Track Review: Los & The Deadlines- Feel At Ease

TRACK REVIEW:

Los & The Deadlines

 

Feel At Ease

9.6/10.0

Feel At Ease is available at:

http://losandthedeadlines.bandcamp.com/

RELEASED: 17th April, 2015

GENRES: Rock, Alternative, Desert-Rock

COUNTRY OF ORIGIN:

U.K.

Lyrics by: Alex Losardo Music by: Los and the Deadlines

Recorded and Mixed by: Tobin Jones at The Park Studios  Produced by: Tobin Jones and Los and the Deadlines Mastered by: Phil Joannides

IT is good to be back on familiar turf…

and focus on a band (I have reviewed a few times now).  In 2013 (and last year) I was lucky enough to hear some new Los’ material- get a glimpse into their current mindset.  Every time I came away (from reviewing the lads) I was left with the same sensation: how different they are.  In terms of composition, the band is truly diverse- its members are sourced from various parts of the globe.  In a music scene that promotes homogenisation- how many bands have men AND women; different nationalities and races together?- it is great to have Los & The Deadlines add some diversity- this multicultural approach feeds into their (glistening) music.  I have a good point to raise (well, a POINT) at least, but for the moment, let me give you a short introduction (on the band):

Members: Alex LoSardo - lead vocals, guitar Niels Bakx - guitar and backing vocals Rotem Haguel - bass and backing vocals Alberto Voglino - drums and backing vocals

"The seedy underbelly of any major city spawns some of the most depraved and morally reprehensible bastards that even the dregs of civilization look down upon. These cretins walk amongst us, they ask you for money, they serve you drinks, they file your taxes, and in this case; they formed a band. In the their new EP, “Perfect Holiday”, the Deadlines have not only made the depiction of absurdities in modern-day’s western society their craft; they made it their mission. With their tongue-in-cheek lyrics, thrashing riffs and thumping rhythms, Los and the Deadlines are a prophet’s voice in a decaying civilisation. Much like the city that they hail from, the Deadlines are the establishment of anti-establishment. They make sound. They make noise."

This snapshot into the band makes me smile.  It may sound overblown and tongue-in-cheek- when phrases like “prophet’s voice in a decaying civilization” are expounded- yet there is some truth here: the band is a departure from their peers; they are an original and unique force- a group that makes sounds unlike any other.  With fellow acts- that I have reviewed- such as Bi:Lingual and Allusondrugs rocking the (new music) scene, there is a scarcity of genuine bands- those that make REAL sounds.  Yesterday, I reviewed Goldbirds- a new band who promise much- and was left relieved: another great band to get my teeth into.  London is a city coming back to the fore: a capital that has not always been over-stocked with terrific music.  Historically- when it comes to my reviews- the north has always provided (the finest acts) - the most diversity and most stunning flavours.  Perhaps (still) less homogenised than London, there is a revival occurring: the capital’s finest are starting to make their voices heard.  The mainstream has few impressive new bands- the likes of Drenge and Royal Blood (that name again) are few and far between.  I love softer sounds: Pop-infused electronics; soulful power; stunning hybrid music- there is not enough to lodge in the imagination.  New music provides the best chance (for future prosperity) and bands like Los & The Deadlines are in with a shout: a group with a festival-ready sound; a work ethic that feeds into every note and line (they perform).  A lot of acts get scared by the music scene: feel the need to rush material out; release anything fearing they will be ignored (if they are not overly-prolific).  Los & The Deadlines are less concerned: they have a style that is going to capture ears; they put time (and effort into their music) to ensure it is as good as possible- a trait that will set them up well for the future.  Knowing the band- and Niels Bakxs in particular- the lads are excited about (the coming year): just what is in store for their crew.  After their E.P. release- Part One: Bank was unveiled last year- they are preparing another (E.P.): something I am looking forward to.  After launching their new website (link is at the bottom of this review) they are priming themselves for new gigs: getting their music to fresh faces; making sure they recruit new followers- and thrilling London as much as they can.

 

Los & The Deadlines’ new track has elements of their past work: they have kept their core intact; their subject matter has changed.  Part One’ was released last year (in January) and looked at a range of subjects: banking; caffeine addiction; vanities and social media posturing among them.  Representing the voice of the office drone; the man stuck in the queue- or as the band explained: “…the shriveled homunculus of every Tom, Dick, and Harry standing in the musty queue under those ugly fluorescent lights that fry your nerve endings.”  The group tapped into modern malaise: channeled the frustrations of the everyday man; the nerve-shredding misery of life.  Not all bluster and force, the band produced melody and range: Reggae strands mingled with Grunge; hypnotic jams and rampant percussion was on display- a quintet of tracks designed to resonate.  Impressively cohesive and focused, the band displayed their close bond and tight-knit playing: each member is perfectly in-step and on board; the songs sound well-rehearsed (and a little loose) - a concoction that leaves you coming back for more.  London is a beautiful city, yet repressible humans reside: the faceless banker; the vain poseur; the ugly-minded businessman- their debut E.P. lacerated each of them; tore through the disreputable kin- sprinkled around magical sounds and myriad ideas.  Always strong songwriters, Feel At Ease is not a huge step forward: they have improved; they have always been hot and hard (out of the gate).  Forming the first taste (of their forthcoming E.P.) one presumes we have a Part Two’ approaching- the second part (of a trilogy?), which will explore new themes- faded dreams and creative frustration are at the forefront of Feel At Ease.  It will be great to see (what the new E.P. provides) but I suspect there will be new inspiration: the sound will be (as we expect from Los’) with some new stories on offer- fresh faces and new subjects being dissected.

For those looking for ‘sound-alike’ bands- for a start you’ll be struggling- then there are some jumping-off points- the likes of The Mars Volta and Queens of the Stone Age among them.  Like The Mars Volta, Los & The Deadlines inject psychedelic progressions and head-spinning noodling; gripping vocals and unpredictable compositions- that keep the listener guessing and on edge.  The Mars Volta- in most of their songs- are quite oblique and byzantine- their lyrics are open to interpretation.  Los & The Deadlines are more direct and decipherable- they like to get their message heard and understood from the off.  Queens of the Stone Age (one of my all-time favourite bands) give Desert-Rock grit and exceptional force- a band that is impossible to ignore.  Like Homme’s crew, Los’ have a terrific ear (for classic Rock sounds) - channeling the Californians (with flavours of Led Zeppelin).  The London-based band employ hints of others, whilst maintaining a distinct sound (very much of their own devising) - one of the most original groups on the current scene.

Feel At Ease springs straight into life- many of Los’ hallmarks come to the fore.  Building off a twisted and contorted few seconds, the mood starts to temporise.  Putting me in mind of early-career Nirvana, a bouncing (and springing) bass line replaces (the scrambled fury) - taking the listener in another direction.  Hypnotic and pulsating, you get sucked into the song- the band does not throw heavy vocals straight in; the Spoken Word-style opening is a terrific decision.  Dripping with sarcasm and tongue-in-cheek (although perhaps the song’s hero is being genuine) the idea of dream-seeking is explored.  The opening lines make me smile and reflect: “I've got an idea to make some money on the side. It shouldn't be too much work/Just an hour or 2 here and there. It'll give me plenty of down time.”  There is that tangible sense of debt and hardship: the song’s focal point is looking for some extra cash; a way to get out of debt- a friend of a friend (of a wheeler dealer-type figure).  The vocal delivery is wonderfully evocative: filled with character and urgency, you really root (for the hero) - the band back him with some chugging and marching sonics.  Like the intro. - and its shifting skin and style- the band notch up another gear: the vocal changes; the heaviness comes in- that sense of drama and unpredictability (is what makes the band so special).  In the early stages, there is a sense of mystery and mystique: what is this “dream” that is being touted?  Our hero is trying to live his dream; make a break and get to safety- is he referring to a music dream; the chance to be in the black (or something more sinister?).  At its roots, the song (and the band themselves) are looking out at society: the need to get a quick fix; reap finance and success- with the slightest of efforts.  In my mind, I think of the work shy and talent show contestants: people who want hand-outs and instant fame (without doing any work).  Feel At Ease’s (anti-) hero wants to dig himself out (of the hole he is in) - clear his debt.  The band have a devilish way of keeping the momentum going: the song builds and slows; it goes through stages- there is a real episodic and developing storyline.  Like a mini film (or drama) playing out, the track never loses its smile.  Backed by an incredible tight performance- the percussion sniggers and hisses; the bass twangs and contorts; the guitars steamroll and stutter- our man is back on the microphone.  Letting his distinct voice- which made me think of a 1940s film icon like James Stewart- the woe is not over.  In addition (to needing some money) life is getting more stressful- things are taking a turn for the worse.  His contact is strangely out of reach- “Does he have a new number?”- and the tension is rising: the subject is getting more frantic and bereft.  Whether speaking of a business plan- or a music-based pitch- the desperation comes out.  Determined to reach (the mystery figure) all sort of ideas are expounded- including getting a part-time job (to be near the man); do anything it takes.  Accepting reality, it seems a Plan-B is needed: a shot of sanity no less.  I love the duel layers on display: the vocal is quirky and charming; gripping and distinct- you always root for this underdog.  The band propel the lyrics with some wonderfully-realised performances: keeping tight and underplayed, the boys make sure there is always tension bubbling.  By the 1:35 mark, a crescendo is unleashed: the chorus swings back in; it seems more electrifying and wonderful the second time around.  When out lead takes a step back, it not only gives the music a chance to shine- it provides a chance to breathe too.  Swaggering guitars fuse with guiding bass; the percussion crackles and robes- it is a wonderful parable.  Throwing in some fuzzy (and scintillating) solos, the boys are clearly in their element: the confidence that comes through is hard to dismiss.  Perhaps their most assured song, there is a great sense of fun and purpose: the boys clearly had a ball recording the track.  Some Jack White-esque histrionics melt alongside some wordless vocals: the chorusing becomes augmented and domineering- before that chant-able chorus swings in.  As the final moments are elicited, the boys unite in voice: the song’s title becomes a desperation cry; that need to feel less stressed and anxious- the chance to return to a normal life.

Kudos goes to the entire band- it is very much a group performance.  The lyrics are filled with drama, wit and real-life reflection: we all know of someone who (is similar to the song’s hero).  Like all Los & The Deadlines songs, there is honesty and modern life snapshots in focus: songs that the listener can connect with in a very real way.  Presenting another twisting and stunning composition, Feel At Ease gains merit on many fronts.  LaSardo is a terrific singer- and someone who always impresses me- who shows his range here.  When the lyrics are spoken (or half-paced) he pronounces and projects with a real feel for the subject- the words are not lazily slung; they are perfectly acted and annunciated.  When things get hot and heavy, his voice is sharp and feral- you get a real sense of pain and anxiety (exactly what the band want to happen).  As a guitarist, he bonds supremely with his bandmate (Niels Bakx).  The duo share vocals- Bakx is on backing vocals- and guitar duties: they have a real understanding of each other; their byplay and linking is superb.  Not overthrowing the other, their twin fret work is exhilarating and tight.  Bakx has always impressed me (with his guitar work) and here he comes into his own- at times (when he steps into the spotlight) you can hear his progression.  In addition to working with other artists- including The Glass Child- he has had chance to increase his scope; grow in confidence and ability.  One thing I forget to mention was (that the band) has a new recruit- Rotem Haguel is on board.  When Soundgarden changed their rotation (around the time of Badmotorfinger) their new ally (bassist Ben Shepard) instantly gelled.  Not only joining with songwriting duties, he slotted effortlessly with the band.  Haguel sounds like an old mate and player: someone who was with the band from the embryonic moments.  This is a good thing, as it makes Feel At Ease that much stronger- a weaker musician may have slowed and dismissed the track.  Providfing some stunning bass work- that has elements of Krist Novoselic, Chris Wolstenholme and Flea- that provides oodles of melody, rhythm, sexuality, tension (and hypnotisation).  Voglino almost steals the show with his drumming: at once snake-like and viper-like; the next it becomes raptured and flailing.  Never unfocused or wandering, he guides and supports the band- keeping the song on the tracks and looking forward.  Powerful and skillful, the percussionist shows what a force he is; one of the key weapons in the band’s arsenal.  Overall, the band throws their all into their track- the result is another triumphant song.  This bodes VERY well (with regards their new E.P.).

The future is going to be bright (for Los & The Deadlines).  On April 29^th, the band plays Lock 17 Camden: a change to premiere their new single.  After that, there will be the E.P.: what it (will sound like) is anyone’s guess.  What I can be sure of is the boys’ plight: the next year will see them grow in stature; accrue more fans; become bigger and better.  Filled with confidence, assuredness and direction, the band is on fire: they have a new website; new visuals and promotional shots; fresh gigs on the horizon.  With their brother Crystal Seagulls- another band I have reviewed a few times- they are taking London by the testicles: showing how good music can be.  Feel At Ease is a tongue-teasing statement from a group in fine form: a group of lads who have a wide array of concerns; never content to stick with the samey subjects of their peers (my-heart-is-broken-poor me; vague and generic love songs).  I cannot wait for the new E.P.: it will be a chance to see what Los & The Deadlines have on their mind; what is enforcing their (current sounds) - the new single is a tempting and stunning slice.  The band impress in a number of different ways.  As ‘people’ (personalities) they embrace their fans: they are everymen who represent the voices of the majority- and have a fun-loving and cheeky joie de vire.  As much as anything, the guys know how to distinguish themselves: their music is not formulaic and processed; they have a sense of innovation you cannot fault.  It is good to be back (reviewing Los & The Deadlines) as they always deliver- offer something exciting and memorable.  As I said, the future will be a bright one: it can only be a matter of time until they are promoted to the big-time leagues- and win a headliner slot at a big festival.  After the finger nail-shredding tension (of yesterday’s F.A. Cup semi-final), I was in need of something calmer and secure: whilst the boys do not do calm, they certainly do secure.  Not in a boring and timid way: rather, they produce songs that alienate nobody; give you a glimpse into modern Britain- and reflect the voices of the many (and not just the few).  Couple this with some terrific sounds and captivating vocals, and you know what they are about: a group that shine in every department.  Feel At Ease- and its ironic title- is a teaser for what is ahead: another (I would presume) stunning E.P.; another step forward for Los’- make sure you check the band out.  As I venture into the Sunday sun (when the sodding thing comes out) I feel strangely ill at ease: the band has a great way of uncovering (a person’s deep-hidden insecurities).  That is the mark of a great act: when you force the listener to change their ways; thinking about their own lives…

THAT is always a good thing.

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________________________________________________________________________________

Follow Los & The Deadlines:

 

Official:

http://www.losandthedeadlines.com/

Facebook:

https://www.facebook.com/losandthedeadlines

Twitter:

https://twitter.com/losdeadlines

Instagram:

https://instagram.com/losdeadlines/

_________________________________________________________________________

Music:

https://soundcloud.com/losandthedeadlines

 

_____________________________________________________________________________

Videos:

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

 _____________________________________________________________________________

Gigs:

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

An Apology: On Behalf of My Gender

An Apology: On Behalf of My Gender.

THIS one will be short and to the point…

Something has been annoying me recently: the potent toxicity of social media (and the Internet).  After hearing Sue Perkins- who has left Twitter as a result- experiencing such a tirade of abuse (when it was speculated she would take the reins of Jeremy Clarkson’s now-vacated seat on Top Gear).  The whole incident left me feeling shocked and sickened (read about it: http://www.theguardian.com/media/2015/apr/14/sue-perkins-twitter-top-gear-jeremy-clarkson)

One thing I hate about social media/the Internet- there aren’t too many of them- is the amount of hatred and bile (being spewed in all sorts of directions).  It all makes me ashamed of my gender: this issue is a male-dominated ill; something ‘us men’ are culpable of- and should be ashamed of.  It is true, women (and especially teenage girls) can be vindictive and hateful- just hear stories of online bullying to get a sense of how bad it can get.  When it comes to the majority of Internet-based hatred: it is the male race that is causing a black shadow.  I look at YouTube- various songs and comedy clips- and my jaw drops: the sort of homophobic/racist/offensive comments left- and exchanged between male users- beggars belief.  What has happened to people?  It seems to be an issue with my generation: what compels a person to drag their knuckles (so low); how could a so-called ‘human’ descend to animal-like behavior?  I feel sorry for Sue Perkins: not only (was the news of her presenting Top Gear) fabricated: she has not risen to the bait (dangled by my knuckle-dragging gender-mates).  If she had murdered whores of people; vomited racist abuse- you could understand the reaction.  She is not Nick Griffin; she is not a murderer; she is not a brainless monster: she is a charming (and talented) woman who does not deserve an iota of criticism.  The fact she has dealt with the issue with such dignity- and not gone on the offensive- shows ounces of class and respect: she is a Cambridge-educated woman and is far too smart to associate herself (with the jizz stains excuses for humans who perpetrated such poison).

Away from (the Sue Perkins incident) there is plenty to feel bad about: the amount of abuse, sexism and offensiveness (created my men) has left me feeling cold.  I understand there are some rather unpleasant women in the world- and when it comes to mealy-mouthed savagery, they are not blameless- yet there are in the minority.  I am an advocate and supporter of equal rights (when it comes to women and pay; their role in society) and I feel sorry for them: with (I must say, the minority) of men showing themselves to be cowardly scum, what hope do they have?  I am getting fed up with things: so many men creating such hatred and offense; abuse levelled at good and honest people.

Take social media out of the equation, and thing about other issues: animal cruelty and torture; religious prejudice and segregation- murder and hate crimes.  There is an undeniable sense of (ill-begotten) superiority: many men feel they are above the law; more still have little conscience and moral standing. Even small things highlight the plight: charity and goodwill seems to be waning (the most caring and charitable people I know are women).  I am not sure what can be done- with regards curing this issue.  With regards social media: we need to ban (offenders) and make genuine arrests (when hatred is created and threats are made).

There are plenty of good, decent men out there: I am concerned about the state of my generation.   We are supposed to be human beings, yet there seems to be a severe lack of humanity: what do the likes of Sue Perkins feel (when seeing threats and abuse on their twitter feed?).  Something needs to be done; the law needs to get tougher- above all, my gender needs to get its act together.  Those who feel justified- in trolling throughout the Internet; creating racial and sexiest abuse- deserve no place (in the modern world) - and should be swiftly punished.  It is a sad state we live in: with such inequality- when it comes to gender and race- I wonder about the state of things.  The minority (of the population) are leaving some black marks: the majority (of the offenders) are men.

Cases of trolling just make me angry and red-faced: I feel such sympathy towards those (that are on the receiving end).  Guess this is something I needed to get off of my chest: I am not sure if there is a (quick) answer at all.  I am speaking to a very small number (of men) when I write this; and to them I would offer this: get your act together and get yourself out of society.  There is no place (in the modern world) for the racist, sexiest, homophobic, offensive and degraded humans- lock yourself in a dark room and do not associate with others.  To the animal abuses- who are mostly male- the killers and kidnappers; those who belittle and abuse women: go castrate yourself and wait for death.  There is too much hate and awfulness in the world: the male-led disgrace is making this world a more retched and disgraceful place.  I can (on behalf of those who are incapable of doing so) apologise: I am sure the likes of Sue Perkins are not going to be one-offs.  With that in mind, it makes me think the same thing…

WHY is it women who should be fighting for equality (when we set such a disgraceful example)?

Track Review: Goldbirds- Silver & Gold

TRACK REVIEW:

Goldbirds

Silver & Gold

9.5/10.0

Silver & Gold is available at:

https://soundcloud.com/goldbirdsband

RELEASED:

4th May

GENRES: Rock and Roll, Blues-Rock

COUNTRY OF ORIGIN:

U.K.

IT has been a while since I have been genuinely…

excited (about a weekend’s reviewing activity).  The past few months have promised much (from the mainstream): the likes of Blur are back strong (their album The Magic Whip is gaining huge praise); bands such as Drenge (having produced a terrific L.P.) are earning kudos- it is a great spring of music.  In the new music field, there is quality to be found-   In addition to Electro.-Pop dreaminess, I have been lucky enough to review to varied (and stunning sounds)- that have left their impressions.  At the back of my mind has been this thought: where has all the (inventive Rock music) gone?  Sure, there are so interesting Rock bands out there- to my mind, few are genuinely innovative and distinct.  My featured act has restored some balance and optimism: here is an act that has stamped-out a glistening debut single.  I shall come to that in time, yet it brings up an interesting point: how to be unique when it comes to modern music.  With so much competition coming through (the new musician) has a task ahead of them: how to resonate in the mind.  Cementing your sound- and keeping the momentum going- is always a tough chore: many acts capitulated; deflated by the weight of expectation/pressure.  Goldbirds are an act (born from the ashes of another).  Having reviewed El Born (previously), I am familiar with Hils Granger and Si Connelly.  Their previous incarnation was a great act; having produced some terrific songs the band was disassembled- the couple (feeling they) should regroup (and re-launch).  After following El Born- and their wonderful sounds- I was curious what was coming next- how Goldbirds would differ; whether any (of El Bon’s) sound would be in there.  Having recruited Mike Brazier (on percussion; programming) and Earl Phillips (bass and vocals), we have a new creation- a “straight up Rock & Roll band.”  What we get (with their debut single) is something elementary and pure: a direct hit of Rock; something instant and long-lasting (whilst not compromising originality and personality).  Their social media pages are a little bare at the moment- they give little about their influences and thoughts/ambitions- but that only adds to the excitement and mystique- the group wants their songs to do the talking (shouting).  Before I get down to things (and review the song/band), it is worth thinking about this: the state of U.K. (new) music.  Most of my recent reviews have (focused upon) Canadian acts- and all they have to offer.  When it comes to homegrown sounds, I am seeing some patchiness: there are fantastic acts coming through; many more fail to linger (in the imagination).  What British musicians have always done so well is to make direct music: sounds free from tinsel; those which get straight down to things.  Goldbirds are an act that do not need effects and layers; they have a style that is urgent and classic- mixing together classic ‘60s-‘70s Rock sounds with modern-day Rock passion.  With the likes of Royal Blood making waves, it is a great time (for acts like Goldbirds).  The band mix melodic vocals with swirling sounds: catchiness and addictive codas nestle within stomping percussion (flaming guitar and solid bass work).  The may be in their sapling stages; it seems the act has plenty to offer- who knows what the coming few months will give?

Beginning with a stomping kick- that has some Country-Rock-cum-Blues swagger- Silver & Gold swings into view.  With its hell-yeah attitude, you are instantly gripped.  With that (indelible and kick-ass intro.) gaining momentum- the types modern paramours Royal Blood would snatch up- a clarion call (“Yeah yeah!”) is injected- a titanium call to the masses.  Lascivious slink- tied with some come-get-some high heel stomp- beckons in some sweaty (and blood).  With the hero at the microphone, there is talk of lipstick and sensuality: some direct intentions and the need (for the heroine) to “shake it.”  There is a real scenic nature to the lyrics: you can picture (the heroine) and story as it goes down.  With a raw and blood-lusting vocal, the track gets straight into your brain.  Backed by guiding bass and rollicking drums, Silver & Gold shoots to kill.  In spite of the fact- the song has aspects of ‘70s Blues-Rock and U.S. Garage-Rock acts- there’s a huge sense of individuality- it is hard to bring any other acts/songs to mind.  With Connelly about to explode (with lust and anticipation), you can feel the shiver and sweat- it drips from the speakers.  His girl is an intoxicating prospect; she is dressed to impress; capable of turning heads- you can sense an imminent coming-together.  Granger plays the role of a femme fatale: someone who has taken the wind from the sails.  Having fallen in love (with her) it seems disappointment (and heartache) has played their hand- you almost forget about the sense of fracture (when our two leads unite in a chorus of “ah, ah, ah, ahs.”  From an itinerant love story-with-heartbreak-imminent, the band throws in some catchy vocals- a simple coda that is chant-worthy and redemptive (a terrific injection of fever-pitched fuzzed-out swing).  Putting me in mind of the Blues-Rock glory boys- The White Stripes for one- the band are effortlessly captivating.  Knowing (each of their roles) the players are in-step and intuitive: there are no loose notes and unsure beats; everything hits the mark with stunning clarity and purpose.  When (Granger and Connelly) trade-off of one another, you get a new layer- the drama and passion is not over yet.  With the heroine’s “blood thicker than your…”, the hero is haunted (by her words)- the back-and-forth thrust-and-parry is superbly executed (in no small part due to some excellent production and wonderful performances).  It seems (both have a secret to tell) that they want to “whisper in your ear”- that tangible tension and lust is palpable.  In addition to some wonderful (and urgent) vocals, the instrumentation adds to the mood.  The percussion demure somewhat: creating a heartbeat (that judders and contracts); the bass and guitars slither and syphon- the ensuing concoction matches some sturdy keys, designed to enthrall and grip.  You can imagine (each vocalist) in the studio- on opposite sides at different microphones- looking into each other’s eyes- coquettish grins and twinkling eyes being exchanged.  The song rises and builds, the vocals get steamier and more claustrophobic- as the duo (calls the other to) “come a little closer.”  Just as you lean in- and wonder if an actual in-studio explosion will occur- the song kicks up a gear: the chorus comes into play, as the band whip up a flurry.  Having been captured (the first time the chorus came in) it is now even more insistent- you find yourself singing along with abandon.  The final stages do not go down with a whisper: the kaleidoscopic (and boiling cauldron) keys blaze and burnish.  Chugging up a head of steam, the band do not slow or desist- Connelly still seems wracked and tormented (deeply affected and overcome by the heroine’s spell).  The overall impression- Silver & Gold leaves in the imagination- one gets is of an assured and urgent track: the band have crafted something fast-paced, addictive and sing-along slice; something that mixes classic Rock and Roll with their distinct sound- a concoction sure to enliven and impress hungry fans.  It may be the (earliest of) days, yet the band should have no fear: Silver & Gold is a lead-off step that will yield future success: if they pen more tracks like this, they will be a sure-fire festival band (and an act capable of long-term potential).

