Track Review: The Emsee- Rap Squared

TRACK REVIEW: The Emsee

Rap Squared

9.8/10.0

Rap Squared is available at:

https://www.youtube.com/watch?v=cpULfKisk7Y&feature=youtu.be

RELEASED: 7th August, 2014

LYRICS WRITTEN AND PERFORMED BY: Mathew 'The Emsee' Cathcart

MUSIC PRODUCED BY: Vherbal

MIXED BY: Muneshine

GENRES: Rap, Hip-Hop ______________________________________________________

The Canadian Rap/Hip-Hop star is one of the fastest-rising talents (in his country). The Emsee is a whip-smart, witty, striking and homo novus force- Rap Squared packs an incredible amount of punch. Instilled with humour, harsh truths and sharp put-downs- it is a song that demands your attention

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IT is a well-hearalded belief that the bands and heavier-sounding music...

equates to glory and profitability. This type of music- and market- seems to be evolving into border-line monopolistic rulership- solo acts and rarer genres are getting pushed back a bit. I tend to find that the band market- Indie and Rock sounds- can be quite hit-and-miss. To be fair, the solo market provides no great quality control- the best moments tend to be more interesting and unique. Over the previous months, I have assessed everything from Little Sparrow's heartbreaking Folk movements; the Hip-Hop/Spoken Word parables of RKZ- plenty of North American talent too (such as Clara Engel). The bands- that are out there- are pretty adept at stirring the soul; whipping up some energetic and uplifting sounds- less competent when broadening their horizons into sharper and softer avenues. I want to raise a couple of points today: the first one revolves around solo artists (and their craft). I find a lot of the most intriguing and fascinating stories- with regards background- can be found in the solo market; the artists here have a great sense of range and innovation. Over the last weeks- U.K.-based artists- the likes of FKA twigs and La Roux have provided two distinct (and equally mesmeric) takes on the form- different and scintillating albums of Electro.-Pop brilliance. The former's Bjork-inspired vocals mix inside compositions that are far from obsequious: they rebel and tantilize; slither and hypnotise- LP1 is one of the most vibrant albums of the month. La Roux provides something less dark and heavy; her elliptical- yet punchy- songs are upbeat and catchy; instilled with heartache and confessions- Trouble in Paradise is a startling statement of intent. Aside from the Electro.-Pop queens, distinct and innovative artists like Imogen Heap are coming through strong- it is startling just how much variation and wonder is coming out. Being a huge devotee of bands, I am finding myself more entranced and hooked to the lone stars- the fervent and stunning acts trying to make their voices heard. What I do tend to find- when it comes to new solo artists- is that their personality shines more. It may be an over-generalisation; it seems bands are less adept at seducing (in quite the same way). One of the reasons (for my theory) is acts such as The Emsee- a Rap/Hip-Hop act hailing from Canada. That nation is once more showing just how imaginative and stunning (it is)- the diversity and quality being offered (by Canada) is beyond anything else. I am impressed by what the U.K. provides music- Canada seems to be on a different plain. Hip-Hop and Rap artists are offering up a lot of treasure and talent- having reviewed our own RKZ recently, the genres are wonderfully glistening. Edge, poetry, passion and anger can be found (in Hip-Hop and Rap); the voices and songbooks- the acts are showcasing- are more striking and sensational. Before I mention my second point, let me introduce my featured artist:

"Inch by inch, The Emsee is emerging from beneath the surface. Under heard, not underground, he’s only scratched the surface of his story to this point. And that’s why, even after reaching the final 12 of Canada’s Got Talent and a slot on City TV’s New Years Eve Bash, he’s looking at the days ahead as his biggest test – and opportunity. Spending long hours at his factory day job fuels his musical efforts financially and affords The Emsee endless time inside his own mind to explore his music’s meaning and direction. The Emsee fearlessly carries an all or nothing confidence in his art, one that doesn’t depend on co-signs or chart success. With little help or resources, he also has become his own in-house producer, which means he need not depend on any outside resources to fulfill his ambitions in rap. The Emsee first threw his hat in the ring with his first demo-experimental LP Reality Check in 2009. In 2010, he landed himself a Classified-produced single called “The Life I Love.” The #1 vote getter in a contest to see who could create the best remake of Classified’s song “Trouble,” he gained his first major moment of recognition. The song would go on to be his album’s title track with The Life I Love LP arriving late 2010. Riding the wave of the Classified-produced single, the album achieved local recognition with a nomination for the Hamilton Music Awards’ Best Hip Hop Album of the Year. It also marked The Emsee’s first full length project over original production and put him on a path to opening for D12, Royce Da 5’9, Danny Fernandez, The Envy, Jahvon Paris & Peter Jackson. At the heart of it, The Emsee is uniquely no-nonsense in his approach to music. His success rests on his own definitions and reflects an intense sense of self-worth. He almost prefers to be counted out, because he knows he’s got the goods to show any doubters he can really spit. It was this drive that landed The Emsee on Canada’s Got Talent and a coveted spot on CityTV’s New Year’s Eve Bash. Following these career milestones, The Emsee released “Cold Hearted,” a fierce ode to a seasonal lover. The self-produced song leads the way in a flurry of new singles that will lead the way to his next album. The Emsee is the humblest rapper that you can’t touch on the mic. He’s the unassuming figure in the corner who jumps on stage and drops jaws. Watch him drop yours."

Before I move into reviewing- the music of The Emsee- I will raise one point: the genres of Rap and Hip-Hop. When it comes to mainstream examples- the likes of Kanye West and Eminem- they get plenty of exposure and appreciation- the newcomers tend to be relegated to niche considerations. For every act (such as The Emsee), there seems to be a multitude of bands- it is the latter that gets the biggest acclaim and exposure. A lot of music listeners and fans turn their noses up (at Rap and Hip-Hop)- declaring it too angry, violent and non-musical. If you overcome any prejudice and shortsightedness, then you can uncover a lot. The genres possess such a rich amount of poetry and music innovation; spectacular intentions and wonderful moments- do not overlook them! The Emsee is gaining some heady praise and appreciation- his unique and special sounds are gaining headway. The fact that our hero works a factory job; produces music on the side almost- shows just how determined he is. It is always impressive when an act can mix a day job (with their dreams and ambitions)- do both and have true and high ambitions. That is what music is all about, really- mixing the workaday and extraordinary; making sure you never lose focus on your true love. I hope that The Emsee will pull in the big bucks (soon enough)- is able to dedicate his entire time to his cause- and pour all his energies into the pursuit of musical gold. Having produced such a huge body of past work- I shall investigate a few past tracks later- he is one of the most prolific and hard-working musicians around. With each new song and movement, the young Canadian grows in confidence and intention- Rap Squared shows just how exceptional (he is). The story of young-artist-works-hard-struggles-to-make-dreams-come-true has been played out on the silver screen (countless times)- rarely do the stories compel and grip you. In real life, there are plenty of acts that are in this predicament- they put their heart and body into making their names heard. The Emsee is going to have a big future for sure- the reviews coming in (for Rap Squared) show universal critical acclaim. Aside from appearing on Canada's version of Britain's Got Talent (perhaps a minus there; shan't hold it against), our hero is a truly credible and worthy artist- someone who wants to hit the big time. The amount of passion he puts into his music is only topped by his raw talent and individuality- his music combines witticisms, stunningly tight lyrics and exceptional vocal flair. If you are more inclined to fester your attentions (in the direction of Pop and Rock; its sub-genres too) then you miss out on so much- narrow-mindedness can rob you of so much pleasure. Up until a year ago, I had not heard of Kate Tempest, RKZ and Fola- some of the U.K.'s best and brightest Rap stars. Few critics and reviewers- based here- take the trouble to proffer and promote International Rap/Hip-Hop talent- that needs to change. Were it not for my role (as a music reviewer), then I may have missed out (on The Emsee). Without further ado, let me get down to business...

There are few acts one can directly reference (with regards The Emsee). Although the Canadian is a Rap artist, his voice and singular visions are tough to draw with any other act- there are a few that come to mind. Perhaps one of the most relevant like-minded acts is Eminem. There are two Eminem albums I can mention- that could have inspired The Emsee. Whilst not possessed of its horror and overt violence, The Marshall Mathers L.P. has embers in Rap Squared. If you look back at the Canadian's work, you can detect that comparable assault and directness- the passion and fervency (of the words). The intense visions of Rap's self-consciousness; the lyrical genius- all of Eminem's early-career highlights are all there. Our hero has the same talent for words; the innate ability to project vivid and startling stories- grip the listener with his candid and assault rifle vocals. The Emsee critiques malevolent aspects of contemporary culture- like Eminem- and shows emotional complexity and compositional depth. On his first L.P., Eminem lacked the depth and musical quality- that synonymised his latter works- on The Marshall Mathers L.P. he hit his peak. Like the U.S. legend, The Emsee has a mixture of personality traits: the good-hearted warmth, the dangerous vengeance; that thoughtfulness and wit- the bait-and-switch double-bluffs. The Emsee's current mandate is a pathology of the personal and sociological- he does not limit his attentions to self-absorption and restricted anger. Encompassing a wide range of concerns and topics, Rap Squared has all the cinematic and compelling qualities (seen through Eminem's 2000 work). Critic-proof and dangerous; startling and stunning; the transgressive humour and verbal badinage is breathtaking- Rap Squared is a giddy and undeniable slice of gold. Although homophobia and sexiest violence is de rigeur in the modern Rap environment- The Emsee steps aside from these tendencies to showcase something much smarter and less discriminating. The ruptured psyche glimpses and rampant humour stood side-by-side- on The Marshall Mathers L.P.- the mix of reality and surreal confounded critics. The Emsee blends similar considerations and aspects (together). Boasting tremendous production values, Rap Squared sees liquid notes, stuttering beats and stunning soundscapes (give the song) a heady and atmospheric quality. The way Eminem stood aside from his peers- on this album- has inspired The Emsee (he stands in his own world); one of the most truthful and relatable rappers around. The Eminem Show is another album (from the rapper) you can see in Rap Squared- in addition to The Emsee's previous body of work. Eminem's third album saw the star become bolder, bigger, funnier and more entertaining- the same distinctions one can apply to The Emsee's latest offering. Similarly stylish, dense, catchy and mature- our hero is on a similar upward climb. The Emsee's dizzying prowess and dazzling individuality confirms what a mixture of soul-wracked and ambitious fighter (we have in our midst)- he seems like a worthy successor to Eminem's fading crown. The Eminem Show rapped and flowed naturally and without restriction; it was a holding pattern (albeit a glorious one) where the MC skills were augmented and solidified- Eminem marked himself as one of the greatest MCs of our generation. The undercurrents of discontentment and political anger lingered (in The Eminem Show)- The Emsee injects a little of that; he directs his anger towards youth, his so-called 'peers' and the modern life state- delivered with the same impactful swagger and accusation. One more Rap name I will mention is Kanye West. While not displaying the same vocal sound and style (as West), The Emsee covers similar topics and ground. If you consider My Beautiful Dark Twisted Fantasy- that album looked at consumer culture, celebrity excess, self-aggrandisement and meditations on fame. Although West's career masterpiece was defined by its gaudiness and no-hold-barred bad taste- it remains a grandiose and spellbinding musical extravaganza. The Cubist projects- where form, colour and subject were reformed and rearranged to present new and daring visions- combined adept and diverse elements; all lavishly employed and presented. The maximalist takes on East Coast rap impressed critics; My Beautiful' was a work that pulled together all West's promise- the pathological allegiance to emotional bareness was one of the high-points. The Emsee has a similar nakedness and defined quality; he presents a comparably grand sense of occasion and potency- Rap Squared hints at a (future album that) could be as mesmeric as My Beautiful Dark Twisted Fantasy. Beastie Boys are an act that draw in Rap and Hip-Hop sounds (of the '70s, '80s and '90s)- a consistently inspiring act that have never produced a weak album. If I were to select one of their albums- to compare with The Emsee's work- that would be Paul's Boutique. This may seem a little over-the-top- as this album remains one of the finest ever- yet there are similar shades and colours. Beastie Boys are synonymous with their party atmospheres and celebration of life- the bragging bullcrap and clever-as-shit lines. The Emsee- in previous work- has produced literal-minded samples and stark beats- on his current offering he instills some of Paul's Boutique's most notable facets. Instead of criminalising and boasting (without limitations), The Emsee castrates the competition- casts himself as a truth-telling poet of the age; dispelling well-held truths (that many young and naive listeners hold firm). The high-speed volubility- Beastie Boys perfected- comes through on Rap Squared- it is a tornado of imagery and clever-clever middle-finger salutes. Beastie Boys alienated some critics- when their masterpiece was unveiled- as it is a dense and packed listen- so much information is thrown in. Gaining huge retrospective acclaim, the L.P. stands as a brash recontextualisaton of the familiar; a full-bodied representation of rich and startling characters- Schadenfreude and earnestness traded poker hands. The Emsee does not sample and cross-splice like the U.S. giants- he keeps his voice and style more linear and focused. That said, this focus and concentration means his words and voice are up top- less emphasis is put on soundscapes and musical collages. Fusing scintillating electronics (and beats) with staccato missives, his work is a thing of joy- incorporating plenty of incontrovertible truths and thoughts. It is difficult to draw The Emsee with anyone else- perhaps Eminem is the most relevant influence; the two differ in terms of their styles and lyrical themes. In that sense, the Canadian comes across as a natural breath of air- he is not committee-born (and a synthetic music hybrid). Perhaps his appearance on Canada's Got Talent was a little remiss, yet his ambitions and desires for success should be applauded- he is more concerned with respect and just-reward; as opposed to fame (the only reason most people would appear on talent shows). Rap Squared is stronger than any previous offerings; a stunning new slice (that promises a great future)- a song that everyone needs to hear.

When looking back at the work of The Emsee- that is quite a Herculean task. Having produced so much work, I am looking back at seven particular tracks- to show how much he has developed and evolved. When listening to his tracks, you find yourself writing lyrics and trying to rhyme along- I am more Vanilla Ice by comparison. Every track is so stunning and vibrant- it is hard selecting a choice few. Looking back at his album Empty Promises (released in September of last year) you will hear what I mean- it is an album packed with genius lines and incredible tracks. The Warning is a clarion call and shout to the world. The rumbling beginnings are shockwaves- that threaten a huge score on the Richter Scale. The song builds like a storm; buzzing and fast-flowing electronics beckon the song forward. Synths. and '80s-inspired sounds blend with sirens and dangerous promises- the scents of the street is distilled and collected in a jar. Our hero is watching from the outside; seeing the curious specimens within- the song is a big and atmospheric wonder. Fast-flowing and spat raps collide with intelligent and nuanced lines- The Emsee goes over the heads of most. Imbued with a natural-born and intuitive (flair for words), he supersedes his peers- there are bold proclamations (and a sense of cockiness). Not willing to dumb himself down- for Harry and Lloyd (of Dumb and Dumber)- the maverick Canadian is leading a rebellion- presenting sharper and smarter suits. The witticisms and sharp deliveries have an air of Eminem- you can hear a similar tone in the vocal projection. There is scant profanity and violence- our hero is endlessly urgent and smart throughout. The tables are turning; acclaim is coming his way- our man is rebelling against the lows and losers of Pop. He is no Shakira or Shania Twain- this cat has claws and teeth. Savaging the competition; the song introduces aliens and the supernatural- a myriad of images and scenes are thrown into the mix. Fifty Percent starts with backwards samples and female vocals. It is a slow presentation but one that is alert and alive-The Emsee has some thoughts to get out. With some terrifically assured and innovative sampling, the song is intent and adventurous- the vocals are haunting and gripping. Wordlessness and ethereal motions linger in the backdrop; our hero is bold up-front. Hip-Hop hardness and jagged edges enforce their authority- the raps come thick and fast. Bullet-pointing the scenery- like a high-calibre assault rifle- the Canadian is a rebellious general- striking against the mainstream. It is impossible to not get caught in the multisyllabic wordplay and poetry; The Emsee has a fervent mind- a bit cocky; but he has a right to be! Wondering how anyone could resist (his inalienable charms), The Emsee is stronger than most out there- even when his tank is half-full. That braggadocio and masculine swagger does not come on too strong- like a harsh cologne- it is perfumed and potent. Once more presenting a tight and gripping drama, the song resonates and strikes hard- it is one you find yourself repeating time and time again. Cold Hearted leads with delicate xylophone- or electric piano- notations. Spoken Word embers blend with lullaby softness- the infantile and mature mingle alongside one another. Stuttering and zombified beats soon up the ante- the track's tales of broken love start to come to the fore. Our hero has been left disappointed by his sweetheart; she has screwed him around (not in the good way) and left him angry and distant. Having bent over backwards for her (again, not in a good way) he is at the end of his tether; bereft and wracked- the words have urgent and passionate rage. Not over-played and yelled, The Emsee is showing his concerns and bruised soul- he has not been appreciated or respected. The child-like and razor-sharp weave inside one another (to create a deep and rich sound)- there is sensitivity among the harsh realities. Being clear of his disreputable beau, our hero has become a different man- someone untrusting and ravaged. Tensions rise and cracks form- his sweetheart is always late and unreliable; she is condescending and lacks empathy. Showing no romantic ethics, the parabond is beyond the point of reconciliation- the endless strife and burden keeps the song electrifying and insatiable. With so many other terrific tracks- on Empty Promises- his current L.P. is a career high-point. Perhaps getting the recognition he deserves, our hero has had to battle hard and long- The Life I Love showcased this overt annoyance and suffering. A dozen tracks of glistening gold, cuts such as This Is Me synonymised a young man (who has not gained due diligence and respect)- he wants to let the people know how much it irks him. Soothing and Electro. opening swathes- put me in mind of The Avalanches- there is a micro collage of sounds and kaleidoscopic sound fragments- they unify spectacularly to cook a rich and heady cuisine. The song crackles and builds; soft and punctuated beats show some restraint and level-headed consideration. The song looks at the love The Emsee has (for music)- he keeps his visions persistent and crisp. Determined to thrive and succeed, that emphatic energy comes through in the song- the words inspire the listener to pick up a pen. A myriad of startling lyrics are twisted and teases; split infinitives and vivid scenes sit with one another- it is a sharp and intelligent beauty. Our hero confesses he is an Mr. Average Joe- a normal guy trying to get his rightful acclaim. The stunningly tight rhythms and lines spiral out like gunfire- it is a determined and fast-flowing performance. Our man sits at home and perfects his style- his prefrontal cortex is freed in his menial day job- he may love it; I don't want to stereotype and offend. The earnest and open tone draws you in; you start to side with our hero- why have so few latched onto his brilliant talent? Here For a While has an atmospheric and cinematic start- gorgeous strings shine like fireflies. Seth Rogen and broken necks are mentioned close to one another- a recurring dream of mine. The kids out there want to talk all proper and refined; they are idolising the awkward-rapping half-wits of the world- southern accents and hillbilly dopes are being dressed-down and derided. The cheap and facile are being exposed and accused- The Emsee is so much better than them. Feeling aggrieved and discriminated against, he wonders where his acclaim is- he wants to progress and develop. The new generation is failing- due to bad parenting- and need true leaders- the braggadocio that inflames the words makes everything stick. Vitriolic and immaculately conceived, the song is a weaponised assault- the ironclad mandate is one of the artist's most compelling. Reality Check predates Empty Promises- you can see the development between albums. The lyrical themes change from incriminated and hard-done-by (here and on its successor) to confident and more fulfilled (on the latter). The early recordings are angry- they contain tales of injustice and heartbreak- our hero sounds more assured and safe in later works. Whilst the lyrics changed course and conjecture; the ambitions, compositional genius and lyrical brilliance did not change- they have been stunningly confident from the beginnings. Reality Check showed just what a terrific writer The Emsee is. Grand Entrance is as bold a proclamation (as its title). Electro.-Swing sway is sampled up top- grand and elegant, it is passionate and graceful. Hard and rushing; operatic and brash, the burnishing brass-infused waltz is a perfect starting-point. The raps blend magnificently (with the composition); both magnanimous and assured, the performance is electric. Our man doesn't need swagger or guns- he has the ability and power contained within. The experimental sound reminds me of Beastie Boys and Massive Attack- the former is particular evident and emphatic. Ornate and libidinous lustfulness defines the sound- a tale that is filled with anger. His fellows around Hamilton, Ontario excluded him- due to his lack of jewelry and cliché Rap accoutrements- the indignity and annoyance is clear to hear. Heart Break sees female vocal swagger come into force- a sweet and tender starting position. The vocals here are calmer and soft; measured and honest- our hero is getting thoughts off of his chest. He prefers to sit at home and write poetry; not the sort to get drunk and start trouble- the chaste and dedicated music life is the one for him. The Emsee had no income as a youth; he was bitched at (by his dad) and confined- now he is all-in and emancipated. He wakes up in a cold sweat- it is no arrhythmia or illness; just the anxieties of ambition. Settling his nerves with writing, our man needs a lover behind him- in order to survive. Star Wars-scale vengeance is planned; congeniality is not on the horizon- our man means business. Rap Squared carries on the traditions- seen in previous releases. The vocabulary and sparkling poetry is up to the high standard- seen in previous work- but seems even more assured. The lyrics are witty and tight; the vocals as pressing and tantalising as ever- the quality is (some how) high still. Being such a phenomenal and assured act- from the start- you cannot improve too much; Rap Squared finds new inspiration and topics- our hero is at his wittiest and most quotable. Given the rate of progression, prolificness and quality; we will not only see a new album soon- it could well surpass his previous endeavours. As wise and astute as Yoda; direct and memorable as a hurricane; talented as Eminem and Beastie Boys- the young Canadian is destined for the halcyon regions of the mainstream.

A ghostly and pallid laugh opens up Rap Squared. (Sounding like it should have been delivered by Vincent Price- during Thriller) it sets up the curiosity and fascination. Spectral and distant electronic haunts melt with snatches of wordless vocals- the early mood is one of chill and atmosphere. Inside the creaking doors of the horror house, it leads to a Spoken Word sound. The vocal snatch sees a mathematician draw two columns (on a board). The left-hand column is marked 'x'- the numbers 1-10 will run down it. As this experiment and formulation is being expanded upon, a tender and emotive piano line merges into the mix; the Classical-cum-Hip-Hop combination puts me in mind of Kanye West and Beastie Boys. Our hero shows great consideration and restrain- he does not launch in from the start (and pulverise the listener). The fascinating and well-considered early moments define the song's title- a seminar and lecture that is meant to be instructive and educational. As the snippet comes to its end (the teacher/professor) states that the numbers will be "continuing indefinitely beyond 10." As you try to wrap your head around the images and mathematics, a rude awakening occurs- The Emsee is keen to get to the mic. Delivering his words with a determined and steely-eyed drive, we look at some disreputable dude- a man who is cussing and disrespecting (the Canadian). The unnamed protagonist feels aggrieved (by The Emsee's raps about Rap)- believing he "should scrap that." Standing aside from his peers, our hero dedicates Rap Squared to the "hearing-impaired." Its volumised and sonic intentions are expounded from the get-go; the delineation and projection is levied towards full emotional resonance- there are slight pauses and breaks between words; the pattern shifts and mutates to keep the song agile and confounding. The people want (our man) to rap about Rap; indeed, it is "Rap Squared"- a new form of song that is designed to mess with the brain. In the embryonic moments, a few things hit the ear. The underlying- and pugnacious beat- drives the song forward with intention and force- a tough and static punch that makes every word stand out. The lyrics have an air of sarcasm and humour to them; there is intention as well as discontent- the young master is defined by his original and true voice. Looking at lazy captains- that do not want to go to practise- our hero is satirising lazy and overpaid sports 'heroes'- bone-idle false idols that gain too much praise (for playing games, essentially). The Emsee would rather write and rap; spend his time pursuing something more meaningful and impressive- the spitting witticisms come thick and fast. Aiming his attentions out at the world, our hero says (an anonymous "you") preaches more than "the Roman Catholics"- you start to wonder whether the words are directed at the media, a friend; or else a sweetheart. In my mind, the messages are intended at the larger world- the media and large swathes of society. Our hyperactive-minded and busy-brained fighter is "in the same boat without a life jacket"- drifted in the Atlantic Ocean headed for an iceberg. The Emsee has heard they're trying to save the woolly mammoth; he would be pissed if he didn't get the chance to "body-slam it." That crazy humour and gleeful fun comes out in the words; there is a wackiness- that is not juvenile- meaning you are gripped by the words- they are upbeat and witty; deep and meaningful. By mixing metaphors with literal outpourings, the words have greater depth and relevance. Our hero is on a quest for success and regency- he wants to rise above the competition (and stake his claim). The unmatched and unstoppable raps are being knocked out the park; The Emsee may have slipped-up (in the past) but is back and unstoppable- rapping and rhyming his arse off. Having Moonwalk-ed off the ark- once more displaying his multifarious imaginative witticisms- there is a huge confidence coming in- a boastfulness that makes the words endlessly gripping and intent. Showcasing some of Eminem's vocal delivery and sounds, the Canadian ensures the song remains restless and evolving- the pace and speed changes and mutates; the beats expand and swell. The interchangeable and capricious minds are being slammed- the people who proclaim (The Emsee's) raps; only to denounce them a second later. Not liking self-referencing and concentrated raps, it seems he cannot please anyone- the kids and bone-headed rubes would probably rather hear Lady GaGa or One Direction. While a lot of rappers seems confined to areas of gun violence, misogyny and excess wealth (bragging about it), our hero remains more relatable and grounded- presenting songs that are more personal and universal. This originality and flavour is being spat out and pooh-poohed. The catchy and ballistic chorus goes out (to those that are half-brained and uneducated)- those that are more used to the worst music has to offer. A preacher and sermon-teller, the juxtaposition of divinity and sarcasm makes Rap Squared a conflicted beast- you feel no matter how good the rhymes are, they will never please anyone. Having wrestled with demons (of acclaim and rightful recognition)- since his early days- The Emsee is still trying to win undecided voters- he has gained ground but is still having to electioneer hard. The "wannabe artists" are being slammed and denounced- he is a man playing in an arena of boys. When he turned up at a pissing contest, our hero shat on them- the micro-lengthened penile juveniles are being given a heavenly man-sized dose of crap. Defecating over the so-called 'competition', the witty and ice-cool razor-sharp cuts hit the mark- matching the headiest and most memorable lines from The Marshall Mathers L.P. The music industry- and the rapping game- is a business- our hero is the megalomania chief executive and monopolistic owner; no time for posers and wanna-get-a-boners (might need to sharpen my rapping rhymes!). Music is a business, in fact- the weak get fired and passed off; the strongest promoted- The Emsee has no time for the effete and ingenue losers (and cry-baby genuflectors). Whilst they rap about whiny-ass problems and narcissistic concerns, our man has a noble truth- he is the one that is leading the way. The other rappers need to listen up and take note; our hero has them by the throat- they should be in awe but seem seriously bored. Having had reservations "since my first show", the disaffected star has some jaded edges- he is the king among a house of fools. The song's relentless assault and energy keeps the emotions and urgency high- the storm that threatens (to drown the ark of endangered animals). Supervillians, serial killers and mega robots are traded into the atmosphere; our hero crafts his rhymes with killer precision- he is a robot-cum-stalker on the prowl. The discontent and disaffectedness hits the witty peak- around the about the 3:20 marker. Our hero would "rather be Phil Collins/Singing my roof is leaking..."- perhaps the song's standout moment- and seems at his most angered. Previously, The Emsee has cast himself as a Megalodon and heretic- someone who does not back piousness and religion; a "vicious monster" that would rather go to dinner with Dorothy man-tooth. It seems our hero cannot win: speaking the truth will only "keep the youths sleeping." When he is honest and pure, it does not get an audience and attention- they would rather hear rampant violence and gun-themed lyrics. More adoring of the knuckle-dragging hoe-slapping, skank-shagging puerile; our intelligent star has had enough- his formative years have been spent trying to convert the mindless. The youths would like to leave The Emsee "in a hole to die"- like The Dark Knight, he will rise and conquer. Our man approves of feedback and reviews- his sheathed tongue pounces like a ninja. Not meek or demurred, The Emsee has been honest since his first days- not willing to flaunt ego and hollow words. The incandescent and striking words leave their mark- as the song comes to a close- and the listener is taken aback. There is no one-upmanship and hobnobbing intention; our hero wants to get his rightful respect. Slamming the competition and young rappers, the song is a ballistic missile that hits its target- and leaves the landscape in tatters.

