- what magic was created when they "split the atom"? The stream-of-consciousness outpouring look at city streets with "diamond dogs"; prophesying nut-jobs and roaring engines- mangers of straw and whores seem commonplace and quintessential. Religious proclivity and sexual twists conspire with crying men and broken souls; Mary's breasts and God's images are presented- trippy and distorted sights rampage. Country, Blues, Bluegrass and Psychedelia conspire in an epic and grandstanding finale- one of the most haunting and effecting songs you are likely to hear. In the final moments, an echoed and elongated vocal mixes with eerie calm; introducing lines from Singing The Blues, the crawled and slow-paced vocal is a wonderful and unexpected moment- you feel a sense of shiver as the song ends. After such a raw and visceral experience, you lose your breath- glad that you can reflect and escape the potency of proceedings.

It seems that every time an album arrives, the game is stepped up: something unbeatable comes along- new music is breeding some phenomenal and amazing works. Reverend Moon has released one of the most immediate and essential albums of this year- a few of the numbers are among the finest I have heard all year. Some of the numbers may put you in mind of Dylan; that is no bad thing- there is no intention to mimic or overthrow the master. What Coyote Gospels does is to instill some of Dylan's particular moments- the anger and apocalypse of his early work; his Christianity works towards the '80s; some of his latter-day wonder- around songs that cover a spectrum of subjects- religious truths, Satan and God; strange and weird dreams; dangerous street scenes etc. With the exception of a couple of songs (Drinking with Jesus and Apocalypso particularly) the numbers are short and concise- they get to the point and say their piece with regard for economy and brevity. The longer tracks are some of the best- Drinking With Jesus is an insanely gripping and memorable story; something destined for the big screen- a song you will be quoting endlessly. Looking at murderous avenues and disreputable evil, it grips you and haunts your soul- how many other tracks can do that? Apocalypso is the album's intense and mesmeric swan-song: haunting and dark vocals; phenomenal and vivid scenes; beautiful unpredictability and diversions- it is the distillation of all of the album's themes and sounds. Not everything here is heretical and anti-religion: there is positivity and spirituality to be found; the messages rally against the pitfalls and realities of Christian teachings- pointing out the shortfalls and ironies. The songs are all original and distinctly unique: no other act has presented 13 songs that sounds and play like this- I sure as hell hope that another album is coming. Like his countryman legends Neil Young and Leonard Cohen; Reverend Moon mixes an evocative and stirring voice with intelligent and witty songs- that explore love, life and religion. The early numbers- that look at animal uprising and overthrowing- are quirky and stunningly strange; unlike anything I have heard, they are filled with wonderful images. When proceedings look at death, religion and questioning; the album becomes profound and investigative- some of the most pertinent and stand-out lyrics are elicited. When that undeniably strange and Beefheart-y voice comes to play: not only are we treated to some of the legend's eccentric and brilliant oddity shines, but the album's finest tracks are unveiled- God Culture is one of the most direct and unforgettable songs I have been treated to for a long while. Having investigated Rehlinger's other works, it is stunning to see the development and difference- not keen to repeat himself, this is a much more focused, muscular and impressive work. The master of sonic innovation and intrigue, there is no a flat moment or insincere thought on Coyote Gospels- it is as dangerous, imperious and wonderful as the title itself. Before I investigate Reverend Moon in closer detail, I will sum up the album- as best I can. It instills the spirits of Dylan, Young and Cohen- the masters of the '60s and '70s Folk movement- and rustles up comparatively deep and spellbinding songs. The sights of visions and dreams has psychedelic edges- Beefheart and Frank Zappa- and give you an insight into our hero's haunted mind. Plenty of beauty and restraint shows its pride: Singing The Blues is a gentle and mellifluous beauty (with some unforgettable lyrics to boot). You see the tracks whizz by; the music is so fast and potent- you want to replay scenes and songs over and over. That mix of weight and huge epic grandeur is counterbalanced with some introspective and ghostly moments- the mixture is a heady and incredible fusion. Reverend Moon is a name that you need to follow now: I hope that a Facebook and Twitter account does come- give fans a chance to connect with one of music's most potent and important warriors. Having an air of mystique and detachment, the songs have an extra layer of curiosity and meaning- you fill in the biography and details as you go along. Perhaps wanting to ensure the music does not get buried with the shallowness and unimportance of social media and 'likes', a rare bird has flown: one that wants the music to say everything that is needed. It would be terrific to see more work from Rehlinger; knowing that Coyote Gospels is the result of 20 years of hard graft- we may way a little longer. His voice is that which instantly grabs and mesmerises: imbued with the flair of Dylan's croon and gravel, it has passion, energy and force to it- mobile enough to fit into a variety of scenarios and pieces. Displaying more flexibility than Dylan, so many colours and layers are evoked- making each song filled with life and meaning. The songwriting shows a clear amount of hard work and discipline. You can tell the songs aren't tossed-off and hurried: the detail and quality of each track could only come from a writer that wants to make sure everything is as good as it could be. So many new acts are under pressure- the public want music as soon as possible- that disposability and short attention-spans have taken over- when albums like Coyote Gospels arrive, it should change people's way of thinking. Swaggering, alluring and bomb-blast Blues compositions sit with Bluegrass rushes; Folk beauty and stillness; deranged and unsettled Psychedelia- nothing is scattershot or fragmented; it is solid and rounded. The exceptional production values bolster the vocals and compositions: everything is clear and atmospheric; no chance for misinterpretation or slenderness, the music is given proper room to shine. I was not expecting to witness an artist like Reverend Moon- I am so glad that I did. Not only am I going to be replaying the album- until Doomsday- but have been inspired to write myself. Some of the cuts provided are strong and emphatic enough to get the mind racing; compel the pen to scribble and dream- if an act can do that, then you cannot fault them. If you have not heard the splendors and brilliance of Canada's hardest working musician- ensure that you check it out in its complete beauty.

In addition to having been introduced to something special and unique; Reverend Moon is an artist that deserves a wide and hungry audience. Having worked so tirelessly on Coyote Gospels, the time and effort has truly paid off- it is one of the most deep and emotional albums available. With a voice that mixes wisdom, maturity; passion, fear and strength it is an instrument that makes every song rich and fascinating- the weight and urgency that is directed at the listener means the tracks grip onto your brain. The songbook is full with myriad themes and sights: personal heartache and confessions; religious images and tableaux; death and mortality; bonding with Jesus and the Devil- how many other albums can you find these particular blends? That is not to say that Coyote Gospels is a heavy and angry work- the testament of a man rallying against the world and finding answers in detached realms. Reverend Moon has had a hard road to where he is now; struggled and encountered plenty of pain- his L.P.'s thirteen tracks are the writings of a human being with a distinct and intelligent musical mind. Never projecting a suffocating or smothered sensation, the music is rich and emotive; filled with plenty of light and open moments, it is the sort of album that everyone should investigate- embers of some of the '60s finest records come to mind. With the current scene being filled with so much empty and stupefying inconsequentialness, the artists that matter most- providers of the finest music around- are not getting as much recognition and safety as they deserve- something needs to happen to ensure they do not suffer or die away. Canada is at the forefront of something quite astounding: an underrated and overlooked avenue for music, the nation is showcasing some of the world's finest and more confounding musicians. Housing a rich and rewarding music economy- which promises rewarding links and bonds- the country is giving more than it is taking- providing the world with some truly astonishing sounds. Whereas bands- Canadian artists- like The Dirty Nil and JEEN have their own distinct and exhilarating sound, Reverend Moon stands out from the contemporaries- it is incredibly hard to compare Coyote Gospels to much else out there. Rehlinger's mixture of heretical hymns and apocalyptic epics is a breath of fresh air for music- anything that provides such an original and unexpected reaction should be subject to mass appeal and regard. I hope that the Canadian manages to see his special blend of song translate across the ocean (to arrive in the U.K.)- there is such a gap in the market that we need more acts like him. Europe and Britain have very few artists that summon a comparable wonder- make sure you do not overlook Reverend Moon's magnum opus. Building and being developed over the last 20 years, you would imagine his album would be over-rehearsed and overdone- what comes through is a body of work that sounds fresh, alive and of-the-moment. Being involved with Toronto Psychedelic/Space-Rock band Moonwood; Rehlinger has built a reputation throughout Canada- few people may be familiar with him in the U.K. Reverend Moon remains a little bit of an enigma- familiar and seen (in his alter-ego projects of Moonwood and Babel), the mysterious icon projects his essence and personality through his music. This review contains fewer photos and links than you may be used to; the music is the most important thing on offer, but you wonder whether Rehlinger will give the world some Facebook/Twitter insight. Coyote Gospels is an album that hits you in a number of ways: it compels you with its fascinating sounds and stories; it also makes you want to know more about the hero. Coming across as a stunningly curious figure, it would be good to think Rehlinger will bring his pastor to the U.K.- entrance and seduce the London audiences; bring his intoxicating musical potions to our stiff upper lips. Being secluded from such cosmic and spiritual scenes; trapped inside a more conservative sonic world, Reverend Moon provides a cherry bomb of heady scents and phenomenal stories. Capable of attracting lovers of Dylan, Beefheart and Cohen- the Canadian is going to hit a lot of hearts and minds. I hope that his next L.P. comes along sooner (than 20 years); that some more material comes from our hero- in the next couple of years. An itinerant and ambitious musician, Rehlinger has his creative mind in a number of places- it does not lead to diffuse attention or reduced quality. All of his creations are different and powerful- I would love to see a follow-up to Coyote Gospels. With music proffering so many false idols; beholding weak and uninspired leaders- we all need some guidance. Reverend Moon has overcome a great deal; able to instill it into some layered and fascinting music, they are tales designed to inspire the unconverted. With no boundaries, secular limitations or rigid rules, they are songs...

EVERYONE can believe in.

http://www.youtube.com/watch?v=x4KFWjjjRRk&feature=youtu.be

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

____________________________________________________________________________________

Jakob Rehlinger's other projects/music can be found at:

 

Moonwood:

Facebook:

https://www.facebook.com/Moonwoods

Twitter:

https://twitter.com/MoonwoodTO

Bandcamp:

http://moonwood.bandcamp.com/

Babel:

Bandcamp:

http://babelmusik.bandcamp.com/

SoundCloud:

https://soundcloud.com/babel_ensemble

E.P. Review: Lightknife- Bad in Love

 

E.P. REVIEW:

Lightknife

  

Bad in Love

9.3/10.0

Bad in Love is available from:

https://itunes.apple.com/gb/album/bad-in-love-ep/id890497943

TRACKLISTING:

I Want You Back- 9.2/10

I'm in Love- 9.2

Heavy Heart- 9.3

Black Magic- 9.4

STAND-OUT CUT:

Black Magic

RELEASED:

23rd June, 2014

℗ 2014 Lightknife

GENRES:

Pop, Electro.-Pop, Alternative, Trip-Hop, Trance

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The Cornwall trio's (spoonerism nomme de guerre) shows what a mixture and sense of style lingers within Bad in Love. Lightknife unveil a four-track cut to uplift the soul; get the dancefloors blazing- cause superfacient delight and mesmerisation- they are on the precipice of an exciting eve- a name you should watch closely in 2015. On the basis of the band's current evidence, this summer-defining E.P. should be spun on every stereo.

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FEW people take the trouble to open their eyes...

and take a look around them. In the age we are in, eyes are cast down (and rarely make contact). Every street you walk down; you can be guaranteed that hordes of people are texting- whilst moving- without looking up- you have to jump out of their way to avoid knocking them over. Most people's eyes are covered by sunglasses; keen to avoid human contact, the sense of detachment and impersonality is growing- humans are turning into machines by the day. It is sorrowful when technology and Internet relations take the place of real contact and life- generations are getting sucked into machines and social media; bereft of the need to forge personal bonds. It is sad that this trend is extending into the music world: a great deal of new sounds tend to cast their gaze downwards- less personality and openness is showing itself in modern music. Whether rebelling against a sense of loneliness; a feeling of anger of resentment- too many musicians are pushing themselves away from the public. When bands and acts come along- that project cheerier and more open sounds- they should be embraced and celebrated. Sometimes upbeat and energised can equate to twee and annoying- it is a difficult balance to hit upon. I am not suggesting acts need to engulf their songs in washes of electronics, samples and vocal layers- hoping that force and relentlessness leads to pure elliptical joy- that can often come across as cloying and overly-eager. A lot of modern Pop suffers because of this; a great deal of songs are threadbare and minor- the compositions, vocals and lyrics are not strong enough to bond disparate bands of music worshipers. If you consider mainstream Pop and the examples on offer: how many artists do you relate and listen to? Personally, I find that very few- modern Pop acts- really strike a chord. There is just something missing from their artistry and attack. If you have a grand voice and sense of adventure, then you can avoid some of the Pop folly pitfalls- few current artists are capable of sticking in the consciousness. A lot of times the music they play is aimed at the young and pre-teen audience- those that do not possess a huge music knowledge; are distracted by shiny and hollow things; not mature and smart enough to embrace 'real' music. The genre is always going to pervade and grow- shameful as it is- because there is a market out there. It is true that this type of music pulls the listener in- and does not hide- yet the most effective form of the genre is Electro.-Pop and Alternative. These sub-genres are cultures that are breeding some of music's most exciting and promising acts. If you hear the reception the likes of Foxes and NoNoNo- both female acts- have garnered, it is enough to make you blush. Their music- and albums- are chocked full of inspiring and summer-ready codas; insatiable and deliriously catchy songs- they contain plenty of heart and emotion. Electro.-Pop is not just synonymous with rush and movement- intelligence, depth and sensitivity bring as much to the party as emphatically-charged swagger. Before I delve into this subject in a bit more depth, let me introduce my featured act:

Rosie Vanier

Lee 'Pixie' Matthews

Bubs Taylor

"It's ready to go and boy has it been worth the wait. Rosie Vanier's new electro pop project Lightknife is kicking off, bringing a vocal spectrum which ranges from sugar-plum fairy to the attitude of ESG. Rosie brings an energy to the stage which is sure to get the crowd moving. Her space age synth combined with the deep rich bass lines and pounding drum beats from bassist Pixie and drummer Bubs Taylor, the trio create a buzz and an atmosphere which will hook you in an instant. New songs, a fresh energy and the release of their Debut E.P. Bad In Love, this is a band you will want to follow. Come have a dance, tell your friends and find out where they'll be popping up next."

London Grammar and La Roux are two of this country's finest Pop and Electro.-Pop acts. The reason they are so lauded is because of their mixtures of emotion and fun. London Grammar's album If You Wait showcased Hannah Reid's amazing and distinct voice; eleven tracks that demonstrated what a force they are. Each number is packed with mesmerising electronics and samples; vivid and emotional stories; incredibly evocative swathes of light and lust- the songs perhaps have more emotion than you would expect; everything is kept compelling due to Reid's staggering pipes. La Roux has just unveiled Trouble in Paradise- showing why the genre is such a potent and important style of music. Critics have been raving about the self-assured nature of the album; how mature and fantastic the songwriting is- elevating diary scribbling into an elegant and high art-form. The album is filled with incredible tracks; emotive singing contrasts with tight and solid electronics- there is tragedy and pain to be found, yet everything is uplifted with light and a redemptive heart. Commentators noticed how lush and full the songs are; how the singer has grown in stature and confident- her latest album is the proud voice of one of the U.K.'s most important artists. This is what music needs: acts that project outwards and bring the listener into their mind- do not look at the concrete and check their text messages. Although acts like London Grammar and La Roux provide semblances of depression and heartache, there is ample beauty and hopefulness- the abiding message is adversity over pain. Lightknife- with their delightful spoonerism of a name- are a distinct act that are following in the golden footsteps of the likes of La Roux and her contemporaries. What makes them such an arresting act, is their mix of older and new sounds. I will investigate this more later; the sensation you get from their music is of a hungry and ambitious young group- that want to entrance and compel everyone that hears their songs. Lead by Rosie Vanier, the beguiling and stunning lead has an emotive voice that adds fizz, pizzazz, beauty and captivation into the music- each number mandates you to repeat it over and over (to get the full impression). Backed by wonderfully rich and spellbound compositions, the band are sure to have a long future- they are an act that have few comparables. Plenty of young and new Electro.-Pop/Contemporary artists come off a bit short: something about their music sounds jaded and impersonal. The mixture of male and female genetics; the commingling of beautiful allure and staunch conviction makes Lightknife so strong- that diversity and range comes through in their dizzying music. I am a fan of male-lead and male-only Electro.-Pop acts, yet find more to recommend when they are female-fronted- the vocals are more impassioned and more convincing; the heartache more compelling and open. The band has been recording for a couple of years now (and have grown in stature and talent)- Bad in Love is the vivid sound of one of best up-and-coming British Electro. acts. Hailing from the climbs of Cornwall- somewhat under-subscribed and populated when it comes to new music- they are one of the south's most promising bands. Whether it is their proximity to London- being a fair few miles away- or the freshness of their career; the three-piece are deserving of a much wider and diverse audience- I am sure it will be a matter of time before they achieve their rightful acclaim. With so many nauseated and saccharine Pop acts pulling in top dollar; almost as many Electro. acts falling by the wayside- you would do well to embrace and study an act that are so much more distinct and illustrious than anything out there.

Being that this is the band's mist defined and fully realised work, it is hard to hark back and provide retrospective investigation. It is a brave move to release an E.P. so soon in a career: the band are a treasured commodity in Cornwall, yet have lesser relevance farther afield. Although Vanier has performed in London and made a name for herself, her new moniker is less synonymous among the cosmopolitan clans of the nation's capital. Most bands- faced with the daunting prospect of obtaining creative avarice- would meekly present a single or cover version- try to garner some muted feedback and test the waters. I always love the braveness and boldness of the nation's finest: those that have an innate confidence in their ideologies and intuitions. Lightknife are no cut-and-past rank-and-file band; throwing together songs with no regard for quality and appeal. The quartet of tracks on Bad in Love sounds well-rehearsed and honed: there is enough breathing room for fun; yet a professional and astute solidity defines their music. It is clear that Lightknife have a passion for music and performing: the urgency and headiness that shines in their tunes is one of their biggest marketable points. For that reason, Bad in Love is the sound of a band keen to show the world what they have- flex their smile and muscles to prove a point; show just how fervent and honed they are. The tight and unflinching energy that they pervade is equalled by few acts; their flair and passion makes all of their tracks so indelible and tantalising. Vanier's gorgeously rich and evocative voice is a the quintessential weapon- the songs come across as deeply personal and utterly important. With an ear for style and substance (over numbers and length), the band ensure that the E.P. is controlled and disciplined- leaving the listener wanting more (after the final notes). The best way to judge the band is on their current output- rather than yearn back and see how they have risen/fallen. There is so much going on in modern music- new bands appear by the week- so it is apt to draw lines with what is being offered in 2014. Aside from Electro.-Pop forerunners like Say Lou Lou, La Roux and James Blake, the trio separate themselves from obvious comparison: their songs are distinctly their own whilst their sound incorporates darker and more primal underlings; emotive and sweet-natured profferings- insatiable and dexterous energy. There is till too much immaturity and lack of focus among new bands: songs tend to err too closely to primary school levels of literacy and intelligence- Lightknife have the ability to mix grown-up and mature themes with teenage concerns; ensure that everything sounds original and stirring- allowing no loose notes or weak lyrics to mar their potency.

Being such a new and distinct act, it is not fair to lump musicians like Lightknife in with others. For those looking for a guide or frame of reference, I could offer a few names- to give you an indication of who inspires the band; where some of their sounds originate. Two initial names I will offer is Shakespeares Sister and Goldfrapp. Scoring high on the trio's influence-o-meter, the diverse acts are rightful legends. In so much as Vanier elicits some of Siobhan Fahey (Shakespeares Sister's lead) and Alison Goldfrapp's sense of quirkiness and individuality; that honesty and lack of fear- when it comes to emoting. Shakespeares Sister's Hormonally Yours (released in 1992) sees Fahey's deep and near-masculine vocal give life and huge conviction to her songs. Lightknife have an element of this in their music: Vanier's voice is one that is beyond easy comparison- her unique and striking voice has character and vitality; able to define and augment everything she sings. Imbued with a sense of drama- yet no melodrama- she can marry bouncy and resilient with flawless Pop moments. Whilst the band do not turn out anything like Stay or Goodbye Cruel Word, they ensure that every song is instant and engaging- there is not a number that passes you by or does not entice. Goldfrapp's Black Cherry is the best source of reference- when ascribing Lightknife's current movements. That album- from Goldfrapp- moved towards a mixture of retro and modern Electro.-Pop music- the results are splendid. Vanier lets her personality shine and come through- it is one of the most impressive facets. Able to switch between cool hauter and alluring seduction, it mingles beautifully within twisted and distorted synthesisers- animatistic and primal at times. Goldfrapp take in a lot of '80s influences like Gary Glitter: they mix bygone sounds with very modern and fresh elements. Lightknife build on this principle: drawing past masters into their palette, their aural assault is enough to impress chill-out fans and classic Electro. acolytes- just like early-career Goldfrapp did. If you are looking for something a little more contemporary, then Britney Spears and Kylie Minogue (may be pertinent starting blocks). In moments of Bad in Love, you catch glimmers of Spears' distinctive growl and kittenish purr- Vanier is capable of whipping up such a huge amount of sexuality and womanly luster; able to switch to something more calmed and sweet when required. Spears may have left her best work behind her, but it is clear her music has had an effect on the Cornwall Siren- her voice needs no Auto-Tune or processing- that delicious and insatiable voice is all her own; the naturalness and distinction makes the music so much more convincing. Minogue is a name that sprung to mind. Embers of Light Years/Fever-era Kylie came to my ears. The shiny mix of classic disco and modern-day Electro. made songs like Spinning Around and Your Disco Needs You such stand-out cuts; gorgeous Dance music mingles with effervescence and perfectionist songwriting. There is no syrup or inconsistency; each song from Lightknife has commercial appeal and does not drop a step- it marries the youthfulness and glory of Minogue's early days; tying it to the passion and quality of her 'comeback years' output. Instilled with more maturity and lyrical quality than Minogue- and her factory of contributors- I cannot help but to mention Massive Attack. Their fearless and pioneering mix of synthesiser, electronics and Trip-Hop prowess defined them as one of the most important bands of the '90s. If you look at Mezzanine- the best album since their career-defining Blue Lines- that albums possessed fuzzy guitars; eerie atmospherics and classics destined for the clubs and beaches of the word. The band managed to fuse light and dark elements; there is distorted bass and singular intentions; memorable tunes and a seemless blend of low-tech come-down (and rampant flame-out blazers). Lightknife similarly pack a range of emotional clout into their music: the production is excellent and superb- the compositions packed with menace-cum-enlightening beauty. Blues Lines contained bold, symphonic and grand textures; songs that look at loss and disconnection- the songs inspire creative bursts; the language and vocals pour out colours; the mantra-like (and repetitive) codas motivate the mind. Whilst not up to the faultless genius of the 1991 masterpiece, Lightknife create songs that bond upbeat and moving dancefloor jams with scene-stealing vocal highlights- mixing a myriad of genres and touches into a defined and taut collection. Two contrasting names I will throw in are Kate Bush and The Kills. There is a whisper of Bush's unique eccentricity and personality in Vanier's vocals. She has that same girlish and child-like curiosity in her voice; able to prick the heart with her crystalline and delicate gift; summon a masculine burst of raw energy- cover such an emotional spectrum with as few notes as possible. Bush's phrasing and delivery gave extra layers and nuance to her tracks; Vanier has her own inimitable and distinct ideal: she makes sure her words are never boring or meagre; the life and lust she gives to them makes sure they burrow into your consciousness. That ethereal and spectral beauty- Bush defined- can be found on tracks across Bad in Love. If you look at the U.S.-U.K. duo The Kills, that grit and Blues undertone can be seen in Lightknife. The Cornwall band are capable of minimalist and monochromatic sexiness and introspection: among their colourful tapestries; foot-stomp, sexy-as-f*** beats mingle with sass. The band accompany Vanier's glitter-cum-dirty vocal allure with some springy and bomb-laden electronics and guitars. Albums like Midnight Boom contained passion and plenty of style: an album more concerned with conviction- as opposed to cool- it is the band's most varied and wild album- with such a range of emotions and sounds, it fuses Punk, Blues and Pop into the blend. A few more names I want to mention are Moloko, Marina and the Diamonds and No Doubt. All quite unique and different, Lightknife instill an essence of each into their make-up. No Doubt's party spirit and hell-yeah conjecture shines in Bad in Love. The energy and rush the band summoned in Rock Steady can be applied to Lightknife. No Doubt broke out of their prison: summoned a hook-laden and tight Pop record- something unique and adventurous came through. Credibly mixing Dance, New-Wave and Pop, the album is unpretentious and mainstream-ready- qualities that Lightknife project. Vanier has a semblance of Stefani's imploring and come-to-the-party voice: less Californian and Americanized, it has a British passion that implores the listener to lose themselves in the majesty of the music. That sense of pride and fun made Marina and the Diamonds (and Moloko) such quality acts. The Family Jewels (from Marina') saw savviness and discernible maturity coexist with considered and well-defined methodology. Like Marina and the Diamonds, Lightknife expertly update and introduce '80s Pop and Dance; late-'90s Rock with some distinct and personal lyrics- wrapped in a bright and uplifting skin of song. Moloko's swing and seductive sway was highlighted in I Am Not a Doctor: an entertaining and delirious collection that marries wit with emotion. Wonderfully blending musicianship quality with vocal freedom and effortless, the record was a step up for the band- it appealed to the clubbers of Ibiza in addition to the laid-back musos of London. Lightknife have a similar inter-continental strength and sense of quality: their music is fun and alive without losing the importance of maturity and restrain. Before I move on, I want to end with two particular names: Soft Cell and La Roux. Soft Cell are idols of the band. If you look at Non-Step Ecstatic Dancing: the album is packed with energy and endless movement- quite a mesmerising and appealing prospect for a young band. Soft Cell's early work was defined by chilled and icy beats; rushing and insistent moments- bolstered by Almond's charming and insatiable vocal. Lightknife elicit some of the band's grandeur and potential: their latest offerings see them carve out modern-day Dance classics- minus the lasciviousness and plaintive edges. The best modern-day proponent of Electro.-Pop is La Roux. Her diary entry tracks let us into the heart and mind of a fascinating songwriter: self-assured and eminently influential, the crackling and fizz-bombing delivery sees her songs of heartache come alive and resonate; her most startling and feisty mandates lodge into your brain- the combinations and mixtures are intoxicating and wonderfully realised. Lightknife know the importance of these components and considerations: energetic and spirited vocals are nobly supported by deep, devilish and pushing compositions- making their songs as rounded and impressive as any out there. Of course, you should not compare the band (directly) with anyone else. They make music designed to be new and fresh; unexpected and vital- that is exactly what is achieved in Bad in Love.

The virginal moments of Bad in Love arrives with a dizzying and infectiously hypnotised coda of electronics. Punching a Morse Code of temerity, the burbling and firecracker embers spark the song into life- the Faraday cage on which proceedings are ensconced. I Want You Back- in no way will it put you in mind of the Jackson 5 equivalent- then evolves into a roaring and stumbling beast: a primal pounding of percussions permeates the light; bonding with the elliptical refrain, the two fuse into a symphonic- and oddly harmonious whole- mixing elements of '90s Hip and Trip-Hop with of-the-minute Dance vibes. The electronic backing- spiralling and gleefully grinning- has the sound of a video game soundtrack: with its retro skin and helpless charm, it provides a fascinating counterpart to the rambunctious and unshakable drums- clouding the mind and unnerving the senses (with its psychotropic intent.) When our heroine does arrive in the fray, she provides some measure and calm- although her voice has an element of bold proclamation. Stating that the rules have been changed- the game has developed. She wants her man back- whatever has led to the initial sensation is not weighing on her mind- our heroine wants to invoke a romantic dispensationalism; get things back on firm ground. With a resonating tone of Britney Spears- the finest cuts from her self-titled album come to mind- the vocal is empowered and determined. Sans any form of manipulation, our heroine is not going to be messed around: whatever the tongue-wagging masses thing, it will not detract from her goals- the wisdom of crowds does not apply here. Backed by an invigorated and meteorological downpour of a back-beat, a tattooed and rebellious kick is swung in- bolstering and jostling for attention. It doesn't matter what the people say; whether this decision is sagacious or naive- this is going to happen. Showing no signs of pusillanimity, our heroine's voice rises in the chorus- quasi-operatic, the serene and ethereal rise is impassioned and hot-bloodied. A woman who knows what she wants, these desires are augmented and emphasised by her band mates: the primitive and smash-and-grab percussion acts like a continuous lightning storm- you imagine Vanier standing in the rain, volumizing her mandate like a bellicose slogan. There is biological division- among the listener- when presented with the sonic blends.  Your heart stays with the heroine; rooting for her and following her plight. Your mind and feet are directed towards the trouncing backing- rousing your body in motion, it is an avalanching and Stone Age smash. With its soul rooted on the dancefloors of the country; the soundtrack to beach parties and late-night get-togethers; the seminal festivals and events- the song is a potent and insatiable brew that never desists. The lyrics suffer no ambiguity or lack of clarity: our heroine wants her man, as he is "everything I need"- nothing has changed in that respect. Whether she is swallowing her pride or negating the minor indiscretions of their past life, her renewed faith and lust is infectious- the vocal is a riot of licentiousness. The chorus gets you singing along in unison- its simplicity and effectiveness means it will be chanted and repeated in locations across the land. That '90s U.S. Pop-cum-modern-day Electro. vocal is imbued with as much power and kinetic energy as you can imagine- few other vocalists are able to summon a comparable strength and directness. Repeated with intention- ensuring her man knows how meaningful she is- that chorus comes play to play- building momentum with each spin. The track may not be able to recruit those uninitiated to the genres (being represented): the sheer pace and fervency of I Want You Back will win over the most unmotivated of listener- its fresh and current sound will be snapped up by Dance aficionados. Perhaps having expended all her energy and focus on getting her message across, the final moments are a string of chorus reappraisals- the brevity and economy of language means the song is not bloated or pretentious; it is lean and sharp. Being a bigger followers of Grunge, Indie, Desert-Rock and such, if someone had described the track, I may have briddled- perhaps clicked my tongue and thrown my head back in derision. The emphatic mix of beauty, passion and raw sexuality is hard to ignore or shrug aside: by the final stages, it is amplified and mutated. The composition comes to shine- in the winter moments- offering up a ragged and rage-induced clatter of notes and beats- representing the inner burning and sense of longing. Having been intoxicated by the insane catchiness of the chorus, your mind is diverted- not for too long- to the urgency and motoring swagger of the outro.- something that dies down to a splutter in the last seconds. I'm in Love begins its course with a similar projection to its predecessor: up-swinging electronics are designed to evoke movement and energy right from the off- embodying unrepentant joy and positivity, it is a whirlpool of multifarious lights and sights (something that does not starkly uncouple itself from I Want You Back). Perhaps the logical next chapter, the song sees the relationship solidified and consecrated- our heroine's mind is more rested and satisfied. Vanier is walking around in a daze; her feet not touching the ground, there is a definite feeling of spiritual levitation. Perhaps having struggled to find a suitable paramour, the relief and cool-edged vocal has a measure of caution- perhaps something deeper has not completely quelled doubts. Our heroine is "so amazed that I'm understood"; whomever her man is, he has acted as a redemptive and medicinal force- balming wounds and easing heartache. Paying tribute to her boy- pushing any hesitations to the back- the vocal expands and opens up: breezier and more jubilant than before, the delighted and upbeat voice puts me in mind of acts such as Kylie Minogue, Kate Bush and No Doubt. Vanier pick 'n' mix of breathy sensuality, girlish and sweet sigh and full-powered soulfulness gives the track a deep and layered feel- every note is natural and subjugated; she is free to move in the composition. Less foreboding and dominant than previous, it acts as a supportive hand- lifting the foreground and ensuring that trepidation does not creep into proceedings. When the chorus comes, that proud and thankful stun makes it voice heard- there is no sarcasm or ingeunine spirit; there is pure satisfaction at work. Maybe some of the chorus' words get a little buried in the mix; it does not cause any devaluation at all- the pure strength of the projection wins you over. When our heroine finds herself "floating around", you helplessly imagine a tranquil and blithe spirit: someone entranced in the grip of a romance- anyone trying to find any cracks or cynicism may go away disappointed. With that authoritative mix of early-career Minogue; dashes of classic Pop and Electro.-Pop figures, the song has a gender-blind appeal- it is aimed at a universal and ubiquitous market of fans; not just for the girls. When the delirium and enrapturement of the chorus subsides, the atmosphere does not diminish. Replacing outright energy with a more focused central vocal, our heroine calls out to the world (or perhaps her man). Asking whether she is being seen and heard- you sense it is intended for her current sweetheart. Perhaps not taken seriously in the past- leading you to believe is a continuation of the opening salvo- she is firm and authoritative. Wanting to be an equal partner (and not the object of deceit), the mood introverts and darkens slightly- seriousness and intent make sure the words are firmly understood (and hit home). The stern missive does not last too long: before you know it, the chorus swings back around- the band showcase how a strong and indelible chorus can elevate a song to giddy heights. Genetically infusing smokes of legendary Pop and Electro. acts- into a very fresh and modern body- you get a track that has a definite mobility. Able to succeed on the dance-floors and clubs; capable of seducing sweaty stereos driving down sun-drenched highways, it sunny disposition means its appeal and charm do not tire- I can imagine the song is (or soon will be) a live favourite. After the jubilation and satisfaction of I'm in Love; Heavy Heart would lead you to believe that the smile may soon fade- the opening mandate certainly differs from its forefathers. The electronics and synthesised sounds are darker and more moody- throbbing and sorrowful, a grand swathe of charcoal velvet presides over events- bringing to mind the likes of Soft Cell and Massive Attack. Whereas the first two tracks got underway with an explosion of rush and intention, here there is more consideration for pace and emotion- the composition dims and quietens; it rises and comes back for more- that unnerving and unpredictable sense of drama takes your mind in all sorts of directions. With the kind of tribalistic pound- Blues Lines-era Massive Attack would snatch up- the electricity levels reach unpalpable levels. When our heroine comes into the song, her voice is more reserved and deep in thought- the E.P. starts to play out like a conceptual piece. Assumingly representing the same hero- as featured in the opening numbers- the relationship has taken a turn for the worse: walking away from a fall-out and fraught moment, it seems that cracks are starting to appear. Whether repairable or not, the heroine sounds more emotional and fragile than before- the effects and aftershocks are shaking her soul to the core. Her man said that he could live without her love; resentful that she has to "start again", the romantic odometer has been reset- perhaps the intransigent stubbornness of events means there is no way back. It seems like her man is at fault: unwilling to fight or explain things, an ultimatum and irreversible gauntlet has been thrown down- our heroine is walking the street; her mind a maze of what-ifs and confusions. In spite of the upsetting series of events, the vocal does not allow itself to wallow in grief: displaying that legendary prowess and belt, Vanier shows just how strong and unflappable she can be- when gripped in the regal emotions of music. The composition has an interchangeable and evolving drive: when scoring fractious and mordant realms, it is appropriately petrichor and suffocating; when the chorus brings some lighter elements, the sonics energie and rejuvenate- a myriad of fizzes and rushing electronics. Our heroine builds her voice in a chorus of "oh oh oh"s- stating that (her man) knows the truth, she is at the negotiating table- trying to hash out some sort of compromise, she does not want this thing to end so soon. Despite what has come before, the heroine is alive with a brand-new heart: perhaps the blame should be put squarely on the shoulders (of her boy). The circumstances of the break-up are not explained or highlighted: needing to rest and build her life back up, the passionate energy keeps the song buoyant and gripping- Vanier showcases how much lung power she has when rising (in the chorus). Letting her distinct and unwavering vocal potency allure and overpower, the composition matches its essence and incandescence. Just as the song's sense of restraint and balance becomes untenable, the high-aiming waterfall is drained into a calmed reservoir- the intro's burbling electronics come back into play. It acts as a brief and sprite parable; aimed as a chance to take a deep breath- from under the harsh and deathly waters- the kaleidoscopic hornets nest (fuzzing) electronics return- with that striking and stirring chorus in tow. Explaining that it's "always you"; you wonder whether that means (the man) puts himself first; or whether our heroine will think of no one else- you get the impression that her guy should not walk away. Perhaps there is chance for mediation and rebirth; the love seems too concrete and entrenched (to capitulate so readily). There is no such thing as 'true love'; there is such a thing as noble and honest love- our heroine is in the fevered grip of a mass of contradictions. Having once more grabbed your attentions- with the composition, passionate vocal and honest lyrics- the E.P. begins to intrigue on two different plains. On the one hand, the songs get better and more assured; the motifs more fascinating and rounded- leaving you salivating by the swan-song. On the other hand, there is a clear and developing story-line: from the initial come-hither seduction call, it progresses to full-blown passion and delirium; transforming into something more fragmented and battling- the scars start to show, but there are still chinks of light and possibility. How your thoughts and guided depends on what the intro. to Black Magic sounds like. Giving the listener no time to evaluate, our heroine's voice is clear and sharp: wordless rises replace sonic threads- her voice acts like an instrument that crackles and bubbles; rises and falls; putting a sense of mystery right into the track. It seems the soul will be cleansed and restored after all- this black magic is something not to be feared. In bed- with her man lying next to her- he is doing "what you do"; normally the subject of daydreams, her fantasies are being realised- it didn't seem possible up until this point. The track has a curious and detailed mixture of sounds and (possible influences). Those essences of mid-career Britney Spears have weight in some of the vocals; the rushing and heady composition takes in the likes of Moloko and Goldfrapp- current examples The Klaxons are in there. With words that have half a mind in diary pages; half in the vitality and unrehearsed rush of the heart- the lyrics mingle simple pleas with more descriptive and evocative scenes. It is said that the lovers cast a spell (on one another): that is the real nature of black magic- something intangible but very real. The composition chugs and rifles: the electronic machine dances and stomps; twirling a whirling dervish, the conjoining of brooding undertones (with merriment highs) is endlessly fascinating- it is perhaps one of the most well-rounded compositions on the E.P. It is clear that the passion felt is very engaging and direct; in the back of her mind our heroine has some swings and lows. She tells us that "I'm up and then I'm down"- one day she feels young and inspired; the next aged and sad. Her heart is spinning around thoughts; sitting in the dark, the euphemism for love is causing contrasting and conflicting feelings- not everything is as rosy and perfect as it could be. That said, the enthusiastic and unerring delivery keeps everything elementary and upbeat- even during the most introverted moments, the power of the song does not loosen. Incapable of insouciance, our heroine knows who she wants- and exactly what she wants to achieve. Imploring her man to "lay down next to me"; the pace contracts slightly- the vocal come more into play to emphasise the meaningfulness and seductiveness of the words. Tease and succinct talent mean that verses are kept brief and to-the-point: having laid down her impressions, the chorus swirls and pours down- the sharp shower returns to take you mind into the sky. Additive and compelling, the track steals the highest honour- it is the perfect way to end the E.P. As the final moments present themselves, you speculate as to whether the relationship fully resolved itself; if complete satisfaction was obtained- maybe we will see it continued in the next release? Having encountered such a heady rush of an E.P., you are left to piece the pieces together- I hope that the heroine was happy and contended by the very end. I adore the way the songs each have their own story within them: following the plot-line from the (tentative and alluring) beginnings, we come full-circle- with her man in her arms, the relationship should work; it will require compromise and patience. Having packed so many strands, sounds, genres and themes into four songs, you find yourself amazed at how confident and ripe the band are- few other new acts are capable of producing an early work with so much conviction and professional authority.