The first steps are always the most difficult (and unpredictable).  Coming in fresh, (the new act) is left wondering how they will be received- and have to take a few chances.  It is important going in strong and hard- making sure the public want to hear more.  Goldbirds are not playing anything safe: they have unveiled a storming lead single- that sets the stage for some exciting times.  I hope an E.P. is in their mind: it would be great to hear some counterparts to Silver & Gold.  Not only is the track pure gold itself; it is a unique insight into the four-piece: what upcoming sounds may hold.  Not to get too ahead of things; the quarter have plenty of ammunition- they are capable of winning over legions of sounds.  Their debut single shows how hungry they are: exceptional songwriting mixes the simple and complex; impassioned and raw- the band sound tight and focused.  Not merely a side project or second chance, Goldbirds is a bona fide projectile: a British invasion that promises to spare no prisoners.  Dedicated to bringing fun, passion and heritage (back to Rock music); the band will have a good future.   On May 6^th, the band plays The Borderline: it will be their first live gig; a chance to wow the crowds of London.  The fearsome foursome is sure to go down a storm: it will be the start of something awesome.  Silver & Gold is a track ready-made for the spring: capable of lighting up the sun; getting feet and fists pumping.  El Bon may be gone; Goldbirds have risen: an act that demands your attention and respect.  Solid songwriting and terrific beats (are only the start of things) - there is plenty more to come.  It is exciting (seeing a band fresh-faced and newly-bred): what exactly will Goldbirds produce next?  Knowing Granger and Connelly- and already being a huge fan of their Goldbirds cohorts- there is sure to be quality and surprise: the duo are terrific songwriters; a natural bond- they are a real-life couple- and real flair for the nuanced music.  Stepping away from Canada- for a few weeks at least- I am pleased to promote some great homegrown magic: an act that has a lot to say; are sure to be headliners in years to come.  Full of hope and eagerness, I know how much (Granger particularly) wants the band to succeed- with tracks like Silver & Gold, success will be a foregone conclusion.  For now- and before the band start to expand and captivate- listen to where they are now: their embryonic offering is a terrific slice of Rock and Roll: sprinkled with Blues magic, it is hard to shake off (the addictive nature of the track).  Congratulations to the band, which have bonded incredibly quickly- it is this bond through in every note.  Aside from (their live debut performance), there is sure to be new material- some more gigs and performances perhaps.  For now, sit back and relax: listen to a glistening track; one filled with jewels and diamonds (of sound); silver nuggets of song, because…

ALL that glistens is Goldbirds.

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Follow Goldbirds:

Official:

http://goldbirdsband.com/

Facebook:

https://www.facebook.com/goldbirdsband?fref=ts

Twitter:

https://twitter.com/goldbirdsband

Instagram:

https://instagram.com/goldbirdsband/

 _____________________________________________________________________

Music:

http://goldbirdsband.com/music--2

 ______________________________________________________________________

Gigs:

http://goldbirdsband.com/gigs

Interview: Ellene Masri

Interview:

Ellene Masri

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Having had a busy (2015) so far- including a successful Kickstarter campaign- Ellene Masri is preparing for busy times: there is a lot of love (and support) for her music.  Having followed her career- and being familiar with her work- I was keen to catch up; see how this year has treated her (and what she has in store)

___________________________________________________________________

OVER the past months (and years) I have been deeply impressed- by the new music talent coming through.  This is especially true of Ellene Masri: one of the most striking and passionate (artists in the music world). 

https://twitter.com/ELLENEMASRI/status/582123509813551104

Having completed a successful Kickstarter campaign- the funding for her Lonely Girl: A Live Video Performance (https://www.kickstarter.com/projects/ellenemasri/lonelygirl)- Masri has a busy (rest of 2015) ahead: one filled with excitement, possibility and music.  Based in the U.S., the French-born artist is one of the most humble musicians I have known: she loves her fans and this enforces her tremendous music.  In addition (to her jaw-dropping beauty) comes an endless work rate- a huge passion for music (and reaching new fans).  Not contented to sit still, Masri always bowls me over: the way she talks about music has inspired me; propelled my creative mind (it would be great to collaborate with her soon).  Having communicated via Facebook- about mainly personal/Kickstarter-related issues- I was keen to go deeper: find out what drives her music; who has influenced her- and whether the music industry is male-driven (and unequal)

Hi Ellene. How are you today? It is very windy in the U.K.: how is it where you are?

Hi Sam I’m doing great thank you. It’s always a pleasure chatting with you. It is windy too here out West, but sunny!

Congratulations (on the successful funding) of your Kickstarter campaign- www.kickstarter.com/projects/ellenemasri/lonelygirl: have you been surprised (by the amount of people who got involved)?

Thank you! Of course and to tell you the truth, I had no idea of how much help I would receive. I’ve been extremely surprised by their generosity. It was amazing to get such great support from people all over the world. I knew it would come mainly from Europe and the U.S. but I discovered people were also enjoying my music in Latin America, Japan, Australia, Indonesia...

Now that you have (achieved your target on Kickstarter) what will are you doing over the next few weeks/months?

Not only did we reach the initial target but we also met the Stretch Goal which allowed us to book a second day in the studio, add two staff members and to arrange to shoot a Documentary that will be released a little bit later. We will be shooting the video on April 26. So right now I am organizing the video. I am working on putting the rewards together and will be shipping them very soon. I will release a Stevie Wonder cover recorded with Sir. Gant especially for the backers. So it’s going to be a busy month. Once the video is ready, it will be sent to my agents.

With regards (your recent ‘Live Video’/Kickstarter success): how important is social media to you (and other musicians)?

Social media is very important. A lot of professionals use it as a tool to discover new artists. But it is also crucial to build a real relationship with your fans that I consider as friends a lot of times. They support me and I’m really thankful for that. They give a meaning to my music. I see it as a chain. The artist, the journalists, the D.J.s and the fans. We are all essential to each other.

You are currently in the U.S. and originate from France.  Will you be coming to London/ Europe (over the next few months)?

Yes. I plan to come to London this summer. I will also go to France to visit my parents that I haven’t seen in almost a year now.

You have been working with Sir Gant (www.sirgant.com) a lot (on some wonderful collaboration pieces). How important (has he been) with regards your development/success?

We've just started, really. We haven’t released any original material yet. We did a few covers for the fun and now we’re working on this important project which is the video, a video that will be shared with the fans and spread all over the internet as an introductory taste of our collaboration. I think this will be more representative of our work than anything you've seen/heard us doing until now.

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Having reviewed your music last year- Music (the album) and Rain (song) was some of finest music I heard last year- are there plans for (some new music) in 2015?

I have to tell you again how deeply touched I felt by your fantastic review. You were first to review it and I remember saying to myself: anytime you doubt, go back to this review, someone out there is moved by your music. I like to think that the people who you’re speaking to through your music will recognize themselves. I believe that you attract a certain category of souls depending on what music you make. And I’m not just talking about a music style here, I’m talking about the kind of emotions that you let flow. It could be love, anger, ego; it could be a lot of things. I want my music to be loving. I’m not bitter so I don’t want it to be. It’s OK for it to be nostalgic but I think there’s no need for it to be sad. We get enough of this every day.

Your music is very unique in a culture with homogenised and predictable music.  Who has influenced your music? Has your itinerant background (and traveling to many countries) enforced your rich (and distinct) sound?

Thank you Sam. My influences are so many and diverse that it is hard to tell. But I have my favorites. Bob Marley, Third World and Steel Pulse, The Cure, Stevie Wonder, India Arie, Rachelle Ferrell, Jonathan Butler, Anita Baker, Richard Bona, Ella Fitzgerald... And of course I’m very influenced by my roots. My mother would listen to Nat King Cole and my father loved Classical music (European and Egyptian Classical music)... In fact when I was a kid he would set a timer on the boom box and I would wake up to the music. I also love to travel and then incorporate different sounds in my music: I think Hossam Ramzy’s Tabla (Egyptian Tabla master) on Secret Lover is giving the song its unique groove, halfway between Latin Jazz and Middle Eastern grooves. It’s also a way for me to pay tribute to my Egyptian roots!

On that note: I am very inspired by Jazz-Rock legends Steely Dan; great artists like Jeff Buckley and Radiohead. If you had to select (your most influential/favourite artists) who would you select?

I like Steely Dan too. But I would say Bob Marley and Stevie Wonder.

With London growing (as a music city): can you see yourself moving to/performing more (over here)?

Oh YES! I love London so much! I've always been attracted by and sensitive to the British Culture. It’s something about the energy of London city and its musical scene. I feel a deep connection. But I’ll go wherever the music takes me.

Does the U.S. provide greater opportunities/chances for musicians like you (with a very special style)?

It’s a little early for me to say as I haven’t started touring yet. I know how it is in the U.S., the U.K. and France, but there’s so much to discover. However, I think you create opportunities!

In addition to your original material you have recorded a wide range of covers. If you had to choose your top five songs/albums from music (that have meant the most to you) what would they be?

I am glad you let me choose between songs and albums. A lot of times I only listen to a couple of songs in an album. So, off the top of my head I would say...

> My One & Only Love (George Benson, Tribute to Nat King Cole)

> Heal Our Land (Jonathan Butler)

> Rocket Love (Stevie Wonder)

> Another Day (Buckshot LeFonque feat. Frank McComb)

 > Sweet Love (Anita Baker)

A lot of new musicians have to work tirelessly (to get their music heard/reviewed/ funded) and can often face disappointment/ despondency. What would you say to anyone (in that situation): what are the best ways to market/find success?

“Success is when preparation meets opportunity”. I like that saying. Opportunities will come up when you will reach a great level with your music. When you’re ripe and ready! You will find agents; you will find people who will want to get on the boat because they believe in you. You have to do your part first. (Four more questions left sorry to ramble, slightly).

It seems in music- like a lot of sectors- there are more men/male-led bands (taking a lot of media focus). With fantastic acts (such as yourself) coming through: do you think things need to change (in the industry).  Is it something that makes you angry/sad?

“This is a man’s world!” There’s no doubt about it. Yes it needs to change and yes it makes me terribly sad. What needs to change in the industry? More women in the key positions, maybe. If women were to make choices, I think it would be different. I’m not just blaming everything on men. A lot of women also have prejudices about women. And the more they work together, the more they will learn to listen to each other and respect each other’s opinion. Now in the media, I think our Western model h as hyper-sexualized women and not necessarily liberated them. I want to see my sisters as entrepreneurs, artists, proud mothers, not just as girls pimped by their producers. The new generation is hearing Rihanna sing “Pour it up; pour it up, that’s how we ball out.” Is this what we want to teach them? That a woman’s success depends on the amount of dollar bills filling her bra?

Having known you quite a few months and followed your progress what have been your highlights (of your music career thus far): any particular highs that stick out?

My album’s release.  A new Video coming up. It’s just the start, really. I’m eager to get on tour and create more “highs”

Odd question (had to throw one in). Looking at your ‘fan map’- location of people who have followed your music/donated to Kickstarter- Australia (and N.Z.) seems a little bare: are these areas you wish to conquer and play- it seems your music would go down there very well.

Of course! I want to go everywhere... The world is so full of amazing places! They’re already playing my music down there in Australia. I also have direct uncles, aunts and cousins that were born there and live in Sydney. So yes, I’m really eager to go there!

Thanks for your time, Ellene. You have worked tirelessly and will be doing so a lot and best of luck going forward. It seems like exciting times are ahead...

Thank you Sam. You are also working hard supporting independent artists and other causes and I am really grateful for that. You’re doing a great job reviewing emerging artists using your writing skills, great ear and sensibility. I look forward to meeting you very soon in London...

THAT will be something to look forward to for sure.

[youtube https://www.youtube.com/watch?v=ablYaElmvV0&w=420&h=315]

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Follow Ellene Masri:

Official:

http://www.ellenemasri.com/

Facebook:

https://www.facebook.com/masriellene?fref=ts

Twitter:

https://twitter.com/ellenemasri

YouTube:

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

SoundCloud:

https://soundcloud.com/ellenemasri

Ellene’s album (Music) is available at:

https://itunes.apple.com/us/album/music/id734815593

Ellene’s latest track (Lonely Girl) can be heard here:

https://soundcloud.com/ellenemasri/lonely-girl

Track Review: Jade The Moon- Broken Angels

TRACK REVIEW:

Jade The Moon

  

Broken Angels

9.5/10.0

Broken Angels is available at:

https://soundcloud.com/culvertmusic/jade-the-moon-broken-angels

RELEASED:

24^th March, 2015

GENRES: Pop

COUNTRY OF ORIGIN:

Canada

LABEL:

Culvert Music

THIS review is going to be quite to the point…

as it represents a (sapling act): one that is really starting out.  Before I offer some insight (and biography), I want to raise a subject: brand-new acts.  Jade The Moon is pretty much in their infancy: with few tracks (available online) it is good to witness an act- that is starting out; on the ground level.  Usually- when I survey an act- they have a string of tracks under their belt: maybe a few E.P.s; an album perhaps- a pretty defined back catalogue.  It is always great to see an artist JUST starting out: the initial movements are among the most exciting- the truest testament of the musician; their first steps into (the music world).  Although Jade The Moon have crafted an E.P.- Habits and Hindrance- their latest track is their most prominent: the most urgent and gripping (song they have produced so far).  Among the U.K.-based acts, many of us (do not see the sapling movements).  When a band (or act) comes to our attention- unless we know them through social media- they are usually pretty settled: have assurance and a number of tracks.  The music industry is a pretty darn tough one: with so many (new artists) flowing by the week; the chances of long-term success are undefined- artists have to work tirelessly just to get people listening to their music.  The way to ensure some longevity is to go in strong: create songs (and sounds) that differ from ‘the norm.’- something that is pretty special.  When I see new musicians (come through with their debut songs), I often get a familiar sensation: this type of music has been done to death; where is the originality?  At the moment, the likes of Mumford & Sons and James Bay (are on critical lips) - between them there is so much bland music, it is enough to bore you to death.  In fact, cast the net wider: you get the same sort of (depressing familiarity) and blandness among the current scene.  It is only when you dig deeper do you discover something fascinating: songs that pop and snap; intriguing compositions; gripping sounds- music that demands repeated investigation.  The music industry needs Pop/Folk-driven gentility: the fact is, there is so much of it about (we do not need any more).  The moodier- and darkly bracing sounds- of the Electro.-Pop goddesses are the rarity: a hard-to-fault sensation, guaranteed to tantilise the senses.  Being a fan of acts like London Grammar and FKA twigs- two very different acts- they are led by strong females: voices that come straight at you; get inside you head and heart- make you root for them.  I yearn to be seduced and affected; feel empathy (and sympathy) for a musician: share their burden through the wonderful medium of music.  A lot of acts attempt this- few ever succeed.

Jade The Moon is based out of Toronto (the producers of Broken Angels come from here): Jade herself hails from Vancouver.  Based around south/south-west Canada, Jade The Moon is a short step from the U.S.: a market they are starting to (make impressions in).  Having reviewed a lot of Canadian acts (mainly Ontario-based artists) it is nice to travel across the country: see the coming-together of reputable producers (Bad Cop // Mean Cop) and a stunning vocalist.  Before I raise (another point), let me introduce Jade The Moon:

“It’s spring 2014. The moon shines brightly in downtown Toronto and 27 year old Jade Moon leaves her apartment in Parkdale. It’s very early in the morning. She starts out on one of her routine late night/early morning walks down a seemingly abandoned street. She eventually arrives at her favourite bench in a quiet corner of a neighbourhood park shop where she routinely stops to collect herself/thoughts and talk to the stars. A small town girl living autonomously and alone in a new city where the streets have all the personality and the faces have no names. She begins writing in her note book. Written at the top of the page are the words U TAKE CARE (I guess you didn’t know). The words she would write next would eventually inspire a collection of songs about the habits (GOOD or BAD) and cycles we so often find ourselves repeating whether we like it or not. Stories of Love and Hate. Stories of Ecstasy and Empathy. U Take Care specifically talks about the relationship between a woman and a man (a fictitious and almost demon like character that only exists in the mind of our story-teller) This man can only take love and is incapable of returning it. A sarcastic and poetic take on a love song... Jade The Moon Habits & Hindrance is the debut EP release for this exciting new project comprised of Vancouver’s Jade Moon (Vocal/Guitar/Piano) and Toronto Based production duo Bad Cop / / Mean Cop. The sounds are edgy. One might say that within in the current realm of popular music this project is borderline punk. The majority of the EP was recorded over a two-week period in kitchens and living rooms. Raw one take vocals make up the majority of the vocal performances on the album... Jade The Moon was created as a passion project, nothing more (or less). Born from a craving to make music free of borders and limitations and certainly with no intention to cater to current radio format. “We wanted to create without any care for song structure or content ” says Jade. We were more concerned about putting a feeling into the recording and knew that going on instinct would be our strength. This trio of creative minds admit the project was entirely whimsical and happened almost accidentally.”

Whether the project was ‘accidental’ or not, it is clear it is a special thing: a collaboration that needs to continue.  The biography (and formation of Jade The Moon) sounds strangely romantic: there is heartache and pain; yet moonlight and stars are a saving grace.  Having gained a reputation in Canada- and caught the eye of reviewers and writers- Jade The Moon have an exciting future: it seems there is potential to grow and expand; play across Europe- gain legions of new fans.  Their upbringing (and rise) has been a Canada/U.S.-based treasure: they are starting to get some recognition further afield.  Daring to be different; presenting music that is both gripping and seductive- it is hardly a surprise they are getting serious plaudits.  Broken Angels is where they are now: their state of mind; Jade The Moon’s heroine lays her heart and mind out- to create something quite sensational.

When describing the track (Jade The Moon) assessed it thus:

"It was an attempt to represent musically, the feeling of fighting and F@%King and the sad truth that so many relationships are no more than that," said Moon in a statement about the song. "We wanted to create free of restrictions. Going on instinct would be our strength. There's no room for emotional barriers. Nothing to cover up.”

(Quote from http://exclaim.ca/Music/article/jade_moon-broken_angels_video)

Lush and delicate strings arrive (to beckon in Broken Angels).  Like contemporaries- such as Indiana and Florence + The Machine- there is something ethereal and otherworldly.  Gorgeous and serene, the listener is giving a gentle touch: they are welcomed in with delicacy and romance.  The production (helmed expertly and assuredly) mixes notes together- without compromising the overall sound.  Electronic nuance mingles with plinking strings; swaying aches settle alongside sharp notes- the overall effect is both natural and uplifting.  When Jade arrives at the microphone, she spoons out her words: they are paced with precision and pauses- to ensure the words are both understood and effective.  From the immediate stages you think about (Jade and The Moon’s) formation: looking up to the sky (from a park bench); thinking and reflecting on life.  The heroine look to the moon (and starts): lost in the night, you can practically picture the scene- the composition blends wonderfully with the vocals; giving the track an effective edge.  When the composition starts to swirl and rise, Jade’s voice stretches and aches.  Whether speaking to a (former sweetheart) or talking about herself, words like “you are falling so gently in the sky” are delivered with insistence and urgency- the voice is both rich and aching at the same time.  Building pace and momentum, the track kicks up a gear: talking of broken angels, the heroine yearns and implores- the line “help them feel love” is one of the most memorable and direct (of the song).  As the backing rouses and augments- electronics get harder and the beat increases- our heroine is enraptured and gripped.  The chorus is heart-pounding and anthemic- designed to unite festival crowds; get hands in the air and set the night on fire.  Having built from soft (and gentle) beginnings, the song reaches its high: the mantra comes to the fore; Jade is at her most direct and enraptured.  It is impossible to deny (the strength and passion) of the chorus: with quotable lyrics and fantastic production, our heroine lets her voice rise and power- building shivers and tingles a-plenty.  Building the fever and fervor, the track’s crescendo ignites and sparks- you get caught up in the myriad sounds; the rapture of pace and energy- awash in the momentum of the track.  As not to peak too soon, the mood settles slightly: Jade is back in reflective mood; speaking to her (former beau?) she implores: “Shiver in my arms.”  It is impressive, in the way the words are delineated.  Many artists would rush and power- get the words our quickly- but Jade The Moon are a different affair: the lyrics are carefully deployed; not only adding effectiveness, but ensuring the track has a great- and shifting- dynamic.   What you take away from the song, is that central message: repair broken angels to help them feel love.  It is a coda that is repeated (in the closing moments), imploring the listener- not only to sing along- but to remember that fact- those that are sad and heartbroken need rebuilding.  It is a unique spin on a common theme: the plight of the heartbroken is hard; yet there is a chance of redemption. As the closing moments press and pervade, you are fully invested in the track: it takes repeated listens to fully appreciate (its many possibilities and meanings).

Broken Angels is a song for lovers and losers: a track that seems to speak to everyone; we have all gone through similar things (as Jade).  Although the heroine has gone through tough times- and really dark places- the way that is channeled (through the track) is quite mesmerising.  As it stands, E.P. plans- and release- is imminent: a chance (for the rest of the world) to see what Jade The Moon is about.  In (Jade’s words), it will be something quite different:

“The lead off track 5 6 7 8 FIGHT AND FOUGHT (WE ONLY) reflects on a relationship and sets the tone for the EP, discussing the human capacity to “Love and War” with each other over and over again... Everyone involved in the recording of this album was going through major changes. A couple of us were going through extremely dark times. In fact 5 6 7 8 was created the one and only time we ever collectively wrote together. It was an attempt to represent musically, the feeling of fighting and F@%King and the sad truth that so many relationships are no more than that... The theme of cycles on this project continues with the lead-off single Broken Angels in which Jade sings an almost eerie lullaby. The distinct character of her voice is heard on this song as she sings about healing the broken hearted in hopes they may learn to love again.”

The future (for Jade The Moon) is going to be a mixture of easy and tough.  Jade has plenty of beauty and appeal; mountains of potential and talent- a sound that is urgent, impassioned and nuanced.  With regards (the album/record release), Jade comments:

“We based the whole album theme around the story of a girl who is unknowingly on dark and destructive path walking hand in hand with her own demons and worst enemy [herself]“. On this path she learns how to cope and heal herself yet never correcting the fact that life is a vicious cycle… Near the end of the record, she is back where she started and the only lesson she’s learned is that the definition of insanity is doing the same thing over and over and expecting different results.”

Jade’ differ from their peers greatly: the way instruments are combined (flutes, guitars, electronics) will spike the ear; the spectacular production brings each note (and vocal) to life.  Jade’s vocals have hints of Florence Welch; the power and prowess is all there: beauty, seduction and sensitivity can be witnessed too.  Broken Angels is a great starting-place (when listening to Jade The Moon) although it is clear- when their new record is out- there will be a lot of different shades- wonderful stories and soundscapes; a wonderful collection of moods and sensations.  It is Jade The Moon’s songwriting- the memorable lyrics and evocative stories- that captivated me: the way (the listener) is brought into the track; the music implores you to get involved- instead of creating alienation.  The social media numbers (for Jade’) may be meagre; that is something that is going to change: the act are in their early stages; making their early impressions.  When their (forthcoming release) is dropped, that is all going to change: the fans will flock in; the reviews will come- Jade The Moon will no longer be lonely and heartbroken.  Whether (increased fan numbers and adulation) will change Jade’s mindset- and the songwriting- is unsure (you suspect not), but I would love to see the live performance: hear those incredible vocals in their natural setting.  When looking to the future, the ‘band’ see it this way:

“Honestly we created this music thinking “who would like this crazy music, so moving forward… I guess we’ll let the listeners decide what we do next.”

(Quotes sourced from http://culvertmusic.com/artist/jade-the-moon/)

It is very much up to the listener: how long (the band/act lasts) depends on how many people latch on.  From the perspective of Broken Angels- the band are likely to get more fans- it seems quite bright: I think they will have a prosperous future.  The early days are always exciting: there are plenty of nerves (and questions) but it is always intriguing to see- Jade The Moon have a confidence and sense of belonging that comes through in the music.  In addition to performing in Canada, I hope the act troupes across (to the U.K.)- brings their music to the masses.  Keep your eyes peeled- to the pages of Jade The Moon- and watch them rise (in popularity and stature).  In a music world filled with bland (and dull music) it is always rewarding coming across songs like Broken Angels.  A track that not only gets inside your heart- and comes from a place we have all been- but lifts the spirit.  Through remarkable production; sharp songwriting- backed by tremendous vocals- it is hard to resist.  Quite frankly…

WHY would you ever want to?

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Follow Jade The Moon:

 

Facebook:

https://www.facebook.com/pages/Jade-The-Moon/662370513876637?fref=ts

Twitter:

https://twitter.com/JadeTheMoon

 ________________________________________________________________________

Music:

https://soundcloud.com/jade-the-moon

The Single Voice: The (New) Music Initiatives

The Single Voice: The (New) Music Initiatives

THIS will be a short one…

as not to bore the collective.  Tomorrow- I will back to reviewing duties- but for today, I am ‘on a mission’: getting out; doing as much as I can (to help out).  Today- when I get some time to sit and have a coffee- I will be reflecting on my current/continued passion: getting The Single Voice ‘going’.  I know it must be quite boring- hearing me rattle on about something consistently- yet it marks a great passion: something that means a lot to me.  At the moment, I am developing ideas (homepage web design; concepts and promotional ideas; logistical things) but, it occurred to me, there are things that could be done- whilst waiting for Google to respond (and get things moving).

Seeing as (The Single Voice) incorporates new music/original music components- where you can compile playlists around new/original music, there is an opportunity (to do something promotional): get some musicians together- to record an album.  In the past, my attempts to get people together have been mixed: I am determined to hold a concert (when I can get money together); other schemes have been a bit over-ambitious- this one seems simpler and more affordable.  It (the idea) would be launched next year- or sooner if I can get people together- and would bring new musicians together: ten-twelve in total.  I will be posting other blog posts- of a similar nature- based around similar ideas: that will incorporate comedy, film; online blogs- and a few other things (there will be five in total).

The music promotion/initiative (as-yet untitled) would bring together musicians of multiple genres- some based in the U.K.; some other parts of the globe.  I want to bring female artists together (including Jen Armstrong, Ellene Masri, Chess, Elena Stathaki; a couple of others); some gents (Los and the Deadlines, Bi:Lingual and others)- in addition to duos/groups such as Braver Than Fiction, Gypsyfingers, Issimo and Crystal Seagulls.  As I say (the idea will pull together a dozen acts all told) and would present a nice range of genres/sounds.  Each act would record an original song: it would be anything they like; maximum length of four minutes (a chance for them to break away from their usual duties; write something unique).  Once each act has recorded their song, I will get all the (digital) recordings together: and get them mixed and arranged.  Once the 10-12 tracks are compiled, they will then go onto BandCamp: where (if you want to buy the album) it would cost 250 English pence.

Initially, there would be a Kickstarter/Pledgemusic campaign: raising funds for the production and promotional duties- which will not be a large sum (and easily achievable).  Backers will get some good rewards- including vinyl/C.D. copies of the album; goodies from the musicians involved- and once the album is ‘live’: donations will go to charities- of the particular bands/acts involved.  There will be a limited number of C.D./vinyl copies- some of which will go to the musicians- but I hope the album (untitled at the moment) will raise lots of money- get some funds together for great causes.  The musicians- that are involved- have a chance to do what they want; bring something new to the table- get their music heard by new audiences.

What the incentive will do, is to promote The Single Voice: there will be a promotional video- including clips from the musicians- that will help launch the scheme; get people involved.  Over the next few weeks, I will be launching similar blogs/schemes- involving short films, comedy shorts- that help to do the same (as the music scheme).  I hope the bands involved- that I want to take part- will be on board; I hope the public buy the album (when it is released later this year/early next year): I hope it is a good idea (I am never sure when I let my imagination get away from me).