It is incredible to see how promising and strong The Emsee sounds. With each song he becomes more confident and assured- growing in intention and force. Being inspired by early-career Eminem, the rapping and lyrical content is of the highest order. The wit and humour mix seamlessly with spiked words- that melting of emotions makes Rap Squared such a treat. In so much as you will be quoting lines from the song- there are a dozen or so that rank among the best this year- you find yourself repeating the song- it is such a quick and relentless rush, you need time to take it in. The production is clear and concise; it allows all the various components to shine and unite- everything comes through with stark concision and depth. The beats are crisp and fighting; driving the song forward they melt with fluid and flowing electronics- the composition is a rich and sparkling slam. Keeping the instrumental elements to a minimum, the emphasis is on the vocal itself- making sure the words do not get buried or overcrowded. Whereas the likes of Kanye West will throw horns, orchestras and sampling into his songs- making them ostentatious and slightly vulgar- The Emsee strips his song to its bare-breasted best; allowing its stunning body to mesmerise- the chintzy and gaudy bling has been thrown away; the jewels and ceremonial accoutrements dispensed of. Mathew Cathcart's alias and alter-ego is leading a brave and noble charge- standing himself aside from the lightweight peers. Only the likes of Eminem provide any real competition- I have not seen any other rapper that comes close. In a music industry- where there are too many Philistines and posers- it is refreshing to hear the likes of The Emsee- someone determined to play for years to come. Our hero is one of the finest lyricists in the world- there are few artists as consistent and detailed. His lyrics do not stick to the same themes and tired clichés; the Canadian stretches his imagination and thoughts- you can tell how much effort and time has been put into his work. Most artists lazily scribble lines (on the back of beer mats)- The Emsee is an act that dedicates evenings to note-taking and fervent scripture. A lot of rappers conjugate the form- and mangle its essence- whereas our hero has a pure and unique sound. He does not vacillate and loquaciously wander- his concise and detailed projections are stunningly direct. The vocal deliveries are weighed with emotion, urgency and anger- he never explodes or wails on the mic. The dedicated vocalisations mean songs like Rap Squared are nuanced and highly addictive opiates- that which should unite and galvanise the balkanised masses. Rap Squared rallies against the contemporaries- who offer little but erratic and infantile rhymes- and their ilk; the gentile whining of vagrant minds. Displaying an incredible blend of humour and intelligence, the lyrics are beautifully carved and detailed- each line is superbly realised and formulated. Not willing to placate critics and neigh-sayers, our hero is pissed at the unceremonious lack of respect (he has been given). Growing in critical regard, The Emsee still lacks necessary market share- the gods of music have cruelly overlooked his genius. All of this inequality and discrimination should change; the future will see our man rise to prominence- if more cuts like Rap Squared are produced, he will be a mainstream leader in no time. In no mood to pander to those who favour gun-loving, ghetto-minded rappers, our man stands apart- make sure you listen to every word he sings. I cannot wait for new music (from The Emsee): his past body of work has offered nothing but uniform excellence and prodigious intent. Rap Squared is one of the most direct and memorable songs of the year- the toniest gleam of a rough diamond. Imbued with intellect and off-kilter humour, few can ignore The Emsee- no-one compares..

I hope that the U.K.- and European- critics start to attune their sights to the likes of The Emsee. (In addition to Canada producing some of the world's best new music) it is offering some of the most distinct- so many different genres are being considered and augmented. The Rap-cum-Hip-Hop blends of The Emsee are some of the finest out there; Rap Squared has humour, wit, tightness and focus- an aural assault of the highest order. It is worth looking back at the young Canadian's past work- seeing how he has evolved and mutated. His direct and urgent songs are those that demand attention and closer regard- you know just how far our hero wants to go. He may be working in a factory at the moment; one suspects he will not have time to do so (in the next few years)- that call to the big leagues is sure to come (soon). North America is the most fertile and bold (music) continent in the world; leading the way with its plethora of stunning and brilliant artists. Rap and Hip-Hop is among the fast-growing and portentous market in all of music- providing a way to get away from bands and discover something different. The thing about new music, is that it is insanely competitive and tightly-packed- there is not much breathing room to be found. One of the ways- to separate the wheat from the chaff- is to go beyond your usual listening patterns- broaden your horizons and take chances. I love the wave of Indie and Rock bands coming through- among them waits the future kings and queens of music. The trouble is, there are multitudes of them: that doesn't mean (this is the) music future is headed. For full prosperity and potential, there needs to be a blend and range; solo acts (British and international) need to be embraced- so that there isn't homogenisation and narrowness. Taking this into consideration, you would be advised- all readers- to investigate The Emsee- at the very least, he provides something bracingly different and fresh. His lyrics and wordplay is tight and stunning; his vocal delivery is urgent and gripping- the music welcomes everyone in. A lot of Rap and Hip-Hop acts can come off as a bit impersonal and unfriendly- that is the same in every genre- but that is a generalisation- they are among the most friendly and open (of all musicians). Rap Squared made me smile and chuckle; its lyrics are vivacious and razor-sharp. With a flowing and insistent vocal projection (from The Emsee), it is a song that few should overlook. If you have cliché ideals of the Rap market- black guys spitting about hoes, guns, drugs, the 'hood and equity capital (okay, not the last one!)- then you are in for a surprise- the modern-day Wildean lyrics confound expectations. I love a good song about bitches, messiah complexes and sticking it to the man (as much as the next guy); but yearn for something deeper and more inspired- the likes of The Emsee provide just that. Look around Rap and Hip-Hop (there is plenty) of wit and personality. There may be fewer bitchin' guitar solos and rapturous drum beats- that can only be a good thing. The mind needs cleansing and enriching; something new in its diet- irrefutable spine-tingle and unexpected joy. Make sure you follow Rap Squared and its stunning equations; the math really adds up- tortured puns aside, it is a thrill-ride that begs for communal love. Our hero is surely planning E.P.s and albums- pulling ideas from his brain and setting his sights high. Capable of covering a spectrum of emotional and sonic ground, the startling Canadian is extolling the virtues of originality- he is one of the most distinct and passionate musicians about. I will leave you with a pithy bon mot: that which looks at 2015. This week- in the mainsteam- there has been a grab-bag of mixed offerings- from the dodgy and mediocre (Twin Atlantic and The Gaslight Anthem) to the incontrovertibly assured (The Magic Numbers). I have sighed somewhat- nothing has been released I would rush out to buy. Next week shows a complete about-face- both Royal Blood and Dry the River release new albums. From Brighton-based Rock swagger to East London-based Folk grace, I could not be more excited. New music has that same imbalance and unpredictability: some weeks stunning acts come out; the next there is bugger all. You can always rely on diversity- few acts are boring and flaccid. When looking around at new music- and who will be in the critical mindset- there is going to be a mixture: a few new bands; Electro.-Pop artists; Soul and Pop soloists- in addition to a couple of Rap acts. I am wholly confident The Emsee will gain some momentum and foothold- make his way into the mainstream's spotlight. It may take a few more years, but it is definitely coming- few musicians have such a determination and will to succeed. Let yourself get in touch with Rap Squared- and all of its gleaming moments- and keep your eyes trained on the Canadian. While he toils and works his arse off (in the factory)- as we speak actually- I am sure he is fantasising about music; dreaming lyrics and conspiring- the young man is on a roll; making songs summa cum laude. Put down your Arctic Monkeys and The 1975; pick up something new and different- that which inspires the mind. When it comes to inspiring...

FEW do it (quite the same way) as The Emsee.

https://www.youtube.com/watch?v=cpULfKisk7Y&feature=youtu.be

About the Author:

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

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Follow The Emsee:

Facebook:

https://www.facebook.com/TheEmseeMusic

Twitter:

https://twitter.com/theemsee

BandCamp:

http://the-emsee.bandcamp.com/

iTunes:

https://itunes.apple.com/ca/artist/the-emsee/id483324478

ReverbNation:

http://www.reverbnation.com/show/8234314

Last F.M.:

http://www.last.fm/music/The+Emsee

Google+:

https://plus.google.com/108370472262718280867 ______________________________________________________

The Emsee videos available via:

https://www.youtube.com/channel/UCzS-q9pq3_XG0s5zHl911Dw

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The Emsee's music can be found at:

https://soundcloud.com/the-emsee

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For all tour dates/gigs:

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

E.P. Review: Kobadelta- Remain Distracted

E.P. REVIEW: Kobadelta

Remain Distracted

9.7/10.0

Remain Distracted is available at:

http://kobadelta.bandcamp.com/

TRACKLISTING: Siam- 9.6/10.0 Repetition- 9.6 They Can't Hurt Me- 9.7 The Heretic- 9.8

STANDOUT CUT: The Heretic

RELEASED: 26th September, 2014

RECORDED AT: First Avenue Studios, Newcastle by David Curle (August 2014)

LAUNCH GIG: The Star & Shadow Cinema in Newcastle (with support from Goy Boy McIlroy, Schultz and Wake)

GENRES: Blues-Rock, Experimental, Indie, Psychedelia

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Having been celebrated (for their past endeavours) the mesmeric Newcastle quintet return with Stay Distracted. Kobadelta employ colours of The Doors, Arctic Monkeys and Black Sabbath (into their bubbling cauldron). Staggeringly tight and divine; their latest work is something you will not forget in a hurry- do not miss out on it ________________________________________________________

AS work commitments and sapping energy takes a hold...

I am almost nearing the end of my reviewing lifespan. It is good appraising bands and artists, but 'real life' is beckoning and pulling me forth. Writing anywhere up to 35,000 words a week, I am getting a little fatigued- need a bit of time to go and record my own music; set up businesses and train my thoughts wider. One of the great things about reviewing new music is finding sounds that otherwise would not come to my ears- my featured band have offered me the chance to discover something bracing and truly memorable. Before I introduce them to you, I want to raise one point: sound and intention. When searching around (and documenting) sapling music, you get a mixed bag of sounds- some acts are vibrant and daring; a lot tend to vary in quality. It is not the case that heavy and hard rushes create the biggest results- far from it. Even though bands like Bi:Lingual and Allusondrugs have given me the chance (to survey two of the most scintillating acts in the U.K.), I always look for deep and diverse movements; acts that spend as much time as possible galvanising their music. The aforementioned groups achieved this; they did not just lazily throw some notes together- they are bands that take the time to create gold-dust. Whether it is an interesting riff; the employment of classical strings; something a little unexpected- making sure your songs are as full and intriguing as possible is a paramount concern. I see too many musicians- come out- that are far too flimsy and lacking- their music does not hit all the bases (and truly stick in the mind). The very best music of 2014 has been defined by adventurousness, intelligence and consideration- so many truly terrific moments have come through. From the likes of Little Sparrow's haunting and Kate Bush-esque etherealness (to Gypsyfinger's Folk tenderness), the softer and gentler side of music has revealed some glistening diamonds. When it comes to the middle of the range- that mix of quiet and loud- then plenty of greats have come through- warriors of sound like Allusondrugs and Knuckle have stuck in my imagination. It is impossible to document (and give tribute to all) of the great new music highs, yet the abiding point remains this: the most prosperous and challenging acts are those that dig deeper and pack a huge punch. Having spent a lot of time investigating Electro.-Pop and Pop moments- over the last few reviews- I have been exposed to some elliptical and uplifting swells; music that is designed to invigorate and make you think. My featured act is a band that present plenty of beauty and lighter moments; their force and power is what sticks in the mind- something that grips and intrigues the brain. Before I continue on- and raise another couple of points- I will introduce the band to you:

Dom Noble - Vocals Alex Malliris - Guitar Chris Malliris - Drums Jonathan Marley - Bass Jordan Robson - Synths

"Newcastle based five-piece dabbling in dark and heavy 'indie-psych-rock'... Having recently supported the likes of Temples, Splashh and Superfood, we've been described as "one of the finest live bands in the emerging psychedelic scene" (NARC. Magazine)"

Kobadelta have a huge reputation in the live arena- many have stated how incredible they really are. Containing some mystery and curiosity- they do not give much information about their influences and background- the listener is left to draw conclusions. Many musicians leave their social media pages sparse- thinking that transparency eradicates the mystery and purity of their music. It is true to a certain extent; it is always nice to learn as much about an act as possible- it gives the listener a complete picture and shows a personal touch; demonstrates how much that act want to connect with the listener. Full disclosure can come in more than one form- Kobadelta ensure they give plenty of eye-catching detail and information. Plenty of photos and images are free for the user- their social media spread is authoritative and detailed- you can hear and see a lot of the band across the Internet. Hailing from Newcastle, it is great to hear some music from the North East- an area of the U.K. I have not had a chance to explore too much. Being concentrated in Yorkshire and London- most of my reviews take my there- it is wonderful to head further north; explore an area I do not get to tread too much- Kobadelta are one of Newcastle's most urgent and memorable bands. With the likes of Manchester and Liverpool having such a historic reputation, it seems that the North West gets a lot of the credit- and rightfully so. Yorkshire bands- as competitive as the North West- like Arctic Monkeys are rubbing shoulders with some of the best out there- few eyes look up to the North East. From legendary acts as diverse as Prefab Sprout (calling this area home) more critics and listeners should focus their mind here. When you explore certain regions, you can find some terrific things- Kobadelta have struck my ear and are a compelling proposition. Marrying Blues-Rock, Desert-Rock and Psychedelic together, they whip up some of the majesty of Queens of the Stone Age and Arctic Monkeys- two of the most popular bands of the moment. If these bands' latest albums have shown anything, it is that these genres can be mixed to spellbinding effect. Queens' Like Clockwork... trades darkened crawls with epic riffs; tight and focused jams with sweeter introspection. Arctic' created one of their finest L.P.s in AM- an album that sees them augment their talent for riffs; sharpen their craft and hit their peak. Before I get down to reviewing their music- and seeing who inspires them- it is worth seeing where they fit in the band market. Having gained such a huge reputation among critics and fans, it seems the Newcastle quintet are going to have a very busy and packed next year. They develop and grow with each release; pack their E.P.s with focus and phenomenal moments; take the listener into their world- not every band is capable of this. With so many mainstream bands starting to wane and waver, it seems that the likes of Kobadelta have the potential to claim some ground- take their place and nestle among their heroes. With regards the likes of Queens of the Stone Age- our boys are no lightweight equivalent. Packing an equivocal punch and strut, the young replacements have more energy and inspiration (than Homme)- they instill his Rated R/Songs for the Deaf regency in their latest offering. Too many new bands are provided a pompous amount of acclaim and support; elevated to unrealistic and stupid heights- they never achieve that sense of anticipation and regard. Kobadelta are the slinking and hard-working act that live up to the hype and positivity; they are serious contenders. With that all said, it is worth investigating the boys in more depth.

To get some background on Kobadelta, I have been listening to their early sounds. Their latest E.P.- The Hidden Door- was released back in February. Showcasing plenty of flair, passion and emotion, the E.P. resonated hard (with listeners and critics). Electric Chair was as sizzling as its title. Jumping and nervy at the start, the buzzed and blissed-out guitars investigate some Queens of the Stone Age's Songs for the Deaf territory- bits of Arctic Monkeys' darkness is in there. French words and blurred verbs hide in lyrics (that are constantly impressive and well-considered). Showcasing an economy and tightness, the track packs so much in- biblical judgement and commandments sit with byzantine offerings. The song's heroine is cutting the wedding cake with "the hunting knife." The band performances are focused and tight; every note and offering is honed and perfected- they allow looseness and fun to come through. Supernatural Cause began with some intent and striking percussion. Haunting and swirling, embers of Nick Cave and The Doors are seen; the cool-ass swagger that enters the fray (takes the song another direction)- dark and burbling undercurrents keep the song brooding and interchangeable. The ghosts of Tom Waits and Jim Morrison lurk in the vocals; seductive lip-licking matches graveled throbs and pulsations. Another song that matches it title, you are washed up in the spectral nature of the song; it grabs onto you and chills the bones- not a mordant number; it is a stone-cold chill that is designed to shiver the spine. The Hidden Door takes another course. Tribal and Celtic openings blend seafaring and swaying motions together; the vocal that enters has a rich croon- Morrison and Johnny Cash have an influence here. The Country embers are a nice touch (and show another side to the band)- they are adept in whatever genre they want to play. Paced and projected with a sense of calm and control, the song's lyrics are scenic and vivid- the wordplay is deep, evocative and intelligent. Epic compositional developments augment the sense of occasion and build- graceful one moment; rushing the next. Love Stone Chic incorporated some touches of Kasabian, Black Rebel Motorcycle Club and Arctic Monkeys. What it provided was some razor-sharp and sizzling jams; slinking and snaking guitars- punchy and manful percussive utterances. The focus and determination are unequivocal; the stunningly teasing aspects make it one of the E.P.'s standout tracks- allure, sexiness and chic are hallmarks that few other bands can infuse. Not Above & Not Behind was a softer and gentler animal. An aching vocal turn gave the E.P. a rounded and full sound- the band do not just present harder and more Rock-influenced parables. Sensitive pride sparred with masculine urgency. Our hero's possessed and emotive vocal looked at love and dedication- the heroine is someone who has done a lot for him. Having moulded and shaped his life; left her impressions, it seems that there is a sadness and longing here- maybe the relationship has ended; things are beyond repair. The devaluation and depreciation are evident and apparent- the song spares no time in getting under your skin. The shortest track on the E.P., it is a beautiful and still beauty- those tender acoustic guitar notes are wonderful. Knowing just what a force the band are now, it is because of works like The Hidden Door- a record that reveals new light and quality across repeated listens. The band's first full work was Ritual (Time Flies). Unveiled back in 2013, it was the band's first strike in the music world- something that made big impressions on reviewers. The influence of The Doors and Kasabian gave proceedings a crackle and vibrant sexuality; a leather jacket-clan coolness and strut. Chunky and huge riffs were part of a full sound and heaving bosom of sound- Blues-Psychedelia and bass-heavy rhythms sparred with Indie slices and Rock jams. Some of Michael Stipes's Out of Time vocals- and songwriting nuance- showed itself here; the band came out with all guns blazing. Edgy and alert sounds hugged synths. and funky avenues. Time signatures switch and change- in the middle of tracks- with the listener kept alert and surprised; the cinematic and filmic grandeur struck critical ears. Many saw the release as a Tarantino soundtrack-in-waiting- something that would be perfect for one of his films. Sexy and fighting mixes with celebratory and partying- that ear and eye for atmosphere was established here. The quality and luster the band display impregnates the music- that set them up for their first E.P. Joining in unison some U.S. Blues-Rock flairs with classic acts- The Doors and Echo and the Bunnymen- the band were on form right from the start. I can see the development from their early work- the band have increased in stature and confidence. Although Ritual (Time Flies) was a stunning and incredible work, Kobadelta improved and flourished on its follow-up- the guys ratcheted the urgency and passion; made sure that few ears could ignore them. Over the last few months, the quintet have been working hard; putting together their movements and strategies- what Remain Distracted shows is that they get better with each new release. The new quartet of songs builds upon The Hidden Door and all it contained- those key elements and assured sounds remains. The band have gained fresh insight and influence; distilled this into their music and produced their finest work- a collection that will see bit results and profits. With this rate of progression and development, it means future releases are going to be staggering- few can match their evolution and potency.

Kobadelta themselves are influenced by a number of different acts and artists- whether directly or by name-check. In terms of the vocals, everyone from Al Jolson, Nas and Mark Lanegan (count as references). When surveying the overall sounds and style I am reminded of Queens of the Stone Age. If looking at a particular album- to reference with the band- I would say Songs for the Deaf is the most apt. In the same way that Songs for the Deaf was a genre-busting and startling Hard-Rock album; Kobadelta have a pioneering attitude and huge musical ambition- they can splice genres and create a wide range of sounds and movements. On Songs' the drumming is muscular and primal; the concept and production is innovative and a humourous. Kobadelta instill the same amount of imagination and power; they are musos that make music for the fondest music-lovers- detached from what is 'expected', they create songs that are the result of a deep passion (for their craft). There is a sense- with Kobadelta- you are listening to a 'dream team.' Like Queens of the Stone Age's career-high line-up, you have the best and most striking talent on board- that comes through in their music. Thrilling, dramatic and odd moments are shared by both bands; the Newcastle quintet create a riot of sound and imagination- the quality and consistency throughout the E.P. is phenomenal high. When Q.O.T.S.A. unleashed ...Like Clockwork, they presented something darker and more restrained. The album contained crunch and power; seduction was found in the darkness- making the songs such a treat. It is a focused and taut treat; an album that demands huge investigation- revealing charms and new surprises after several listens. There was a little desert sprawl and wandering; some of the hallmarks of their previous albums- new components came to play. Densely layered sounds, interwoven riffs and eerie sexiness sparred with one another; guitar fuzz and elastic soloing provided heady shades and heights- off of the back of a hard and struggling time for Josh Homme. Having been hospitalised- and subsequently bedridden- following complications from knee surgery, ...Like Clockwork was the sound he found in the darkness- the inspiration that kept him going (and saved him). Kobadelta incorporate the key highlights and synonyms of that album; their sound has that elasticity and focus- they do not betray their identity; instead offer something new and inspired. Another band that come out in Kobadelta's sound- one that is close to Queens of the Stone Age- is Arctic Monkeys. Looking around at an appropriate album- to draw in for comparison- would be AM. Imbued with elements of Queens of the Stone Age's sound- Homme featured on the album; having produced its predecessor, Humbug- this album marked a high-point for the Sheffield band. AM drew inspiration from Rock titans and greats: some of the riffs featured could be compared to Black Sabbath and Led Zeppelin. The album was built on portentous beats and dark thrills- the combination of fun and seriousness provided a great contrast. Kobadelta match wistful Pop (and light) moments with muscular riffs; paranoid and haunted snatches come out in their current work. Huge craft and confidence defines their work- the same qualities that went into AM. Kobadelta instill maturity and focus into their music; meatier and compelling tracks- they do not forgo the frivolity and youthfulness (that defined Arctic Monkeys' early work). Looking around at possible U.S. influences, The Doors (are a band that have compelled and enforced) Kobadelta. In terms of album comparisons, I would say The Doors is the most pertinent example. That disc launched the band's intention; remains one of their finest work- it inspired a legion of other acts. That combination of Jazz, Blues, poetry and knockout blows took critics and fans by surprise- it is a debut that has rarely been matched. Spidery guitars, hypnotic backdrops and alluringly powerful vocals ran throughout The Doors- the nonstop melodicism and dynamic tension was hard to top. Kobadelta ensure they pack as much punch and intrigue into their music (not quite on the same plain) and draw in some of The Door's early-career facets. The vocal performances from Dom Noble possess embers of Morrison's velvet and sexual croon- that comparable lustre, power and raw edge. The Morrisson-esque Dionysia persona matched with stoned and immaculate moments- few can forget or ignore their debut album. Our Newcastle five-piece provide their own take of The Doors' commingling of potency and seduction; this comes through evidently on Remain Distracted. Being a direct influence of the band, Black Sabbath are a name that came to mind (when listening to their latest offerings). If you look at a Sabbath album like Paranoid; that was one of the band's finest early cuts. Within, the Visigoth rhythms and blissed-out riffs inspired bands like Nirvana and Metallica. At times it is soothing and seductive; for the most part it's hypnotic and frightening- the album defined the Heavy-Metal revolution. Kobadelta rustle up incredible riffs, multi-sectioned songs and epic drama; the guitar vocabulary is incredible- the monolithic and steamroller power cannot be refuted. Whilst Kobadelta do not touch on the same depressive and dark themes of war, death and genocide; they employ some of the drugged and slowed-down hallucinations. The Stooges are another act that come out in Kobadelta's sounds. If you take an album like Fun House- that remains one of the band's finest works. The album contained raw and sweaty peaks; energetic and immediate songs; the vocal ferocity and potency sticks in the imagination. The guitar work that came out in that album- with the increased confidence and potential- is only topped by the captivating and scintillating vocals- the album remains one of their masterpieces. Kobadelta incorporate similar stab and sizzle; razor-sharp guitar work and electrifying vocal performances- that unite Punk, Rock and Blues together. The lyrics The Stooges penned displayed intensity and disquiet; the bass was played like a weapon of destruction- the focus and tightness of the entire band is startling. Kobadelta ensure their songs are possessed of vivid and evocative scenes; moments that draw you in (and stay in the mind). The Black Angels are a band that have made a mark on Kobadelta. The Directions to See a Ghost cemented The Black Angels' reputation as one of best bands on the scene. The knowledge of Pop hooks and melodicism meant their epic jams and buzzing attacks had catchiness and dance-along charm. Their album contained plenty of ideas and directions; sounds that appeal to a multitude of listeners. Kobadelta ensure that their music is as rich and deep (as The Black Angels'); filling every moment with the same sense of occasion and potency. Black Rebel Motorcycle Club threw in guts, dynamism and aggression into Take Them On, On Your Own. That album contained swagger, cool and endless authority: the percussion brought the trio together with its power; the maturity and potency defined that album. Kobadelta have their own version of swagger and ice-cool looks; their music has that same confidence and ambition. The final duo of names (I will include) are Echo & the Bunnymen and Nick Cave and the Bad Seeds. Porcupine was an album that brought Echo & the Bunnymen to a new audience: its brilliance and giddiness excited listeners and fans- impossibly exciting fusions of Rock and Pop were included. The intricate production touches; yearning and soaring vocals are qualities Kobadelta share- they possess similar driving bass and urgent drum work. Kobadelta share Echo & the Bunnymen's knack of delivering great songs with a fun-time and emotive vocal force. The psycho-sexual vocal yelps- and Bowie-esque tics (that came out in Echo's debut album, Crocodiles)- was backed by huge and swelling compositions. Spookily evocative gems sat with blinking hallucinations and primal vocal performances- taking inspiration from the likes of The Doors. The visceral and exciting moments of Nick Cave and the Bad Seeds' come out in Kobadelta's work. The operatics, theatrics and dark croon- that compares with Nick Cave's pipes- are mixed with overmodulations and near-explosion. To be fair, it is best to judge the band on their own merits. Usually- when writing this section- I can levy a band (or act) with others; write quite a hefty amount- not today, mind. Whether it is because of the bands listed- and the lack of critical feedback- I have struggled a bit. When reading reviews and feedback- on the artists mentioned above- there is so much brevity and scantness- it has been impossible to flesh it out and provide full clarity and conviction. It is true that the likes of The Doors and Queens the Stone Age have made big impressions; the U.K. greats like Echo & the Bunnymen have played a big part- Kobadelta do not come across as a re-appropriation or tribute band. You can sense birthmarks and skin grafts in their flesh; little hints and sensations- the sense of individuality (Kobadelta provide) marks them aside from their contemporaries. The best way to do the band justice; pay testament to their music is to get down to reviewing it...