Quite a lot to take in and reflect on- when listening to Bad in Love. From the initial notes- the first whispers of the band (and their music)- you are grabbed in and pulled asunder- your brain and body is entrapped in a delighted rictus of immobility. Such is the sheer force and perpetual motion elicited, the tracks do their bidding with expeditious accuracy. Barely wasting a word or note, the quartet of songs are dispensed with in a terrific flurry of bonhomie, passion and inner-vision longings- by the final notes of Black Magic, your mind seeks more (from Lightknife). The spellbinding effect is created due to a number of different reasons. Each of the four songs is tight and focused- they clock in at several minutes; never outstay their welcome- are imbued with such a complete and emphatic performance that (if they would longer) it would ruin their appeal. The choruses are infectious, endlessly catchy and memorable- I am still singing the chorus from I Want You Back! The songs do tend to be chorus-heavy: they are reintroduced and repeated in order to summon the greatest sonic effect- burrow few words into the brain; creating minaret scenes and distilled wonder. The transitory verses pack plenty of clout; making the brain race and imagine, the lyrics are vivid and heart-aching- at times- enthralled and delighted the next. Never succumbing to naivety or infantile offerings, it is a compelling and impressive songbook. Before I applaud the trio themselves, it is worth noting the songs- and the styles of music they fall under. Lightknife have created an E.P. which improves with each fresh number- the opening salvo is strong and instant; the songs then open up and expand; become more evocative and atmospheric as they go on. This neat trick is tantamount to a stroke of brilliance by the band: if this quality consideration had been transposed- if the tracklisting were reorganised- a disjointed and weaker collection would have been provided. Playing out like a concept/story, you follow our heroine (and her man) as they embark upon love; see it fall- before picking things up and finishing concessionary solace. If you are not a fan of insistently upbeat and energetic compositions, you may seek out something more reserved and demure- the unquenchable drive and pace may not instantly hook every listener. Bad in Love is an E.P. that will hit a certain percentage- upon the initial surveyance- reveal its beauty and full potential to others- when the disc is repeated a few more times. Proffering faultless love, impassioned and delighted happiness; jilted and anxious recrimination and discombobulated anger- the quartet of gems deserves wider regard and study. Being more inclined towards the likes of Queens of the Stone Age and Radiohead, Lightknife marked a bit of a departure for me- their particular blend of Electro.-Pop and Alternative has made me rethink things (and broaden my regards). There are touches of Pop queens such as Britney Spears in certain parts: whether you are a fan or not, Rosie Vanier's original and heart-breakingly pure voice will convert you- make you fall in love with it. It is the genre-splicing and cross-pollination that perhaps impresses most. I have mentioned some sources of influences- in an early paragraph- and each name comes to the fore (in some form). The bounding and primeval beats (and dangerous electronics) Massive Attack perfected- during their regency- lingers in (the E.P.'s tracks) to give the music a dark and edgy brood. Mixing classic '90s Dance with modern-day Trance, the compositions see swelling and cinematic snatches infusing with symphonic and demonic beat-downs. Unconnected acts like Soft Cell and No Doubt see their essence instilled within the numbers: that hard-hitting and stirring Disco/Electro. concoction is as prevalent as good-time and upbeat party swing- the tracks are uniformly capable of getting each listener to their feet to show their appreciation of the beats. With an entrancing and multifarious voice that marries Shakespeares Sister, Kylie Minogue, La Roux and Alison Mosshart- you have a cornucopia and multi-coloured lead. The lyrics offer plenty of relatable and personable themes: most of the listener can relate to our heroine's plight; the very real and open nature of the words mean the tracks attract your thoughts on an emotional base- the fear and dread that unfolds in some moments is truly stunning. Let me conclude (this section) by focusing on the trio themselves. Bubs Taylor and Lee 'Pixie' Matthews have a London Grammar-esque role- backing the female lead with some suitably stunning compositions. Unlike the in vogue trio, Lightknife's sonic innovators have more at their disposal- a greater ear for melody, emotion and sheer wonder. London Grammar are more inward and introspective; Lightknife more overt- it may be an unfair comparison. What Matthews and Taylor do is to ensure that the central stories are transcribed with the utmost attention to detail- the amount of sound and quality they pack into each number is to be commended. Capable of mastering and owning genres- as distant as '80s Electro., '90s U.S.-Pop and Bristolian Trip-Hop- there is no maverick cut-and-paste infusion- every sound and layer comes from astute and hugely knowledgeable musicians. The sympatico they share; the vibrancy they throw into the boiling pot- it gives Bad in Love's tales of love-against-the-odds entries a feeling of grandeur and touching honesty. Most Electro.-Pop artists tend to stick with a quite rigid and formulaic set of tracks- the overall sound tends to be less adventurous and surprising as one would expect. Matthews and Taylor are going to be innovative minds to watch- how Lightknife expand and develop may rest on their shoulders. Providing the brotherly spirit- to Vanier's heroine-elect- they are responsible for projecting the mood and sound of the song- I hope that future Lightknife releases will see their bold and instinctive approach reap rewards. Before I get to my conclusion, I cannot overlook the voice of the Cornwall trio: Rosie Vanier. Possessed of a stunning and rare beauty, her voice matches this entrancing allure and grace. She is a singer whose voice never rests or settles on a particular idea: girlish and vulnerable at some avenues, it can transmogrify into the sound of a soulful woman- that vast and impressive shift happens over the course of a few seconds. Evoking memories of vocalists (as diverse as) Kylie Minogue and Siobhan Fahey, the real headline comes when Vanier unleashes her personality- that is the most distinctive and impressive aspects of the E.P. Music that lacks a singer's personality is a pointless excercise: those that can put as much as themselves into music are those that elicit the greatest results. Each song on Bad in Love is unflinchingly and undeniably the thoughts and sound of Rosie Vanier: her strong and passionate soul makes every note and utterance sound so urgent and direct. The lyrics and ideas put forth have an air of familiarity to them- themes of love and break-up are staples of music and have been represented comprehensively. The way to distinguish yourself (from the hordes of fellow songwriters) is to put your own stamp on these topics- provide the listener something new and personal. With few clichés or over-emotive lyrics, you feel as though you are reading the journal of our heroine: being given front row access to her innermost confessions and doubts- being offered insight into one of this country's potential stars. How the trio combine and unite lends their songs such a weight and conviction: the performances are tight and familial; the intuition and understanding (they have for each other) solidifies and galvanises the music- there is no weak link in the chain at all. It is no shock the band are so noted- in the live arena- and capable of seducing audiences wherever they go- their bond and uniformity is what makes them names to watch incredibly closely. With 2015 looming large, critics and publications will be looking around- seeking out their '10 Acts to Watch' and so forth. A lot of Indie and Rock acts will make their way there; with the likes of La Roux making Electro.-Pop so utterly compelling, eyes will cast around for up-and-coming genre representatives. For anyone looking for songs that provide fun and frivolity; deep-seated anxiety and doubts; strong and redemptive cores- the young and ambitious Cornwall trio are more than up to the task.

Music is a funny and inscrutable mistress- sometimes she is hot and heavy; other days she blows cold. I shall not get into risqué and lewd avenues, but she is very much like a lover: when they are aloof and argumentative, you want to retreat and get away; when passionate and instep you want to embrace and love them. Music seems to change moods and intentions every week- sometimes you hear nothing of any note come through; others there is a myriad and tidal wave of quality. Lightknife have not been hiding in the undergrowth, but the media have been a little remiss- their name deserves to be out there in the ether for thorough investigation. Rosie Vanier is one of the most arresting and down-to-earth musicians around; her voice is that which fuses delightful and angelic sweetness; plenty of attitude and tough punch; some alluring and seductive whispers too. Belying her tender years, the songwriting is instilled with maturity and ripe creativity- her inner-most recesses and profferings are those that instantly connect with the listener. Providing colour, emotion and serious weight are her comrades Lee 'Pixie' Matthews and Bubs Taylor- musical brothers that are perfectly in-tune with our heroine. The three-piece have been rocking, pleasuring and hypnotising audiences around Cornwall- local audiences have been entranced and joyed to see the band in the live arena. Bad in Love is the band's embryonic effort, and an E.P. that should give them motivation and guidance- they have the talent and ammunition to turn in an L.P. (in the future). The four tracks on Bad in Love are so tight and studied; red-hot and beautiful; cherry-red and ice-cool- colourful and emotive songs that paint a stunning portrait. The bond between the band cements their music's reputation and excellent- you know that nothing can come between the close and tightly-knit friends. I am going to try my hardest to get other reviewers and sources talking about Lightknife- ensuring that their E.P.'s good name is spread and shared as far as possible. I have a built-in barometer- when it comes to a musician's potential- and can forecast just how far they can get. Most acts have little potential to break through their home barriers (and progress into the mainstream). With the likes of La Roux and James Blake showing just how strong, deep and stunning Electro.-Pop can be- acts like Lightknife are deserving of fonder investigation. It is a genre which has no prejudices or rules; it embraces and welcomes all listeners- providing messages, missives and masses of fun sound. Plenty of depth and emotion resonates in its skin; that heartbreak and pride shines bright- with the days getting warmer, it is the perfect music to enjoy and spin. Before I wrap up- I'm sure there are some rolling eyes- I just want to focus on the trio themselves: the Cornwall clan are swimming and drinking in the scenic pleasures of the county- its gorgeous panoramic sights; the warm and loyal crowds; the characterful and unique streets. Unsurprisingly, they have a huge live reputation: fans across social media are paying tribute to just how tight and assured the group are. This will translate well among the crowds throughout the U.K.- Lightknife should brace themselves for a busy and itinerant future. There may be an element of circumscript regard- at the moment- yet it will be a matter of months before the band are in the midst of an explosion: when more ears become enamoured of their music, the guys will see themselves in demand. It is no faint praise to say the trio are one of the most exciting new bands I have heard in 2014- I have heard A LOT of new acts- so they should be very pleased. Few groups have such confidence in their songs; immune from criticism and speculation, they are soundtracks and mini-epic scores- to accompany your summer sojourns. Vanier has previously made splashes up in the capital- at Madame Jojo's in Soho included- and unleashed her intoxicating breaths into the clouded smoke of London. A band will only gain a legacy and foothold if they are given appropriate support and backing- this is where you all come in. I am loathed to make big statements and bold proclamations: the group are going to be big business in the coming years. They have marshalled their talent and honed their unique and stylish sound- sure to inspire legions of new acts coming through. If you- like me- are tired of the anonymity of street pedestrians; aggrieved by their lack of eye contact; yearn for something more personal and human- music is your safest option. Take your head out of your iPhones; cast your thoughts aside (from social media) and get back to grassroots music appreciation. Cornwall has unveiled a precious and gleaming gem: their name is Lightknife and...

THEY are wucking fonderful.

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Follow Lightknife:

 

 Official:

http://www.lightknifeband.com/

Facebook:

https://www.facebook.com/LIGHTKNIFEBAND

Twitter:

https://twitter.com/LIGHTKNIFEBAND

Last F.M.:

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

iTunes:

https://itunes.apple.com/gb/artist/lightknife/id427710348

Instagram:

http://instagram.com/lightknifeband

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Gig dates available at:

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

 

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Lightknife's videos can be seen here:

http://www.youtube.com/user/LIGHTKNIFEBAND

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Lightknife's music can be heard via:

https://soundcloud.com/lightknifeband

 

E.P. Review: Braver than Fiction- King of Crows

 E.P. REVIEW:

Braver than Fiction

King of Crows 

9.5/10.0

Three of  King of Crows tracks are available from:

http://braverthanfiction.bandcamp.com/

TRACKLISTING:

King of Crows (Live)- 9.3/10

Candle-blind (Live)- 9.4

Mr. Jones (Fear of Falling) (Live)- 9.5

Once Bitten, Twice Shy (Live)-  9.6

STAND-OUT CUT:

Once Bitten, Twice Shy (Live)

RECORDED AT:

Yellow Arch Studios, Sheffield

ALL SONGS BY:

Mel Lampro

PERFORMED BY:

Braver than Fiction

GENRES:

Folk, Blues-Rock, Alternative, Soul

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Limited editions of their E.P.s are selling like very hot cakes. It not hard to see why Braver than Fiction are in such demand: King of Crows is a phenomenal work from one of the steel city's most startling new bands. This is music designed to amaze and seduce- why deny yourself the pleasure?

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MY featured band impressed me hugely...

when I got in touch with them a week ago. I need to bring up a music-related point, but will address one key issue: online representation. It is a debate point I have flung around like a tattered feather bower: this will not be the last time I will be raising it- so many bands are culpable of a sin of omission. The best way to promote your music; get the fans into your tent; ensure you are shared and adored- is to get your online pages sorted and cemented. By this, I mean having a full and thorough visibility. Too many new bands- being a little naive and ill-equipped- tend to come onto the scene with a basic Facebook page: perhaps a few social media sites are covered- as a whole- there is scant to see and witness. Most people- reading this- may feel that it is no big deal: who cares if the media output is sparse- so long as the music is top quality? In addition to the music not always being that good, you need to make sure people can find you- there is no point in being fantastic if you are borderline-anonymous. Too much compartmentalisation and self-regard mandates and defines Facebook- few people share bands and music beyond their own borders. With this in mind, bands need to utilise the Internet fully- get their name spread across it as far and wide. Braver than Fiction understand this vital component: their official site is one of the most impressive I have seen; detailed and eye-catching it gives you everything you could possibly desire- offering a lot more outside of this. They have Facebook, Twitter, SoundCloud and Bandcamp pages- meaning their music is available in multiple destinations- plus plenty of other sites. If you need to be kept abreast of tours dates; new goings-on- then you have no chance of missing out. Music is a hugely competitive and cut-throat business: if you show signs of weakness or effortlessness, then you will be crushed and spat out. Our band show some keen sight and clear ambition: their music is even more startling than their online portfolio. Hailing from Yorkshire- I swear I'll stop reviewing the county some day- it is not a shock that another gem has been thrown up- most of the U.K.'s finest acts come from these parts. Before I raise my final point, let me introduce the band to you:

Mel- (Vocals)

Adam- (Bass)

Jason- (Keyboards)

Paul- (Drums)

Martin- (Guitar)

"We choose not to haemorrhage every note we conceive across the wonderful world of social media but, we do have an insatiable predilection for playing live, at every possible opportunity. In search of a faithful echo to reflect this passion, we challenged ourselves to record all four tracks for our first EP live, on the same day. If you are looking for a recording that has been picked apart and scoured to death in production you are going to be disappointed. Aside from some minimal but entirely necessary tweaks, this is an authentic portrayal of how Braver than Fiction actually sound – up close and personal. We hope that you enjoy it and that you will be encouraged to venture out to one of our gigs and support the live scene!

"So who is this sturdy-legged bunch of troubadours from the damp, industrial north of England? Braver than Fiction formed as a studio (that really means living room) project in the summer of 2013 and quickly recorded their debut track, "Your Little Fantasy" which they duly uploaded to t’interwebs and wandered off to have a pie. Until Paul’s arrival, Adam had enjoyed the lofty position of ‘tallest band member’ which actually meant that he was the one who’s oxygen levels usually returned to normal the fastest after hiking his bass and amp’ up eight flights of steps to Braver than Fiction’s rehearsal room. To be fair, he could take on more than one step at a time though. Maybe it’s because he’s so tall and his bass is so far away from his face that has made Adam so dexterously brilliant a musician (honestly, he’s got music degrees and everything); it’s a long way down to check what your fingers are doing so it’s best to make sure you are really, really good – then you don’t have to try to keep looking at your hands. What is more, Adam’s just as good on guitar as well as bass. So is Paul and…guess what? So is Braver than Fiction’s keyboard player, Jason (who is also of an adequately, manly physique and thus, does not have to struggle to change a light bulb). In fact, all of the band can play more than one instrument with varying degrees of skill but nevertheless, competently enough. It’s not a circus though (well, not all of the time) and most of the band stick with playing just one instrument at a time – even the multi-talented Jason, the ‘Rick Wakeman of Barnsley’ (he works in Barnsley – it’s a long story) and who is not only not from Sheffield but is from deep, down in the mysterious south-west of England. Nevertheless, the band still needs a guitarist and that’s where Martin, the newest victim arrival to Braver than Fiction’s line-up, comes in! Having recently satisfied the band’s ‘unofficial’ multi-instrumentalist and height criteria, Martin (who is also a professional measurer-upper) quickly fitted in with the rest of the Braver than Fiction members, augmenting their sound with both his electric and acoustic guitar savoir-faire. He’s another interloper though – Sheffield-based now, Martin has spent a good deal of his life in Hull but has not absorbed the accent and annunciates his H’s perfectly. As the principal songwriter and lead vocalist with the band, Mel’s passionate and sometimes downright disconcerting lyrics coupled with her distinctive, husky delivery are unquestionably a significant component of Braver than Fiction’s instantly recognisable sound. Even though she is a classically-trained musician, as Mel is dyslexic, dyscalculic and synesthetic she favours a more abstract approach to her craft. She can often be found waving her arms around, illustrating musical concepts in terms of kaleidoscopic, cross-sensory metaphors to the rest of Braver than Fiction; they deal with it. So as different as they all are, this mad mix should probably not work but nevertheless, does work and it is obviously working bloody well. Braver than Fiction's swift inclusion onto the playlists of radio and venue DJs worldwide, strong social media following and clear love of live music have given them a great start and 2014 is looking to be a phenomenal year for this outstanding band. The unholy fusion of Braver than Fiction’s members’ diverse industry backgrounds, individual creative influences and musical styles is undoubtedly the fuel that fires their unique sound and has everybody who hears them talking! Together, they enjoy a wealth of experience and Mel’s collection of hats has been known to cause a stir, as well. However, the way that this collective works on any of their compositions, each according to their singular flair but simultaneously in synch, reveals a fascinatingly organic process. Comparisons have been drawn with the grotesque glamour of Tom Waits and the dysfunctional 'family' of Fleetwood Mac's Rumours incarnation but, Braver than Fiction are still evolving. Although ‘alternative rock’ seems to be the closest genre fit, this extraordinary band continues to resist being pressed into any kind of predictable musical mould – for now..."

Braver than Fiction are a fascinating band indeed. Lovers of live music, Beatles vinyl, Japanese horror films and pasty-eating- they are a group with ounces of personality and appeal. Having a universal charm and huge sense of ambition, they have already won over quite a few hearts. The release of King of Crows is likely to see the band rise to prominence and get their names fully out there- it is a collection that is packed with marvellous sounds and lyrics. The title itself beckons images of darker themes and evocative images: with the likes of Tom Waits, Soundgarden and The Libertines counting as idols (and inspiration), the music they provide is a tantalising mix of '70s Folk, U.S. Blues-Rock and British Indie. Idols and influences are an important factor- when it comes to forging your own sound- and can go a long way to determining its overall quality: the best artists and bands that have ever come have been inspired by the greatest names before them. I shall go into more depth about the subject below- detailing Braver than Fiction's sources of inspiration- but I find that few new acts are taking the trouble to delve back into music- taking their minds back in time and explore something unexpected and unique. A lot of new artists lazily comb around the current scene- whatever artists are making waves, that tends to enforce their drive and direction. Braver than Fiction have a clear love for some of the most tantalising music of the past: melting rare and beautiful combinations, their sounds are among the most unexpected and golden around- few bands project such an originality and sense of intrigue. You do not have to replicate other acts and artists- in order to distinguish yourself- but there is so much that has come before- expand your horizons and allow music's true wonder to hit you. Before I move on, I will finish up on this point. Too few new musicians tend to go the extra mile: ensure that every part of their name and music is as compelling and possible. It may sound a little unfair; we are still seeing loads of new bands and solo acts come through- sounding very much like others that came before. This year- above all else- has stuck in my mind because of the quality new musicians are providing- it is a shame that there are still quite a few artists that fall short. The only way you are going to thrive and inspire is to impress from the off- not leave anything to chance or circumstance. Braver than Fiction understand the essentialness of this point: the passion and purpose that their music promotes is enough to win over the most cold-hearted and resilient. It is probably apt that I get down to business..

Your Little Fantasy is the band's previous song- a number they are very proud of indeed. Released back in October of last year, it is a confident and compelling insight (into Mel Lampro's songwriting mind). It is a very different-sounding beast- to the work they are producing now- which makes their development that much more impressive. Here, we begin with Folk-tinged and rushing strings. Kicking up a hell of a jam, Led Zeppelin III's Folk moments blend with an impressively tight and compelling band performance. Lampro's vocal is direct and determined. It has a consistency and drive- matching the dimension of the composition- that brings her words to life. Shades of The Bends-era Radiohead see punchy and taut percussive notes back some vivid and distinct oupoutings. Lampro's huge talent for words stands out along the track. The lyrics are sharp and evocative: looking at the song's heroine, she hides her sting behind her "honey mouth." Whilst she wears a new colour and shade (every day)- trapping men into her web- she "hides razors in her hair." The song looks at a two-faced woman who has her fun; gets her way- before backstabbing and double-crossing. Most modern songwriters would fill similar songs with less eye for detail: Lampro's words bring scenes to life; her choice of topics and images are mesmerising and heady- it is an emphatic and impressive cut from the band. It is perhaps the lyrics that stand out most- on Your Little Fantasy. The biggest development one can see- on their newest work- is a fuller and more nourished sound. The lyrics are perhaps even more impressive- if you can believe it. Lampro incorporates more vulnerability and tenderness here- the anxiety and fear is projected inwards on King of Crows. Once Bitten, Twice Shy sees the vocals more powerful and full- imbued with soulful regalness, they are incredibly captivating and urgent. Few would have expected quite a transformation and evolution from our heroine- her lungs open; her pipes seduce in a riot of beauty and sensuality. The song looks at a breaking relationship; the duo fight to get along- the track sees Blues-Rock notes mingle with Soul, Folk and Jazz cores- it is one of the band's most impressively alluring and memorable numbers. The great live feeling of the E.P. brings the songs to life: their modern music has a greater sense of atmosphere and directness- you would swear you are right there in the studio as the tracks are being laid down. With Candle-blind's impressive, byzantine (and mysterious words) burrowing into your brain, another sexy and seductive diamond is discovered. My Jones (Fear of Falling) has harder edges and hurried vocals: the projection is more flowing and rushed- a certain feeling of lust throughout. Euphemism and licking-lipped lines see our heroine direct to Mr. Jones: wanting to have him three times a day, he is what the doctor ordered. The band have come on leaps and bounds since last year- it may be unfair to say as Your Little Fantasy is just one song. As impressive and wonderful as their beginnings were, King of Crows sees the five-piece step up their game and really come into their own. I adore the sound that they have cemented and perfected: songs are more rounded and captivating; your mind is transported somewhere special and safe. The band is very much coming into their own in 2014- I wonder just what they have in store for the coming year. You can hear the confidence and assuredeness in their tracks; the performances are incredibly detailed and tight- the words cannot be compared to any others out there; special and distinct as they are.

This is usually the juncture where I compare a band (or artist to other acts)- today it is going to be very hard to that. Fewer more original acts have come to my attentions; the band manage to summon up their very particular blend of music. Commentators have pointed to the music's timelessness; the ageless and wordly beauty of the messages poured forth- the incredible performances and nuanced compositions. In that sense, Braver than Fiction cannot really be linked with anyone else. In their newer work- throughout the E.P.- there is a great amount of soulfulness and heart to be found. The first comparison I would levy is towards Aretha Franklin. It may sound like a peculiar name (to mention)- when assessing an Indie-Rock/Blues-Rock bands (with Folk edges). The lush and sensual vocals- tied to powerful and blood rush sonics- put me in mind of the Soul queen. The way Lampro's voice captivates and powers through the songs- a definite essence of Franklin's voice comes in. Our heroine has adapted it and instilled her particular stamp; providing a more raw and sensual sense of atmopshere- it is one of the most distinct and striking facets the band have at their disposal. It is noit just the vocals- that put me in mind of Franklin- the lyrics have a similar emotive and open nature. Aretha Franklin's early-'70s cuts- Call Me, Don't Play That Song (You Lied), Day Dreaming etc.- come to my thoughts: the shivering and entranced feeling one gets- when hearing the tracks- takes your breath away. Franklin is a mistress of dreaminess, reflection and Funk-ladden emotion. When she brought our her pen- to testament her struggles and feelings- some of her most empowered and vulnerable sentiments poured forth. Lampro's talent for elegance, poetry and evocative songwriting can be compared to Franklin's early work- our heroine has the potential to be a huge future Soul icon. Franklin infused groove and Funk-inspired touches to her music: giving it a fuller body and sense of momentum, her intoxicating compositions captivated a generation of listeners. Braver than Fiction has an affection for Funk and grooving jams: although their songs look at romance and feelings of upheaval, they ensure that their music is as developed, layered and energised as they can- swelling your heart and making your body move in the process. Some people have compared the band with Tom Waits; his glamour and grotesque blend- cementing his reputation as one of the world's greatest songwriters- can certainly be seen in Braver than Fiction's work. It would be a stretch to compare Waits' gravelled and whiskey-gargling pipes with that of the Sheffield band- that WOULD take a hell of a talent- yet the lyrics and music contain some of Waits' magic. His early albums like Blue Valentine signalled a stylistic shift- previous albums were compounded by a focused and rigid personality. Blue Valentine introduced a Blues-orientated feel; expounding barroom philosophy, Waits looked at the crawling underbelly of the city- examining the crawlers and creeps; he also looks at love and fracturing. Gorgeously tender moments mixed with swampy, down-low zings- Braver than Fiction has a similarly packed and impressive audio palette. Our heroine's songbook draws in a range of odd avenues and disreputable types- wrapped up in her stunning and unwavering voice. When Waits presented Swordfishtrombones (in 1983), he infused more horns and brass sections. Whilst Braver than Fiction do not inject as many Jazz and symphonic touches into their music, Waits' mid-career gem saw surreal and byzantine stories pervade- taking the listener to some unexpected and peculiar climbs. Like Waits, Braver than Fiction can trade dirty blues tirade (and vivid lyrics) with ravaged vocals and gorgeous melodies- throw in some unexpected time signatures and uniquely quirky instrumental touches, and you can hear 1983 Waits in Braver than Fiction (throughout the tracks of King of Crows). I am a huge fan of Waits' current work- Bad as Me- that showcases a more turbocharged and poisoned tongue- themes of war and governmental screw-jobs define the disc. Game-changing, focused and badass, the album is raucous and ragged- it would be fascinating to see whether future B.T.F. become more gin-soaked and disaffected. Such is the mobility and evolution of their music, I wouldn't put it past them. British influence arrives in the form of Fleetwood Mac (I know they are part-American; hang semantics). Reviewers have noted how the discontented 'marriage' of Fleetwood shines; their civil war one-upmanship spats come through in Braver's music. Although our band are solid and immovable, they ellict some of Rumour's magic. That album employed tattered and anxious love songs; splendidly honest and uninhibited proffering- the quality of the music was never surpassed by the band. King of Crows showcases that unbeatable combination of dysfunction and unity- music that looks at fragmentation and on-the-rocks endings; beautiful and brotherly uplift. The band Acoustic-Folk-cum-Alternative sounds have inspired Braver than Fiction: with a gift for full and evocative compositions, the Sheffield troupe are masters of enthralling and deep soundscapes- that demand repeated listens and a dedicated ear. When Lampro allows her voice to combine sweetness and rawer sexuality, she evokes the spirits of Stevie Nicks and Christine McVie- the former's feline and intoxicating prowess; the latter's more sensual and delicate projections (are embodied in Lampro's wide and ranging pipes). She can summon up blues majesty and triumph; distill Fleetwood Mac's most memorable moments- whilst presenting them in a very special and unexpected way. Led Zeppelin can be detected in the band's music. That timelessness is something that defines Zeppelin's body of work- they are a band that will never go without fans and adoring followers. Robert Plant's soulfulness and lion-roared vocals made albums like Led Zeppelin III such works of genius- mixing Folk with Blues-Rock, I can detect some of this in Braver than Fiction. When they allow the guitar to wail and swagger, you detect hints of Tangerine, Celebration Day and Gallows Pole. Plant's knack of mixing baroque, surreal and mystical themes- into cohesive and inspiring songs- is updated by Braver than Fiction. Their songs are as capable of expounding the virtues of love and loyalty; comfortable when stepping into mysterious realms and scenes- encapsulated in a riot of staggering sounds. The final trio of names I will introduce is Laura Marling, Leonard Cohen and Joni Mitchell. Notable for their lyrical genius, these three artists cover a wide spectrum of genres, decades and moods. Marling's poetic and intelligent themes have anger and accusation at heart; a sense of loneliness and longing- the way she employs her words (and shows her feelings) is her most impressive weapon. Cohen's darker intellect scored scenes of depression, death and ageing- that distinctive croon made every one of his words urgent and unforgettable. Mitchell's intoxicating and wonderous wordplay (and lyrical genius) marked her out as one of the most impressive singer-songwriters of all-time- her legacy has not dimmed or diminished. Braver than Fiction's songs marry intellectual and well-considered tales; vibrant and stark moments; phenomenal scenes and stand-out lines. The band is evolving (and hard to pigeon-hole): their music is near-impossible to compare with too many others. Such is their sense of individuation and emancipation, that you catch the most fleeting whiffs of others. That said, the above are a pretty good overview and guide- if you have any of these acts in your record collection, then add Braver than Fiction to it.

The title track is the first taste of King of Crows. With a ghostly and cackling crow cry, there is an atmospheric and eerie opening few seconds- you are transported to a desolate and haunting scene; just you and the beady-eyed stare of the feathered enemies. After a male voice interjects "I've got the king of crows"- in a stirring and emphatic belt- the song tumbles underway: soulful and jazzy keys flirt and roll; the introduction has a merriment and uplifting dance to it- the listener is offered solace and relief after frightening beginnings. Changing the song's course- in a few seconds- it is a fantastic twist that subverts expectation and peaks your fascination. Backed by a tomahawk percussive slam, the delirious coda gets into your mind- before our heroine steps to the mic. Her voice is dead-ahead and determined- there is anxiety on her mind and she has some burden to unload. Stating that there are troubles on her mind; issues and problems weighing her down like "stones in my pocket", you get an instant sense that our young lead has had to tolerate and balance quite a lot- her mind is wracked and fatigued by demands and emotions. Dragged down to a paranoia ocean, I got the impression that maybe love was being looked at: perhaps her man has caused her to doubt his loyalty and honesty- this in turn has caused our heroine to question and turn-over events. The angst and strain of the opening exchanges is made lighter by the lustful and excited composition- it acts as a ballast and makes things sound oddly chipper. Everything that was held firm; all beliefs and convictions are now "dead in the water"- torpedoed and sunk without a trace. Our lead keeps her cards close to chest: not revealing whether romantic heartache is at the fore- or general woes- the listener is left to imagine and theorise. I get the feeling that a key event has triggered this wave of outpouring- it has compelled words that point towards an unsure and confused mind. The emotion and crack- there is a brief second where you could swear she gets a catch in her throat- starts to permeate towards the 1:00 marker. Back in the kitchen with another glass of wine- the sound effect of a dropped glass is a nice touch- provides evocative detail: whatever problems are being tackled, this is not the first time that they have occurred. If you examine it physiologically or detached, you come to the same conclusion: our heroine has encountered her share of sorrow and pain. Wondering how long it is going to last "this time", the rousing pace- the vocal keeps firm and fast-paced- lends an air of desperation to proceedings. Not content to play games- with her suitor- she has nothing to lose. It seems that her boy has been toying with her brain; filling it with lies and woe, it has come to a climax- there is no way she is going to walk in "dead man's shoes." Having already relegated her man from her thoughts, our heroine is upping and leaving- walking away from a situation that is creating nothing but grief. There is no need for a messiah or divine light: the "mystic mojo" she possess is all hers- and has never steered her wrong. Whether an intuition or sexual weapon, she needs no help or guidance- her mind is made and she has plans afoot. With the king of crows by her, she can do no wrong. Whether a literal crow- or a euphemism for a better man- I am not too sure. The ball park-themed organ dizziness is superseded by a rampant and strung-out electric guitar parable: weaving, contorting and baying for flesh, it introduces some Blues-Rock and Alternative energy into proceedings- seeing the song change course once more. Captured by the spirited and authoritative line, the listener is stood to attention- wondering just what the song will be offering next. When back at the mic., our heroine seems more firm and resilient- her cryptic words paint some vivid possibilities. Seeing her man's hand, we are in the poker realm: bluffing and trying to keep a straight face, her honey can "walk away a winner." It is the singer that will be crowned the winner: her disreputable and no-good man has destroyed too much; reduced her kingdom to a dust- the mighty edifice has been dissolved into a state of disrepair. Seeking answers at the bottom of the bottle, our heroine is washing her hands- keen to eradicate the memory of her sweetheart. The infectiousness of the chorus- that distinct organ line tied with some chorused vocals- gives the song a redemptive and infused ending- by the final notes you feel that things will work out just fine. With the king of crows on her side, a better life awaits. Candle-blind comes up next- it intrigues right from the off. Building from a few seconds of silence; finger-clicking sway welcomes the song in. Laid-back and Jazz-influenced, the opening moments mingle smooth and luxurious organ seductions with astute and disciplined percussive beats- joined with tender guitar notes. Our heroine is more serene and teasing here: her voice is relaxed but smoky; captivating and emotive- bringing her words fully to life. Showing her flair and talent for striking words, Lampro's fingers are "stained like old tattoos/Of every word I scored for you." Not only incredible opening words; there is a sense of mystery and obliqueness to the lines- you wonder just what is being referred to. The sense of wonder and grand emotion never desist; when words such as "Bright of eye and dark of wing" are unfurled, that repressed and shadowy feel come over; mystique and ambiguity presents itself- you are left to imagine the truth behind the words. I felt that love was being looked at again: maybe a man is not quite as fascinating and impressive as once thought- causing words that look at pain and deathly hallows. The beauty of the lyrics- on this track- are their lack of directness- the likes of Cohen and Dylan would be proud of the poetic nature of Candle-blind. Guitar and organ are back in the agenda: the former stands out front and rallies with intention- manful and enforcing, it fires a rifle-load of concrete and Blues-edged grit into the track. A gorgeous reminder of Stevie Nicks (and even Janis Joplin) come into play: when singing "Faking for a living thing/Shadows of my carrion king", a gravelled and musty (cigarette-ravaged) sound projects- far sexier and more Teutonic than you would imagine. Quite a rare and beautiful sound, the smoky and desirable vocal sound draws you closer- as you investigate the story unfolding. With her tones lighter, our heroine has her screaming bones picked; wanting someone to "Clean this criminal debris"- an ocean of images flood to mind. Whether enraptured in the gravity of a sorrowful situation; conquered by the unforgiving situation of life; a shadow of herself, you are enticed and seduced by the weight of the words- our heroine ensures that each listener comes away with different impressions and ideals. As the next verse dawns, those mesmerising tones come back to play: crackling, purring and growling, a myriad of colour and power is thrown in- the authoritative delivery makes sure that full focus is with her. Advising the man to stare- "I won't even look behind"- he seems to be obsessing on something: whether infatuated in love or unable to drop an issue, you imagine the latter is more likely. Perhaps relations have hit the rocks; the ship has been sunk- it is clear that an untenable state has been reached. The man is defining and characterising; being cruel and judgemental- our heroine is "finer than the world you're dying in." When lyrics are too defined and simplistic, the mystery and beauty of a song can be robbed: here there is room for manoeuver; so many different avenues that every line has a distinction and sense of purpose. When parping and rousing organs join with elocutionary guitar, that passion and tension augments- it is a foolish and senseless man who crosses and displeases Lampro. Past the half-way mark, Mr. Jones (Fear of Falling) arrives. A terrifically curious and teasing Blues-Rock ember sparks the song: beginning with funky and grooving guitar notes, the organ soon comes to play- adding in some playfulness, it is a perfect lead-in for the vocal. Our heroine is the "devotee of Newton's Theory"- wondering how her subject could get to her. Perhaps gripped by something headier and more impassioned, you get a feeling of coquettishness and reservation- the relationship is moving too fast and intensely. Keen to keep her feelings "pinned to terra firma", our heroine is reserved (about jumping in with) both feet: the fear of falling and seeing things break is not a prospect she wants realised. The romantic tussle and dazed atmosphere comes out in the voice- with hot-bloodied passion and tantalised aches, is a terrific and vibrant performance. Lampro's voice is (perhaps) at its strongest in this number: whipping up such a beautiful sound, there are touches of the greats of Soul- our heroine has a more youthful quality to her voice, but lacks none of the punch and panache. Delirious in the throngs of potential, she flees outside; the air is cool and a dance is ellicited- with the stars as a compass, an unexpected southern mist blows in. When Lampro wants to summon romantic and picturesque, she does it better than most- you can see every scene; smell and see everything with crystal clarity. In the heady brew of the night's mystery, Mr. Jones has caused quite a furor: with the peppermint-tasting mist in her lips, the heroine sees her heart float "fifty feet above the ground" (quite a charmer and stunner, the hero is causing some girlish glee). Keen to not break the pendulous swing, the next verse comes up: our heroine is in the atmosphere and hanging upside down- floating in the clouds, "it's a beautiful view." Contrasting the tension and unhappiness of previous songs, it is great to see some positivity and paen come through- her man moves through the clouds in a way no-one else does. In spite of the seeming bliss and contentment, there is a feeling of unnerve and hesitancy. Afraid of the heights of emotion, perhaps our heroine has never been this high before- the mesmerising love is something new and strange. She cannot be left alone; Mr. Jones has taken her to the heavens- if he were to let her fall, she may not recover. A supportive and guiding hand is sought; the conviction and passionate beauty of Lampro's vocal- tied to her unique delivery and projection- lodges the song in your mind- at points I catch glimpses of singers like Bonnie Tyler, Jacqui Abbot, Stevie Nicks and Eva Cassidy. The band make sure proceedings are funky; mixing jazzy dance with soulful swing; Blues-Rock jamming nudges in too- a veritable buffet of tantalising sounds gives the song a hugely memorable and colourful- skin. Taking things into sweaty and sexual realms, the two adjourn to home: desiring her man thrice-daily, there is no need for sweetener- our heroine has a very clear motive on her mind. Sticking with medical themes- her love is a medical enigma it is said- she does not need water to swallow; her man can be hooked straight to her veins. With head swimming- and unsure if she is breathing or drowning- there is little room for doubt- you know that this one is going to have a very happy ending indeed. After the spellbound luster of the previous number, Once Bitten, Twice Shy provides comparative demure and introspectiveness. A gorgeous and elliptical piano introduction gives the track some early romance- this will lead to warnings and detachment. Sporting the finest intro. on the set; the combination of spiraling piano, proud and firm percussion is awe-inspiring- it is an incredible fusion of Jazz-Rock, Blues, Soul and Pop. Keen to keep the music going, our heroine's wordless belt enters the spotlight- her voice is at its most convincing and imploring here. Her man has left her and walked away from the relationship: if he ever changes his mind, our heroine's heart will not be so "easy to fall." Fed up of being messed-around and duped, a barrier is put up: the rules are being laid out and clear rules set in place. Imbued with such a force and incredible power, the vocal is a thing of wonder- you are trapped under its spell. Our heroine's man is a cheater and lacks any ethics and morals- keen to not be fooled and led astray, the song pushes against her boy's come-ons (and seductive missives). Joining Janis Joplin, Aretha Franklin and Stevie Nicks- into the back of her voice- the song is backed by a splendid range of tones and emotions- nothing but utter conviction and intention comes through. Perhaps the two have a complex history: trapped in the relationship, the issue of trust is never going to go away. Set-up by an evocative and slinking Blues-Rock guitar whisper, our heroine becomes more entrenched in doubt- it seems that "nothing is right/When nothing is wrong". Displaying a Dylan-esque eye for striking and unforgettable couplets, following in its wake is: "So why do we fight/Just to get along?" The way Lampro rolls her words; repeats syllables; stutters and paces her words is incredibly intoxicating and effective: the lines are distinguish, highlighted and coated in layers of emotions- you cannot escape their immense potency. Where as previous songs have been bolstered by organ and guitar; here piano takes the lead- arriving near the mid-way point to elicit an entrancing and divine punctuation. The band's epic, the track is 6:30 of exorcism and honesty- the vividity and stirring soul never lets go. Doing a deal with the devil at the crossroads; our heroine will drive her man "round the bend"- not wanting him to come back ever again- the clear emotion ringing in the vocal. With the sort of grandeur and epic proportions- befitting of a movie soundtrack or score to an intense emotional scene- the song is a stunning and vote-stealing epic. The band is by no means left in the shadows: percussion gives shivers and drive; the bass keeps proceedings controlled and in check- the guitar is a snarling and rampant sound that adds electrification and fire into the song. When all these elements combine- around that stunning vocal- it is a perfect moment- few other songs gave me quite the same chill as Once Bitten, Twice Shy. As it comes to an end, earlier words are repeated: our heroine wants her man to look her in the eye; try to rustle up some pure honesty- knowing that he will never change his ways. There is a certain sadness and defeat to be found: if things had been different then it could have been wonderful; the lying lover has wrecked a potentially golden love. A sweeping and indelible swan-song, it brings the E.P. to a close- leaving you quite in awe of things. With notes and lines still turning in your mind, part of you wants to hear more- that sense of desire lingers after the final notes.