Keep your eyes out- I will be posting a few posts throughout the next month- and thanks for all the support so far.

LET’S make it happen

The Single Voice (post):

https://musicmusingsandsuch.wordpress.com/2015/03/08/the-single-voice-one-language-for-all/

The Time to (For)give... and Keep Going

The Time to (For)give… and Keep Going

 

THIS will be a short(ish) one …

For me at least.  Tomorrow- or next week anyway- I will be back to ‘regular’ duties: interviews, reviews etc.  Lately, I have become jaded somewhat: review subjects (acts I assess) have not really been showing enough gratitude- not that I review (to have my ego stroked), but it is quite hurtful (when you get the spam/bare-minimum reply).  Last year, I got some great feedback; reviewing meant a lot to acts- their praise really touched me.  From now on, I am going to be very selective with reviewing: ‘accept’ acts that (I know for sure) will appreciate my time and effort.  I guess it is one of the things about modern music: artists have to contact so many people; tick off so many boxes- they are endlessly busy and stressed.  It has made me think about things (in a wider sense)...

Social media is one of those odd things: you can connect with someone- find some terrific people- without ever meeting them; never seeing them face-to-face.  I have acquired/forged some terrific relations- with some wonderful people- the last few years- I am getting worried.  It applies more to musicians, but there is a lot of stress/anxiety going around: the pace and pressure of the industry is getting to them.  Seeing as I cannot (write a letter to each of them personally)- a few of them are in the U.S.; some even further away- I will do it here.

Easter is a great time to relax; a chance to escape (the pressures and boredom of work): enjoy some solace and peace.  For the musician, the clock never stops: they keep going on and on (and burn the candle at both ends).  This year (so far) I have been following some great musicians; pleased and proud of their progress- touched by their development and progress.

Ellene Masri:

Having just completed a (successful Kickstarter campaign) she is hard at work: video recording; planning and organization- a lot of busy times ahead.  Having been a Lonely Girl, I have been proud of her development and achievements: someone who never stops giving to fans; works tirelessly for her art- someone that wants to connect with people all around the world.  I know (over the next few weeks) she will be working non-stop: never really slowing down; music-planning, promotion and hard graft- someone who deserves things.  I hope (she will) get a chance to relax; to reflect- and see the effect she has had (on musicians, fans and followers around the world):

http://www.ellenemasri.com/

Jen Armstrong:

Currently based in the U.S., the Yorkshire-born artist has been working hard: having returned from New Zealand, she is performing across the U.S.; getting her music out there- some important dates and events await.  Like Ellene, she has been never-ending (with her music and promotion): nobody else is as passionate about her- music means everything to her.  Having had some doubts and stresses- and bravely traveling (to the U.S practically) by her self- she is achieving a lot; putting smiles on faces.  It may take a few years, yet I am in no doubt: the young star will fusil all of her dreams (and damned to the bad/hard times).

http://www.jenarmstrong.tv/official/Music.html

Diane Sherwood:

Manager- and biggest supporter of The Updraft Imperative, she never stops plugging: making sure the boys are happy; they are getting their name out there- she is planning a trip to Australia to see them (and is very excited about the fact).  A huge supporter of mine, she always looks out for people; supports great music- tirelessly works (to get her musicians the best deals/life possible).  Never someone to quit, she keeps plugging and pushing: few other people work as hard and (as passionately)- something that has inspired me greatly.

Dylan Cartlidge:

The Bi:Lingual man is a prodigious and tireless songwriter: I have been privy to some tantilising snap-shots and songs-in-waiting (the band have a serious talent in their midst).  Often doubting himself- in the way musicians are never 100% sure of their abilities- I love his songwriting; his incredible (shapeshifting and oscillating vocal ability) - the passion he brings to each song/performance.  Another tireless talent, I hope he gets to chill a bit: and realise the future is going to be prosperous (and very bright).

https://soundcloud.com/bi-lingual

Sarah Collins:

Someone who has had a tough (few years), her endless passion (and performances) are deeply impressive- she never stops recording music; always looking ahead (someone whose past has been fraught with heartache and illness).  Having been on a rise, it seems like 2015/16 will be wondrous and jam-packed: so many new fans are flocking to her door.  With such a break-neck pace (she is working at), let’s hope there are some ‘down days’- where she can sit and rest.

http://www.sarahcollinsmusic.co.uk/

I get worries about people (on social media).  On twitter, there is a girl I know (who I have not personally met), having a tough time: unhappy in the U.K. (or with life at the moment), I get stressed thinking about it- how the strain and fatigue of life affects her.  Desperate to do more (without appearing like an odd stalker/nutcase), I am wracking my brain: trying to ‘fix’ an issue (I may have no business trying to fix).  The same is true- with regards my music friends- of the people I know.  Not just directed at the music people; but everyone is doing so well: the people I know are the hardest-working and (most passionate) you could find- there seems to be some doubts.  In an age- where you need to work ruthlessly to get your voice heard- there is little time to relent/relax: it causes people to get depressed; start to burn out (and doubt themselves).

From my perspective- the way I want to try to help in a larger sense- is to ‘do good’: various acts and ideas (like The Single Voice) I hope can ease burdens.  In a realistic sense, it may not be possible (to eradicate issues like this; get the best people the success they need).  Whether resolution is truly possible, all I can do is say this: keep going exactly as you are; make time for yourself.  From ‘local peeps’ like Elena Ramona, Chess, Marisa Rodriguez (and many others); northern stars Issimo- international stars a-plenty.  To the musicians (and non-musician) alike: give yourself and break; you will get there in the end.  Everyone I know- who wants to make it big- is so young and talented: the progress they are making is inspiring (to me and many others), so take heart from that.

After the Easter debris subsides, allow yourself some days off: reflect on all you’ve achieved and put you first.  The anxiety, heartache and stress- that many are going through right now- will not last: do not let it overwhelm you.  There is an army out there- of people you may have never met- that want to support/help you all the way.  It is a message that applies to everyone- who may be reading this- but you’re doing great:

THE best is yet to come.

Track Review: Adi Ulmansky (Ft. BORGORE)- Was It You?

TRACK REVIEW:

Adi Ulmansky (Ft. BORGORE)

Was It You?

9.6/10.0

Was It You? is available at:

https://www.youtube.com/watch?v=_JlsP2kjH9E\

RELEASED: 19 July, 2014

GENRES: Electronic

COUNTRY OF ORIGIN:

Israel

TODAY’s review is marked by (some) confusion, happenstance and…

crossed-wires.  In spite of that, the discovery (of my featured artist) is a fortunate one: here is an act that is going to be a huge prospect.  Before I get to that, it is worth tracking back.  Today- and how I managed to lose an email from the band- I was due to assess Canadian music.  I am sure (and if they are reading this, get back in touch) I will be ‘back on track’ next week; but for now, I am looking across Asia.  My only review to date (in Asia) came last year- when assessing India’s Antriksh Bali- and since then, there has been quiet.  I often wonder why there is such a concentration (of music from certain places) and a scarcity elsewhere.  I know for a fact there is terrific music emanating from Asia, Africa, Australia (and Europe): when we think of new music, we often concentrate on North America and the U.K.  It is understandable (these two areas) are under such focus: traditionally the greatest music ever has come from here.  Over the last year, I have had my thoughts altered; discovered music (from different areas) and been quite surprised.  From French-raised/born Jazz to Australian Christian-Rock, there is a lot of great out there: too many of us concentrate our focus too narrowly.  The music coming from Australia is broad and exciting: it is not a huge market, yet the musicians here are fervent and fascinating.  Europe is providing (greater diversity) and choice- all manner of genres and sounds are being explored.  When I assessed Ellene Masri- an artist born In France; she not lives in the U.S. - it was a rare opportunity to travel away from the U.K. - discover European music of the highest order.  Asia is not to be forgotten, either: some fantastic artists are coming through; making their names heard.  Perhaps- in their native countries/continents- there is not the same chance to thrive; there is a tendency for artists to emanate (to the U.S. and U.K.).  Huge nations provide fans and venues: it is natural musicians make their way (to countries like the U.S.).  That said, it is important (these artists) do not lose their identity; remember where they came from- and ensure those discovering them realise that.  As much as I love (acts and bands based in the U.K. and North America), I thrive from diversity: musicians that offer some different, exotic, fascinating- away from the blandness that is so prescient.  This year- with regards new music- has uncovered some great artists; some terrific sounds- to my mind, there is still not enough originality.  Bands (by and large) tend to be predictable and underwhelming- not quite as electric and spine-tingling as they should- whereas solo acts are a little bland.  New music has always been the exception: all the acts I have featured are terrific and captivating.  The mainstream does throw up quality, yet there needs to be a change: welcome in (more new music) and inject some flavour and colour.  If we (the music-lovers) are going to be stay loyal, the mainstream needs a shake-up: blow away the boring and turgid; bring in the young and hungry.  What with the immense influx- and innumerable surge of fresh artists- it is impossible locating needles (in the haystack).

Adi Ulmansky is an artist with a difference.  She came to my attention- when looking at the website- of Brick London (a P.R./music promotions company based out of Shoreditch).  Having reviewed (some of their artists before), I was excited to uncover Ulmansky-see what she is about and what she can offer.  One of the first things that strike you- when it comes to Ulmansky- is her looks.  Stunningly beautiful- who has a terrific girl-next-door quality- she is a striking proposition.  Complete with green hair (and an infectious allure) she stands out from her peers- who tend to be rather unspectacular (in that sense).  It is clear she (Ulmansky) is no ordinary star: her style and looks break away from the crowd; she dares to be different and fresh.  Aside from her beauty and style, it is the music that hits you.  Ulmansky has just finished (an extensive tour of Europe) taking in the likes of Poland and Germany.  Her official website recalls her travels: the tour bus memories; the terrific crowds; the memorable festivals are all in there.  It is clear (that tour and experience) has been a fond one: she has been able to connect with new crowds; get to see her European fans- take in some wonderful sights.  Ulmansky is an artist that favours homemade beats (and comforts) - one of the D.I.Y. artists that prefers the comforts of home.  Her music has plenty of grandeur and heaviness; there is plenty of intimacy and personality in there.  A lot of (modern-day acts) still go for overproduction and studio luxuries: Ulmansky is someone who does things her own way; keeps the music pure and unfettered; does not clutter it with tinsel and processing.  Although she is based out of Tel Aviv, Ulmansky- to my mind at least- shares some parallels with Bjork.  Like the Icelandic legend, Ulmansky has a very distinct fashion sense- the striking hair; unique style; memorable looks- and way of working.  When the beasts and electronics (in her music) arrive, I am reminded of Bjork- particularly her earlier work.  Whether Bjork (is a direct influence for Ulmansky) I am not sure- it is an interesting comparison.  With that said, the Israeli heroine does things her own way: she is an original and stunning talent; someone with her own idiosyncrasies and direction.  Back in 2013, Ulmansky’s releases (her mixtape Shit Just Got Real and the Hurricane Girl E.P.) received huge acclaim: publications such as The Guardian featured them; heaped praise and support (her way).  Gaining the ear of the masses, it was not long (before Ulmansky’s music) was picked up by brands like Nike and American Express- who featured it for their campaigns.  2014 saw collaborations with BORGORE (a long-term collaborator; someone I shall mention later), and a spot at Glastonbury- quite a rise for the young artist.  Was It You? - my featured track today- featured (on her debut E.P.)- is a stunning and immediate track- a song that gets right inside your brain.  You can tell here is a girl that means business: her E.P. and mixtape have titles that portray a strong-willed and strong human.  Every note and vocal is instilled with passion and grit: Ulmansky is an artist that wants to be remembered; her music to be played long and loud.  In spite (of her flair and urgency) there is passion and tenderness: some fragility and vulnerability lingers under the surface.  This year is going to see quite a change: there is speculation of new material (from our heroine); some exciting gigs perhaps (speculation and excitement will build).  Having just completed (an exhausting and extensive tour) she will want to rest, yet there is a huge demand and intrigue: her online numbers are rising; fans are excited to see what will come next.  Having accrued an impressive army of fans- her numbers across Twitter and Facebook (combined) top 13,000- she is a fast-growing and beloved artist.  In addition to her distinct style, her warmth and personality wins you over: she is an artist that wants to connect with fans; reach as many people as possible- a commodity you do not see in everyone.

Shit Just Got Real- her mixtape released in 2013- features a compendium of sounds: fragmented vocals; diced beats; head-spinning electronics.  Hip-Hop influences come to the fore; Post-Dubstep styles: all wrapped up in Ulmansky’s Pop-tinged vocals.  The sound- that runs throughout the mixtape- is youthful and vibrant; urban and gripping- her lyrics are rapped, twisted and seductive.  Not content to stick with one course, vocals (and beats) contort and refract: Ulmansky switches course rapidly; her attentions change and charge- it is a heady and exhausting listen.  Being a mixtape, it plays out like a mini-opera: there are few gaps and chances to draw breath.  A daring and impressive release, Ulmansky (at her embryonic stage) marked herself out as an artist to watch: an incredible writer and vocalist; someone who understands music at its core.  Fearless and impossible-to-define; cross-pollinating and authoritative, Shit Just Got Real lives up to its title: the likes of M.I.A., James Blake (and FKA twigs) never produced anything this immediate.  Chillwave and Urban; Pop and Electronic: the Tel Aviv wonder is not content to sit still.  Shit Just Got Real proved how ‘together’ Ulmansky was: there are no loose edges and wasted notes; no sense of ambling and naivety.  Every beat, swathe and vocal seemed natural and perfected- counterbalanced with a loose and easy sound.  That mixture of looseness-cum-finesse showed its hand in Hurricane Girl- the E.P. that followed a few months later.  Back in 2011, Ulmansky was part of Lorena B- a short-lived act that produced a couple of wonderful released (over 2011-2012).  Since- the disintegration of her band- Ulmansky has been collaborating a lot: sparring with the likes of BORGORE and Lishkoah Meakol, she is hard to tire- not an artist that seems to slow or relax much.  Since her early days, Ulmansky has grown in confidence and direction.  Her latest track (well, released last year) is her most impressive and nuanced cut: the testament of her past work; the summation of her guile, force and innovativeness.  Tying together her previous glories- the stylish and variegated sounds- with her recent inspirations; Was It You? Is a stunning slice of music.

Delicate (and nursery rhyme soft) electronics welcome in Was It You? - putting me in mind of Bjork’s Vulnicura and Biophilia tenderness.  Sparse and tripping, the beat comes in.  Lurching and punchy; it parabonds with supreme intuition and ease.  Juxtaposing the graceful undertones, the (slightly dirty) percussion gives the track some danger and street vibes: you can imagine a late-night London sojourn; the song side-winds through elemental avenues and smoke-tinged (dingy) neighbourhoods.  Anyone expecting a Shit’-style rush- or an Urban warfare throw-down- will bridle (with a smile on their face).  Ulmansky’s first contribution is one of beauty and delicacy.  “Things are getting lost/Just like you and I” our heroine sings- with some oblique fascination and child-like enunciation.  With (maybe a touch of) modern-day Electronica and Pop, there is a mixture of mainstream quality and distinct Ulmansky: an infusion that instantly soothes the bones; inspires the imagination; compels the soul.  With its accompanying video (see the YouTube link) you start to conspire and project: Ulmansky seems heartbroken and lost; dislocated and adrift.  As the early stages progress- and the video unfolds- our heroine looks on: stuck in a “dark room of fog” that unfolds “right in front (of my) eye.”  Whereas most tracks- of this kin; by her peers- look at blame and break-up (and put the blame with the other party), here there is ambiguity and doubt- our heroine is unsure how things (got like they did) and who is the culpable one.  With her voice gliding and cooing- tripping and bathed in silk- BORGORE beats add weight and candor to proceedings.  Ulmansky seems emotional and fragile- yet her voice remains strong and together- lost in the haze of her own thoughts and recollections.  With anxiety and desperation- “Was it, was it, was it you?”- Ulmansky seems drugged and forlorn: trying to piece things together, that sense of confusion shines through.  The heroine is not sure what has happened; where things went wrong- even wondering: “Do you even remember me?”  Impossible to forget or leave (you would imagine) Ulmansky’s sweetheart has departed; shards have been left- she is trying to figure things out.  As the beats (and electronics) stutter and sparkle, our heroine’s voice pushes and presses: both breathy and open, it is an intoxicating performance.  Whilst the mood augments- and the composition becomes more frantic and layered- Ulmansky recollects: “I miss the feeling of being held/In your arms so tight…”  She is trying to fly/live her life- while her wings are number- trying to forget- although the same (bad) memories come to the forefront.  The video (for the track) is striking and compelling: strange images; artistic scenes; our heroine walking alone- is a perfect fit.  Propelled and supported- by the insatiable and stunning composition- Ulmansky is swimming in a centrifuge: her heart has been fragmented; her life changed forever.  You can sense that need for closure and satisfaction: she wants things to go back to how they were; be in the arms of her man- unsure why he went away; how things fell apart.  When BORGORE comes in to play the ‘anti-hero’: her man and former sweetheart is in apologetic voice.  Calling out to her, there is a fond desire- that his “so pretty” girl- to be with her; to have her in his arms- return things to their former state.  Adding Rap and Hip-Hop (into the Electronic mood), BORGORE adds some urgency and force- adding some dark shades into the light.  When BORGORE recollects, he is earsing (bad memories) and rewriting the romance- altering events and changing facts.  Remembering some find times- jumping from buildings; hot and heavy moments- it is clear (Ulmansky) had quite an effect- the heroine has left her mark; cast her spell, and caused some hurt.  Who is to blame, we are not sure- there is some confusion as to who left whom- but one thing is for sure: neither party seems happy (with their lot).  Ulmansky seems affected and yearning; BORGORE angered and lustful- the combination (of the twin voices and prohections) works wonderfully.  Both voices slot together perfectly- hardly surprising as they have worked together before- and neither one seems out of place.  Ulmansky’s sweet sensuality (and breathy sexuality) spars with BORGORE’s harder Rap- wrapped around the swirling electronics, Was It You? is a classic slice of Electro.-Pop.  As the final notes come into play- and the video comes to its conclusion- our heroine sits and ponders; burns old memories- leaves the listener rooting for her.  Whether (our heroine gained) answers is not clear: you really hope her hurt dissipated; her pain subsised.  With its incredible production and stunning composition; tied with the incredible vocal performances- the track is an instant success.  Pairing with original (and personal) lyrics, it is a track that gets inside your brain- and makes you sigh (and fall for Avi Ulmansky).

I have blathered on excessively: I hope Avi Ulmansky will forgive my loquaciousness and fevered passion.  I would love to see Ulmansky play London (I know she has played here before) and show the capital what she is about: I know many people who would flock to see her.  With the likes of FKA twigs, James Blake (and Electro. artists with clout) a minority: we need to see (and hear) more of this girl.  It would be understandable- were Ulmansky to recuperate and take some down-time- following such a whirlwind tour.  After the dust has settled, there will be plenty of options: does she opt for an all-out L.P.; an E.P. perhaps; some more collaborating?  Will the music be extemporaneous and sexy; hard-hitting and snarling; kaledopsic and shape-shifting?  Know Ulmansky, it will be all of the above!  Was It You? Is a tantilising glimpse into the future: a sign of her upcoming direction and a window into her psyche?  It would be great to hear an album in 2015/16- whether her freewheelin’ and mixtape-ready style would work in this arena- from the Israeli Siren: she is a fantastic songwriter with plenty of moods and ideas.  Whatever arrives will surely feature BORGORE; it will have elements of Shit Just Got Real- incorporate current influence and experiences.  When that moment arrives, it will be an exciting one: fans and followers are eager to see what comes next.  Being a new fan (of Ulmansky) I am catching up on lost time: looking back at her past; discovering everything I can.  Was It You? is bold and brave; exciting and rainbow-coloured- filled with drama, fascination and questions.  It is Ulmansky’s spirit and drive (that enforces her music) and I cannot wait to see where it takes her.  Before I wrap up, I want to circle back to my opening point: that which relates to cultural diversity and exploration.  Many of us- when it comes to music at least- will not be over-familiar with Tel Aviv: unaware that artists like Avi Ulmansky are around.  It is great to discover local talent, but it’s even more exciting finding something foreign: something unusual and new; international and unexpected.  The rest of 2015 will see the young artist weigh up her options; decide what she wants to do- she may already know and be keeping it close to her chest.  Having (just now) enthralled and entertained Europe, she is taking a much-needed breather- and is lamenting the end of (a wonderful experience).  When she regroups, magic will surely emerge: something new and different; a record that will excite her fans.  It will not be long until Ulmansky is a mainstream name; plays the biggest and more prestigious festivals- she played Glastonbury in 2014- and is a common name.  Until that day arrives (sooner rather than later) discover what the buzz is about: the girl has a desire to be heard and discovered.  Gorgeous and striking; talented and pioneering fresh and vibrant- here’s an artist we need to support.  Make sure you dig out her mixtape; her involved with her E.P. - take a listen to her latest song.  Once that is done, prepare yourself for what is to come- whatever form that takes.  Whatever she has in mind- whether it is a musical about-face or sweeping album- one thing is certain:

IT will be impossible to resist.

[youtube https://www.youtube.com/watch?v=_JlsP2kjH9E&w=560&h=315]

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Follow Adi Ulmansky:

Official:

http://adiulmansky.com/

Facebook:

https://www.facebook.com/AdiUlmansky?fref=ts

Twitter:

https://twitter.com/AdiUlmansky

Instagram:

https://instagram.com/adiulmansky/

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Music:

https://soundcloud.com/adiulmansky

 

_____________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCmvVZycqc8NhPCZb2yWQB6Q

 

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Brick London:

http://www.brick-london.com/

The Most Insulting Phrase You Could Ever Say

The Most Insulting Phrase You Could Ever Say

 

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With Easter upon us, I have been thinking a lot (about others; the world at large), and taking heart: it could be worse…

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“THERE are people (in the world) worse off than you…

Is- as this blog’s title suggests- the most insulting thing anyone can ever say (to any other human).  It is statistically true- with over 7 billion people on the planet, there are going to be quite a few- although it is completely irrelevant.   For one thing- when anyone has ever said that to me- they do not know (how difficult/bad things are) - so making a determination (as above) is, at best, ill-informed.  If people want to be empathetic/helpful (a rarity among the general populous) then they need to start giving a damn: it is one thing (there are quite a few) that annoys me greatly; when it comes to other people.  A sheer lack of empathy and social responsibly lingers like a bad smell- particularly prescient with my generation.  I am not the most altruistic or nicest person on earth, yet I feel well-placed to ‘judge’: give the collective a swift (metaphorical) boot.  Whereas a lot of people ‘have it worse than me’, this much is true: too many have it better off.

Over the last few weeks, the news has depressed me.  The recent plane tragedy (in the Alps) was particularly disturbing: something that hovered and poked around my brain.  Not omitting the terror and fear (the doomed passengers experienced in their final moments) the subject of depression came back to the fore- something that has come into sharp focus (over the last few months).  It seems that (the majority at least) the recent air tragedies- Air Asia’s two lost planes- have been caused by human error.  Whether- these crashes and tragedies- were caused by depression (or a sense of self-destruction) it is hugely distressing: why take hundreds of people with you (if you do not want to live on earth anymore?).   Mental illness will always be the deformed animal in the porch: the thing that people walk by (looking off-put and nauseated); the thing that is never petted- that animal that will always wait out in the cold.  Being depressed myself (quite severely at times) I know how hard others have it: just how bad mental illness can get.

I get affected by a lot of news stories (particularly true lately).  The massacre in Kenya (where scores of university students were slaughtered on the basis of their religion); every accidental death; each unnecessary death- I always picture everything; get upset and affected (I let it all get to me).  Perhaps it is the way I am hard-wired, yet it seems worrying (whether I will ever be able to cope with the ‘reality’ of the world).  I know I cannot stop things like this: I am incapable of messiah-like feats of salvation and protection, but I (always feel) compelled to get involved.

Over the next few days (I will be publishing a blog on Sunday) I am pressing hard (with my charity idea) and am still optimistic and resolute- I am finding few faults with the idea; sure masses will warm to the concept (when it goes live).  In as much as (there is a lot of needless waste/tragedy around) there is an even bigger problem: people turning their backs and not giving a damn.  I am not talking about the ‘wider scale’- in the community, I see too many humans doing the bare-minimum (on a good day).  Whether it is passing by the Big Issue Seller; not helping an elderly person open the door; not stopping when someone feints/has an accident- I wonder what the hell goes through (other people’s heads).  Reviewing music, I have become disaffected lately: bands and musicians are treating (the chance to get reviewed) as were it nothing.  I have in front of me, cards of thanks- touching and wonderful emails- from bands/managers/acts I have assessed- all thankful and grateful.  I never expected any of it, but (getting gifts like that) has compelled me to keep going with it- bands and musicians now seem less thankful; treat me like one (out of hundreds of reviewers); something they have to tick off the list.  I know how busy and hard it is (for musicians to get noticed) and they have a tough time- simple manners and appreciation goes a long way.

Maybe I am being (a premature) ‘old man’: what the hell is going on with people?  I know lots of wonderfully thoughtful people (who have it worse than me); many lovely humans (that are very good to me): I know too many (who have it all) give nothing bad.  More than anything in the world, I want to be less alone- I hate being single- and feel less ‘unloved’ (in that sense).  I want to live in London (timing a job and flat together will prove tough); I want to get a band together (and fulfil a lifelong dream) - I want to have a job I enjoy/can stand.  As much as anything, I want others to be ‘okay’- an attitude I never want to lose.  Whether this means (I spend less time on myself) I don’t mind.

Small changes and actions can make a big difference: changing attitudes and ways can lead to huge things.  Not wanting to sound like a preacher: too many people need to start thinking (about others).  This Easter I will be writing a lot; getting away from home (as much as humanely possible) and trying to relax.  I hope everyone has a great time (the next few days) and gives themselves some relaxation and space.  To those (who have not spent enough time thinking of others): make them feel less lonely; make some small changes- perform an act of kindness, just for the hell of it (and see the other person’s reaction).  Lots of people have it worse than me, and I realise how lucky I am.  For those that are (worse off), I will be eternally saddened- and sympathetic.  For those better off- that spend little thought on others- I will be endlessly angry.  Being more socially conscious- in addition to being a good thing- also makes you feel better about yourself.  When it comes down to it…

WHY would you not want that?