When assessing the E.P., Kobadelta explained it in these terms:

"The tracks are from our forthcoming EP 'Remain Distracted', which we will be launching on Friday 26th September at the Star & Shadow Cinema in Newcastle. Support will come from some of our favourite local bands including Goy Boy McIlroy, Schultz and Wake. 'Repetition' from the EP will is already available at soundcloud.com/kobadelta as a free download. The CD version of the EP is available to pre-order at bandcamp.com/kobadelta and will also be available on the night of the gig. We feel that the EP is the best representation yet of what we consider to be Kobadelta's 'sound' after experimenting with a range of ideas on our last few releases. It comes on the back of what has been a great year for us so far, being chosen to play Newcastle's Evolution Emerging festival as well as Stockton Weekender (with Happy Mondays and Public Enemy headlining) and Split Festival (with Maximo Park, The Cribs and Dizzee Rascal), and a live session for BBC Introducing. In the lead up to the gig we will be playing The Boiler Shop in Newcastle with The Temperance Movement on Sunday 31st August, and supporting Allusondrugs at Newcastle's Think Tank on Sunday 14th September. The gig will also be used as the launch night for our singer Dominic Noble's clothing and design label The Greensleeve (www.thegreensleeve.co.uk), whose artwork has featured on Kobadelta's previous releases (including the new EP), as well as for other local bands such as Bernaccia. Described as 'Supernatural visions projected in new technicolour', Dominic creates collages from recycled vinyl record sleeves and will be making his work available as prints and a clothing range."

Siam is the first track off the blocks- a song that gets to the races instantly. After a snatch of feedback and feline yowl, the band elicit a rampant and galloping introduction. The guitar and drum dueling reminds me of Queens of the Stone Age mixed with Arctic Monkeys- there is that dark undertone that is contrasted with elastic and upbeat power. The insatiable and catchy mandate is one that lodges straight in your mind: teasing and slinking, it propelled by a solid bass performance. The percussion crackles and smashes; the weaving and snaking electronics allure the senses- preparing you for what is to come. Our hero steps to the mark and is remaining distracted- his gears "are grinding"; there is a sense of anxiety in his voice. Buoyed by the rush and insistence of the composition, the vocal keeps the momentum flowing and endless. Our frontman felt compelled (to write his sweetheart) a letter- write down his confession and get it off of his chest. Instantly you bond with intrigue and mystery; speculate what is being documented and stated- that oblique and fascinated side comes out straight away. Throwing in humour, cocksure declaration and a sexy swagger, our man is like chocolate in a child's pocket; the hottest thing "since records began"- that unbridled assurance and urgency is something Jim Morrison would be proud of. The next verse looks at footprints on the bonnet; the window is open and that curious nature augments- you picture scenes and wonder just what is happening. Unfolding like a dramatic mystery, the hero ensures his voice is endlessly arresting and compelling. Marshalled by a dizzying and tripping guitar weave; authoritative and composed bass drive and percussive tenderness- the song's composition adds weight and colour to the main focal point. Proclaiming that "we are not so different", our frontman seems to be speaking to a sweetheart- perhaps I am off the mark- due to the romantic nature of his delivery. Previously, words have looked as sonnets and requiems- how we put emotion and heart into these poetic realms. The following lines offer no ambiguity or room for misinterpretation. Words that implore (the girl) to get down on all-fours slither with lustful and hyper-sexual intent- the vocal drips with lust and lascivious chocolate. Our man is not short of confidence and pride: knowing how electrifying and gripping he is, you feel he is beckoning his woman into his web- the hunter is on the prowl and is crawling through the suburban streets. As he- and his gal- are the same behind closed doors, there is a sense of submission: maybe his sweetheart has been resisting; the elemental proclamations are designed to draw her in. As the listener becomes embroiled in the sensuality and raw edge of the delivery, the band elicit a fiery and sparkling coda. Unleashing a twisting and scintillating riff, the entire group unite in voice- each player is tight and fully focused. Incorporating buzz-saw Blues-Rock with Desert-Rock swagger, the line is intoxicating and gripping- a swirling mezzanine of colours and concrete. Languorous and reptilian, the snarling riff burrows into the brain. Towards the closing moments, our hero lets his voice climb and rise- repeating a mesmeric coda, it becomes more pressing with each delivery. Distracted with gears grinding, the desperation and feral rapture bursts through the speakers. Supported by a yowling and animalistic riff; a taut and menacing bass slink; that pummeling and insatiable drumming- you are gripped by the intensity and sweat-ridden passion of the finale. Leaving you breathless and fascinated, the sense assault is the perfect opening (on a wonderful E.P.). Repetition is a song that is a free download- subverts expectations from the very start. Primal and rampaging guitar determination gets the song off to a flyer- it is a Hard-Rock riff that ties in Black Sabbath and The Stooges. Gritty, violent and wide-eyed, it is filled with potential. Soon enough the percussion arrives to add catchiness and spring; when the instruments combine the song mutates into something springier and more bouncing- that hardness remains but the song gets fuller and gains swagger. Delirious and victus, our untamed hero is keen to get onto the microphone. Paying testament to the necessity of repetition, vivid and bayou-themed scenes are threaded forth. If you are gone swimming- a message directed at anonymous figures- then be weary of its moonlight dangers; the potential for fatality lingers. Our man apologies and offers demure- if he got "carried away"- words of self-destruction and reflection come to play- it seems a particular friend or love is being looked at. Someone that (our frontman) can always rely on, it seems like they are the leveled and measured head (our man needs). Like Siam, the track has a restless and incredible pace and potency- that never-ending kick and drive takes your mind away and wraps you up. With a vocal performance- that injects lustful passion with reverend tenderness- the band are in no mood to retreat in the shadows- infusing a myriad of multifairiousness and vibrancy. Dark and scorpion stings strike with roaring and lioness guitar swings- melting Q.O.T.S.A., Arctic Monkeys, The Stooges and Black Sabbath (into their boiling pot). With Brigitte Bardot and kaleidoscopes- being thrown into the lyrical mix- our hero spills his words with a breathless and unstoppable force- I am loathed to keep mentioning The Doors. As unique a snowflake (as the band are) it is impossible not to hear the gin-soaked ghost of The Lizard King. Not quite as overtly in flagrante as Morrison, our hero enthralls you with his bursting and sexualised lung power- you get lost in the tumble and gripping melodrama of the song. At times some of the words may get a little buried- some run into one another- but the emphasis is on mood and potency- the sheer passion and evocativeness that is summoned forth. The composition is an evolving and interchangeable beast. The time signature and pace shifts at one point; the song relents into exile- allowing something reflective and restrained to come into effect. From the animal instincts of before, there is a sense of measure and calm- that sound expands and cracks to allow fervency and pugnaciousness to swing in. As you are bedding-in and starting to predict, the band offer a brief pause- the song teases before bursting into life (once more). Evoking the shadiness, danger and beauty of the night-time streets, the band unify to kick the crap out of the senses; take your brain out of your head- strip the bones clean. The dying seconds go down fighting; the percussion rifles and avalanches; the guitar screams and bays for blood- the percussion hammers and staggers. Being entranced and sucked into the band's vortex; the vocals are not done talking- repetition is repeated once more. Cleverly giving the song new meaning- repeating the song's title gives the song essential life and memorability- were the song left on an aural close; you would not be as impressed and taken aback. Showcasing the necessity of lyrical economy and incredibly well-considered songwriting, it is a track that leaves with a big a bang (as it began). They Can't Hurt Me starts with some incredible bass work. Bouncing and ripe, it reminds me of some of Songs for the Deaf's most intriguing moments; a little of Echo & the Bunnymen's early work- it foreshadows a brief guitar rattle- displaying sounds of a Tarantino-directed Western-themed opera. The song's hero returned from France; his lover "moved abroad"- it seems like a game of cat-and-mouse is unfolding. Crime scenes and criminal avenues are explored- the Tarantino predicament is reinforced- as the scenes unfold. Keeping the composition tight and focused- not allowing histrionics or needless energy- everything is tense and edgy. The sweetheart said "no to a bullet-proof vest"; the hero has a wire on his collar- that espionage-cum-assassin blend fuses in the scenic lyrical delivery. Showing vocal dexterity, our hero makes his voice sound emotive and urgent; culpable and innocent- a divine blend. The song looks at cartel infiltration; an appointment with the oracle- gang-land scenes and edge-of-your-seat butt-clenching tableau keeps you gripped and hooked. Throughout the track, you project images and unfoldings- provide your own version of events. In my mind, the duo are in France- not the first place you'd expect cartels to linger- as the song has a romantic and strangely Parisian sound. Among the moonlight and boulevards of twisted lovers, plots and plans are being formulated- the chase is on and the danger increasing. Our hero is indefatigable and heroic; a James Bond figure, he is indestructible. Making sure his self-assurance and confidence never wanes, the vocal delivery is impassioned and cocksure- never allowing arrogance or glibness to rule the roost. Perhaps looking outward- and casting himself out of the picture- we look at a hero that sleeps in the back of his limousine- in his pajamas he seems like a Brianstorm-esque anti-hero. Having gone from Australia to the Caribbean, the plot-line twists and evolves- the lyrics are sharp and fascinating. Displaying the same intelligence, wit and sense of story (the likes of Alex Turner possess), you are enveloped in the drama and theatrics. The vocal is one of the most entrancing, here. Going from a sensual and deliriously sexual smoothness; it mutates into something sharp and acerbic- sounding a little like Morrissey. Our frontman is deftly able to transmogrify from a chest-beating alpha to a Mancunian legend (in the space of a few seconds)- keeping his rock-solid personality in tact and firm. When the song's heroine (or "bitch" as she's described) failed to predict "anything at all"; that judgmental and accusatory tone is laced in- there is love and passion underneath. Whereas- on previous outings- gorgeous and emotive synths. have traded with brutal guitar work, here things are more evocative and Blues-infused. The guitars are not as snarling (as before); instead sensually swinging and licking its lips- matching the lyrics perfectly. Cinematic and atmospheric, the guiding and hardened bass sting conjoins with the rattling and bullet-fire percussion- the band pull together one of their most impressive and stunning performances. There seems to be a ménage à trois in place- a triangle of passion and deceit that is the root of the story. The heroine is loved by the hero; our hero loves her and all of this means neither (of the men) can be hurt- whether there is a sexual component to each relation I am unsure. The film explodes and contorts. That Doors-cum-Queens of the Stone Age melting of octane-pumping drama and sexual is enforced in the coda of "I love her/they can't hurt me." As the song starts its long fade, the scene has been set; the intentions laid bare- you hope that a satisfactory resolution was (arrived at). Following the assassin consignment- and anxious razor-wire nerves- the song completes its course- leaving you exhilarated and primed (for what is to come). Taking Remain Distracted to its close is The Heretic. The song opens up with intent and meaning- the soft percussionary shimmers have grace and urgency; possibility and wealth. Differing from the heavy and hot openings (of the previous cuts), here something more restrained and melodic is presented. Smooth and slinking, there is a teasing and f***-me sensuality to the introduction- the red-dressed, top-heavy, scarlett-lipped femme fatale is blowing smoke from the side of her mouth- teasing her finger around the rim of a Cosmopolitan. In the bar room, darkness and low-lit sensuousness of the night, the listener is hooked into the Blues-inspired embryonic moments. When our frontman comes to the mic., he possess all of his trademark directness and vitality. "Satanic on a Tuesday"; a heretic the rest of the week, his calendar and diary is laid bare- coming across as (supernatural) ritual potion of Craig David's 7 Days and The Cure's Friday I'm in Love (making me wonder whether David is shagged-out from all his exploits). The devil-may-care preacher is expounding his (lack of) virtues and faithfulness- his libidinous and inflamed loins have no time for religion, God or anything so vanilla. Throwing French temptation, wordless coos and flavoursome ingredients (into his cauldron of boiling lust), our hero is at his most playful and free- that confidence and assuredness has never sounded as defined and meaningful. Appropriately enough, a kick-ass, apocalyptic guitar buzz is ratcheted in- like a chainsaw through an oil refinery- blazing with vermilion passion, it is a mind-blowing and bowel-shiftng earthquake. Tossing in- and off to- the likes of Queens of the Stone Age, Black Rebel Motorcycle Club and Jimi Hendrix, it is a primeval and staggering sound- our band is in their element. The hero is looking at so-called good girls and innocents- the sort that turn tricks for favours; sell themselves readily: what sort of purity is there out there? Girls "flirt to make tips": the vultures will circle in and take their chances. Employing a staccato and Hip-Hop-inspired delivery- the vocal trips and tumbles- you get mesmerised by the free-flow delivery; it gives the song a sexual nature- that tangible physicality is what makes the words stand out. Once more, the beauty and glory comes through in unity- the band performance is as tight and compelling as any. The loose and sybaritic hemisphere (of our hero's brain) is being left to guide and implore- he is in his wheelhouse here. It is not just the lyrics and vocals (that catch your attentions)- with their vivid images and hypnotising allure- the composition is an equal match. Aside from the crunching and Tokyo-destroying Godzilla attack, there are psychedelic and drug-addled vibrating swaggers; deluded and trepidatious anxiety stings; colours mingle. The percussion is raw and alert; keeping the tension and rawness high- the bass drives and guides the movement. The entire ensemble is a magnificent cornucopia of sensations and sizzling fireworks- so many genres, movements and ideas are crammed in. Packing huge emotional clout, the snarling reptile keeps on hunting; never easing or resting. Becoming fatigued and overwhelmed (by his own insatiability), our hero's voice loosens its grip- retreating into the shadows (briefly). Keeping the unpredictability and fascination levels high, the song returns to its sapling sound- that calmed and Western-flavoured twang. The strings twiddle and capture with unassailable desire. Teasing and muzzled, the parable is overthrown and obliterated (by a firestorm explosion of buzzing guitars); warfare of electricity- the satanic retribution reaches its heights. Topping anything- the likes of Kasabian and their ilk have produced- it is a stone-cold gem- the song is the band's masterpiece swan-song. Just as you are begging for more, the track begins to fade- the listener is left wanting more; feeling reprimanded and stifled. It is a beautiful trick to pull: leaving the listener hungry and jonesing for more; having witnessed so much...

Before I get down to complimenting the band members (themselves), it is worth giving the E.P. a summing-up. My least two favourite words in the English language are 'miracle' and 'journey'. The former is a tabloid-favourite word- that is installed into ever heart-bleeding cancer recoveries and against-the-odds conception. Every time a woman falls pregnant- when doctors said it was out of the question!- when a destructive and seemingly terminal cancer is overcome- that horribly over-used word is applied. It annoys me, because there are no such thing as miracles; people beat long odds all the time- there are thousands that die due to cancer; never able to have a child. Such an infantile and moronic word, the people (who use it) are ridiculously pretentious and arrogant humans- the assumption is that God is playing his hand. In addition to God not existing; if he did, you really think he would give a shit about someone's pregnancy or cancer? Forgetting wars and mass murder, he would much rather make sure a middle-aged woman does not succumb to bowel cancer- forget the millions that die each year; let's preserve this one unspecial and boring human. My rant aside, that word ignores the human elements; the role people play in (things like cancer recovery). I have seen the word 'miracle' applied to music before- using it in the pejorative sense; applying it in the context of Remain Distracted would be a huge injustice. God dislikes Rock and Blues; it is the Devil that jams to the best tunes (as we all know)- if there was an hell-bound synonym for 'miracle' then I would apply it here. Few bands come across with such a unabatable confidence and conviction- the E.P. is rampantly assured and urgent (from start to finish). The performances are uniformly tight and staggering; each player is at the top of their game- the songs are nuanced and hugely memorable. Possessing a quartet of tracks, the E.P. is a controlled and restrained animal; one that leaves you begging for more- whilst offering so much wonder and brilliance. Taking in the sexualised and spiritual mythology of The Doors; ramping in some feral Punk fuzz (of The Stooges); tie it to bone-shaking and pre-coital lust of Black Sabbath, and you have a phenomenal concoction. Kobadelta ensure that other bands take a back seat- are used as guides and jumping-off points- and ensure their voice and soul comes through- Remain Distracted is a distillation of their hard work, uniqueness and incomparable talent. My other least favourite word- in the whole wide world- is 'journey.' Fine when applied to a physical transversion; it infuriates me when applied to anything else- most commonly musical endeavours and relationships. It is nauseating and head-explodingly obnoxious when a an act claims an album (or record) is a 'journey'- it is as pious, pompous and pathetic as you can imagine. A journey is a physical thing; applying it to metaphysical and emotional areas is horrifyingly obnoxious. That word is over-used- in this context- a cliché that should be eradicated. Away from the brainless profferings of musicians, love-struck goons and leprous celebrities, I will apply the word in a more literal sense: the way something can move you; from one location to another. Kobadelta not only take your mind around the world- here we go Down Under and to the Caribbean; through various streets, scenes and locations- from dark bars to bedroom sheets. Your brain, mind and bones are shifted and thrown about- detached from the body; the music is capable of lifting you off the ground in a fit of levity. Few musicians take the trouble to ensure their lyrics (and music) has an itinerant desire and sense of depth- too many come across as one-dimensional and obsessed (with love and relations). By mixing personal emotions with scenic and filmic atmosphere, the E.P. is a mini epic. It is time I get to the band themselves. Through the E.P. there is friendly fire- each player fights and muscles for attention. In addition to being a well-oiled and tight unit, each performer showcases their impeccable chops- stepping into the spotlight to gain hegemony and attention. The synth. utterances from Jordan Robson are the documentation and alliteration of early-days (The) Doors: the representation of the sexual and primal lust. Melodic, impassioned, dizzying and evocative, it is a vital soldier- one that manages to summon up a festival of mood and wonder. Combing brilliantly with his cohorts, Robson manages to inject heart, soul, flair and danger into the music- the songs would be weaker without it. Jonathan Marley's bass has plenty of melody, rhythm and tautness- at times it stands alone and is left to overwhelm and impress. Tight, menacing and driving, it keeps the songs in-check and focused- never allowing the dam to break. Able to whip up a weight of sexual endeavour, exploitative anger- springing dance- it is a stunningly consistent and impressive performance. Ensuring every song resonates and sticks in the mind, the bass notes are relentlessly gripping and focused. Chris Malliris provides the whack, wallop and pummel (of an army of men)- at times he sounds like he has six arms! Able to calm and reflect, his sticks can burst into life with the drop of a hat- his range and professionalism is exquisite. Adept at seducing with ease; when rampant and enraged he is at his peak; down in the mix and guiding he is superb- you cannot fault the sheer passion and conviction throughout. Keeping the backbone straight and firm- at times bent over a kitchen table- the persuasion is one of the most striking facets (of the E.P.). Blending seamlessly with his cohorts, Malliris marks himself out as one of the most spellbinding drummers about. Alex ensures the name Malliris is synonymous with talent and genius- his guitar work is among the most staggering I have heard this year. It is hard to believe one man is making all that sound; his range and authority is evident. At times his fret work is enraptured and overcome- sounding biblical and apocalyptic. Plenty of melody, rhythm and composure comes to the fore- stunning and detailed riffs are as synonymous as calmed and emotive lines. Kudos goes to him and his craft- it will be great to hear more of it in the future. Comfortable and confident (when projecting a cocky and swaggering swing); elemental when riffing his nuts off; at ease in the smoky shadows of reflection- few guitarists have that mobility and sense of confidence. The final notes go to Dom Noble: the embodiment of the music itself. Were a lesser and weaker vocalist- that is most of them- put up front, you would get a weaker and less wondrous E.P. Comparisons have been levied towards the likes of Jim Morrison and Iggy Pop- I know that Noble is inspired by the likes of Al Jolson too. It is true that there is plenty of sexuality and primal urge throughout- you can detect that lustful spirit of Morrison. Iggy's dog-like and jagged execration howls are relevant to Noble- he is capable of embodying the Punk leader with ample ease. As much as the likes of Alex Turner, Josh Homme and Tom Meighan (show their skins), the performances are defined by their individuality and originality- it is unfair to compare Noble with anyone else. Leading with conviction and authority, his performances are scintillating and gripping- the songs are brought to life spectacularly. All of these elements- the band contributions and considerations- have led to one of this year's finest E.P.s. Having been staggered by the likes of Allusondrugs, Little Sparrow and Ellene Masri: I am always staggered by the range and breadth (of new music)- Kobadelta are one of the best new acts I have assessed all year. Let us all hope that they have plenty of ambitious plans ready for the future- the public will definitely crave more of their patented blend of song.

Kobadelta are a tight and mesmerising unit- determined to stamp their mark on the music world. It is the small things that impress me about the band. Their music is alive and gripping; endlessly mobile and surprising in its twisting moments- it creates a gravity of wallop (and lodges in your brain). Being familiar with their previous E.P.- and single- I can see how much the band have developed. Remain Distracted is an apt title- your thoughts and senses are taken and interrupted; the atmosphere and potency summoned forth is heady and compulsive- a collection that everyone should delve into. The band care a lot about fans and newcomers- their Facebook page has plenty of great photos and professional shots. One of my biggest gripes- when it comes the new acts- is the lack of information and photos. Kobadelta have ensured they have a wide range of outlets and pages- you have no excuse for missing out. Their snaps are not just candid and scrappy; there are lots of great portraits and images- it may sound like a minor point; few artists take the trouble to do this. Showing how much music means to them; how prepared and ready they are, all of this comes through in their songs- a mandate and gauntlet has been thrown down hard. I am sure they are already planning gigging ambitions and future songs; setting their sights high and making arrangements. Being heralded and celebrated throughout Newcastle and the North East, the five-piece have the potential to take their glory across the U.K. Being a fan of Psychedelia, Indie, Blues-Rock and these genres- any band that can add something new (to the forms) are canny and belta. The competition in music is high and endless; so many different artists are coming through- I feel Kobadelta will fare pretty well. The early days are vital quality barometers- they can hint at what the future holds. Make sure you investigate Remain Distracted and all it has to offer- catch the boys in the flesh and see just how good they are. When they come to London, I will be sure to grab a place in the audience; see whether their live reputation is well-founded- I have no doubt about that. Before I wrap up, I want to circle back to the North East. An area that seems to be secondary- in terms of acclaim- to Yorkshire, Manchester, London and Liverpool- it is high time more people start embracing the likes of Newcastle. Equality and fair division is the key to harmony and musical prosperity- getting a great mix of regions and artists together. The best way to seek out- and proffer- this is to keep your eyes on social media. It may be a bit useless when it comes to some people- unwilling to share music and connect with others- but is throwing out some terrific acts and newcomers. Kobadelta are going to keep grounded and leveled- not wanting to get ahead of things. If you are a fan of many of the bands mentioned in this review- and the genres- then you will find a lot to like; much to recommend- the band go deeper than this. Plenty of anthemtic and graceful touches sit in their music; they are confident when honing in on softer and more melodic emotions- they have a variegated and wide-ranging ammunition chest. As I start to prepare a valedictory statement- prefacing a sabbatical away from the day-to-day routine- I am looking towards my own endeavours; planning my first foray into music- excited but a little nervous. I know all too well just how unforgiving and capricious the music industry is- how it hails an artist the one week; spits them out the next. Our quintet should have no fears; I have been inspired by them- more determined to put my own sounds down and jump into the ball pit. The next few months will see autumn arrive; the chill come (and a subjugation of sunshine)- a lot of musicians are going to retreat to the studio (to find comfort through song). If you are thinking that way, I would offer this advice: make sure you have put as much thought into (your music) as possible. It is all very well putting covers up on YouTube etc., but when it comes to your own fully-realised output you have to start with a bang- there is no room for false starts and unsure mindsets. Kobadelta have had critics and reviewers go mad for their music; salivated outpourings have tried to sum up their essence and potential- some have gotten pretty close. Their sound is a Tarantino epic; it has all the sounds he would love- almost like he could write a move called Remain Distracted. The music plays like an itinerant movie; events unfold and stories paint some very vivid and excited swathes- that is just one side to them. Rampant and chest-beating moments of The Doors- in addition to their compositional majesty- fuses with some incredible bass work; the vocals are uniformly velvety and gripping- the band performances are tight and intuitive. Buzz has been surrounding the band like flies around a honey pot- there is no hyperbole or over-exaggerations. The quintet have a truly unique and unexpected sound- one that draws in some unexpected sources and moulds it around their own startling concoction of flavours. Hitting you like a spiked cocktail, the music is drunkening and head-spinning; it demands attention- quite a bitches brew. Perhaps other critics have assessed the band better- certainly more concisely- few would have taken as much away- the boys have managed to lift me a bit (and make me feel less crappy). Most music hits on a base level; it does not go skin-deep or penetrate too much. The band is synonymous with words like 'penetrate' and 'sex'- if their songs had arms, they would probably stick them down your underwear. It is a sizzling cohabitation of layered and nuanced sounds (and incredible performances)- each band members is at the very top of their game. Displaying a keen ear for dialogue and wordplay, the boys are incredible songwriters- injecting the poetic, oblique and witty together. Having so much affection for U.S. acts, I would not be shocked if they found themselves in demand there- they seem natural-born to the charming bars and cafes of New York's Lower East Side. As precise as a robotic hysterectomy; as mind-bending as Cheryl Fernandez-Versini speaking French (she needs to master English first)- exciting as Justin Bieber's funeral announcement- their E.P. is an Old Testament chapter of song. While I prepare my next review, I am delving back into Kobadelta- into their tremendous current slice. Thinking about it...