I shall get to the band themselves- handing out recommendations, plaudits and praise. The public have the opportunity to hear King of Crow's quartet of beauties- an E.P. that is incredibly impressive and assured. A record that gets better as the songs progress, it is the work of a band that are getting stronger with each release- their confidence and effect grows larger and more emphatic with every track they unveil. The production on the disc is phenomenally appropriate and evocative: sounding like a bona fide live recording, it mixes the professionalism and comfort of the studio with the atmosphere and unique energy of the stage. Intimate and embracing, the songs make you feel as though the band are performing in your bedroom- I was listening on an iPad, so definitely need to hear the songs through proper speakers. Given that my listening experience was via a laptop, who knows how immense and emotive it will sound through the majesty of stereo speakers? What I do know is that one of this year's most unexpected treats has been offered. I discovered Braver than Fiction via a music writing contact (on Twitter): lucky to be in the right place at the right time, I was compelled to investigate the band. Having fallen in love with Your Little Fantasy, I was expecting an E.P. that followed the same sort of lines: what one actually witnesses is something different and hugely surprising. I do not mean the word in a negative sense- quite the opposite. The band have defied expectations and created a four-track release that can rank alongside the most compelling of 2014. The quintet clearly have plans for the future; ammunition and creative fertility is all there- one suspects new material will not be too far away. Having conducted social media straw polls, the initial early feedback is universally positive: people are falling in love with the grace, power and intelligence of Braver than Fiction's latest progeny. Not contented to narrow focus or stick with one subject, the four tracks go from anger and accusation to longing and inflamed passion- right along to deceit and cheating. Before I wrap up my summary, let me congratulate the band themselves. Bass work from Adam gives the tracks a tight backbone and sense of direction. His notes enforce the power of each track; add a host of mixed emotions and shades- keeping the atmosphere compelling and unpredictable (from start to finish). Jason's keyboard work adds beauty and passion in spades. When on organ, a churlish and infantile glee mixes with hypnotic and feet-moving joy- adding positivity and immense rush into proceedings. The piano offerings do the opposite: tenderness and still beauty are presented: adding romantic and tender stillness, his contributions are stellar and consistently incredible. Martin's guitars provide shout, shots and raw, ashen emotion- roaring and contorted at once; restrained and calming the next, his influence is essential and emphatic. When solo-ing and allowing the guitar to pervade, some of the E.P.'s most startling and stand-out moments occur. Paul takes on drumming duties: his stick work is the heartbeat that makes sure the music does not die or wane; it keeps the soul in tact and resolute. Never needlessly overpowering or incensed, it makes sure (our heroine) is supported and suitably backed up- offering security, assurance and weight- the percussion adds spark and punch to King of Crows. It is Mel Lampro that stole my heart: her performance and contributions make sure every song on the E.P. grips you fully. The band- as a whole- are tremendous and tight; the leadership and central gravity is immense and unforgettable. As a songwriter, the lyrics compel and fascinate: when oblique your mind races for possible answers and detail; when direct they take you aback; when cooing and romantic they make you sigh. A songwriter clearly inspired my the greats of music, Lampro shows a huge range and emotional colour chart: always instilling intelligence, wit and conviction into her songs, there are no wasted words or lazy afterthoughts- few writers have such an accuracy and impressive strike rate. The compositions are full, stunning and cinematic- filled with wonderful details and moments, the songs show new insights with every listen. It is the vocal performances that resonate in my mind. Possessed of a huge and soulful power, the emotion and stirring passion that is presented takes the breath away. Youthful and honest; aged and ravaged- at times- Lampro's multifarious and stunning pipes make each song sound utterly insistent and urgent- the listener is pinned and seduced with ample ease. The band themselves are able to master Folk, Alternative, Soul, Blues-Rock and Indie themes; each player adapts and camouflages themselves when called for- the vocal is able to shift from delicious and seductive realms to a whiskey-soaked growl- sometimes in the space of a few notes. Especially impressive on Once Bitten, Twice Shy, Lampro has the potential to be one of the country's 'voices to watch.' In age of reality talent shows and depressingly slender singers, I am glad that genuine and epically-proportioned vocalists still can be found- I hope that our heroine has many years in the music industry. If you have not snapped up King of Crows, you have to do so: it is a quartet of songs designed for every type of person- those in love; those in the midst of a break-up; the casual observer is tempted in. With so much emotion, movement and colour coming under the band's microscope, King of Crows is the amplification and polarisation of their hard work- a collection of tracks that highlight what a firm and tight unit they are. Let's just hope the quintet come and entrance some London venues before this year is through.

I know I have rabbited for quite a while- I always err towards loquaciousness when an act is as terrific (as Braver than Fiction). Not content to be as good as everyone else, they are one of this country's most fertile and imposing acts. Their sounds look back at the likes of Tom Waits, Fleetwood Mac and Led Zeppelin; instill some essence and urgency of the modern music scene- stir it in with their distinct blend of heart, guts, boldness and fascination. King of Crows is a sterling work that showcases just how potent a force they are- I recommend that everyone snap the E.P. up. In love with the finest that music has provided the world, the Sheffield band instill a whisper of their essence into their palette. Their patented blend of Blues-Rock and Folk touches is compelling and gripping- filled with beauty and passion into the bargain. With such incredible performances throughout, they are a group that are in no danger of tiring or going separate ways. Clearly music means a hell of a lot to them- I hope that the release of the E.P. sees them in huge demand. At the moment, the band are ready for the release of King of Crows; having seen 100 limited edition (of the E.P.) pressed-  each band member personally signed them. Such a fastidious and astute eye for detail and attention shows just how much music resonate and hits them- you will not find many other bands that have such a passion and admiration for the form. These are the early days for a group that have a lot of potential: it will be great to see how they blossom and flourish. The band's local fans are snapping up the limited edition release of the E.P.: enthralled and seduced by the wondrous music provided, legions are keen to clasp Braver than Fiction to their bosom. This bodes well for the future months: the confidence and support they are gaining is sure to see their creative mind let is juices flow- possibly an album or new E.P. will arrive in 2015? Before I conclude my review, I will finish off my looking at the band market in general. Having seen everyone- over the last few weeks- from the likes of Allusondrugs, The 48K's and Broken 3 Ways; I am amazed by the diversity and sheer quality that is being provided. Everything from Indie to Punk-Ska- through to Grunge- is seeing some bold and striking acts amaze listening ears- it bodes well for the future of music. There are plenty of effete and minor acts out there- not adding much to the musical landscape- but with acts such as Braver than Fiction coming through, there is no need to have any doubts: the quintet have plenty of years ahead of them. The band sector is the most in-demand and hotly-contested aspect of music: the next few years will demonstrate which of them have the legs and pace to make it into the mainstream. The key to ensuring success and continued demand is to provide interest and something deeper- differentiate your motifs from your contemporaries. Braver than Fiction certainly have few like-minded and similar competitors; they have a flair and energy that I cannot link to anyone else; a songbook that is distinctly theirs- instilled with deeply personal touches; drawing in sonic embers of some wonderful past musicians. The bold and brave Sheffield band will see their E.P. fall into the hands of a range of different music fans and supporters. Their music has compelled me to get in touch with other reviewers; see if they can focus King of Crows in their blogs/pages (and contact Lampro directly)- get the word out and spread the joy. The darndest thing happens when I take my mind to Yorkshire: each experience brings something new and wonderfully impressive. Keen to detox for a little while- and not be spoiled by riches- it will be fascinating to see what the county offers in the coming months. With the likes of Braver than Fiction doing their bidding, they are writing a stunning and ambitious chapter...

ONE that is well worth reading.

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Braver than Fiction:

 

Official:

http://www.braverthanfiction.com/

Facebook:

https://www.facebook.com/braverthanfiction

Twitter:

https://twitter.com/braverthan

BandCamp:

http://braverthanfiction.bandcamp.com/

SoundCloud:

https://soundcloud.com/braverthanfiction

YouTube:

http://www.youtube.com/user/braverthanfiction

SongKick:

http://www.songkick.com/artists/7535034

ReverbNation:

http://www.reverbnation.com/braverthanfiction

MySpace:

http://www.myspace.com/braverthanfiction

Last F.M.:

http://www.last.fm/user/braverthan

Google+:

https://plus.google.com/+Braverthanfiction

Instagram:

http://instagram.com/braverthanfiction/

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Gig dates accessible at:

http://www.braverthanfiction.com/

 

___________________________________________________________

Braver than Fiction's music can be heard here:

http://braverthanfiction.bandcamp.com/

 

____________________________________________________________

Braver than Fiction merchandise available via:

https://fabrily.com/king-of-crows-tshirt

Track Review: Bi:Lingual- Subject Number

 TRACK REVIEW:

    Bi:Lingual 

 

 

Subject Number

9.7/10.0

 

Subject Number is available to pre-order from:

https://itunes.apple.com/gb/album/subject-number/id895169530?i=895169558

RELEASED:

4th August, 2014

℗ 2014 Bi:Lingual

PRODUCED, MIXED AND MASTERED BY:

Jamie "Jampott" Donnelly

ENGINEERED BY:

Jamie "Jampot" Donnelly and Kurtis Brudenell

GENRES:

Rock, Hip-Hop, Rap.

_______________________________________________________________

Incorporating elements of early-career Rage Against the Machine, The Streets, Plan B and Beastie Boys- together with lyrics that highlight a very relevant modern-day problem- you should embrace and follow Bi:Lingual. Subject Number is the sound of angry young men trying to change the world: their Rap/Hip-Hop-cum-Rock rush is one of the most essential cuts of 2014.

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WHEN it comes to daring in music, there are

not too many that takes real risks. In new music, there is a certain degree of adventurousness- bands and acts mix genres and different sounds together. As far as I can see, there are limits and confines: even those that broaden their horizons have an air of predictability to them. I love all that new music has to offer up: the new sounds and opinions; great songs that come from nowhere; beautiful and tender songs- everything in-between. One of the problems- when it comes to being pioneering- is the amount of risk involved: if you mingle sounds without too much consideration, you risk spoiling your music. I have seen so many different acts merge disparate and diverse genres: Rock and Soul are lazily put together; Indie and Grunge are fused- with little regard for consistency and coherence- few manage to successfully pull this feat off. When an act does manage to provide daring and unexpected sonic treats, it makes the music that much stronger- taking your mind from the predictable; putting it somewhere quite fantastic. As much as I have mentioned the necessity of hard-edged music- Rock, Indie, Grunge etc.- I have probably heard most combinations, formations and avenues- there is fantastic music to be found, yet little shock or huge originality. I feel that more bands and acts should be broadening their horizons; stretching their ambitions and offering up something truly unique and daring. Before I introduce my featured act, they raise a valid subject: Rock and Rap. Balkanized and distant cousins, the two rarely come together: they hang in different crowds and share different personalities. When musicians have conjoined the genres, the results have often been quite calamitous. Often the rapping is ineffectual and plain embarrassing; the Rock element distilled and vague- I struggle to find too many artists that have successfully combined the two. In the past there have been acts that have achieved this mean feat- I shall mention them in more detail later- yet modern-day acts fail to confound and stand out. It seems like such a shame really: so many new artists have a timidity and risklessness; meaning new music very much has limitations and boundaries. Those that push beyond these- step away from what is 'expected'- some magic and fascination can be unearthed. I have another point to raise, but before I do, let me introduce you to my featured act:

Dylan Teague

George Louca

Aaron Lythe

Stephanos Louca

"Bi:Lingual. The name says it all. Two cultures, one unorthodox language. We've seen the failures of rock and rap colliding in an ill-aesthetic form, but nothing succeeds like this. The front mans Afro brings more than a sense of style to the scruffs of the band, it brings a sense of security to the rap that forebodes. Baring witness to the waves of locks that behead the multi-talented rhythm section scream out we're loud, we're angry and the apathy we hold towards those who hate, presents the idealistic irrationality of them against the world. And Bi:Lingual are just that. A pure source to be reckoned with. Untainted and unashamed. They are what they are, and if you don't like it you can go suck a dick. Penniless but not hopeless they're here to stay whether you like it or not. But chances are when that kick drum, heavily fuzzed bass and guitar kick in to the pop orientated but ear drum shattering chorus, that Bilingual have made their trademark, your dick and your brain will blow, and swell, and vibrate to the point that an unconscious rattle in your head protrudes to a steady head bop that simply cannot be controlled. You are drawn in and intoxicated, and take my word for it, in a world so ugly, that's what we need."

The angry young men have a lot of seething rage inside- they do make valid points. Aside from warnings of penile explosions; among the pseudo-philosophy; next to the oral sex invitations- their biography gives a glimpse into some pretty special musicians. It brings me to my second point: sonic innovation. Bi:Lingual have a degree of pent-up rage; they are innovators of the pretty reckless; they dare to be different and provide music not often heard- they are to be commended on this fact. Rebelling against those that offer hate and detachment, the boys have hit upon a sound that is perfect for these times: in a world that is getting less pretty with each day- their brand of scintillating and heady music is just what we need. There are plenty of acts and artists that can give you something beautiful and tender; those that have a melodious and well-considered approach to songwriting- sometimes what you need is something urgent, direct and utterly addictive. That seems to be missing a lot from the current scene- new bands are artists seem to lacking that necessary clout. Every Indie and Rock band that comes through shows a degree of rawness and primal passion; their songs project a modicum of violence- few remain in the memory in that particular sense. Grunge acts perhaps do it a little better; they can enforce some dominance and rage into their agenda- too many go straight for the jugular without thinking about the overall sound. What makes Bi:Lingual so impressive is the fact that expertly blend Rap and Rock: succeeding where others have failed, the boys summon up the edge and danger of Rap with the popularity and traditions of Rock- blended in their own inimitable way, their music is something you would not have heard too often. What makes them such a tantalising proposition- aside from their daring- is the amount of layers and flavours they put into their songs. They do not simply lump some Rap vocals over striking and stirring riffs- hoping that this will be enough to differentiate themselves from the masses. You can tell that intelligence, study and authority mandates their music: they have a clear love of past masters (of Rap and Rock); seamlessly fusing myriad sounds into their boiling pot- they have made sure that what they give to the public is of the highest order. The band's lack of homogenization works in their favour: so many current acts do not mix cultures, nationalities and races- a lack of diversity enforces their make-up. Bi:Lingual mix languages in a very different way: musical languages that are never usually united in harmony. Clandestine and nervous, the group win you over due to the depth of their sounds; the ambition and sheer force that they provide- you just know how honestly they want to win you over. Before I progress, it is worth noting their business plan: the necessity to rally against the apathetic. Whether speaking politically- or musically- there is too much shoulder-shrugging and non-committal mutterings among the young: my generation seem happy to watch from a concrete balustrade as the world passes them by- when the time comes for them to stand up and take action, they do nothing. This can be applied to music too: few are willing to embrace unexpected and daring sounds; connect with politicised and spiking messages- more contended to embrace something less heady and oppressive. Whilst this natural instinct is coded in our D.N.A.; if you are unwilling to flee rather than commit- you miss out on some truly terrific music. Bi:Lingual are proponents of a new form of sound: something that is guaranteed to get your body moving; puts messages and truths into your skull- leave you feeling very different about yourself and music itself.

A lot of readers are probably new discoverers of Bi:Lingual- unaware of their past work and where they came from. For a fuller and more rounded experience of the band, it is worth looking back and hearing where they came from. Their debut E.P. came about in April, 2013. Entitled Do Misa, it was a quartet of tracks that showcased how strong the band were- right from the off. Such a tremendous mix of sounds and styles mingle over the four songs. Delilah has Pixie-esque backing strings; a '80s/'90s Grunge/Indie mood lingers behind; guitar riffs arrive to explode and overwhelm- the percussion starts softer before becoming enraptured and devilish. At the forefront is a vocal expounding a love that cannot be broken: seeking Delilah, she seems to have fled and run away- our hero wants to capture her and bring her back. Menace and anger lurk with something more restrained: the projection is quick-fire but never demented (or lacking control). Showcasing the band's signature blend of quiet and loud, it is a song that lodges in your head- an early classic. Songs such as The Scene and Zoology expand on this and offer up some new flair and fascination- the band inject more raucousness along these numbers; keeping alive a firm and contrite sense of measure and musicianship. The compositions are just as developed and alive; capable of seducing listeners with the faintest of notes. Growing Pains sees more primal lust and pound: the riffs are more demonic and intent; the vocal more direct and insistent- possibly the closest song that one can compare with Subject Number. On an E.P. that highlighted many sides and emotions, the band hit the ground running- it is a deep and compelling work that proffered a band with a clear ambition. Most acts would present a debut that was held-back and muted- the boys waste no time in separating themselves aside from the pack. A few short months later (in August), Doppelganger was unleashed. This brief interlude would suggest that a few half-decent tracks would be unfurled- the E.P. contains six quite brilliant numbers. Spiderwebs has crunchy and bouncing underpinnings; catchy riffs that have an air of Nirvana- the vocals tumble and rush forth. Investigating such topics as talent shows and the people who win them; the band wonder what the point is- what are they actually worth? With a chanted and bolstered vocal, it is endlessly gripping and intent. The band showcase their lyrical flair and inventiveness: weaving lines with a breathless pace; presenting topics that are relevant and true- tied to compositions that is endlessly fascinating. The E.P.'s title track sees Blues-Rock crunch come in- with some Jack White and Jimi Hendrix coming to the fore- as the band whip up a firestorm. The lyrics see dormant volcanoes, rivers of excrement and tension a plenty- the vocals see our hero forced to survive; impress the critics; survive vehicular carnage. Delivered like a sermon, the pace and passion of the delivery builds on their debut work- the band increase their confidence and sense of urgency. Some of Eminem's venom and sound come out in the backing vocals- polydactyl and primeval psychedelic give the song a lustful and '60s feel. Pluto is more low-down and rumbling; with some primitive anger it blends soft and loud; rage and temporized measure conspire- the track is one of the most interesting cuts on Doppelganger. Although Do Misa is an emphatic and stunning debut, their follow-up built up and cemented the band's sound: the ambition and range grew; the songs more detailed and layered. Although there was no need for a huge sonic leap, songs like Spiderwebs compel you to listen over and over- elements of The Streets breathe in the frantic and mesmerising delivery. Given that Subject Number is a more brutal and attacking piece, some people may think that the band offer nothing but this. Their E.P.s show their full potential: tuneful jams and Blues-Rock swing are as synonymous as pulverising and demonised rushes- there is such a lot to be discovered; they appeal to all listeners. The biggest development- from last year's output- is the sense of passion and directness- their latest cut is the most direct and impassioned number they have ever turned in. I would thoroughly recommend you check out Bi:Lingual's back catalogue- there is so much pleasure and quality to be found. The last year has seen the boys look out on the world and events unfolding- the way they deliver Subject Number is imbued with as much anger and dissatisfaction as I have heard (from them). Any future E.P.s or album is likely to see similar tracks pervade; as the group have proved, there will be plenty of colour and light among the darker moments.

It is hard to draw too many comparisons when thinking of Bi:Lingual- the boys have such a unique flair and sound that it would do them a disservice. That said, they have some influences- intentional or not- that can be extrapolated from their music. One of the less obvious sources of inspiration is The Mars Volta. The Texan Prog.-Rock band mix Hispanic and Latin-influenced sounds with harder and more squalling Rock- works like Frances the Mute are spellbinding. Our boys put me in mind of The Mars Volta (and that album): they provide a heady thrill-ride; there is no pomposity or over-indulgence- instead it is nerve-shredding and primal; combining Hip-Hop and Classic-Rock, it is a cornucopia of music. Bi:Lingual have similar qualities and embers: their music sound like blueprints for live shows; that raw and open sound enforces their music's directness- the songs reveal themselves across multiple listens and investigations. Our boys provide visceral moments and some degree of absurdity; impressive ambition as well as human emotion and beauty- very much like The Mars Volta. The Texas band are masters of confounding the mind and bamboozling the sense- their dizzying array of sounds and intentions overcome the senses. Bi:Lingual have a comparable gift and weight to them- their latest offering shows just how intense and gripping they can sound. A lot of commentators have compared the band to Beastie Boys- fair given that the two share some similar skin. Although our lads perhaps offer more spit and overt rage- than the U.S. legends- there are plenty of similar aspects one can draw. Beastie Boys probably hits their peak in the mid-late period of the '90s: albums such as Hello Nasty certainly seduced critics. That album is probably the best starting-point when it comes to comparing Bi:Lingual. Our lads provide enough party and sense of celebration to put you in the mind (of that album's mood)- there is festival and joy to be heard in their music. A veritable feast of sounds, the album mixes Lounge, Hip-Hop and free-spirit (of '60s Psychedelia)- Bi:Lingual appropriate this sense of ambition and luster. Their melange of sounds never rest or relent- they display the same clear sense of daring and experimentation. The vocal performances (of our lads) perhaps contain some of the New York giants: that unique delivery and fascinating tonal regard is showcased in tracks like Spiderwebs. The anger and impassioned belt that comes through in Sabotage and Root Down rally and scream- sleaze and filth lies down in the cracks of the album. Beastie Boys mixed subjects like marriage, religion, corporate slackdom and modern-life communities; swirled it around samples, myriad genres and stunning ambition- to create wonderful results. Bi:Lingual have a clear and comparable gift that has already been highlighted- sure to be found on future releases. Another U.S. source of influence is Rage Against the Machine. Possibly the most obvious comparison; Bi:Lingual invoke a lot of Zack de la Rocha's venom and insane vocal bite. The Rap-Metal band's self-titled debut was such a terrific work because of the band relationships. With peers and contemporaries trying to match the band's majesty and grandeur- and failing- the sympatico and bond between del la Roucha and Tom Morello (the band guitarist) is key- delivered by suburban white boys that had as much conviction as any of Rap's most notable forerunners. The rebelliousness and emotionally-charged candour that was abound in R.A.T.M. can be compared to Bi:Lingual's current movements- Subject Number marries Wake Up, Killing in the Name and Take the Power Back. Back in 1992- as of now- few acts were capable of fusing intelligent and meaningful lyrics with fiery and combustible compositions- our boys have a similar essentialness and towering muscle and grit. The way Rage' expertly tie Rap, Metal and '80s Hip-Hop together made their debut- and subsequent records- so fascinating and full. Bi:Lingual manage to summon the same emotions and conviction in their work- it will be fascinating to see if an album of theirs can match the heights of Rage Against the Machine. The final American comparable goes to Jimi Hendrix. In a few of the songs- across Doppelganger and Do Misa, the band unleash furious and psychedelic guitar riffs- putting you in mind of Hendrix's finest work. Although not on the same rarefied plateau, there is an essence of the guitar master: the innate need to infuse the guitar with as much lustful brilliance and ragged and raw sexuality (comes out in Bi:Lingual's music). Our band have a great ear for the terrific guitar sounds of the '60s and '70s- they can incorporate elements of Hendrix and his insatiable appetite for sonic danger. The last two influences I will mention are Plan B and The Streets. Two British Rap/Hip-Hop acts, the intrepid newcomers manage to tangle the street scenes and social commentary of both acts; the range and diversity of their music- adapt it for their own means and ambitions. As well as Ill Communication being a source of inspiration (for our lads), Ill Manors comes to mind. Plan B's latest disc, it was the soundtrack for disaffected and impoverished youth: talking about the poor and needy; the kids on the streets- the danger and sense of anger that lurked in the minds of many. Politicised and potent, the album is purposeful, solid and a modern-day milestone: a relevant and pertinent sound of modern life Britain. Bi:Lingual have the ear trained to the streets: they know just how much of a struggle life is- how hard it can be to make your name and mark heard. Too many kids and musicians get hand-outs from talent shows; made fat with ill-deserved fame- too many people have to fend for themselves on dangerous streets. Sensing how much displeasure and disgust there is, our lads distill this into their music- soundtrack the voices of modern youth; add in political messages and their own spiked mandates- to score sounds that equal the potency and direction of Ben Drew. There is bleakness, obscenity and fear in Plan B's vocals- he explores avenues other rappers are scared to tread. Bi:Lingual have a comparable braveness and fearless intent: they can inject foul-mouthed anger with intelligent and relevant codas; project appropriate panic and grime into the palette- wrapped up in brilliant hooks and diverse sonic soundscapes. The Streets is another name that comes to the mind. Original Pirate Material (his emphatic and eponymous debut) looked at being skint; eating chips and getting drunk- it was an album made genuine by someone who has been in that position- and experienced a harsh life. Mike Skinner blends humour and wit with social commentary and pugnacious prophecy: Bi:Lingual have a terrific ear for good-natured humour and unique phrasing- making Garage elements fresh and rejuvenated. Whereas Eminem projects his wit with a degree of insanity, The Streets place observance and truth above all else- the debut cut was rife with poetry, hard-hitting honest and free-association rapping. Few contemporaries convincingly update Skinner's voice; keep that torch burning- ensure that 2014 Britain has relevant and important heroes. Bi:Lingual- alongside artists such as Kate Tempest- are deserving of equal acclaim: their movements suggest bold and creative voices that are in tune with the needs and pains of this generation- able to translate their pain and suffering into brilliant music. The urgency and conviction the likes of The Streets and Plan B utter is infectious and unforgettable: Bi:Lingual understand the world today- and the hardships faced- able to evoke this in their brilliant songs. Having given you a sense of where our boys come from- who inspire their mind- what their ambitions are- I better get down to reviewing Subject Number.

The song begins in a blitz of obscurantism; darkened in flagrante delicto as our frontman lets his words spit with fury and venom. It is said that "Pissing is a business": surveying people who advertise their pictures, the hero is ignoring the "viciousness"- right from the off you are not allowed breath or any chance for surveyance. Signs of early-career The Streets and Plan B come to mind- particularly the latter- with that same direct and pleasing tone; authoritative and striking words- the band are laying down the law and making their intentions known. Perhaps aimed at the hollowness, celebrity and iniquity of modern-day Rock, the sting is directed at musicians and people who turn Rock into a "little bitch." Rallying against a lack of adventurousness, passion or true spirit, it is a mandate to shake the modern-day Rock 'n' Roll purveyors- the first frantic ten seconds shows its anger towards people (who exploit their gift for arrogance and anger); the people who have no regard for the reality and true nature of music. Before any more words can be expounded, an exploding and rampant riff unfolds: the band get into R.A.T.M. territory to summon an annihilating and furious spell of deliriousness- pummeling in the mosh pit, the band are showing how Rock should be played- there is no room for tenderness and vagueness here, sir. Defined by crunching and monster riffs; furiously demented percussion; taut and psychotic bass, the coda gets inside of your brain- invigorates your fists to raise themselves aloft; implores rebellion and repressed tension to come pouring forth. A strangely catchy and addictive parable, you want it stay and play- caught in its combination of bonhomie-cum-feral vengeance, it is a stonewall blissed-out jam- the type Tom Morello would sever his head to get a hold of. Giving the music a spirit to infatuate, our hero is back on the mic.- ready to let his words tumble some more. Wondering how we have progressed from vinyl "to downloads"- aghast at the mindlessness and impersonalness of music- you can sense the annoyance and fatigue in his delivery. There is no bolshiness or impetuousness to be found: I feel similarly when it comes to music; we are in danger of losing the physical art of albums and songs- soon everything will be a ghost in the corporate machine. Our hero is in the quandary of an ill predicament: surrounded by "shit bands" and mind-numbing repellency, his words burn in the bonfire- raging against the serene; where the hell has the true essence gone?! Well, judging by the psychotropic recklessness and energy of Subject Number, it is right here: take note all you posing effeminate bands. With no musical reasons (why labels would "sign those") you are entranced in the staccato and waterfall flow of the words: syncopated at times; purulent and determined the next; the pace and rapid-fire potency grabs you and drags you in- your mind is fully ensconced in the song's vivid images. Displaying their innate wit (and ability to weave humour against pathos), the next lines are quite illuminating. Our hero lets it be known most bands just want their faces on "contraceptives and bobbleheads"- I know J.L.S. had their own brand of condom; there are too many jokes in there; I will get distracted. Everyone can emphasise and relate to our man's plight: the commercialisation and celebrity brand (that comes with music) is polluting the water- too many new acts want to be media messiahs and tabloid fodder. If you are more concerned with having your own line of perfume or clothing, then you are in music for the wrong reasons- the acts that go down this road are unanimously awful and pointless. Not just confined to boy and girl bands, many 'proper' musicians are letting the cloak and dagger aspect of business cloud their judgement. The money and profit (bands will be reaping) does not equate to respectability and credibility: if your motives are driven by financial reward, then get the hell out of music. The cloying and nauseating fans- who snap up their branded merchandise- are just as culpable: funneling funds into the sludge, they are fueling this pernicious trend. Backed by an insatiable and overwhelming swagger, our frontman lets his voice mutate and develop- from the previous parable of scattershot Rap, we now go into Metal and R.A.T.M./Beastie Boys territory. Keen to get the lipid competition out of the picture; further his band's own noble agendas, our hero wants them to "drop"- make sure that is "now." I was impressed by just how far the vocal climbs. When scatting and rapping, our leader has some composure and melody- his tones are pleasing even when giving musicians a thorough dressing-down. In the second third, the screaming and wailing urgency comes to the fore: it is a libidinous and determined shout that emphasises the sense of desperation and annoyance. With the likes of Bi:Lingual working honestly- struggling to raise capital and patronage- it is not fair that untalented cretins are rolling in money (like pigs in shit). Our man is "sick of waiting"- possessed by a satanic and animalistic spirit, the blood-curdling roar is enough to scare the likes of One Direction all the way back to their mums. Of course, the vitriol and mission statement is not solely directed at the heroes of the 8-18 market- plenty of Indie and Rock bands are falling under our group's attentions. Affirming their allegiance to real and veritable (and unfeigned sounds), you feel that Bi:Lingual are casting their poisoned net farther afield- perhaps artists like Kaiser Chiefs are in their mind. With a desire to see the wasters drop dead and retreat; renounce the throne (and desist with their evil ways). As the words are being poured- like gasoline on a bonfire- you get entranced by the delivery and composition- the former has an authentic Rap/Hip-Hop sway and pace to it that drives the song forward with fervency. The composition juxtaposes 'traditional' Rap/Hip-Hop sounds- electronics and samples- to give some true Rock grit and lust- the band play at such a force and speed that I would imagine they had to capture the song in one take! Our hero's voice certainly couldn't withstand too many re-records: after the 1:00 mark, you can hear it start to strain and crack- the ferocity and dominance of his delivery is stunning. The bi-polar projection allows refrain and calm to take over: we are back in the midst of a frantic and rifled verse. Attempting to euthanise clever talent shows; people who "show their sympathy" to the gullibility of the public (towards tawdry and pathetic sob story idols)- and wait on the phone line- wasting good money on conveyor belt musicians. Our hero shows an ear for atmosphere and delivery. Rather than let his words get buried and tangled in one another, he allows brief pause between certain lines/words: a tidal wave crashes...waits, and then rises back up again. Pointing the finger at "blind" viewers- that do not appreciate the pointlessness of the disposable 'musicians'- the words here are as urgent and meaningful as any others- you just know how much the likes of The X Factor piss off the Bi:Lingual crew. Being of a similar mind, I share their disdain and perturbation- the likes of Simon Cowell and his orange face; pensioner waistline and student review put-downs are enough to put you off life altogether. Perhaps the vulnerability of the modern viewer is being exploited by monopolistic and proclivious companies; the scrupulous moguls and money-makes are keen to bilk the 'faithful'- exploit their weaknesses and contribute to the "demise of the pedigree." Lesser bands- there are too many of them- would not imbue their lyrics with intelligence and poetic potential. Showing the same lyrical flair and savvy (and witty suaveness) of Mike Skinner and Ben Drew, the words are not hyperbolic, conjecture and offensive- truth and obliviousness are represented in a shower of fragmented poetics and stunningly multifarious outpourings. Bereft of any sympathy, our hero has had enough of the Radio One music culture- the meaningless charts that document the true squalor and shallowness of music. Whereas their fond contemporaries are fighting in the trenches, the corporate penis-flickers are back at H.Q.- getting financial progesterone and ill-deserved adulation. It is great how much I relate to the song- sharing the band's opinions- and the targets they charge towards- headlights bright and horn blasting. If they had mentioned the likes of Queens of the Stone Age, I would have ended this review here- the fact that Little Mix are name-checked brought a huge smile to my face. The epitome and embodiment of worthlessness; the glorified cover band (bands play instruments; these are marketing tools)- who ruin any cover they attempt- are infantilizing and demoralising music. Perhaps largely represented by prepubescent and pre-teen girls, you wonder if a moratorium could be imposed: ban anyone under 21 from buying music- ensuring that the likes of Little Mix, Neon Jungle and One Direction do as all a favour- and stick their head under a train. Emphasising how music is becoming more a business and charity case- replacing the days when musicians were ranked according to merit and promise- the order cognoscenti is wrong and corrupt. With hegemony going to the churlish and controversy-courting generation- who say the word 'like' every fifth or sixth syllable- the full passion of the words comes to light. With every kid from the "north and south" being a "fucking linguist"- supposed bona fide music-lovers on the order of false morals and impunity- the vague and plastic guitar proffering are hardly nascent revelations. The Pop and Rock acts that have as much credibility and conviction as Justin Bieber- the scummiest of the scum- think they are something special: deluded and deserving of opprobriousness, they are the ruination of music life. Backed by a guitar and percussive duel- sounding like a boxer punching his opponent- you can hear the gravel and concrete show its teeth- it is such a meaty and growling coda, you are helpless to resist its power. Mixing in reverbed and echoed vocal interjection; an additional layer of menace; malice and darkness comes in- our hero is a priest leading a holy quest- seeing his flock diminish and fall, he is atop a mountain. The vocal never loses its energy and avalanche: packing more into a syllable- than most acts pack into a song- you listen hard to take all of the words in (pausing and replaying lyrics to make sure you have all the information). Before the fever-dream chorus comes back to feast, the band let the composition have a bite: the stuttering and drunken blasts from bass, guitar and percussion provide a taut and tight ellipsis- preparing you for what is to come. By the time the chorus does come back around, you have more story on board- the words become more relevant and frantic- the song grows in stature and meaning. After the drowning gasps are spluttered; our hero tries to keep his emotions in check- I imagined he demolished the studio after the engineer and producer called things to a halt- and not let explicitness cloud his concision. As you prepare yourself for lyrical treats- more fascinating and intelligent lines- the instruments make sure they step into the limelight. The guitar is an arpeggio of firestorm fury and biblical resonance- Van Halen and Hendrix come to mind- complete with see-saw and considered modulation; there are touches of Muse thrown in- embers of their Black Holes and Revelations (epic fretwork) shows its scars. Distorting your mind and making your eyes spin, the parable is the aural equivalent of a burning pyre- our hero has ignited a flame that looks set to caramelize and incinerate the weakest of the species. When the chorus comes back around, the percussion stood in my mind. Matching the likes of R.A.T.M. for pure pummel, the percussion's octopus-limbed cannoning is a thing of beauty- you would imagine Dave Grohl, Neil Peart and Brad Wilk Cellotaped to one another. Our hero is kept in check by authoritative and fatherly bass lines- plenty of exhibitionist power comes out; it makes sure the song does not show any loose seams or edges. With his voice still intact- how the hell has that happened?- he sounds like a man alight: having jumped into the fire, the only chance of survival is the cooling water of fairness and musical karma- you suspect that he has second-degree burns just thinking about the likes of Scouting for Girls and their ilk. Ensuring his fastidious and unimpeachable carniverousness remains strong, the final lines are delivered with just as much passion as at the start- the consistency and momentum is never-ending and unflinching. As our man steps away from the mic., a final few notes wrap things up: going for a much-needed drink of water, you are staggered by the amount of anger at the song's heart- hardly surprising given what is being assessed.