Track Review: Nelson Can- Miami

TRACK REVIEW:

Nelson Can

 

Miami

9.7/10.0

Miami is available at:

https://soundcloud.com/nelsoncan/miami

 

The album Now Is Your Time To Deliver is available through:

https://nelsoncan.bandcamp.com/album/now-is-your-time-to-deliver

TRACK LISTING:

Miami

Attack

Now Is Your Time To Deliver

Letting Go

Glorious

Here To Stay

Talk About It

A New Condition For Life

Go Low

You Don’t Know

RELEASED: 15^th September, 2014

GENRES: Rock

COUNTRY OF ORIGIN:

Denmark

WHAT with the British ‘spring’ (being somewhat predictable), it is nice to throw something…

fresh and new into the mix.  Having (come off the back of) reviewing Marisa Rodriguez- a Berkshire-based songwriter- my attentions move further away: all the way to Denmark.  My featured act have had quite a busy (last few weeks): having supported Royal Blood (through their tour of Scandinavia) the two acts share common ground.  Whereas there are two Royal Blood boys (three girls in Nelson Can) their dynamic is the same: just vocal, drum and bass- no guitars or tinsel.  The sound being produced- from Nelson Can and Royal Blood- is much in demand: it is the meat and bones of Rock; pure grit and primeval ooze.  That is not to say (this type of music) is merely swaggering and dumbed-down lyrics: Royal Blood have shown you can mix relatable words with some nuanced and crowd-uniting sounds.  Living near (to where Royal Blood hail), I have seen few comparable acts: those bands (or duos) who go back to basic- and harness the delirious, gilded sounds of ‘Classic Rock’.  The modern scene (is seeing) too many effete bands: those that do not get under the skin; have no masculinity or potency- just vague sound and aimless wandering.  Before I continue on, let me introduce Nelson Can:

“Nelson Can is a Danish trio founded in 2011.

Bass, drums and vocals.

Members: Signe SigneSigne, Maria Juntunen and Selina Gin.”

Nelson Can are a rarity: in the fact that they are a female trio.  If you were to name three other (acts of this formation) you might be hard-pressed (Haim are the only one that come to mind).  In fact, female bands (of any sort) are a rarity- the mainstream still favours/produces a mass of male-dominated bands.  I have always been for equality in music- in terms of gender and age/race- and to my mind, music lacks that.  Bands are too homogenised and predictable: beholden to age-old principles and male-only clans.  Nelson Can hail from Denmark: a country few of us think of (when it comes to new music).  I am excited about them for a number of different reasons.  There are a lot of female (solo acts) but few bands: we need more of them coming through.  In the realm of new music (there are quite a few) yet few translate to the mainstream: here is an act that is going to hit the big time (in next to no time).  It is their passion for music- contemporary acts like The Black Keys; older bands like The Doors- which goes into their sounds.  Instilled with personality, punch and passion, Nelson Can are one of the most immediate and jaw-dropping acts around: songs that defy you to ignore them.  It was perhaps inevitable- giving they have a lot in common with Royal Blood- their recent (mini tour of Scandanavia) was such a success.  I hope the girls get to the U.K. very soon (I know they have dates here later next week).  I can well see them rocking Reading (and Leeds), Glastonbury (and the Isle of Wight Festival) in the next few years: perhaps playing the same bill as their Brighton brothers of Rock.  Nelson Can work off the principles of dogmatic growl; sparse sounds- the essence of urgent Rock.  In a time where piano-laden swathes (litter overly-earnest ballads) the Danish trio defies convention: roll with more authority than most of their male counterparts.  With so many of the ‘old guard’- like Foo Fighters: a band I can’t stand the sound of- slopping into middle-age, Nelson Can are a much-needed injection of force.  Now Is Your Time To Deliver (their new album) can be taken too ways: either a shout-out (to their contemporaries) or a mantra to themselves- that desire to show everyone exactly how they do things.  Celebrated and critically-acclaimed (in their native Denmark), fans from around the world have studied the L.P.- fallen in love with its mesmeric sounds.

If you are new to Nelson Can (most of us will be) it is worth checking out their early sounds.  This time last year, the girls burst onto the scene: Attack was a typically suitable title.  Before then, the trio had unveiled releases: their self-titled E.P. was released in 2012 (and was their debut cut).  Attack was their most immediate- and to my mind, best- representation: that moment when they hit their peak; really started to hit their stride.  Being phenomenal out of the block (the song) has coo and bounce: it is a slow-build that entrances and entices.  Having a sense of dance to it (it is a song that flirts with Electro.-Pop elements) with trip and headiness.  Husky and sensual vocals arrive; the smoke and sass comes through- the vocal reminded me parts Florence Welch and Bjork.  Tighter and more intuitive (than their debut E.P.) the girls are seamlessly in-step- there is not a loose or unsure note.  That said; the trio makes the song sound cool and relaxed- in spite of the fact it is a taut and focused assault.  Raw emotions show their intent; yet there is plenty of melody and calm: the marriage is a beautifully memorable one (and their finest track to date).  EP2 arrived (not long after Attack; the song featured on the E.P.) and expanded on their early promise- new inspiration came to the fore.  Call Me When You Want To Get Laid contains a typically astute and alluring introduction.  The title- and indeed the chorus- has its tongue in cheek; there is sarcasm and grit; sexiness and directness- the girls are at their most cutting.  Twists-a-plenty lurk with wordless vocals: there is a terrific dynamic that runs throughout; the song builds before quieting down- then comes back for more (matching the sex-seeking tableau).  The song’s ‘hero’ comes across vividly: there is twist and unexpectedness amongst the lyrics.  With a sound that seems inspired by Detroit- and the likes of The White Stripes- there is a distinct Nelson Can approach- the girls merely sprinkle hints of others (such as The Kills and The Doors).  A beautiful mix of whistling, whisper (and spit) makes it a tremendous track.  Go Low (the E.P.’s swansong) is a memorable closer: tribal and ethereal beginnings make it an instant vote-winner.  Shades of Icky Thump (The White Stripes’ final album) can be detected; Blues Rock-cum- Soul peeks out (The Black Keys’ influence too) - the girls are in fine form.  Another tight and superbly performed track, that mixture of loose and perfectionism arrives- a song that sounds effortless yet vital.  With an effecting mantra- “Dig yourself a deeper grave”- is a song you are loathed to forget.  Since those records, the girls have arrived at their L.P. - their most expansive representation to date.  Containing the same mix of energy and soothe (as their previous work) the L.P. takes it a step further: there are new shades and sounds (to be heard).  Tracks like Glorious and A New Condition For Life are particularly standout- older numbers like Attack and Go Low are on the album.  Seamlessly blending their old sounds (with the newer) every song sounds natural and focused.  The biggest difference- since their early days- is the sense of identity. The trio sound more unique- and take fewer parables from Stripes/Keys/Doors etc. - and have crafted quite a distinct sound.  Keeping those Blues-Rocks sounds intact, they have expanded: developed as songwriters and really sharpened their pen.   The vocals- from Selina Gin- are more confident and assured; the bass and drum positively crackle and ignite- the three-piece are at their most urgent and impressive.  This not only bodes well for the future, but will come to the fore (through live performances) - the U.K. is in for a treat (when the Danish act arrives in the next few days).

Having listening (to Now Is Your Time To Deliver), I have selected its opening number (to review) - my favourite song from the album.  Miami- not to be confused with Will Smith’s track (thankfully) - spares no time (in getting off to the races).  Groan and bubble starts to build (a synth.-like sound comes out; only created through bass).  The wordless vocals- a trademark for Nelson Can- start to come out.  A call-and-response chorus is presented- ‘yays’ and ‘ayes’ swirl like a centrifuge.  With some impressively powerful percussion- played with focus, control and passion- back up the vocals: the bass does a tremendous job of ramping up the emotions.  In the same way as Royal Blood- especially on tracks like Figure It Out and Loose Change- whip up quite a storm, the girls do likewise (only their ace card is a slow-build of vocals and mood).  You can hear the tension (and palpable) cries: before the first verse arrives, your mind is already conspiring and imagining.   It is said- “All these rules and regulations”- let our heroine be; live her life (as she wishes)- the words are delivered with an impish sense of desire.  With a distinct (Danish) accent mingling with some Florence-esque prowess (the vocal) is a powerful and driving force: it never comes across as histrionic or overbearing; just in control and direct.  Positively bursting at the seams, the voice becomes hotter (and heavier): backed by some fuzzed/blissed-out bass (and punchy percussion) the song swaggers and sways.  Fuzzy and hazy; moonstruck and delirious, you are caught in the moment- when a musical parable is unleashed, you get a chance for reflection.  After an exhilarating and lustful opening, the girls transform the psyche: ‘60s Psychedelia mingles with ‘90s/’00s Blues-Rock haze (as though Jimi Hendrix and Jack White have decided to jam together).  Putting my mind on a sun-kissed highway- not sure why; just does- there is a breeze and heat to proceedings (a slight kiss of Queens of the Stone Age’s desert luster comes out).  Perhaps Miami is an apropos title: the beaches and sun; the sensuality and bare flesh- there is evocativeness within the song (that puts your mind there).  Before you can demure- and slip into your imagination’s desires- that primal coda comes in- the calls and swirling “someone”s hit the brain like a ballistic explosion.  Never encroaching or overly-harsh, there is sensuality, subtlety and sensuousness- that dynamic is something Nelson Can has perfected.  Miami is a song that is both instant and nuanced: a song that reveals new traicks (and pleasures) with each listen.  Those who think ‘here is a female Royal Blood’ will have to think again: the trio is their own masters.  Sure, they contain just bass, vocals and drums: their sound is completely different.  Betraying a debt to nobody, their unique flair (is the abiding takeaway).  Flecks of The Black Keys, Florence and the Machine (with a drizzle of The Kills and The White Stripes) is detectable: they are minor notes in (an otherwise) heady boiling bot.  Having listened to the track (six or seven times) a few things come to mind: the kinship is at the top of the list.  The girls sound completely tight and in awe: as though they have been playing for decades.  Few (new) bands have such a close-knit and natural bond- this makes the song so much more impressive and immense.  The vocals trip inside one another; overlap and play- never tripping over their own feet.  Bass work is constant and imperious: one of the most stunning facets of the song.  Urgent and driving; melodic and delirious- it is a wonderful performance.  The drum work stomps and rolls; pulses and kicks- giving the song a taut and authoritative backbone.  When the three unite, you get the biggest shivers: the most forceful tingles are elicited.  There are more urgent and primal tracks (on the album) although few are as delirious- the kind of song that can unify the hipsters, Rock aficionado and Miami beaches (into an armistice of sweat-dripping dance).  Suitable for the twilight bars (as it is the clement lust of the sand), Miami is a wonderful track- and a perfect way to kick off their album.  Make sure you investigate the track; keep playing it to death (as it is will never leave you brain).

After a successful- and hugely memorable- tour of Scandinavia with Royal Blood, the girls are preparing to head to the U.K.  On Wednesday, the trio is in Shoreditch (an area of London I hope to move to very soon) and will be entrancing the London throng.  From there, they head across the U.K. (in addition to playing other London dates) - before heading away.  I would urge anyone- whether you favour their brand of music or not- to go see them play.  A slightly new commodity, the girls will certainly grow in reputation: their U.K. gigs will set many (music publications and critics here) into a frenzy- compelled by their incredible sounds.  Many reviewers and commentators have bemoaned (the fact there are few ‘genuine’ rock acts around): it seems like Royal Blood have been carrying a very heavy torch.  It seems the perfect time for Nelson Can to shine: take the opportunity to stake their claim; pitch their tent in an empty field (and inspire legions of others).  Whereas most of my female-led music (is from solo artists) it is great to hear a female band: one that rocks harder and more strikingly than any out there.  I am not sure why there are (in comparison to the men) few female bands; it is something that needs to change- the likes of Nelson Can will change that.  Now Is Your Time To Deliver is an album packed with awesome songs: all quite brief and memorable; no fillers and wasted moments to be found.  In spite of the fact (the album has been out for a few months) the girls must be looking forward to (the rest of the year)- perhaps a new album or E.P. is in their mind?  They will certainly be looking to take their music on the road: perhaps the likes of the U.S. and Australia will come calling?  Let’s hope so, as they have terrific everyman personalities; that desire to succeed and inspire- that hunger to enthrall crowds far and wide.  Miami is a terrific lead-off track; a clarion call of desire: a great representation (of what the album contains).  I shall depart (with a scant thought) concerning the girls: their plans for 2015.  I shall do my best to come see them play (if not this time around; when they next come to town).  I know they are comfortable in Denmark, yet I hope they make the U.K. their ‘second home’.  Being a unique act, there are ample venues that would welcome them in: festivals like Camden Rocks seems made for them!  With the summer looming (theoretically at least) their time is now: that window to grab the critics by the scrotum (and rip it straight off).  Filled with attack, direction (and lust) the girls are no one-dimensional act- their loveable personalities and natural warmth makes them a fascinating prospect.  Apologies if I have vacillated too much…

BUT here is an act you need to seek out.

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________________________________________________________________________________

Follow Nelson Can:

Official:

http://nelsoncan.com/

Facebook:

https://www.facebook.com/nelsoncanband?fref=ts

Twitter:

https://twitter.com/Nelson_Can

BandCamp:

http://nelsoncan.bandcamp.com/

Instagram:

https://instagram.com/nelsoncan/

___________________________________________________________________________

Music:

https://soundcloud.com/nelsoncan

 

______________________________________________________________________________

Videos:

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

 

Track Review: Marisa Rodriguez- Come Home

TRACK REVIEW:

Marisa Rodriguez

Come Home

9.6/10.0

Come Home is available at:

https://soundcloud.com/marisarodriguezmusic/come-home-marisa-rodriguez

RELEASED: 5^th September, 2014

GENRES: Pop; Folk; Alternative

COUNTRY OF ORIGIN:

U.K.

THIS weekend shows a distinct sense of contrast…

for many different reasons.  My ’subject’ today is an hungry artist: someone whom works tirelessly- around Berkshire and Surrey- to seduce ears (and hearts) - she is someone who is a name to watch.  Tomorrow, I look at a Danish ‘girl band’ (they are a Rock act with a lot more credibility than your average manufactured Pop act): currently supporting Royal Blood as they tour Scandinavia- an act that surely have a glistening future.  One of the great things about reviewing- apart from the chance to focus on something singular and personal- is the range of people/musicians I happen upon (from all around the world).  At the moment, my inbox is awash with requests: acts from about the globe are keen to be assessed.  Aside from the (mass of emails coming from) Hamilton, Ontario- not sure why Ontario likes me so much- I have been very fortunate (to ‘see’ such sights and nations).  Having covered four continents; traversed the length (and breadth of the U.K.)- assessed U.S., Australian, European and local talent- it is great to see what is out there.  As much as I adore international music- especially that emanating from North America- it is humbling to witness some (great local) sounds: those tangible up-comers (you can pop down the road and see play live).  Marisa Rodriguez is someone I am familiar with: well-versed with regards her stunning music; having met her, I know how hard she works- and how passionate she is about music.  Few (other singers) have such a yearning and unwavering determination: that insatiable desire to succeed and inspire- this comes through in her varied (and striking) music.  In addition to being an incredible songwriter- and one of the most mature and intelligent lyricists from the modern set- I adore her voice: that heartbreaking (and multifarious) peacock that opens its plumage (upon will) - delighting with every flick and sweep.  Before I continue, let me introduce Rodriguez to you (in her own words):

“I knew I wanted to sing forever! :-) However cliché it may sound, I did sing into a little plastic microphone to my parents DAILY in the living room! I have pictures somewhere.. but I think I will refrain from letting those loose on the web! xD

Throughout school I had a tough time, and I moved around a lot because of family things.  By the time I'd finished my GCSE's, my passion for music had began to spiral out of control. Although I had always written poetry, I had started writing songs and performing towards the end of GCSE and it was all I wanted to do/could concentrate on when I was doing my first year of A Levels. I got to the end of my first year of 6th form and decided I couldn't stand it anymore! I just wanted to get better at music in general, as I'd not had any lessons up until then; I was self taught in singing, guitar & songwriting and all I wanted was to learn more about it all!

That is when I found the Academy of Contemporary Music (ACM).

Money has been a struggle the last few years whilst I've been there, but it's definitely been worth it. I've met some amazing people/musicians, learnt a lot about the industry and have got to do what I love the most whilst also gaining a degree! :-)

I'm on my last year now! There's still a lot I need to figure out, but I've realised that you just have to go with it, as I seem to learn something new everyday!

I'm also always trying to improve my music/write new songs, not only for myself but as collaboration projects with other producers/artists.

I hope this wasn't too long winded and gives you an insight into the life of Marisa. :-) Hope you like the music.”

In a market crammed with solo artists- ranging from the immense to the downright ear-offending- Rodriguez is making her way (and growing in confidence).  Before I investigate Rodriguez further- and look back at her chest of previous work- it is worth noting this: 2015 will be a busy and prosperous one (for Rodriguez).  I know- from following her on Facebook- she holds some anxieties (with regards her music development and ambitions); questions her motives and ideals- her resilience is something to be admired.  Having overcome a lot of troubles- and worked harder than any other musician I know- she is on the cusp of something special: an E.P. is mooted (for later in the year); she is performing regularly (and entrancing intimate crowds).  Having amassed an impressive array of tracks (originals and cover versions) she has plenty of options- with regards compiling an E.P. (or album, perhaps).  Finance is always an issue- when an artist comes to getting an E.P. together- although Kickstarter will be kind: she will hit any ‘target’ she puts out there (and raise the necessary funds).  I hope that is in her mind, as (Rodriguez) has shown what an agile and alluring songwriter she is- someone endlessly inspired; always scribbling lyrics and new ideas.  Modern music suffers from incongruity: plenty of new artists coming through; few resonate (long) in the imagination- the dispirited and uneconomical returns are quite worrying.  With a lot of people (of my generation at least) looking back at past music- whilst embracing the few wonderful new acts- we are in need of ensuring artists: songwriters with a mobility and sense of longevity; those who are not (going to show themselves to be) a transitory grace.  Rodriguez has enough moxy and focus: tied around her silky and powerful voice.

With regards assessing (Marisa Rodriguez in her current form) it is worth looking back: to see how far she has come/developed as an artist.  Once Bitten, Twice Shy arrived 3 years ago: it is a strong and impassioned number- showcasing Rodriguez’s strong (and distinct voice).  With a simple and catchy acoustic flair, the melody (and sound) sticks in the mind.  Talking about (leaving things behind; battling regrets and doubts) the song has a modern and current sound- with lyrics designed to inspire and motivate.  Although- as the song attests- she has faced some hardships; there is redemption and strength- Rodriguez talks of (letting someone down) and finding new meaning.  With powerful crescendos (and a compelling performance) is a terrific early number- with a fine set of lyrics to boot.  One of Rodriguez’s earlier (original tracks) she negates the pitfalls of her peers- too much woe and introspection; not enough range and positivity.  Once Bitten’ shows plenty of firepower and beauty; ample confidence and naturalness- Rodriguez is gripping and compelling throughout.  Dust- written around the same sort of time (as Once Bitten’) is subtler (and more serene).  With shades of Kate Bush and Eva Cassidy- in the softer moments- there is breathiness and sexuality; evocativeness and grit: the young singer runs a gauntlet of emotions.  With hints of Lucy Rose (and Mazy Star) it is a touching and scintillating number- that shows a very unique personality (and voice).  Developing her voice (and songbook) Tails or Heads- one of her most recent original works- has passion and bounce: Rodriguez looks at dislocated love and fractured relations.  With an introduction- that shows (rather unexpectedly) shades of Nirvana- there is plenty of oomph and bounce.  Suggestions of Paramore and Kelly Clarkson (during the most uplifted vocal moments), the track is a potent and energised beauty.  The lyrics look at harder times- where demands were made of her; sour times being dealt with- yet Rodriguez shows resilience and strength- her heart and soul will not be dampened and scarred.  Boasting a fine melody and chorus- that puts me in mind of Alanis Morissette’s You Outta Know- it is a wonderful track (that shows how much Rodriguez has developed as a songwriter).  Both extemporaneous and perfectionist, Rodriguez blends acoustic kick and vigour; ties it to someone inspirational and thought-provoking lyrics- wrapped around vocals which are at once caramel and chocolate; stirring and knee-dropping the next.  Over the course of a couple of years, Rodriguez has expanded her voice; sharpened her songwriting- galvanised and augmented her early promise.  Having tackled cover versions- from the likes of London Grammar, Kate Bush and Sia- the vocal work (on Heads or Tails) sounds stronger and more gripping; the songwriting is more confident and quotable- the overall effect is mesmeric.  Having grown as an artist, the arrival of Come Home- at the latter stages of last year- was met with huge anticipation and expectation.

The aforementioned tracks with swan-like glide and delicacy: a yearning and aching piano parable (filled with crystalline beauty).  Putting me in mind of Parachutes-era Coldplay (and its finer romantic numbers) Rodriguez shows some nimble fingers; some exceptional playing- ensuring she leads the listener in.  Building off of (some wordless vocals), there is little time to reflect: the song’s messages and meanings get underway quickly.  Whereas Rodriguez’s previous numbers (with the exception of a few) are acoustic-led; Come Home relies on (in the early stages) piano: giving the number a classic edge; romantic seduction and serenity.  When our heroine steps to the microphone, her thoughts turn to a sweetheart- someone who “left so easily.”  Looking for answers and guidance (Rodriguez) is looking around- wondering how things went wrong.  Whether some blame (should go her way) - a rare thing for a songwriter to not go for the jugular of their subject- there is some humility and openness: no bitterness and finger-pointing.  Rodriguez keeps her voice low and smoky: it not only adds weight to the lyrics; it gives the mood a sense of shadow and introspection.  When listening to the song, you get some clear imagery: our heroine listening to (a special song for the couple) and thinking back- reflecting on fonder times.  As the song develops, your thoughts mutate- and the title becomes more relevant- leading away from break-up (and towards something more romantic).  Not wanting to banish her man, there is that abiding feel of longing: that need for a rekindling; reignite a deep and meaningful bond.  Delivering (the song’s title) with elongated power, the song climbs and builds: the tingles come readily; it becomes more powerful and stirring.  Letting the composition act as a guide, Rodriguez puts her voice at the forefront: it ranges from incredible soulfulness to full-bloodied lust.  Modern singers like Hannah Reid and Florence Welch (are synonymous with their range and potency), yet neither boasts Rodriguez’s spectrum: she has a distinct sound yet seems effortlessly capable of molding her voice to fit her lyrics.  Early on, there is looking-back: the vocal is tremulous and quivering; bold and alive.  Towards the mid-point, the track settles back down (for the chorus) where our heroine focuses her ambition: the return of her beau.  Each new delivery (of the words ‘come home’) shows new shades: alluring sexuality; sensitive regard; emotional vulnerability; incredible panache.  Towards the 2:30 mark, Rodriguez is at her peak: her voice is enflamed and ecstatic; a maze of emotion and passion.  Desperate for redemption and resolution, you are gripped by the conviction- how much the words mean (to the heroine).  Few other singers have such an incredible set of lungs: not only is the vocal powerful; it is steeped with nuance and colour.  Just as you get caught (in a wave of heartache), the final moments arrive: allowing Rodriguez a chance to refrain.  Her voice here- during the close- is soft and pin-sharp.  With sensual reflectiveness, Come Home comes to land: the listener is left wondering how the story ends.  Whether (our heroine) found satisfaction- or was left to sleep with a heavy heart- we do not know.  What is clear is the effect the song has: it is a number you are compelled to reinvestigate and study; it is hard to ignore its prowess and power.  Heartache and anxiety inspires some great musical moments: how they are translated can be hit-and-miss.  Over the last few months, artists like James Bay have left me cold- in fact, a lot of the new crop sound tired and bland; robotic and inane.  Rodriguez- like her comrades in the underground- shows much more vitality and personality.  Inspired by the likes of Kelly Clarkson and Coldplay, it is unfair (to compare her) to anyone: Rodriguez is an original and unique artist.  Packed with romance, emotion and shiver, Come Home is a terrific creation: a song that has resonated with many people (and inspired our heroine to keep writing).  Whether an E.P. will arrive by summer (or come later in the year) Come Home must surely feature- it is one of Rodriguez’s finest creations.  From her earlier days, the young artist is still learning: gaining fresh insight and inspiration.  Having seen some of (her most recent) lyrics, there is plenty of diversity: Rodriguez herself is not just concerned with heartache; her poetic gifts touch on many different arenas.  A multicoloured and mobile writer, Rodriguez (and any future release) will be met with fervent excitement- I cannot wait to hear it!  Taking all this into mind, it is hard to ignore her main virtue: that wondrous voice.  Heartbreaking and seductive; exquisite and bejeweled, it is hard to shake it (and why would you?!).  It not only makes Come Home such a (stunning number) - it sets her apart from her contemporaries (and is one of the most stunning voices I have ever heard).