MAYBE I could keep this reviewing thing going...just a bit longer!?

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Feature: The Business Plan- Turning Reality Into Dreams

  FEATURE:

The Business Plan:

Turning Realities Into Dreams

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BEFORE I delve into the meat of my business; get down to the nub of my discourse...

this week has really taken its toll on me. I will get to more music-related avenues very soon; I want to lead with one issue: the death of Robin Williams. Everyone has paid tributes to the peerless comedian- a man with no equals- and how saddened they are by his death. Most will be able to detail and assess their feelings with more eloquence and clarity; for me, Williams's suicide marked something of a shock- an earthquake whose tremors stirred deep-seated feelings out of my brain. Having battled through- more like put up with- clinical depression for the last 15 years-or-so, there are times when it worsens- the fluctuating nature means no two days are the same. Having attempted suicide several times- the actual number is alarming- I identity with and are burdened by suicidality- as we speak in fact. Few would think to look at me. I barely smile or laugh naturally (or without 'provocation') when about others- but have to project an air and personality that is at least quasi-buoyant and cheery. In the pub industry- as well as office work- you need to connect with people; make them feel confident and looked after- they are not there to guess your state of mind; make you feel better. When that heartbreaking news filtered through the airwaves, it kicked me in the face- everything became crystallized and trained. Those not aware of the complexities of depression may say- William's suicide- is the act of a selfish man- he has money and fame; why would he want out? Apart from it being the most insulting thing you can say; suicide is not selfish- it is the hardest decision anyone will make; it is the bravest thing anyone can do. Eager to escape the terrible suffocation of his predicament, he stopped the walls from closing in- the U.S. legend decided to put the lights out; let the genie out of the bottle. The final moments must have been a turbulent torment of what-ifs, loved one considerations and salty tears- thinking about it is excruciating. I will not dwell too much on Williams's death; only to say this: the same sort of depression rules the music scene. Most people have no idea what a near-death experience is. It is not a situation where you almost die; it is when you are unconscious- from an operation or accident- and see a white light and heavenly glow- hence the 'near-death' part of it. It is just something that annoys me most (aside from all white van drivers, children, and people who add an 's' to the end of Marks and Spencer, Tesco and WHSmith). My issues aside, a lot of musicians struggle with horrible depression- it is something that not only can define their songs; it can take their existence. I will be running a half-marathon on behalf of Mind- in a few weeks- to raise money and awareness for a cruel and insatiable illness- something a lot of your favorite musicians sleep with each night. A fundamental and ever-present danger, it would be a false equivalency to say 'whatever doesn't kill you makes you stronger'- as you read, some of the most adored musical minds are withholding their darkest and more disturbed thoughts. What I want to do- and will explain more below- is highlight how wide a problem it is; how things can change- with some planning, cooperation and mutuality; steps can be brokered to lessening the prevalence (of depression). From the likes of Kurt Cobain; through Jeff Buckley and Thom Yorke; down to Morrissey, some of the most fascinating and talented songwriters have lived with- and died from- the grip of depression.

[youtube https://www.youtube.com/watch?v=ZqK97av7I3s&w=420&h=315]

In 'real life', depression can disrupt and grope normality and routine- put everything on the back foot and cause huge problems. In music, it can have some positive sides. When feeling that low and alone, many musicians regress to the songbook- channel their pain and feelings through the medium of song- transform pain and depression into something redemptive and inspiring. Art does not always guarantee freedom and a therapeutic support; if Robin Williams's death has shown anything it is this: even if you have an extraordinary gift; it does not stop the eternal footman snicker when he takes your coat (to paraphrase T.S. Elliot). This pissed me off royally- why should people so wonderful and inspiring have to suffer so harshly?  In my own life- not suggesting for a second I am 'so wonderful'- there are a number of different burdens.  With the considerate cocktail being added to by generalised anxiety disorder, chronic insomnia and various neurological issues- things are less than fun.  Throw in severe money worries, singledom and growing stresses- and you have a less than desirable situation.  I have my own coping mechanisms- most not doctor-recommended- but I know full well how difficult things are. Having accepted this lot, ambition and desires are the best things I can hold onto- planning the future and trying to siphon my restlessness into music and writing.  Unfortunately, the desire to review has practically evaporated- it is exhausting and it seems like I am going through the motions a tad.  I will continue to do it and support musicians for a few more weeks- when I will only publish one review a week- but writing things like this make me tick- putting dreams into motion and looking at wider horizons and bigger things.

Music can help and soothe a lot of anxious and darkened minds- it does not ensure safety and life. It was then I decided Psychoacoustics had to happen- I will go into more depth very soon.  It is not designed to pad my bottom line; grow my wallet- I loathe and detest the faceless billionaires like Zuckerberg and their ilk- if I could find a way of weening myself off of Facebook, I would.  Social media sites are becoming means of profit-making; monitoring people's activities and personal information- there is no cooperative or reapportionment.  For all the benevolent and caring people out there, the tycoons and wealthy are not pulling their weight.  Aside from (Psychoacoustics) making it easier for musicians to record; others to meet; expanding possibilities and caring for musicians in need- there is a social element, too.  The likes of Facebook and Twitter and seriously limited.  Every time a so-called 'improvement' is made, it equates to a lick of paint- a font is changed; a small tweak made.  No ACTUAL improvements are made; things that will make the service better and more economical- the sites are riddled with limitations and pointless aspects.  Chocked full of adverts, banalities and boredom, people are sucked in because they become addicted- we spend hours aimlessly staring and posting anything that comes to mind.  I am as guilty as anyone, but know full well the likes of Facebook will die down soon enough; people will want a lot more; Zuckerberg is not going to make useful amendments- just see himself grow wealthier and fatter.  The social element of Psychoacoustics is geared towards music and connections; negating the traditional status updates- it is designed to help musicians connect; people to find great sounds; make charitable endeavours easier- ensure people can link with relevant contacts a lot easier than ever.  One of the big problems- when it comes to music-sharing particularly- is the lines of communication.  Whether it is a song, album or review (being shared), often your 'friends' will pass it on (or one of them) and then that's it- it sits like a turd not going anywhere; limited amount of people will see and hear it.  That seems insane: why is it so hard to have your work shared? Why do people not take the trouble to help others?  It is one of the downfalls of the 'social media age'- that clandestine and lackadaisical lack of community (and stretching beyond compartmentalisation).  I will give more depth soon- with less of a socialist rant- and explain my ideas- for now, another qualm is on my mind...

My second small point- that leads to my second business idea- is the growing digitlaisation of music. It is an exothermic fire that is singeing the wooden foundations of record stores and physical musicianship- the basis and history of the music industry. When I walk into HMV- for anyone under 21 it is a shop that sells music- I am like a child in a sweet shop filled with naked women- I run straight to the vinyl section and frantically leaf through. I love everything about music hardware- the eye-catching and stunning album covers; the range of vinyls, CDs and DVDs- all the colours, photos and sights. Without hardware, music wouldn't exist; with electronics and the Internet it is impersonal, intangible and spectral. You cannot take an iTunes download in hand; flick through the sleeve notes and marvel at the album cover- take a CD out and carry it around with you. Before I champion the necessity of music hardware- and get to the nub of my point- I will say one thing: music hardware needs solidifying and galvanising. The cassette was a dreadful and stupid idea: so flimsy and fragile, half of my cassettes were eaten up in my stereo within the first minute. The frustration of rewinding a tape- to get to a particular or song- is insanely backwards; the fact that cassettes are less developed and intelligent than vinyl tells you why they became extinct. Vinyl is solid and historic; impractical to an extent, as few have turntables in their homes. You cannot deny the beauty and lure of a vinyl- the designs take your mind; the size is impressive; the feel of the record causes shivers- the CD seemed like the natural step forward. Hmmm... true to an extinct, but there are huge flaws and issues- the CD is only half-good. It is a great size and shape; it is mobile and well-known- its limitations are glaring. In addition to it being a bit slight on the capacity side- you can record on both sides of a DVD; why not a CD?- some musicians are needlessly putting out double albums. I am not sure why a CD can not hold more data; it has been out for decades yet has not improved or changed- we can cure cancer but not this?! Digital avenues are limitless and unconfined- you are not restricted to how much you can put out; cost is not such a huge issue. The biggest and more irritating problem with CDs is their frailty- it is like handling a newborn baby. If you drop them on a carpeted area- a CD not a baby!- they have the potential to scratch and break; vinyls and cassettes are not this pathetic. The number of times I have accidentally dropped a CD down; picked it up- only to discover a long scratch running it. If the tried-and-tested repair system does not work- wiping it on your jumper; giving it a quick polish- then you are screwed. Nothing in life is more disappointing than hearing a song- or multiple tracks- skip and jump; it is like nails on a chalkboard- just thinking about it makes me want to kick a kitten through an electric fan...

https://www.youtube.com/watch?v=7E0fVfectDo

All the boffins that have moulded the inner workings (of the digital revolution) have paid no attention to the latchkey kid- imparting wisdom and ensuring it survives. How hard can it be to reinforce a CD (so it is near-impossible to scratch)? The fact that technology and music hardware has reversed since the early-20th century tells you all you need to know- if people can't be bothered to improve it, no wonder so many are turning to digital- and more dependable- areas. The bad thing about this is that a domino effect is created. Suppressing the desire to go to the local HMV means they close down; the record shops start to shut and disappear- it puts good people out of business. In addition to seeing the erosion of music hardware, artists are suffering too. So much music can be downloaded and purchased for free- fair equity and financial apportionment are not taking place. I love that I can go to YouTube and iTunes; find any music in the world- play it with the click of a button. I would hate to see the day where the last of the vinyls and CDs disappear- it could be the theme of a quirky Indie film; a Nick Hornby-esque novel; the tableau of a Michel Gondry music video. The trouble is, it's going to happen- we will live to witness a day where record stores and physical products are subsumed and overthrown by electronic monsters- we are slowly being sucked into the machine; becoming disconnected from personal relations. In tandem with social media, online music-sharing takes away a key human element- the face-to-face interactions and bonds. When visiting HMV recently, I purchased a few albums; got chatting to the guy behind the counter- we shot the breeze about music and the best out there. When I play a song on SoundCloud, there is no human there to talk to; I cannot share my feedback directly (verbally) to them- I am afraid that we will forget the necessity of reality and tradition. I may sound like an old man- albeit a 31-year-old one- but I adore music as much as anyone; want to preserve and protect out heritages and monuments- make sure we do not bulldozer over them. In addition to digital music being accessible, easy and cheap; it also makes it easy to connect with a wider online community- we can share music so readily; filter it across the world with ease; find new fans and favourites. My job as a blogger and reviewer is only possible because of digital music and social media- I have met so many great people this way; I would not change that for all the world. I feel we can retain both; strike an equilibrium that sees the continuation of hardware and digital; keep the status quo frozen and capped- do not allow iniquity and entropy. This thought process and idea got me thinking about a second business venture- a record label that would not only represent a wide range of artists; it would funnel products back into music stores- and more besides. I shall go into more depth when necessary; hopefully you will stay with me...

The first strand of my two-prong pitch was for an all-encompassing and multi-leveled business: Psychoacoustics. It is the name behind a business that consists of multiple facets.

WEBSITE.

Idea of the site:

There are quite a few music websites at the moment, between the iPhone, Facebook and the Internet. Most of them offer roughly the same things- music sharing, free downloads and Internet radio access. There are a lot offering the same things, and quite a lot of things are not being considered. The idea of Psychoacoustics, is to pull all the existing qualities of these sites together, as well as offering new features and great networking opportunities- for free. The plan is to top Spotify, iTunes and the biggest sites- by offering what they do, plus much more besides. Specific areas and pages on the site will be named after musical figures, albums and events. For instance, a lyrics section will feature Bob Dylan’s name and be themed around here. It is sort of like a music Disneyworld- different zones and characters. This makes it more interactive and interesting (than most music sites) and is engaging.

Interface:

By accessing www.psychoacoustics.info (website currently under planning/construction), you will be able to access the site. From there, there will be a home page. On the home page is a main design. It is an animation of a studio, called Psychoacoustics. It is designed like Abbey Road, and there is constant movement on the page. There will be a bank of about 200 different musicians, who will walk into the page and interact with each other; leave and enter the studio- keep the user amused. The icons and animation will be colourful and interesting- better designed than most of the music websites out there.

Chat:

There is a chat/Skype option where you can interact with any of your contacts or friends. This can be done via a Facebook-style message service, or Skype. When you add contacts- like Facebook or Twitter- you can chat with any of them at any given time.

Mail:

Your personal inbox; you can mail your contacts, as well as any musician or venue.

Search Engine:

This is a bespoke, specialist search engine. It is similar to Google but responds to questions and searches effectively- returning only relevant websites. It can record audio, so if you were searching for a song title or name of song- it would be able to locate it. The search engine is able to answer specific music questions and ties together information and resources from Yahoo, Google and Bing.

Updates/Events:

This is a diary of important music events and updates- specific to the user.  Excoriating the labyrinth of music sites/diaries, it is a bespoke service that gives you up-to-date alerts- based on your favourite musicians.

https://www.youtube.com/watch?v=aa3rBVb3v4g

Music Player:

You will be able to create a playlist or jukebox of up to 2,000 songs.

Personal Profile:

You can create your own avatar, and enter all of your information. It is similar to Facebook, but more detailed- you can upload photos, videos, and designs. I will go into more detail later, but on your personal profile, is all of your information, favourites, and links. The profile works like Twitter and Facebook but more in-depth- with fewer faults. I have described the social side of things in a previous mail.

1. Studio and Rehearsals:

This is an animated studio and rehearsal rooms (about 3 studios with control rooms and one rehearsal space). Unlike sites where there are a list of features, you access the features via icons: so for instance, you would click on a T.V. or a guitar to access the relevant feature. The tab on the interface is red, and will consist of different shades of red. The specific names and designs for each feature are to be decided, but are as follows:

Music video:

Here you can pitch ideas for music videos to bands, acts and labels. You can protect your idea and sell it for money (or use it to gain points and exchange for a reward in the future). There is also a music video store, where you can access any video from any song- search by genre, artist or time period. Also, there is a software where you can put ideas into and create videos through animation, film (or various other techniques) and apply them to your own songs.

Album cover:

Here you can view any album cover, and search for it like the music videos. The features allow you to design covers using animation, photography or a photography edit- where you can mix and edit images and merge together to create incredible designs. From here you can publish them or share- or pitch ideas to bands looking for ideas.

Photography:

This is like Instagram where you can upload photos or designs and edit them- using hundreds of options. Here too you can search for photographers and view images, websites and famous images (from music history).

Music video player:

This utilises YouTube, where you can view music videos for free and have a favourites list- or share the video to social media.

Song dissect/mix:

On this page, you can take any song- from rock to classical- and dissect it. You can see what notes are played, and what instruments are used. This helps when writing songs and can help you learn (easily) about music. Also, you can take sections of various songs and mix them together; edit the sounds to create new songs.

Entrepreneur:

Here there are guides, links and ways to set up your own record label, festival, or music magazine. You can interact with others online, and get funding in order to set up your own business- then network on site to attract users and business. You can invent new music ideas and instruments; design them on this page and pitch them.

https://www.youtube.com/watch?v=WDswiT87oo8

Broadcast:

There is a software where you can design and broadcast your own podcast and radio station. Broadcast over the site or YouTube, play your own songs and broadcasts- get fans and followers as well.

License:

On here you can sell songs to T.V. and film companies and productions.

Band sites:

I will explain more on the registration, but when bands and artists sign up they can create their own website and include a wealth of information- making it easy to promote and get fans.

Sounds:

This is a sound library with thousands of sounds, effects and mixing options.

D.J:

If you are a D.J., here you can mix tracks, scratch and broadcast your own set- via the site- and promote your gigs.

https://www.youtube.com/watch?v=tBWFofJSm-c

Home Studio:

This is a software where you can record vocals, instruments and effects- and then send your songs to fans or broadcast the tracks online. There is software for tuning instruments too.

Recording and Production:

This allows you to record songs professionally and easily; provides every technology a modern studio would. You can record vocals and instruments, mix and layer them- create a professional sounding track. From there you produce the tracks and broadcast them; burn them onto C.D. It allows for album covers to be printed and gives links to sites (where you can buy C.D. cases and additional software).

Rehearsal and Live Room:

These are simulations of studio spaces, where you can play live or rehearse. Via Skype you can jam with the rest of your band (or solo) and be seen by contacts- have your performance saved and shared. There are options for recording. There are guitar, drum, piano, vocal and orchestra options where you can simulate any guitar or piano etc., and get the most realistic sound possible. Unlike software (where it is flattering), here you have to know how to play. Like Wii it reacts to touch; you can simulate yourself playing- as if it were real. From there, you can either mess around or record the sounds; join with others or your band members (and jam together). You can tune the instruments; it is as good as the actual instruments. The same can be done with vocals where you can record as many tracks as you like- and access different mics, and effects. It is able to work with recording so you can record full songs and albums using this. it is not to replace real life but act as an easy way to share and record demos (for when you are in the studio).

2. Bar and Venue:

The venue is downstairs of the studio- the bar upstairs. It is animated like the rest of the site and acts as a portal for socialising and broadcasting. The tab for this is green and appears with different shades of green on the interface.

https://www.youtube.com/watch?v=BEDr7Gtd_hE

Radio player:

You can access tens of thousands of digital stations from around the world and stream them live- as well as access archive broadcasts and songs.

Links:

There are links to all music magazines and publications, in addition to music websites.

Donate:

It will act like PledgeMusic- where you can donate to get album made and respond to pitches. Artists can offer rewards or treats, and get a % of funds raised. You can network and swap/record vocals- the user is able to write as well.

Share:

Due to revenue coming from advertisers and labels, the site can pay royalties to artists whose songs are downloaded-means that songs can be downloaded free, but artists get paid.

Food and Drink: 

Links to music venues- as well as music bars and cafes- anywhere in the world. You can get alerts of anything local to you; any events that are happening- then you can share them on the site.

Leagues and Competitions:

There are various leagues for new bands and directors etc. that are updated (and points are given to the winners). These charts reflect download amounts, most hits and popularity- there are leagues and competitions for new and unsigned bands.

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

Music Fantasy League:

This is like football fantasy, but you choose a 5-piece band. You have to choose at least one drummer, one singer- you can choose from any musician from history. There is an option to select 2 songwriters as well and an album and song. There are various points awarded to each- depending on how many times they have been downloaded and mentioned- and an overall league (that updates each week).

Read and Write:

You can publish blogs and reviews of bands and gigs (and albums); publish  and share them- in addition to being able to publish gig and album reviews.

Social:

There is a dating website and connection site for musicians, as well as  a chance to connect and promote music charities. There are event postings and updates (for your local area) that expands internationally. You can tie all of your contacts and friends in from other social sites (into this one).

Connected:

Once you have created a profile you can search for potential band members or venues. When bands or acts register- like a dating website- you answer various questions- such as favourite music, bands and albums. If you are looking for someone, you can either type in a search- and the site matches people for you- or you can click on a map. From here you can click on any country or city (and search for any member located in that area and contact them). There are sections where you can connect bands and venues; labels to acts; band members and bands together. If you make a successful match, you gain points that can be exchanged.

https://www.youtube.com/watch?v=z5rRZdiu1UE

Actors:

This links actors to bands- looking for people for music videos. The user can join actors together, who can share links and tips (with regards to music and best contacts and agents).

Contacts:

I have explained all of the social side, but the site works more like Twitter where you can ‘add’ any band or musical act- and follow their progress and updates. There is a LinkedIn style site too where you can connect with employers or contacts- build up a network of fans and followers which gives you greater opportunities.

Live:

You can broadcast live shows and gigs; stream concerts here and share them.

3. Living Room:

This tab will appear in shades of yellow. The living room will consist of a sofa, chairs, jukebox- a notice board as well.

Music download:

Like Spotify, you can download any track for free and either play them- or create your own playlists and sections. You can compile songs into albums (and burn a C.D.), or share songs via your phone or social websites. There are links to Spotify and iTunes; music apps too.

https://www.youtube.com/watch?v=wp43OdtAAkM

Promotion and Distribute:

You can listen to recommended music- depending on your mood- or find any new music (depending on your tastes). You can then share them via social media, or you can promote new bands and artist-, and share acts with promoters and venues, as well as labels. It works like ReverbNation but more in-depth and gives tools to find new music- ways to share and get your own voice heard easily.

Jukebox:

You can have a playlist of up to 2,000 songs, and play them- whenever you like.

Reference Library:

You can view information about every band, artist or album released. It is like Wikepidia where you can find out anything about music- it gives info about bands, videos, links and merchandise.  In turn, this allows you access to new music, old music (you may have forgotten about), and access any information whenever you want.

Music Trends/Stats:

There are tables and graphs that show music trends, sales figures and stats (relevant to you)- these are updated daily.

Charts:

These are all of the charts from home and abroad- updated weekly, with links to all of the songs featured.

Search engine and lyric finder:

The search engine is also available here but is a lyric finder- where you can type words or lyrics and it finds the song. The user can input audio or video- if you are unsure of the song or artists- and it will find out for you.

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

Pitch Zone:

If you have spare lyrics or ideas, you can pitch them (and trade them with artists). You can earn points for anything that is bought from you, and pitch (and find ideas for) songs. Also, you can pitch music: if you have no lyrics you can match them and collaborate with people on site- then join your music and lyrics together. From there you can create songs together (and share them).

Music Notation and languages:

There is a software where you can learn music (and translate your music into musical notes), so it makes it easier to write music. There is a link to a language site where you can learn any one of 30 different languages (for free). This makes it easier to communicate with international contacts and write and sing (in a different language).

4. Bedroom and Kitchen:

This tab appears as different shades of purple. The bedroom has a bed, wardrobe and table; T.V. etc.- the kitchen is a smaller room connected adjacently.

Updates:

You can access all of your updates, information and messages here- and directly from your personal profile.

T.V. zone:

This allows access to dozens of music T.V. channels, archived videos and shows- in addition to relevant T.V. shows and performances.

Links:

There are links to music teachers, studios, websites, bars and venues- everything anyone could want.

https://www.youtube.com/watch?v=f4Mc-NYPHaQ&list=AL94UKMTqg-9ChwC8nK6iFBLxXY6Hnwyvv&index=4

Creative Zone:

You can chat with anyone; share ideas, stories, gig reviews- ideas for photography and videos etc.

5. “Red Cassette”

This is a specially designed shopping site. The animation is designed like a large Rough Trade store- the tab will be a specially designed one.

Music:

Search by genre, period or artists and you can find music from them to buy. It pulls together Amazon, iTunes and all music websites, so you can compare prices for the album- it gives you the most choice imaginable.

DVDs and Merchandise:

You can search for DVDs and merchandise from any band. This gives you links to shopping sites and band sites- so again you can find the best deal.

Others:

You can purchase band and festival tickets; music books, apps and instruments. You can purchase gift cards too.

https://www.youtube.com/watch?v=D-NvQ6VJYtE

Stores:

There are links to shopping websites and info for independent stores; with website and address details.

6. Join/Log-In:

This tab is in shades of black and grey.

Registration:

Different registrations. For casual user, browsing, solo, band, promoter, venue, label and other. They ask for different details and different lengths- but all very simple and easy.

Log-in:

It allows a simple log in and a feature where you can log in to all of your music and social accounts (at the same time).

7. About Us:

This tab is going to be detailed in shades of orange.

Studio history:

There is information- fake of course- of how it was set up in East London (in 1969), and the story behind it. There is a ‘mock’ Vevo-style video documenting the history of the studio and its founders. It is comical and is also like a guided tour.

About the site:

This is a serious description of what the site aims to do and how it will evolve.

Press and links:

This displays any links to relevant sites and partners, plus software sites- so you can create your own music website.

8. Music Player:

This tab will be in shades of blue. This ties together all of available and your downloaded music- so you can play it on-going (and create smaller playlists).

https://www.youtube.com/watch?v=526GPD_hCi4

9. Advertise With Us:

This tab is in shades of pink.

Adverts:

This is a separate page where all adverts from sites and venues can be displayed. This means it doesn't interfere with your profile or browsing- but can access it any time from this site. Advertisers and sites pay to be published on the site. There are contact numbers and an online form if you want to advertise or subscribe.

10. Contacts/Links:

This tab is in shades of whites and grey.

Contacts:

This details all e-mail and phone contacts (for every department).

Inquiries:

Up to 6 different contact email and phone numbers- depending on the query

Address:

This is the address of the H.Q. (and map).

Social media:

This gives links to the Twitter and Facebook sites- YouTube too

Feedback form:

Provide feedback on the site.

Suggestions box:

If you have any ideas for futures or designs, then let us know and will take into account.