Few reviewers will expend as many words as here- when it comes to reviewing one song. That is going to change for sure! Most songs are only worth a dozen-or-so words- the likes of N.M.E. and The Guardian distill an entire album review into six lines. If you were surveying a cover version from a boy band, you would probably urinate on the page; type the words 'I want to die' several times and put it out into the ether- it is acts like Bi:Lingual that inspire the pen to run out of ink. I found myself- with futile outcome- trying to keep pace with the rollicking vocal delivery; conveying my thoughts as fast as the lyrics are uttered. Subject Number is a song that demands endless repeat and investigation- you will pause the song at intervals to repeat lines and thoughts. Before I get down to patting the band members on the back, I shall finish up with the song. The epic and gleaming production- from Jamie Donnelly- makes sure the song is given full respect- the words and notes are crisp and undiluted. It is not too polished; allowing some raw and sweaty edges to come seeping through. Ranking alongside the best cuts the likes of R.A.T.M., Beastie Boys or The Streets could produce, it is a stunning and mesmerising track. The vocal puts you right in the song: such an impassioned performance, it is impossible not to be won over by its intentions and electioneering spirit. A few acts write similar themes- the game of fame; endless reality show garbage- but none have sounded as immediate and emphatic as this. A crystalline and golden nugget, Subject Number is one of the most addictive and impressive tracks I have heard all year- let us hope that future songs match its dizzying heights. As relevant and common as war, terrorism and corruption, the song will never lose its potential and meaning- unless talent shows and horrid musicians are expunged and extinguished, then we should never stop battling and fighting. A worthy and necessary warfare, Bi:Lingual are a confederacy against enslavement and musical genocide: they do not want everyone taken out- just the acts that are stopping them achieving their goals. It may come off as a political and fascist manifesto, yet most of the public back these opinions: we need to enforce some limitations and restrictions- castrate the testicles of facile and whiny Pop music. Any acts that are involved in Rock- with nary a thought for passion and conviction- are standing under a dangling sword- if you are not good enough to appeal to proper music-lovers, then there is no sense having you around. Too many acts get into music for the hell of it- thinking that the minimum is good enough- hopefully Subject Number will inspire some hesitation and creative revisions. Designed as a rebellion against commercial and marketing dictatorships, it also gives a warning to new musicians- if you do not enough weaponry in your armoury, you are going to be human shields. Of course, good music is a not a synonym for Rap, Metal, Hip-Hop- everyone has their own tastes and Folk, Pop, Soul and Indie can produce works of genius. The band is not saying they are the best examples of what music has on offer- they are not far from it- merely explaining they have spirit and genuine talent- they want to cull those that do not deserve to be here. As such, the song is the sound of conviction and absolutely delirious urgency- ironically making the song one of the finest things you will hear in 2014. Most bands that rally and complain turn in cold turkey songs- the sounds seem pretentious and free from any class or solidity. Bi:Lingual get their clear message across, but do not overlook the importance of music, composition and melody. They ensure their sound is ever-changing and mobile; enforced and galvanised when needed- sparser and less oblique when the vocal shines. Subject Number ticks all of the boxes: few commentators and observers would find anything that could be considered a negative- what more could you want from a track? The song is a winner because of the band themselves: the closeness and intuition they have shines in every syllable, note and refrain- bands twice their age are not as in-step and telekinetic. The vocal delivery is insanely determined and impressive. Drawing in some embers of heroes past, the sound mixes some of R.A.T.M.'s early work (in the chorus) in addition to Mike Skinner's charm and wit (in the verses). Able to shout with insane menace; offer prophecies with controlled and measured pace; roll, rock and slither- it is a phenomenal performance. All the words are intelligible and decipherable- even when the verses are delivered with an ecstatic sense of drive. This makes the song's messages extrapolatable and meaningful- you will be quoting lines and singing couplets for weeks to come. The bass work keeps the song from collapsing and regression to hyperbole. Taut and slinky at times, the abiding sound is of a stringed and winged beast- one that ensures that every note and vocal is backed by immense support and purpose. Guitars melt your face; shred the scenery and drug your brain- mingling Hendrix-esque pyrotechnics with ragged Rock/Hip-Hop masculinity, the parables and outpourings are deeply startling- the band show how terrific they are as musicians. The song is likely going to be an essential mosh-pit demand- a set closer that will see bodies carried away on stretchers. Beer-swigging and knife-wielding, it is the sound of modern-day music-lovers- those that hate the rise and prolifency of mainstream Pop muppets. With a sterling and earthquake percussionist on your team, you are never going to go wrong: with tentacles flailing and pulverising, few modern drummers could keep up with what is on offer throughout Subject Number. Instilling unexpected fills and calmer measures into the track, you cannot deny the vitality and primitive splendour of the delivery. Having not heard of Bi:Lingual until a few days ago- shame on me and the media- I am so glad I have. When new material flies out, I wanna be the first on it! Appropriating the candour and majesticness of legendary Rock/Hip-Hop acts of the '80s and '90s, they are a brave crew that deserve a tremendous amount of support and backing. Subsiding from their own crops and creations; living off of the land, they need money and cash injection- music like this should not die in the heat and be overlooked. If you have any sense and faith in new music, then you need to check out Subject Number- a wonderful glimpse and window into one of this country's most vital and patriotic bands.

In nearly every review- when it comes to the conclusion- I always find myself saying vaguely the same thing- using similar words and prostrations; familiar predictions and summations. Today, things are very different indeed. I find myself deeply impressed with Bi:Lingual; having experienced something new and distinctly original, I have been given a lot of inspiration and fascination. Bonding Rap and Rock into an intoxicating blend, the guys are going to be a very exciting future proposition. If you are put off by promises of anger and rebellion, then have no fear: the guys make music that promotes energy and togetherness- as opposed to dislocation and feral snap. Being a huge fan of acts such as Beastie Boys, I can hear a lot of them in Bi:Lingual- that same ambition and innovative brain. The U.S. legends pretty much had- and have- a faultless career: I am loathed to think of an album that was met with anything but critical acclaim. Few acts can boast this kind of consistence and plaudit- the New York Hip-Hop crew are one of the most inspired and daring acts of all-time. I particularly love III Communication: a twenty track collection that marries so many sounds and threads together- it is a dizzying and hypnotic record. Perhaps not their most celebrated album- Paul's Boutique steals that honour- to me it represents the peak of their creative powers- tracks like Sabotage are as tight and potent as anything I have ever heard. Given the band's consistency- and the fact that they hit upon such a phenomenal style and trajectory- and huge patronage, it has baffled me why more acts do not follow in their footsteps- not replicate them but at least be inspired by them. Even though the last Beastie Boys album is three years old, it is not to say that they are through- the guys will be back, showing the music world how it is done. We all need to witness and embrace bands like this: Bi:Lingual are a brave and emphatic group that are going some way to introduce Beastie-esque magic and urgency into their music. With music innovators such as Beck become more restrained and matured, it is vital that some youthful anger and innovation comes back into the scene- keep an eye on these chaps. Subject Number is causing much excitement; it bodes well for the future: it would be terrific to see a full album from the group in time. On the evidence of their latest track, the band have lost none of their magic and potency- they have grown in confidence and stature; found new inspiration and sense of purpose- their current offering is their most stunning cut to date. I love how effortless and assured everything sounds; how bonded and tight the guys are- their music ranks alongside some of the most fascinating and promising in all of music. I would advise that everyone take a look back on the band's work- find out how far they have come and how great their beginnings were. It is not just Subject Number that hits you: the potential and promise gets you very excited and filled with hope. Being penniless and impoverished, the boys may have to club some cash together- to be able to record an album. It is my wish that people snap up physical copies of their singles; give their money across to a band that have the potential to go all the way. So few new musicians sound as intent and meaningful as Bi:Lingual: they are an act that want nothing more than to stay in music for as long as possible. I have never seen them perform live; I imagine it is quite an unforgettable experience- if they come down my way, then I have no excuse missing out. Before I wrap up, I should offer some sort of direction to up-and-coming bands; provide missive and truth. The sense of fun, wise-crack and anger is seeping from music; bands that can tie this to deep and inventive sounds are disappearing and fading out- what we are left with is less daring sounds; those that are safer and more predictable. It is true that some terrific music can be discovered- within these confines- yet there is a part of the brain and psyche that is going to seek out those who do not want to follow the flock- Bi:Lingual are the guys for you. Artists that usually spar Rock and Rap capitulate and stumble with embarrassing results- our guys are in no danger of suffering this fate. They clearly have a love and admiration for classic acts like Rage Against the Machine and Beastie Boys: they do not ape them or copycat; instead instilling an essence of their magic into their own distinct sound. Fans of the genre are sure to find a hell of a lot to love (in the band); those perhaps a little more timid should come forth and have a taster- their music does not push anyone away. There are no bellicose scream-fests and profanity-laden rallying: there is rhythm, hypnotism and huge energy to be found- music that is designed to draw people together and not cast them aside. If you- like me- want to find something that is distinct and meaningful, then you need Bi:Lingual in your life. They are going to go a long way and have a lot more to say- let us hope that they have album and E.P. plans in their thoughts. Anyone that does not like their music are offered an oral sex-related option; their music has the potential to make your genitals burst- it seems that whatever you do you are in danger. The best thing you can do is to listen to the music and love what you hear- I guarantee that you will- otherwise the worst will happen. I am going to listen (again) to Subject Number; close my curtains and Cellotape my trousers on...

JUST in case.

https://soundcloud.com/jampottt/bilingual-subject-number/s-5au5j

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Bi:Lingual:

 

Facebook:

https://www.facebook.com/bilingualband

Twitter:

https://twitter.com/bilingualrshit

SongKick:

http://www.songkick.com/artists/7535034

ReverbNation:

http://www.reverbnation.com/bilingual69

iTunes:

https://itunes.apple.com/gb/artist/bi-lingual/id644429288

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Tour dates accessible at:

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

 

July:

23- The Showroom, Hartlepool

30- The Fenton, Leeds

August:

2- Carpe Diem, Leeds

4- Subject Number Single Release

5- The Keys, Middlesbrough (supporting DZ Deathrays)

9- The Globe, Newcastle

14- Roadhouse, Manchester

15- Ryans Bar, Derby

26- The Islington, London

30- The Lomax, Liverpool (International Music Festival)

September:

11- Zombie Shack, Manchester

October:

4- The Crown, Middlesbrough (Guests at RISE Wrestling)

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Bi:Lingual's music can be heard here:

https://soundcloud.com/bi-lingual

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Bi:Lingual's videos are available via:

http://www.youtube.com/user/bilingualband

 

Album Review: The 48K's- For Every Day a Memory

ALBUM REVIEW:

The 48K's

 

For Every Day a Memory

9.3/10.0

For Every Day a Memory, The 48ks

For Every Day a Memory is available from:

https://itunes.apple.com/gb/album/for-every-day-a-memory/id611352647?ign-mpt=uo%3D4

TRACKLISTING:

Time & Again- 9.5/10

Flick 'Em the V's- 9.4

Pipe Dream- 9.2

Lead the Way- 9.3

Forget Never Met- 9.3

Back Home- 9.2

It Can't Be Me- 9.3

Gotta Get Out- 9.3

Feel About You- 9.4

Take Me Back- 9.5

Sitting on My Own- 9.1

Valentine's Day- 9.4

The Fortune Teller- 9.3

Something to Believe In- 9.5

Falling Down- 9.4

STAND-OUT CUT:

Take Me Back

DOWNLOAD:

Time & Again, Flick 'Em The V's, Take Me Back, Valentine's Day, Something to Believe In.

RELEASED:

16th March, 2013

℗ 2013 The 48ks

GENRES:

Rock, Indie, Blues-Rock

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Having had the (former leader of Orange Juice) praise their album (For Every Day a Memory), Doncaster's The 48K's are winning legions of impassioned fans. With a new E.P. looming, it is high time you investigate the Indie-Rock princes: they are a band with clear potential. Not allowing their music to become bogged in a predictable quicksand, the next few years will be very prosperous.

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QUITE a task lies ahead of my today...

Faced with a 15-track album, my featured band are certainly going to get a long review- hope they don't mind. I shall get to all of that business in due course. Usually at this point in the review, I bring up a couple of different themes: today I am thinking about bands and Indie- once more. Being enamoured of- and familiar with- groups such as The Bedroom Hour and Crystal Seagulls- two London-based up-and-comers- the genre is producing some magnificent and diverse acts. In my last assessment- of Ska band Broken 3 Ways- I was offered a wealth and treasure trove of new sounds and sensations- examining music that was quite unfamiliar and strange to me. I love past (Ska and Punk-Ska) masters of old, yet have not heard too many new examples- the seven-piece Wirral group left me quite dumbfounded. The best thing about music is split into two considerations: the quality of the sounds on offer; the quality of the personalities on offer. Solo acts give plenty of brilliance and seduction; it is bands that are still most popular among the general public. Perhaps down to the sheer range of music available- or some other consideration- you cannot deny how important that sector of the market is- bands produce some of the finest music the world has seen. At the moment, there are a great number of different groups; all doing something a little different, there is a huge choice for the consumer- meaning the pressure is really on new acts. It is all very well putting music together- forming your act- and going out into the ether: a hell of a lot needs to be considered before you go out there. It is not the 1940s any more: we do not live in a time when there are few acts and choices (of music) to witness- our music scene is growing and expanding at an exhausting rate. One of the most lamentable aspects of music is how many mediocre and limited artists are out there- so many newcomers have no sense of adventure, ambition or quality. The hard truth is: if you can't provide a certain degree of excellence you will be buried and forgotten about- those that are most noble and insightful will win the day. With that in mind, we must embrace and herald these acts- artists that take leaps and have that quality deserve reward and patronage. This year, I have been lucky enough to see a host of wonderful and different bands poke into new music: many are still in my head now; few have made their way out. My featured act fit into a point I am going to make: the people behind the music. In a social media age, relations and friendships are becoming more detached and impersonal- most of us are satisfied to connect with people via a computer- rather than get out there in the environment. One of my biggest regrets- when reviewing music- is how little some musicians appreciate the work- spending time on a review, a lot of times they (the musician) do not get in touch- just ignore what is put out there. There seems to be a correlation forming: the artists who love music the most; when it means that much to them- they are the ones that are most appreciative of attention and focus. I shall not name-and-shame (one day I will), but The 48K's adore music and the way it translates to the people: from their music, you just know that this is something that is a calling- nothing else will do. Bands like this as those we should be putting in the spotlight- ensuring their ambitions and dreams are fulfilled and realised. Before I get to my second point, let me introduce the guys to you:

Ryan Lightfoot

Steve Dale

Simon Kato

Adam Golightly

Chris Morris

"After several years of refining their sound and presence on their local music scene, they settled a permanent lineup and set their sights on the horizon. We are here to entertain and hope you'll enjoy our music. We are not looking to sell out to the highest bidder and want to keep the spirit of good, catchy music alive. We hope you do too... The 48K's is a result of shared musical influences drawing people together. Quickly drawing a following in the Doncaster area, they are set to expand and explore the surrounding regions throughout 2013."

Being based out of Doncaster, it sees me back in Yorkshire: I swore I'd distance myself from the county- having reviewed most acts that play here- yet it seems like an alluring and hypnotic seductress- you cannot help but to keep coming back and experiencing the joy. Whereas a lot of fellow Yorkshire acts- mainly based around Leeds and Bradford- play Pop, Soul and Electro.; here is an Indie (and Indie-Rock) band- most commonly found in other parts of the country. I know Yorkshire has a fair few bands, yet most of my attention- when it comes to the genre- has been directed towards the capital- bringing me to my point. Indie and Rock are styles of music that have a huge amount of representation- there is such mobility and potential in the genres that bands are attracted by its gleam and openness. So many artists come up a little short: too concerned with being involved with music, they negate the important of honing their sounds and providing something different. As much as I love Indie and the wonders it provides- if you want to succeed- you have to go that step further: distinguish your sounds from that of every other act out there. From The Bedroom Hour's Hinterland through to Canada's The Dirty Nil, plenty of diverse representatives have come into my sights- each time I was left feeling hugely satisfied and inspired. Indie and Indie-Rock provides a sense of drama and epic proportions; it can be tender and calming; uplifting and motivational; foot-tapping and catchy- it is a form of music that is as flexible and promising as any others out there. It is not surprising- for these reasons- many acts want to join in- The 48K's are among the most promising and fascinating proponents of the moment. Having recently won praise from legendary stalwart Edwyn Collins- he praised the lads' album- the boys are rightfully proud. For Every Day a Memory is a packed and scintillating album- or several E.P.s put together (as the band may profess)- that is a wonderful collection. Few new bands- or acts that have been playing for a couple of years- do not put out something so strong so soon- not a 15-track collection anyway. I will investigate the tracks later, but will finish with one point: quality control. So many albums and E.P.s- in the mainstream and new music- have too many filler tracks; there is a certain lack of consistency- it takes the momentum and pace right out of a record. The 48K's have not merely stuffed every song (they have recorded) into one album in the hope that quantity equates to quality. They have been a lot more shrewd and intelligent: the five-piece incorporated quality alongside quantity. It is not surprising that the album- which was released last year- is still affecting hearts and minds- as the likes of Mr. Collins have ascribed; it is a record you need in your life.

For a comprehensive impression of the band, it is pertinent to look back at their beginnings. Some reviewers have displayed some obstinacy when it comes to Indie- keen to assume all bands are going to sound the same and not make a big impression. At the moment, the band are producing new material; For Every Day a Memory was their last full work- before then, the bands dabbled with a couple of songs. Happy Christmas Day has hard-edged and ragged guitar riffs; chugging and determined, it is no mere novelty toss-off. In spite of the lyrics (containing some twee and traditional messages)- Rudolph and sleighs; Santa making it in time etc.- the sheer delivery and pace turned it into something less predictable. A lot of bands try Christmas numbers- most are an unmitigated catastrophe- so it is brave of The 48K's to attempt it- at least it shows a different side to the guys. Instilled with Pop upbeat and raw and rushing compositions, it was one of the first signs of what they could acheive- displaying the hallmarks that would be cemented in their L.P. Other tracks such as Trophy Wife contained much pizzazz and edge: perhaps their most solid early work, it was a forerunner to For Every Day a Memory. Possessed of plenty of drive and grit, it has a true Indie edge to it- there is a naturalness and sense of authority coming through in the song. A few early songs gave the impression of a confident band determined to succeed; the signs were there and the guys certainly showed what they were made of. It is the here and now- or last year- that is the best indication of The 48K's (and their true potential). Most Indie and Rock bands tend to stick with a restricted and defined sound: they have focus but do not incorporate too much range and shock into their sounds. The 48K's released a four-track E.P. in 2010: most of the songs appear on their album; Cotton Wool is the only track that does not feature. That particular song had a vibe of Arctic Monkeys to it: the riffs are insatiable and punchy from start to finish. Packed with grit and energy, it is a conficdent number but not perhaps their finest song. Since the E.P., the band have shown how much stronger they are: quality control is at the forefront and the band ensure that all of their songs are assured and strong. Whilst their fledgling days put them ahead of most of their competition, the movements they made after (the debut E.P.) shows a clear development and progression. Stepping aside from obvious sonorousness of many Indie staples- Arctics included- more positives and Pop edge came into their set. The riffs are fuller and more interesting; little details and stunning chord changes give their songs a great sense of passion and intrigue: the band have opened up their ambitions and broken through barriers. Too many modern acts are rigid and poverty-stricken when it comes to interchangeable regards: they are key to play it safe and ensure that discipline and strict rigour defines their sounds. If you work within the Indie and Rock confines; allow some mobility and movement, then you have greater potential for creativity and originality. The material that comes through in For Every Day a Memory shows a unique and individual voice. Most bands you can ascribe to others; hear where they came from- know exactly who inspired them. Whilst I will be mentioning some other names (below); the unerring sensation is of a distinct act. The vocals are particularly stand-out and incomparable. There are few strains of other artists; the tones that pour forth; the phrasing and delivery is tailored to the band- you would struggle to find another act that sounds just like them.

If you are looking for anyone like-minded, then I can probably point you in some directions. Most of the comparisons revolve around the sound (and compositions) as opposed to the vocals. When tracks display a youthful and energised rush, you can catch touches of The Libertines. The band's Up the Bracket (debut) was stuffed with sweat-filled jams; spiraling and scenic stories of street life and the modern day- tied around compositions that compelled you to sing along. The 48K's rustle up a similar potency and wonderful racket. Their guitar lines are sleeker and less rampaging, yet the band put me in mind of the early days of The Libertines. Determination and gravelled heartbeats pop in The 48K's work: you imagine young and sprightly chaps gadding about town; a cocky swagger in their step, they have no fear or need to feel second-best- there is a truth and honesty to be heard. When the band's songs get gritty and raw, the likes of Queens of the Stone Age and Kasabian enter my thoughts. Q.O.T.S.A. are Desert-Rock geniuses: their primal and captivating swing is still seducing and alarm fans (so many years after their inception). The Doncaster boys have a great ear for that type of sound: they can elicit a comparable force and manly punch. Queens' are exceptional at mutating their sound and changing course (with barely a breath); making sure that their songs remain alert and surprising. The 48K's ensure that their songs do not rest or refrain- every song has a determined drive that keeps you arrested and on the edge of your seat. The way Q.O.T.S.A. employ so many different guitar shades comes through in For Every Day a Memory. Homme is a master of diversity and phenomenal fret work. Every album and song from the band (Queens') contains glimpses of the passion and energy that has made the band legendary- they ensure all of their music is filled with layers and heart. The 48K's have displayed an adeptness that means that can mingle sounds of the desert together with barbed wire guitar work: shifting from darker and shadowed number to catchier rushes, that pioneering ambition and spirit can be applied to the Doncaster quintet. Kasabian are a band that have grown and improved with age. Their current offering perhaps marks a peak: imbued with epics and stadium-sized riot, 48:13 is a stunning album. The 48K's make sure they do not succumb to boredom or aimless wandering- like so many of their peers- and have plenty of stadium-themed numbers; pumped-up and rampant fun spars with lariness and excitement- in addition to some great social commentary. Whereas Kasabian are not noted for their lyrical nous, The 48K's have a better ear for dialogue: their songs are sharper and more compelling- perhaps not up to Alex Turner's standards but pretty impressive none-the-less. The Doncaster troupe mix Kasabian-esque frivolity and catchiness with a terrific sense of story and surprise- making me think of Arctic Monkeys. It may sound like an obvious comparison- how many Indie bands aren't compared to them?- but not in the way you think. The vocals and compositions stray from the Sheffield boys' mould: the comparable take-away is the songs; the narratives and witness is there. The 48K's are skillful and confident when dressing-down dishonest and unfaithful loves; spiking and masterful when bringing in strange characters and street scenes- that rounded and quotable ability stands their songs out; giving inspiration to fellow songwriters. '60s and '70s icons come to mind when thinking of the band. Some of For Every Day a Memory's more primal and hypnotising numbers put me in mind of Led Zeppelin. Our boys are capable of offering powering and divine riffs; pummeling and intense percussion- full-blooded and heavy vocals. When the quintet's mind turns towards pointing the finger (and casting blame and aspersion), that same passion- that Zeppelin pioneered- comes to the fore: maybe not on the same chest-beating level as the legends, our boys put on a hell of a show- mixing Blues touches of the '30s and '40s with a dramatic and lustful soul. When witnessing the band's catchy melodies and sense of fun, it is hard not to think of The Beatles. If you listen to the band's The Beatles-era work; the sound that rings through that (double) album is infectious and endlessly fascinating. The 48K's have a Beatle-esque sound in their music: Beat Invasion '60s vibes mix with a sense of free spirit and head-nodding sing-along. When the vocals are doubled and augmented (by the band), you can almost picture the Liverpudlian four-piece- Gotta Get Out is probably the best example of this. The last two examples I will draw in are U.S. Blues-Rock bands: The White Stripes and The Black Keys. When surveying For Every Day a Memory, I catch glimmers of The White Stripes' debut album: the guitar sound is quite similar; that D.I.Y. and chugging momentum; the banging and grand riffs- it definitely has a touch of the Detroit duo's late-'90s output. The way Jack White mixes Blues, Metal, Punk and Alternative can be compared with The 48K's. A lot of bands do not fuse that many sounds together; our boys draw in multiple sounds and flavours into their songs- bolster its weight with methodical and considered incorporation. Jack White's (current) solo work has clout and plenty of personal insight. He talks of separation and dishonest women: The 48K's skillfully pen tales of tangled love and the need for freedom and contemplation- without coming across as chauvinist or arrogant. Moulded into compositions which spin Blues riot into a centrifuge of modern-day urgency, the Doncaster lads seamlessly blend these strands together. When listening to Turn Blue (by The Black Keys), you cannot help but to be amazed by the depth and nuance of the material. Essentially a 'break-up album', it has plenty of recrimination and anger within. The 48K's do never let their sentiments turn to bitterness: like the Ohio duo, the lads are skillful potrayers of fragmented love and ill-fated relations. It is perhaps the overall sound that has my mind racing (to compare the two). Joining Blues wail with spellbinding and contrasting jams, The Black Keys' latest album is a work that grows and grow- its charms are revealed after multiple listens. The 48K's have a similar quality: a lot of their songs are instant and direct; others stake their claim across repeated spins. Uniting Stripes-esque Blues rawness with a more defined and rounded Black Keys sound, their (The 48K's) songs conjoin tenderness and reflection with bitter sparks and overt outpouring; colourful and striking sounds; repeatable and kick-your-feet jams- projected in their own distinct voice. If any of these bands and acts capture your attention, then you will find a lot to recommend within For Every Day a Memory. Whilst being unique and ambitious, the quintet have embers of some of the greats- both old and new- which will appeal to new converts and the undecided voters alike.

Kicking off the album is Time & Again. With a tumbling and Blues-tinged riff- that marries The Black Keys with the Fratellis- it is an energised and intense beginning. Designed to get the body moving, the catchy and intent opening salvo. has plenty of passion and punch to it. When our frontman comes to the mic., his words are upbeat and redemptive. His girl may be doubtful or in a down-turned mood- in order to rectify this, our man wants to "show you everything I've seen"; turn her frown upside down. The energised and persistent swagger of the composition gets the song directly into your brain. As the scenes and requests pour forth, it seems that maybe his sweetheart is holding him back. Perhaps too demanding and righteous, our frontman is sacrificing a lot for her- he goes on to say that she is cramping his style. Desirous of some freedom and breathing space, the chorus acts as an exorcism- backed on vocals, the addictive repetition (of the song's title) enforces the sense of suffocation. Ensuring that the bonhomie never slips, the boisterous delivery keeps things compelling and upbeat. His girl is trying to please (perhaps)- "Seven out of ten for your effort there"- you wonder what it is that is being scored- perhaps just being her is not quite enough. Claiming that he is not the fairest judge, you sense that his love is not putting her best foot forward. As the song progresses- and our hero asks to be driven to a local bar- half of your mind asks whether a friend is being assessed- perhaps a ligger or hanger-on (that is a bit too needy and nerdy). In the banged-up car, you sense disharmony and fractured relations: our frontman's delivery (displaying the passion and determination of early-career Oasis) makes every word sound urgent as hell. A rousing opening coda, the song reveals multiple layers. After the two-thirds mark, a brief- but squalling- coda riff adds electricity and passion into the mix; ensuring a slight deviation, it shows the band's talent for surprise- injecting a much-needed display of fretwork. Anthemic and insatiable, our hero strikes about a determined composition: heading out for the night, his confidence is shot; his anonymous subject is once more cramping his style- you feel that explosion is imminent. Never dropping its momentum or sense of infectiousness, it is a brilliant kick-off track. Instilled with attitude, Flick 'Em The V's starts with a pummeling and spiraling intro.- the guitars weave and wail; the percussion clatters and chatters- Indie and Garage-Rock of today mixes with '90s U.S. Blues- to create an exhilarating sound. Stating "If you don't lose then you can't win", the song's subject beat the rest; putting the effort in, our frontman wants to buy him a beer- the ambitious hero has come through some trial and is deserving of his libation. Climbing ladders and skipping rope, there is ambiguity afoot: whether referring to an ambitious career-climbing friend- or literally assessing physical activity- you get the feeling that here is an ambitious and driven person- their zeal may well see them fall down a slippery slope. Whether an athletic superhero or kick-ass business brain, the hero needs to stick two fingers up- he has climbed high and is not letting anyone take him down. Once more presenting a captivating composition, you are fully entranced in the song: with our hero guffawing and living life at full chat, it is a rally cry for the boys. As the song progresses, light is shed- we are dealing with events in the athletic realm. Having reached the final, our hero has the chance to make the bookies cry- he is an odd-on favourite. By the last clattering and conclusive notes- marrying bolstered riffs with percussive smash- vivid images swim into mind- the hero would have won the race; flipped the v-sign (probably going for a beer afterwards). Less spiky and hard-edged- more open and melodious- Pipe Dream sees the band step more into Indie territory- and slightly away from Blues. To document our frontman's realities: he lives his life in "turquoise skies'; daydreaming and hopelessly ambitious, there is restlessness to the vocal delivery- you can sense that he wants more out of life. Growing old before his time, you can hear the cracks on his face: that premature maturity is subjugating and confining his potential- backed on vocals, the song sees his comrades support his plight. More Pop-infused than previous numbers, the band showcase their talent for range and mood: there is a great mix of hopeful and resigned; insightful and vague- so many different strands and threads work away in the track. Fear comes creeping in; the years are seeping away- our frontman is going to "make it better." Speaking to his love- or perhaps a treasured friend- he has salvation: the person can make the sun shine; provide comfort and safety- inspire our man to get what he wants out of life. With melodious charm and smile, there is a feel of '60s Pop: it is the band's most overtly positive and redemptive song- it leaves you with a nice little grin on your face. Starting with a boisterous riff- mingling Status Quo's Down Down with modern-day Arctic Monkeys- Lead the Way certainly has early potential. The intro. snakes and develops; grows in pace and energy- nicely leading into the vocal. Looking at his subject, our frontman sees them close their eyes and drift away- sun beating on their face, you speculate as to what is being documented. It seems like a friend is in trouble perhaps; not overly fraught- but prone to moments of vulnerability- our frontman offers a supportive shoulder- if they need him at any time, they know what to do. Once more showing their tender side- following the album's opening grit and accusations- it is a comforting and warm song- with ample stir and fascination. Twists and turns are on every street; our (wise) frontman has seen what dangers lie ahead- backed by his band again, the multiple vocals ensure the track is inspiring and anthemic throughout. Designed to inspire legions of fans- to get up and chant along- its heart and sense of care never subsides. Most bands may come off as saccharine or cloying- when detailing similar themes- yet The 48K's pack suitable conviction and invigoration into the song- the guitars stand out here; periodically providing some curdling and roaring pride. Perfect for the summer days: window wound down and the open road in front, it leaves the listener with a lot to reflect upon. Back in meatier territory, Forget Never Met rocks up with its cool swagger; Blues-tinged leather jacket; wind in its hair, it is a suitably bad-ass beginning- you just know the song is going to have some pertinent messages forthcoming. Discontent and let down, our frontman is reading bad news- whether talking about the media (or something on social media), he is resigned and anxious- savouring the moments he actually feels alright. Perhaps betrayed and double-crossed by (loyal) friends, there is one thing for it: head into the night to find someone "I've never met"- perhaps random strangers and strangeness will be more loyal. Backed by a kicking and Blues-Rock undertone (a bit like a slowed-down version of The White Stripes' Instinct Blues), our frontman has someone in mind- they cannot forget them; perhaps they are inspiring his current state. With the anonymous and undefined stranger in mind, it acts as a metaphor for a state of mind: events have caused quite a lot of distress and annoyance; hitting the road to destinations unknown, confusion and anger seem to inflict our frontman's mind. Not able to picture his subject's face, a myriad of thoughts and contradictions flood in: the song causes so many visions and possibilities to pour forth, you wonder what the true meaning is- it keeps things intriguing and open for interpretation. Marked by a restless and winning vocal (from our frontman and backing); a cool-edged composition and a sense of hope, Forget Never Met is a perfect way to close the album's first third. Back Home is next, and begins with jiving, stuttering and weaving guitar riffs; cool and slinky, ducking and diving, it definitely has intent and purpose on it mind. With a lighter and more passional vocal, our lead is in a car park by the underground: trying to find his way home, there is a sense of dislocation and loss- the song wins you over with its striking scenes and sense of story. Having progressed to the pub- four friends in tow- a lack of sobriety results in them missing the last bus: the capers continue and homely destinations are a distant proposition. Rooting for our man, a cat-and-mouse game unfolds: he is thwarted at every possible juncture- a drunken version of Dorothy in The Wizard of Oz it seems. Joyful, carefree and swaying, the song has a cheeky and loveable charm- mixing rousing "Come on come on come on"s, '90s Indie/Rock, '60s Pop and modern-day Indie spiral together. Not too over-sung or over-performed, the song has just the right balance of projection and mood: meaning you are invested in it until the final moments- our man no closer to reaching his front door. A likeable wander, you just hope that he made it back safely- or spent the night on a park bench somewhere. With the percussion giving It Can't Be Me a suitably punched and pronounced heartbeat- a weaving and delirious intro. gets things off to a flyer. The song looks at our frontman and his identity: a shadow of himself, his reflection is scaring him to death. Whether disappointed by the image that comes to mind- or acting out of character- there is definite anxiety to be found- jumping at shadows and noises, something has rattled his brain. The percussion is particularly impressive: driving things forward, it layers on the sense of discontent and defragmentation- kudos here indeed. Taking a while to return to planet Earth; grappling with common sense, time seems to be slipping away- I was wondering whether a certain event had triggered this thought process. Before my mind imagines, a psychedelic and wigged-out guitar riff seduces and intoxicates- leading to a springing and itinerant bass line, the composition shifts and mutates brilliantly. Perhaps weighed down by a relationship; under the cosh of a stressful life, our frontman wants to be left alone- leave the heel-steppers alone and try to rediscover his former (better) self. Once more instilled with sing along potential, events are not too repressed and foreboding- the band ensure that you sympathise with the plight (rather than overlook it). Escape and release define Gotta Get Out: beginning with a calmed and measured intro. the pressure and pace start to build- notching up the degree of fascination and speculation. Able to do and say what he pleases; be where he wants to be, our frontman can do this because he is alone- perhaps his sweetheart is an anchor he needs to cast off. With a Beatle-esque composition, you get caught up in the swing and charm of the music- whilst focusing on the recriminations of the foreground. With his other half pusillanimous and circumscribed, our man heads out on his own- you cannot change the future; he sure as shoot can achieve it on his own terms. The chorus is an impassioned and chanted mantra: defining the song's terms, a clear sense of emancipation comes in- having lived an undesirable life for too long, now is the chance to shine. No longer emasculated or under the thumb, perhaps things are turning the corner- as the song progresses you wonder whether it is a relationship (being focused on) or perhaps a suffocating associate- when our frontman says "Gonna take you all on my own" it makes me doubt my convictions. The song has the power to make you question and second-guess. By the final notes, I assessed my assuredness and still stuck with my guns- instilled my theories with some new shades and insights. Youthful passion and intention starts Feel About You- signs of Up the Bracket Libertines came to my mind. With the guitar sharper, punctuated and more atmospheric; the song makes you sway and nod- possessed of a cheeky charm. Our hero wants his subject- I was thinking it was his lover- to tell him her secrets: open up tonight and let honesty and truth come out. Enraptured in a true sense of love, nothing will change the feelings (he has about his girl): whatever skeletons or ghosts haunt the closet, they will not make a difference- here is a solid and defined relationship too strong to suffer easy cracks. The song drives and never relents; the cheer and sheer energy keeps on going: that delirious and indefatigable kick grips you right the way along. Telling his beau to "Forget situations"; overlook diminutive impurities and indiscretions; forsake every little cosmetic blemish- it would take something monumental to phase our unflappable hero. Few Indie bands have such a openness and romantic positivity: it makes the song a strange (but pleasurable) aberration- an apparition that should scare bands into writing similar tracks. Notable for its tender and earnest vocal, the track is augmented by a band performance that is tight and perfectly in-step: the guys commingle with true sympatico and intuition; making the song focused and relentless. Take Me Back starts with a primal and lurching crawl; displaying some crepuscular Pixies menace, the intro. here is among the most intriguing on the set. Opening itself up- for a brief moment- the parable is brief but memorable. Our frontman wants to come back home. His voice filled with spiked venom; grit and masculine gravel, the direct and urgent delivery is hypnotic- the delivery has a catchy and insatiable projection- words are repeated and overlapped. Backing vocals encroach and echo- which sees the chorus put right up front- which quite an unusual and impressive consideration. Our man dreams of waking up- when sleeping- and getting away: he is being forgiven by a person he is not familiar with- perhaps a drunken night has seen him bed a regretful conquest? Unsure how it got this far, the morning light is illustrative and harsh: the mannish and laddish swagger of the song makes sure little sympathy is provided to the heroine. Taking a walk back home, a twinkle is in the eye: negotiating and perambulating the dark streets, his spirits and senses are back at their most heightened. Kasabian, The White Stripes and Led Zeppelin mix with Arctic Monkeys in a sense: the former camp is represented by impassioned Blues, rousing choruses and masculine energy; the latter by that distinct northern Indie sound- tied to lyrics that have one eye on the streets and one in the bedroom. The enticing mixture of flavours ensures that the track lodges into your mind- I am sure that it is a firm live favourite. Crunching and dizzying riffs join with pummeling and scattershot percussive rolls; propulsive and forceful bass notes mean that there is no leniency or intrancegency- it is a track that demands your full attention. As we start to approach the end, Sitting on My Own comes to play. Acoustic notes begin the track- subverting expectation and circumventing your predictions- to give the album a new twist and layer: not prominent up until this point, it acts as a pleasing ballast- the intro. has a tight energy, yet is romantic and tender. It is  not too long before spiraled and elliptical electronics overtake proceedings- upping the ante, the track's intro. is a fascinating little nugget. I was intrigued by early words. Our hero is speaking to his subject: unwilling to get their feet wet, the heat has arrived. It seems that the heroine has timidity in her soul: our frontman is sitting on his own and wants to find a more adventurous and daring partner- someone who can take a leap and make their voice heard. Perhaps not instilled with the same conviction and passion of previous tracks, it is a pleasing and pleasant track- one that does not suffer by being low down the tracklisting. The composition has a traditional Indie feel that will draw in some eager ears- its loyal and authoritative beating heart is its most impressive facet. Not giving his sweetheart a moment for rebuttal, he is inflamed: she wants apology and some compromise; whatever has unfolded, an apology is not going to happen- there is a distance between them. Providing a cold shoulder- on a hot day- it is time to see "just how much you mean to me." As his girl sits on her own- waiting for someone to call- you are left wondering whether reconciliation and reappraisal will be forthcoming- perhaps too much damage has been done. By the end, it seems that a middle-ground has been achieved: détente and emotional tontine has led to some (albeit vague) mutuality. A stomping and hell-yeah punch opens up Valentine's Day- it is a coda you want extended and elongated- the band tease with its succinct and brief charm. The song's core falls in love too easily; our frontman seems to have seen this all before: the heroine is decked in resplendent garments; quite eye-catching and alluring, her man is sweeping her off her feet- you sense that the infatuation will be brief and predictable. Familiar with the route of events, she "wouldn't have it any other way." Perhaps a teachable moment is needed: sitting down the heroine and highlighting her naivety and destructive patterns. Love is blind (is the axiom); postulate and noble truth- an idiom that has a particular relevance and universal truth here. The no-good dick she is hanging around with is going to jerk her around; toss her aside with callous ease, our frontman wants her to shape up- asking what the hell she is doing, you wonder why she puts herself in this position. More an adage than an aphorism, the song's maxims have been heard before: we all can relate to the type of woman who is being eviscerated- the listener will picture the heroine of the song with clarity and detail. Offering up plenty of hard-edged and primal lust, the track sweats, contorts and smacks: it defines and solidifies the song's words; adding focus and much-needed clarity. Hoping it's different (this time), the band seem less optimistic- the shark is circling and will claim its victim. Displaying a composition that is more mobile and unpredictable (than past numbers), the mood drops and rises- the band step up a gear here and provide one of their finest tracks. Being a man, our frontman knows how his gender (and mine) operates. A sense of sarcasm and insincerity echoes in the chorus: not washing his hands of her, it seems that nothing he can say can change his mind- by the final moments, he is bereft and exhausted by his friend's foolhardy and exhausting ways. Ensuring that the final tracks on the album are no latchkey child (or sapling), The Fortune Teller has a verminous and grumbled introduction. With Queens of the Stone Age majesty, the opening moments are certainly invigorating and menacing. The vocals slip into Arctic Monkeys trousers; that same aloof and distinct tone (that Alex Turner perfected) shows some influence on our frontman- the song's words distance themselves from the Sheffield icons. Asking to be taken out tonight- to the city of bright lights- it seems that our hero is keen to lighten his wallet- give his fortune away and lose it all. Whilst walking on the sand, he wonders what to do tonight- enticed and lead astray (by the city and its proclivities), it seems that our man is embarking on a dangerous course. Stating that "You can have it if you like" a feeling of disconcertedness and unfeeling detachment is enforcing his mandate: less concerned with material wealth, there are more pressing thoughts on his mind. Not revealing the motives behind his benevolence and recklessness, you speculate as to the circumstances behind the story. It is an original song that presents a new take on personal anxieties and disenfranchisement: the images and scenarios proffered mix vividity and distance meaning- full clarity is never obtained (ramping up the sense of mystery and mystique). With the emphatic chorus (ensuring it will not budge from your brain)- for weeks to come- it is a terrific ante-penultimate track- leaving you wanting more. When more does come, it begins with a springing and waltz-like introduction. Its Garage-Rock/Blues luster cannot be denied or overlooked- reminding me of The White Stripes' debut (songs like Broken Bricks and Jimmy the Exploder particularly). Tired of mathematicians and politicians plaguing the airwaves, our frontman has had enough of things. Offering lies and half-arsed truths, there is no assurance or faith forthcoming: our man wants something he can believe in. Having confidence in himself (his friends and his girl), it is the rest of the world that cannot be trusted- the deceitful and dishonest public figures are causing derision and annoyance. Not content to let his words do all the talking, the composition makes its mark throughout. The chugging Garage riff that propels the song never relents; energised and colourful solos add barbed wire- shout and virulent rage spar with one another. The band seems energised and up for the fight: the way they combine and lift the song is to be commended- lesser groups would tire and offer less passion. Our frontman turns in one of his most intense and direct vocals here: towards the closing moments, it rises and augments with menace and meaning- backed by an accelerated composition, it emphasises the song's anxiety and desperation. For Every Day a Memory's swan-song is Falling Down. Starting with a militaristic and tribal drum-roll, you are sat to attention; joined by gentler and lighter guitar strings, a curious and colourful blend is stirred. Determined to end the album with a majesty, the track grips and grabs onto you. With his voice somewhat distant and echoed, our frontman is examining a particular subject: perhaps looking at a love or a friend, it seems he has had enough. The heroine's daydreaming and friend rotating is tiring and ingratiating; she is going to suffer a downfall and heartache (if she keeps going on this way)- a lesson needs to be learned. If talking to his focal point- or another person- it seems that they are the "only dreamers left around." On their feet, everyone else is falling down and failing- you can hear the discontent and loneliness in the vocal. In a world where he cannot relate to anyone else, our frontman is clinging onto his friend- the only visionaries and brave souls in town. With that constant percussive riffle in the fray, the urgency and directness never relinquishes. The band mix aching and fuzzy guitar riffs with more sombre and spacey threads; throbbing bass ties everything together nicely- it is one of their most compelling and full compositions. As the chorus comes back around, you think whether our frontman will find his meaning and answers- detached from most of the crowd, here is a man looking for similar bodies and minds. By the final notes, you wonder how things worked out- cliffhangers linger as For Every Day a Memory ends its course.