With today (proving to be somewhat lugubrious) from a meteorological standpoint, it is worth seeking comfort (in the security and warm embrace) music offers- sounds that can put a smile to the lips.  There are some merit-worthy acts coming through- from all around the world; catering to all tastes- although the ‘buzz’ (being projected by the music media) is around the old guard.  With Blur announced (for the Isle of Wight Festival; The Magic Whip is imminent); The Libertines coming back strong- and Laura Marling having crafted another sublime L.P.- it is time to get fresh blood trending.  Marisa Rodriguez has a voice that is endlessly adaptable: look at her list of cover versions; she not only transforms (every song she tackles) she seems completely natural and dominant (like she was singing one of her own creations).  It is when she puts pen to paper; you start to see something quite unique: one of these new acts capable (of rubbing shoulders with the finest singer-songwriters around the world).  There is still a hegemony and clamber for bands (and the band market): festivals pretty much revolve around them it seems.  The solo artist has a harder life: taking it on alone, their existence is a lot harder and more exhausting.  Getting acclaim (with so many others acts coming through) is a hard and inscrutable mistress: many quit and burn-out (galled by the endless pressure they face).  I know Rodriguez has had some ‘moments’- where the balance of work, music and ‘life’ has caused her mind to doubt- yet I know how tirelessly she works: someone who is never going to give up (on her goals).  Come Home is a track that resonates with me- having first heard it upon its release- and a hint to the future: what her (possible) E.P. could contain; what themes/ideas will be explored.  Having penned a few other originals- and taking on a series of covers- over the last few months, Rodriguez is in fine voice: ideas are percolating and forming (almost by the week).  With song ideas, fragments (of lyrics and tracks) being teased- it will not be long before a fully-fledged release is unveiled.  That day will be an important one: a chance for the rest of the world to hear (what Rodriguez) is all about- and assess her songwriting prowess to the full.  When she does drop an E.P., she will face an ‘interesting’ choice: will (the E.P.) contain all originals; or will a cover version be in there?  Rodriguez has an incredible songwriter talent; she is deftly able to make existing songs sound fresh and new.  I am sure she will not want to think TOO far ahead: as we speak, the young talent is looking ahead (to future performances).  Regularly hosting ‘open mic.’ nights- and encouraging the folk of Berkshire to come hear (some great local talent) - she is building a name for herself.  It would be great to see an official website- a central point with everything Marisa Rodriguez on it- to attract fans and followers (and give record labels and venues a chance to see her full portfolio).  In addition, Rodriguez has a great Twitter opportunity: regular updates and ‘checking in’ could see her numbers rise- I know many international venues/acts/followers keen to stay close to her electronic tongue.  With her Facebook numbers increasing- and sparks of inspiration occurring frequently- this year will be a great one (for her).  Come Home is a testament of what she is about: an artist who channels personal dislocation (and sadness) into something ethereal and beautiful- topped off by her inimitable and spine-straightening voice.  If you are looking to escape the rain- or tired by the predictable plod of pedestrian new music- then you should do yourself a favour: investigate an artist with a unique voice; someone who will be producing music (many years) from now.  A gorgeous and stunning talent- with an altruistic approach to her fellow musicians- there is ample to entice the eye: I predict some special times ahead.  With regards (a future E.P./tour) the heroine is keeping level-headed: making sure she is fully ready (before putting anything out there).  With a new manager on board, Rodriguez is gaining momentum: it cannot be long before (high profile) London venues coming a-knocking.  Her sound is that which is easily exportable: I know (similar-sounding) artists performing across L.A. and California- whether that is something Rodriguez wants to consider, I am not sue.  The bottom line is (is that) she is a songwriter who has options and choices: if she remains focused and infused; she will get her due rewards.  Marisa Rodriguez is an artist on the rise: make sure you check out her wonderful music.  With the champions of the mainstream (stealing all the limelight) - and new music having to curtsey with demure regard- listen to an artist (with a gilded future looming); someone who resonates in the mind…

AND provides something genuinely inspiring

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________________________________________________________________________________

Follow Marisa Rodriguez:

Facebook:

https://www.facebook.com/marisarodriguezmusic?fref=ts

Twitter:

https://twitter.com/marisasingsalot

___________________________________________________________________________

Music:

https://soundcloud.com/marisarodriguezmusic

 

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCDsbJj47SZ4UhIE4yMHVfXw

 

The Single Voice: The 'Foreplay Stage'

The Single Voice

The 'Foreplay Stage' (Feeling Optimistic)

OKAY, so I'll play this like a birth: use the analogy with as few mentions...

to the (rather graphic) process as possible.  In fact, I have never been that 'pretentious' (I hope) when describing any of my campaigns/fundraisers (if I use the word 'journey' once, I will castrate myself).  Just wanted to give those- with any vague anticipation and interest- a heads-up/progress report.  After a busy weekend (so far)- of reviewing and what have you- I am dedicating (tomorrow) to conceptualising/solidifying my plans...

So far, I have written to a few big names- Google of course; Stephen Fry too- to get some support/backing.  It would be great (were Google) to take interest: throw their weight behind it (and realise it's a good/risk-free idea).  For those who have not read my initial blog (https://musicmusingsandsuch.wordpress.com/2015/03/08/the-single-voice-one-language-for-all/): I am getting revved-up about this- I think it could be a winner.  If it all goes 'to plan' (and it gets launched) there are back hopes: raising millions for lots of charities; raising awareness of gender/equality issues; promoting new music; giving a voice to 'forgotten'/stigmatised illnesses...so much more.  I have pretty good plans for the website- making it informative, full-bodied and eye-catching (ensuring the registration process is as pain-free as possible).

If Google are on board, I would like to think (a conservative estimate) the scheme could launch this time next year- and run for a full year.  The Single Voice relies on very little initial effort (from the user): the great thing is- once you have signed up-  it is a case of sitting back and watching the donations/fundraising climb.  It is perhaps the most ambitious charity idea ever- in some sense- but I am not off-put: there is no reason it could not succeed/be launched...

When I get more word back (from Google/various celebs.) I will keep you all updated.  When it is 'a go', I would love for (musicians, actors, comedians etc.) to do some promotional videos- can be humorous or unique... to get people on board.  Once that happens, on with the journey...

OH fuck.

Track Review: Allegories (Ft. MEAGHA)- Evaporate

TRACK REVIEW:

Allegories (Ft. MEAGHA)

 

Evaporate

9.5/10.0

Evaporate is available at:

https://www.youtube.com/watch?v=xvIKp3UgVyg&feature=youtu.be

RELEASED: 26^th February, 2015

GENRE: Synth.-Pop

COUNTRY OF ORIGIN:

Canada

OKKKKKKKKAAAAAYYYYY…

This one might be a bit brief.  A lot of acts (come to me) fully armed: biography in place; photos a-plenty- gig information and what have you.  Today: I am going to have to make assumptions (without padding this review too much).  Allegories do not exist (their ‘official website’ says as much) - to the extend they are unknown quantity.  Like Daft Punk, you are looking at a duo: there is no background information; few images on hand- everything is very much under wraps.  What I do know- I think anyway- is that they are an Ontarian band: an area of the planet that comes to my attention a lot (what is it about Canada and this blog?!).  The duo is a relatively new configuration- having released one song previously- and are building up quite a head of steam: in small part due to their sense of mystique and anonymity.  I am ambivalent- and go back and forth- when it comes to ‘detail’ and music: whether it is good to give a lot of information away; a mistake to be too aloof.  In a social media age- where you have to be forthcoming to such a degree- it is always smart giving (the general public) plenty of insight: where you come from; who inspires you- although some do take this concept a little too far.  We do not need to know EVERYTHING about a musician- bowel movements; food habits etc. - yet we need to know something at least.  Allegories let their music do the shouting: it would be nice to gain some insight (into their work and background).  Perhaps- when they start hitting their stride- they will be a little less coquettish: open up a little and give something away.  As it stands, the guys are a slight gamble: which makes their music very exciting.  If you have strong songs- which they seem to have already- then you need not sweat stuff (like biography etc.)- they have the musical balls to make their point heard.  At the moment (in 2015) the lads are starting to build their fan-base: the social media numbers are climbing modestly; the reviews are starting to come in.  The mask-wearing mystery men of Allegories want to keep people guessing: perhaps they find the business of music-making more essential than personal revelations.  On this occasion- for the song Evaporate- the too-cool-for-school innovators have drafted in MEAGHA: someone just as fascinating (as the chaps themselves).  Her Twitter account (is recently back up) and gives few personal insights- she sounds like a fascinating character, no less.  Annoyingly beautiful; striking body art; one hell of a voice- and a likeable, vote-winning personality.  Whether she resides in Canada (I cannot gleam that from Twitter) is unknown- she is sure to be in our thoughts (in years to come).  The bond- formed quickly and efficiently- is natural and striking; one presumes there is a little history/understanding between them- Evaporate shows a seamless and tight-knit understanding.

Funny Way of Loving You (is Allegories’) previous track- the first outing for the twosome.  Building and swirling- from the off- the song instantly makes a mark: designed to get inside of your head (with the initial beats).  Dreamy and hypnotic; dark and pressing, the composition is a rich and detailed one: yet sounds effortless and loose.  When the vocal comes in, it is relaxed and seductive- a sound fans of The National would admire.  Whilst the vocal (is not as sonorous and deep) as Matt Berninger’s, it is a sensual and seductive tone- that perfectly augments the music.  Counterpart of the (insistent and crackling backing) the vocal is an ice-cool and reflective thing: our hero reflects on a love (of a different kind).  Looking back at mistakes and missteps- midst the aural shower of electronics- there is regret and introspection; humour too- whilst the song’s theme is original and perfectly delivered.  An impressive and confident track, it shows (the boys of Allegories) are bold and fearless; steeped with natural ability and intuition.  For such a memorable debut cut: it would be hard to top it, surely?  With Evaporate, it seems like they have (done just that) - and improved on their tremendous start.

Evaporate begins with clatter and bubble: dream-like swathes and echoed vocals; blending beautifully in harmony.  Wasting no time in making its mark, the track (puts me in mind of) the likes of London Grammar and FKA twigs.  It has the former’s breathy and entrancing allure; the latter’s sharp and exciting edge- combined to create something urgent and passionate.  Imagining Hannah Reid (London Grammar’s leading lady) stepping towards the microphone, the listener is intrigued (and left curious)- how the song will develop.  MEAGHA speaks of “everything that’s closed…to me”: imploring to a (focal figure) to offer some guidance and support- her voice awash with ache and longing.  Whereas the composition is ripe, receptive and busy- employing layers of notes, synths. and undertones- the vocal is a restrained and relaxed beauty: wonderfully contrasting against the composition.  MEAGHA has an alluring and breathless sigh; a voice that sounds both fractured and headstrong- making sure each word resonates and affects.  Imploring (her man and hero) to “kiss me”: there is a sense of a woman who yearns for affection; a sense of satisfaction is required (a desire to be fulfilled).  Never expressing the sentiments too whole-heartedly and heavy-handed, the vocal is a serene and flowing breeze- putting me in mind (of some of) FKA twigs’ current sounds.  Enraptured (by the music around her) our heroine comes more into focus- her voice sharpens and spikes.  Keeping that ethereal and ghost-like whisper in the mix, the voice starts to stand up: become stern and attentive; making sure the words and understood and emphasised.  Addressing her anonymous other, MEAGHA asks why (are they so familiar) with each other; there are questions and doubts- that desire seems to be palpable and overwhelming.  As the storyline goes on, the composition keeps evolving and moving: tiny little details come into view; there is so much to hear and absorb.  Not contended to project a lazy and one-dimensional electronic soundscape, the boys infuse so much attention and work (into their sound)- forgoing the trend of lazy and unimaginative compositional work (so many of their contemporaries favour).  Whilst it does remind me of some of (our finest Electro.) acts, it is very much their own beast- following off (from where their previous track) left off- a natural step and progression.  MEAGHA seems a perfect fit: her voice the natural light that guides Evaporate.  Not just sensual and sensitive, the voice rises and peaks- the high notes and crystalline and delicate; her most impassioned moments belt out with pure force and emotion.  A singer with mobility and huge range; there is no second-fiddle here: not a collaborator who is there to merely provide some vocals (to benefit an artist’s composition).  MEAGHA showcases her full range of tricks: she perfectly fits into the song; making sure her voice perfectly complements the (music around her).  Before the 3:00 marker, she is at her most bird-like: her high-pitched coo stirs and glides.  Vocal lines blend (and interact): powerful rises meet with swooning moments; she intersects inside her own voice, adding layers and beauty to Evaporate.  The composition itself never relents or slows: it mutates and evolves with ease: ensuring the listener is always keeping one eye on the foreground; one to the background.  The final minute (or so) provides a little bit of a dummy: you think the song is coming down to land (it starts to fade away a bit).  Just as you are ready to relax, it builds back up- coming off the back of some very delicate and beautiful compositional notes.  Presenting some urgent clatter; tribal percussion; street-wise clatter (and some dizzy sounds) the outro. Is a perfect final- bringing Evaporate to a memorable conclusion.  I have mentioned the likes of London Grammar and FKA twigs- this track has more in common with the latter.  In a musical sense, you can definitely draw parallels- let’s not forget FKA twigs was nominated for a Mercury Prize- which is very impressive; a popular and in-demand sound.  The innovative duo has managed to cram a lot of life, love, lust and force (from their composition): created something quite charming and beautiful.  It would be terrific to see more songs like this (appear on an album or E.P.).  A slightly different animal (to the last endeavor); Allegories prove what an inventive and wide-ranging talent they are: everything they come up with seems so natural and effortless.  It is the details and depth that impresses most: the care they put into their sounds; the subtle little diversions (few of us may notice at first).  Were it them singing (and meant in no offensive way at all) the track may not have been as memorable- it (is a song) that cries out for a female voice.  Clearly keen to select the RIGHT voice, MEAGHA is the perfect Siren- a singer I would like to hear a lot more from.  Not just your average throw-everything-into-the-mix-and-hope-for-the-best singer (like so many out there) she is a vibrant and stunning talent- and surely must rejoin with Allegories in future days.  Sexy and vibrant, shy and vulnerable: she is a voice that can do just about anything.  Perhaps not as cloaked as her colleagues, I would encourage MEAGHA to put out her own music: get into the studio and let the world discover that gripping voice.  For now, the two sides come together to give us something quite of-the-moment- Evaporate certainly does not fade from the mind.  What is in store (for both Allegories and MEAGHA): who knows, eh?  MEAGHA has clearly enjoyed her time with Allegories- from what she relates on Twitter- so let’s not rule out (them working together down the line).  Evaporate is a song for here and now: something that is perfect for spring night; the dream of summer and all it could bring- a song we all need to hear.

After investigating Evaporate- and Allegories at their strongest- I am excited for their future: let’s hope they expand their social media accounts (gives us a bit more personal information and background).  Their music is (indeed fantastic) and hopefully they (with MEAGHA) will come to the U.K. - there are crowds waiting for them.  In our scene- over here at least- there is a dominance of Pop and Rock- Synth.-Pop is not a genre as popular (as it should be).  Artists like Allegories should be embraced more: their sounds and style is ready-made for summer; capable of uniting dancefloors- turning bad moods (into good ones).  Canada is knocking at my door- there are plenty of great musicians out there- and showing themselves to be (one of the most) fervent music nations out there.  MEAGHA is a voice (and talent) that deserves greater exposure: a stunning and scintillating singer with a big future.  Whether the two parties collaborate in the future- or work solo- is anyone’s guess: they should definitely conjoin again.  What more is there to say?  Evaporate is a memorable and incredible slice of Electro.-Pop: a song that could soundtrack clubs and dancefloors (and invigorate crowds).  Let’s hope the camera-shy Allegories succumb to popularity: crank out some new music as soon as possible.  They are musicians that have a great (and original sounds): capable of gaining popularity beyond their native land- a sound that is universal and nuanced.  In a music scene (with more than enough bland and vague sounds) it is refreshing to come across something fresh and alert: music that demands attention (and repeated plays).  Whether you are ‘for’ or ‘against’ (scant and thin online portfolios) it is the music that stands the test of time- and the most important facet.  On the evidence of Evaporate, the Canadians are on a surge…

LONG may it continue!

[soundcloud url="https://api.soundcloud.com/tracks/192957506" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

________________________________________________________________________________

Follow Allegories:

 

Facebook:

https://www.facebook.com/allegoriestype

Twitter:

https://twitter.com/allegoriestype

SoundCloud:

https://soundcloud.com/allegoriestype

YouTube:

https://www.youtube.com/channel/UCVMytTN8jv35W7StKn7gTPw

 ___________________________________________________________________________

Follow MEAGHA:

Twitter:

https://twitter.com/MEAGHAHAHA

Track Reviews: Hannah Dorman- Take Control/Save The Day

TRACK REVIEWS:

Hannah Dorman

 

Take Control/Save The Day

9.4/10.0- 9.3/10.0

Take Control is available at:

https://www.youtube.com/watch?v=3Bf14t8emi4

Released: 1^st March, 2015

Save The Day is available at:

https://www.youtube.com/watch?v=NU5Hi9AwuOA

Released: 15^th March, 2015

GENRES: Country/Rock

COUNTRY OF ORIGIN:

U.K

HAVING just about ‘recovered’ from the (bombshell that was) Muse’s new single (Psycho)...

It suddenly dawned on me: I have heard this (song) before.  I love the band (especially their older/mid-career work) yet am a little ambivalent: Psycho sounds (like a retread of) Uprising- their lead-off track from (their 2009 album, The Resistance).  There is that (same bounce intoxicating) bounce: similar riffs; plenty of spunk-cum-grit- with added expletives.   There is no denying Psycho is a beautiful thing: a hard-arsed and heavy kick to the teeth; an intro. That borrows into the brain- a track that demands fist-pumping and vermillion rage.  Among its primeval (and political) swagger, there are some ‘drawbacks’: chief among them is its immobility.  In trying to ‘recreate their best days’ they have, rather concerning, replicated them- rather than evolved naturally.   Critics (and reviewers) have noted- with regards the track- some of its ‘cheesier’ lyrics (phrases like “your ass is mine” appear); the rederivation (of their past work) - the all-too-familiar bombast.  That all said (it sounds like a critical backlash): I love the song.  It is a granite boulder to the face; a much-needed re-injection of British Rock (Royal Blood can’t do all the work?).  In the ‘new music realm’ (these kind of moments) come in different forms.  Solo artists have impressed me lately: their determination and sounds are some of the most fascinating (being introduced into music).  Perhaps their majesty does not emanate from a hellacious riff: moreover a delicate vocal; an inspiring lyric.  In the U.K., we are spoiled for choice: the new solo artists coming through offer much variation, spice and wonder.  Most of the ‘best and brightest’ are coming from the larger cities- Manchester, Leeds, London etc.- 2015 will see that change.  Over the past few weeks, I have been rather uplifted: many of my music (online contacts) are coming up the ranks- and hitting their stride.  Surrey’s Chess (Fran Galea), Emma Stevens and Elena Ramona (are all making big plans) - showing the music world what they are made of.  It is heartening and humbling to see: the young crop gaining momentum and leverage.  Too much focus is paid to the ‘stars’ and big names: those we are all (over-) familiar with.  Last year was a rather mediocre one- with regards mainstream music- so eyes are casting their sights farther afield.  Now so (more than ever), new musicians are in vogue- and getting their chance to grab attention.  I am always looking around for a new sound- moments of accidental beauty- something quite stunning (it can be a hard task in new music at the best of times).  The new, young females (18-25) are leading the charge: producing finer- and stronger material- than their male counterparts.  Their words (and lyrics) seem more original; their voices more distinct (and less homogenised) - their compositions richer, (more) varied; more nuanced.  My featured artist is making herself heard...

Dorman has been keeping busy (as of late).  In addition to perform (around Surrey and London), she has recorded two new videos (to be reviewed anon).  The first time I experienced Dorman was when her E.P. (Words) was released.  Impressed by the ambition and originality (of the release), I was compelled: determined to seek out (more of her music).  Many critics (and radio stations) have been stunned by Dorman’s sound: a young artist touching Country-Rock with such conviction and flair.  So many contemporaries tend to veer towards Pop/Soul: few investigate Country and take on this genre.  Dorman does not merely ‘dabble’ with the genres: you can tell how much she loves them; how much they mean to her.  Before I continue, let me introduce (Dorman) to you:

“British Country Rock singer songwriter Hannah Dorman brings her unique style to the genre. With the emphasis on pop rock, there’s a dusting of country to be heard in all her songs. Lyrically mature, honest and relatable, Hannah delivers her songs with her distinct raw vocal power and a personable presence. This dedicated singer will draw you in with catchy melodies and a driven rhythm section. Her inspiration and eclectic influences are not obvious but some give resonance to her music. With KT Tunstall as her main influence, Anastasia, Shania Twain, Pretty Reckless and Kelly Clarkson all have their place.”

There are a lot of female artists on the scene: many have a similar sound and sense of identity (or lack thereof).  Dorman is one of few artists that are doing things differently: taking the effort to be bold; taking on a sound that few others attempt.  This ingenuity and passion has resulted in serious plaudits: her fan numbers are swelling; fond reviews have poured in.  The coming months are sure to be exciting ones: the young artist (surely will be planning) for big things; perhaps a new record.  The momentum- Dorman is gaining at present- has seen her social media fan-base grow- many new listeners and supporters are coming in.  It will be exciting to see where she will go next: whether she moves to London; performs internationally- puts out an L.P.

Dorman’s current movements are impressive and hugely promising.  She has kept her distinct and true sound: the heroine sounds more assured and relaxed; stronger in her skin.  While Dorman’s previous work is filled with wonderful moments, her latest videos hint at fresh inspiration: her voice seems stronger (somehow); her intent and conviction (at an all-time high).  In assessing Dorman’s current development, it is worth looking back (at her previous work).  Rent This Space was unveiled a few months ago- it has been met with applause and fond regard.  It is not hard to see why (the song is so popular).  Those familiar (with Dorman’s sapling work) will find much to treasure.  The song begins with romantic swell: a woozy and heartfelt build occurs; the track grows in anticipation and pride.  Dorman’s strong and impassioned vocals steal the show: making each word and thought filled with conviction and emotion.  Backed by a stunning and tight (band performance), it is a terrific track.  Looking at regret and transitory passion: Dorman is merely (renting space in someone’s heart) and advises caution.  Scarred- by previous heartache and loss- it is clear she does not want to repeat events- and advises (here beau/subject) - of this fact.  One Thing (On Your Mind) was released a year ago: it is a song that shows Dorman at her most direct.  The song begins with crackle and stutter: it rolls and rollicks; judders and sways- keeping the listener on their toes.  Perhaps inspired by real-life events, Dorman is retracting the advances (of an overly-eager young man); pushing against a cloying longing.  Perhaps I have misinterpreted: it sounds like a track inspired by a specific subject (someone perhaps that has caused some pain and upheaval).  Not bogged down with mordent anger, the composition is fresh and alert; summery and breezy- packed with plenty of punch and gravel.  Complete with a contemporary vibe, the influence of Shania Twain and Kelly Clarkson comes out- Dorman displays her distinct personality and skin (without sounding too much like anyone else).  Words was my first exposure the young artist: her stunning E.P. was packed with nuance, strength (and memorable moments).  In My Place boasts a catchy and instant introduction- it spares no time in lodging inside your mind.  Wordless vocals mix with dreamy sighs- Dorman is at her introspective best.  Thinking things will be better (with someone else in her place); there is a sense of regret: the song never feels overwhelmed or heavy-handed.  Maybe is a gentler and more sedate animal: a romantic song filled with longing.  Flowing wave-like, the song never lets go: Dorman herself will never cease.  Over the last two years, Dorman has grown as an artist.  Already a unique and stunning songwriter (from the earliest days), she has become more confident and distinct- she sounds (on her new tracks) bolder and sassier; stunning and sensual.  Her live performances- and impressive work-rate- has cemented her sound: her voice has grown stronger; her flair and passion emphasised.

If you are unfamiliar with Dorman (and her body of work): a few of her ‘influences’ may fill the cracks.  Inspired by the U.K. Country-Rock of K.T. Tunstall, Dorman possesses a similar sass and conviction: that energy and multifarious songwriting.  Inspired by U.S. acts such as Shania Twain, The Pretty Reckless (and Kelly Clarkson), Dorman instills a little (of each) into her own sound.  When her songs are at their toughest, you can hear shades of The Pretty Reckless.  When (Dorman’s voice) rises and powers, suggestions of Clarkson come out.  Normally- in this section of the review- I expand on this point (why someone sounds like their idols) yet Dorman is quite different: it is very hard to compare her with anyone.  Only taking (the slightest essence) from each artist, Dorman is clearly her own woman: a songwriter indebted to nobody.  This distinction and originality has resonated with critics (and listeners) - and makes her songs so impressive.

Arriving fresh (and hot off) the press, Dorman’s latest songs have come to the fore- her first new material for a few months.  After performing around Surrey and London, Dorman has gained some fresh confidence and inspiration- Take Control bristles with vigour and directness.   Beginning with a Rock-infused introduction, the mood starts to come down: Dorman steps into the spotlight.  Elongating and stretching her voice, the messages coming through loud and clear.  Backed by her band cohorts, our heroine has some clear advice: if you want to do it for yourself (and keep in control), then it is within your reach.  Motivational and uplifting, this (inspiring coda) is supported by a passionate and soulful vocal- Dorman sounds rich and filled with intent.  As the song progresses, some doubts creep in: whether (the subject) is trying their hardest; truly alright.  Letting her voice hit (crystalline highs) and soar upwards, you get a real sense of imagery and story: imagining someone lacking that extra self-confidence; demure and reserved somewhat.  Whether- referring to a sweetheart or friend- there is some ambiguity within: whether a lover is not (as strong as they should be) or whether a friend doubts their potential.  Letting Dorman’s voice shine, the band provides ample support: the performance is consistently tight and strong.  Never encroaching into the mix, the boys ensure they drive the song forward (the percussion is particular noteworthy and punchy) - there is a clear bond and understanding (between the players).  Enraptured in her own tale, Dorman’s voice shine beautifully: switching between delicate swoon and belting highs; natural and genuine with each gear change.  The band (in this video) look at ease and fired-up: there is no sense of loose edges or nerves.  The simpatico and fraternal bond (they share with their sibling) results in an incredible performance: Dorman herself sounds- and looks- completely at ease (in front of the microphone).  When speaking of intentions- saying one thing yet doing another- there is a real longing in the vocal (as though Dorman has had her heart broken; been let down by someone).  Perhaps I am off the mark; it is clear there is a need for improvement (from her subject)- yet Dorman does not seem too concerned (whether they try harder; she seems determined to carry on regardless).  Making sure notes and lines (stick in the mind) the track- and chorus especially- is a catchy and swaying affair- mixing U.S. Country sunshine with British Rock granite.  That summer-cum-rain juxtaposition blends superbly: at one moment you are smiling widely; the next rooting for our heroine.  The track has a great sense of rhythm, movement and dynamic: going down to a soften kiss; building up to a fevered chant.  Towards the latter stages, Dorman keeps her focus clear: that chorus is re-injected and repeated- its messages designed to resonate and affect.  As the band whip up the decibels (for one last round) you find yourself longing (to repeat the song) - it has a sense of brevity and tease (in spite of it being nearly 4 minutes long).  Closest in tone (to songs like Rent This Space) Dorman sounds comfortable and assured when powering and soaring- expanding on the promise of her previous E.P.  Take Control has oomph and panache; that killer touch and sweet touch- topped off with a tight-knit (band performance) and stunning lead vocal.  Keep the language and lyrics direct and simple (yet complete with originality, depth and wisdom), Dorman is a wise head on young shoulders: someone who knows how to win a smile with as few words as possible.

In contrast to Take Control- and its deterministic motifs- Save The Day is a softer track (and reminds me of her Words-era work).  Keen to revisit her early days- yet showcase her galvanised conviction and confidence- the vocal is queen (once more).  Beginning with an acoustic-lead seduce, the song sees Dorman in reflective voice: asking (the song’s subject) why they need to escape; there is a lingering sense of trepidation and concern.  Once more elongating and hanging (her words), it is hard not be romanced by its power and longing- the vocal is dripping with honey and chocolate tones.  Building its structure and pace, the band come (more into) the fray- offering support and aural weight.  As Dorman looks around her- and a focal point who seems to be on their way- you sense some unease and disbelief.  Perhaps knowing all too well; when it comes (to the song’s subject) she will not believe “a word you say.”  Like its predecessor, Save The Day has a hint of mystery and autobiography: whether an ex-flame (or friend) is being assessed, it is hard to determine.  Whether the story is autobiographical, you cannot doubt the credentials of the vocal: truth and meaning come through in each line; the need to make a very real point.  Unlike a lot of her peers- who prefer to rush their songs; bury the vocal amidst a wave of guitars and sound- Dorman lets the track breathe and resonate.  The band (once more) keep everything in check; make sure the song progresses with intent- there is a sparseness that is to be commended.  Allowing her voice and words to shine brightest, you are allowed to get inside the song- the track almost pulls you into the studio (or in this case, has you watching the music video being filmed).  Proving she is nobody’s fool, our heroine is keen to be heard: she has been played before; had her trust abused- this is almost a cautionary tale.  The final seconds see the band infusing subtle little moves: electric guitar licks; some subtle percussion; sturdy- and guiding- bass notes- making sure everything is fluid and full-bodied (until the end).  Keen for the chorus (to be sung and remembered) it possessed a charm and sense of catchiness.  Once more (like Take Control), there is a mix of simplicity and depth: a knowledge and love of Country-Rock; delivered with an original and striking voice.