FAQ and Troubleshoot:

If you have trouble with any part of the site there is support. Also, there is a FAQ segment- if you have a question it will be answered.  The user can report abuse or any issues (day or night).

Designs and Features:

Points system/Profile:

As well as a detailed profile, on top of everything there is a points system. For every event you promote (or song you share), a certain amount of points are awarded. When certain amount of points are accrued, you get a reward. These will (mainly) be cash prizes which will increase in amount. For 100,000 points, a ‘Fantasy Package’ will be awarded- where you can meet any musician or have any experience you want (paid for by the website). The profile will be displayed like an album cover, where there is track listing- relating to each section (1-10)- and details of everything you have done. There are graphs displayed that represent your progress and updates.

Avatar and animation:

When you register you can create your own avatar- to give it the feel of a video game. You can personalise and update it as much as you like. As I said, each section is named after a musician or album- to include everything from The Doors, Bohemian Rhapsody and Abbey Road. There will be animated forms of musicians (interacting in each section) and great designs- to give the whole site a feel of a game or as I mention, a sort of musical Disneyworld.

https://www.youtube.com/watch?v=Nj8r3qmOoZ8

Ambition:

The idea is to raise money to improve the site constantly; give royalties to all musicians (whose music is downloaded). I want to top iTunes and Spotify and have everything (included) any music lover or artist could ever hope. As a singer- who is curious about my vocal range- there are tools for that; recorders- and I will be able to locate a band easily.

Access and use:

It is available on P.C.; it can be downloaded to iPhone or your T.V. This means that anyone, anywhere can access and use it (any time). There will be a virtual keyboard to type; the user can have access to a touchscreen- so if using it on T.V. everything is a lot faster.

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

BAR/CAFE.

Logo:

The logo will depict a gorgeous woman in a black dress. In her left hand is a blue rose; whilst in her right, is a microphone. There is a microphone stand in front of her, whilst we see a spotlight shine (to the side of her face).  Thrown in too are going to be drops of rain- overhead and on the other side of her face. She has brown hair and green eyes, with red lipstick. To the side of her is a gramophone, as a vinyl plays. She looks focused but relaxed; enjoying and entranced by the music playing. The main logo will be centred, whilst either side of the logo will be ‘Psycho’ and ‘Acoustics’- in red lettering. The letters will be in a stylised font but easy to read- with the letters bordered in white to give a modern and striking design.

Intended Destination:

Hoping to have the premises located at either Piccadilly Circus, Covent Garden or Soho. Due to the size of the building, it will need to be located in these areas- locales that attract huge amounts of tourists and attention- providing the most possible custom.

Building:

Inspired by Café De Paris, the building will be very large and decadent. The premises will comprise two floors; with the intention of each being large enough to contain all the incorporated properties of the business (see below). Hoping to have it opened no later than 2020 (may be short-sighted in hindsight).

Opening Hours:

Mon-Fri:

8am to 12am.

Sat:

8am to 12am (when gigs are performed it will be extended to 1am).

Sun:

9am to 9pm.

Staff:

Around about 50 in total.

Policy:

It will be over-18s only: no babies or children allowed. Dress code is not strict and open to the public.

https://www.youtube.com/watch?v=wUL8NklXDsw

Funding:

I know of websites similar to Kickstarter that provide funding opportunities for businesses. I hope to pitch a business plan and raise as much of the funding from there. Aside from a business loan, I am hoping to raise as much of the remainder (of the funds myself). I am not sure of the exact cost (of the entire business), yet hope that over the coming few years the entire amount can be raised.

Ground Floor:

Bar and Kitchen:

As you enter, to the left of the premises is the bar. The bar will be very modern with a wide and long counter- in order to allow maximum custom. The bar logo will be emblazoned above the bar, and will be unique. As well as serving coffee (and tea, hot chocolate etc.) alcohol will be served. There will be a range of beers, wines and spirits- completed with an extensive cocktail menu. The menu will be extensive. There will be breakfast, lunch and dinner options- with a dessert menu. The range will include British, American, Mexican, French, Chinese, Thai, Italian, Australian and Spanish food- from savoury to sweet. The kitchen will be next to the bar, and will serve food from opening through to close. There will be themed dishes and cocktails that will incorporate band names, lyrics and album titles etc.

Seating:

There will be a large amount of sitting to accommodate around about 100 people. The seats will consist of sofas, leather (sofas) and chairs; together with wooden chairs. It is designed to be a relaxing and comfortable environment; it will not be cluttered or compacted- space and openness is a huge key.

https://www.youtube.com/watch?v=0u_g6zNuP_I

Jukeboxes and Speakers:

This is one of the main features of the business. The music will be the epicenter of the bar/café, and will be a constant. As you enter, there are jukeboxes to the left and right hand corners; to the back left and right corners; over in the the centre will be two digital jukeboxes. It will be free, where anyone can select a song. There will only be allowance for one song per customer; with a continuous playlist being selected. The jukebox menu will be interactive, so you can select a song by searching- or find by genre/decade etc. There will be access to over 500,000 songs, and will include every genre and style. There will be screens in the centre of the room (overhead) that will show which song is next- running order etc.; everyone will be able to hear the music. There will be four speakers suspended from the ceiling- on each corner of a chandelier. The music will not be so loud that you cannot converse, yet will be crisp and true. Using latest technologies it will be possible to blend the sound of music and conversation so that neither becomes too distracting.

Stages:

As you enter, to the right hand side of the building is a small stage. It will measure 15 by 20ft, and will host intimate performances. At the back of the building will a main stage. It will be 25 by 30ft, and will have a retro feel. There will be a blend of modern, Gothic and American; giving the stage a unique feel. The stage will host larger gigs; whereas in front of the stage, will be an orchestra pit that can host 30 musicians.

Décor:

The décor will be a main attraction. On the walls will be paintings and landscapes- depicting famous album covers, music photos, band portraits and designs. It will encompass a large range of artists where there will also be canvases on the wall. There will be modified street signs and portraits, giving it a retro and classic feel (all at once). The premises be have white walls as well, where lyrics can be written and designs drawn. The entire interior will mix modern and vintage (with artifacts and designs reflecting this). It will not be like Hard Rock Café where it is a sort of music museum or attraction- it will be subtle and play second fiddle to the key components. Overhead will be several chandeliers, providing a romantic feel. At night these will be on; soothing lighting will bathe the interior.

https://www.youtube.com/watch?v=tI-5uv4wryI

Access:

There are two methods of access: from the ground to upper level. There will be a staircase to the right of the entrance; in addition there will be a small lift- giving disabled access (and allowing transportation of equipment, stock etc.)

Upper Level:

Store:

This is a store with Rough Trade in mind. The store is split into different sections. There is an extensive store that offers music by genre, decade etc. and has a large stock- similar to HMV’s largest stores. As with the lower level of the bar, there are paintings, designs and artwork on the walls- and ceilings. There is band merchandise and memorabilia; signed memorabilia; musical instruments. The idea is that there is everything under one roof that a musician, music fan or music-lover could want. There is a charming décor that mixes ’90s Seattle, modern-day U.S. and Rough Trade. It is homely, modern and cutting-edge.Besides being an all-inclusive store, there is a profit-share initiative. Schemes will be set up to allow a small percentage of profits to go to independent record stores and local bands.

Consoles and screens:

This will incorporate everything from the Psychoacoustics music website: http://musicmusingsandsuch.wordpress.com/2013/10/. There will be about two dozen consoles arranged- within the middle of the floor. These allow direct access to the website. As mentioned, the website aims to make it simple to create music, music videos; collaborate online and distribute music. It incorporates all of the best features of the major music websites, and offers so much more. People will be able to access the website through the consoles. There will be two large walls which will display music videos, or can alternatively project images from any of the consoles- for instance, if a music video has been created it can be instantly projected.

https://www.youtube.com/watch?v=w3mn7EC-skg

Studio:

Dominating one half of the level will be the studio. It is a medium-sized studio that will offer all the benefits and technologies of the biggest out there. It will encompass a studio, rehearsal room, control room; plus a lounge and bedroom. There will be an in-house engineer, producer and representatives- they offer rates that are very competitive. The hope is that is will appeal to new bands but  drag in big names and established acts.

Garden and Tranquility:

In the centre of the level will be a small garden. There will be a water feature and plants; aimed to relax and inspire. There will also be a balcony, that will provide a small garden and seating.

Décor:

There will be chandeliers on this level, but a more toned-down feel. There is impressive lightning and a warm and relaxing vibe. Again there will be leather chair and sofas- located near the consoles.

I am still in the initial stages, yet see everything in my head: the look, the sounds and smells- and all besides. I am open to idea as there are many whom would frequent a place like this. What do people want? What needs including?

https://www.youtube.com/watch?v=0kemI20dYWw

CHARITY.

The final arm of the business would be a charity. Set up under the Psychoacoustics name, it would be situated in London- in the bar/cafe venue. Designed to raise money for musicians, it would be a small office consisting of 9-10 employees. The money would be generated from donations and performances- at the bar. In addition, profits generated from the website and bar would be fueled into the charity- they in turn would go to musicians. The money would go to bands and artists (struggling to raise funds for recording and music-making). Anyone unable to afford equipment- and the means to record- would be given chances. A website would be generated where people can donate funds; contact the charity and apply for help. Events and concerts would be held to generate awareness and funds; in addition to campaigns. The biggest aim is to work with charities like Mind to develop better understanding of mental health issues. So many musicians are plagued with depression, anxieties and various psychological issues- not a lot is being done. Working with charities, it is the aim to make awareness a key- piloting TV adverts and campaigns; making depression a big a concern as cancer. We would have musicians acting as 'ambassadors'; lending their voices and stories to the cause- historical and legendary artists and new acts. This all goes in hand with special events which will be planned every year- bringing musicians (and those affected) together. Designed to provide help and support, the charity would get in contact with the venerable and affected- making sure they get the support and help needed. It is something very close to my heart, and will be a way of bringing depression into the light- destigmatising it.

RECORD LABEL.

Although a lot of my words are a rederivation of previous posts, the impetus and necessity- of the goals- is unwavered and redefined- new events and urgency has pressed me to go into action. The record label would be called Acoustic Vinyl. Continuing that 'acoustic' theme, the record label would be based in London- hopefully in the East End. Most labels have an edict and ethos: they represent certain genres and artists. This label is boundary-free and acts an Indie endeavour. The idea would be to represent artists from all around the globe- every genre and form of music is considered. The goal is to embrace and represent the best and most ambitious music out there- enforced by my endeavours as a reviewer. So many of the acts- I have assessed- are unrepresented and in need of backing. Baffled by the lack of attention- that comes their way- I struggled to speculate why record labels have not jumped on them. The label would also produce its own records and released- like Third Man Records. With designs of having a studio available for all the artists- in east London- the label will have ambitions to grow and compete with the biggest out there. Working in tandem with Psychoacoustics, acts would be able to play at the bar; awareness would be raised (to get the acts seen and heard) and give a home to those worthy of wide acclaim. The record label will have an interactive and multimedia website: including artist biographies, videos, updates and music- it will give a huge overview of what the company stands for.

In addition to other endeavours- purulent and honourable alike- my own music has been gripping my brain and sleepless nights.  One thing I discovered a long time ago was that I was probably made for an animated comedy- I am the sort of guy that can mimic every voice I hear; have an insane about of sounds and accents swirling around my head.  Normally- for people who afflicted thus- they can biodegrade their burden through the medium of TV. Unable to get my- frankly paradigm-altering (well, good anyway)- animated comedy off the ground, I have had to focus my vocals to music.  Being obsessed with the human voice- lyrics and wordplay too- it has manifested itself across Marriage: The Beautiful Revenge.  My band- Death of the Sweetheart- has just me, alas.  I am looking for London-based musicians to come along for the ride- be part of a Queens of the Stone Age-cum-Steely Dan type music band.  Somewhere where impunity and infidelity ranks alongside partnership and... oh screw it- I need guys and gals to help me out.

https://www.youtube.com/watch?v=6btXe5j17oE

I guess that is part of the aim (of the website and business); to get some people to my cause.  Selfish and self-promoting I know, yet I am excited about my songs and ideas- I shall marginalise the shameless plugging in a second!  I am so pumped to get 'the ball rolling'- make me stamp on the music world.  In a future post, I shall go more into the album tracks- all 15 of them- and try to distill them as best as possible.  With vocals, octaves and lyric snaps teasing my brain with a sturdy badinage, I hope to find three to four (hey, five even) players- if you know of any, let me know... Keen to throw a multiple mix of genres into the denigration, I have been inspired by everyone from Duke Ellington to Judas Priest my album is probably going to be less than focused; ambitious in its scope and ambitions.  If you are going to go into (an overcrowded) music industry; make sure you hit hard and fast- it brings me back to the physical nature of music.  One of the greatest things about starting a band is the physicality and tangible aspect.  Pressing the CDs and vinyls excites me already.  I have already gleefully designed the album cover- marking me as a bit of a megalomaniac- yet it is not enforced by control and egotism- the draw of creativity and possibility is too gorgeous to refute.  With a bold image in my mind- for back cover and inset photos too- I think about the CD; it will be recorded on both sides and feel like a double album.  You do not need to turn the CD over; after the last track (on Side A) it flips- gives a vinyl crackle and needle drop' before running to the second side.  All of the tracks flow into one another- like the second side to Abbey Road- and I am keen to make as many breakthroughs as possible using traditional methods and forms.  The CD itself will have two different designs; one half is vinyl- it will look like a miniature vinyl- the other is clear (looking like glass)- both have distinct lettering and designs on each.  The entire album works like a concept; it documents a relationship from the first moments; through to marriage and then divorce- working backwards (at the half-way mark) to arrive back at the start of the relationship.

https://twitter.com/samliddicott/status/499099000880893952

What I want to do with the album, is to go in hard and fast- incorporate everything I have learnt from new music and put it into my work.  Dylan-esque vivid tales- circa Highway 61 Revisited- will come out in Sister, Did You Hear Me Call?  Arcade Fire-cum-Disco in Communicator- Judas Priest-via-Soundgarden mixed in Making Up For Lost Time.  In addition to original songs, there will be two covers: Avalanche and I Want to Be The Boy To Warm Your Mother's Heart.  The former is one of Leonard Cohen's most unsettling tracks- a dark and haunting number that never relents.  The latter is from The White Stripes' album Elephant.  One of the lesser tracks, it shows Jack White as a nervy and try-hard lover; someone who is trying to make impressions on his sweetheart's mother.  The idea is to turn the former into some ethereal and transcend- remove the sexiest and violent aspects (without taking out a word) and given it s face-lift.  Aiming for the same sort of stillness (as Jeff Buckley's) version of Hallelujah, I am aiming high.  The latter I want more wracked and pained.  The same vocal strength and stagger the likes of Paolo Nutini and Sam Smith (inject in their work) needs to be seen here.  Instrumental moments, layered vocals and stone-cold grooves all lead to the finale: Vanity Mirror.  Trying to out-epic the likes of Bohemian Rhapsody and Stairway to Heaven, it is the most ambitious thing I have written.  Most new albums have some standout tracks and great moments- my hope is to match the best of the last 20 years.  It may seem unrealistic and a stretch, but the words and ideas are taking shape; the determination is there- if I can find awesome band members, I am half-way there. Music means more than sound and flavour- the textures and feel (physical) seduces me; I love the look of a physical product- seeing everything compounded into a hand-held bundle.  I shall not waffle any more; just wanted to present some transparency- and clarify and reintroduce my earlier topic (about digitalisation).

https://www.youtube.com/watch?v=y6Sxv-sUYtM

With a few weeks until I run my half-marathon- and raise funds for Mind- I have been thinking a lot about issues like depression, music and how the two intertwine. So few people are aware of how big an issue depression is; what is consists of- how deadly and unforgiving it is. The idea behind charity endeavours is not only to raise awareness in a wider sense- make sure people are protected and given the support they need. Music can provide a terrific creative outlet; it has curative and detoxing potentials; able to lift moods and sadness. Of course, music has limited and confined potential- in order to fully tackle the issue, more needs to be done. It is hoped the charity would provide finance, support and development- help those most needy and ensure they are looked after. In terms of the website, bar/cafe and record label, I am looking out at the music community- supporting and proffering the artists that go unrecognised; that deserve a bigger voice. The website makes music-making and collaborating easier.

https://www.youtube.com/watch?v=3Qg3rQfeZv4

Its social media aspect works better than Facebook and Twitter; it concentrates more on sharing and good (than self-obsession); it has fewer problems and limitations- the big two are seriously lacking in so many areas. Acting as a way of connecting with musicians and discovering new joys, the social media side of things will be very different indeed. As I have finished writing most of an album- for a hypothetical band- I am searching for musicians and like-minded people. Determined to put my music out there and seduce as much as I can, I am determined to get things moving- I am finding it hard to get band members. So few websites exist- that join musicians and look at this problem- it is hoped this can be tackled and eradicated. It would be great to hear people's input; what everyone reckons- if they would be interested in what I have laid out. So many musicians are coming through; so many young listeners are passing (over older music); too much music is being sucked into computers- I am hoping to change this and makes some steps. As much as anything, there are gaps in the market; definite needs out there- hopefully Psychoacoustics and Acoustic Vinyl will go some way towards fulfilling these. With all of the above being said, I shall ask one thing:

WHO'S in...?

About the Author:

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

Gone, but never forgotten...

_____________________________________________________________________________

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Track Review: Jessica Chase- The Only One

TRACK REVIEW:

Jessica Chase

The Only One

9.5/10.0

The Only One is available at:

https://soundcloud.com/jessica-chase-music/the-only-one

Coming Down is available from:

https://itunes.apple.com/ca/album/coming-down/id902036794

TRACKLISTING:

The Only One- 9.5/10.0

Heaven Won't Change- 9.4

Long Haul Baby- 9.4

Child's Play- 9.4

We Are an Arrow- 9.3

Afraid of the Dark- 9.3

God Made Lana Del Rey- 9.6

STANDOUT CUT:

God Made Lana Del Rey

DOWNLOAD:

The Only One, Heaven Won't Change, Child's Play, God Made Lana Del Rey

RELEASED:

5th August, 2014

LABEL:

Wax Records

GENRES:

Pop, Electro., Experimental

_________________________________________

The Canadian solo artist wants her music to put the listener on the outside; awaiting a storm- raptured by the wind and building tension. Jessica Chase showcases a tremendous talent and febrile brilliance (throughout Coming Down). The Only One is one of the E.P.'s most direct and stunning examples- a song that shows just what a huge talent the Ontario Electro.-Pop star is

__________________________________

WHEN it comes to arresting and stunning artists...

there are few that can top Canadian Jessica Chase. In addition to being one of the most beautiful women in music, her songs have compelled and connected with multitudes of listeners. Following on from the success of her previous singles, her E.P. Coming Down is gaining some incredible reviews and feedback. Having listened to it myself, I can pay testament to how incredible and nuanced it is. One of the most invigorating and captivating Pop artists in the world, Chase has brought to mind a few points. Having spent a few days away from Canada- concentrated on U.K. musicians- I am back in my 'second home'. There are a couple of points I shall raise- when thinking of Chase- but for the moment I am looking at the solo female market. The solo artists that come through- in the mainstream- have been producing some mixed results. Having adored albums by the likes of George Ezra, La Roux and FKA twigs, I am excited to see what is coming forth. Some artists- naming no names- have come in with some tepid and unextrodinary efforts- it is only natural there is going to be some weakness and disappointment. New music is producing more sturdy and reliable returns- so many of the acts I have reviewed have struck me with their inventiveness and sounds. Jessica Chase is one of the most impressive and original solo acts in the world- emanating from an area that has been stamping out some terrific musicians. The Toronto-based musician is showing why Canada is such a potent and mesmerising force. I have reviewed a mix and sprinkling of Canadian bands and solo acts- most from the Ontario region- and am always surprised by how pressing and urgent (musicians are there). Chase is doing things differently; in her own indubitable way- her fresh and uplifting songs have been exciting tongues and minds (across the globe). It is always hard for solo artists to make a big impression (as the bands of the world) as their lot and day-to-day life is that much harder. Having to take care of all the promotional and creative duties; it can be a lonely and difficult life- those that succeed should be commended. If the mainstream darlings have taught us anything, it is that the key to success is honing a unique and distinct sound- few musicians take the trouble to separate themselves from the pack. Having been entranced by some scintillating offerings (this year), it is the realms of Pop and Electro.-Pop that have struck me hardest. Providing a sense of drama, passion and personal insight, the genres have seen some terrific confessional outpourings- from La Roux's Trouble in Paradise to FKA twigs's LP1. Each of those female icons has provided a wealth and treasure trove of deep and layered sounds; spiky and hard-hitting words; diary page dramas- Chase is someone who can easily fit alongside these acts. Among her interests are:

"Fairytales, Volcanoes, Trees and Nature, Love, Animals, Danger, Beauty, Art, Music, Dreams,The inner workings of the mind, Fitness, Family, Curiosity, Karma and Life."

Before I mention my third point, I will look at Chase's music itself- what sort of themes and style she favours. Having been writing songs since childhood, she favours etherealness and nature- over more repressive avenues. When distilling the essence of her music, Chase explained it thus:

"For me, writing music is all about spacing out and finding a place in your heart that feels right. These songs are about as in the moment as I can manage, and each one makes be feel like I'm standing outside in the wind and leaves, and there's a dark sky and a big rain storm coming (which is the best feeling)."

Few musicians are able to summarise and drill down to the bedrock- explain how music makes them feel; why it drives them. Our heroine has a clear passion and understanding of music- the amount of magisterial force and luster she summons (through her music) takes the breath away. Strangely- or perhaps not- I have been finding myself more gripped by female artists- as opposed the chaps. I will conclude with one point: what next year will be offering. I think now- as much as any time in history- the stage is set for new artists to take the spotlight; transcend beyond the local gig circuit- claim their rightful place among the most profitable and celebrated musicians in the world. Coming off of a truly unexpected reviewing experience- documenting a tremendous debut album by a Yorkshire-based band- it is startling how much more ambitious and hungry (new artists are) compared with the mainstream- they have that extra layer of necessity and drive. Taking inspiration from historical acts; blending genres and styles together- the finest cocktails coming through are deserving of a huge audience. Chase doesn't simply sit within the confines and prerequisites of Pop- that safe and universal sound that does not go out of its way to excite and intrigue. Sharing similarities with the likes of La Roux, Ellie Goulding, Chvrches and Florence and the Machine- electronic swathes and pumping emotions are mixed with tenderness and introspective longing. The women of the Electro.-Pop genre are some of the most impressive acts out there; the vocals are entrancing and gorgeous- they are inspiring legions of new musicians. It is not just her lyrics and themes that are distinct and memorable- Chase has a spectacular and gripping voice that makes you want to stick your head through the speakers; get inside the studio and hear the music up-close and personal. Topped off with a spicy and flavoursome crust of sounds and themes, the package (the Canadian provides) is fully-rounded and hypnotic music. With our very own Little Sparrow, Lydia Baylis and Alison Levi- providing their own takes on the genres of Pop, Folk and Soul- it is terrific to embrace and discover international gems- newcomers that demand your soul and full attention. Coming Down showcases a body of work that is bursting with life, passion and personality- so much tenderness and beauty nestles in the blankets of urgency and panache. I will get down to assessing the E.P. in due course; the single The Only One is already proving to be one of my favourite tracks of 2014- it is a song that demands repeated plays and fond investigation. Chase is a songwriter that delves deep and touches people- writing lyrics and words that can be extrapolated and understood by most of us. Both connective and embracing; heart-aching and gripping, we are going to be hearing a lot more from Jessica Chase.