Before I get down to assessing the band- and highlighting the positives- let us have a closer look. At 15 tracks, the album is a lot to digest. The tracks are excellent, but it may take a couple of listens to take it all in. If you listen to every track is one go, they will not elicit their full potential. It is a record that needs proper investigation and digestion. Maybe the band could have trimmed one or two songs- skimmed a bit to ensure an overall strength- and tightened some of the longer numbers up. The band is original and unique for the most part; some songs tread into Arctic Monkeys territory- the folly and natural instinct of every Indie band. When they do go down this road, perhaps some of their special charm is distilled and watered-down- a lot of other acts suffer this fate. Those are perhaps the only constructive points I will raise: they are not big issues, but maybe something that will remedied when their new E.P. is released. If we assess the positives, then there is plenty to find. The intros. are short and concise throughout: too many bands provide elongated and rambling introductions- the band's truncated and thoughtful approach makes the songs more focused and urgent. In so much as I have said (some tracks are a bit overly-long), the majority of the tracks seem brief and short- the charm and quality means they whiz by and leave you wanting more. This harmony is achieved due to the band's songwriting ability. None of the songs sound the same; themes are different and shift- the group approach songwriting with an openness and ambition. Not content to stick with one dimension; our boys look at love, personal insight, money, modern life and regret- so much is investigated across the L.P.- it will appeal to a wide range of listeners. The production and tracklisting is well-considered and impressive. The album is not top or bottom-heavy: the finest tracks are placed appropriately so that the momentum never relents; by the final songs you are left wanting to hear more. The crisp and clear production gives the songs a polish and shine- all the words and notes have a sharpness and sound that means they resonate and ensure nothing gets buried, muted or overcrowded. Each song has its own skin and personality: the band retain their own core sound; open their palette and infuse the pot with diversions, new directions and contours. A rich and rewarding disc, it is not just another album by another Indie band. So many new artists record albums that do not offer too much or separate themselves apart- The 48K's have enough promise and potential to suggest that they will gain mass critical acclaim. If they can remain disciplined and intelligent- ensuring they keep things tight and taut- then they will have an exceptional and busy future. The album impresses because of the performance of the band as a whole. The vocals are constantly exciting and passionate: able to change course and provide so many emotions, you have to give applause to our frontman. Whilst keen to distinguish himself from any particular names, a clear voice comes out- one that is hard to compare with too many others. It is the conviction and urgency that really makes the vocal stand out- no song suffers due to insincerity or ill regard. The guitar work is potent and electrifying throughout. Mixing in Blues and Garage acts (such as The White Stripes and The Black Keys), the strings can mutate into Indie slams; psychedelic vibes and Pop-tinged seductions- so much difference and diversity is offered. Again, our band do not tread on anyone's toes: the riffs and parables are very much the work of The 48K's- few other bands have a distinct edge; making the Doncaster boys a real treat. Tight and driving, the bass holds all the tracks together; it adds its own menace and weight- showcasing an ear for melody, mood and surprise. On many of the tracks that startling bass added a tonne of heart and restlessness- combining seamlessly with the rest of the band. Percussion notes range from pitter-patter and soft to emphatic and pummeling- the drumming is consistently striking and strong. Few Indie bands are noticeable because of their drummer: The 48K's have quite a fertile and promising stick-wielder in their ranks. Before I move on, I shall just encapsulate the album (in a few lines). There is plenty of catchiness to be found: heart, emotion and anger sit alongside one another; nothing seems forced or unnatural. Possessed of depth, intelligence and professionalism, it is a dizzying array of tracks. Whilst not all 15 tracks hit such a heady peak, there are no outsiders or obvious weak tracks- the lesser numbers still contain necessary clout and impression. I am staggered the band have so much material and quality to play around with here- expecting an E.P. or smaller album, it is a mark of their ambition that they put forward something as rounded and brilliant as For Every Day a Memory.

I have typed quite a few words- I shall not keep you too much longer- but it is important to give a summary: assess where the band are going and how they fit into the scene. For Every Day a Memory is a stunning collection of songs and moments that seems more like a film: so many different stories and moments are packed in; it is as though you are watching an epic of the screen. If the likes of Edwyn Collins takes the time to recommend your music, then you can't be going far wrong- the man is not exactly renowned for his poor taste and judgement. The boys may have enlivened and entranced Doncaster; bewitched Yorkshire and the north- they should prepare themselves to take their music a lot further than that. I know that For Every Day a Memory has drawn support from fans across the U.K.: the lads have been getting some positive feedback and praise from all across the country. Even though the album was released last year, its appeal and sense of fascination is still burning- commentators and music-lovers are still paying paen to it now. Even though Indie and Indie-Rock are busy and bustling genres, there is a huge amount of potential for profitability- if you are up for the fight. Those that are prepared to put in the graft and effort will reap the benefits; win fans and see their stock rise- as the years go by. The 48K's will definitely be one of the biggest acts to watch- as we head into 2015. Their passion, flair and talents cannot be denied: they approach music with such consideration it means that all of their tracks are full and well-considered. Bands either lack lyrical clout or suffer when it comes to music and vocals. The quintet pack each song with beautifully vivid and stirring words- themes that cover a spectrum of emotions and subjects. The vocal projections are urgent and rousing; infested with such a gripping sense of occasion, it draws you in- pulling you straight into the song. With tight and layered compositions; consistently stunning performances, the lads have managed to perfect their craft- standing aside from so many so-so acts. So what of the future? Well; I am guessing that some pretty illustrious tour dates will come their way- venues and promoters would be remiss if they overlooked the quintet. The most obvious prediction I can proffer regards predilection: so many new fans will be arriving the way of The 48K's. Support and popularity is as important and necessary- if you want your music to take off- as anything else: with their numbers increasing and swelling it is not going to be long until the boys get their rightful acclaim. With a new four-track E.P. on the horizon, it is not long before new material is afoot. It will be great to see how the boys have developed and changed- since For Every Day a Memory- and what new inspiration they have picked up. I will leave the review with one particular point: the next year in music. This year has seen the uncovering of some pretty special musicians; a host of terrific acts have made their voices known- I wonder how many of these musicians will make their way into the mainstream. You can always tell whether an act is going to make it big or not: quite a few will be around for a couple of years but will probably not survive in the long-term. The 48K's are one of the acts you feel will take it all the way. It may take a little while for the boys to climb to the heady heights of their heroes, but the signs look good: if they keep stamping out music of this quality, then they will be big names to be reckoned with. The quintet has assimilated a wealth of influence and knowledge; the kinship and closeness of the band members comes through in their stunning music- they are a group you really want to succeed. Hopefully they can go on amazing their home crowds and flock; I see the guys' potential further afield: their sound has an international and flexible appeal that will be appreciated by music-lovers across North America, Europe- and beyond. You can only imagine it is a matter of time before demand comes in from across the world- once the full potential of their music hits, it will be great to see just which countries and cities come calling for The 48K's. Let us sit back and see; enjoy For Every Day a Memory- and wait for their new material to come forth. Safely and securely adorned in the comforts of home, our lads may well have to brace themselves for the bigger and hungrier world...

IF that is okay with them.

 

https://soundcloud.com/the48ks/valentines-day

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow The 48K's:

Official:

http://www.the48ks.co.uk/

Facebook:

https://www.facebook.com/The48ks

Twitter:

https://twitter.com/The48ks

SoundCloud:

https://soundcloud.com/the48ks

YouTube:

http://www.youtube.com/channel/UCReypWgvul5zBTrMCI1GRQA

Last F.M.:

http://www.last.fm/music/The+48ks

MySpace:

https://myspace.com/the48ksband

Spotify:

https://play.spotify.com/artist/4BzdgCoTfYNa5YgLXIhCpd?play=true&utm_source=open.spotify.com&utm_medium=open

The BandWagon:

http://staging.bandwagongigs.com/epk/the48ks12

iTunes:

https://itunes.apple.com/gb/artist/the-48ks/id515022514

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Gig dates accessible at:

http://www.the48ks.co.uk/gigs/

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The 48K's' music can be viewed here:

http://www.the48ks.co.uk/music/

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The 48K's' videos are available via:

https://www.facebook.com/The48ks/videos

 

Track Review: Broken 3 Ways- Work On It.

TRACK REVIEW:

 

Broken 3 Ways

 

Work On It

9.4/10.0

Work On It is available from:

http://www.youtube.com/watch?v=35S3h1DXU5M

The album Return to the Shack is released on 28th July

GENRES:

Ska, Punk

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Having witnessed so many Indie and Rock bands come through, my thoughts turn to this brilliant seven-piece Punk-Ska band.  Broken 3 Ways provide delirious and upbeat energy; angered and angular discontent, buoyant and impassioned vocals.  Work On It is a stunning song from one of this country's finest live acts- make sure you check out these Wirral-based wonders.

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IT is not often that I get to step away...

from my normal course of investigations. Over the coming days, I will be assessing a couple of different albums: Indie and Rock are going to come under the radar. It is always great to delve into a band (or artist) with a terrific sound: discover something exciting and genuinely unexpected. As great as it is to hear these acts, a part of my mind always looks outwards: yearning to find sounds that are that little free-thinking. Rock, Indie and Grunge are genres that have many representatives: there are plenty of acts that give different takes on these particular forms. Aside from that, you get a fair smattering of terrific musicians- everything from Pop and Soul can be reinterpreted and redefined in bold and unexpected ways. I am excited today, because I get to look at two different topics: northern music and Ska. When looking at the north, most of my attention is primed at Yorkshire: the county has taken up quite a lot of my time and passion across the years. It seems to be the region to discover what is genuinely hot and upcoming: the multitude and range of different sounds far surpasses that (provided) by other areas of the U.K. I will not go into too much detail with regards Yorkshire- having laboured the point so many times- but something wonderful is happening if you head further up the country: the musicians here are creating something quite special indeed. It was only a few days ago I was lamenting the lack of great Liverpudlian and Mancunian artists- Liverpool and Manchester have such a historic reputation; the apparent energy and tremendous output seen in the '80s and '90s has subsided somewhat- there are still some terrific bands here; far fewer than I would predict. The problem is the nature of the genres pervaded: artists still lean too heavily towards the avenues of Rock, Indie (and its sub-genres)- the diversity and experimentation is lacking. With Yorkshire boasting authoritative Swing and Electro. acts; an incredible '50s-inspired chic songstress; solid and reputable Pop-Soul artists- you wonder why one county is leading such an emphatic charge. Across the North West of England, there is a revival happening: fascinating and original artists are poking through; presenting music that separates itself from the predictable mass- offering the listener new and scintillating experiences. My featured act hail from the Wirral: an area of the U.K. that is showcasing some of the nation's hungriest and most eager new musicians. Although not on the same rarefied level as Yorkshire, the Liverpool district is proving how adept and malleable the music scene is. One of the big problems with the mainstream is that the albums and songs put forth do not possess that much true diversity: certain albums will splice and mix genres; there are still a lot of forms of music that are relegated to niche and clandestine quarters. Popular demand and market forces have perhaps moulded a rigid and ill-defined core: something needs to be done to ensure that unexpected and flavoursome sounds are stirred into the mix. In order for this to happen, eyes must look towards new music- beholding and proffering the bravest and most compelling acts around. Before I expand on this point, I shall introduce my featured act:

"Broken 3 Ways, a 7-piece ska-punk outfit from the Wirral, UK are living proof that raw talent, ambition and honesty can still prevail in an ailing music industry. It is no surprise that their energetic live performance has helped grow a loyal fan base throughout the Wirral and Liverpool music scene. Their signature sound in captures the raw essence of Ska-Punk with hard-hitting dual vocals, Skanking guitars and addictive brass that take their influence from bands such as Streetlight manifesto, Sublime, Rancid, Reel big fish and Capdown. Since 2008 the band have played hundreds of shows, supporting bands such as The English Beat and The Skints. In the summer of 2013 they enjoyed performing at a string of festivals across the North West including Zanzifest, Fort Perch Rocks and headline slots at The Gathering, Port Life and Summer Jam festivals. Their debut self funded album ‘Return to the Shack’ is due to be released summer 2014."

Jay Peers Bow- (Vox & Sax)

Scott Hyland- (Vox & Guitar)

Jay Aldred- (Trumpet)

Chris Gartman- (Guitar)

Fal- (Bass)

Shaun Price- (Keys)

Ben Green- (Drums)

Broken 3 Ways are a group that I have only know of for a few days, yet am excited to follow their careers- see just how far they can go. The fact that the group has received such incredible feedback- reviewers and commentators see them as an institution as opposed to a band- is due to the music they play: you are going to struggle to list a whole lot of other acts that sound similar to them. Ska and Punk are genres not often bonded and fused: having quite a few similarities you wonder why new musicians are not joining these genres together in matrimony. Both are based around energy and passion; the blending of elliptical and danceable Ska- tied to harder and rawer Punk- creates quite a sensation. Broken 3 Ways have cleverly discovered a rare form of music: their songs are among some of the most exciting and invigorating you will hear in all of music. Reviewers and publications have been keen to point out just how terrific (the band is) in the live arena: their performances are legendary and unforgettable; that insatiable seven-piece fill venues with merriment, swing and joy- there is no negative motive or chance occurrences. Bands that usually provide fun and fascination do so because of the quality of their performances- rarely does the music itself appeal to such a deep-down and primal core. With new music housing so many heavier and Indie-based acts- where the music can be introverted and overly emotional- Broken 3 Ways present something more extrovert, all-inclusive and delirious- one taste of their insane sway and you are hooked for life. With their new album on the horizon- I shall touch on this in my conclusion- their future is going to be very busy and packed: the L.P. is destined to see many new fans convert themselves to the Wirral-based clan- and experience the wonder. Before I get down to investigating the band (in closer detail), I will make one more point: that which concerns Ska itself. Here is a genre that few of us are overly familiar with. My main exposure to this type of music is through the likes of Madness and The Specials- quite mainstream and predictable but still geniuses of the form. Whilst Suggs' crew have an air of Cockney happy-chappy cheekiness about them, it is perhaps The Specials that stick out in my mind- their fusing of darker and sharper edges beautifully contrasts their upbeat and mesmeric swirls of majesty. Broken 3 Ways have a lot in common with the Coventry clan: that comparable sense of adventurousness and lust shines through in their music. Too many people focus too narrowly: so much treasure and marvel can be found if you expand your mind and take risks- with regards your listening experience. As the Wirral band are proving; if you offer the public something genuinely distinct- with familiar and classic edges- you garner a huge reaction: their reputation and legacy is expanding and developing by the week.

It is at this stage of a review that I look back an artist's past: examine their past sounds; the songs that got them to where they are- trying to explain how their sound has changed and grown. The band have been going for over five years now: Return to the Shack is their most fully realised and full-bodied work- the first comprehensive representation of the pioneering group. The most prominent exposure the band has had is in the live arena- it is where they cut their chops and got critical tongues wagging. Honing and premiering their music, most of their movements have been made away from the studio- making it difficult to see just what a leap they have made. That said, I have been searching YouTube and the Internet for Broken 3 Ways live cuts. The raw and urgent energy that defines their live performances is certainly something to witness- of course you can never realise the full effect through a laptop. Having played hundreds of shows- and rotated their band line-up- the seven-piece have spent a lot of time perfecting their sound- in addition to settling and cementing their ranks. This year is the most important one for them as it sees the release of their debut album- the first chance to see how the songs transition from the stage to the studio. Being a self-funded album, the boys have also had a lot of creative input (into the album's production). Because of this, there is not a huge difference to be found- in a great way. A lot of albums would see once great songs somewhat distorted- the energy and captivation of the live performance is nurtured and diminished.  Back in 2009, the band did unveil a demo E.P.- the nine tracks on there give a good impression of their embryonic thoughts and feelings.  Tracks like Brass Knuckles, Wasted and I Ain't No Racist crackle with the same energy and rawness that defines their current sounds.  Whilst not a full album, it gives an insight into an eager young band.  The quality of their early music is surprisingly high and rich.  My personal favourite tracks- Woody and I Said Now What- capture my mind with their incredible compositions and memorability.  The production values are high; I would say they have grown since 2009.  The confidence of the performances has increased; the band draw in more depth and colour into their music- that vital urgency (and trademark sound is there) but they have a huge confidence and sense of ambition.  The songwriting has become sharper and more intuitive; the vocal turns are more striking and compelling- the countless tour dates over the past five years have seen the band hone their skills.  Whilst anger runs through most of their work, Broken 3 Ways have drawn in more emotional depth- their new material is testament to a group that never stop aiming high and wide. When listening to Return to the Shack's numbers, you imagine you are in a venue- at one of the band's shows, it as thought you are hearing the songs from the front row. The dual vocals and ferocious intention goes a long way to making this happen- backed by stunningly evocative compositions, the album is a raw and primal animal. For anyone that may be turning their head- thinking the band are just hot, heavy and brutal- then think again. Influences such as The Specials and Streetlight Manifesto come through across the album- that blend of passion, intrigue and emotional undertone bubbles through. What impresses me most about Broken 3 Ways is their range and motility: their songs do not stick to one pace or theme; there is surprise and movement to be found. Work On It is a perfect representation of all of this: the colours and flavours that make the band such a special prospect are wonderfully mixed in the track- I shall examine the song in more depth in due time. Few modern bands are such a special live prospect- maybe few would expect a studio-recorded album to match the heady heights. There is no overproduction or muted sound: the group keep everything honest and in tact- you would not notice a huge different between the two disparate settings. What the album does show, is of a band with a lot to say: possessed of an original and potent voice, Return to the Shack is an impassioned record that has no weaknesses or slip-ups- everything contained within knocks you off of your feet. I would advise anyone- that is new to the band- to go and see them live; maybe seek out a video or two of theirs- just to see how they make their name. It must be quite a phenomenal experience- seeing them in the flesh- and is something I shall endeavour to do in the coming years. Only having their studio sounds in mind, the best thing I can do is to give a fair assessment of how strong their music is- here and now in 2014. It is clear that the developments- band members changing; multiple gigs- have inspired terrific music; solidified their magic and menace- their debut is a sure-fire hit and stunning record. Not too bloated or vague, there is a sense of clarity and concision throughout. Nobody sounds like them- they do not sound like anyone- making them a unique bird: an act that does not leave you scrambling towards other artists. Of course there are notes of other acts- I examine this below- but the abiding sensation is of a hungry group that are doing things on their own terms- shouting their voice to the world and wanting to make as many friends as possible. That sense of inclusion and community is the strongest bond in their music: they do not make music just for them; they want the listener to connect and feel involved- you get a clear sense of this dynamic when listening to their songs. If you want these kind of qualities in music- we all do to be fair- then you cannot go far wrong with Broken 3 Ways are the guys for you.

If you are seeking any similar-sounding artists- those that inspire the band- there are a few names that can be mentioned. Streetlight Manifesto are perhaps the most clear-cut influence for Broken 3 Ways. The New Jersey Ska-Punk band employ embers of '50s and '60s music into their agenda: incorporating eastern European aspect into their later work and keeping their music distinct and changeable. At their core is that energetic rush and primal feel- complete with diverse and atmospheric horns their albums are awash with nuance and depth. Broken 3 Ways have elements of Everything Goes Numb (Streetlight Manifesto's debut album) in their latest offerings. That hardcore spirit and sense of occasion comes through in their work; the incredible lyrics which look at hardcore themes and personal insight. Broken 3 Ways mix acceleration with deceleration; they keep the tempo malleable and flexible; their compositions bond darker shades with upbeat life: these qualities come through in Everything Goes Numb. Whereas the U.S. giants tend to fill a lot of their albums with scenes of despair, personal pain and against-the-odds violence; our seven-piece tend to offer up more positivity and openness- they draw the listener in a bit more and do not come off as aggrieved or discriminated against. The Hands That Thieve (Streetlight Manifesto's latest album) is a more mature and fun endeavour: the songs mingle Third-Wave Ska ebullience with party times and depth. Most Ska bands can present something shallow and single-minded: songs for partying and getting your feet moving; that which contains little depth or range. That album possesses plenty of grown-up and intelligent undercurrents; emotion and resonating depth shows its hand- the L.P. is a fully rounded and compelling release. Broken 3 Ways have a similar multifareousness in their armoury: able to liven up dance-floors and let their majestic horn work invigorate; their music goes that bit deeper- songs and moments can soundtrack more introverted and solemn moments. It is a rare feat to be able to do this- when working in the genre- our boys have taken inspiration and guidance from the New Brunswick frontrunners. Sublime and Rancid are idols of the band. Sublime hail from California and mix Reggae-Rock alongside Ska-Punk- the group were renowned for their fusion of genres and sounds. Following on from the death of their lead (Brad Nowell), the band's self-titled album was a tad overrated and under-stocked. A glimmer of their former selves, it did at least provide sights of what made them so special. Insatiable and gravitating hooks parabond with sexy Reggae numbers- the album is not a disappointment by any means. Broken 3 Ways provide some California sun-cum-Reggae sway: able to inject unforgettable hooks into their jams, the band instill some of the essence of the bygone legends. The suppleness and tautness that ran through Sublime appears on Work On It- the track does not rest or sound contented to do the bare minimum. Fellow Californians Rancid are a harder and more carnivorous act: their music takes in Street Punk, Hardcore and Ska-Punk. The band provide old-school Punk sounds with essences of The Clash: tied around a primal and urgent centre, they are one of the most inspirational bands of the genre. Broken 3 Ways have a unique and original voice, but have some shades of Rancid. Both bands provide fiery intensity and passionate speed; powerful hooks and repeatable songs. Whereas Rancid were hampered by some pseudo-intellectual moments- especially on their album Life Won't Wait- Broken 3 Ways do not suffer this ignominy: their music is consistently vital and focused. Californian sounds feature highly on the band's periscope: Reel Big Fish are another source of inspiration for the seven-piece. Like their contemporaries and Ska neighbours, Reel Big Fish have a beating Punk-Ska heart; instilling Alternative-Rock tones into their agenda, their music has inspired and compelled many modern Punk and Hard-Rock bands. Reel Big Fish have a sense of humour and ear for cross-hybridization that made albums like Why Do They Rock So Hard? so important. That album mixed Reggae sounds with Rock- it translated surprisingly well in Jamaica. The cheekiness and humour that synonimised the band can be found in the songs of Broken 3 Ways. Their album will showcase some tongue-in-cheek and impish mandates; it has slick and assured Ska-Punk rushes; incredible horn blasts and rushing compositions; a carnival of fun and deliriousness- the very qualities that cemented the reputation of Reel Big Fish. Capdown are one of the few English references for Broken 3 Ways. Formed in 1997- and still performing today- the band made their name with their independent releases and politicised songs. Broken 3 Ways are releasing Return to the Shack off of their own back: with no record label, the boys possess the same independent and bold spirit as Capdown. Their sophomore album- Pound for the Sound- saw positive themes and redemptive messages come through: ideals that rallied against racism and persecution made the album such an essential disc. A lot of Ska bands tend to train their thoughts to subjugated and repressed avenues- few incorporate necessary happiness and positivity. Whilst Broken 3 Ways do look at harsher and harder themes, their music is imbued with spirited and affirmative heart- there is plenty to enjoy and recommend. The final two influences- or bands- I shall mention are Madness and The Specials. Less Punk-infused and more traditional, there are threads you can take from both acts. Madness' New Wave and Ska energy made them the legends they are. Whilst not as wacky and far-out as Madness, Broken 3 Ways have a similar sense of story and adventure. Both acts fill their songs with interesting characters, charming scenes and oddities- dimming the mood when required. From One Step Beyond..., Madness showed how versatile and mobile they were: combining various genres and music forms, the relentless sense of cheer and energy never drops. Broken 3 Ways appropriate a modicum of Madness' wildness and alacrity- those distinct and regal horn climbs can be detected in both acts. Less The Nutty Boys; more The Headbutty Boys, Broken 3 Ways have retained the core and honest Ska sound Madness popularised, and added to it. The Specials were renowned for their angriness and essential lyrics: their songs looked at the realities of the streets and modern life. Father figures to the likes of Sublime, The Specials is a masterpiece of dissatisfaction. Whereas the album looked at the likes of teen pregnancy and the local streets, Broken 3 Ways take their creative mind elsewhere: their songs are instilled with some comparable urgency and striking vocals. The sharp and quote-worthy lyrics that ran rampage through the album have inspired the likes of Broken 3 Ways. Our boys have an ear for a terrific line; able to distill the essence of social impotency; strange scenes and characters; weird and disconcerting themes into coherent and compelling songs. Fun and frivolousness can be detected in the work of The Specials- they did not just go with bad mood music- and this range and fullness has inspired many current band such as Broken 3 Ways.

Work On It has already been receiving some infused praise- a promising litmus test ahead of their album release. Noted for its gladiatorial and grand sound, it is a song that you cannot ignore- and will not forget. Beginning with some flowing and teasing guitar strings, the song beckons the listener in- a gentle and seductive start, that parable is soon joined by parping brass. The vocal delivery is quick-fire and impassioned: our hero lets his words tumble and strike as they do. The early stages of the song introduce the song's title- employing it as a mantra, it is chanting in full voice; that energy and pride is put into the mix straight away. Perhaps speaking from personal experience- or casting himself in the guise of an anonymous hero- our singer has intent in his voice. It is hard to learn new things; wondering how he is going to learn (if he's not been shown), I got the impression of a voice rallying against the tedium and pointlessness of office life- that purposeless skill-set that many modern employees need. Perhaps the anger is less directed towards the type of job and more towards particular employees. Our hero knows it is hard "being left alone"- fending for yourself and employing initiative can be quite strenuous and counter-intuitive. With his voice incorporating some of Joe Strummer's legendary punch, the strength and urgency of the delivery cannot be faulted- it is a raw and meaningful coda. Backed on vocals intermittently, the track acts as a clarion call; a warning shot against the ship, Broken 3 Ways are the army fighting against the ineptness of modern-day workers. The song advises that it is no good to just sit there and do nothing: proclaiming (that these types of people) need to "step on it"; if they let their focus and drive subside then the money will all be gone- and they will be done. Our hero is rebelling against the trend of moaning and capitulating: he will make it through the days and get to the very end. Whereas colleagues and contemporaries are exploding and breaking down, here we see a man who needs to make money- his boss is not causing him to fret; stating that he just needs to work on things. Exploring an original and ever-relevant subject, the song marks itself out from the scores of others out there- few acts take their minds away from love and break-ups to explore something so meaningful and universal. The way the words are projected catches your ear and infuses the song with a constant drive: the hero belts and proclaims his words- with no vitriol or blood-curdling roar, his voice has a distinct and vintage Punk sound. Able to fit into the back catalogue of The Clash, The Specials and Capdown, it is a uniquely English voice that comes through: that everyman soul in the vocal makes the song resonate and hit hard. The rest of the band is up to the task in hand. In addition to setting the scene, a hell of a lot of atmosphere and music is whipped up. Between lines, brass is scatter-shot and frantic- it retreats and then goes back for one more go- the percussion rifles and punches in the background. Versatility and cross-pollination is something Broken 3 Ways are noted for. In Work On It, they inject Reggae touches: towards the 0:55 marker, there is a relaxed and island-sounding sigh. The energy and passion in the vocal not only calls to mind Punk and Ska, but of modern-day Indie and Rock. If you are a fan of the heroes of the genres, then you will find some treats here: Peers Bow and Hyland have unique tones but are equally as impressive as the most impassioned singers on the scene. The song's developing story and itinerant drive keeps the listener compelled and hooked: you are rooting for our man but your thoughts divide themselves. If you look at the video for the track- go to YouTube and seek it out- it depicts clips of office workers melting down: destroying company property, it is the clip show of the pissed-off drone- rallying against the stress and strains of office life. When I hear the song, I imagine our hero doing his work: getting on with his chores, you sense various bodies succumbing to the pressure of the environment- crumbling under the weight of expectation. If others are finding this setting too hostile and unforgiving, it is not the case for our hero: the pithy three-word performance review is inspiring him to get the hang on things. Backed by a propulsive and considerate composition- it is not too heavy, instead providing tender notes and building emotion- our hero is feeling a little fed up. In spite of mastering his duties, the same problems keep occurring- the "same old strife" is haunting his mind. Not only giving the song a new perspective- you feel that he is the embodiment of one of the video's crazed and delirious workers- that tension starts to build. The job is being done by a loyal and eager employee; throwing back nothing but kicks in the teeth, life is not fair at all. That indelible and gorgeous compositional rise- where the horns and brass rise and blast with ceremony; the percussion pummels- perfectly punctuates the tension and building anger. In spite of all the horrors unfolding, our hero is remaining firm and strong: get through the day and do what you can. This philosophy seems almost harsh as the song progresses: with his boss advising his employee to step it up, you sense a man under the lash and yolk of a tormenting hell- he does not want to me there but can't afford not to. Before the 2:00 mark, there is a chance for interval and pause. The composition takes charge and provides another fascinating layer of sound. The brass comes up first: Jazz-infused and free-form, it spirals and twirls- the coda snakes and twists; shifting directions (and putting you in mind of Charles Mingus). Whilst not breaking into full-on eccentricity, the passion and fervour that is summoned is a wonderful touch- leading to a fantastic guitar solo. Both psychedelic and tranquil, it matches powerful grit with soothing calm- mixing Hard-Rock fret work with Jazz-Rock experimentation. Before long, the vocal is back in the fold: the chorus swings back in and that mocking message makes its mark. Our hero is quite coy in his delivery: whether vengeful of his inept boss (or keen to keep his discipline strong), you start to wonder- I suspect that a sarcastic edge is enforcing his words and delivery style. I mentioned Steely Dan in my last review- can't remember the context- and the U.S. Jazz-Rock gods come back to mind. When the trumpet is back in the spotlight, the sound and sensation you get from it puts me in mind of Aja/Gaucho-era Steely Dan. Perhaps not a name on the boys' radar, it is an impressive feat. Having already expertly blended Reggae and Ska alongside Punk, it is great to hear the sound of '70s-'80s U.S. Jazz-Rock- the song keeps building and getting more assured as the time progresses. Joined by romantic and lustful sax; stirring and intent guitar work; solid and pounding drums- the compositions flourishes and spreads its plumage. Colours, smells and sights are unfurled as the boys combine in harmony: part-jam; part-studied detail, the mix of youthful energy and maturity creates an incredible sound. Rousing and uplifting, they ensure the listener is treated to an honest display of the band's full talents- the parable is not merely a stop-gap; it adds enormous weight and fascination to the song. Ceremonial and arms-in-the-air joy infuses with a sharp and Blues-inspired guitar sound- the crispness of the Blues notes work well with the glowing throng of brass, guitar and percussion. With the bass holding the two sounds together- and keeping the song moving forward- we reach the final moments. Enraptured in the wonderful musical rampage, it acts as a fitting conclusion and wonderful outro.- you sense the song's hero has gone to the dark side; destroying his laptop with venom, maybe his boss's possessions are his next target. As the final notes ache and shrink, it is impossible not to elicit a cheeky grin- the song's energy, words and high-points spiral your mind with centrifugal momentum.