Tomorrow (when my next review is up) I will be stepping away from the U.K. - circumnavigating the musical waters of Central America; taking my mind somewhere new.  Music reviewing gives me the chance to (metaphorically) travel: I always prefer keeping my feet (close to) home- discovering what local musicians are producing.  Dorman is a young and eager talent: somebody with plenty of potential.  Her natural beauty and charm (will help her massively); her innate talent is evident- she is a distinct and structured artist.  Too many singers- in terms of new music- mimic their idols: come across as second-rate sound-alike.  In a busy (and cut-throat) scramble, you need to be distinct- Dorman understands this.  Throughout this year, Dorman will be honing her craft: coming up with new sounds and planning her future.  On the evidence (of a duo of songs) I am deeply impressed: surely a shining star of the future?  Her music- and natural, incredible sound- is striking and memorable: the ‘small details’ really hit home.  So many musicians neglect social media- do not bother coming up with an official website.  Dorman’s (official site) is well-designed and clear: allowing new listeners an insight into her work, world- and social media outlets.  Put all this together- coupled with the fact she is young and creatively fertile- and you know (she will be making) big waves.  The corpulent demands of music-lovers put pressure on new acts- so many works their backsides off to impress.  Dorman has a refreshing sense of confidence and ease: few artists sound as assured and intimate.  For now we have (a selection of songs) to enjoy: it will not be long until E.P.s and albums are forthcoming- and a selection of high-profile gigs.  If Muse are struggling- to reinvent their sturdy wheels- then Dorman is an artist who will face (no such issue) - her mobility and wide-ranging talent is evident.  I shall conclude with a thought: that which concerns British music.  Our nation has always been at the forefront (when it comes to phenomenal music) alongside the U.S. - this is especially true of the new crop.  Bands have always (seemed to dominate) public attention- solo acts are starting to redress the balance.  If you are looking for artists (who are very much) a much-of-a-muchness- you have your options covered.  Those seeking something refreshing have to dig a little deeper: surrender to the fortuideness of social media/word-of-mouth.  With acts (like Dorman) coming through, I am less fearful- there are plenty of great artists (out there).  Dorman will not be thinking too far ahead (keeping her feet planted) yet she should be proud of her current output- it indicates a stunning and original voice.  Among the slew of (unoriginal and predictable) musicians, it is great to discover something distinct- that sticks in the memory.  Her evolution may be commencement, but one thing is clear...

HER particular brand of music is much in demand.

[youtube https://www.youtube.com/watch?v=3Bf14t8emi4&w=560&h=315]

________________________________________________________________________________

Follow Hannah Dorman:

Official:

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Life (Re-)Begins At... 32?

Life (Re-)Begins at… 32?

 

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Having lived (up until now) a somewhat ‘comfortable’ (read: inopportune) life, I have reached a plateau: it is time (to not only talk about change) but to do it- and start being ‘happy’

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FOR the past twenty-six hours I have had a (rather drum ‘n’ bass) headache…

This bad-ass little ingrate has been gnarling at my brain: causing quite a cyclone (of annoyance and reflection).  I do not believe in fate, destiny (or anything as unproven and ridiculous as that): I do believe in circumstance- if stress is causing you pain; do something about it.  In seven-or-so weeks I will be 32: quite an unspectacular age- nobody really does ‘celebrates’ that.  I always saw (being 30) as a milestone- in a rather arbitrary way- of accomplishment: so many people (including me) have a ‘Things to do before you’re 30’ list.  When I look back on it, I realise one thing: I have achieved (none of them).

It seems I have been living in a bit of a rut.  Tomorrow is (another dreaded Monday) and a chance to be quite depressed: a new working week never fills me with (anything other than upset).  I do not detest my job, yet I feel like I am wasting my time.  I am constantly stressed and agitated: I work around some VERY noisy people- the stream-of-consciousness throat-clearing/nose-unblocking is an all-day asylum trip.  Being someone (who is filled with sociopathic rage) but loud people/irritable noises, it is not a fun life.  Earning a meagre wage (I know I am lucky to have a job; yet I earn bugger-all for it) and living/working in an area I do not particularly like, I am feeling like a burden (to myself).   Just recently (I have been inspired by) a blog post- from our very own Jameela Jamil- entitled ‘A Time for Change’ (http://jameelajamil.co.uk/post/113320054145/a-time-for-change).   In it, she recalls a rather fateful visit to the doctor’s: when a moment of mortality focus forced her into a rather life-changing decision.  ‘Abandoning’ (well: taking a sojourn from) her London life, she decided to relocate to L.A. - take a one-way trip to the U.S.- and fulfil a life-long dream.  It is interesting how hard times (and scary moments) produce moments of clarity- epiphanies, if you will.

(On a brief sidebar: take a look at Jameela’s blog posts/entries- they are eye-opening, extremely mature and intelligently-written).

I have recently written to Jameela-forgetting she was no longer in London; she may never get my letter- as she is one of this country’s biggest talents: someone dedicated to helping others; a fighter of many-a-cause.  Hoping (that she will lend her name/voice to my charity idea- more below), I was inspired by her words: she has been very brave and courageous.  Too many people live life ‘for the hell of it’; go through the (com)motions- never really ‘go for it’.  I hope Jameela gets to see this (blog post) as her words have given me that ‘push’: compelled me to stop messing about.  For the last few years I have been caught in a cycle of boring-job-hollow-life-procrastination-London-avoiding-unhappy-me quagmire: how long can you keep doing that?  Most people do not know what they want from life (and need to stick in their comfort zone), but I do…

Music:

Nothing in life is more important (to me than music): it is the one thing (on earth) that unites people- even if you do not like music (and are a freak of a human) then you have an opinion (on it).  Music does not ask for anything or bug you; it does not break your heart or cause you pain (well, in a good way it does)- it is always there; ready to make you happy.  I love my ‘part-time’ reviewing (at https://musicmusingsandsuch.wordpress.com/).  Just today, I (had the pleasure of) reviewing The Jackobins: a Liverpool quintet of the highest order.  Next week I am reviewing a Canadian band (in fact, Canadian music is filing the month of March for me).  Over the last several years I have reviewed music from five continents; reviewed Royal Blood (before they became studs); have helped (in an indirect way) to get bands/acts heard- and get people knocking at their doors.  It is a rewarding- and sometimes tiring- venture: something I aim to ‘perfect’ (I have not really hit my peak yet).

Music-making is my main desire: I have always longed to ‘get the band together’.  I have the band name; I have the album title- and fourteen songs worked-up- and all the cover art (and designs figured out).  Presuming at some stage (I can overcome my stage fright/nerves) I want to make ‘music-making’ a reality- eve n if I record one L.P., it will be a (literal) dream come true.  Music recording is a full-time job; it requires a lot of passion, determination (you will get knocked back a lot) and money (something a lot of my music peeps are finding out the hard way).  As soon as I can get to London, I want to get some boys (and girls) together: get jamming and make (my songs) a reality.  It sounds like a cliché- a rather over-seen dream- but (to my mind) there is no better vocation- it is truly spellbinding.

Living:

I do not enjoy living (where I live) - around Surrey and West Sussex.  It is too homogenized; there is little ambition; too many ‘unhealthy’/loud people; little surprise, awe and spectacle.  I know London is not exactly quiet: the thing is, it is busy for a reason.  There are rough parts of the city for sure- I would not live around Elephant and Castle for a second- and there are a lot of expensive parts.  In addition (to some cool people advising the push to London) they have said Hackney is a great part to rent (in)- it is not too expensive; it is up-and-coming; not as ‘reputable’ as it once was (with regards violence and crime).  Shoreditch is quite ‘do-able’, too- in reality I would live in Covent Garden (yet would never be able to afford it unless I went on the game, and let’s be fair, I wouldn’t make enough!).  Hackney is vibrant and multi-cultural; you can find charming coffee shops (devoid of screeching children, selfish parents and Smartphone-staring simps.); feed off the relaxation/vibrancy and become inspired.  Being close (to the centre of town) it is a good ‘starting point’: a good jumping-off point (and a place where you can meet like-minded people).  London is fantastic because it is filled with ambitious people; humans who share (the same) drive; thoughts and feelings- who understand why you are there; do not laugh/ignore your ambitions and dreams.  A cozy/affordable place around Hackney would be great- an opportunity to start a-new.

Love:

‘Being single can be good for you’ they say: being single can suck one.  I have been solo for… well, ever.  Being single is only beneficial in contrast (to having been in) a relationship- a chance to heal wounds; clear your head and think about yourself.  I admire those that are independent; who do not rely on someone to make them happy- do not need validation through romance.  I used to be one of these people: recently I have developed feelings for (sounding like a Hallmark card here) a particular girl; someone I work with- someone who does all sorts of funny things with my insides (although it may just be because of my poor diet).  Having someone in your life can make things easier: you have someone to talk to; wake up to/with; share your desires with- and travel the world with.  Whether the tableaux of she-who-will-remain-nameless pans out (being me, it probably won’t) is immaterial: I am at that stage where I want to find love; be in a relationship.  I am not bothered about marriage; I never want to have children (I don’t like them and would never want to risk passing my depression to them; seeing them suffer that)- I just want to be someone’s ‘other half’.  Being stressed-out suffocates your energy; timetables your mood- and makes relationships near-impossible.  I hope a move to London/a new lease will take care of ‘the love issues’- and lead to a relationship (I can only hope).

Health:

Before I conclude (and stop rambling) I must confess: I have been a bit of a coward.  I have not been looking after my mental health (obviously) - having depression and generalised anxiety disorder is not fun- and am tired of it (the endless headaches are enough to make me want to crawl into a hole).  My physical health takes a hit (because of depression) yet I could be doing more.  I am committed to becoming vegetarian: in truth I do not like the taste of meat and feel my moral objections are not being fulfilled.  I eat far too much sugar- to the point where my heart should have exploded- and although I run half-marathons, I could be A LOT fitter: I am always in fear of ‘bad news’.  Like Jameela, I have had one of those heart-stopping moments (in her case it was a lump on her breast; for me a mole on my arm- my aunt died of skin cancer).  Cancer is an unholy fucker: an arsehole that bullies and (whilst I do not have it) the merest suggestion scares the hell out of me.  Living the way I do- the office job; the unhappiness- I am a person who eats crap and does little to override it.  My physique is pretty good (not to boast) yet my internal organs are a potential blitzkrieg of living-on-borrowed-time wannabes.  I realise I am fault: I have been too gutless to take care of myself.  Moving away will allow me to detox and re-evaluate: become vegetarian (properly); cut down on sugar (and caffeine) and start feeling better inside- the better you feel inside, the better you feel on the outside (or is it the other way around?).

Charity:

Lastly- and the real reason for this blog- is my desire to ‘do more’: try to make changes in the world.  I consider myself to be an altruistic human.  I regularly run half-marathons (for charity); spend the weekends doing good deeds/doing good; try to promote new music as much as humanely possible- get involved with charity; make sure my colleagues and family are looked after.  In addition (to making music and reviewing new music) I want to dive into charity work: do as much for others as I can.  Recently, I posted a blog entitled The Single Voice: a (hopeful) online charity campaign designed to raise (potentially millions) for multiple charities.  Seeing the likes of Jameela Jamil campaign and write; raise important issues; write so eloquently and intelligently, has compelled me to start this puppy.  Her- and my- contemporaries are becoming more motivated; starting to become conscious (of the turmoil and dislocation around us) - yet more can be done.  Not to blow my own trumpet- like Louis Armstrong on crystal meth- but the details are all here: https://musicmusingsandsuch.wordpress.com/2015/03/08/the-single-voice-one-language-for-all/

I am determined to make it a reality: get this idea global; connect people around a single cause.  I am neither an idealistic human (I am as pragmatic as they come) nor a naïve idiot- I am someone who hears a human scream and it kills the crap out of me.  A cat crying scars me; a cancer diagnosis destroys me; gender inequality enrages me- so many ills and inequities occur around us.  It is asking a lot- that a single campaign can change/improve that- yet I am hopeful!  On Friday I will be posting two letters: one will be to the H.Q. of YouTube; the other to the (H.Q. of) Google- pitching the idea and asking for their help.  I am the most ambitious human on earth- and will probably never hear a reply/word- but am not going to silence my inner voice… I will keep barking and yelling until someone takes notice.  I will be writing to a few celebrities; hoping they can assist (when the idea becomes a reality).

Most people do not crystalise their ambitions so effusively (and in detail), but as I write this I have a grinding headache; my shoulders are sagging- I am drowning out (the throat-clearing noises and endless noise of my living space) with music… it is a horribly tense and pointless life.  Why just live for the sake of breathing- there is no point being where you are (doing what you do) if you are miserable and angry.  Tomorrow is Monday- and a soul-destroying chance to hate myself- as it will be in eight days- change will not come about instantly.  I know what I want; who I want to be- what I want to achieve.  On May 9^th I will be 32: with no a lot to shout about.  I know I am not old- and have youth on my side- but need to start making moves; getting my shit together and being a better, brighter, happier and more practical human.  There are plenty of years to do boring jobs; live in boring places- that time is decades down the line.  Small things- like a blog from a celebrity; a moment of realisation- can make big differences; get the cogs moving- force you into action.  I hope people will read this- and if they are like me, be inspired- I hope Jameela sees it- although she may never do- and above all I (hope this): 2015 will be a year to remember.

I have yawned and yacked for long enough.  Recently someone said to me: “You’re only young once.”  Translation: what the hell are you doing being angry all of the time?!  It is hard to make changes- most people don’t- but it can change things for the better… I deserve some peace and happiness (right?).  Have a great Sunday night- now Top Gear is off air, what the hell am I going to watch?!- and enjoy the pre-work (Monday) blues.  If I can (decide to make changes/get better) then so can anyone.  Whether you make a minor change (or about-face your life) it is worth the risk.  Who knows what will happen?  One thing is for sure:

IT will all be worth it (in the end) x

Email: saml889@hotmail.com

Twitter: https://twitter.com/samliddicott

Facebook: https://www.facebook.com/sam.liddicott.7

E.P. Review: The Jackobins- Ghosts

E.P. REVIEW:

The Jackobins

Ghosts

9.5/10.0

 

Ghosts is available at:

https://itunes.apple.com/gb/album/ghosts-ep/id949992452

TRACK LISTING:

The Otherside- 9.5

She Always Says- 9.4

Ghosts- 9.5

Prussia- 9.6

DOWNLOAD:

Ghosts, Prussia

STANDOUT TRACK:

Prussia

RELEASED: 13^th December, 2014

GENRES: Alternative, Rock

COUNTRY OF ORIGIN:

U.K.

IT seems like a (bit of a) lottery in the music scene…

with regards success.  So many acts face a hard and long wait: see if the public will warm to their music; take them on board- ensure they are successful.  I have reviewed a host of wonderful and diverse acts: some have potential for immediate success- many may have to wait a little longer.  With social media being freely available: it seems like a mixed blessing.  Too many people (who use Facebook and Twitter) tend to be a little slack: many great acts and artists are overlooked (and not shared with their followers).  I love how social media can mobilise the masses; get music shared quickly- too many people are not using it effectively.  Too many great musicians are languishing in the realms of compartmentalisation: having their sounds shared with clans and (small groups).  It is impossible to promote ALL the great and good: it is easy to do more; help more musicians- put a greater effort in.  If the users of social media do not (do their due diligence) then the music must shout loudest: blow away cynical cobwebs.  This year is going to be a great one (for new music) and promises some terrific discovery: something for everyone will be available.  The likes of The Libertines and Radiohead are preparing new albums; last year’s warriors (Royal Blood) are still ringing in the ears- it seems that Alternative/Rock sounds are still very much (in vogue)- the most sought-after sounds (by the general public).  Solo artists have their fans and followers, yet it is the ‘harder’ bands that do bigger business: seem to unite a greater number; prick the ear more readily and eagerly.  Maybe tradition and history has a lot to answer for- bands like Led Zeppelin and The Rolling Stones being so influential- or perhaps that (harder sounds) is what people go for- we seem to gravitate towards very particular sounds.  My featured band are one of the most vibrant and exciting bands of the moment.  Before I go into more depth, let me introduce them:

Vocals - Dominic Bassnett

Guitar – Veso

Keys - John Whittingham

Bass - Chris Marriott

Drums - Marc Terry

“Regarded as one of best upcoming bands on the unsigned scene, the Liverpool 5 piece, barely a year old has wasted no time in generating a massive buzz about themselves. Substantial live and social media following has established the band as of the several acts considered to break out big in 2015. The Jackobins have appeared on BBC, XFM, Amazing Radio alongside a wide variety of other FM and online radio stations across the U.K and have regular airplay at Anfield infront of an audience of over 45k. They have been featured in numerous magazines and blogs and have just seen off their first tour of more than 15 dates, in which the band sold out 3 shows, including their home town. The Jackobins have managed to secure several festivals slots for 2015 and have so far played alongside The Rifles, Dexters, Flagship to name a few. 2014 saw the band play more than 50 shows across the U.K in total.

The Jackobins first official release came in on the 13th of Dec 2014 in the format of a four track E.P titled “Ghosts”. The E.P was recorded in The Motor Museum (Arctic Monkeys, Oasis, Jake Bugg, 1975), mastered by Robin Scmitdt (owner of several Grammy awards) and has been received with much critical acclaim. The release has pushed the band into several different charts and propelled them on the road towards much deserved national and international recognition.  With another release on the cards, plans for a second tour in motion and so many upcoming festivals, The Jackobins and their fans sure have a lot to look forward to in 2015.”

With a sharp, informative (and well-designed) webpage; loads of social media coverage- a terrific body of music- it is not a surprise the boys are riding a huge wave.  Liverpool (historically at least) has always produced tremendous music: recently, the likes of London and Manchester have been stealing the limelight.  Wasting little time, The Jackobins have shot to prominence: amassing thousands of online followers and being touted as (one of the best new acts) on the block.  In addition to them being a savvy bunch (with regards their social media strategy) it is their music that has resonated- won so many hearts and minds.  I am predicting a huge year for the five-piece: they have a festival-ready sound that means they are assured glory.  Stadium gigs and prestigious dates await: the lads have confidence, ammunition- and bags of natural talent.  Having generated a huge buzz, their E.P. (Ghosts) is the culmination of their force and passion- a record that is setting critical tongues wagging.

(The band’s) self-titled E.P. was unleashed last year, and gave impressions of what they were about: all that promise and energy was cemented from the get-go.  Gaining some impressive reviews (and kind words) the band would have been inspired- they have grown in confidence (since their debut).  Many bands- when they are starting out- put out cover versions: the band have gone in direct and confidentially.  Wanting to spare no time with other people’s material; the lads want the world to hear THIER thoughts and ideas.  Their first impressions are incredibly encouraging: they point to a band that has a terrific voice; a sense of identity and intention- plenty of punch, melody and passion.  When it comes to (the band’s) influences, The Jackobins have quite an impressive list:

The Stone Roses, The Verve, Radiohead, The Doors, Hendrix, Nick Drake, Johnny Cash, The Beatles, Queen, Led Zeppelin, The Who, QOTA, Nirvana, The Rolling Stones, Tom Petty, Kula Shaker, Fleetwood Mac, Neil Young, Black Sabbath, Jack White, The Black Crowes, Stevie Ray Vaughn, The Libertines, The Killers, David Bowie, The Velvet Underground, Pink Floyd, Kasabian, R.E.M.

It is clear (the band has) incredible taste in music: it would be unfair to say they are the inferior comparisons.  What The Jackobins do is to instill a dose of each act- incorporate Zeppelin-esque swagger; Radiohead’s ‘90s edge; The Stone Roses’ confidence and magic.  A lot of new acts tend to have homogenised and narrow influences: they have shallow record collections and tend to display a hollow ear for legendary sounds.  Those acts tend to touch few; have limited success- scant creativity and flair.  The bands that have a great spectrum of influence have bigger potential: if they can rein-in (their mass of influences) then they connect more readily.  The Jackobins have a great range of idols- from the ‘60s to modern-day- and utilize this in their music.  Injecting plenty of (their own) personality and panache, the boys drizzle essences of (the greats) to create something quite unique- yet music that seems familiar and classic.  Ghosts is an E.P. that gets out of the blocks; it lodges in your brain- sounds bracing and uplifting; deep and thoughtful.  With so much emotion, nuance and diversity (in their music) it is no shock the lads are so popular- that can only improve throughout 2015.

Jingle, gleam and vibrant chimes (open The Otherside): a track filled with early promise and energy.  Employing elements of The Who and Led Zeppelin (during their Led Zeppelin III regency) the intro. is a compelling and striking moment-  leading to an immediate and emotive vocal.  Our front-man is in impassioned and imploring mood.  Speaking words like (“yesterday’s gone”), the band summon up a dizzying array of colours and notes: backing our man in his pleas and implores.  There is a slightly ambiguity and mystery to the lyrics: in my mind, I see a sweetheart (past or present) being spoken to- someone who is not grabbing life by the throat.  There is inspiration and advice; redemption and hope- plenty of passion.  Words speak of ‘shackles’ and vices: the need to escape imprisonment and confines; escape the past- get to the other side.  Never ignoring its energetic and fast-flowing pace, the track boats a memorable and unique vocal take- you would be hard-pressed to compare Bassnett to any other singers.  His range and intent is to be admired: the band is up to the task and equal- making sure there are no wasted notes.  Repeated codas; unique vocals; summery sounds- the song is hard to escape and overlook.  Big in its own soul; focused and strong-willed: it is a song designed to unite the masses in song.  Already proving itself a fan favourite: The Otherside is a perfect statement of intent- a song that displays all the band’s key facets and attributes.  Overcome and gripped by the drama and mood, the listener is buoyed and uplifted: a song to welcome summer in with a huge smile.

With some wordless chanting, She Always Says arrives with little hesitation and build-up: it gets straight to the races.  Showcasing the energy and alacrity of its predecessor, the track ramps up the serotonin: makes sure the listener is stood to attention.  The Jackobins are a band that looks for urgency and immediacy: their songs instantly stick in the mind; no time to build and sculpt.  This sense of urgency- combined with tight and emphatic band performances- makes tracks like She Always Says so catchy and memorable.  Melting early-days Counting Crows (with some ‘60s flavours); our hero ventures down Chester Street- to the door of his girl (whose mother insists “she’s out”).  Whether (our hero) has done wrong- or whether his girl is tease- you get the sense of forbidden love- maybe a rift has occurred.  This sense of story and drama juxtaposes with the gleeful mood: the listener is left curious and compelled.  As the track progresses, our man seems wracked and anxious: returning to his hometown (and old haunts) you get a sense of the Ghosts motif- things are abandoned and changed; the locals are gone and everything has passed over.  Perhaps looking at bygone days; lamenting the loss of love and youth, (the E.P.’s title) has depth and meaning: each new track reveals a different side; a new ghost; a troubled heart.  Here, there is a real sense of change and dislocation- two lovers are separated by geography, maturity and personality.  Our front-man seems genuinely tormented and pained: how he longs to reclaim the older days; reclaim some of the youthful glory- it seems that this will never happen.  As the song reaches its dying moments, the band keep the atmosphere rushing and boisterous- making sure things end with a positive (and vibrant) edge.

The title track is next up: and one of the E.P.’s standout moments.  Beginning with some romance, tranquility and ethereal chill, the intro. builds and mutates.  From its eerie and tender beginnings, it leads to a chorus of wordlessness (ghostly chants, if you will).  With some ladishness and (Wild Beats-style) vocals, our front-man comes to the fore.  Boasting one of the most impressive compositions- gorgeous guitar chimes; bolstering percussion; nimble bass- the track remains engaging and evert-changing: it shifts and alters direction.  Early words look (at our man and his girl) flying “so high”: they are wandering around in a dream.  Our man notes how the world is changing- as he sleeps- and ghosts are stalking the night- vivid images fill the mind.  Floating upside down; lost in a daze: this is a track that looks at loneliness, loss and change.  Whereas previous numbers have hinted at change and abandonment; here the message is more direct and unerring- tremulous vocals add to this sense of fear.  Displaying a histrionic range- and emotional palette like few other singers- you are entranced by the vocal: it adds huge plaudit and conviction to each word- whilst snaking and evolving over the course of a few seconds.  ‘Anthemic’ is a word (many critics have levied towards the band) and this is certainly true of Ghosts: a song that is designed to be a centerpiece- one of their best live tracks.  Squalling guitars take the track down- an essence of ‘Holy Bible Manic Street Preachers is in there-finished with some cosmic notes (and aching piano notes).

If you were looking for some rough edges: well here it is.  All the grit, gravel and ramble (of the likes of Zeppelin and The White Stripes) come to play- few would have excepted something like this.  Arriving with a vermillion fury, Prussia is a track that means business.  Rushing and fighting, the song looks at (“the enemy”)- our man is under the microscope here.  Being seen as an oppressor or foe, you wonder who has it in for him- perhaps a lover or old friend?  With his voice spiked and electric, Prussia keeps a level-head and stoutness: it is primal and determined Rock at its best.  Head-swinging and filmic, the track has epic pretentions: it is another song that is sure to seduce the live crowds.  Keeping its language economical and simple, the central codas are reintroduced- interspersed with some kick-ass riffs.  Throwing in some psychedelic hints; some spacey and discordant chords, the band are filled with vigour and intent.  “A place in the sun” it is said, “is all we ever want”: a sense of intrigue fills the words.  Designed to be chant-able and memorable, the boys design their words (around the needs of the crowds)- words and sentiments that come rolling from their (beer-stained) tongues.  As the band climb “higher and higher”, the composition gets busier and multifarious.  As the final notes come into view, you are still drunken by the giddiness and energy of the track- those insatiable swaggers that punch their way through the mist.  A delirious and hypnotic track, it is the perfect final- to an accomplished and incredible E.P.