It is worth seeing where our heroine came from- in order to get the full picture behind Coming Down. Have released a single previously, you can see a development and expansion.  The E.P. is essential the debut- given that only one song has come before. Just a Girl is upbeat; it has electronic rushes and an aching vocal performance. The lyrics have an earnest and honest skin; with a distinct and noble heartbeat, it shows a romantic side to Chase- imbued with her talent for subversion and expectation defiance. Vocal layers give an edginess and Dance-orientated feel; the song is weighty and hypnotic. The track is perfect for dancefloors and the clubs- it has a summer-ready feel and innate ability to get your feet moving. Impassioned and endlessly upbeat, Just a Girl has an energy and determination that never lets go- one of the young artist's most catchy and urgent tracks. Chase's new E.P. shows a development and step forward. The rush and elliptical sound blends- seen on Just a Girl- comes through on some numbers. The Only One has a burbling and dark electronic opening. Gorgeous and intriguing, the track marries Hip-Hop elements and Dance avenues- delicate and breathy vocals have a head full of smoke. Those distinct and emotional tones show determination and emotion. Our heroine has more than one lover- she is not tied to one particular person. The momentum never drops and the gripping story puts distinct images in the mind- you can see our heroine giving the kiss-off to her boy. Strong and determined, it has a defined rebellious and empowered backbone. Heaven Won't Change is youthful and spright. Our heroine does not want to grow up today- there is a vibrancy and energetic rush that has a distinct charm and smile. The passionate and breezy sound is backed by some vibrating electronics and pummeled beats. The see-saw blends of Electro. and Dance give the song a huge amount of uplift and determination- it is another song that gets the feet moving and the arms swaying. Demonstrating a huge amount of alacrity and soul, the sweetness and passion mingles Ellie Goulding and La Roux- the resultant sound is one that sticks long in the mind. Long Haul Baby is more restrained and tender. Our heroine says- to her boy- "I love you"; it "is a lie." The vocal rises and belts; the breadth and width- of Chase's voice- comes to the fore- that hugely impressive talent makes its mark. Our heroine is never going to "love you right"- her mind is split and her heart elsewhere. Cooing and tender, the restrained and soothed beat takes the E.P. in another direction- demonstrating an adept mobility and sense of range. Child's Play is a rightful highlight. The swaying and sensual vocal has potency and sweetness- the voice is crisper and higher in the mix. The classical backing touches put me in mind of The Nutcracker- that balletic-cum-punchy blend sits beautifully together. With a catchy chorus and indelible feel, the track stays in your mind- it is a gorgeous number. The swelling electronics back messages that question desire- is there a price tag on it?- and stealing- Is there a difference between taking a nickel and a dime? Deep issues and themes are explored; intelligently deployed and uttered, it is a song with plenty of nuance and quality. We Are an Arrow is edgy and direct. The vocal is high up again; swelling and atmospheric compositional moments fuse Trance and Trip-Hop aspects- Dance flavours add a kick and spice. A stronger and more pugnacious rabble, the song strikes and grabs- there are haunting elements. Afraid of the Dark mixes Pop and Country swathes; love-lorn and torn, our heroine is not afraid- she wants to be touched (and sets her mind out there). The vocal is impassioned and soulful; stirring and levitating- it swaggers and teases. With a constant movement and perfect pacing, it is a number you will be repeating and playing again- it shows just what a nimble and eclectic sense of adventurousness Chase has. Showcasing her talented ability to shift lyrical styles, the song hits hard. God Made Lana Del Rey is perhaps the E.P.'s finest hour. A haunting and ethereal vocal pay pays tribute to- and mocks- Lana Del Rey. Our heroine has a similar etherealness and spectral sound; her words do not look at video games, bad boys, Corvettes and shagging- that idealistic and lascivious movie lifestyle. No L.A. roadtrips and come-to-mummy declarations; no collagen lips and hazy trips- God has left Chase well alone. The song mixes with and humour with some stirring and emotive thoughts. The lifestyle and talent the likes of Del Rey present- richness and insistent over-exuberance and tackiness- is investigated. The smooth and sensual vocal rules the roost- the heroine does not succumb to over-emoting and needless shouts. Some singers talk of- and possess- heroin scars and fast cars; the Canadian is a real girl and honest artist (that lives life realistically). Having not been given leg-ups and critical acclaim, she is doing things true and meaningful- if God is helping the Del Reys pull in the big bucks, our heroine is glad to be detached from that. Bruce Springsteen's motifs of fast cars and girls pre-date and front-run Del Rey- parables can be drawn between their brand of luxuriant lyrics and sex-obsessed minds. Bob Dylan parodied Springsteen acutely in Tweeter and the Monkey Man- for the supergroup The Traveling Wilburys. That song not only kicked ass- it kicked Springsteen's ass! Wit and borderline-hilarious, it was a perfect put-down and indictment. Similarly, Prefab Sprout took the Born in the U.S.A. author down a peg (on their hit) Cars and Girls. Documenting (there is more to life than both), the track had elements of truth and meaning. Chase provides her own slam and take on this subject- perfectly undressing and dethroning the sort that favour richness and hollow fame over reality. A perfectly memorable end- to a tremendous E.P.- it takes your breath. Having developed hugely- since her debut cuts- the Canadian staggered me with her range of voices and ideas. Topics do not stick to one theme or image; they transform and interchange- covering love, fame and independence; everyone will find something to enjoy. The compositions shift from heady and witches brew electronics to pillow talk acoustic moments- every potent soundtrack beautifully supports the songs. If Chase's voice puts you in mind of Del Rey, then that is the only comparison- as a songwriter and artist she is a sibling with no related D.N.A. In a different league, Chase acts as an antithesis- she has the sweetness, haunt and passion; her songs have a credibility and universality that unites critics and listeners. It will be great to see where she goes from here; how her voice and talent evolves- on this evidence, she is likely to impress hugely. With such a conviction and determination, she is an artist I will be seeking out more- I cannot wait to hear more from her! After taking the step to record her songs and historical thoughts, I am sure she has fresh inspiration and lease- it will be great to see what her next record contains.

When looking at acts- that could have inspired Jessica Chase- I will get one U.S. name done up top: Lana Del Rey. Whilst actively rebelling against the full-lipped Lizzy Grant, there are some threads common to both. While the lyrical themes and compositions are vastly removed, some of the vocal performances share similarities. The best album comparison- in terms of albums- is Ultraviolence. The album- unlike her previous offerings- has been met with critical acclaim. Commentators have pointed out the confidence in the vocals- something that was lacking from her earlier cuts. The melodies are universally beautiful; the choruses clicks; the music sweeps and swoops- that bold and daring soul mandates every song. Del Rey came across as a bruised beauty: someone who seemed comfortable in black-and-white movie scenes and Technicolor highway drives. Some of her naivety and predictability had gone- the samey and one-dimensional themes and variations- with coquettish sexuality and quasi-transgressive qualities coming in. The hyper-stylised approach- the Hollywood Pop star gave to her music- is less evident on Ultraviolence. The sultry and overstated orchestral moments- of Born to Die- resonated because they were unique and unexpected. Keen to not repeat herself, she projected divergence and difference. The slow-building atmospheres have superimposed Twin Peaks craziness- languid beauty and opulent arrangements came into effect. While Chase imbues more stereo blitz and raging upbeat into her music, she has some of Del Rey's diversity and sense of occasion- making sure each note and moment is full and magisterial. The lyrics- from Chase- are more profound and fertile; the vocals fuller and less confined. That sweet and breathy undertone is apparent with both artists. The protracted and rolling melancholy- across Ultraviolence- gives birth to some of the L.P.'s finest moments; greasy Blues-Rock (metered restraint) makes the album more prosperous and gold-seeking. Chase provides density and lush songs; full bodies and beating hearts; jagged lips and spitting hips- the same blend that enforces some of Del Rey's best (current moves). Whilst Del Rey seems like a character- deadpan affections, lispy lyrics; unerring desperation- Chase is far less tragic and contrived- what you hear is an honest account of a pure and relatable woman. Before I mention some other U.S.-based idols, there are plenty of British acts- that have compelled Chase. Ellie Goudling is an apt and pertinent name- one should introduce. The copulating glisten and energy of Lights set Goulding out as a name to be proud of. Our heroine instills elements of (this 2010) album into her own make-up. In terms of some ambivalent critical feedback, there is nothing wishy-washy and lukewarm about Chase's debut. When Goulding arrived, many praised her lush and heady Electro. blends. Her style and panache set her apart; that sweet-cum-sexual voice made everything sound utterly beguiling and captivating. The gushing and breathless rushes made her songs standout and stirring- Chase has a similar sense of passion and headiness. Marking herself as a female du jour, she (Goulding) rivaled Florence and the Machine and Adele for effect and scintillation. The superstar-level gems had glossy attraction and sparkly Pop- mingled with gutsy Folk and all-consuming passion. Chase incorporates (some of these) elements into her tracks- she has the same potential to be at the top of her field; that guiding and inspirational talent (that is not confined to genre and gender borders). Delicate grooves, blipping Disco and dashes of pumped spiciness defined Lights; the album saw the fog-swaddling soprano seduce with ample ease. Minor-key melodies and brisk Electro. rhythms were augmented by thoughtful and authoritative production values- with everything revolving around Goulding's stunning voice. The aerated and pretty moments- on Lights- were not too slight; the groundbreaking moments scintillated mouth-watered critics- and created huge fervency and hoopla. Goulding was never content to project one sound and style; sometimes acoustic guitars lead- other times bombastic and free-for-all electronic screams. Chase changes gear and delineation across her E.P.- incorporates Goulding's most notable and nibble qualities- ensuring her voice and songwriting comes from her very distinct quarters. La Roux is a new name to many- her Trouble in Paradise album is one of 2014's finest discs. On that album, you can see some key moments- that may have compelled Chase. Having recorded her E.P. (around the same time as La Roux), it is hard to say how direct (La Roux's influence is); one thing is for sure- there are some definite similarities. Having garnered mass critical thumbs-up- this was her first album in five years- the biggest compliments were directed towards the ubiquitous and unending songwriting quality. Never subsiding or cracking, every song marked itself out as a hit- having recently listened to the album, you are blown away by the constant search for perfection. Almost overburdened- and an embarrassment of riches- the album showed staggering consistency and a sky-scraping set of ambitions. Less sparse than her debut, Trouble in Paradise provided bass-heavy newbies update and redefine her sound- a shift that drew many new fans forth. There is terror and kiss-offs; punch and too-close-for-comfort anxiety- the radiating beauty and warmth is what lingers. Chase instills similar contradictions and distinctions; her ambitions is as lofty and unnerving- she seems to be an equivocal and paramount talent. The quintessential similarity is the range of emotions and sounds. Both talented and tremendous lyricists, a spectrum (and plethora) of witticisms and heartbreaking confessions are ladeled- the steaming and flavoursome soup burns but nourishes; enriches and satisfies. The aural candy of Trouble' saw fizzy Electro. beats fight robotic stagger and crawl- the music is the sort that is perfect for roadtrips down sweaty highways. The expansiveness and multifarious switches make La Roux such an endless talent- she is comfortable in various arenas and scenarios. Chase is as viable and staggering when you digest her music- plenty there to suggest she will be a mainstream star of the future. She is as self-assured and convincing (as La Roux); the aural package of Trouble in Paradise is a getaway for the mind and soul- in the same manner, Coming Down is a heady detox that matches fragility and openness with cathartic bluster and upheaval- the E.P. is a creative trip into our heroine's bursting mindset. Before my final trio of names, Florence and the Machine comes to mind. Led by a flame-haired and alluring Siren; Florence Welch's nom de guerre has produced some of this generation's most immediate work. If you are looking for comparisons- in terms of records- then Ceremonials (Florence and the Machine's most up-to-date album) is the best starting-point. The subtle sprinklings of different instruments- harp, drums and classical strings- augmented songs and gave them nuance. The guiding producer hands of Paul Epworth made sure the album shone and glistened- the entire album is unflinching and deeply impressive. Ornate tapestries and bold, big moments sat with movie trailer-ready ballads and Electro.-despair- 'Britpop' mixes and orchestral Pop play seamlessly in the mix. Lavish spectacles and a distinct Britishness give Ceremonials a huge sense of pride. Chase fuses British and North American influences; the platonic lavishness and ornateness sits along augmentative beauty and impassioned rampancy- her songs are as consistent and action-packed as Welch's. You can see some similarities in Ceremonials and Coming Down- let us hope the Canadian heroine keeps her sights and ambitions high. Chvrches are an underrated outfit that are having effects on a lot of new musicians. Having released their debut album- The Bones of What You Believe- last year, the sizzling acclaim and rapture has only started to die to embers. The laser-precise vocals- behind the Scottish act- made their album such a winner. Lauren Mayberry marked herself out as one of the most impressive and scintillating singers around- Chase has a similar talent and sense of conviction. Sophisticated and catchy hooks mingle with drama and light- the same sort of qualities evident in Chase's debut. Both acts blend sharp and sweet- on The Bones of What You Believe there was a dedication towards familial strife. The heroine rallied against those close to her; seemed disjointed and betrayed- these shadowy topics were lifted with sweet and hushed vocals. Big sounds and endeavours are explored without irony; '80s influences are investigated and appropriated- it is a unique and dizzying listen. Chase is an equally captivating voice; her songs mix diverse shades and emotions- everything is wrapped up in sophistication and intuitive confidence. Our heroine is as divine and eye-catching as Mulberry; neither woman takes crap from anyone- both are smart as anyone out there. Interdependence and separation come to the fore- on Chvrches' work- the bullishness and punch masks some deep emotions and frailty. Phosphonic guitars and circuitous structures made The Bones' such a triumph- Chase has created similar spellbind on her sapling outing. The last duo of names I will bring in are Broods and The Weeknd. The former are a New Zealand Indie-Pop duo that have been setting the music world alight. Their debut album is released in a week- the hype and speculation regarding it has led to some heady predictions. The ruthless writing- that goes into Evergreen- leads to big moments and sweltering colours- catchiness and hypnotism do not let up. Whilst it is hard to reveal too many comparisons- as their album is not yet released- there are comparables and similar motivations. Both acts are compelled by emotions, honesty and ambition. Broods have been rehearsing and honing their sound for months; blending Electro. sounds with Pop lightness- instilling it with vibrant beats and some strong-willed outpourings. Chase has a similar confident and personality- she has worked hard at her music and put huge amounts of herself (into it). The Weeknd are among the most impressive acts of the moment. One of few countrymate influences, the solo icon set tongues wagging with Kiss Land- his latest album. Scaled-up sonics and headphone beauty shows a personal and deeply relevant set of songs- superbly crafted and performed with conviction.

A certain magnanimity opens up proceedings. Graceful and swan-like, the ruminative and bubbling electronic parable is fascinating to hear. Both romantic and distant, you get caught up in the blend of tranquility and urgency. As the intro. progresses, echoes and samples are weaved in- discordant whispers (of vocals) and our heroine's wordless coo are inseminated- the heady blend builds the layers and sense of occasion. The luster or splendour causes obsequiousness and servile allure- the listener is tempted in and intrigued by what is to come. When our heroine steps to the mic., her voice is firm and passionate. With her head "full of smoke" she needs to be helped out of her clothes- instantly the mind starts generating images and possibilities. One part of your brain looks at incendiary avenues- a fire or tragedy has unfolded- but that would be too literal- it is a metaphor for an emotional fire; a state of mind that is causing anxiety and pain. There is lust and oxytocin ambitions in our heroine's thoughts- having been clouded and weighed-down (by life) she wants a night of recklessness. Abandon and thrill-seeking are ruling her ambitions; that tangible need and longing comes through in the voice- you start to picture the story developing. Whereas contemporaries- such as Lana Del Rey- would beat down a highway in a U.S. muscle car; cigarette smoke and Coca Cola name-checked and ascribed; here there is an honour and maturity to things- a woman who needs some temporary salvation and fulfillment. Not driven or defined by any juvenile tendencies, she needs escape and comfort- she wants to be held "like a prayer." The way Chase employs and presents her linguistic flair is quite striking- that commingling sense of sexuality and restraint play alongside one another; the words crackle and sizzle with possibility- there is always a niggling sweat bead that runs down a salivated lip. As things unfold and develop, our heroine shows his alpha and emancipated side- claws and teeth show some bite and scratch. Surveying her sweetheart, she has little sympathy or regard- he is looking sorry and passed-over. Thinking the bond was going to be permanent and endless, perhaps some disillusionment has come into play- a meter of naiveté too. Our heroine is casting her net- getting what she needs- and definitely on top- the control and the power is all hers. Needing human touch and release- more than love and longevity- there is a hot and heavy aspect to the song. Usually female singer-songwriters- when talking of love and sex- show scars and broken hearts- they bemoan the lack of passion and commitment. Chase subverts expectation and makes sure things are crystal-clear: she has a determined mind and goal. Between lines, the electronic beats rustle up sensations of La Roux- that emotive and atmospheric darkness provides drive and soul. Our heroine knows- her man- is special and unique; he is not the only one- there is a feeling of get-over-yourself-now; the night is for living. The protracted and ferreted to and fro creates drama and speculation; the song lets you paint scenarios and ideas- it has a cinematic projection that means the Indie flick rolls with each cigarette burn and changed reel. The track remains alluring and teasing; the chorus never explodes or bursts into life- that measured and controlled tactfulness keeps The Only One as come-hither (as the words themselves). As we approach the 2:00 mark, our heroine's voice mutates and sparkles. When her breathy sweet edge elongates I am reminded of Stevie Nicks- especially her performance on Dreams- when lower it has a strong and womanly pride; the variations and colours unfolded keep the song mobile and endlessly engaging. Never letting her voice wander or needlessly roller-coaster, Chase offers so much fortitude, passion and honesty- backing her striking and earnest words. Speaking to her lover, she explains that there are others in her life; living for experiences and newness, there are no ideals of permanent relations- perhaps she is feeling too suffocated (and defined by her lover). With her man "hanging around", our heroine (has no intention of) repeating bad experiences- she has been in the situation before; keen to not go down that same path. There is no vitriol or coquettishness: each registered emotion and word is dignified and direct- the intention is to make her feelings know; nothing more. Showcasing some consideration and thoughtfulness, our heroine does not want to wound or dislocate the hero- let him down gentle and reveal the full truth. Transparency and lyrical directness melt to transitory electronic percolations and inflections. Those delirious, delicious and elliptical sonic warbles keep a buoyancy and optimism afoot; the fusion of Electro. and Pop elements is highly effective. The track is never glib or inconsequential; not forced or too insistent- Chase has gone to great lengths to hone and perfect her motives. Vocals and utterances are given full consideration; every note and line is performed with an uttermost economy and qualitative edge. The composition is sparse but hugely evocative- showing its heart and soul when the mood becomes a little tense. Lyrics have filmic skins and fully-rounded storylines; the balance of emotions is beautifully realised- there are no immature or vague moments. Distinguishing herself aside from the raft of ingenue and ephemeral Pop stars, Chase marks out her vibrant stall. Pummeling and Trip-Hop-inspired beats- reminiscent of Massive Attack and Portishead- spar with stuttered and fragmented vocal snatches. This results in some aural expansion; lyrics are put aside as the music does all the talking. Representing physical development and structure, it may represent a new night- and a fresh hotbed of passion- or an interval and regression- maybe our heroine is walking out and walking the street-lit sidewalks. After the twilight rendezvous and itinerant rain-backed street scenes, Chase reflects and seems taken-aback. Not realising the effect (she has on men); the way her beauty and passion can intoxicate and grip- like heroine on a helpless soul- her boy seems shocked- he wanted things to last and bloom. As the shock waves (and quasi-tsunami reverberations) lace into the atmosphere, our heroine lets her sizzling voice into the spotlight. Words like "reload" are presented- giving a sexual and lascivious undertone to proceedings- as she advises (her man) to move on; have his fun and get back in the game. Our heroine has little intention of lingering and picking out wallpaper patterns; she made her feelings clear- she just wants the thrill and the chase. The final moments tick away (as the song's core message is reinvigorated)- making sure her voice is heard. Throughout the track you are siding with Chase; you never really empathise with the hero- our heroine has not led him astray or blindsided him. As The Only One does its job, you evoke a smile and sly grin- it is a track that captures you with its honest charm and bold proclamations. Redefining gender roles (and the prominent urges of mainstream Pop), Chase offers something new and vibrant.

Having listened to the Coming Down E.P. I am deeply impressed by Jessica Chase. Here is an artist that does not stand still creatively- she is always moving and providing something new. Across the E.P.'s tracks, so much diversity and range is provided; the tracks change course and give insight into the creative mind. From broken love through to Lana Del Rey, the beautiful Canadian shows just what a fertile and ambitious talent she is. The Only One has a juggernaut strike; it never gets overtly angered or accusatory- the heroine keeps her voice and emotions cool and underexposed. You are always on Chase's side; in her grip and grabs you find yourself gripped by her execution and urgency- that combination of sounds and sensations keeps the track alert and daring (from start to finish). It is a song that could fit effortlessly into the mainstream- it marries the sensibilities of La Roux and Ellie Goulding; it melts their best moments and never comes across as slight and waspish. Before I compliment Chase herself, it is worth noting a few points. The production is sharp and concise throughout. Never impeding upon the sound- nor too shiny and polished- it allows the song a chance to roost and captivate; all the notes and presentations have clarity and intelligibility. Throughout The Only One you are able to absorb the myriad notes and vocals; nothing is buried or mixed too low- the vocal is right up top and able to float over proceedings with authority. Chase herself proves she is a Jill-of-all-trades; someone who is comfortable and assured in all areas. As a writer she produces stunningly-realised and full songs- perhaps only God Made' tops The Only One. Her lead-off single is rife with brilliant moments and quotable lines. Keeping lyrics simple and effective, she never says too much (or rambles at all)- her economy and thoughtfulness means her direct codas are allowed to resonate in the mind. Compositional notes join everything from '90s Trip-Hop (of the U.K.) to experimental moments of the modern-day; Pop lushness and swelling, orchestra Electro. jives too. The same way the likes of La Roux and Goulding have managed to seduce- with their firm and determined songs- Chase shows she is able to mix it up with them- I would not be shocked if she made her way to their heights (in the coming years). Backed with a voice that is natural, seamless and wide-ranging and you get full conviction and dedication- it is an instrument that can summon ethereal purity and lustful sexuality; via teasing tongue-licking and get-over-yourself directness. All of this makes The Only One a packed, nuanced and insatiable gem- a song that is perfect for every occasion. Giving the tempestuousness and capriciousness of our weather, there is never any assureredness at all- tracks like this are capable of lifting your mood (no matter what the outside brings). Swaggering and confident; measured and mature- Chase runs a gamut of emotions and elements. As stunning as The Only One is, listening to the E.P. (will give full impressions)- make sure you witness the Canadian in full flight; take in every song. Having formulated and moulded her craft since childhood; her recent developments point at snowballing ambitions- she has a lot more to say and get out there. The Only One is wholly capable of eradication emotional transgressions; elevating the spirits- a microcut of what the beautiful Canadian heroine is capable of. It is clear 2015 will see a lot more Jessica Chase music come forth.

I am glad Jessica Chase got in contact with me- wondering if I could review her music. Not only is her E.P. a triumph and stunning work; the lead-off single The Only One is one of the most immediate and gripping songs I have . When Chase described her music- how it is a matter of finding space and hitting home hard- you can hear that come through. All of her tracks have that passion and determination; they are in the moment and utterly alive- when listening you transform yourself to rain-lashed horizons; allow yourself to become enraptured in the mood and atmosphere of the surroundings. Atmosphere is what Chase summons up- her music has so much heart and fortitude. The poise, talent and spectacular beauty (Chase possess) makes her stick in your mind; she is someone with a huge future ahead. The E.P. Coming Down has already made its way into the iTunes chart- nestling alongside the likes of Sam Smith and Rhianna, no less. I have such a fine spot for certain moments; God Made Lana Del Rey makes me sigh and smile; it is a song that is intelligent and deep. Our heroine looks at God- as someone providing favours to the undeserving- granting boons to the flaccid and uninspired members of the musical clatch- the hollow fame-chasers. Chase has not been moulded by God; he/she has provided no helping hand- the song investigates religion and success through a striking and unique spectrum. Chase is in passionate and witty mood; her voice is determined and purposeful- it is one of her most memorable and stunning tracks. The Only One is a track that envelops your mind and grabs a hold of you- Chase never lets her stirring and indefatigable talent miss a beat. The woman quotes Murakami; she has a cheeky wit and rebelliousness; a tender beauty and jaw-dropping talent- I love her already! Canada is in the midst of a musical revolution; the genre armies are leading a charge to claim glory and regency- standing out from the artists of the U.K. and the U.S. Having gained plenty of enfevered reviews throughout Canada, many are expounding the wonders of Coming Down. It is music that is more mature and studied than contemporary fodder; the un-fantastic plastic puppets and muppets of the radio waves drone insistently and irritatingly about their woes and privileged problems- societal woes; their no-good boyfriends; phallocratic anger; their declining Gucci funds. I am not fully against acts like Jessie J, Lady GaGa and the like- those that are hardly among the best out there- I just find them desperately effete and flimsy. Their voices hardly grip and mesmerise; their lyrics trend lines of banality and juvenile tantrums- the music is anodyne and processed nonsense. Chase is a nascent development; part of a wave of (young) musicians that are putting the quality back into music. Away from the tabloid evilness and flashing bulbs of celebrity- an arena where many Pop artists love to lounge and prostitute themselves- we have a young woman who understands (how facile and repugnant those things are). She puts music first and has no desires to be a paparazzi obsession- her music and personality will never ever dip that low. It is no surprise many critics and music-lovers have clasped Chase to their chests; embraced her style and honesty- that unique and unparalleled lust and passion. In terms of synonyms and regularity, words like 'passion', 'urgency', and 'soul' are words I employ (in every review)- most of them are over 5,000 words so you can forgive such repetitiveness and verbosity. They have never been more apt as where contextualising Jessica Chase's music. The passion of her voice and words shows just how meaningful they are- when decrying fame-hungry and deplorable sorts she never sounds more direct; when looking at love and herself that earnestness shine. It is the urgency of the deliveries that makes the music resonate and reverberate. There are no false moments and droning undertones; her songs and compositions are swelling and augmentative- designed to uplift the listener and purify their anxieties. The soul is an abstract concept; it is not a physical entity and chattel- more an essence and definition (of a person's good and pure motives). Pablo Neruda claimed that laughter was the root of the soul; that which kept existence alive and pressing- otherwise it would be God; a non-existent and theorised entity. In his poem Clenched Soul, Neruda wrote the following words: "I have seen from my window/the fiesta of sunset in the distant mountain tops." Being a devotee of writers (like Neruda and Murakami), words like these can be applied to Jessica Chase- her music summons up scenery, emotion, longing and beauty. Whatever you think about the soul- whether it is real or conceptual; eradicated or ever-present- it is the core inside all of us. Most human beings- the yawning ones- enrich their soul with family, jobs and ordinary endeavours; the people who have ambitions (and want to live a different life) are inspired by art- music is that which drives the most impassioned and distinct. Chase is an artist you should watch carefully as the year slips away- her music warrants some serious airplay and dedication. I hope she comes and plays London- not in Ontario; over in Blighty- and shows Britain just what she is made of. Having witnessed many of our home-grown musicians- who play similar music- rise and succeed, it is only a matter of time before Chase gets transatlantic regard. I know our heroine will not care too much for comments regarding her looks and beauty- it is highlighted too much when looking at female artists- so I will wrap things up (on a more relevant and pertinent note). Few artists in the mainstream seem to have the full package: that mixture of relatable personality, stunning music and multi-layered appeal. With so many artists and bands coming off as quite aloof; not as incendiary as their can be- when it comes to music- eyes and (bored) ears are turning towards the new crop making their moves. It is remiss to overlook just what they provide; how good some of the music is- take your thoughts away from the commercial and towards the noble. Jessica Chase finds inspiration in natural scenery; the atmosphere and weather- she wants her music to come across like a thunderstorm and meteorological revelation. When surveying her E.P.- and lead single- you can tell just how much music means to her; how keen she is to tell her messages to the world- that will stand her in good stead (with regards her potential). It may be early days, but all the signs are very promising indeed- I urge everyone to buy the Coming Down E.P. Investigate The Only One and all of its beauty and meaning; behold an artist that we will hear a lot more from. As we both share a connection with Haruki Murakami- Jess and me- I will leave you with a quote from him (from IQ84; that sums up our heroine): "Even if we could turn back, we’d probably never end up where we started." Those words have so many meanings and interpretations; in my mind, they inspire people to look forward to the here and now- not back on something that has come before. Chase is an artist that does not look back or compare herself with others; she looks ahead and lives very much in the present. Of course, her mind is going to be trained to the future; the success (she will reap) and places she will go. Having taken the time to record music- that has been brewed and imagined since childhood- she is fulfilling her dreams and realising her inner-most desires. When it all comes down to it...