It is rare to come across a song as loveable, instantaneous and unusual as Work On It. In the modern market, there is still a dominance of love ballads and romance-themed tracks. When a musician does come along (and differs in that respect) the effect is quite strange: they seem almost unnatural and rebellious. Perhaps I over-exaggerate, but you cannot deny the prevalence of the tender song: that which is designed to exorcise demons and connect with the listener. I think those songs have a rightful and much-needed place- I love hearing music that breaks away from this. Taking us inside of the office place- studying miscreants bosses and bad-tempered working conditions- you get a vivid sense of reality and relevance in the song. I have heard few tracks that cover the same issue- Broken 3 Ways distinguish themselves in so many different ways. The lyrics are sharp and witty; there is anger and de-motivation; febrile aloofness and the assessment of the mundane- so much ground is covered in the track. Return to the Shack contains similarly adventurous numbers: that same individuality and diversity makes its presence known. Before I mention the band members, it is worth assessing the song as a whole. It is a track that compels and fascinates from the very first notes. There is such a depth to the composition; meaning the energy never relents- it is a wave of song that you are helpless to swim against. With a superb composition that lets the guys get on with things, there is a great live feel- if you strain your ears you would imagine you are face-to-face with the chaps. The sheer catchiness of the song cannot be overlooked- the chorus' addictive chant is one you will be parroting and projecting for days to come. A triumphant and incredible track that is perfect to lift the mood: it has a depth and maturity that few Punk-Ska tracks possess; clearly a lot of work has gone into the track. I should mention the band themselves. Peers Bow and Scott Hyland inject a huge amount of force and passion into the agenda. The lead vocal has touches of Joe Strummer and Tim Strickland: our hero incorporates his distinct accent into things; that mingling of uniqueness and vintage gives the performance an extra layer of conviction. Hyland's salt of the earth personality gives Work On It a charm and weight that few other singers are capable on: every word sounds essential and inordinately pressing. Aldred and Hyland contribute trumpet and saxophone. The trumpet adds shiver and stirring rush during the song- some of the most intergalactic and spellbinding moments emanate from that instrument. An assured, fascinating and impassioned performance- it is a facet that makes Return to the Shack such an entrancing album. With Gartman joining Hyland in guitar duties, a Punk/Rock kick is mixed into proceedings: the guitar lines are slithering, striking and packed with plenty of clout and spit. Bass drive and direction is provided by Fal; Price on keys: instrumental composites that provide concision, beauty, dance and emphasis- not relegated to second-fiddle duties, they are essential ingredients in the mouth-watering dish. Green's drumming is hard and memorable throughout. Flair and swagger; smash-and-grab gives Work On It the audible punch promised in the lyrics- matching the vocals perfectly, the combination is potent and domineering. Overall the band work wonderfully together. The close friendship and brotherly spirit gives the song such an assured and unmistakable naturalness: you can tell how long they have been playing together; the track does not sound too over-rehearsed or tampered with. The tight and stunning performances from each member get inside of your head: the entire song swirls and spikes your brain for a long, long time. Few other songs- I have heard this year- echo and rebound my mind with such a startling attack. Instant and driving; urgent and vivid, it is a song that mixes classic Punk and Ska (both U.S. and U.K.-based) together with a very modern sound- scoring a subject that is relevant and extrapolatable in any decade. Before I move on, I want to mention the genres of Ska and Punk. In the past they have pervaded and represented by a number of different acts- The Clash, The Specials etc.- but few modern acts keep this flame alive. Broken 3 Ways are capable of inspiring other acts to take up the type of music: with songs as strong as this I am tempted to give it a go! If you like Work On It, then you will love their album; if you prefer something a bit different then do not dismay- so many different shades and directions can be found throughout the L.P.

I have reviewed a lot of different musicians (the past few weeks). Plenty of stunning artists have made some very big impressions: from the recent stagger of The Moth Lantern's beautiful Light Waves, my mind has been kept alert, alive and fascinated. Broken 3 Ways unveil Return to the Shack (on 28th July). Being a self-funded album, the seven-piece have worked long and hard to get the record made: that sense of pride and determination comes through across all the tracks. I have listened to the album and am stunned by the amount of depth, range and adventuorusness present: chocked full of life, compunctive swagger and endless brilliance, it is a perfect fusion of Ska and Punk- a collection that strikes your head, heart and soul. Not only does their music excite and tantalise the blood; it makes you want to move and dance- by the end of the album, you will be left wanting a lot more. For that reason, it is perhaps not a surprise that Work On It has had such a profound effect (on me). I adore music that mixes brass and strings; where the vocals are urgent and utterly arresting; sounds that are rich and steeped in colour and life- essentially music that does exactly what music should do. The boys have created a group that are sure to be big business in future years: the initial feedback and praise contains no hyperbole or exaggeration- everybody needs Broken 3 Ways in their lives. With the summer days promising stifling heat and wall-to-wall sunshine, their music is perfect for the season- it implores you to move and lose yourself inside of the music; become immersed in the myriad perfections of their tantalising seductions. Make sure you snap up their album, as it is one of the most exhilarating and urgent releases that 2014 will see. There is still too much hesitation and risklessness in modern music: a rigid formation of guitar, vocal, bass and drums composes most of today's music- if you broaden your sonic palette, so much more depth and brilliance can be elicited. Broken 3 Ways will not be a secret for too much longer: with a stellar reputation in the North West, their inspiration and momentum is sure to seep further south. The likes of London are crying out for more acts that provide something genuinely unique. Music will only thrive and diversify if the artists take a stand: unexpected and mesmerising sounds inspire like-minded action; that in turn leads to bolder sounds; that leads to a less homogenised and stale scene- meaning future generations are in safer hands. If you are a fan of 'traditional' Ska outfits like Madness and The Specials, then Broken 3 Ways provide some relevant detail- they go beyond that and add a Punk energy and rush to the genre. Instilled with fun, emotion and exciting lyrics- topped off with incredible vocals- their sound is a festival of effusiveness and abandon. Before I wrap up, I will dovetail my original thesis: the issues of northern music and Ska. The North of England is showcasing the most impressive and ambitious musicians in the U.K.: artists that do things a little bit differently but keep the quality at the very highest end of the scale. I will always have time for Indie and Grunge: these genres are producing some of this country's best and brightest bands. It is great that this is happening, but I suspect that a day may arrive when the market is suffocated by these types of artists: a battle royal will ensue and blood will be shed. There is not going to be enough room and space for all of these bands to gain acclaim and attention- only the fittest and most agile will prevail. If you want to progress and develop in music; ensure that your career lasts and blossoms, then you need to provide the public with something new- present sounds that do not tread the same ground as so many others. Broken 3 Ways will have an exciting future ahead of them. Work On It is a brash and phenomenal statement from a seven-piece that want to seduce as many listeners as possible- with the release of their album, they will see their followers rise and swell. As much as anything, I have been opened up to a band that I had not heard of; witnessed music that differs from my normal rotation- something striking and unexpectedly brilliant. I will be sure to keep Return to the Shack in my mind: keep the tracks spinning and get to grips with the full extent of its potential. Great music is defined by its power to inspire the mind of the listener: not only get their creative side working, but investigate similar-sounding bands (in a particular genre). I have been digging up my old Ska and Punk albums; gone online to check out (some of Broken 3 Way's) influences and inspirations- getting a fuller impression of the type of music that compels them. This summer is going to see plenty of heat and sun; enough rain and unpredictable meteorological days- our intrepid seven-piece offer a soundtrack that is perfect for every climate and mood. With their legendary reputation for exciting live performances, the band are going to be promoting their single- and album- over the coming weeks. It will give the public a chance to witness the Wirral boys in their natural setting: inflaming and igniting multiple venues around the country. I have made a note to come and see the guys do their thing; experience their music up close and personal...

THAT is going to be worth seeing for sure.

https://soundcloud.com/broken3ways/work-on-it-1

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Broken 3 Ways:

 

Official:

http://broken3ways.co.uk/

Facebook:

https://www.facebook.com/broken3ways

SoundCloud:

https://soundcloud.com/broken3ways

YouTube:

http://www.youtube.com/user/broken3ways/videos

ReverbNation:

http://www.reverbnation.com/broken3ways4

MySpace:

https://myspace.com/broken3ways

SongKick:

http://www.songkick.com/artists/6463204

Last F.M.:

http://www.last.fm/music/Broken+3+Ways

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Gig dates accessible at:

https://www.facebook.com/broken3ways/app_123966167614127

 

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Broken 3 Ways' music can be viewed here:

https://www.facebook.com/broken3ways/app_178091127385

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Broken 3 Ways merchandise is available via:

http://broken3ways.dizzyjam.com/

 

 

Album Review: The Moth Lantern- Light Waves

ALBUM REVIEW:

The Moth Lantern

 

Light Waves

9.6/10.0

Light Waves is available from:

https://itunes.apple.com/gb/album/light-waves/id889037836

TRACKLISTING:

End of Summer- 9.6/10.0

Armour- 9.5

Fall In- 9.6

Myself- 9.5

Black Shapes- 9.6

Bad Sun- 9.6

On a Boat, On the Water- 9.5

Fly- 9.7

The Light That Broke the Waves- 9.6

Taser- 9.7

The Nightmare Is Just the Beginning- 9.6

Comfort- 9.6

STAND-OUT CUT:

Taser

DOWNLOAD:

Fall In, Black Shapes, Fly, The Light That Broke the Waves, Taser

RELEASED:

23rd June, 2014

℗ 2014 The Moth Lantern

GENRES:

Alternative, Indie-Rock, Grunge, Pop, Acoustic, Psychedelia

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The Lincolnshire four-piece have gained praise from the likes of Steve Lamacq and Stuart Maconie. With their music taking in the likes of Radiohead, Fleetwood Mac, Pearl Jam and The Beach Boys- these music warriors are destined for regal climbs. Light Waves is the sound of The Moth Lantern at their very best: filled with sweeping epics, delicious ballads and colourful jams, it is an album (and band) you need in your life.

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QUITE a turbulent and unsettling past few days has seen...

a rather horrific world event. Having just heard of another tragic air crash- in which near to 300 people died- it has got me thinking about the world at large. I know it is an unorthodox beginning to a music review, yet the point I am leading to is this: stability, assurance and safety is needed- as much now as it ever was. The likelihood of the likes of you and me becoming involved in such a horror is incredibly slim- the world is becoming more unpredictable and detached by the week. Whilst bewildered eyes scan the magnitude of unfolding catastrophe; try to comprehend just how people- that perpetrate such crimes- are allowed to wander and breathe- anxious and confused minds need soothing and redemption. It would be a leap to suggest that an art form such as music can completely allay such stresses: bearing no physical manifestations, it is limited in its overall potential. Saying that, it is important to recognise just how effective and uplifting music can be: it not only can distract the mind for a short period; it is capable of providing long-term support and pleasure. All of us- to some extent- need an escape from the vicissitudes of modern life: somewhere personal and warm that can fill cracks and ensure our minds are not too weighed down- the music coming through at the moment is providing plenty of options. I know I have long spoken of this facet- it shall be the last time I will for a while- yet brand-new music is impressing me now more than it ever has- the acts emerging are surprising and confounding me every week. In the past few days, I have assessed everything from Canadian Grunge/Indie; U.K. Folk beauty; Acoustic sway and of-the-moment Electro.-Pop: you would be hard-pressed to draw a line through these disparate acts. Staggering to see just what a range and diversity the music fan is being offered right now: if you search hard enough you can discover something genuinely fantastic and tantalising. Having dedicated a lot of focus towards bands (and that market), I am always excited to see a genuinely eager and talented group come through- musicians that separate themselves apart and ensure their music lodges into your brain. My featured act is garnering some tremendous praise and adulation at the moment- high-profile and reputable commentators are keen to pay tribute to one of this country's brightest new acts. Having won support from the likes of BBC 6 and nationwide publications, The Moth Lantern are definitely a group you need to keep your eyes on. Before I go into too much detail, let me introduce them to you:

"The Moth Lantern are a 4 piece indie rock band from Lincoln. They encompass the spirit of bands such as Fleetwood Mac with a wide range of songs from gentle acoustic ballads with luscious 4-piece harmonies to giant-sized rock songs which liken them to The Bends era Radiohead and Pearl Jam."

"The indie/acoustic band delighted Olympic crowds with a fun energetic up-tempo set, contrasted superbly by original potent ballads, written by band’s guitar virtuoso, Dan Clark; Jo Clark (Keyboard and Vocals) adds glamour & dynamism to the group, whilst drummer Eddie George provides the throbbing beats which underpins the unique Moth Lantern sound. Jason Rungapadiachy (Bass Guitar & Vocals) Jason’s powerful vocals are a compelling proposition, adding integrity and depth, as can be clearly heard on all tracks such as ‘ARMOUR’ and the hugely popular crowd pleasing ballad ‘COMFORT’"

Being a huge fan of Radiohead, Fleetwood Mac and Pearl Jam; I was a little sceptical- at first anyway- that a sapling band could reach such dizzying and impressive climbs. Seeing as The Bends is my all-time favourite album, I was salivating (slightly) upon hearing the first notes (The Moth Lantern provided). The music offered by the quartet is an aperture of upbeat and emphatic Rock- the band have plenty in their arsenal that compels the mind and instills embers of classic acts. A lot of my reviews have focused around bands- by quite a majority- and in all the years I have been doing this, I have been seeking an act that can combine U.S. Grunge of the '80s and '90s; together with early/mid-'90s British Rock and Indie: it may sound like a strange desire; when those sounds are mixed the blend is quite sensational and hypnotic. With the likes of Radiohead taking an extended hiatus and sabbatical, there is a desperate gap in the market: most modern acts either tend to go heavier and harder or softer and less striking- The Moth Lantern manage to strike the perfect balance without coming off as Radiohead copycats. I will go more into their overall sound later, but will end with one final point: the way to get critical acclaim. Aside from receiving impassioned praise from the likes of Stuart Maconie, Steve Lamacq and Pete Donaldson (Absolute Radio), the band have been touching many fans and music-lovers- each knowing they have stumbled upon something rather special. Many have different opinions on what the greatest ever album is- they are wrong, but hey- and have their own views: The Moth Lantern have picked the perfect influences and range of sounds- cunningly and expertly blended them in their own right and present music that put you in a better head space. I miss the glory days of the '90s: when music was at its very finest and it seemed like anything could be acheived- our quartet bring you back to those days but keep your mind and head in 2014- they have pulled off quite a feat. In addition to having an impressive online portfolio, the band have a great love of their supporters (and the music they play)- you just know they are going to be making music for the rest of their lives. In an industry where there are far too many short-lived heroes, it is great to discover a band you just know is going to go all the way: make sure you offer your support and watch them as they embark on a fantastic career.

For the freshly-initiated and newly-indoctrinated, I should probably give you an insight into the band's past work- to show how their sound has developed and transmogrified. Light Waves is the first album from the four-piece- and their most fully-realised work to date. Having formed several years ago, the band have been busy working on their sound; putting the songs together and giving the public a chance to hear what they are capable of. Their self-titled E.P. was released in November 2012 and was the group's debut E.P.- it was met with critical acclaim and a fond amount of respect. I shall not dissect the songs of the E.P.- they feature on Light Waves so will not tread on my own toes- but it was a terrifically confident and assured four-track release. The songs Fall In, Armour and Comfort have been in the ether for a little while and form part of Light Waves- again, I shall not dive into those tracks just now. What I can say about their past work, is that it imbued with clear confidence and identity. Normally, bands take a while to overcome nerves and hit the high points: it can take months to enforce their own sound and feel comfortable in their own skin. When listening to the likes of The Moth Lantern, I was stunned by how diverse they were: being a first E.P., most acts would tend to play it safe; present songs that had sounded alike. The quartet display a restlessness and ambition right from the very start: the sound of a band that know what they want comes through. When looking back at their past work, there is one track (not included on the album)- Christmas Lights. Possessing obvious seasonal relevance, the song is no novelty or bland Christmas number- it is a genuine and compelling number. Beginning with an upbeat and The Bends-esque spiralling coda; the track has an instant spring and energy: lodging itself under your skin, a remarkable amount of intent is proffered. When the vocal does come in, it mixes Barenaked Ladies and Eddie Vedder: that gravelled and masculine burr mingles with spirited and impassioned delivery. With U.S. tones (Barenaked Ladies are Canadian technically), it works well with the lyrics. Breaking away from predictable parables, The Moth Lantern inject optimism and love-against-the-odds; there is sexuality and wittiness to be found- the abiding theme is finding satisfaction and love on Christmas eve. Infusing some distinct band tones- the gorgeous backing by Clark; the sensational blend of sounds- the track is one that should be enjoyed all-year round- it is for life after all. Few acts are brave enough to attempt a Christmas-themed song- unless money and commercialism is their motive- so it is impressive that The Moth Lantern not only have created one- it stands alongside their most impressive work. In concluding, the sagest thing I can do is to see how far the band have come in the last couple of years. Whereas The Moth Lantern have been exciting music minds since 2012, their 2014 movements demonstrate a leap of confidence and ability. As incredible as their past singles are, the newer material perhaps shows even more ability and urgency. Whereas Christmas Lights and Fall In contained some phenomenal touches and wonderful moments- my mind has been spiked by their latest offerings. Light Waves comes across as a connected, consistent and a seemless work that beautifully blends in their previous singles- together with new offerings. The ambition and quality have increased- they were already fantastic- as has their range of sounds and themes. Incorporating influences such as Radiohead and Pearl Jam, Light Waves opens up more: '90s embers and classic Pop mixes with a distinct band that promises a hell of a ride. Opulence and inner beauty can be found trading with longing, emotion and love. The band incorporate quirky and eccentric themes; charm and wit spars alongside heaviness and heartache- at the core is a sound that is hard to refute or ignore. I suppose the biggest development the band has made is releasing the album: it gives the public a chance to witness the full potency and potential of one of the U.K.'s finest emerging acts. Anyone new to The Moth Lantern, I would say this: go back and listen to their previous tracks; then listen to the album (in isolation)- compare and contrast. You can hear a development and growth; their new L.P. shows how inspired and in awe the band are- they have lived exciting musical lives; it comes through in Technicolor detail and vividity.

The band have a long list on influences and idols: mixing genres, decades and styles it is an impressive roll-call. The essence of early-days Beatles shows itself in their softer and more introverted moments. When proceedings lean towards ballad territory; where there is a sweeter and more romantic edge, I caught glimmers of Rubber Soul- and the Liverpudlians early albums. Band leader Dan Clark has an ear for melody and composition: he packs songs with so much life and energy- it has an element of '60s Power-Pop. When surveying Light Waves you can tell that Lennon and McCartney are heroes of our frontman: he has a fond love and authority on the best music the 1960s had to offer- modernising the sound and adapting it into his own vision. The band is renowned for their sunny moments and four-piece harmonies- a few names spring to mind. The Beatles may be relevant here as well. Often Lennon, McCartney and Harrison would take lead- Starr would intermittently steal focus. I feel the Liverpool legends were at their most spine-tingling when blending their voices together. Tracks like Hey Jude and With a Little Help from My Friends are among the band's most special moments. That joy, uplift and endless bonhomie (and coming together) is what I associate with the band: you get that feeling when The Moth Lantern allow their tones to combine and seduce. The Beach Boys are another band that feature highly in the group's regards. That Californian '60s free-spirit resonates in their most joyous and elliptical moments: the delirious and sunshine harmonies evoke the spirit of Surfin' Safari and Surfin' U.S.A. (their earliest moments); the band are equally adept at taking you to surf scenes and packed beaches as they are the open road and stretching highways. Few acts contain one great singer- let alone four. Their distinct and equally powerful tones not only are superb when blending with one another: each band member stands out when their voices are allowed moments in the spotlight. When the mood is a little more sombre and reflective, you can detect influences of Folk and Acoustic masters Nick Drake and Elliot Smith. Whilst not projecting the same sort of suicidality and black velvet kiss, the band are capable of making you reflect and consider life's essential themes- when they let their music calm and quell; quite a stunning effect is elicited. Rungapadiachy's voice is a mailable and diverse instrument that is at home when soaring and climbing into the atmosphere; in addition to touching the soul and pulling on the heartstrings. The same brilliance and rich sound that Fleetwood Mac pervaded- especially their Dreams-era work- comes through in Light Waves. In addition to the vocal harmonies and the multi-talented band members, the group present the same sort of Blues-Rock energy: at times when listening to The Moth Lantern, I catch glimpses of Dreams, Tusk and Mirage- those insatiable and memorable songs just lodge in your brain. Unlike the turbulent and fractured eventfulness of Fleetwood Mac, our Lincolnshire quartet are much more harmonious and together- giving their songs an additional layer of conviction and beauty. A few other acts enter your thoughts- when you hear The Moth Lantern. Pearl Jam rank as one of the group's top influences: you can sense some of Eddie Vedder's passion and masculine growl blend into some of The Moth Lantern's tracks (when Rungapadiachy sings on tracks such as Armour, you can definitely detect that sense of strength and integrity). I adore Pearl Jam's epic and stunning brand of song- if you listen to Vitalogy and Ten you hear a band at the very peak of their powers. In addition to being able to unleash stirring and incredibly deep vocals- that mix lower and grumbled croon with high-pitched climbs- The Moth Lantern have a great Grunge undertone- they can summon up Ten's luster and impressionistic touches; that drama and larger-than-life vision. Whilst Vitalogy was lauded for its relentless bleakness and depression, it was celebrated (by insightful critics) due to its substance and sense of fight- the album went on to become one of Rolling Stones' top 500 albums of all-time. Perhaps the most distinct and impressive parable one can link to The Moth Lantern is Radiohead. Many reviewers have noted how our quartet match the majesty, epic-ness and driving beauty of The Bends-era Radiohead- that album is my absolute favourite for a number of reasons. In addition to some startlingly beautiful tracks- Fake Plastic Trees, (Nice Dream), High and Dry- the band also provided hypnotic and spiraling monsters- The Bends, My Iron Lung, Just- as well as more haunted and shadowy tracks- Street Spirit (Fade Out), Bullet Proof...I Wish I Was- there was a cornucopia of wonder to be witnessed. The Moth Lantern are equally considerate when it comes to mood and range. Not only do they summon up the 'Britpop'-era's outsider album; they assimilate that essential dynamics that make Radiohead the legends they are: compelling and startling vocals; incredible riffs and compositions; tight and assured performances- a consistency that sees them not dropping a heartbeat from start to finish. It seems like a poisoned chalice- if you compare a band to such lofty geniuses- but The Moth Lantern are no rip-offs or tribute band: you get a bubbling undertone of Radiohead- you never feel like you are hearing anything too obvious or glaring. It is true that there is a lot of range and different threads there- when it comes to collecting all of the band's influences- a lot of their idols are either bygone or past their prime. That is not to say that The Moth Lantern's sounds stop at 1995: modernity, urgency, current-day passion and sounds come through in their music. Perfectly blending classic sounds (with the sounds of 2014), you get a rich and multi-layered package: one that appeals to the modern music consumer in addition to those with a fond fascination with the glories of the '60s and '70s. You must always assess a band on their own merits: do not assume that The Moth Lantern are going to sound too much like anyone familiar. The greatest thing you can say about the four-piece is that they have a distinct and wholly unique voice: loathed and hard-pressed to compare it to anyone else, it is the result of years of focus, honing and cross-pollination- instilled with such a force that everything they perform sounds utterly compelling and mesmeric.

An emotional and tender sonic combination opens up End of Summer. Perhaps befitting of the song's title; rustling strings and atmospheric percussion elicits a scene of tranquility and breeze- it has elements of The Cinematic Orchestra's most evocative work, and instantly calms the senses. Enmeshed in the gentleness are spacey and distorted notes: touches of psychedelic guitar merge to add colour into the mix- your mind changes course and has something new to consider; perhaps a new season is being unveiled. After a trippy and Funk-infused mini-jam, the acoustic strings overladen and reinforce their dominance- before our hero steps to the mic. Backed by a propulsive and catchy drive- that put me in mind of The Doors- the smoky and coffee tones (sounding a little like early Jim Morrison) look at a "ball on a chain tied to my feet." Things are getting deep and our hero sounds a little anxious and unsure: perhaps a relationship is moving too fast; working at a pace that is quite uncomfortable- that sense of entrapment filters through in the early stages. Your thoughts are reassessed after some instantly dark and unsettling thoughts- the river is deep and a body is being thrown in. Whether speaking metaphorically- looking at emotional issues or end of love- or literally, it is a vivid and stark image. After the beauty and positivity of the intro., something dangerous and deathly comes into play- the mood is kept from being mordant due to the rousing and striking vocal; the ebullient skip of the composition gives the track a charming peppiness. With a cohort and colleague in hand, the body is thrown into the (deep) sea. Bereft and confused it is said "Don't know how it started"- a situation is unfolding that has escalated and spiralled out of control. Catching shooting stars (and seeing blinding lights), the end of summer arrives- our hero and his band have not got very far; their backs are against the wall. Wonderfully balancing the angst and unrest of the lyrics is a composition that mutates and conspires. Funky and delirious guitars mix with driving bass; the percussion injects a huge amount of punch and swagger- that spacey and robotic coda lurks in the background; adding delirium and hypnotic smoke. Our hero has trouble in him: with his voice rises and belting, the emotion and force of events hits him- perhaps the outcome here is obvious. Whilst the chorus is re-introduced and prophesied, the band combine in the final moments: a primal and ragged drum roll gives way to a squalling and rampant guitar rapture- perhaps representing the urgency and tension of the situation, it is a frantic and mesmerising arresting climax. Armour arrives next- the track is already a firm fan favourite. Smooth and cooing vocals are supported by a sun-kissed and foot-tapping acoustic line- after the repressed tension of the previous number, your mind is back on safe ground. Sounding like no other band, the song wins you instantly with its gorgeous and swooning heart: you sense that something romantic is upon us. "We made you in the setting sun" are the first words offered up: our hero proclaims- to his subject- that he's their "second skin." Determined to stop all suffering, it is an intriguing and deep beginning. Proclaiming to his sweetheart that he'll be their armour; the honesty and directness of the words make the song stand out- you get a sense of chivalry and tender longing. Backed by swaying and serene vocals- from Jo Clark- the emotions and passion wash over your senses- our hero is not made of strong stuff but is going to make sure he is tough enough (to protect his love). The song's constant energy and drive makes you sing-along and become involved- you are rooting for the hero and captivated by his treaty. Displaying an old-fashioned gentlemen's heart; tied to a composition that melts modern-day Folk and Acoustic- it is a wonderful and impressive mix. Charmed and smiling guitars parabond with romantic and tender notes- towards the final stages- as the vocal comes back in: determined to make his words resonate, the delivery is hot-bloodied and impassioned. Following Rungapadiachy's intensely emotive vocals, Fall In offers a different direction: the intro. grooves, trips and dances; imbued with Latin and Hispanic undertones, it is a gorgeous opening offering. When the get-up-and-dance parable mixes with a more teeth-clenching (and raw) guitar line, a huge amount of energy and invigoration is whipped up- it is an incredibly addictive and memorable intro. Supported by a spectral- with an energised stutter- backing, our hero has some heavy words to proffer: having had enough of things, he finds himself sleeping rough- resigned to a life of uncertainty and escape. With a mix of Radiohead's compositional gifts (plus Barenaked Ladies-esque vocal), you get a real treat in Fall In. The chorus is another catchy gem that is incorporated of energy and inflamed vocals. My mind raced back to early moments: with our hero stating "tell my people"; it is almost as though he is being cast in an ecumenical role: whether a pastor or a figure of salvation, you feel as though his flock and followers are being addressed. If the words concern friends and family, I am not sure; you cannot deny there is epic and grand proportions at play. With a delicious croon- that puts me in mind of both Jim Morrison and Neil Hannon- you get caught up in that chest-beating and chocolate voice: masculine and sexual; teasing and tender, it is a phenomenal blend. Our hero speaks to his woman: wanting her to be his, there is lust and passion on his mind- a great need for survival. Detachment and disconnectedness come through- this life is providing a different road and is unconventional and unpredictable. The song tells us that not everyone follows the same path: some people are safe and make it through- our intrepid battler is going down another road. The composition is impressive throughout: twiddling and twirling guitars, bouncing and sensual bass mix with punchy percussion- it is bad-ass, kick-ass and utterly compelling. Such a grandeur is summoned by the band, it is impossible to not get caught up in the song: the track will mark itself out as a live favourite in next to no time. Introducing some Absolution-era Muse- in the composition- the track entrances the senses: agog at the final moments, the song reaches fever-pitch. Clark lets his guitar snake and charge- Jazz-Rock and Grunge edges contort and seduce- crunching space-age riffs mingle alongside carnivorous wailing- your head and brain are scrambled and split into two. As the track comes to a close, it is impossible not to think that one of the album's finest cuts has been witnessed. Myself begins with a sensual and stop-start intro. Our hero is fatigued and not quite himself: desiring to sleep and rest his bones, the composition trips and topples- perhaps underpinning that sense of tiredness and confusion. Knowing he will wake "feeling just the same" there is a delicious Eddie Vedder-esque croak and gravel in the tones: words concerning dull aches and the need to re-energise are given full conviction and consideration- few singers could present the words with the same intent. When the song rises; the composition kicks up a gear; the first sign- of the band's legendary harmonies- comes into force: words such as "I hate this/My mind doesn't belong to me" really strike a chord. Eliciting huge emotion and strained outpouring, signs of early-career Pearl Jam poke through- it is a treasure that could easily fit onto Ten. With elegant and ethereal backing vocals, sleep gives our man "remedy"- whatever is on his mind, it is clearly causing him some unrest and insomnia. The band combine spectacularly in the composition: the guitar mutates and offers different shades; the percussion keeps constant and firm- the bass ensures that everything is kept in check and does not spiral out of control. Clark's alluring and Siren beauty is what lingers in my mind- as Myself comes to its final stage. Black Shapes is my kind of song. A delightfully upbeat and springy acoustic guitar parable arrives after a false-start: a chuckle and 'studio out-take' moment gives the song an instant smile and charm. Such a rush and emphatic amount of intention comes through in the intro. you struggle to take it all in. Our hero's voice is fast-paced and direct- in Myself it was calmed and somnambulistic- as he looks at black shapes crawling on the bedroom floor. In times like this, the last thing he needs is "a vivid imagination"- a sense of paranoia and unease make their voices known. Whether seeing the shadow of intruders; some ghostly finger in his room, it has left our hero a little breathless and worried- by the morning it has left him. A weird dream; the black shapes get closer and closer: with his voice rising and straining, that sense of desperation and fear comes back in- you wonder just where the story is going to go. Trying to close his eyes and forget things, it is a recurring nightmare that is plaguing his mind. When the song reaches its 3:30 mark, the composition becomes eerie and haunted: aching and pizzicato sounds fuse with a delirious wordless vocal- it is a wonderfully potent and arresting musical moment. Instantly that kick and upbeat drive comes back in- there is almost a positivity and sense of joy when the nightmare relinquish its grip. Theremin-sounding wails blend with acoustic strings: after the rapture and relief of the previous refrain, here we get a beautiful come-down- the band demonstrating they can end a song as impressively as they begin them. Twinkling and gorgeously seductive guitar notes give Bad Sun a terrific opening: Blues embers combine with Doors luster; giving the impression of the sun setting on a warm and bare desert horizon. Providing a rousing follow-on, the intro. mutates into an upright and effusive parable- reminding me a little of Blur's Coffee & TV. Our hero looks up and investigates the sun: it is said that a man promises there is a star up there we can travel to; a destination that is "not too far"- oblique and byzantine curiosity makes your mind wonder. The song's subject is lying and falsifying; long in the tooth, he is welching on his promises- the dissatisfaction and anger in our hero's voice brings the words to life with huge emotional emphasis. Looking at the subject floating in space; there is "no use in hiding." We are told that nothing comes from something; something comes from nothing- you wonder what is being referenced- as the bad sun is introduced. Our hero's distinct and endless voice gives the song a constant sense of drama and fascination: backed by a tight and impressive band performance- shades of The Bends poke through the surface. Letting his voice roar; letting the guitar wail and unleash a psychedelic tirade, the band's hallmarks come back into play- ending the song with a hell of a dose of majesty. With Hendrix-esque shredding, an aural cataclysm is unfurled- a huge bang and mighty wallop. Tender and gentle guitar notes put me in mind of Nick Drake's Pink Moon: such is the sense of beauty and stillness in the opening moments of On a Boat, On the Water; you cannot help but the imagine the bygone Folk hero. The river goes and "carries us to where it flows"; our hero's voice is delicate and restrained in the initial moments- after a few seconds, a gorgeous and swelling harmony unfolds; colour, light and immense beauty pours forth. Escaping where no one can find them; it seems like a romance is being ascribed: escaping from the world, the two are alone and travelling the river's paths- keen to find solace and a sense of safety. I will not mention Pearl Jam and Radiohead too much- until later at least- but I get a great sense of both here: Pearl Jam's epic and aching moments- think Ten again- sits alongside some of Radiohead's early work- Fake Plastic Trees, (Nice Dream) and Black Star especially. Caught in the almost gospel proportions of the vocal performance, you transport yourself to that scene: in the openness of the river, you follow our hero as he takes a journey to pastures greener. Backed by superb backing- the guitar work is particularly impressive- it is a perfect way to kick off the album's second half. As that dreamy vocal harmony sways back in- Jo Clark standing out here- you smile and elicit a pleasured grin: it is the kind of harmony Fleet Foxes would kill for. Having mentioned Nick Drake early, the band bring him back to mind with Fly- it was the title of a song from Bryter Layter. Any notions of introspective mourning are dispelled right off the bat: a pugnacious and determined guitar riff shows the band back in Grunge/Indie territory. The intro. is an insatiable and dizzying line that does not phase our hero- his words have the urgency and passion we would expect from him. Again, it seems that something more positive and loving is showing its heart: asking his sweetheart to "throw a leaf inside of me"; fly away with him, he wants to escape the craziness of gravity- experience something freeing and redemptive. By his love's side, the two fly into the atmosphere. Early kudos go to the guitar, which manages to rustle up some '90s memories- Ocean Colour Scene, Radiohead- in addition to displaying a lot of unique flair: Clark's guitar perfectly illustrates the sensation of flight and to-the-heavens soar. When Jo Clark joins our hero, their tones perfectly blend: stating they are the lucky ones; they will be there for one another when they fall. A delightful two-hander, it seems that a pure and unquestionable love has been discovered- the fire in their hearts is being stoked and ignite. Entangled in a blissful passion, the vocal explodes and rips its clothes off: that animalistic Morrison growl bursts through- taking your breath along with it. The track never rests or can be predicted: it changes course and conjecture; displays a real sense of musicianship and intelligence- reminding me of Steely Dan's most compelling and detailed tracks. Wordless vocals, determined percussion and dancing guitar- which mutates into a psychedelic beast- gives the song a huge amount of memorability and desire. Once more, Clark unleashes a wild and carnivorous riff in the final moments- concluding one of the finest tracks on Light Waves. The Light That Broke the Waves arrives next. Beginning with a calm and soothed guitar strum- embers of Badly Drawn Boy struck my ear- you are given chance to reflect and cleanse the palate- immersed in a beautiful and tranquil introduction. Standing on broken stones, our hero states that it was "cold but oh-so calm"- instantly you try to imagine the scene that is being presented. As they stare out at the light- that broke the waves- the duo leap into the water. Into the sea, our hero has no fear or worries: the fish let him be and it seems like all will be okay. Suddenly pain radiates through his chest: clutching at his heart, he calls out his sweetheart's name- he needs to be pulled out of the blue. With the water trying to claim his soul, the heroine needs to rescue the ill-fated hero- backed by some incredibly detailed and memorable compositional touches, a clear mood is set. Having been rescued, the duo throw stones into the water- still cold, at least there is no more danger. As they walk away, it seems once more caution and hazard awaits- the heroine is called upon again. I see the song as a metaphor as such: employing images of drowning as terms for desires and feelings- I may be over-reaching but it seems like there is depth in the deep waters. The addition of horns gives the track an additional layer of beauty- reminding me of some of The Coral's Magic and Medicine. Taser starts life with a definite sense of adventure and urgency: the guitar weaves and tumbles; instilling some scratchy punctuation, you get a sense of Grunge-cum-'90s Rock in the embryonic stages- the band go on to show just how well they incorporate wit into their music. Showcasing their unique quirks (and funnier side), our hero has received a taser to the back- unsurprisingly it hurt quite a bit. Almost delivered like a love song, the track makes you grin- the taser deserves "more than this." A terrifically swelling Country-esque rush gives the words additional elevation and purposefulness- with such an original subject being assessed you are entranced by every word. Getting a taser in the head hurts even more- the violent subject does not really how much it has lost. Spellbound by the charm of the track, you get ensconced in the gorgeous vocal harmonies- when the band combine for the chorus, one of the album's most stirring moments is offered. The final moments stuff a myriad of notes and energy into the song: the group combine magnificently to give the sense of a victim dropping to his knees- the taser has done its damage and our poor hero may well require some urgent medical attention. Again, I wonder whether love is being referred to- if the taser refers to a girl who has a comparable potency. Clark's deep and fascinating songwriting means the listener will have their own interpretation: whether you go with the literal- or something more love-lorn- it is a terrifically memorable track. Our penultimate track begins with spectral and distant echoes. A delicate acoustic guitar lays in some calm; you prepare your mind for what is forthcoming. It is three in the morning; all our hero can see is gold- in a dream-like state, it is the sweetest one he has ever had. Elongating his vocal, strange and vivid images are released. Talking to a tree, the wise wood advises nightmares are needed- some much-needed sageness is being imparted. Before we can delve too much into our hero's racing mind, the glorious vocal harmonies return: evoking dreaminess and sleepiness, the sound of The Beach Boys comes in. At this early hour, our hero is walking through his unconscious mind- after the nightmare comes something new; so it is claimed. This girl is in his mind; the passion and urgency rises as our hero tries to expunge her from his thoughts- that emphatic and unforgettable belt reaches heights (even Eddie Vedder could not achieve). Being impressed by Rungapadiachy's vocals up until this point- a understatment I guess- Comfort showcases him at his near-best. Not only the album's swan-song, it is another fan favourite- one of the band's oldest songs. The number's sapling chords are a symphony of soothe and calm- befitting of the song's promising title. The vocal is tender and direct: letting those roasted caramel do their work, we see the waves crashing- biting his tongue, our hero wants his girl to comfort him. The song is the most bare-naked and honest thing the band have produced: there is no agenda or twist in the tale; the words here are as passionate and heartfelt as any you will hear- drawing inspirations from the likes of Paul McCartney and John Lennon. Wearing his heart on his sleeve, our hero will not run away: each time he sees his girl he breaks but is determined to make this love work. Augmented by some incredibly elegant backing vocals, you get the sense you are hearing a Folk/Acoustic classic- something that could seduce anyone at any time. Bringing the album to a stirring and haunting end, the wordless vocals- tied to gorgeous harmonies- brings Comfort to an end. The band complete the album with a necessary subtlety and romantic edge- the entire L.P. showcases just how diverse and surprising they are. After hearing Light Wave's tremendous dozen tracks, you are begging for more...