With a (forthcoming date) at Tramlines booked; reviews tumbling in- the momentum (The Jackobins are collating) is vastly impressive.  Many reviewers have stated the band is primed for the festival rotation: the sort of act that crowds drink beer to; dance gleefully for; fall in love with.  There is some truth to this: The Jackobins have so much confidence and natural ability, they will transition wonderfully.  With an E.P. under their belt, the lads may want to take a breather: do some more touring and not get ahead of themselves.  A great deal of acts are languish at the edges; waiting for their break- slowly building their reputation.  The Jackobins have managed to do a lot (in such a short time): they are still infants, yet have achieved so much- drawn in so many fans.  Ghosts is a tight, focused and memorable E.P.: a quartet of tracks that demand repeated plays; get under your skin- remind you of some legendary musical moments.  The Liverpool five-piece are seamless in their performances: no loose edges; everything sounds well-rehearsed and professional.  Like all great bands, there is no hint of over-perfectionism: The Jackobins have a loose, ragged and rough side to them; giving their music greater depth and charm.  I will be interested to see where the boys go from here: if they choose to put out an album (this year) or see how the E.P. fares.  With such acclaim coming their way, the boys will not be short of options- I am sure some huge dates await.  Their music is polymathic; their lust endless and unyielding- their sound permanent and intoxicating.  Managing to sound distinct- in a scene defined by sameness and unoriginal intent- let’s hope The Jackobins keep pressing hard.  As music legends like Blur prepare to define 2015, we should not overlook the new breed: the successors to the throne.  There are few bands (and artists) as reputable and statuesque as The Jackobins: they seem to get bigger by the week.  Make sure you investigate Ghosts; seek out their spectral and supernatural vibes- and believe the hype.  The quintet has some big dates coming up; various towns (and cities) to play- who knows where they go from here?  On the evidence of their debut E.P., things look rosy and promising.  In years to come, will Reading (and Leeds) and Glastonbury be options (for the band)?  With everything that has come before; everything that is unfolding…

NOBODY would bet against them.

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

________________________________________________________________________________

Follow The Jackobins:

Official:

http://www.thejackobins.co.uk/

Facebook:

https://www.facebook.com/jackobins

Twitter:

https://twitter.com/thejackobins

Instagram:

https://instagram.com/thejackobinsofficial/

 ___________________________________________________________________________

Music:

https://soundcloud.com/thejackobins

 

_______________________________________________________________________

Tour Dates:

http://www.thejackobins.co.uk/#!dates/c15hi

______________________________________________________________________________

Videos:

http://www.thejackobins.co.uk/#!media/c1e6o

 _____________________________________________________________________

Merchandise:

http://www.thejackobins.co.uk/#!shop/c1402

 

The Single Voice: One Language... For All

The Single Voice:

“One Language… For All”

  “IN a world full of people, only some want to fly…

Isn’t that crazy?”

Well- to quote/mis-quote- the words of Seal: yes, it is a bit.  Over the past few months, I have been particularly devout, with regards ‘helping others’: feeling I am not doing enough to be a ‘better person’.  I enjoy my semi-regular half-marathons (I am taking on my 5^th- for (the) Alzheimer's Society- in June); I like to spend the weekends doing ‘good deeds/helping out'; I have launched a few charity/social  media campaigns- it makes me feel more useful (as a person).  One of the things that is getting me down is the unfairness of life.  A few people I know have (recently) been diagnosed with cancer; others are struggling to fulfill their dream (as a musician); others are suffering horrible illness.  I guess you can say that it’s part of life: with so many people (on the planet), not everyone can live happily/healthily.  As glib and unhelpful- advice/words like that are- it is still unacceptable (in 2015) that so many people go unnoticed: so many blights blot the world’s landscape.  I am a man who is not just committed to (supporting certain charities): I am passionate about various causes.  In addition to (supporting equal pay/rights) for women, I am passionate about animal welfare: I am dedicated to supporting (the eradication) of racism, homophobia and inequality- gun violence and social deprivation are not exactly (twin barrels) of laughs!  There seems to be a great deal of people unconcerned with ‘making a change’- at least doing very minimal motions.  When it comes to supporting causes; donating a bit of money here and there- I know exactly (of my contacts on social media) will ‘step up’- most will not bother.  I know we all have budgets- I earn less than most people I know- and it seems disheartening (so few are motivated) to do more.  I feel- as a person- that I can do a bit more: dedicate more of my free time to volunteer/get involved with campaigns and protests.  Across the world, there are some great (annual) charity campaigns.  Red Nose Day (Comic Relief) is looming large; Stand Up for Shelter and Children in Need do their part- they are hugely important events.  In so much as those events tend to focus (for the most part) of children (who are the minority of the population), they seem to capture the imagination at specific times- namely when they are televised.  For the remainder of the year, momentum tends to be lost.  Social media have tried to ‘buck the trend’.  The dreaded/loved/cold Ice Bucket Challenge was a worldwide success (last year), yet seems to have petered to a standstill: I hope people are still donating to fight A.L.S.  I have always thought- in order to perpetually unite the ranks on social media/general public- something a little longer-lasting needs to take place.  This brings me down to my point…

The Single Voice.

The campaign I want to launch is an online (one): something that anyone- neigh everyone- should be taking part in.  Whereas charity events- like Comic Relief- raise money for specific causes; this (idea) is designed to unite all charities- raise funds and awareness for all causes.  Being passionate about various charities- and angered by certain illnesses and social inequalities- I feel that certain ‘issues’ are being overlooked.  Through public engagement- and an easy but fun idea- here is a chance to raise serious awareness for important issues- raise money (to help defeat) some rather vile problems.  Rather than community events (or sponsored events) this idea uses YouTube (and videos on the site) to raise money.

How it Raises Money.

The campaign is designed to bring together YouTube, Google, Apple and Microsoft: some of the most influential and important (companies on the planet).  I will go into more depth (below) but the way (the user) raises funds is through YouTube ‘views’: every time someone views a video (you have uploaded)- 15p is donated to your chosen charity (an additional 5p is donated for every 'like').  YouTube is the ‘hosting site’: it is their website that is the basis of the campaign.  Google will be the ones who are donating the money.  Each user/member- who chooses to take part- will register on the main site (see below) and through advertising and increased search results, Google will gain revenue- which in turn will be donated into The Single Voice.  Companies like Google and Apple generate enormous profits each year; they do great work but have a lot of profit coming in.  Finding a (legal and non-invasive way) for them to generate more funds- by advertising and getting more ‘business’- would allow them to channel this money into the campaign.  There is the potential (for an individual) to raise millions (possible tens of millions over the campaign) for a great cause- either something at a local level; or a national issue.

The Main Site.

The initiative will have a homepage: which will be where each person goes to register.  The campaign will be shared and spread to social media, but at the first point of contact, each person would start here.  Like Facebook and Twitter, registration is painless and quick: and a great way to connect with other users and like-minded people.  The homepage will be well-designed and eye-catching.  The top half will have various links: A-Z of Charities; Contact Details; Discussion Board; Events/Fundraisers; Latest Members; Links; Generated Profit (so far).  The bottom half will be fun and interactive.  It will depict a variety of locations: a comedy club; recording studio; film set; bar etc.  The sign will be the only constant- saying The Single Voice.  Whether attached to a studio (or comedy club) the figures (that interact will be from that world).  Musicians- past and present- will interact; comedy and film icons (too)- it will be constantly changing and moving.  Each figure will be animated- giving the homepage a great two-tone look/feel.  I shall expand more/give 'the fully skinny' in my next blog. (middle of June).

Registration.

Each person will be asked to register simple details: name, D.O.B., location; campaigns; total raised (and several others).  It will work a little like Facebook, where there is a profile page: it will be a simple process and contain plenty of information- although nothing too personal or revealing.  From the registration page, there are links to social media- where you can easily promote your page/share your success.  When all the personal details/key details are entered, then comes the ‘fun part’.  The Single Voice has the option of 25 different YouTube-based ‘initiatives’/ideas.    These will be split into categories: Film and T.V., comedy, music, miscellaneous.

Each new member is allowed to ‘sign-up’/choose five of the twenty options.  For each initiative you will be selecting a different charity (I will go into more depth later).  On the profile page will be your list of ‘initiatives’.  By each of your selections will be the total (money) you have raised; how many times your idea/entry has been shared (and how many times you have shared it).  This charity campaign will run for a year- from its launch date- and your selected charities will get donations each month (at the end of each month, however much you have raised will be donated to them).

The Initiatives.

There are twenty five different ideas- covering film, T.V., music and advertising.  As I have said, each person will be allowed to select five different ideas (from the list of twenty five).  Each person could be involved with the campaign for five years  When you register, it will ask you to select from the list- which idea/choice you want- and there will be a step-by-step guide.  It is very easy and simple to complete.  Before I explain how it is done; here is what you can choose from (among others):

Top-10 Songs.  Like Desert Island Discs and Tracks of My Years, each user gets to choose their 10 favourite/most important songs.  There is an option- on each entry- for a user to commentate/explain why they have chosen (what they have selected) but it is a great chance for the person to share their favourite songs.

New Music. This is an option that is a chance (for new music to be heard).  A person can give the world a chance to discover new music/musicians.  If a new band/act has posted to YouTube, then their music can be shared.  There is a chance to select your ten favourite songs (from new acts).

Music Videos. It is nice and simple: choose your favourite ten music videos.  Whether it is from a new band- or classic act- you get a chance to have a good think- what you consider to be the best of the breed.

Comedy. Whether it is a short clip- lasting a few seconds- or a full-length film/T.V. episode, this is comedy-orientated.  Whatever makes you laugh the most: get it uploaded!  I shall expand on this more- and what I would select- but you can choose a stand-up show; an episode of The Simpsons- or a comedic home-made video/prank.

Drama/film. Again, whether it is an episode of Breaking Bad- if they are allowed on YouTube- or a short film, this is the chance to get it shared.

Originals. This is the chance for a user to create something new- and upload to YouTube.  Not a chance for self-promotion, it is a chance to flex your creative muscles.  It can be anything you want: a mock advert; a new song; a comedy sketch- whatever you fancy.

Commercials/Misc. If you have favourite adverts then you can get them seen hear.  This option gives voice to other videos: those weird and wonderful videos- YouTube seems to proffer by the bucket-load.  Beauty blogs and ‘how-to’ videos; home-made videos can be selected.  The rules are simple: it can be anything (as long as it is not sexual, offensive, and violent- or violates YouTube’s rules).

There are- as I have mentioned- 25 different choices; appealing enough to everyone- that gives the user a chance- not only to think about their favourite music/films etc.- but discover new and exciting work. Beyond Social Media.

Of course, the point of the campaign is not to share music/film- just for the sake of it.  The idea is to raise money and awareness of causes and charities.  On the home page, you get a chance to share your ideas and videos- and raise money (each time they get a ‘view).  When you select a charity- for each entry- there is an information button: this gives you huge information and links.  If you select Diabetes U.K., then you get to find out about the charity.  There are links to their website; how to get involved in the community; how to spot the signs (of diabetes); ways to further becoming involved with the charity- runs, fundraisers, volunteering etc.  This will be the case for every charity.  It means that, not only does the user get to learn more about their chosen charities (and causes); other people do too.  On the site’s main page, there is an A-Z of Charities: a full list of all charities; information, links and videos for each. In addition engaging people more with charities and causes; there is a hope it will lead to more community involvement.  There is a chance to ‘represent’/choose (to support) women’s rights, stamp out gun violence, support local communities and boroughs- causes not usually represented by the big fundraisers.  In addition to giving information about each, there are ways for you to get involved: get out onto the street and make a difference.  Raising money will be a huge and important part of the idea, but it is hoped that the government will take note- issues and campaigns will be highlighted; a chance to change law- change people’s lives and initiate social change. Not only does one get to learn more about charities and causes- the main objective of the campaign- there is a secondary bonus’.  Each time you compile a list; there is a chance to benefit others.  Say you have selected Top 10 Songs.  After you have selected each track, there will be a link on each video/selection.  Song and album information is provided; links to other (similar) acts; ways to record your own music/become a musician.  In terms of new music, there is a chance to help new musicians (links to campaigns; ways to share their music and causes); find great new acts; support local venues and festivals- ways to bring about equality and change for musicians.  The same goes for film and music videos: ways to become a director/actor; local schools and campaigns; links to similar films/videos; local schemes; ways to support other charities and causes etc. All of this video-selecting and information-finding is designed to be quick to share/promote.  With a click of the button you can share you entries/profile to social media; encouraging friends to get involved- taking this thing viral.  It is A fun, quick, and educational scheme; with the potential to raise a lot of money very fast. If I was doing the ‘comedy option’, these three videos would be first up: when I was feeling very down recently they helped me hugely (and dehydrated me in the process- and all from the same T.V. show):

https://www.youtube.com/watch?v=Fs786SYC_iQ

https://www.youtube.com/watch?v=lMPJZ4YZnqI

https://www.youtube.com/watch?v=XR-MovUcZLA

Ambassadors.

The idea is going to take a lot of promotion and co-operation.  When it does start out: the website is designed, everyone has said ‘yes’, there needs to be some great backing.  The idea is to get five celebrities involved from three continents- North America, Europe and Australia.  They would cover the fields of T.V., film, music and comedy.  Covering a range of ages, both genders- who have a track record of benevolence and charity work.  I am wiring to various celebrities at the moment, but it when the scheme is kicked off- it would be great to have some terrific names involved.  They would post (comedic/fun/serious) videos on YouTube: hopefully inspiring ‘undecided voters’ to become involved- and reminding everyone what they are doing this for.

Intended (main) ambassadors:

U.K.: Stephen Fry

U.S.: Olivia Wilde

Going Forward.

At the moment there is the idea and determination: without contracts being signed; sites being designed- the big guns being involved.  Of course it is not going to be as simple as it should be- 'some' celebrities (and huge companies) are as apathetic as they come- so will take a lot of effort and campaigning.  The point of this blog/the early stages is to gauge opinion: would people take part?  Would it interest people?  Could this work?  What are the 'pitfalls'/'down-sides'?  For each entry people select (from the list) you have to donate a small sum yourself (rather than relying on others) but this should not put people off- it is a chance to engage and unite social media; represent all charities; try to make some genuine change.  The rest of this year- in terms of this campaign- will be to get people talking; get names involved- contact YouTube and Google- and get them saying ‘yes’.  I want to launch this within a year- it sounds a long way off but will take a lot of work.  Above all, it will rely on people getting involved: I want it to be a lot bigger than the Ice Bucket Challenge.  It is a golden opportunity to raise millions (and more) for a lot of causes; raise awareness of various issues- get people involved (on the street; in the community etc.) So that is it- those are the details.  Of course- when developments are made- some more specific details can come through- website designs; how to etc.  I have tried a few social media-related campaigns- sadly none have really taken off.  When I raised one (for Mind) a few lovely people got involved: when it came to sharing it; their friends didn't push it forward.  Same goes (with regards one I tried for Shelter).  I have launched a Kickstarter campaign- to get new musicians together to record a cover version; to raise for charity- but it has received no donations.  Every time I launch a JustGiving page (for various half-marathons) only a few people donate.  It always leaves me really annoyed and disappointed: do people really only look out for themselves/those closest to them?  People are reticent about donating to charity- concerned they will not have enough money for themselves.  This initiative relies on a small amount from the general public (250 British pennies per entry)- the rest comes from Google.  I have contacted some celebrities (Olivia Wilde is the latest: she is in U.S.; she is one of my generation's most impressive voices/talents- someone who is very charity conscious; has a great passion for change; hope she takes to the idea...)  I hope every (celebrity) get involved; but the public have to embrace it: there is no reason why not.  It requires no real talent or effort; it is all simple and effective; it will give you new information and incentive and above all, it is fun.  Unlike my other charity attempts, I am never going to give up on this- if it takes the rest of my.  I (like many) are sick of so many (good people) suffering; so many sectors ignores- so much needless discrimination and inequality (in a supposed developed society) - time to stop pissing about.  There are a lot of people who are motivated (to try to change things) but not as many as there should be- that needs to change too.  I am going to keep sharing and flogging this idea until I am blue in the face; until people take notice- until it is launched (and is successful).  Nobody will give me a good reason (why it would not work/flourish) so for that reason, I will not put it aside- I am sick of only a few people (I know) getting involved with worthwhile causes and events.  If you want things to get better; want to get things changes- you can’t rely on other people to take care of it.  There is a lot of hard work ahead; a great deal of protest and (getting angry): that is the price you have to pay.  I am solidifying and developing the idea: making additions/improvements by the day.  I will publish an updated blog. in May: celebrities I have contacted; development with Google; website designs; plan of action- make this blog. more comprehensive and fully-rounded. With some big days/fundraisers ahead- International Women’s Day; Comic Relief etc. - do not overlook this one…

WE all need to start getting more involved.

Contact Me:

https://www.facebook.com/sam.liddicott.7

https://twitter.com/samliddicott

saml889@hotmail.com

Track Review: Hannah Robinson- Curious

TRACK REVIEW:

Hannah Robinson

 

Curious

9.3/10.0

Curious is available at:

 https://www.youtube.com/watch?v=yvwCawRO75A

RELEASED: 20^th February, 2015

GENRES: Pop

COUNTRY OF ORIGIN:

U.K.

PRODUCED BY:

Scott McKeon & Stephen Darrell Smith (C) 2015

The E.P. Water, Carry Me is available from 13^th   April.   Pre-order at:

http://hannahrobinson.bandcamp.com/

THERE seems to be some renewed optimism in the world of music…

and especially new music.  Over the past few years, I have been fortunate enough to review some fantastic acts: many of who began quite nervously and unsure.  My words and commendations have not (necessarily aided) the rise (of the now-successful acts) yet it is pleasing to see success- great musicians starting to get their ‘dues’.  The industry is a hard and tough thing to conquer: every week, a slew of new bands and acts emerge from the cracks.  There seems to be a sense of predictability coming through (still): there is not a great deal of superseding.  Bands tend to be- in the mainstream at least- male-dominated/led; solo acts tend to get overlooked (by comparison).  New musicians are going a long way to overthrowing this eventuality; making sure there is some unpredictability and momentum building.  Having reviewed bands (for the last couple of times) it is great to come across an eager and much-anticipated sole voice: a singer/songwriter that is gaining some impressive acclaim.  This year is going to see some exciting things happen in music: big legends like Blur and The Libertines are (producing new albums); some exciting sapling artists are starting to come through- terrific new sounds and possibilities are starting to present themselves.  It is pleasing to see so many eager and ambitious musicians come through: with such a jam-packed scene, you wonder how many will ‘succeed’.  It is not good enough to merely arrive with guitar in hand: a songbook to your chest; armed with ‘good intentions’.  Those artists that stick in the mind are the ones that (go beyond what is expected): add personality, surprise and originality to their music.  My featured artist knows this all too well: she is not a performer contented to put in the bare minimum; she is hard-working and endlessly plugs; her voice is distinct and memorable- her songs filled with wonderful insight and stories.  Before I conclude this section/my point, I will introduce (Hannah Robinson) to you:

“Singer-songwriter Hannah Robinson’s blues-tinged vocals belies her age.

Performing as a soloist and with her band, in London as well as in her native Dorset, her busy live schedule sees her playing venues such as The Bedford and Salisbury Arts Centre, and festivals including Larmer Tree Festival and Purbeck Folk Festival.

2015 will see the release of 'Water, Carry Me', a brand new four track EP of original material, following her 2012 debut album ‘Oil and Turpentine’. In this, Hannah is working alongside musicians including Scott McKeon (Lana Del Ray, Tom Jones), Paul Beavis (Robert Fripp, Robbie McIntosh), Rob Mullarkey (Laura Mvula, Jamie Cullum) and Steve Smith (Sandi Thom, Robbie McIntosh), developing her sound.

Hannah’s songs blend her nonchalant, percussive guitar style with soulful melodies and lyrics full of personal experience and rich imagery owed to her art school education.”

With the likes of Sam Smith and Rae Morris- putting the solo realm firmly into the public consciousness- it is one of the most in-demand and in-vogue sectors of music: the band-led hegemony is in danger of being overthrown.  For that reason, many young (sole) acts are coming through- all keen to win votes and linger in the memory.   Robinson is an artist that strikes my ear immediately.  Having reviewed (female solo acts) Little Sparrow, Jen Armstrong and Annie Drury, she ranks alongside them- armed with as much personality and potential (as that glorious trio).  I prefer my music heavier (the likes of Soundgarden, Green Day and Pixies feature in my record collection) and my configurations four or five-piece.  I have always wanted to fully embrace solo artists, yet seem to be seduced by the band concept- that ageless and overwhelming sound that does something primal and wonderful.  Acts like Hannah Robinson go a long way to changing my views; giving me something fresh and much-needed- a mellifluous and sensual breeze.  This country- in my biased and subjective view- is producing the best music in the world: our solo singers (in particular) are the most agile and effective of them all.  Robinson is taking her very first steps, yet the (initial signs) are very encouraging: her online portfolio and social media numbers are rising; her fan-base augmenting and swelling- this year is going to be (a very prosperous one) for her.

Before I get around to reviewing her music (and the featured song), it is worth looking back at Robinson’s (previous work): seeing just how far she has come.  Over the last few months- leading up to the release of her new E.P. - Robinson has crafted some (original and unexpected) cover versions- adding colour and new spins on old gems.  If you listen to (her take on) the likes of Don’t Think Twice, It’s Alright and Make You Feel My Love (both available on her SoundCloud page), then you can hear what I mean: such vitality and energy is injected into both numbers.  A lot of new artists- when they cover other artists/songs- tend to offer little variation and surprise.  Robinson does not tackle a song, unless she feels she can make it sound new- do something unexpected and different.  I hope that- in addition to her new material- she continues tackling well-loved songs: giving her own inimitable take on them.  A few years ago- back in December 2012- Robinson released her (debut album) Oil and Turpentine.  That L.P. was the introduction of the young star: her first (fully-fledged) movements into the musical world.  That album mixes lo-fi grit with Blues-tinged prowess: the entire album has a great live feel to it.  Opening track Monster swings and sways: tinges of Amy Winehouse linger in (the most sensuous and impassioned) notes.  Songbirds in the Afternoon possesses glorious woozy brass; plenty of emotion and personal insight- the young singer pours her heart out.  Stay Quiet has more of an acoustic heart: it is a track that takes your mind somewhere special; its grace and gentility overcome the senses.  The album is a testament to Robinson’s talent and determination: there are no loose edges and gaping cracks.  The entire collection sounds natural and effortless: there are no nerves or need for improvement.  Although there are signs of Amy Winehouse (and some classic Blues voices) within the music, the abiding take-away is originality: it is the young woman stamping her distinct personality.  Songs crackle with vivid imagery and charming scenes; the vocals are compelling and gorgeous- the compositions are rich and nuanced.

If you a newcomer to Robinson, then you may be looking (towards her inspirations).  On Facebook, Robinson lists her idols/influences as: Sam Cooke, Aretha Franklin, P.J. Harvey, Jeff Buckley, Dan Auerbach, John Frusciante, St. Vincent.  Quite a list there!  To be fair, there is a little (of each) within her glorious notes.  That soulfulness of Franklin comes through (in her most astute and potent moments); St. Vincent’s etherealness and spellbinfing allure (has made its impact) and can be detected during Robinson’s softer times- Buckley’s grace and emotion make their way (into Robinson’s artistry).  Just like all promising music acts, our heroine merely uses her idols as a jumping-off point: she does not lazily replicate their voices and sounds.  Too many modern-day acts lazily toss-off a second-rate version of events- come across as bad tribute acts.  When you want to grip imagination, and ensure long-term appeal, you need to be fresh and distinct- this is what Robinson does.  Whether you look for ice-cool beauty and stillness; red-hot power and lust; some comforting warmer colours- you should look no further.  With a voice filled with potential and range, Robinson is capable of owning any territory she likes- and this means her songwriting can be a lot nimbler and less confined.

The opening (plaintive and romantic strums) of Curious put me in mind of Jeff Buckley: specifically, his album Live at Sin-e.  That album was recorded in New York (the Lower East Side) in a small café: and is one of my favourite things in music.  Tearing through the likes of The Way Young Lovers Do and If You See Her, Say Hello; that distinct guitar sounds comes out- that relaxes the bones and kisses the blood.  Curious peaks my interest (within 10 seconds) as it puts me in mind of my music idol- and the way he could captivate crowds were the mere fleck of his guitar.  Our heroine’s mind- from the get-go- looks towards overcoming mountains; climbing peaks- and overcoming obstacles.  One assumes these words are not to be interpreted literally: she has emotional and personal issues to overcome; determined to side-step and defeat anything in her way.  Not allowing her voice to play second-fiddle, her strong and vibrant tones are right up top- seamlessly mixed into the fold to provide the most evocative emotional punch.  Robinson’s curious travelogue talks the listener (away with her): her breezy alacrity is infectious and hugely additive.  Reminding me of the Folk greats of the ‘60s and ‘70s, Robinson mixes vintage-cum-classic: injecting plenty of modern sounds and relevance into the track.  Having covered Bob Dylan, our heroine clearly adores the Old Master: shades of his 1963 regency (The Freewheelin’ Bob Dylan) come through clearly.  In the same way (as the young) Dylan took you into a very personal and relatable style of music; Robinson showcases a clear talent for storytelling and description: her voice helps to highlight the clarity and detail in her lyrics.  Asking her (unnamed lover) whether he will climb with her- come up that mountain- I started to re-evaluate my (earlier assumptions).  The ambiguity that comes out- two lovers climbing a literal mountain?  A duo sweetheart looking to subsume a difficult situation? - makes me think and assess.  Our heroine looks out at the ocean (“that I’m curious to sail”): her sense of determination is unwavering and deterministic.  Where the waves crash- and the “seabirds wail”- Robinson locks her sights: she knows where she wants to be (and who she wants to be there with).  Whether she is assessing a current romance- or looking into fictional realms- each words drip with conviction and honeyed romance- it is hard to not be teased and shivered by that striking voice.  Allowing her guitar to flesh out and emphasise the mood (and not encroach too strongly) the foreground is dedicated to the voice-and-lyrics combination- there is a U.S. flavor to proceedings.  Like the great Country and Folk acts emanating from the U.S.A., Robinson has a little bit of Nashville in her blood- a distinct twang that comes through in some of the words.  Effortlessly- and naturally- bridging American quirk with British recalcitrance, the young Siren (brings her music idols) into her own work.  Curious is a borderless and indiscriminate song: it is ready for the U.S. markets, as it is the airwaves of Absolute Radio.  Whereas George Ezra set the music world alight (last year) with Wanted on Voyage; Robinson provides a female counterpart.  That album contained songs that took you across seas and countries- Budapest, Barcelona, Cassy O’ even) - Robinson has contours of Ezra.  As much as I adore Ezra’s voice (few have those pipes!) and his style; Robinson is her own woman- it is hard to compare her with too many other songwriters.  The contemporary elements (within Curious) will set her in good stead: and translate to multiple listeners and great approval.  As the song reaches the half-way mark, Robinson is clutching her “ticket to the world”- and rolling onwards.  Rolling the dice, our heroine takes a gamble on the world- she is curious to see the world; get out and enjoy the sights.  Riding a crest of rhythmic lust and pace, the song never loses momentum: subtle shifts and about-turns keep the song unpredictable and mobile.  The track has a terrific live feel to it- as though we are sitting alongside Robinson in a pub or café- yet the sound is full and uncompromising.  The entire ‘band’ performance is tight and impressive: each instrument and note seems well-rehearsed yet loose- that juxtaposition of refined and relaxed adds huge clout to the song.  The most impressive facet (of Curious) is Robinson’s nobleness and humility: she wants to share her curiosity (with her love); not simply set off on her own.  Gripped by the will-they-won-they tug-of-war, the listener is left hanging a little- our heroine keeps everyone guessing for a while.  For an artist so young, there is- towards the two-thirds mark- some sage and learned guidance: issues about mortality and seizing the moment are explored.  It is said- by our heroine- whether you take a gamble in life (and just go for it) or wait for death to shove its hands down your underwear- the end is waiting for us.  In a few words: why wait for the inevitable without making the most out of life (that’s the impression I get at least).  Made bold by the promise of sea, sand (and foreign lands), Robinson seems bright-eyed and eager: she does not want to be hidden away and inside.  Curious lives up to its title: the listener has a cliff-hanger left (at the end).  Our young star has unveiled a tantilising insight- into her upcoming E.P. - and shows just how strong she is- here is a song that is simple yet hugely effective.  In a marketplace with a lot of young artists coming through- it is hard to distinguish oneself from the throng.  With new music providing multitudes of female and male solo acts, how do you separate the wheat from the chaff?  I guess going to see live music (is a good start) and social media/music-streaming sites can be a minefield of webs and knots.  A lot of success (for new musicians) comes when (people and critics) are in the ‘right place at the right time’- a zero-hour approach to success and stardom.  Robinson provides plenty of prowess and personality; bags of quality and strength- I hope she has a (fairly easy) rise to prominence.  Whether it is a few years away- or maybe a little longer- that recognition and accolade will arrive: there is no doubt about that at all.  For all the cold night and dull days, Curious arrives just about the right time- her E.P. will be an early taste of summer (to make even the most anhedonic crack a wide beam).