THAT is something that we should all take time to do.

https://soundcloud.com/jessica-chase-music/the-only-one

About the Author:

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

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Follow Jessica Chase:

Official:

http://jessica-chase.com/

Facebook:

https://www.facebook.com/jessicachasemusic

Twitter:

https://twitter.com/jchasemusic

YouTube:

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

iTunes:

https://itunes.apple.com/ca/artist/jessica-chase/id601107531

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Jessica Chase's music can be found at:

https://soundcloud.com/jessica-chase-music

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For all tour dates/gigs:

http://www.reverbnation.com/jessicachase

E.P. Review: Play Record Erase- New Colour

E.P. REVIEW: Play Record Erase

New Colour

9.7/10.0

New Colour is available from August 28th, 2014

TRACKLISTING: Rapture- 9.7/10.0 Wars of the Intergalactic Kind- 9.8 Heart of Gold- 9.6 Asymmetry- 9.7 Asymmetry (Acoustic)- 9.8 For We Are Old (Acoustic)- 9.7

STANDOUT CUT: Wars of the Intergalactic Kind

DOWNLOAD: Rapture, Wars of the Intergalactic Kind, Asymmetry (Acoustic), For We Are Old (Acoustic)

GENRES: Alternative-Rock, Indie, Grunge, Rock, Prog.-Rock

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From a city that keeps on giving arrives another stunning Leeds treasure. With the likes of Muse, Smashing Pumpkins, Radiohead and Arcane Roots- influencing their sound- Play Record Erase go deeper and further- New Colour showcases just what a distinct and fascinating personality they have. Having only formed this year, the quartet have crafted an incredible and rampantly assured debut

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WITH the arrival of a fascinating and distinct new band, my mind has been mulling...

over various different issues. I will raise one now- and the next two (underneath the band biography). For now, I have been thinking of how groups come together; what inspires that embryosis. Being someone looking about for a band- and struggling to recruit like-minded folk- I am always fascinated to see how groups form and come about- what motivates that distinct friendship. A lot of modern-day acts meet by happenstance- bump into each other at a pub; join via mutual friends. In the past, the best and brightest bands were formed during their childhood and adolescence. The legends of song have links and bonds from a young age; enforced by their love of music (a band was formed)- that solid and long relationship meant the music was that much stronger. In an industry where there is disposability (and the need to make a quick buck), the Pop bands of the mainstream are hardly inspiring- as manufactured and plastic as a Hollywood face-lift. I despair when I look around the charts; bands like Neon Jungle, The Saturdays and- God help us all- One Direction seem like a pointless and humourless exercise- what the hell is the point of them? Having produced a myriad of dross and nauseating 'music', bands like this as the antithesis of modern music- what we should eradicate and dispense with. Artists that are genuine, talented and (have quality) do not come together via a committee or marketing department; they play instruments and have creative talent- their formation is as a result of mutual respect- and not the need to sexually arouse the 8-18 market. I appreciate that infantile and pre-pubescent minds are entitled to music, yet they seem like wasted currency- their naive lack of knowledge and discernibility means you could sell them a CD of fart noises and they'd go nuts for it. Being a huge fan of the likes of Blur, Radiohead and The Beatles, those bands have common links- their members united at a young age; going on to make music that scintillated the world- Radiohead are not done yet; they have more material in them. I bring up this issue because of Play Record Erase. Having met at Leeds Metropolitan University (last year), the quartet put together the group- they have been solidifying their ambitions, dreams and songs since then. Being a brand-spanking and fledgling act, they are putting together their first move- the sensational and packed New Colour. Privileged to my ears- and reviewers- only, the public will get to examine the E.P. in a couple of weeks. I will go into more depth (with regards the E.P.) in time; it is great to see bands coming together the honest way- with no ideals of corporatism and the lure of marketability. Modern acts such as Ivy & Gold and London Grammar met at university- the two acts share a lot of similarities- and it seems to be uncovering some of our most fervent and reliable musicians. I have a couple of short points to raise; for now, let me introduce my featured act:

Ben Holbrook on Vocals and Rhythm Guitar Rachael Koszalinski on Lead Guitar and Backing Vocals. Alex Taylor on Bass. Joey Heaton on Drums

"Play Record Erase, are a four-piece alternative rock band based in Yorkshire taking main influences from bands such as; Arcane Roots, Biffy Clyro and Muse. They formed in 2014 after meeting at Leeds Metropolitan University, where they all study Music Production. The line-up features Ben Holbrook on vocals and guitar; Rachael on lead guitar and backing vocals; Alex Taylor on Bass and Joey Heaton on Drums. Front man Ben Holbrook’s writing style is abstract and diverse, influenced by his love of Si/Fi and fantasy covering slow ballads to intricate heavy guitar riffs. The band have recently recorded their first EP, “New Colour” which follows the theme of an alien invasion on Earth. The EP release date is Thursday 28th August. They are currently performing a 45-min set around Yorkshire playing gigs with other bands/artists while creating a following, planning to get into Festival gigs by next year. Having not been formed for too long they have made a promising start into the music scene. Play Record Erase`s performance on stage is very balanced to compliment their songs. From foot tapping songs, complimented by nice bouncy vocals with rhythmic guitars and drums, moving into heavier riff based songs. The band's performance throughout the set is great with their musical sound. Play Record Erase, from start to end are accompanied by perfectly matched performance in which they take you through a great journey of alternative rock."

Before I delve into the music of Play Record Erase, I am intriuged about their location and influences. Having been detached from Yorkshire for a few days- I have been reviewing London/Canadian acts quite a bit- I return to the heaving bosom of one of the world's most vibrant and hard-working areas for music. Being a devoted fan and supporter of musicians like ISSIMO, Jen Armstrong and Annie Drury- some of the county's sweethearts- there are a lot of great bands emanating from Yorkshire. Leeds is proving particularly striking and fertile. A smaller and less populous city than London, it is staggering just how many new artists are hailing from this wonderful place. Having never been to Leeds- or Yorkshire for that matter- I imagine there is something magical in the air (there); pixie dust sprinkled onto Starbucks lattes- that is the only explanation I can find. Whatever the reason- behind the near-mythological dominance of Yorkshire- it is only natural a stunning band like Play Record Erase have come forth. Being lucky enough to assess several bands (in a similarly infantile stage of development), it always staggers me just how confident and fully-formed their debut movements sound- so assured and direct. Most new bands- true of the mainstream- fumble and stutter about a bit; offer some sketchy and vague presentations- solidifying with age and experiemce. New music is such a competitive and packed market, it means new bands have to go in strong and determined- New Colour is a stunning and solid work (from some of Yorkshire's sure-fire stars-of-the-future). With so many groups popping up around the U.K., Play Record Erase are certainly a group with a future ahead of them; on the evidence of their debut, they have a lot to offer music. Being influenced by some of my favourite bands- including Muse and Radiohead- I was fascinated to see how these idols found their way into the music (of the band). The quartet mingle male-female vocals with some harder-edged Grunge moments- drawing to mind the likes of Pixies. When more impassioned and anthemic, you can hear some of Muse's magic. Radiohead embers burst through when the songs drive and captivate the mind; hints of Arcane Roots arrive when proceedings go into Post-Hardcore/Math-Rock avenues. The concoction of multifarious potions are stirred into a boiling pot (that is very much that of Play Record Erase)- the band are the bosses and are not the sum part of their influences. Taking heart and direction from some musical greats, the Leeds troupe simply use it as a starting block: employ some faint hints to augment and flavour their own distinct and homemade sounds. The results- as seen on their E.P.- are dramatic and thoroughly memorable. Having been immersed in recording the E.P.- they have told me it is like a baby to them- you know how much music means to them. I have been lucky enough to hear the tracks; the band do not want the songs falling into public hands until the release date- so much care and work has been put in, they do not want their efforts jeopardised and betrayed. They say Yorkshire is 'God's county'- his finest geographical and topologically creation. Having had a baring on the landscape- if you believe in religion and all its improbabilities- then the rolling hills and stunning landscapes have compelled the citizens; spiked the minds of young musicians (to make big strides). Gorilla Punch Radio and Braver than Fiction are two of my recent Yorkshire-based review subjects- between them they promise huge future movements. Tossing their hat into the ring, the songs Play Record Erase have honed (on New Colour) are among some of the most impressive of the year- able to caused excited whispers in the echelons of the music media; excite the tongues of the blog intelligentsia- pretty much f****** overwhelm the eager public. With all this being said, it is probably apt I get down to investigating the band of the hour.

Play Record Erase are stamping out their first fully-formed and realised moments. It is difficult to look back and see how they have progressed- given they are in their infancy. The most contextually apt thing one can do is to assess their current motions- which are stunning in their completeness and urgency. From the very first notes you are stood to attention; braced and tied to a chair- the immediacy and stunning power that radiates is intoxicating. Most bands come in with a slightly restrained and restricted sound- when you hear their debuts. Play Record Erase make sure New Colour grips you from the very start. The primal chest-beating declarations are amplified, augmented and expanded (upon)- its grip never relents; you are powerless to escape its shadow. I suspect that future releases will see the band continue down the same path; make sure they pack as much punch, ethanol and passionate grit into everything they do. Most bands- who would aim towards the heady and exhilarating- tend to lack clarity and focus- their music comes off as too insistent and eager. Little consideration is paid towards nuance and solidity; the empirical truth is that most acts tend to gamble aimlessly (at the start). The Leeds four-piece have taken the effort to ensure they marry the arresting and anthemic with detailed and controlled. There is never a sense that they have lazily put sounds together; been content to just throw in some heavy and hard notes- and hope for the best. Incorporating some elements (of their idols) they stir this alongside a very unique and particular voice. Few other bands compare- when it comes to sound- so it is going to be great to see the band flourish. With their songs seemingly made for stadiums, festivals and sweaty gigs; I fully expect them to ascend to the upper echelons. As I say, it is early days, but their sapling intentions are pretty damn intent- the guys are not here for the short-term. Their hydrochloric burns are those that mark the skin; they leave their impressions and hypnotise the senses. Across the twenty-or-so minutes (of New Colour) you are offered a myriad of diversions and possibilities- the band do not lazily stick to one particular theme and projection. Few acts take the trouble to add depth and layers to their music; make sure the listener is given a heap of information and colours. Play Record Erase set their stall out promisingly; they have managed to craft an E.P. that mixes Hard-Rock/Indie anthems with darker and Grunge-inspired jams; lighter and more elliptical swathes. That rich and diverse set of emotions means their E.P. will resonate with a wide range of listeners. In terms of their development and future potential- there are some signs of where they may be headed. After listening to New Colour, you sense the band have so much in their arsenal- capable of heading in any direction. I can see- future releases- containing some Pop-inspired moments; Folk avenues and softer moments- in addition to striking and fast-paced Rock jams. Their current evidence points towards a very promising future indeed.

If you are looking for any like-minded acts; any that have inspired Play Erase Record and their plight- there are a few that came to mind. The first act I will mention are Arcane Roots. An influence of the band, the new band are setting tongues wagging. Bolstered by Andrew Groves's emphatic voice, the group inject Math-Rock force and variegated rushes into their tracks. In the live arena the band employ fractal fret-wrangling and pomp anthems. Quiet and more reflective moments sit with exposed songs like Hell and High Water- the group has such a range and sense of variation. The album Blood & Chemistry alerted critical minds. Shattering riffs and maturity sit alongside one another; bursting with originality and convulsive guitar hooks. Whilst not as electric as their 2011 E.P.- Left Fire- it does provide some delicate atmosphere. That insatiable blend of delicate and hell-fire makes the music of Arcane Roots such an explosive proposition. The invigorating instrumentation and angled drives may not hit the heady heights of Biffy Clyro; yet they have the potential to be big names of the future- still developing their sound and ambitions. The progressive tendencies of their music separate Arcane Roots aside from the competition- the unpredictable song structures really stick in your mind. Dynamic time shifts and signature alterations keep their music alive and alert. The band is just as comfortable when presenting slighter and distilled sound- as they are when raising their fists and pumping towards the heavens. In a way, Play Record Erase share similar personality traits. With packed and powerful vocals; sky-scraping and lofty riffs- the Yorkshire quartet have serious ambition and credentials. Whilst they incorporate fewer Math-Rock angles, that works in their advantage- their music is more universal and less divisive. Like Arcane Roots, our heroes ensure they mix elements and emotions together; they are confident and at home when letting the sound dip- and channeling their urgency into rousing and uplifting codas. Andrew Groves's determined and mesmerising falsetto wail puts you in mind of some of the all-time greats. Ben Holbrook has a similarly captivating and staggering set of pipes- able to make every song sound elementary and completely energised. The sing-along choruses and catchy rhythms are another side of Arcane Roots- perhaps they do not do softer numbers quite as well. Play Record Erase do not present that many calmer and more reflective roots- it can be a murky and dangerous bog to swim in. When they do let their music downshift and temporise, they come up with some stunningly rounded and gripping moments- much stronger than Arcane Roots' attempts. Arcane Roots are already being touted as successors to Biffy Clyro- not that they are done- and able to slipstream into their milieu. Being a band with such an impressive weight in their cannon, Play Record Erase seem capable of joining Arcane Roots to the big leagues- the sound the duo create are in-demand and much sought-after. Before I mention a run of (other) U.K. influences, there is an American band- that comes to my mind- in the form of Pixies. If I try to parallel Play Record Erase to a particular Pixies album, it would be Surfer Rosa. One of the band's early works- and less appreciated efforts- it remains a masterpiece of ambition and conception. The sudden bursts of Pop melodrama and invigoration sit with Spanish-themed utterances; big and dark crawls- it is a cornucopia of music. Embracing left-field ideas and commercial endeavours, Surfer Rosa is one of the most rewarding and unsettling (of the band's efforts). Beautiful brutality and striking guitar riffs make the music come alive- tracks like Brick is Red and Where is My Mind?  are among my favourite Pixies cuts. The compulsive and blazing polarisations stick in the mind. The band's College-Rock collages see Flamenco snatches fuse with lighter and more redemptive Pop numbers. Haunting and personal introspections showcase mature and deep songwriting; upbeat and playful songs emphasise Pixies' full potential- Surfer Rosa has influenced a huge amount of new bands. Play Record Erase have taken some of these motifs and ideals to heart. They can act playful and whimsical when the mood strikes; claustrophobic and strangled the next- the group do not rest on laurels or take any unnecessary risks. With such balanced and fully-rounded songs, they match Pixies for ambition and diversity- all backed by their pressing and enlivening sound. Like Pixies, the Leeds troupe employ prickly guitar barbed wire; propulsive percussion; sugar-and-sandpaper vocal mixes- strange fetishes are less abundant (but you feel like anything is possible). Instilled in the music are embers of Punk and '80s less-is-more production values. Coupled with an innate ability- to create multicoloured theatre- Play Record Erase have some of Pixies' distinct and impressive genes- it will be great to see how this is expanded and realised across future records. The Feud are a group that have made an impact on Play Record Erase. The band have been around for a while, yet have not reached their full potential- they have the same magic and potential as Does It Offend You, Yeah? The varied music tastes (the band possess) is enforced in their music- that energy and diversity shines. Heavy riffs and energised elements combine with melodic and catchy sing-alongs- the band enjoy and appreciate the Synth.-Pop music of the '80s. The group inspire crowds to get crazy and rowdy; tap their feet and sing along. The band is one of the most popular new acts coming through; they have struck a chord with listeners and have a very popular sound- Play Record Erase have instilled these elements together (in their music). A band that are sure to inspire new listeners and fans, they have that same ability to get crowds swaying and dancing- touching bygone genres and mixing it into their melting pot. One of the most scintillating acts- when thinking of Play Record Erase's sounds- is Muse. The Devon legends have inspired a lot of great bands- they themselves have been inspired by the likes of Queen and Radiohead. The best Muse-based albums- I can compare with New Colour- are Origins of Symmetry and Black Holes and Revelations. Those two albums saw Muse develop and evolve: the former was a leap from their debut; the latter is their finest moment. On Origins of Symmetry, there was a break from the pomposity of Prog.-Rock; the sizzling cuts like Plug In Baby and New Born marked the band out as epic contenders. It is not just the raw and unbeatable songs that lodge in your brain- their take on Feeling Good is a stunning reinterpretation; Micro Cuts is a distorted and quasi-operatic gem; Space Dementia is an intergalactic mini-epic. Matt Bellamy's piano genius came to the fore- later to be developed and cemented on Absolution- and gave vivid life to the album's finest moments. Although Muse created more grand-standing albums, they never sounded as intriguing and demented. Monolithic riffs and see-sawing percussion staggers see Bellamy indulge his inner-Thom Yorke: at a time in history where Yorke was fed up with his own voice- Bellamy puts his own over-the-top and over-extenuated stamp on that sound. Able to make the speakers get up and dance; make blood pour from the eyes- Origins of Symmetry remains a modern-day classic. Play Record Erase are less preposterous than early-days Muse- they manage to incorporate the band's most worthy and universal charms. The emphatic and impressive vocals- Bellamy perfected- match Freddie Mercury power; Thom Yorke beauty and Roy Orbison-esque emotional quivers. Riffs and guitar considerations have that same blend of rifftastic-cum-restrained. Black Holes and Revelations remains one of my favourite albums- an audacious and huge statement from one of the world's best bands. Knights of Cydonia is perhaps the best closing track on any album- that insatiable closing riff is enough to raise the dead! The album brings up issues like political strife, unjust wars; populist revolt- personal revelations come into effect. Whilst Play Record Erase do not contain the same overt political rage, they mix personal and introspective offerings with deeper and more universal themes- their music has similar potency and passion. Whilst some critics derided Black Holes and Revelations' lack of depth (and over-use of histrionics), you cannot deny how memorable and era-defining it is. Yes, there are overblown moments and bloated suggestions- by-and-large the album is taut, muscular and utterly divine. Glam, Pop and symphonic classic oeuvres are mixed with one another; the grand dramatics work wonderfully- it is a meticulous and complete album. Rock opera and layered guitars levitate songs; sultry and sexy swagger blends with razor-edge cut- the band are on an equal footing from start to finish. Play Record Erase employ similar considerations: they mingle sexy and smart; sassy and sharp; layered guitars and tight jams- each member has similar equity and influence on the numbers. When Black Holes' came along, the public realised what a huge Rock package it was- Americans were a bit dim and slow to absorb its magic- and retrospective reviews pay testament to this. The Leeds crew go to the same detailed lengths to ensure their music is as a full and nourishing as Muse's- that detail and workmanship makes them such an incredible proposition. Continuing the British influences, Biffy Clyro should be mentioned. Like Muse; I will point to two influential and relevant albums: The Vertigo of Bliss is the first. Following on from a decidedly shaky debut- Blackened Sky- their follow-up was a huge leap forward. From the provocative and sexual album cover, the L.P. presented sublime inventiveness and thought-defying Rock parables. Anger and adoration are blended with authority and conviction; the band embody Indie sensibilities with Rock bliss- the album crackled with certainty and assuredeness. Inventive and haphazard rhythms tangle with awkward guitars- the album is fresh and live-sounding. Recorded over a single day, it is the sound of a band in their element- completely natural and without anxieties and hesitations. Play Record Erase present the same sort of live sound; the conviction and professionalism- their songs unite distinct guitar sounds with juddering drums; soaring vocals and sublimely atmospheric anthems. When Biffy released Opposites (last year) is was met with mixed reviews. Critics- who were positive- claimed how gripping the album was; its serenity and progressive ideologies made it sparkle and captivate; the special and varied songs resonated with critics- many were bowled over by the seismic riffs, hits after hits; the quirky edges and jagged avenues. Calibrating their intelligent brand of Rock; the band brilliantly switched between edgy and mainstream- Pop and Rock moments naturally seduced. The Scots' take on Fugazi's heady and mesmeric brand of song comes out in the album; they instill Nerd-Rock too- dichotomous discipline and crowd-pleasing recklessness make the album such a contrasted gem. The last British influence I will name is Radiohead. The quartet instill shades of Radiohead's genius and staggering songwriting. In terms of albums- just to give you relatable examples- I would say The Bends and In Rainbows are the most pertinent examples. Having been named the most influential band of this generation- by N.M.E. readers- the Oxford legends have made an impression with a lot of modern acts. The Bends is my favourite album of all-time; it is the finest album in history- many can argue; many would be proven wrong. Defying expectations and marking a quantum leap- from the rather mixed results of Pablo Honey- it is an album that shaped music for the better. While Holbrook does not whip out the angst-laden falsetto (as much as Yorke)- he favours a more manly and chest-beating sound- he does possess the same sense of serene beauty and sensitivity. Not some Liam Gallagher-esque knucklehead, our man portrays his own unique blend of softer emotions- funneled through his distinct and striking tones. The band take bits of The Bends; sprinkle it into New Colour- creating some vibrant results. Play Record Erase take on board Radiohead's cerebral brand of Rock; they turn clichés inside-out and make everything sound fresh and new- the way P.R.E. mingle complex instrumentations with mixed emotions stands them out. There is that undercurrent of melancholy and sadness; the abiding sense and feel is of a band that want to embrace and seduce the listener- take their mind somewhere unique. Like The Bends, In Rainbows came off as a huge surprise. Whilst most assumed nothing monumental would follow Pablo Honey; fewer predicted anything genius would follow on from Hail to the Thief- one of the band's most underrated works. More complex- and less emotional- than The Bends, In Rainbows was a hugely well-received album. There were no wasted moments or ideas; each track is tight and nuanced- there was a otherworldy quality to proceedings. Abstract sounds and accessible words made the album a stimulating and tantalising treat- breathtaking beauty sat with raw and visceral moments. The studio performances came across as relaxed, assured and tight- the band sounded happy and in-step; gone were the anxieties of their post-OK Computer works. Play Record Erase sound as happy and together; that naturalness and tight set of performances comes across; the group mix beauty and radiance with something darker and more determined- they melt abstract angles with universal messages and thoughts. Although the scenic and colour-filled promise an album like In Rainbows puts through, there is an emphasis on romance and beauty. Even though words speak of comatosed nights, zombies, bodysnatcher, disease; suicide and pain are discussed- the core and beating heart looks at redemptive aspects and love. Words and lyrics worm their way into your mind- including the heartbreak line "I'm an animal trapped in your hot car"- and speak of universal experiences; there is emphasis on the songs- making sure they drive forward and do not lose their sense of loyalty. Play Record Erase have the skill and mentality that means they blend romantic endeavours with vivid and striking scenes; lyrics that stick in the imagination- complex and multifarious compositional elements; the complete shebang! The final band I will mention is Smashing Pumpkins- one of the darker and more shadowy influences. In terms of finding an appropriate Smashing Pumpkins album- to draw to New Colour- the best example is Siamese Dream. Perhaps a heady comparison- given many rank it alongside Nevermind in terms of scope and genius- it is the most apt album draw. Whilst Billy Corgan and his bald-headed oddity spawned some pretty terrible moments- albums after Mellon Collie and the Infinite Sadness ranged from great to God-awful- on their sophomore album they were inspired. The 1993 masterwork was synonymous with its slackers-with-a-vision charm. Less chemically castrated than a lot of their peers, Smashing Pumpkins' fuzzed-up riffs were quite the match for Nirvana's era-defining epic. Although Siamese Dream was created midst turmoil and broken relationships- like Fleetwood Mac's Rumours- it contains some phenomenal music. Layers of guitars and sound collages sit with consistency and emphatic quality. Ranking alongside Nevermind and Superunknown- as one of the best Rock albums of the '90s- it is rife with outright outre glisten. More grand than the sacrosanct underground Grunge acts- of the time- the cathedrals and monuments of guitar sounds stuck in the mind- Siamese Dream is a righteous and bold statement from the U.S. band. Play Record Erase make sure their music covers such wide and impressive ground; their guitar notes and layers are insatiably atmospheric and gripping; the consistency and quality is of the highest order- although they do not ascend the heights of Siamese Dream, they have rife ambition and intention. All of these influences can be heard in various moments (of New Colour) but should not be taken as gospel- I mention them to give you an overview. Play Record Erase have their own distinct and well-honed sound; their bond and uniformity is as a result of incredible friendships- the music pays paen to their natural sympatico and intuition.