What can one say about Light Waves- that hasn't been expounded by some rather illustrious names? Sometimes you get a lingering feeling a band (or act) will make some headway in a few years; occasionally you know they will not make it all- very few lead you to believe they will be huge in next to no time. Over the last couple of weeks, I have assessed some musicians I know are going to be mainstream stars in the coming years- The Moth Lantern definitely fit into that camp. Their album is packed with so much fascination and brilliance it is hard to take it all in- you find yourself repeating songs over and over; addicted by their insatiable quality. With some pretty incredible names already lining up to promote them, I feel a little bit diminutive and meagre by comparison- I hope that my words have done the band full justice. If you are familiar with the band's influences- and just got into listening with that in mind- you will get a limited listening experience. The best thing you can do is to clear your mind and let the music seep (into an undiluted and open brain). The production and values across the album are tremendous: the songs all come through with clarity and are never cluttered or needlessly over-produced. It is vital that- for a great album to really shine- the production is up to the task; doing justice to the music- on Light Waves you get a rich and unfettered sound that exposes the brilliance of the 12 tracks. Before I close my summing up, I should recommend and pay tribute to the band themselves. The distinct vocal performances throughout make the songs such an exciting and rich proposition. With elements of Grunge legend Eddie Vedder; undertones of Radiohead frontman Thom Yorke- together with that distinctive and unmistakable chocolatey sound- every track across the album is giving a sheen of emotion, passion and masculine pride. Rungapadiachy adds a huge amount of pride, integrity and passion every time he sings. Dan Clark leads the band with a triumphant and emphatic energy. His guitar notes add so much vibrancy, colour and conviction to his songs- marking himself out to be one of the U.K.'s most vital songwriters; he has a style and voice that is unlike anyone I have heard. Compellingly leading his band, Clark lets his song soar, breathe and seduce- by the final stages of the album, you want to hear more from this distinct and tantalising musician. Jo Clark provides a great vocal balance throughout Light Waves: instilled with vulnerability, strength and a gorgeous sweetness, it is an arresting voice indeed. It would be great to hear her upfront and solo on a few numbers in the future: her vocal contributions throughout the album are memorable and augmentative. Capable of so much passion and excitement, it is one of the most impressive things on the album. Clark's keyboard work infuses beauty, rush and atmosphere in equal measures: capable of summoning up Indie-Rock energy and soulful romance, it adds a huge amount of potency and intrigue- working perfectly with Dan Clark's guitars. Eddie George ensures that each track is possessed of a pulsing and ever-beating heart: the force and power he brings to the songs cannot be understated. Able to strong-arm and amaze; keep the song tight and focused; allow softness and emotion to resonate- he is a man capable of instilling layers and nuance to every track. Final recommendations- and congratulation- goes to Jason Rungapadiachy (again). His bass work ensures that slinky groove, powerful drive and level-headed integrity are cemented in all of Light Wave's tracks. Not allowing the spotlight to fall to any of his band mates, Rungapadiachy is the voice of vitality, fascination and dominance: you can clearly hear his strong influence throughout the album. Add some incredibly special vocals into the mix, and you have an exceptional performer- instilling a firestorm of deep and compelling tones; subtext and subtlety; raw passion and stunning allure. It is rare to see a band with so many exceptional and distinct vocalists: when the members combine you get the full extent of their unmatched potential. A lot of groups also have a weak link: someone you could imagine shored up and replaced- there is a measure of expendability in every group. With The Moth Lantern there is that feeling of tenure: nobody is going to leave and every player is an essential facet in the machine. Lesser musicians would not do the material justice: that close understanding and mutual affection bonds the band together; focuses their attentions and power- it is funneled into an album that is an undisputed diamond. As well as containing no weak or lesser tracks, Light Waves provides a lot of food for thought: consisting of so much variability and diversity, it will provide a template for new bands coming through. I have seen too many groups that are afraid to be unique: their E.P.s and albums are the conglomeration of timidity, one-dimensional thinking and copyright infringement- a lot are comfortable being third-rate versions of their favourite acts. The Moth Lantern enforce such an original flair- giving their music such a sharp and terrific edge.  Tie this to exceptional songwriting and flawless performances- they are a quartet that will provide much inspiration. As a songwriter myself, I always love the opportunity to find new avenues and directions: Light Waves is so jammed with life and unexpected pleasure, it compelled my mind to race, conspire and write. With so many great acts coming through- over the last couple of weeks I have been spoilt somewhat- you just wonder how this will translate in the future. I worry that too many acts are being overlooked or discovered too late: the word-of-mouth aspect is being subjugated; the most important musicians are not getting equality and due respect- The Moth Lantern have already straddled a killer hurdle. With the backing of some seriously influential music names, it is not going to be long until they are in demand internationally. So few artists make such an impression with their debut album: Light Waves is an impressive example of how things should be done. The band may have to brace themselves for (future) U.S. dates; perhaps a mini tour of Australia...who knows?! Once you hit upon a tremendous sound; put it out into the world- the hope is that it will be disseminated freely and religiously. Let us make sure the Lincolnshire four-piece are promoted and shared as far and wide as possible- they are a young band with a very golden future in their midst.

I hope the band will not object to my loquaciousness and detail: music that compels and inspires is often overlooked or underappreciated- by critics and reviewers- so it is vital that necessary appreciation and insight is provided. The Moth Lantern approached me last week with regards to assessing their music- band member Dan Clark got in contact and wondered if I may like to have a listen. It is great that happened, as I feared I would not have discovered the band otherwise- missing out on something truly remarkable and special. It is clear that I am not the most impressive name (to give praise to the band); perhaps not the most startling review they will ever receive- I am certainly one of the most grateful recipients. Having dedicated my entire life to music and the pursuit of excellence, my mind is always searching for the greatest and most distinct sounds out there: Light Waves is a startling album from a group with an authoritative and confident voice. The band has playing it for a little while now- and released material previously- and they are hitting their stride and high-point- here is their most staggering work; you feel they may even surpass it on future releases. With the likes of Pearl Jam still working away and producing material, I wonder whether we will ever hear anything- come in the future- from Radiohead. Thom Yorke and his men seem to be very tight-lipped and secretive- with regards their careers- but I hope the Oxford band will be back- The Moth Lantern keep the torch very much alive and burning. Those widescreen, cinematic and inspiring Rock templates are never going to go out of fashion; the experimental mix of fun, moodiness and quirkiness gives their sounds a richness and constant fascination- by the end of Light Waves I was desperate to hear more. The inspired four-piece are touring and playing at the moment; keen to gauge the reaction to their album, they should prepare for some severe and extreme positivity. The album's 12 tracks provide something for every listener: filled with so much beauty, fascination, strength and mesmerising passion, you get caught up in the rush and atmosphere of a magnificent record. I do hope the quartet have plans for future albums and E.P.s- I know they have just released one but the demand will be there- and show the music world just how strong they are. When they come to London, I will definitely come and see them play: I would imagine the electricity and rush of their live performances is not something to be missed. There is a clear passion and closeness between each of the four members. Diversity, equality and fun bonds the boys (and girl) of Lincolnshire's finest act- you sense the close-knit spirit in the music and the conviction of their performances. After The Moth Lantern was released in November, 2012 many critics and reviewers were eager to elevate and proffer the band: the E.P.'s four tracks (which appear on Light Waves) struck a chord and hit hard- magnitudes were seduced by the band's eccentricities, melodies, original sounds and wonderful performances. With vocal performances that border on genius; compositions that haunt the mind and obsess your waking hours- songs which inspire the creative mind- the band are going to be a massive name to watch. It would not be a stretch to say they could headline Glastonbury, Reading and Leeds and Camden Rocks in years to come- if you capture the ear of national stations this early on, it is pretty much a sure-fire guarantee. So much amazing energy and colour comes through in their songs; they have a multifarious and variegated band colour scheme and set design- this not only puts you in a better mood, but stands them out from the crowd. So many new bands come across as distant and boring: bereft of distinction and personality, it is wonderful to come across a group like The Moth Lantern. I shall end my review with one final point: band relationships. Too many groups break-up and fragment due to differences of opinions; musical fall-outs and personalities clashes- meaning the world misses out on some terrific music. With The Moth Lantern, you hear and feel a solidity that is unbreakable. With Jo Clark provide stunning beauty, chic charm and impassioned keys and vocals- the band has an alluring and striking player on board. Throw in Jason Rungapadiachy immense vocal contributions, stunning bass work- and hard to spell surname- and that backbone and spine is fully in tact. Eddie George's percussion work adds primal urges- when the mood turns more Grunge- and scintillating emotion (when unveiling Indie/Rock epics). Able to instill a myriad of passion and urgency, his stick work is deeply impressive. Dan Clark's stunning words and nuanced songs are only equalled by his frontman leadership- the shred of his guitar; the beauty and potency he adds to each song- few leaders have such a range of talents and clear abilities. Watch out for this intrepid quartet very closely: the next year is going to see them rise to prominence and glory- I would expect a place on BBC's 'Ones to Watch' poll (in addition to some seriouis airplay). Their music attracts you like a flame attracts a...well, a moth. Unlike the foreboding and Gregorian danger of fire; their warm and embracing lantern is designed to guide, welcome and comfort. In a climate where we all desire these quintessential qualities; embrace a band that want to join them in their noble quest...

DO not be afraid.

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http://www.youtube.com/channel/UCfr0PACLgvlzl8T6ByrJnEg

ReverbNation:

http://www.reverbnation.com/themothlantern

Last F.M.:

http://www.last.fm/music/The+Moth+Lantern

MySpace:

https://myspace.com/themothlantern

iTunes:

https://itunes.apple.com/gb/artist/the-moth-lantern/id526577307

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Gig dates accessible at:

http://themothlantern.com/gigs.html

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The Moth Lantern's videos can be viewed here:

http://themothlantern.com/videos.html

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The Moth Lantern's music is available via:

http://themothlantern.com/music.html

 

Track Review: Waterbodies- What the French Call "Les Incompétents"

TRACK REVIEW:

Waterbodies

 Photo: Waterbodies

What the French Call "Les Incompétents"

9.4/10.0

What the French Call "Les Incompétents" cover art

What the French Call "Les Incompétents" is available from:

https://soundcloud.com/waterbodies/what-the-french-call-les-incompentents/s-1kScQ

RECORDED AND MIXED BY:

Brian Russo

RELEASED:

26th June, 2014

GENRES:

Alternative-Rock, Garage, 'Britpop', Punk

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The fine Canadians have been exciting reviewers with What the French Call "Les Incompétents"'s unique blend of pogo-ing sing-along and energised mutations. Waterbodies are a firm favourite across Canada and North America: the next year should see the trio rise through the ranks and capture worldwide hearts- it is what the French call "un garantie."

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FOLLOWING on from a couple of days where I have witnessed gentler...

 

and softer music, the next few days see my mind back in heavier areas: assessing Grunge and the most primal sounds music has to offer. Being in a daze since reviewing Little Sparrow- her Wishing Tree album was quite a revelation- I have to adjust my mind and prime it for a band- and sound- that is entirely different: music that strikes a different part of the brain and compels you to move- rather than seduces your heart. Before I get down to introducing my featured act, I want to bring up two- fairly common- points: North America and new music. I understand I have introduced these points before, yet I have not been able to fathom why the continent keeps providing such terrific music. In Europe, we have a load of terrific acts and musicians coming through: it seems that North America are leading the charge and causing a lot of excitement (in me at least). In so far as I have surveyed great Folk and Power-Pop artists, it seems that- in this continent- heavier and more impassioned sounds mandate music's new elite. It is a strange thing really: most of the artists I have heard coming through in North America lean towards electricity and hard-hitting music- of course there is more restrained and calmer music; it seems to be less prevalent. Not that I am ever going to complain: it is always terrific witnessing a new act come along that can whip up such a festival of sound and notes- take your brain clean out your body and invigorate the senses. Canada is showing itself to be one of music's most exciting hot-spots: here, there is such a wealth of diverse and fantastic music coming through, it is almost hard to keep a track of it. Where the U.S. has a larger population and greater chances of music glory, it is their neighbours that are providing the finest sapling music in the world- keep your eyes peeled here for what is coming through at the moment. In previous reviews, I have tried to drill down to the bedrock: try to see why one particular country is putting forth so many tremendously exciting musicians. Perhaps the nation provides a sense of relaxation, freedom and inspiration that is conducive to terrific music: less bustle and crowding is evident here than other parts of the world (in terms of population). I shall introduce my second topic in a second, but for now, shall introduce the band:

Mike McGean

Roxy

Shane Turner

"You can make a load of noise with bass, drums and guitar"

The Toronto-based group intrigue you with their sound and make-up: a fresh and urgent trio, they are among the most stirring acts coming through right now. It would be good to know more about the boys and what makes them tick: their online pages contain their music, but scant else with regards to influences and biography. I usually do not mind when a band do not incorporate- on their sites- their influences (you can draw your own conclusions); it would be good to know more about the band- where they came from and how they came together. A lot of musicians negate the importance of including details into the likes of Facebook: it not only gives new listeners a chance to learn more about a great act, but obtain greater insight into their songs. Perhaps- I hope they will as well- the guys will rectify this in the near-future: they have a sense of mystery, but a little glimpse into their psyche wouldn't go amiss. Luckily any shortfallings in the online arena are overcome by the music that comes from them: you can fill in a lot of the blanks off of the back of their strong body of music. I shall study this in closer detail; for the moment, I want to talk about genres and trends emerging in 2014. Having been lucky enough to hear some terrific and diverse sounds, I am amazed by the breadth and sheer range of music that young talents are producing. It is not just the case there is a lot of difference and diversity: the way these musicians are fusing different sounds and genres together is quite magnificent. In addition to being blown away by Wishing Tree, I was stunned by the effortless commingle of Contemporary, Folk and Acoustic: the ensuing blend brought out the majesty and splendour of Little Sparrow's incomparable and soul-nourishing tones- it is an album that nobody should miss out on. The bravest and most daring cross-pollination comes when I am considering masters of heavy and dominant music. Waterbodies are a great example of what I am talking about: not only do they infuse the raw and vital energies of this year- and contemporary acts- but go further- instilling elements of older acts into their compositions. Their latest offering sees shades of Green Day, Blur, Beastie Boys and Nirvana come through: everything from Grunge to 'Britpop' through to Punk- via a sprinkle of experimental Trip/Hip-Hop. When you are aiming for the jugular- trying to grab the listener very directly- it can be incredibly hard to do that- often simple and straightforward noise does not do the trick. For that reason, new musicians- whom provide this type of sound- are thinking outside of the box: fusing past colours into the palette; pouring a healthy amount of multifarious gas onto the fire- the resultant flame is that which does the talking. I hope that this trend for innovation continues, as the likes of Waterbodies showcase just what you can achieve (when you stretch your mind)- and dare to diversify and consider your projection. With the release of What the French Call "Les Incompétents", tongues and excited mouths have been expounding its virtues and multiple qualities: I am glad that I have come across the song- and the band too.

In order to get a full sense of Waterbodies as they are, one must look back and see what came before. Back in November 2012, the trio released their album The Evil We Know- an eleven-track L.P. that gave the public the first tastes of one of Canada's finest bands. Having listened to the album in full, I am stunned by how much there is to witness: a multitude of sounds and different themes come into play. Few artists present an album filled with so much confidence and authority. From the opening roars and determination of How to Burn Bridges, you are hooked and sucked in: that energy and passion that the band provide is quite intoxicating. It is not just pure force and pummel that comes through in the song: plenty of tantalising undertones and unexpected moments make the song such a memorable opening cut. Deadweight- sounding nothing like Beck's equivalent- bounces and crawls: a jam-packed and emphatic song gets inside of your brain- the band look inwards here. Talking about carry the weight- maybe staying in a dead relationship and not giving yourself up for some deadweight- it has plenty of anger and recrimination at heart. Silver Spoon is accusatory and potent: if the subject keeps pushing their luck, they will be "pushing the daisies." With a twisting and snarling composition, it is one of the L.P.'s most urgent tracks. The disc ends with Between the Devil & the Deep Blue Sea- not to be confused with the American popular number of the '30s- and is the grand swan-song: throwing everything into the boiling pot it begins with a slow and teasing lead-in; the atmosphere builds and grows by the minute- it is the band's epic. Showing that the can do introverted and 'quiet'- the song does not reach the fever pitch of previous numbers- the trio demonstrate the importance of mood and emotion. The album is a stunning statement from a band with huge intentions: quite a hard record to top or compete with- it is an album that all forms of music-lover will enjoy and appreciate. If I were to fast-forward to June of this year- the month What the French Call "Les Incompétents" was unveiled- you can hear some developments. The band was busy making and recording music in the interim period- between their album and latest cut- yet there is definitely a different sound on display here. Employing embers and moments of The Evil We Know; What the French Call "Les Incompétents" sounds a braver, more confident jam: the band are tighter, more focused and compelling to the ear- there is a catchiness and sense of fun that was not overly-evident on their album. In so much as The Evil We Know did have smile and memorability, the band hit the jackpot here: What the French Call "Les Incompétents" is a sing-along classic that marks a moment of high inspiration from the three-piece. There are fewer suggestions of Nirvana-esque Grunge to be witnessed here: a fresher and more unique voice comes to the fore. I love The Evil We Know and all its myriad pleasures, yet feel that Waterbodies sound more inspired and intoxicating now: new influence is brought in to create a song that you are compelled to play again and again. I admire the band's sense of ambition and mobility: their album was packed with surprise and huge quality; that momentum has continued on What the French Call "Les Incompétents"- it is going to be exciting to see where they are headed next.

If you are trying to think of any similar-sounding acts- you can compare to Waterbodies- then there may be one or two. Even though the boys do not list any idols (on Facebook), you can hear a couple of acts and names come through. When the vocals become impassioned and primal, shades of Kurt Cobain are evident. Eliciting that same guttural and primal sound, tracks such as How to Burn Bridges are rife with Grunge glory, Nirvana-esque highs and that distinct and stunning voice- our hero is different from Cobain, yet has some definite elements of the late legend. The band as a whole has an authoritative ear from Grunge and Hard-Rock: if you are a fan of these genres, you will find a lot of quality and scintillation in their music- reminding you of past masters and current-day wonder. Newer movements display an experimentation (and great) ear for mixing unexpected sounds: What the French Call "Les Incompétents" has touches of Paul's Boutique- era Beastie Boys- tying Hip-Hop with Indie, it is a marvellous blend. It is not just Beastie Boys that come to mind- when looking at Hip-Hop- you see: modern-day acts from the genre spring to mind; if you are enamoured of this type of music- and its purveyors- then seek out Waterbodies. In addition to the aforementioned, the likes of Green Day and Blur struck my ear. Embers of Blur's self-titled album come through in their latest song; some of their 'Britpop' energy and youthfulness makes its way into the band's sound- if you listen to Waterbodies' album, Blur make their presence known in a few numbers. Whilst this revelation and development is a new facet- on their new track- perhaps artists such as Jack White, Soundgarden and Green Day are more pertinent and obvious frames of reference. As well as Nirvana's Nevermind making impressions on the boys, Chris Cornell's Grunge posse can be extrapolated in some of The Evil We Know. The powerful and bare-chested vocals; the rampant and invigorating compositions- those introverted and bleaker themes make their voices known. Green Day must rank as an influence for Waterbodies. That white-hot and catchy Punk abandon that synonymised Dookie and American Idiot is used by Waterbodies: they are fully able to summon up a comparable urgency and quality in their music. Whilst our frontman may not have Billie Joe Armstrong's voice- many may count that as a blessing- he has his own inimitable and potent sound. Jack White has been setting 2014 alight: his latest album Lazaretto is among this year's most essential. That Blues-Rock and Garage brilliance (White is renowned for) can be found in some of Waterbodies' songs. Their riffs and paens have that same lust and incredible musicianship; they conjoin embers of Blues icons with of-the-minute U.S. Blues-Rock- the ensuing infusion is quite a heady brew. In so much as you can pin the sound of Waterbodies (with other acts) they are not to be taken lightly: the Canadians have a unique and stunning sound that they have worked hard to perfect- the addition of some familiar voices only adds to their overall brilliance. If you like any of the acts I have mentioned; take the time to seek out and investigate Waterbodies: they are a band that want the listener to be entranced and seduced. Before I move on, I should mention the band's themes and lyrics. Within their album, subjects looked at fractured love, burden, personal heartache and the need for change- perhaps incorporating traditional Grunge themes and ideas, there was a lot to digest. Whilst the likes of Nirvana and Soundgarden offer their own take on these themes, the trio go some way to appropriating their luster and striking songbooks: Waterbodies have a keen ear for intelligent lines and quotable choruses- plenty of authoritative and well thought-out ideas come through in their songs. A great deal of contemporaries have a weakness when it comes to their words: Waterbodies ensure that all of their tracks capture you on as many fronts as possible. I hope that has given an overview on the band and where they came from- what sort of sounds you should expect; an insight into the musical experience you will witness. I always say this in every review I write: take my words as a guideline and reference point- if you think Waterbodies are copycat and unoriginal, then you are in for a huge shock. Their album showcased just how potent a force they are- they have augmented and built on this for What the French Call "Les Incompétents." It is probably the right time to introduce that particular song to you.

A sense of occasion and energy comes through straight off. Possessing a scratchy and determined riff- that marries the likes of Blur, Green Day and Nirvana- a myriad of Punk/Garage energy is summoned from the off. In the early stages our hero is freaked out and off-put; innocuous and disreputable sorts resonate in the vocal- that sense of isolation and anger emanates through the surface. When considering the lackers, slackers, blackers- and all comparative rhymes- you think our frontman is referring to the media and the tabloidization of the press. Perhaps speaking about society in general- and the people who cause dismay and disgust- there is an oblique quality to the words. Professing that he is that kind of guy, our hero implores "Baby just get in line." With his voice incorporated of grit and underlying emotion; switching between sneer and laid-back honesty, the words strike and proffer hard. As the early stages progress, your thoughts turn more towards love and a particular type of relation. Our frontman calls out to his girl: "Just say the word and I'm all over"- with a resolute and determined masculine gravel, the sentiments get your mind racing and speculating. Before you can delve too deep into the realms and realities of the song's messages, you get intoxicating and up-ended by the composition itself. Never truly exploding- within the opening seconds- it lurks and crawls; the guitar and bass drive the endless wave of words and intention; the percussion keeps levelled and firm- you imagine that something quite beastly and emphatic is about to come into view. Underpinning imminent tension and delirium, you are offered more words and insights. The hero looks at his girl; the sweetheart is his kind of girl- maybe possessing the same thoughts and intentions, you feel that some sort of libidinous crescendo may also be on the horizon. You get an image of what is being projected- and who is being surveyed- in some detail: in my mind there a smoky-eyed and Grunge-loving woman causing the frontman to conspire and fantasise- perhaps a little edgy and determined; she possesses a necessary amount of spunk and rebellion. Whereas my mind- in the initial seconds- was trained towards the press and celebrity, here- by the 30 second mark- it mutates towards issues (and realities of love and attraction). That expected burst does arrive- not in the way anyone would predict or expect. Having digested Waterbodies' album; here any explosion and cacophony came in the form of full-bloodied anger and anxiety- there were moments of joy and upbeat; most of the sentiments erred towards introspective hurt. When What the French Call "Les Incompétents"'s key moment does arrive, you cannot help but to smile and be caught up in its multifarious whirlpool of energy. The boys unfurl a chorus of "woo-ooh-oohs"; containing Indie and 'Britpop' elements, your mind is taken back to a golden age of music. Not cynical or overtly aimless- the coda provides sunshine and a youthful swagger that adds light and urgency into an already potent track. As much as the arm-raising, fist-pounding hypnotic mantra implores you to toss yourself about like a rag doll; the underlying and subtler sonics prick the imagination. I have mentioned how some of Beastie Boys Hip-Hop experimentation comes into the band's work: here there is turntable scratching; some Beastie'-esque tableau and flavours- whilst one half of your brain drags towards reckless loss of inhibitions; the other half contorts, jives and sways. Motifs of black-and-white are reintroduced in the next verse. Having been seduced and enamoured of a particular heroine, our hero casts his net to universal climbs: professing "Black girls, white girls make me cry", the full extent of his dissatisfaction and disconnectedness come into play- the vocal remains strong and never lowers to nasal whine. Whether a relationship has hit the rocks; if a particular beau has caused some cynicism or hurt, all our hero has is grey on his mind- if he is through with women or needs someone genuinely different I am not sure. I get the impression multiple women have caused our frontman some hurt and chagrin: nobody can deny the sense of resignation and displeasure. Affecting an air of fatigue and anxiety, it is a bad time to go out: the deeper and more intuitive listener always looks for true meaning in a song's messages. Having a knack for intriguing images and stirring emotions, here Waterbodies get the mind working overtime: our mysterious frontman clearly has something pressing to get off of his chest, yet mentions no particular subject or epicentre. Just as you start to fill some blanks in- once more threading the story together- the band are back into catchy and emphatic arenas: that infectious and insatiable chorus comes into proceedings- your body is inspired to jump and jive once more. Possessed of a great sense of attitude, avalanche and sweat, the song has a ubiquitous quality that means few listeners will not fall under its spell. Just at home in the beer-soaked pits of mosh or the less hazardous settings of a seating-only arenas; the song's catchy and unforgettable elements cannot be ignored or overlooked- What the French Call "Les Incompétents" is a track to infuse the senses and stun the brain. Not even at the half-way marker, you start to perspire a bit. Numbers are instilled this time- as opposed to black-and-white scenes- with our frontman stating "One time, two times, three's enough"- it is said that the foreplay is getting rough. Embarrassed by my earlier naivety and over-examination, it is clear where the loins rest and play: something sexualised and raw is writhing beneath the sheets. Before I continue with the lustful and lip-biting point, I should mention the song's title. Every blog, review and commentator- I guess I am not special in this sense- has highlighted that it forms a quote from Home Alone. As much as you do not want to picture Macaulay Culkin during this song- or any time for that matter- it was one of the stand-out lines from the 1990 hit movie: directed at the bungling intruders, the smug infant used the French terms as an in-your-face jibe. A London band have also used Les Incompétents to form their moniker- the song on display here is anything but (inept or useless). Quite an original and unique title, it is perhaps inevitable you would be imagining high-jinx capers: a booby trap or floor of marbles upends the clumsy burglars? Quite a strange juxtaposition- given the passionate and rough foreplay- but hey ho. With images of long-forgotten films out of his mind, our frontman is keen to step away from the pandemonium and peculiarity of the situation. Whatever is going down- err from smutty suggestions- he does not do this for the woman: he does it for himself. There is no need for hollow thrill or satisfying a player: miscommunication and contrasting ideals cause the hero to put the truth out there- he is the one in control and calling the shots. Rocking the line between "right and wrong" and "left and right", the energy and bubbling menace builds. Not entirely stepping away from their Grunge influences, a terrifically growled and italic vocal is offered: the words are punctuated with a very steely and cocksure delivery. Entwined within a composition that provides kicking and chanting guitars, killer riffs; punchy percussion and thudding bass, and you have quite a powerful aroma coming through. Our hero is up and down; present in the day and night- a unpredictable creature, he goes where his mood and instinct take him. Whether he wanders the night looking for a thrill; driving through daylight highways to clear his mind, you get the sense of a young man who wants to seek out the vitality and urgency of life- those that live life with no risks will succumb to a beige and boring fate. The trio masters of tease and temptation- perhaps befitting of a track that is promoting the benefits of short bursts- the verse's snaking curiosity gives way to the chorus- with the sort of rampant energy 1997 Damon Albarn would eat up, it cements and solidifies the overall sensation of free spirit lust and live-for-the-moment ambition. Perhaps in awe of the sweltering heat (and breaking-point of the lyrics), the vocals take a back seat: in the final moments our frontman elicits a pained and teeth-clenched shout- the composition twists and mutates into a snarling beast of a thing. The guitars zombify and evolve into machines- a robot on the rampage, Beastie Boys and (OK Computer-era) Radiohead can be heard. With the bass adding majesty and time-keeping maturity; the percussion clattering with a hell-yeah attitude- tied to intermittent blood-curdling utterings from the inflated lungs of our hero- the track reaches its most enfevered and unbearably tense moments. Most bands would needless string together a series of unconnected and irrelevant notes: literally add noise into the song in the vain attempt at proffering to the lower common denominator listener. Waterbodies make sure their aural assault is packed with layers and meaning: there is catchiness and insistent drive here; something reckless and unfettered; a combination of composure and insane detachment- it is designed to mess with bra clasps as well as the senses. Just as you want- and damn it, demand- more, the song starts to come down to land. With some conclusive feedback, it is as though the band have walked off stage: thrown their instruments into the crowd, they make a dramatic exit- leaving the exhausted throng to try to comprehend everything that has come before. When I reached the 2:41 mark, I was stunned at just how much was crammed into one song- it points at a very bright future for the group.

If the Canadian trio keep penning chef-d'oeuvres like this, then they could find themselves the recipients of some very important phone calls. As we- in the U.K.- are in the midst of festival season, I am hearing many inferior bands top the bill at our most high-profile dates- surely that gives inspiration to the likes of Waterbodies. Perhaps my French uttering has hyperbole and over-exaggeration, yet you cannot deny the band are a pure force to be reckoned with. What the French Call "Les Incompétents" is a tight and compelling song from a group that are growing (with intent) upon each new release. With the blogosphere alight with effusive and enamoured praise, it bodes well for their future success- they are popular in their native country, yet deserve a wider audience. Europe and the U.K. has always had its ear firmly to the ground, so I hope that it is not long until the trio find themselves heralded over here. Their sound is a hugely popular and could see them being in huge demand. What the French Call "Les Incompétents" not only wins you over with its charming and unexpected origins; the intensity and memorability of the track is the main selling point here. The boys put in their most focused and tight performance ever: the song never loses its edge and sense of determination from start to finish. The vocal performance is a strong, urgent and defiant throughout. Our frontman allows his inner Grunge to come play- towards the closing moments- but for the large part presents a very unique and particular vocal. Imbued with passion, spit, lust and sly wink, it is a performance I would like to see extended across multiple songs- something to bear in mind for the future. Able to tempt and softly speak, it can go to an impassioned and rueful belt in next to no time- the mobility and range that is provided is quite stunning. Words of What the French Call "Les Incompétents" compel even the most casual listener to imagine and picture: it is impossible not to have your own version of events running through your mind as the song plays. Showing a keen ear for economy, the band do not stuff too many words into the song: they give the lyrics a chance to breathe and strike; ensuring that the verses are measured and concise- the quality of the words cannot be ignored. Towing an intelligent line between laddish and immature; mature and intent, you wonder how the song worked out. The final notes give the impression our hero has some thinking to do; needing to work things out, perhaps there are some loose ends he needs to explore. The exceptional and clear production allows the music to shine and pervade hard. The bass adds an immense weight and support throughout: ranging from hard-hitting and driving to measured and empathetic, it is a terrific performance. Percussion notes are largely impassioned and hot-blooded: nobly supporting the hero's plight, they clatter, pummel and tumble- capable of giving off so much emotion and force, it displays a drummer with a clear identity and talent. When the guitar makes it voice known, we get some of the most exciting moments of What the French Call "Les Incompétents". A snarling and pained animal the one moment; a steadier snaking slither the next, the notes perfectly match the emotions and words of the foreground- ensuring the song's potency and urgency never drops. If you have not heard the band- and What the French Call "Les Incompétents" then this is a great starting place. The track is perfectly suited for these warm days: adding sunshine and serotonin into the system; inspiring you to get outside and experience the track at full volume. It is the kind of adaptable song that means it can be enjoyed at any moment- just as suited to colder and lonelier moments, there is plenty to uplift the soul and cause a smile. With a sexy and passionate heart, it is a song synonymous with repeatability- it may be a very long time until you get the track out of your mind.

In the next few weeks I am taking a bit of a break from Canada and North America: I should probably give other parts of the world a chance to shine and impress! The fact that I say this is related to one very key point: I shall be back (reviewing similarly-located acts) because there is so much to witness and love here. Whilst the U.S. is favouring music with some terrific Pop, Indie and Folk; Canada is edging ahead when it comes to more energised and upbeat sounds. What the French Call "Les Incompétents" is a stunning testament from a band that make the mouth water. For anyone that is familiar with the guys- and their rich history- they will hear some familiarity; there are plenty of new edges and layers to investigate- something more charmed and elliptical comes through on their current offering. It is going to be exciting and fascinating to see what comes next from the St. Catherines trio. I am not sure whether another album is mooted- maybe an E.P.- but I am sure the boys have plans for a new release pretty soon. On the evidence they have just put forth, it will be a terrific and memorable collection of songs- whether What the French Call "Les Incompétents" is a red herring or their new direction, only time will tell. It would be great to see the trio in London: few U.S. and Canadian acts often travel to the U.K.; many fans and eager music-lovers have plenty of pounds set aside to witness acts such as Waterbodies. Before I wrap up this review- with my deft blend of style and succinctness- I just want to re-introduce (one of my favourite) topics: originality and ambition in music (I know that's two subjects: semantics be damned!). A lot of new musicians still overlook the importance of providing something unexpected and different- not just sticking to rigid confines and offering staid and predictable sounds. Alas, I sound like a curmudgeonly old whiner harking on about 'the good old days' (whenever the hell they were)- moody and judgemental of kids and their new-fangled music. Not at all, you see: the sounds I grew up on were incorporated of bravery, adventurousness and surprise. I feel that some musicians are regressing and retreating: the best that new music has to offer is defined by the desire to present something genuinely unique. Waterbodies clearly understand this vital point: their music goes that step further and inflames something deep down. What the French Call "Les Incompétents" is a song that has been gathering some rather excited and impassioned reviews: publications have been extolling the virtues of Waterbodies' most exciting and memorable song to date. It seems that few names will be uninitiated to Waterbodies in due course: they gets stronger with each release and showcase themselves as a serious band to watch. The last week has brought many exciting bands to my attention- including Allusondrugs and The Verideals- and am being given a lot of hope with regards the future of music- it appears that it is in very good hands. If you enjoy your sounds instilled with quality, unexpectedness, originality- in addition to some familiar and legendary threads- then make sure you get to grips with Waterbodies. The chaps are some of the most inventive and mobile bands in the world: not keen to rest on laurels or stick with the same sound, they are deftly able to weave new genres and sights into their cannon. Over the coming weeks, the trio embark on some tour dates around Canada- gauging reaction to their sparkly new song- seeing what sort of reaction their invoke in the live setting. They have said they can make a lot of noise with guitar, bass and drum; this is an understatement if ever I heard one: it is not just noise and sound they whip up; plenty of intrigue and intelligence comes through with striking intent. Glowing reviews are coming in at the rate of knots; plenty of information and detail shines in their music; masses of quotes and effusive words have been forthcoming...