Hopefully I have gone some way to assessing (fairly) Robinon’s potential and panache- if not, I duly apologise.  Being laden with cold germs and worries, her music has provided me some solace and medicinal support- I have discovered a new artist (I will stick with for many years).  As I stated (near the top of this review) I have always been a band man.  My favourite song is by a band (Steely Dan- technically a duo I guess), my favourite album by a band (Radiohead); my all-time favourite band is, well… a band.  In terms of voices, Chris Cornell and Thom Yorke are in my top-three- the lone warrior rarely features in my ‘all-time best’ lists.  Robinson’s timeless beauty and intuition marks her out as a talent to watch: her songwriting and voice are strong enough to ensure she remains (in the public mindset) for years to come.  With the likes of Laura Marling and James Bay offering something very distinct- the market is filled with lesser talent- the public is always on the look-out for something fresh and exciting.  I adore my bands- and heavier movements- but always look for something gentler and inspirational- especially as we come into spring.  Being in a position to (embark upon my own musical path), I am always looking about for contemporary influence: those acts that can help me with my own songs.  Robinson seems a humble and modest artist: something with no airs and graces; a great respect for her fellow musician.  This modest approach to music-making reflects through strongly.  Curious is a step forward for the young artist: she is at her most confident and assured here.  Whereas her debut album was packed with jewels and glistening tracks- I feel she has grown even larger and prominent.  Cementing that early promise, Robinson (already) seems relaxed and assured- she knows exactly what her voice is; exactly who she wants to be.  This assuredness does not equate to complacency: the young beauty has plenty of ammunition in her arsenal; a surfeit of new maneuvers and territory.  I cannot wait to discover Water, Carry Me: it is going to get a lot of (dormant) tongues wagging.  Having familisarised myself (with her fledgling work), I am deeply impressed by her progress: for one so young, Robinson shows great maturity and confidence.  Before I conclude, I want to raise a key point: this year in music.  With The Libertines promising a new album- if Doherty can keep his veins clean; if Barat can trust his brother-in-arms- and Blur promoting their Magic Whip like a bitch: I really hope it is a lot stronger than Think Tank!  It seems like the mainstream is going to get a lot of credit.  After a somewhat unimpressive 2014- Royal Blood seemed like the only real exciting new act coming through- this year is showing a lot greater promise.  Too many people concentrate wholly on the charts: the radio darlings and the ‘popular’ choices.  The most invigorating and wonderful musicians are plating underground: playing the local venues; rocking-out to a small selection of followers.  Whilst it is impossible to promote ALL of the great musicians coming through; one should pay attention to acts like Robinson- she will be a festival headliner in little-no time (make sure you get involved now).  The sun is shining; the cascading cold germs are starting to relent (slightly) - I do not have to work until Monday.  To top it all off, I have come across a musician that has made me smile: surprised me (in a good way) and is stuck inside my head.  If you are like me- and yearn to seek great solo music- or demand something special (in your music) then check out this young artist.  If it comes down to a gun-to-your-head-decision: wait to see if the mainstream can take your breath away (without looking too hard) or stick with new music (and have to ferret to discover serendipity) then (because of the likes of Robinson), there is no doubt in my mind…

THAT will be a very easy choice.

[youtube https://www.youtube.com/watch?v=yvwCawRO75A&w=560&h=315]

________________________________________________________________________________

Follow Hannah Robinson:

 

Official:

http://www.hannah-robinson.com/

Facebook:

https://www.facebook.com/hannahrobinsonmusic

Twitter:

https://twitter.com/HannahRobinsong

BandCamp:

http://hannahrobinson.bandcamp.com/

Instagram:

https://instagram.com/hannahrobinsong/

__________________________________________________________________________________

Music:

https://soundcloud.com/hannahrobinsonmusic

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCDpm3eIWLkwWRi7RsSf-Ybw

 ______________________________________________________________

Gigs:

http://www.hannah-robinson.com/

Track Review: Purple Hill- Six String All To My Heart

TRACK REVIEW:

Purple Hill

 

Six String All To My Heart.

9.4/10.0

Six String All To My Heart is available at:

https://www.youtube.com/watch?v=2XUDLejcPhk&feature=youtu.be

RELEASED: 29^th January, 2015

GENRES: Folk, Punk, Rock

COUNTRY OF ORIGIN:

Canada

The album Top 40 Radio Memory Dream (Oh Yeah!) is available from February 27^th.  The album can be streamed via:

http://purplehill.bandcamp.com/

Jordan Bruce: Drums, Percussion Quentin Ede: Bass, Back Up Vocals- tracks 3,4,6,7,8,10 Brent Hough: Guitar, Keyboards, Backup Vocals Owen Marchildon: Guitar, Vocals Dan Snyder: Bass- tracks 1,2,5,9

Produced by Purple Hill Recorded and Mixed by Jeff McMurrich Mastered by Fedge Photography by Tyler Anderson and Michelle Siu

All songs written by Owen Marchildon

ONE thing that has been playing on my mind (among other things)…

Is how difficult it can be- for the new musicians starting out- to gain necessary appeal.  Many of my musician friends have been in disarray; jaded and angered by (how difficult it is) to get respect.  Many acts have a great sound (and mass of determination), yet competition is high: the time needed (to hit your goals) can take quite a while.  I am always anxious- when new musicians feel down- as all of them deserve respect- and their rightful share.  I am going to be taking a two-week break from reviewing (to launch a charity initiative) but before I take a short pause, I am back in Canada: a country that is producing some of the world’s finest new music.  In fact, I have had to ‘ban’ Canadian artists (from contacting me) for a bit: it seems that most of my requests (for reviews) emanate here- it is great, but the rest of the world needs a chance.  I am not sure what it is about Canada: whether there is more hunger; less pressure perhaps.  Whatever is occurring, I am never surprised by what is coming forth: last year I was lucky enough to witness some tremendous Canadian artists- all of whom can go far.  Before I introduce my featured artist, I will finish (this section) with one point: the year 2015.  Last year the mainstream disappointed me slightly: the very ‘best’ albums produced were not that great.  I enjoyed Royal Blood’s (self-titled album) but grew weary of its flaws: similarly, the best of the rest hardly gave me chills.  This year shows greater endeavor and wonder: the likes of The Libertines and Blur are coming (to show the new breed how it SHOULD be done).  New music has always been (a constant high) - this year something strange seems to be happening.  Bands and artists- whom were working hard during 2014- are starting to get angered: change courses and start afresh.  I know of several acts that are changing their game plan: the ambition and focus is unwavering and inspiring.  It is likely (this wave of reinvention) will herald new sounds; some stunning movements- and guidance for up-and-coming acts.

Purple Hill are an act that have been around for a few years: they have garnered respect among their native land- and are determined to take their appeal across the oceans.  Among their fellow contemporaries, the four-piece offer something different: it is not generic or formulaic in any way.  A lot of musicians (even Canada’s best) tend to replicate existing acts: losing any sense of originality; coming across as rather stale and insipid.  The Purple Hill gang is a lot sharper and spectacular.  Before I bring in some biography, I would offer some advice to the boys: get your social media output growing.  It is only (fairly) recently that the lads have joined- the big and rather anonymous- world of Facebook.  They have a Twitter account, but there is some ground to cover: a few more sites they could (make themselves visible on).   Their social media ranks are modest at the moment: with a bit more shouting and presence, they could reach huge audiences.  In an age where social media has overtaken real-life interaction (sadly), it is vital that it is exploited- I hope the band ramp up their online offensive.  Their music goes a long way to doing the talking; reviews and buzz has been very encouraging.  With their forthcoming album nary a matter of days away, the online community has been pricking their ears up- in-tune with what the group is putting out.  Before I go into more depth, let me introduce the Canadian quartet:.

Owen Marchildon - vocals, guitars, harmonica. Jordan Bruce - drums, keyboards. Brent Hough- guitars, keyboards, backup vocals. Dan Snyder - bass.

“Finally, Purple Hill has joined Facebook country. Yes, I know what you're thinking. How the hell did that computer illiterate, long-haired captain put together such a site? Well, I assure you, he didn't have much to do with it. BUT EVERYONE IS DOING IT. So he thought they'd tag along. I guess there are a couple things that need to be said. They have a clean sound. Except for those god dam chromatic tuners. They sure can give Purple Hill the blues. Especially when trying to reach open spaces. They've released three albums so far, a Self-Titled debut on Escape Goat Records in 2005. Their second effort was self-released in January of 2008. It was titled "I Was Born To Flesh". With the exception of a few rockers, there both pretty much mellow affairs. They recorded their third record "Beechnut St." at Owen's parents’ house during a hot week in July 2008. It was released in October 2009 and received glowing reviews both here and overseas. The band was featured in the Eye Magazine the week of its release. With the exception of a few ballads, it's pretty much an upbeat, jingle jangle, rock n' roll record. The band is set to self-release their fourth record, a 12 song storytelling seducer that lies somewhere between Micheal Hurley and The Feelies. There may have been a side order of Soft Boys in there but the band seemed to be over Underwater Moonlight. They just kept shouting "Give us Jonathan! We want more Jonathan!" The new record is called "Bring On The Macho" There also will be a 5 song E.P. released at the same time called "Leave No Prints Behind" This is all going down at the Silver Dollar on Friday March 18th. 2011. Hope to see you there! So look for Purple Hill in the New Year. Find yourselves amongst the people, check local magazines, go to shows, and for Christ sakes, let's be friends.”

The boys themselves have a clear voice: a unique way of doing things; clear personality ideals.  In terms of ‘influences’- those who have inspired their sound- a few different acts (come under their radar):

The Feelies, Micheal Hurley, Jonathan Richman, The Velvet Underground, Neil Diamond, My Bloody Valentine, Glen Mercer, The Byrds, The Everly Brothers, Big Star, Georg Jones, The Kinks, Chuck Berry, The Travelling Wilburys, The Clean, Wire, Gordon Lightfoot, CCR, Bob Dylan, Alexander Spence, The Vaselines, Bruce Springsteen, Willie Nelson,Beachwood Sparks, Pavement, The Replacements,The Meat Puppets, Freedy Johnston, The Flatlanders, John Fahey, The Raincoats, The Flying Burritto Brothers, Gene Clark, The Turtles, The Pretty Things, Patti Smith, The Soft Boys

Top 40 Radio Memory Dream (Oh Yeah!) is available to stream via BandCamp- the ‘official release’ is a few days away.  I have read a few reviews (of the album) and most are very impressed: highlighting the band’s vitality, inventiveness and fresh sound.  The strong songwriting that comes through (on each track) makes it a nuanced and fascinating collection- something that should be investigated.  When assessing the album, the band surmised it, thus:

“This album was recorded at 6 Nassau Studios between spring 2011 and the summer of 2012 with legendary recording engineer Jeff McMurrich. With the exception of a few guitar and back up vocal over dubs, everything you hear on this record is essentially recorded live off the floor. Working with Jeff was both memorable and rewarding. He's a very adaptable person and this allowed for the band to attack the songs the way we wanted to without jeopardizing quality sound. This was definitely a fun record to make and I think that sense of "fun" and looseness really comes through on the recording. So sit back, put on your headphones and dream a Top 40 Radio Memory Dream. OH YEAH!!!”

The Leave No Prints Behind E.P. - released back in 2012- was the band’s last fully-fledged effort.  The tracks (on that E.P.) showcased a wide breadth of emotions and sounds.  Tracks like Chromatic Tuner Blues dripped with vivid storytelling and wit; gentility and Folk strands- a perfect way to kick-start the set.  I Wanna Kick Your Ass is as vibrant and violent (as its title): a rife and riffling slab of Punk venom.  Old Time Hooligans (in terms of the music) puts me in mind of early-career R.E.M. - the vocals are a real stand-out here.  When We Became Friends has softness and tenderness: its lyrics are as picturesque and memorable (as any on the E.P,).  Throughout the disc, the band never sound compromised or exposed: the songs are tight and unique.  You are hard-pressed to compare them with any other act; their strong songwriting and seamless performances make the subject material engaging and repeatable.  The band has grown in confidence and stature (over the last few years) - their latest album is a testament to this.  Not only have their retained their core elements- strong songwriting and incomparable quality- but have expanded and broadened.  So much colour and adventure (comes out in the L.P.) and it is an album that will draw in a fresh audience.  Six String All To My Heart is a typical slice of Purple Hill: a song that at once is recognisable yet unexpected.  Having surveyed the album, I was impressed by how intent and impassioned (the band sounded) - there are no loose edges or tired moments.  No filler or weak songs to be found: everything on the album deserves its place there.  Being a new discoverer of the band, I was keen to dive into (their latest offering) - see what Six String’ had to offer.

Beginning in a woozy haze- of glorious notes and Blonde on Blonde-esque majesty- Six String All To My Heart gets underway.  Both romantic and intriguing, the intro. builds to a giddying high.  The song itself has its heart set (in the glory days) of the ‘60s: you can practically sense Dylan giving a nod of approval.  That is not to say the song is indebted (to Blonde on Blonde/Highway 61 Revisited at all) as it is very much the work of Purple Hill.  Charming hints and gentle seduction lead you into the first verse.  Like all great songs, there is a sense of literal and oblique (to the lyrics): you are always picturing two different sets of events.  In the video for the song, our moustache-laden hero is in fine voice.  Speaking of something hanging on the wall- a painting?  A gold record?  A photo (of a sweetheart)? - you are at once brought into a very intimate and vivid scene.  Our man is inspired and rejuvenated: keen to pen his thoughts (“The feel I get when it’s in my hands”), you can sense the optimism and passion.  The songwriter elite has been in a midst of what-ifs and sluggishness: he has struck a vein of form and is a man reborn.  Looking around him, our man picks up his six-string; with clear intent (and a girl in mind) you get caught up in the rush of excitement- that sense of renewed hope and intent.  As wrapped-up as you get (with the vocals and lyrical descriptions), the band rustle up a hell of an atmosphere.  I have mentioned Dylan- and two of his finest albums- and there is a genuine sense of the 1960s- an updated version that mixes (the songwriting master) with fresh sounds of 2015.  The band contributes shared vocals; the percussion is particularly sharp and memorable- the keys and bass add plenty of colour, light and strength.  When the entire band unites: that is when you get the biggest hit (and adrenaline rush).  Our hero lets his voice ring out loud and clear: you can tell the song’s messages resonate hard.  Whether inspired by real-life events/romance (or something imagined), you are caught up in the storm.  Looking at the “gold record up on the wall” (I thought that image might feature in the song).  The song itself not only acts as a personal tale; a representation of a man on a mission (to gain fresh musical success) - it is a great statement of the modern (music) age.  So many people I know- who are in the music industry- are lacking that spark and energy: so weighed-down by the pressures of the music business.  I have seen many that have come around again- like Six String’s central message- and many who are in need (of that boost and kick).  I hope this song not only acts as a gem of its own: but gets into the heads of any disaffected musician.  Keeping things simple and effective, the lyrics are economical and catchy: the verse entire track consists of relative few words and sentiments.  Rather than clutter up the song, we are left with a very focused song: it will stick in your head for a long, long time.  If you are a Dylan fan- apologies for the band for bringing his name into things too much- then there is a lovely transition: from the softer and settled romance of Blonde’; to the electric revolution of Highway’.  I was settled in my own presumptions and predications: thinking the song would keep on one course; not deviate or stray from its straight-eyed luster.  Just as the fading light comes to play, the band whip out an electric storm: bringing in some of their Rock-cum-Punk past to the party.  Adding a layer of force and weight, the guitar parable is an effective little thing: it perfectly bridges the two-third marker (and acts as a wonderfully tight middle 8).  Begging for more, the lads keep it concise and to-the-point (the song last 3:31).  When the final notes come into play- and our hero sets on his course of ambition- you are fully into the story.  Rooting for our man, you sit there and wonder: will he make it big this time around?  There is maturity and intelligence throughout the track; simplicity and gorgeous storytelling- something that is lacking (from large portions of the current music scene).  No cynicism or pessimism here, sir: the band is bringing the love back.  The song leaves a big smile on the face: it will resonate with listeners of all ages; inspire new songwriters to try something different.  If you are an acolyte of Dylan’s early/mid-‘60s glory days- when he couldn’t be touched for crap- then you will love (what the band offer).  Their original voice and style overrides any sense of over-familiarity- they inject modern and fresh vitality into their music.  I was left deeply impressed by the band as a whole: the tight performances and seamless intuition is what makes (Six String’) such a golden slice.  Kudos must go to Marchildon particularly, who seeks as much passion and panache (from the subject matter) as is humanly possible- his vocal tones are a perfect counterpart to the uplifting and inspired words.  It would be unfair to single one band member out for attention- as the entire group is on top form- but that is what makes Purple Hill so memorable (that each member is essential and hugely impressive).  Not only does the single act as a guide- as to what the album will contain- but is a step in a new direction: the band has never sounded more intent and inspired.  Make sure you give them a listen (as soon as possible)…

It is clear the Canadian warriors will be forging (a determined and impressive) path this year: hitting the road and reaching new faces.  If they can get their social media portfolio organised and expanded, then they will be onto something: they are no minor league band that are incapable of winning over the masses.  If they sort out a SoundCloud and YouTube account; start pushing their brand more- they will pull in a lot of new fans.  We in the U.K. have few bands (like Purple Hill).  On the evidence they have laid out- their new single and album- the boys are going to be a big sensation.  Too many bands suffer an identity crisis: too keen to mimic or rip-off another act.  Purple Hill has their own voice and sense of direction- their songwriting is among the most impressive I have heard (for a long while).  It is the sense of unity and togetherness (the lads display) that makes their music such a special proposition: that comes out in every note or every track.  I hope they find time to come and play London: it is a city that welcomes in all sorts of artists and musicians.  Too many Canadian acts seem relegated and ensconced in their home locales: few travel across the ocean and seduce continental soil.  Perhaps it is money issues- who can afford to come over on a whim? - or maybe something else- I hope the elite of North America change these habits.  I am stepping back from reviewing until next month- bit tired already- but will be picking up where I left off: discovering something great and unexpected.  If you have not heard of Purple Hill- there may be a few that haven’t- then they are worthy of fonder investigation.  Not your average one-dimensional band, the quartet are some of the most inventive and surprising musicians (I have heard).  It is surely only a matter of time before the four-piece are darlings of the music press: faces that few of us can avoid.  If they continue on their quest and path, then it will be a sure thing.  Have a listen to one of Canada’s best acts…

AND discover something rather special.

[youtube https://www.youtube.com/watch?v=2XUDLejcPhk&w=560&h=315]

___________________________________________________________________________

Follow Purple Hill:

Facebook:

https://www.facebook.com/pages/Purple-Hill/29372939270

Twitter:

https://twitter.com/purplehillband

_______________________________________________________________________

Music:

http://purplehill.bandcamp.com/

Friday the 13th, Valentine's' 14th: Reflect on the 15th?

Friday the 13th, Valentine's' 14th: Reflect on the 15th.

I am going to keep this one (nice and) brief…

as a lot of words have been expounded (about Valentine’s Day).  Yesterday was the dreading ‘Friday the 13^th’: a day/date synonymous with bad luck.  I have always felt superstition (like destiny/karma) quite a ridiculous proposition: people control their lives/action; the universe has no hand- misfortune does not save itself for an asinine (date on the calendar).  Valentine’s Day has received derision- from singletons such as myself- for its commercialism; forced nature, and well, let’s face it- its smugness.  Lots of happy couples; lots of nascent profferings- a great deal of ‘love’.  I am ambivalent and tumescent (when it comes to today).  Being single- I have been single every Valentine’s Day- the day holds little relevance to me (much like New Year’s Day/Eve).  I guess every ‘holiday’ day is commercial and unnecessary- as an atheist, Christmas’ greatest strength is gift-giving and lack of religious input.  As I sink into the evening with a glass of red wine- and perhaps a beer- I feel this weekend holds great significance.  In so much as I am glad for people (who are in relationships)- who get to have some pre-approved copulation and romance (you can see why I am single), it provides an excellent opportunity for people like me- and many others- to do something good.

This year I have made some bad mistakes.  In addition to fu*****-up a friend’s life- a social media friend- and falling out of regular contact, I have been culpable of other transgressions: chief amongst them is not being a better person.  I consider myself to be quite thoughtful and generous- I give to charity as much as I can.  Days like today ram home some perspective: make me think about what is missing (from my life).  The need to find love is paramount (loneliness can be a serious bitch) but being a more rounded and decent human (is my main aim for 2015).  As Facebook and Twitter fill up with declarations of love; photos of gleaming couples (and some rather saucy remarks), it has a bitter-sweet edge: it makes me feel a little hollow.  If I could go back in time, I would reduce my fu**-ups: stop being so damn eager to please people/’be me’.  I hate the idea of a New Year’s Resolution- because nobody sticks to them; people very rarely change who they are.   I have decided that- for the rest of this year- I am going to be that rarest of lifeforms: the human that changes because they WANT to (and not feeling some need to conform.  My goals for this year are as follows:

Move to London (Soho preferably)

Work in London (in the music industry ideally)

Form a band and record an E.P. (or at least get my voice on tape)

Fall in love (or at least find someone special)

Claim back lost friends

Travel more (I have ALWAYS wanted to visit Italy)

Be as good to my sister (as she is to me)

Fix problems/break-ups I have caused

Donate more (I am giving blood this year; registered as an organ donor)

Do something insane/unconventional (I am seriously considering donating a part of my liver to a stranger)

Try and reduce the impact depression has on my life

Help as many people as possible, and…

DO MORE.  I feel like I have done a lot for others- but am always driven to do more- and see too much heartache and tragedy.  Recently a dear music friend of mine was diagnosed with cancer; a distant relative of mine was killed; a colleague’s son was diagnosed with cancer- I have received some shock news and blows, too.  I look around and see a lot of sadness and inequality and cannot stand it- I am too fidgety; too motivated to stand still.  Today has made me reflect on things that are wrong with the world: the stupidity and iniquities that surround us.

Not as a ‘fad’ or temporary measure, I have been driven- by other people’s happiness- to do more: not just for others, but for me too.  I am switching to vegetarianism (for moral reasons) and eating less sugar and sweets (I am in pretty bloody good shape but my heart sure as hell isn’t); moving to London (and doing what I should have done years ago).  I have grown tired of living a ‘9-to-5’ existence: working for the hell of it; not taking risks; being stressed living where I am.  Other people’s illnesses and misfortune has really got to me.  In the next couple of days- to continue the themes of love/giving- I am donating to several charities; leaving a gift to a local music school; sending flowers anonymously; taking a homeless man (who I know) to lunch; doing a lot of random giving/gestures.  Not for the sake of blowing my own trumpet (I literally have no ego whatsoever), but to feel more like a worthy human being: at the moment I am in doubt regarding my self-worth and necessity on earth.  Outside of that, I want to reach a lot more people: contribute to REAL CHANGE.   In addition to continuing reviewing/promoting musicians (one of my true loves) I want to get something done about the world.  I am proper pissed-off with the gap between the rich and poorer: the (needlessly) deep pockets of tech giants and businesses; the shallow tins of the charities and needy.  In addition to doing some various charity bits- have a new half-marathon coming next month; some older campaigns to re-launch- I am tired of being a minor cog.  The plan I have is ambitious- and I will dedicate a full-length blog to it- but it will be a charity idea (I hope to take viral); involve some very cool ideas- and involve some huge names (such as Google, YouTube, Apple and Microsoft) play a part: make sure that millions is raised (for multiple causes and charities).  It may seem idealistic and far-reaching, but it is possible: I am fed up with feeling like crap every day (and worrying about everyone).

What is the point of this blog, then?  Well, today is a special day for many: for many more, it involves exclusion and emptiness.  I am glad that (so many people I know) are happy (and in love): I wouldn’t sacrifice that for anything in the world.  To me, today has greater relevance (than lazy poems and sugar-coated platitudes): it is the incentive to be better human being.  Friday may have been- if you buy into superstitious nonsense- a horrible one; today may be an awesome one- I can almost detect the far-off orchestra of squeaking bed springs- you know what: make tomorrow (and next week) a bloody EPIC one!  If someone like me (hardly the most spectacular flower in the Garden of Eden) can get up and become motivated then everyone (should and can) do the same.  You don’t have to do huge things, but do something unusual/unplanned: small things can go a long way (to making someone else smile).  As I bid the evening a sweet farewell (and reflect on things) enjoy the evening: those in their lover’s arms, or those comfortable in their solo awesome-ness.  If Valentine’s Day passes you by- with its baffling brevity/specificity- then it could (no: SHOULD) inspire something just as meaningful: that desire to make some (even if they are small) differences.  If you balk at V.D.’s sentimentality, then at least compel your arse to get up and do something GOOD.  After all…

THAT gives today a much greater meaning.