Germane latency is not an option when you consider Rapture- its early notations are a symphony of intention and unbridled swagger. The guitars strut and sting; the percussion clatters and pervades- the bass guides and navigates. Instilled with a catchiness and unerring confidence, the track provides a contradistinction- few contemporaries lace their embryonic passages with such a fervent hustle. Perhaps appropriately, the first words- uttered by our hero- are "brace yourself." Telling us our time has come, I get a sense- oddly- of Kurt Cobian. That inimitable delivery during In Bloom's verses- the slow and taunting back-and-forth- comes to fruition here. Delivered as a sermon-come-warning, the singer sets the scene- a nearing apocalypse is afoot. Not caring anymore; the revocation of strength leads to a blase and relaxed attitude- as the world crumbles and inflames; our hero is kicking back with aloof disregard. The composition ensures there is sonic fascination (throughout)- the guitars snarl and twist like a Pixies rapture; never too heavy or hard; underpinned with melodic intent. Few listeners will be uninitiated to the power and prowess of the music: it conjures myriad thoughts and themes; tempts and teases- spits out oodles of tantalising moments. Our man looks at "all distractions"; the chorus blooms and blossoms with a full-bodied vocal projection- mixing Foo Fighters, Muse and Arcane Roots. Like Devon's whacky Prog. sons, the Leeds quartet are deftly able to weave in pathos and humour; brighter strings with more shadowy vocals- that contradiction and commingling adds layers to the track. Throwing so much into the mix, the listener is gripped by its passion and meaning. Human compassion is being eroded and subjugated; the noble crew are surveying a dilapidated landscape- the intensity and urgency in the vocal makes every word's hair stand on end. Summoned with a blend of coolness and gravel, our hero does not explode or burst- he allows his voice to match and sit alongside the composition; it is well-paced and detailed. As the song reaches the 1:40 marker, a spine-tingling and animalistic guitar growl is unleashed; it weaves and bays for flesh; yawns with malice- vibrates and kicks with bravado. Marrying some of Nevermind-era Nirvana alongside Origins of Symmetry Muse, the band rustle up a hypnotic jam- imbuing it with their own unique and intuitive drama and identity. With a final throw of the dice, our hero lets his voice ring out. When controlled and muted, it is a dark and Grunge-influenced beast; laying in scenes of heartbreak, distraction and disconnection. As the chorus swings around, it expands and opens up- becoming more Indie/Prog.-inspired- showcasing his full range of emotions. As the gamut is run, the song never lets its grip go. It is a tight and muscular offering that never lingers too long; it packs such a punch in under 3 minutes- few acts have such a regard towards economy and length. Quite a startling and intent opening statement, you are primed and ready for what is to come. As the brain-seducing Wars of the Intergalactic Kind makes it way in, our hero is trying to read signs- unable to decipher them, he begins his travelogue with a heavy anxiety. Naivety and blindness are traded alongside double-blind bluff and a curiosity- the vocal deployments matches smooth and sensual with a spicier and more pressing soul. Whereas the opening number ending with a very distinct note- that reminded me of Soundgarden's Black Hole Sun- the progeny starts with more elliptical and nuanced workings. The guitars twiddle and notch; they twirl and spiral- the sound is a Morse Code marionette that has a spacey and cosmic beauty- backed by a pulsed and smashed guitar ellipses, and you get a rich and vibrant sound. "The war is on" is the elongated and pertinent coda; the clarion call and rally cry that precedes a bellicose compositional slam. Letting his voice regress and demure, the band take us into the stratosphere. A swaying and delirious parable is unleashed; it staggers and swaggers- once more- psychotropic and determined, it is a stonewall classic riff. The heady brew bashes the bones and stretches the brain; elastic and impassioned- there is no diaphanous escape to be found. Stadium-ready and kick-ass it matches an avalanche of fire with a tidal wave of hornets- it is the sort of frenetic and psychedelic head-f*** that is capable of healing the blind. Further diversity and subsumed brilliance is added with a Spoken Word passage. Acting as a news report -and urgent bulletin- the newscaster offers some stark messages. The creature-like humans are making demands; unsure what their demands are- updates will be forthcoming. Stepping into Muse's 2001 clown-coloured size 14s is a brave endeavour indeed- the fact the band pull it off is deeply impressive. Not as all-out bonkers and pompous as Origins of Symmetry's most byzantine cuts- Space Dementia, Micro Cuts etc.- it has a feel of Citizen Erased. Mixing the charlatanism of Kabalarian Philosophy with overt operatics, the track is a blissful brain-melter. Our hero's vocals coo and wordlessly seduce; change course and set up the decibel entourage- one that attacks and pillages with blood-lust intent. With fairly few words, the emphasis is placed on the composition and setting. The notes and guitar slams paint the picture and project the images; intergalactic riffs and snaking contractions keep the song rampant and unerring. Backed by an army assault of smashing percussions- and rythmic-cum-Kim Deal bass work- the band summon a Molotov Cocktail of potency- one that grabs you by the lapel and drags you into its dungeon. Grunge majesty- that the likes of Smashing Pumpkins and Nirvana have solidified and synonymised- mixes with spectral Indie touches- the combination seduction dance is an unexpected and mesmerising treat. You can tell how much thought and consideration has been paid to the composition- and song as a whole. It does not lazily play and wander; the riffs and parables are delineated with a perfectionism that is hard to find; the emphasis is on mood and fervency- it is a delicious and salacious outpouring that enthralls and overthrows. Suitable for the Sunday night majesty of the festival circuit, it is the sort of song that could rouse thousands of fans into a delirious frenzy. Conflagration and disturbed robotics come into play; twisted and technological electronics give the song an eeriness and strange charm- after the smash-and-grab bait-and-switch; the song evolves into something more crepuscular and menacing. Subverting expectations, your despondent senses are left to try to redress the aural genocide- Wars of the Intergalactic Kind take no prisoners alive. As the conclusionary moments show yearning and lupine strings play, you catch hints of Pearl Jam and Radiohead- snatches of Ten and The Bends fuse in a riot of celebration and lust. Offering some updates and news flash, our hero looks at the emergency unfolding- his voice has a heaviness and breathiness (that shows appropriate fatigue and exhaustion). The skies are beckoning some killer intruders; the human race is looking up nervously- gotta defend our lives against the invading space warriors. Not done with his missive, our hero has got to "escape this Earth"; get away and find interplanetary consolation. Before we are all brought down, a plan needs to be formulated- you can feel the wrath growing hotter and heavier. With one final kick of the jams, the band offer a concise and tight swan-song- a brief Spoken Word presentation wraps things up and we are done. Following a 1-2 of songs- that have offered so much force, fascination and epic-ness- Heart of Gold provides chance for calm and reflection. Still absorbing the staggering sounds- that have come before- the ebullient and gorgeous burble of the intro. has romantic longing- a bargaining chip against the oppressive forces of rapture and intergalactic warfare. Sun-kissed and echoed vocals have a tranquility and headiness to them- our hero sound far-off and floating. Sounding like he is singing underwater (or inside a vacuum), the serenity and riparian flavours match Folk and Pink Floyd-esque Art-Rock sounds. Never straying from the reliable and tested avenues of space and otherworldliness, the band take their mind into softer and floating territory- the opening moments are a paragon of somnamubulistic luster. Just as you are bedding in for a dreamy sojourn, the composition elevates and ramps up- the same sort of tee-up that beckoned in Gigantic's Pixie dust assault. Our hero looks at his sweetheart; someone who wanted more- she has caused him some tribulation and discombobulation. Perhaps declarations are not pained and as wracked- as one might first assume. With her "heart of gold", the heroine is being given an appropriate amount of dedication and tribute- it seems here is someone who gives more than anyone else. The song's title is repeated like a manta: with an upbeat and urgent projection, you can hear the breeze and soulfulness in our hero's voice- he seems less closeted and scared than in previous numbers. As the percussion showcases some cymbal softness and (austere and authoritative measurements); the bass possesses melody, rhythm and heart- the guitar sounds trade wooziness and dexterity. Mingling Pink Floyd's most ethereal moments (of The Dark Side of the Moon and Wish You Were Here) you are powerless to resist their charm. After the calmed and restrained openings, the song burnishes and burns with fury- the guitars conduct their business with righteous vengeance. Of course, the song has its loins in romantic quarters- there is no repression or fury here. The swell and lust of the guitars does not scare or fend off- it catches you with its grace and power. Displaying an unending amount of urgency and grip, the band unite in one of their tightest performances. Backed by the band's heroine, the vocals are given an extra layer of beauty- as they combine to utter the song's central message. Juddering guitars and anthemic bursts crackles and swell with elliptical pride; the final moments leave a smile on your face- the song's brevity and insatiable passion leaves you wanting more. Into the second-half, Asymmetry has an ironic title- the song leads with the same pugnaciousness and intention as Rapture. Perfect counterparts and cultural attaches, the two possess the same drive and teeth- here proceedings are even more ramped-up and violent. The composition is a white-hot and lascivious thing- it swings its testicles with scant regard for ethics and refined desire. Pummeling and atmospheric, the mingling of Muse and Nirvana strokes is sprinkled into Play Record Erase's unique and cultured veneer. Calming and taking the volume down, our hero approaches the mic. Mystique and obliqueness see our man proclaim "We've been here before"- my initial impressions turned towards love and a broken bond. Maybe the lovers have been together before- and ended things- and the partnership is not quite as equal (as it should be). Maybe in two different spaces, the distinct lovers are playing things on different plains- the conviction and passion in the vocal performance is among the E.P.'s most gripping. Our hero declares he is caught on the outside; you get pictures percolating and spinning. Backed by a howling and fighting riff, our man is backed by our heroine- the two unite on the vocals to give the track a beautiful two-handed quality. Our frontman's mind seems weighted and pained; you can tell just how burdened he seems to be- the endlessly compelling performance does not overthrow this assumption. A sense of mystery and openness comes into effect; the lyrics have a quality that means they can be interpreted in different ways- each listener will have their own interpretation of events. Squalling guitars arrive to inject some Grunge fury; the burbling and thunder-storm vibrations give the song snap and crackle. When the words "Was it worth it?" are repeated- by both singers- you wonder what is being referred to. Maybe someone has been cheating and fooling around; being dishonest and disloyal- the amount of punch and underpinned anger (that is projected) makes you think things have come to a head. The voices blend with one another; that message keeps on being repeated- another thunderous burst arrives (as we see our players caught on the outside); your mind becomes a centrifuge of what-ifs and possibilities. As the track comes to an end, you wonder how things worked out- whether negotiations and common voice is arrived at; if things are too fractured and ill to recover and mend. It is great to hear Asymmetry (Acoustic) as it presents a different take on the track- a more reflective and acoustic-led gem. Funky and springing guitars levee the track in; the bass twangs and reverberates with intent. The lyrics and words have a little more clarity to them; the rush and passion of the composition- on the previous number- sometimes overpowered the intelligibility and focus of the vocals. In a soothed and less cluttered environment, you get a more direct and unfettered performance. The beauty of the vocals is very much present; the composition is less determined and overpowering- new contours and dimensions are revealed and uncovered. As entranced and committed to the vocals- and the messages- as you are, it is the strings that compel the mind; that jumping and plash sound is as catchy and committed (as anything else on the E.P.). Showing a more Jazz and Acoustic sound, the song reveals new depth. The 'original' is a spellbinding and unforgettable number- the fact the band decided to re-record it shows just how much the song resonates with them. Adding new light and energy into its story, the skiffling and itinerant composition keeps pressing. Our hero's voice is purer and more impassioned- refraining from the tendency to lift to the heavens with anger. Demonstrating how competent, assured and natural the band are in the live setting, the song has multiple distinctions: it gives fans a chance to hear what they would sound like in intimate venues; how adaptable they are as performers and composers; witness the nuances and depths of Asymmetry. Finger-picked notes and static strums nestle with beautiful and aching strings; the percussion beats like a heart- the community of notes provided is harmonious and deeply exhilarating. When that coda- "Was it worth it?"- is re-appropriated, the duo- of singers- give it a new skin and wardrobe; more romanticised (than spited) you are gripped by the tranquility and power that melt together. In addition to the tracklisting being spot-on and perfectly thought-out, the album's acoustic numbers- and final moments- are beautifully sequenced. The band do not allow a pause between the two acoustic numbers- the tracks flow into one another splendidly. Like Queens of the Stone Age did on Rated R; The Beatles did on Abbey Road (Side B), here the run-on leads to a constant energy and mobility. Showing they can present and elicit as much power and curiosity when wielding acoustic guitars- as an arsenal of electric ones- the Leeds band ensure the E.P. ends with a softer and more lullaby-inspired duo- after the hailstorm and biblical vengeance of the opening cuts. For We Are Old begins with a catchy and swooning introduction; there is Jazz and Folk elements- it sounds almost like a slowed-down version of the intro. to Just (by Radiohead). Perfectly priming the senses, the graceful and serene tenderness gets into your mind. The vocal here elongates words and stretches sentiments; rather than going for out-right urgency- here a different perspective is offered. Our hero is looking at a subject; seeing if they can see (him) on the other side; "the other side where there is no light." Falling in line and posing some tough questions, our man is breaking his neck- just looking around. There is some sly humour and wit instilled within the spiked heels of the song's core; that counterbalance of sharp and sweet makes you smile as well as reflect. Endlessly gripping and flowing, the strings are once more deliciously intriguing and assured. Advising his cohort- or perhaps himself too- to stay inside; it is the only way to say (if they're still alive). The vivid images and cinematic scenes flood into your brain; as the percussion and strings augment and swell, the song becomes more intense- ensuring its conclusion is as memorable as its beginnings. With an aching wordless vocal line- yearning and romantic- the leads combine in voice; beautifully sparring and making the shivers arrive. It would be great to hear the track expanded and presented (as a Asymmetry-esque number)- add symphonic aspects and layer it a bit. The band showed how great Asymmetry is- as a 'studio' cut- and how wonderful it could sound as a live cut. In that same sense, one could envisage the track earning new stripes and glory- were it afforded the chance to be treated and given its bilateral aspects (a chance to shine). Having witnessed six very different songs, you are desperate to hear more- the E.P. leaves the mouth watering. I can very well imagine For We Are Old making its way onto a future disc- as an all-out assault. So many possibilities and opportunities await the band; on the evidence of such an emphatic and endlessly fascinating E.P.- the future is very much theirs.

Usually when an album, E.P. or song has a particular score- a 9.0-9.5- I have a certain amount of things I can say; the paragraph is middle-lengthened. The fact that I have judged New Colour as a 9.7 means I have a lot to say- it is such an impressive work. Before I get down to highlighting the individual band members, it is worth applauding the E.P. in its own context. Able to cause nominal aphasia and stunned silence, it is one of the most immediate and stunning records of the year. Music is designed to heal the mind and inspire listeners. In a week where the world has witnessed tragedy- that has affected everyone- we are need some comfort and assurance. That feeling of loss and tragedy will eventually dissipate; what it leaves behind (and how it affects people) will not- our minds and collective souls desire something redemptive and nourishing. If records like New Colour arrive regularly, then there is little chance for sadness or too much reflection. Being gripped from the very infant moments, the E.P. surprised and shocked me. I was not expecting something so immediate and mesmeric (from such a new band)- only releases by Allusondrugs, Reverend Moon and Little Sparrow have surpassed it all year. I know how hard the quartet have worked on the songs; how proud they are- and rightfully so. The sequencing and production is splendid. When the numbers are harder and heavier, the production is polished (but fairly lo-fi)- it allows the tracks a chance to pervade and shine. Imagining it has been co-helmed by Gil Norton and Nigel Godrich, it fuses the best elements of Pixies and Radiohead- the combinative atmospherics and cinematic sounds. When the acoustic numbers arrive, nothing is buried and burnished- the notes are crisp and clear. Reminding me of Jeff Buckley's Live at Sin-e album- recorded in 1993- there is an intimacy and closeness that draws the listener in. Many would imagine those disparate sounds are not conducive with harmony- how wrong you would b!. If the acoustic numbers had been placed between Rapture and Wars of the Intergalactic Kind, then the E.P. would have suffered- the pace and urgency would have been uncoupled and disturbed. The heavier and harder numbers arrive in the first half- the second half is more reflective and acoustic-led. It means the mind is bursting and hypnotised at the start; by the middle the soul is inflamed and nourished; the last two tracks grant fulfillment and light to the heart- such is the emotional considerations, you cannot help but be besotted by the E.P. It has plenty of nuance and repeatability- tracks will reveal new elements on future spins. Perfect for the darker and colder days -as the summer nights- there is a huge mix of sounds and genres. The eccentric and unheard-of genius of Wars' will appeal to those who yearn for Muse's halcyon days- when they galvanised their brilliance and seemed unstoppable. This track is probably one of the most distinct and memorable I have heard this year; Rapture has a similar brilliance and hard-hitting attitude- drawing in Grunge heroes like Nirvana and Smashing Pumpkins; a smattering of Radiohead and Muse. Most bands- who are experts at anthemic jams- are less effective when calmed and romantic- the likes of Arcane Roots and Foo Fighters come to mind. Play Record Erase have more in common with Nirvana and Pixies. On albums like Nevermind- with Polly- and Doolittle; you get some reflective moments of beauty- passion and Pop moments take your breath. The Leeds band's soliloquies of grace and wit are just as splendid and rich as their fire-fueled wig-outs. Not only does this make their debut such a huge treasure- it bodes well for the future. Showing they're as authoritative when in acoustic realms- as in the throes of wild warfare promise- the band are adept at mixing genres and sounds into a complete whole. Being a tight and focused E.P., the quartet not only spread their wings- at six tracks it has more tracks than most E.P.s- but remain concise and teasing- no song lingers too long and stretches needlessly. In addition to some masterful producing, programming and mixing- it is the band performances that make the music so alive. Lyrics mix themes of apocalypse and alien invasion- kooky and intergalactic themes that few bands tend to tread. Do not think that we have a Muse-worshiping copycat band here- our heroes nod their head coolly and simply provide their own take on space and war. Able to convincingly compel when speaking of love and reflection, the band show just how much of a range they have- never dropping a step whatever they are documenting. This motility and multifariousness spills into compositional avenues- even more so! Kudos much firstly be levied towards Ben Holbrook. The singer and rhythm guitarist injects so much light and power into the sextet of songs. His vocals never succumb to the histrionics and screeching of Matt Bellamy. Composed and emotive, Holbrook has a distinct and unique set of pipes that means he is a master of overt emotion and dread- as he is when introspective and romantic. Few singers sound at home when they allow themselves such a wide breadth. On songs like Rapture and Wars' you get a bona fide leader and corporal- someone who unleashes so much atmosphere and desire. Making sure the listener believes every word- some get pretty out-there and surreal- that is no mean feat; he is able to do it with an apparent ease. Towards the E.P.s final moments- combining with his female cohort- you get a side of beauty and tenderness. Allowing his emotional and touching side to come out, you get the full picture of the young singer. When letting his guitar pervade and hunt, he unleashes a huge amount of stun and ability. Providing perfect support to the lead guitar, so much rhythm, direction and story is offered. Holbrook shows just what a multi-talented player he is; able to elicit so many different sounds and sensations. When it comes to talented, Rachael Koszalinski is certainly on an equal footing. Her vocals add so much beauty and passion to certain moments. Sorry to hark on about Pixies, but the way Kim Deal augments and enlivens songs- listen to their back-catalogue and find out why Pixies suck so much now- Koszalinksi is an essential vocal force- on the acoustic numbers he contributions are sweet and endlessly impressive. Combining naturally and seamlessly with Holbrook, the two make an incredible duo- I hope they blend voices (more) on future discs. As a guitarist she is in a league of her own. In a music scene that is still male-dominated- especially bands- our heroine shows she is as good as her male colleagues. Being a fan of guitarists- in new music- like Carmen Vandenberg, Koszalinski is a valuable asset (to the band)- I can think of few other axe-grinders that have such an ability. The guitar-wielding wonder manages to draw in a host of other names. When intergalactic and robotic, I catch elements of Jonny Greenwood and his OK Computer period- listen to the twisted and distorted moments on Paranoid Android and Subterranean Homesick Alien for a start- and you can hear bits of Koszalinski. She is capable of evoking images of alien conversation and starship warp-drive; robot war plans and starlight fire- in addition to more grounded and common forces. Swaggering, spitting, sexual and gritty; she has the power of a Grunge band leader; plenty of melody, rhythm and Pop-influenced sounds come out- her kaleidoscopic abilities come to fruition throughout New Colour. By no means second in nature is Alex Taylor. The bass bad-ass manages to shift and snake with effortless acclaim; shimmering and driving, he is the backbone of the band. Providing guidance and leadership, his bass makes each song crackle and spark. When we hear acoustic numbers, it is that bass which sticks in the mind- capable of bubbling and skipping with Jazz-like cool; stinging like a suburban viper; few others match his skills and prowess. Able to unleash reverie and delirium, you can always hear Taylor working away- inspired by the likes of Chris Wolstenholme (of Muse), Colin Greenwood (of Radiohead) and D'arcy Wretzky (Smashing Pumpkins), you hear a possible future match. If you listen to the stunning bass work of The National Anthem (from Kid A) and Hysteria (on Absolution) then you can hear they had an effect on Taylor. Elements of Flea's best work- his performance on Coffee Shop- come out; able to be stunning and hypnotic in the harder and rampant moments- Taylor is equally assured when adding sensual swoon and tongue-licking passion. Completing the quartet is the sticks guardian, Joey Heaton. Having been in contact with him- the band's conduit for reviews and publicity- I have been taken aback by his passion and protectiveness. You know how much the songs mean to him (and the band) and what an effort has been put in- his performances are universally potent and memorable. Especially impressive on the E.P.'s first two tracks, Heaton does not merely smash and pummel with a dead-eyed gaze- he has a talent and a sense of ambition few others possess. Capable of summoning the bare-chested power of the Grohls and Pearts of the music word- he has an ear for melody, composure and nuance. Infusing some tricky and eye-catching fills into particular moments; changing speed and course during tracks- his thoughts are always committed (to ensuring a track is) as fascinating and gripping as possible. Propelling the band and presenting his full potential; it does cause recumbent sweat. The entire band play with such a kinship and understanding- with the confidence and togetherness of a group with ten times their experience. Each song is so tight and incredible; it is a shock these four mates have been jamming for so short a time- their confidence and talents will grow as the years go by. It means you should keep your eyes focused on the Leeds quartet; a group that have a huge future- grab their E.P. as soon as it comes out. In a week that has seen one of the world's legendary humans fall- to a horrible and lonely disease- I have been looking around for balm and reassurance; something that tells me everything will be okay- music is providing a maternal shoulder and means of distraction. Hunting around new music, you will find few acts that have such an effect- as Play Record Erase. If you are in need of lift, surprise- and songs that rouse the spirits and contort the imagination- ensure you make a date to snap up New Colour.

Still under wraps and sub rosa; the boys (and girl) of Play Record Erase are excited to unveil their debut E.P. New Colour- it is an entrancing and solid record that demands close investigation. Having formed a matter of months ago, it has been impressive how much ground (the band has covered) in such a short time. Formed from solid foundations- a shared appreciation of music and one another- that sense of unity and tightness is evident in every song. Drawing in elements of Muse, Radiohead and Pixies what you get is a fascinating and nuanced collection of tracks- signalling pure intent and heady ambition. The quartet have a lot more to do and say; you can imagine many more albums and E.P.s arriving from them- their debut signs are incredibly encouraging and prosperous. It is always terrific to see bands come through in general; so much variation and intrigue is proffered by new music's finest- whatever style and genre floats your boat; there is something for you. With that level of competition being so high, the survival and mortality rates tend to be low. You can always tell when a band are going to fail: it may be a few years down the line; the first impressions hint at imminent entropy and decay. Those that stick in the imagination; offer something different and resonate hard- Play Record Erase are a band with a solid and defined sound. When emailing the band- particular drummer Joey Heaton- you get a sense of how much music means to them. So much work and effort has been expended when putting New Colour together- it has been a hard to get where they have; a lot of sweat and blood has poured out. It is the passion and heart that you can hear in the music- which makes their E.P. such a treat. Were the results patchy and hit-and-miss, you would feel for them- the fact they are resounding and emphatic should ease a burden from them. The band have some work to do in the future (and will look to evolve and galvanise their sound)- there is ample evidence to suggest they will go onto to do some incredible things. Just looking at some of my review subjects- like Crystal Seagulls and The Bedroom Hour- tells you all you need to know. Two bands with a similar bond and unity have managed to make some serious impressions and movements- festival dates and huge gigs. It is not luck or privilege- that has ensured this occurs- it is the quality of the music and the determination that has earned them rewards. Play Record Erase are among the hungriest and most passionate bands about- there is no logical reason to suggest they will not ascend to the same creative plains. I am sure the Leeds quartet are going to want to keep their feet planted- remain realistic- and focus on the coming months. It is clear the New Colour E.P. will gain a lot of support and acclaim- you are compelled and hooked after the first 30 seconds. What left is there to say? Well... it is great to see the university friends commingle with such a naturalness and intuitive flair- it as though they were designed to make music together. Leeds has produced another gem; it is seriously marking itself out as one of the world's hotbeds for new music- I am loathed to formulate reasons behind this; they just have a knack for producing fine musicians. Before I conclude, I want to raise a final point: that concerns the British music scene. As I look out at artists La Roux and FKA twigs- they are just a small snapshot of what the country is producing. Both bold and arresting female talents, their music surveys love, broken relations and personal testaments- the sheer force and urgency they offer has been seducing critics and intoxicating listeners. Our bands are producing pretty spectacular results. Of course, not all animals were created equally: there are plenty of bum-note bands that are there to fill the gaps- the ones that linger in the mind are showing just what Britain is capable of. So much interesting and diverse music is being offered- by new musicians- that means the next year is going to be interesting indeed. With the Yorkshire mafia supporting its artists; making sure they get their rightful acclaim- it is hard to imagine Play Record Erase having a quiet 2015. New Colour bristles with imagination and potency; that fusion of styles and sounds- all topped off with a thick crust of conviction and passion. Make sure you snap the E.P. up- in a couple of weeks- take time to absorb the work of one of Leeds' new wonders; a band that are keen to make some rather large footsteps- it looks like they could very well make that happen. Being depressed by the large swathes of manufactured and bubble wrap bands coming out, I always yearn to find something genuine and authentic- a group that understand the importance of a real sound and a real friendship. Do what you can to support Play Record Erase; share their music and messages (when the E.P. is released) and watch them very closely. Here is a four-piece that want to seduce and recruit (as many supporters to their cause as is possible). Make sure you do one thing...

PUT it near the top of your 'to-do' list.

https://soundcloud.com/playrecorderase/basement-session

About the Author:

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

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Follow Play Record Erase:

Official:

http://www.playrecorderase.com/home.html

Facebook:

https://www.facebook.com/PlayRecordErase

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ReverbNation:

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Google+:

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Play Record Erase's videos available via:

https://www.youtube.com/channel/UCySCtZ0YguVABT26fQqMSHA

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Play Record Erase music can be found at:

https://soundcloud.com/playrecorderase

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For all tour dates/gigs:

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

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 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

Twitter:

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SoundCloud:

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Instagram:

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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 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:

Facebook:

https://www.facebook.com/BlackLadySoul

Twitter:

https://twitter.com/BlackLadySoul

BandCamp:

http://blackladysoul.bandcamp.com/

YouTube:

https://www.youtube.com/channel/UCh21NAI9Xk9FvUw23w-O-EA

SoundCloud:

https://soundcloud.com/blackladysoul

ReverbNation:

http://www.reverbnation.com/show/11737858

Last F.M.:

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

Black Lady Soul merchandise available via:

http://blackladysoul.bandcamp.com/merch/black-lady-soul-t-shirt

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Black Lady Soul's music can be heard here:

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

____________________________________________________

About the Author:

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

Track Review: Royal Tusk- Shadow of Love

TRACK REVIEW:

Royal Tusk

Shadow of Love

9.4/10.0

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"

　

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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

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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

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RKZ's music is available to stream at:

http://rkzuk.bandcamp.com/

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Events and gig dates available via:

http://rkzuk.com/

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RKZ's video can be viewed here:

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

[polldaddy poll=8218309]

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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 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

About the Author:

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

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Track Review: The Tallest Tree- Boat

TRACK REVIEW:

The Tallest Tree

　

Boat

9.5/10.0

　

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

9.6/10.0

　

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/

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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/

　

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Braver than Fiction's music can be heard here:

http://braverthanfiction.bandcamp.com/

　

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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.

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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