SURELY enough to put on Facebook, right?

https://soundcloud.com/waterbodies/what-the-french-call-les-incompentents/s-1kScQ

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Waterbodies:

Official:

http://www.waterbodies.ca/

Facebook:

https://www.facebook.com/waterbodies

Twitter:

https://twitter.com/waterbodies

SoundCloud:

https://soundcloud.com/waterbodies

BandCamp:

http://waterbodies.bandcamp.com/

Last F.M.:

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

Instagram:

http://instagram.com/waterbodies

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Gig dates accessible at:

https://www.facebook.com/waterbodies/app_308540029359

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Waterbodies' videos can be viewed here:

http://www.youtube.com/channel/UC2bSRAxoI1VnMo5UpzNfWXA

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Waterbodies' music is available via:

https://www.facebook.com/waterbodies/app_204974879526524

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Band merchandise can be purchased at:

http://waterbodies.bandcamp.com/merch

 

 

Album Review: Little Sparrow- Wishing Tree

ALBUM REVIEW:

  

Little Sparrow

 

Wishing Tree

9.7/10.0

Wishing Tree is available from:

https://itunes.apple.com/us/album/wishing-tree/id871212909

℗ 2014 Little Sparrow

TRACKLISTING:

Polly- 9.7/10

By My Side- 9.7

The Flame- 9.8

Wishing Tree- 9.6

Sending the Message- 9.7

Struck Gold- 9.6

I Found a Way- 9.6

The Hunted (A Bear's Tale)- 9.8

Heart- 9.8

The Swallow Flies- 9.7

STAND-OUT TRACK:

The Hunted (A Bear's Tale)

DOWNLOAD:

By My Side, The Flame, Sending the Message, The Hunted (A Bear's Tale), Heart

LITTLE SPARROW (KATIE WARE):

Vocals and Guitar

SARAH DALE:

Cello and Vocals

GRAHAM CLARK:

Violin

JOHNNY LEXUS:

Electric Guitar and Vocals

MITCH OLDHAM:

Percussion

RELEASED:

06 May, 2014

GENRES:

Contemporary, Folk

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Few artists write music that provide the same beauty and stunning allure as that of Little Sparrow. Her name may conjure images of treetop song: a morning melody and calming refrain. Wishing Tree is an album that not only provides a phenomenal amount of grace, inspiration and emotional redemption- it italicises Katie Ware as one of music's most astonishing and essential figures.

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IT is not often I get to visit Manchester...

when reviewing music. A lot of my recent endeavours have taken me across London and Yorkshire- with a brief stop-off in Nottingham. The north- aside from obvious thriving areas like Leeds- has dropped off of my radar for a little while: it is great to train my thoughts back here once more. In terms of history, Manchester has produced some notable bands: the likes of The Stones Roses and Oasis spring to mind- in modern circles, there is a loyal sect of incredible bands and artists. When considering solo artists; perhaps other areas of the country are producing more noticeable examples: London and Leeds seem to be topping the list. I am not sure what accounts for this segregation and distribution: modern music quality is not assessed on the aggregation of acts depending on location- quality alone should enforce opinions and public tastes. It just interests me the way cities like Manchester seem to offer forth more bands (than solo stars). Of course, when you do come across a terrific solo act (from unexpected sources), it is compelling to see what they can provide: whether the quality and talent is as high as other parts of the country. Before I expand upon this- in the course, introducing my featured artist- I want to discuss Folk: a genre of music that perhaps is not always in sharp focus. The mainstream is compiled of various genres of music: Folk and its sub-genres make up a small percentage of the market it seems. With bands and acts such as The Rails and Gypsyfingers (both London-based boy-girl duos), it seems that a revival of sorts may occur. Folk has always been- I may be off the mark, but it seems this way- a slightly niche and specialist genre: certainly people enjoy it, yet it has never really struck the imagination the same way Indie and Pop have. This is a great shame, alas: some terrifically beautiful and emotional music is being made (by artists of this genre)- both in the mainstream and new music. Circus Life was one of the best albums I have assessed this year: created by London-based duo Victoria Coghlan and Luke Oldfield, it mixed Coghlan's stunningly gorgeous and varied vocals; Oldfield's assured production and guitar skills- incorporated into Coghlan's songs; including quick-fire and rifled Rap; dreamy Folk ballads and colourful soundscapes. The sheer depth and range of material (on the album) took my breath away: the fantastic stories and inspired performances are still racing around my mind- it showed just how adaptable the Folk genre is. If you think about mainstream icons like Laura Marling, why would anyone overlook her music? I know she has a great number of loyal supporters; I have always felt she does not get the recognition and full investigation she deserves: her music is some of the most vivid, intelligent and poetic in the world- scored by her distinct voice, she gets stronger and more astonishing with each album. The generalisation and stereotypical view of Folk still pervades: people think of acoustic guitar-strumming songs about the countryside and nature- wishy-washy vocals expound the virtues of the planet and the free spirit love provides. To be fair, there are acts who still play this kind of music- depressing as it may sound- yet that type of music died decades ago: modern Folk is a different breed altogether- it contains an immense amount of fascination and variation. The most important thing we can do- in order to make the genre more recognised and represented- is to proffer the best the form has to offer: my featured artist is certainly on that prestigious list. I have been aware of Katie Ware's alter-ego for some months now: having followed her through mutual musician friends, my subconscious and hind-brain has been trained on her for a long time- it is great to be able to feature her fully now. Before I go into more depth, I shall introduce her to you:

"She adopted the name following a conversation with Elbow front man Guy Garvey who, having affectionately called her "Cockney Sparrow", suggested she use it as her stage name. Adapting this to the warmer title of "Little Sparrow" she began to play the first of an ever-increasing number of live performances, developing a loyal fan base. Katie recently topped the ‘Breaking Bands’ poll in The Guardian and for her debut album she has decided to combine all of her work to date on one enchanting album. ‘Wishing Tree’ features brand new tracks along with those that have already become live favourites - each song beautifully created with the power to capture the imagination and warm the heart. She has continued to develop into a uniquely talented artist through her imaginative songwriting and her captivating delivery. The live performances - now supported by this stunning album - promise to make 2014 a very special year for Little Sparrow. With delicately crafted songs combining flawless vocals, angelic strings and tender harmonies, listeners are taken on a journey from heartbreaking sadness to uplifting joy."

Little Sparrow removes the impure and old-fashioned elements of Folk and transforms it into something transcendent and ethereal- her haunting and phenomenal angelics have captured the public's imagination. Despite having been born elsewhere, music's most beautiful bird has migrated to Manchester- in addition to enthralling and seducing local crowds, she has gained adulation from national newspapers and radio stations. Differing from the likes of Marling; Little Sparrow provides something more enchanting and spellbound- many attest to how potent and phenomenal her live performances are. She reminds me a lot of Gypsyfinger's Victoria Coghlan. In addition to sharing similar effective voices, the duo are mistresses of emotional and scenic Folk songs: the sort that soothe your mind; take it somewhere remote and safe- ensure the listener is quelled, calmed and hypnotised. Ware's immense beauty is surpassed by her phenomenal voice: an instrument even more eye-catching- it is unlike any I have ever heard. With a music scene seemingly obsessed by the power of the voice, having an extraordinary one at your disposal gives you a distinct advantage- ensuring Little Sparrow is among the most talked-about musicians in the U.K. Wishing Tree is the first album from our heroine: the chance for the public to hear the full extent of her talent and potential- the results certainly do not disappoint. One of my greatest personal desires- with concerns the modern music scene- is to see some form of organisation and rationalisation. Of course there are going to be scores of new musicians coming through- it is everyone's right to join- yet there is too much overcrowding; too little quality control- at the end of the day, great scores of essential artists get buried and overlooked unfairly. In music, some are more equal than others: it is only right that the best and brightest the U.K. has to offer are given their rightful exposure and regard. My hopes and point extends to Gypsyfingers- I am sure they will be a sure-fire future hit- but it especially goes to Little Sparrow: it is clear many are falling under her spell; I just hope the momentum keeps going to ensure her name is on everyone's lips come next year. One listen of her psychotropic voice, and you are powerless to resist: Ware is a musician that wants to draw all listeners together and write music for the masses.

Being the fledgling work from our young star, it is hard to draw in comparisons with any of her previous work. Ware has been making music for many years now, and a lot of Wishing Tree's tracks have been available for a while- cuts like The Swallow Flies and The Hunted (A Bear's Tale). The last year has seen Little Sparrow tour extensively: taking her music across the country, she has been playing her tracks to eager crowds- gaining feedback and studying reaction. It is clear that her songs mean a lot to her supporters: there are no early nerves or signs of weakness to be found at all. A lot of new acts showcase songs that are not as strong- as their later work- and that which is defined by incompleteness- Little Sparrow's first movements are assured and filled with confidence and beauty. The biggest development one could see is between the live version of the album's tracks- and the studio equivalents. Having also heard cover versions and other tracks (by Little Sparrow) the work on Wishing Tree is the summation (and fullest representation) of Ware's visions. Her songs- when in the live environment- are tender, emotional and awash with intimacy. The album's songs have greater depth and realisation: the high production values do not water-down Little Sparrow's luster- it highlights her incredible voice and lifts the songs to rarefied heights. Everything- on the album- comes across as deep and nuanced: the combination of musicians add richness and colours to the tracks. In essence, we are really witnessing the continuation of our heroine's tender moments: the Cementation of her most personal and relevant songs- the results really speak for themselves. The biggest point one can raise is with regards to her future movements- Wishing Tree is the result of years of performing, writing and hard work. Whether Ware is planning on releasing new material next year- or is going to wait a little- that will show the development she has made. As her debut is so full and compelling, it is going to be fascinating to see what direction she takes next: her sound is so unique and distinct, one suspects future output will follow the same line as Wishing Tree. If you have a particular talent and voice, it seems remiss to tamper with it too fully: I suspect her next moves will introduce new topics and inspiration; keeping her core firm and unfettered, we will probably witness a comparable collection. Artists like Laura Marling do not radically evolve between albums: Marling keeps her personality and distinctions as they are; instead choosing to change subject matter and introduce new stories. I suspect Little Sparrow will work the same way: new compositional elements may come in, yet it will be the lyrics that are going to be the biggest change- as opposed to the vocals and style of music.

Little Sparrow, Katie Ware, Mudkiss Fanzine, Mudkiss photography, Melanie Smith, photoshoot, interview.

Our heroine has a very distinct and elliptical voice: it makes it hard to compare her with anyone on the current scene. If I had to think of any particular names, I would first consider Kate Bush: one of Little Sparrow's idols, you can draw parallels between the two singers. Ware has that same swooping and emotive voice: capable of flying and soaring, her range and diversity lends huge weight to her compositions. If you listen to songs such as The Hunted', you can hear what I mean. On this track, the vocal shifts between low and tender swathes; the voice then rises and mutates: reminding me of The Kick Inside-era Bush, I was astonished by the sound of the voice coming through. Whilst Kate Bush may employ her higher register more freely and ambitiously, Little Sparrow strikes you with her complete range: she has a gorgeous and crystalline upper register in addition to a solid and incredible lower range- the notes in-between are fully represented and covered. I have heard other acts- influenced by Bush- such as Anna von Hausswolff, but find myself more impressed by Little Sparrow: she has the soothing softness and seductive whispers that get inside of your head and confuse the senses- able to elicit an enormous natural beauty, her voice is her most potent weapon. If you were looking around at other singers, then think perhaps Joni Mitchell and P.J. Harvey. I have never been a huge fan of Mitchell's voice, yet one cannot deny its prowess: when Little Sparrow reaches her high notes, I get essences of Blue-era Mitchell; when swooning and memserising, shades of the Folk goddess come through. I know P.J. Harvey is another icon of Katie Ware: you can detect some of Polly Jean's distinctive colours in the mix. When Little Sparrow considers tender subjects and matters of the heart, one can extrapolate elements of To Bring You My Love (Harvey's third album). That same gut-wrenching passion and beauty comes through; Ware employs a similar sense of density and atmosphere- oceanic depth and stunning drama is unfolded. Whilst Harvey- on this album- may look at dark and unsettling themes (at times she covers death and infant mortality), Little Sparrow has a similar potency and weight: her beautiful and ethereal numbers elicit the same reaction in the listener; that sense of stun and adore. I guess it is pretty hard to draw other singers into Ware's distinct circle: the overall sound perhaps has touches of classic Folk and modern-day Blues. Little Sparrow the artist does not stick to a narrow themes and confines: her songs are infused with a depth of different and styles; taking in a myriad of scenes, our heroine ensures her compositions are as varied and fascinating as the vocal itself. The final comparison I would bring in, would be regards to two songwriting colossus: Bob Dylan and Leonard Cohen. They may seem unusual names to throw onto the page, yet seem pertinent: like the U.S. masters, Ware has a similar ability to confound and seduce. Cohen's dark and fascinating poetry; Dylan's genius lyrics and insights were enough to drop the listener to their knees- possessed of a distinct talent, the listener comes away- from listening to the music- amazed and overwhelmed. Little Sparrow's sense of atmosphere, surprise, emotion and projection had me thinking of Cohen and Dylan: I get a similarly visceral reaction listening to Wishing Tree as I did Songs of Love and Hate and Blonde on Blonde- you cannot deny the effect the album has. I say the same thing when assessing any new music: do not judge it on other artists' acclaim and reputation. It is true you can detect some pleasing familiarities, but Little Sparrow- more so than most acts I have ever reviewed- would be done a disservice and injustice (if she were compared to others)- her distinctions are what makes her so unique and incomparable. If you are a fan of any of the artists aforementioned, then Ware's nom de plume will not disappoint: the biggest treasure comes when you assess the music on its own strength- and discover a very rare jewel indeed.

After mentioning Polly Jean Harvey, Wishing Tree begins with an appropriate track: Polly. The opening embers of the track are still and imploring: our heroine asks her subject to come home- knowing her words "paint a picture", your thoughts are instantly compelled to imagine and wonder. You get images of a tender and ingenue central figure: out in the unforgiving circumstances of the world, perhaps here is a runaway or lost figure- vivid images of tears (on Polly) and nervously anxious moments come through. Backed by languid and aching strings, Ware's voice is a paragon of gentleness and seduction: the passionate conviction and tenderness gorgeously eases through the mood to connect with the listener. Instilled with a worried tongue, it is said that- unless Polly returns- the dust won't settle "until you're safe back home." A sense of mystery pervades and lingers: not knowing the circumstances behind this missive, you wonder what has caused the heroine to flee- perhaps a relationship has broken down or personal doubts have made her question her place in the world. Possessed of quite a literary and classic story-line, the atmosphere is augmented and ignited after the 20 second mark: a clicking percussive snap drives quickened strings- those classic tones beautifully melt with Ware's determined and stunning voice. Matching the flair of the composition, the vocal becomes more impassioned and quickened: our Little Sparrow can see the lost fledgling from her window; "staring back at me", your mind starts to reassess and wonder. Perhaps the song's subject is playing a game; maybe it is more an essence of a person (as opposed to a physical thing); we could be hearing of a child that has fled the nest- such is the intrigue, ambiguity and fascination that is laced in, it is impossible to collect all of your thoughts into a cohesive whole. Hand claps and backing vocals raise the intensity and fever once more: Ware's voice becomes pin-sharp and balletic as she sees Polly below- wondering whether she can tie her wishes "to the tree." Perhaps an animal form or strange sensation is being unfurled; whomever is ascribed, Ware is anxious and keen for resolution- she will not be satisfied until they are safely returned. "The attic is bare"; "Your voice is so missed": with a resolute and composed vocal, you can feel the haunting sadness linger- it appears that this person made a big impact; their presence is being sorely missed. The song keeps you captivated by its changing skin: one moment the vocal and composition are spirited and rushed; the next it is slowed and floats- ensuring that every note and word stays in your mind and enraptures you. With Ware speaking of "bright colours" shooting out into the sky; the beauty that is all around, you feel that a last-ditch plea is being made- that desperation and fear becomes unbearable. As the song nears its end, the composition becomes more swelling: Ware's voice echoes and calls out- it is impossible not to hope the song's subject returns home. Polly is a triumphant and phenomenal start to the album: the early signs of By My Side let us know that more wealth is forthcoming. Gentle guitar and impassioned violin beckon in the track- beginning with energised and romantic intent, you are lifted and fascinated at once. When Ware comes to the microphone, her voice is urgent and determined: meeting her sweetheart (I imagined a man was being referenced) "in the park"; her hero will blow away her fears- one suspects that something more tender and redemptive is afoot. A gorgeous guitar arpeggio drives the song (reminding me of Radiohead's Street Spirit (Fade Out); Ware keeps her voice true and straight as she pays tribute to her man- someone who tells her he will make her "feel complete." As you feel romance will bloom and blossom, events take a turn for the worse: her sweetheart leaves in the autumn; taking himself off across the ocean, he sadly departs. Sensing an air of confusion and hurt- backed splendidly by the emotive composition- you sympathise with our heroine. Ware does not want him to depart; "Please don't go far away" she says- wanting him by her side, her voice is at its sharpest and most beautiful. Whilst lonesome watching the leaves change colour, she waits from the window- like a seafarers' wife, all she can do is hope that her man will return safely. Polly possessed quite a vintage and charming heart- the same sort of subject Kate Bush would cover- as does By My Side: it has its soul in literature and bygone classics; such is the nature of the words and stories. It is impossible not to be hypnotised by the sensuality and stillness of the vocal- unimpeded by heavy composition, it is a spellbinding and beautiful performance. You know how much this person means (to Ware): if he remains true and noble, so shall she- all she wants is him to come back and be with her. Backing this tale of aching love is a particularly impressive violin: one that tugs at the heartstrings; forces tears and wild wind; whips up a compendium of scenes and sights- providing incredible backing to Ware's enraptured voice. As strings combine and mingle- providing a sense of reflection and pause for thought- you sigh and smile as it washes over you- hoping that a satisfactory resolution will come about. Our heroine makes a last plea to her beau: calling across the land, she is incomplete without him- few listeners will leave the song without their heart offering support, tears and ache. Following on from the serene and emotive By My Side; The Flame employs darker and shadowy notes: projecting twilight moments, a haunting vocal works alongside the shady and foreboding instrumentation. When Ware offers embryonic words, I caught a glimpse of Beth Gibbons: that same catch the voice; a similar breathiness came through that caught me by surprise- and set up what was to come. After some Portishead-esque beauty, Ware showcases just what makes her voice so special: able to go from a child-like innocence to a deeper and more sensual low, it brings her words to life with stunning desire. Proclaiming "I'm the same as all the rest", you feel she is speaking to her lover: wondering whether he will ever see the best (in her). If you- like me- see embers of Portishead, parts Bjork come through too: that same stunning atmosphere and majesty is summoned up by Ware- supported by brave and stoic strings. It is a hugely impressive performance- even early on- as our heroine gives herself up to the war: she is going to give it "everything I've got." Ware casts herself as the flame: something to be viewed and loved but not touched. Begging for love and respect- rather than something cheaper and more shallow- you sense a woman who needs comfort and commonality- her man maybe is unaware of just what she desires (and should know better). Here the composition is at its most magisterial and stirring: tremulous percussive shimmers bond with aching strings; joined by haunted backing vocals, a sonic storm is unleashed- superbly lifting the song and enforcing its messages. Ware wants to be treated kind; she knows that the world is growing up too fast- there is room for love in the fast-moving and complex life. Awash in a lake of serene contemplation, Ware is a lonely woman in a hollow relationship: as the final stages come into view, you wonder whether the hero will ever step up and do the right thing. Our heroine's voice transforms into a bird song: twisted and beautifully entwining her words, the projection and delivery is impeccably well-considered and impressive- realising love is the same everywhere, Little Sparrow's unique assessment gives the words a stark and unimpeachable beauty. Our heroine has a flame inside of her; it is always growing and burning- it needs to remain bright and hot, yet it is in danger of being extinguished. The title track arrives next. Here we are introduced to something more Country-tinged and upbeat: an invigorated and dancing string coda shakes off the sorrow of numbers previous. With an itinerant mind, the song spares little time in making the brain conspire- wondering what is arriving next, you are captured by the intriguing introduction. Ware's voice is firm and pointed here: carefully delineating her words she advised (her subject) to "Take a step back from the things you see"- it appears if they do not, they will become easily confused. Taking us away from the sound and flavour (of the first three tracks), Wishing Tree is a tantalising and exciting number. Returning to the parable of the wishing tree, Ware advises her man to plant his essence in a field; grow his life and be her wishing tree- a charming and sweet sentiment. The vocal is particularly effective: Ware employs a call-and-response tactic; delivering the line, it is then repeated back- giving the track a constant momentum and energy. There is child-like innocence and playfulness throughout the song. Ware closes her eyes and counts to ten; she makes a wish- wanting to take her boy's hand, she will pick colours from the rainbow. The song's effusive energy and kick makes sure you are caught up in it: you will find yourself singing the song after you have finished listening to it- such is its charm and power. Our heroine wants her wishes fulfilled and her heart satisfied: her hero needs to make his queen happy. It is the melody and vibrancy of the composition that really resonate: the latter has hallmarks of Jack White's Lazaretto (and its Country moments); the melody flows and swims- it is impossible to shake off the beauty and grace. Sending the Message arrives to provide the album's half-way mark. Starting life with gentle and gorgeous strings, there is an element of darkness that comes into the initial moments: we are back into the dusk and experiencing something less innocence. When Ware arrives, she advises her focus to "Take this town/give it up." Instantly, you wonder what the words are referencing- if she wants her man to leave and go somewhere else; you are certainly curious. The voice is crystal-clear and spectral: desiring her suitor to take everything "beside me", she implores boldness. In this moment, you know something more redeeming and inspiring is being spoken of. Ware wants her man to aim for ambitions and dreams (and do not hold back)- whether he has been sacrificing too much or hesitating, now is the moment to go for what is craved. In a sense, here is a continuation of By My Side: again, our heroine wants her man to be with her and not leave; it seems that whatever he is planning, she wants to be included in it- the thought of being left on her own is causing upset. With a fantastically emotive and memorable vocal combination- backing vocals pair and weave; overlap and spiral- Ware is sending the message forth: come to her and do not leave. A call of distress, that unique and wonderful beauty remains in place- Ware reaches operatic splendor and divinity (around the 1:50 mark). Boasting one of her most stirring and emotive vocal performances, Sending the Message keeps you gripped and compelled. Ware's vocal elongates and holds- with accompanying backing vocals- as she proclaims she's "holding on"- keeping her hopes alive her man will not go away from her. The weight and grandeur of the vocal compels the listener to silence: you simultaneously are gripped and fascinated- wanting things to work for the best. Ware once more makes it known that both lives can be achieved: fulfilling dreams and wishes; being with her. With a romantic clarion call- sending shivers through the air- one wonders whether our heroine will get her wish: when the song trickles to its end, perhaps she is destined to be on her own. It is hard to shake the beauty and immense passion of the vocal; the conviction and tenderness of the words- the heartbreaking composition. In need of soothe and uplift, Struck Gold comes into play. Sighing and uplifted wordless vocals give the song a heavenly and choral beginning: you get the feeling we could hear happier scenes. Once more love is being looked at: Ware's man takes a little piece of her wherever he goes- the vocal is lower here and has a sigh and seductive undertones. Bound to her man, our heroine gives paen and adulated outpouring: not believing her luck, she is caught in love's heady spell- lessons are being taught and sage words proffered. Ware is determined to keep this thing alive: asking her man to keep his eyes on her, she would not change him "for the world." When it comes down to it, he is "the piece of me that struck gold"- that safety and contentment resonates in Ware's soothed and sensual voice. As the song rises and rushes, Country edges come through once more: shades of Nashville arrive in the yearning composition. Our heroine is "ordinarily forgetful", but she is "already home." Stepping away from the tone of previous numbers, here Ware has an older heart: she has been through the mill and is relived to be ensconced in a warm and loyal haven. The lovers have different pasts and personalities- our heroine did not think that the relationship would last and thrive. Against all the odds of trepidation and doubt, the duo seem to be going strong: when the chorus comes back into play, you cannot resist sing along in support. Our heroine shows how versatile her voice is: presenting a fully convincing Country performance, she laces the song with authority and passion- you would imagine you were listening to the likes of Loretta Lynn or Patsy Cline. Keeping her inimitable and defined heart solid, you feel a sense of relief and assurance: after turbulence and upheaval, it is great to hear Ware come up roses- you hope that this will continue for a long time. Beginning with a dusky and touching vocal- backed by darkly-plucked strings- in Found a Way; our heroine "found a way into your room." With much passion and lust in her vocal- as I have heard anywhere else- Little Sparrow has reason to be renewed: immersed in her lover's heart, she does not want to get out- she won't get out as "I'm all yours." Joining beautifully tumbling and springing guitar strings is soft (but notable) percussion- Ware drives I Found a Way forward with her open and extraordinary vocal performance. Imbued with a constant energy and force, our heroine seems relaxed and determined at once: knowing that these feelings will "never fade", here is perhaps the most overt testament of happy love. In spite of the comfort of this passion, our heroine has no intention in finding more about her man: it is not her plan to dig deeper and get to the core. Stunning Kate Bush-esque cooed highs (around 3:05) delightfully get inside of your head- Ware never lets her potent voice drop or subside; it captivates the entire way through. Maybe tempted to delve inside her man's soul, you feel the love may break (if she does): now that she is in his life, she does not want to jeopardise that. Ghostly and angelic vocals float above a bubbling undercurrent- mixing Country tones into proceedings. When the closing moments come into view, the positivity and comfort never lets go: Little Sparrow is at her most soothed and romanticised here- it is a pleasing thing to hear and provides necessary counterbalance to some rather hard-hitting (earlier) numbers. Having been around for a while- a live favourite too- The Hunted (A Bear's Tale) is one of the album's stand-out tracks. Starting with an explorative and mutating guitar coda, there is a calm and sense of serenity at first. Ware's voice teases and aches; stretching and emoting, she sees her hero high up on the hill- a faraway figure, you wonder whether love has broken down, or if our heroine is chasing her desired target. Ware is alone and by herself; to be with her friend and "follow your trail." It is here that Little Sparrow shows another quality to her voice: that aching and elongated delivery is unlike anything I have heard- able to summon up so much emotion and force, it hangs and glides in the air. Our heroine projects herself as the animal and hunted: thinking she has failed in the world; her voice implores those not to follow "into my cave." Loneliness and a sense of detachment come through; your heart goes out to her; the words settle in your mind- images and pictures flood in as you imagine Little Sparrow as a scared and confined figure. Advising caution, she tells her brave follower to back up: perhaps he is pursuing her romantically; Ware feels too lost to offer anything solid- maybe staying away is the best course here. When our heroine says she is "hunting the huntsman still", you feel there is redemptive force coming out: desire and longing are making their way through in the form of ravenous intent. Life forms and images turn towards scenes of capture and taxidermy: Ware wants to bring the huntsman down; tear him apart and have him stuffed- notions of romantic ideals perhaps take a back seat! Danger, temptation, hurt and fear linger throughout the song: our heroine has a wounded and hurt soul and cannot control herself- she may lash out and will not "forgive myself." Experimenting with- and pushing- her voice; our heroine goes from primal (and wounded) howls; sorrowful introspection and spiritual highs- her voice runs a gamut of emotions and colours; each one vivid and fascinating. I get captured in her performance: not only do the works starkly come to life; the listener is treated to the most compelling vocal turn of the L.P. As Ware's voice stretches, cries out and gasps, it seems that the bear has been captured: the pain and dread resonates and there is definitely lust underneath. Adding a plot twist and final piece of the puzzle, Ware (tells her man): "Touch me I'm yours"- subverting expectations and providing a romantic and honest final thought. Our penultimate track arrives in the form of Heart. Riverside and spacey; sexy and impassioned, the initial electric strings beckon the listener forth- touches of early-career Radiohead come through in the guitar work. When Ware comes to the spotlight, she unveils one of her most impassioned and seductive vocals. Able to tempt the birds from the trees, it has a smoky undertone; a beautiful and lustful core- giving the lyrics a stunning amount of urgency. Encapsulated in the evening's promise, Ware wants to "see the joy in your eyes"; desirous to see behind the disguise, she is with her lover- wanting him to take the ribbon from her heart, her quivering voice is filled with desire. Her man puts a "new beat" in her heart (once again): in these honest moments, you can hear the true and inner Little Sparrow come through- the romantic and impassioned woman. It is hard not to be washed away in the tranquility and beauty of the song: the vocal and composition are delicate and tender- Ware's voice causes shivers and smile. Her lover opens her door to her mind: usually more closed and cordoned, his passion and presence is causing happiness and renewed hope. If you close your eyes and let the song take over you, it causes myriad images to flow: you see the sweethearts talk and hold hands; making plans, our heroine believes there is "something waiting for me." By the last seconds, you still cannot open your eyes: that endless beauty and softness (that emanates) is a powerful and potent force. Taking Wishing Tree to its end is The Swallow Flies. Another track that has been gaining a lot of attention, it is a perfect swan-song- to a marvellous and phenomenal album. Starting with a gorgeous vocal, Ware wonders whether you could "ever be a reality"- could she ever open sails to the clear blue sky? Your head and heart see her floating over the oceans: sensing Ware has a desire for freedom and the open air, her voice is at its most natural and wistful. Witnessing the "pictures in your eyes", our heroine is hand-in-hand with her sweetheart- tripping through the streets (where the soldiers line), you can hear the sun shine and breeze blow. Looking up high, the swallow flies in the north-east wind- our heroine wants her love to "Just dance/Just dance/Tonight." While you try to project everything that is being sung, you are once more tenderised by the haunting vocal: Ware's voice soars and sweetly whispers- on top of gently-picked guitar; one of the album's most still and evocative moments is elicited. A haunting and emotive coda ends the track: backed on vocals, Ware stretches her words- "Breathe in/Breathe out" in a deep breath; coming back a few more times, the atmosphere builds high. As Johnny Lexus offer some Qawwali-inspired vocal notes, the track comes down to land- you sit and smile after hearing the last notes of a truly remarkable album.

Little Sparrow at The Deaf Institute supporting Kyla La Grange, 02/10/12, Katie Ware, taken by Shay Rowan

Having offered up so many words about Wishing Tree- I will try to keep it relatively brief here. Most albums or E.P.s (I have heard this year) have at least one or two weaker numbers: here there is nothing even close to that- each of the ten tracks are exceptional and demand multiple investigations. Covering so many different topics and possibilities, each song acts as a new story: vivid detail and rich emotion pours forth- it is an album that gives so much and demands only attention from the listener. Most modern artists pack albums with similar-sounding tracks: Ware ensures that each of her songs has a different heart and very unique feel to it. Folk and Contemporary are genres that are hard to get right and perfect: modern mistresses like Laura Marling have added their marks on the form- Little Sparrow has the potential to be among the most talked-about artists in the world. Before I provide praise to the album's players, I will mention one point: the production. Every song on Wishing Tree is given space and room to breathe and proffer: each word and note rings with clarity; the vocal is exceptionally precise and clear. Too many albums are ruined by bad production values: songs are scarred because the vocals are distorted and mixed too far down; the composition gets too heavy and persistent- it is a shame to witness. Wishing Tree sounds very much like a live album: in the same way Jeff Buckley's Live at Sin-é (recorded in a New York coffee shop in 1993) draws the listener into an intimate East Village cafe; here it is as though we are listening to Little Sparrow in a charming and characterful room- just a few musicians and enough room for a few lucky listeners. Before I mention our star; praise much be given to her supporting cast. Sarah Dale does a magnificent job throughout: her cello offers sadness and loneliness; aching notes add so much emotion and passion- it almost steals the show on a few number. When backing Ware on vocals, songs have that extra bit of weight: Dale is a key cog in the Little Sparrow machine. Graham Clark provides equal passion and musicianship throughout the album. His violin tones offer ache and sensuality; romance and gentle touches- it is a fantastic performance that lends so much to a rich and wonderful album. It would be great to hear more of his contributions in future releases (from Little Sparrow). Johnny Lexus provides Rock-edged heart and some masculine edges. His electric guitar plants grit, passion and punch (when the songs call for it); composure, strength and emotional support at other intervals- his vocals beautifully combine with Ware's too. My final applause goes to Katie Ware- the biggest of all for sure. Her guitar playing is exceptional, detailed and compelling throughout: it appears constantly and shows what a fantastic and talented musician she is. Her lyrics and songs are tapestries of impassioned love, personal doubts; burning desires and classic literary tales- few contemporaries have such a talent and flair for songwriting; Ware is among the most exciting songwriters of her generation. The final point- and obvious shout-out- goes to her voice: that unstoppable and unforgettable weapon that is stronger than everything else. When I was reviewing Gypsyfingers- and Coghlan's voice- I was stunned at how beautiful it could be: I had not heard too many female singers able to shift their voice and present so many different aspects. Ware has one of the most scintillating and emotional voices in music. Capable of enchanting and heart-stopping beauty, there is times- throughout Wishing Tree- where you are stopped in your tracks. It is not just her highs and sweeter tones that seduce: her range and mobility means she can go from husky and darker whispers to hot and heavy middles- there are not many other singers that match her in the voice department. I knew I would enjoy Little Sparrow's debut album- I was not expecting to love it quite so much. The songs keep going around my head: I find myself listening to specific parts; re-playing certain vocal moments and snatches- keen to take in the full majesty of the album. Perhaps one of the finest records I have heard all year, Little Sparrow is a treasure that everyone should seek out- Wishing Tree is the first essential purchase of 2014.

I suppose my effusive and positive words give you an insight into my overall feelings: Little Sparrow is one of the most effective and stunning artists on the music scene. Not only one of this country's brightest lights, she has a talent that transcends Folk barriers and very much connects with everybody: like Marling, Little Sparrow has the potential to be one of the most talked-about musicians available. With the likes of The Guardian including her in their 'Breaking Bands' polls, it appears it will not be long until huge breaks and developments are afoot. Ware has taken her music across the north (and the U.K. as a whole); seduced crowds and swathes of fans- the demand off of the back of Wishing Tree will rise and augment massively. Its songs are all wrapped around Ware's sublime and stunning voice- do not think of her as a one-trick pony. Even if Little Sparrow had nothing else to offer, she would be worth seeking out: the fact that the songs are incredibly atmospheric and inspired is the main selling point- the reason she will go on for many years to come. If you want to succeed and remain in the public consciousness, you need to deliver campaign promises; make sure every music-related facet is considered: Ware has taken great trouble to ensure every possible consideration is covered. An every-man sort of performer- she has a natural warmth and friendless that has enchanted audiences- it is impossible not to elicit a sigh and be warmed by Little Sparrow- personality and warmth are ideals that many modern musician negates to consider. In addition to the stunning music, Little Sparrow ensures that her online portfolio is complete and authoritative: her official website is informative and well-designed; plenty of information is included- her range of representation across music-sharing sites is impressive and considered. Our heroine has ensured that as many ears as possible can access her music: seek out the woman behind the songs and investigate everything there is to know. Too many new musicians present minimal online coverage: perhaps something pithy and nondescript on Facebook and Twitter; the odd track on SoundCloud- precious little else. With Wishing Tree having been in the ether for a couple of months now, I have been checking out reviews and early feedback: a lot of positivity, praise and respect is coming the way of the Manchester-based songbird. Polly- one of the album's finest tracks- is released imminently, and is sure to receive rotation across the country's most important and influential radio stations. Those that have not yet heard Little Sparrow get a chance to witness just what she is about- hopefully compelling them to pick up her album. I began the review- I shall leave you be soon; I know I have said a lot- by mentioning Folk, Manchester and discriminating public minds- I shall wrap this all up with more succinct regard. Manchester is a city that has provided some of the world's most spectacular and inspiring music: as we see this year tick away, the city is going to gain headway with regards to toppling the likes of Leeds and London- acts like Little Sparrow (and bands such as The 1975) are making impressive footsteps; a resurgence and reclamation of birth rights is going to occur. Public tastes are more open and less discriminating as in recent years: people are being more adventurous and allowing themselves to witness some of music's most interesting new acts. The Folk genre is receiving a hell of a lot of new attention: in addition to fantastic artists putting it back into the limelight, music-lovers are realising it is one of the most compelling genres available. Little Sparrow's Contemporary-Folk blend (of spectral beauty and incredible harmonies) is something that more people need to take a hold to. It is music that blows away the blues; capable of eradicating any form of weariness and disinterest, it does what great music should do: puts you in a better head space and inspires the mind into the bargain. Wishing Tree is a compendium of beauty and fascination from one of this country's most promising young songwriters- a singer that has few equals; a sound that has few competitors. If Ware ever comes and plays London, I will be there- front row and centre- it must be quite an experience to witness her music that close and direct. For now, I shall end this review with one important point: the future of music. We are all aware of what is happening in the mainstream: the goings-on and new releases come to our attention freely; it is hard to escape the glare of publicity and promotion. When it comes to new music, there is less attention paid: the artists often have to sell themselves and it can be a Herculean task deciphering the best from the worst. Incredible new music is synonymous with its diversity and quality- genres like Folk and Contemporary are leading a very promising charge. If you have tired- like many have- of heavy and overly-emotional sounds; bored with the same old kind of music; are eager to uncover something affirmative and genuinely beautiful, Little Sparrow- and Wishing Tree- should be at the top of your list. I don't know about you, but life is not as rosy and spectacular as it could- and definitely should- be. I find myself looking to music to provide solace and a sense of comfort (and redemptive balm). If you desire a similar form of much-needed remedy...

I know just the musician.

https://soundcloud.com/uklittlesparrow/the-swallow-flies

 

About the Author:

http://musicmusingsandsuch.wordpress.com/about/

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Follow Little Sparrow:

 

Official:

http://www.littlesparrow.org/

Facebook:

https://www.facebook.com/singinglittlesparrow

Twitter:

https://twitter.com/uklittlesparrow

SoundCloud:

https://soundcloud.com/uklittlesparrow

YouTube:

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

ReverbNation:

http://www.reverbnation.com/littlesparrow

SongKick:

http://www.songkick.com/artists/6741644-little-sparrow

MySpace:

https://myspace.com/singinglittlesparrow

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Gig dates accessible at:

http://www.littlesparrow.org/#!gigs/cnnz

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Little Sparrow's videos can be viewed here:

http://www.littlesparrow.org/#!music-page/c7mk

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Little Sparrow's music can be purchased at:

https://itunes.apple.com/us/artist/little-sparrow/id871212912

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The Polly E.P. is available at:

http://uklittlesparrow.bandcamp.com/album/polly-ep