Track Review: MUTT- Etching

TRACK REVIEW:

MUTT

 

Etching

9.0/10.0

Etching is available at:

https://soundcloud.com/mutttheband/etching

The band’s E.P. (MUTT) is available at:

http://thebandmutt.bandcamp.com/

TRACK LISTING:

Saplings

Etching

Hammerheart

Silver

RELEASED: 9th^th May, 2015

GENRES: Alternative, Rock, Grunge, Dream-Pop

ORIGIN:

Birmingham, U.K.

Lottie Spencer - Vocals, Guitar (Track 3) Ollie Bennett - Guitar Tom Murray - Drums Liam Nevitt/Bob - Bass (Tracks 1 & 2) Sam Bicknell - Bass (Tracks 3 & 4)

All tracks written by Lottie Spencer and MUTT

All tracks recorded, mixed and mastered by Dave McCabe at Muthers Studio

Cover Artwork by Chris Beckett

Photography by David Buckingham

IT is nice to step away from something ‘predictable’ and…

discover music with a bit of edge- that is unusual and foreign.  The issue of change is large in my thoughts: at the moment, I am going through a lot of it (change); making new plans for life- aiming to be/do something different.  In addition to a job ending (in 6 weeks), I want to relocate (London to begin; further north as the years progress); start doing what I want to do in life- working in music and charity; not sitting at a desk all day.  Change can occur through circumstance; sometimes through luck and misfortune- a lot of time, it happens because of necessity.  It is okay to live a particular way of life: if it makes you miserable, then you need to get out.  From home-life to work: I hate every minute of every day.  That is not a life at all: it is the rock-bottom moment- a serious wake-up call to make change.  (I am doing this) as we speak; but whilst I ‘figure it all out’, music is providing a great distraction/compromise- and allowing me some escapism and inspiration.  Over the past few months, I have assessed some great music: a lot of it can be grouped into the same genres- there seems to be little shock-and-awe.  Whilst my soul belongs to ‘softer’ and tenderer music- Grace and Graceland (with their brotherly love and namesake identities are two of my all-time favourite albums) - my heart (and loins) will always lust for the primal- something that always does something wonderful.  I hope MUTT will not mind (me going off on a tangential direction) but it has struck my mind: what is it about music that makes it so special?  If I had to choose my ‘greatest ever’ albums, I would put The Bends, Grace, Graceland; Superunknown, Rubber Soul and Elephant among them.  In that list- and across my favourite songs- there is diversity and a split: half spirited and soulful; half raw and passionate.  At the moment, I am getting back to Beastie Boys: rediscovering Paul’s Boutique and all its wonders.  Sampling and experimental music is rare these days- perhaps because of the huge license costs of sampling others- and new musicians are on a tight budget.  If your money is low; if you are starting out: what does a new act do (to gain attention)?  MUTT are an act that fulfil all of my points: they experiment with genres and sounds; have a terrific lo-fi sound- whilst mingling impassioned swagger with more introverted moments.  Too many acts (I have reviewed lately) have sounded a little samey: portraying the same sound and themes; not really breaking away from that mould- it is good to hear something a little different.  Lottie Spencer, Ollie Bennett, Liam Nevitt and Tom Murray form the hound’s legs (of the dog’s bollocks).  The canine attack was formatted in 2013: since then, the group have been putting together (their self-titled) E.P. - building a reputation around their native Birmingham.  It is rare to hear bands come out of Birmingham- I have probably reviewed as many in Birmingham, Alabama as I have in the Midlands.  The Midlands have a great music scene, yet the big cities still grab the headlines: London is coming through and stealing a lot of current focus.  Away from the bright lights and capital gains, eyes should be trained further afield- discover musicians doing something great.  MUTT are in their infancy, and are still testing the water: seeing what the future holds; how fans/the press are going to take to them.

When it comes to comparing the band (to other acts) you would be slightly difficult.  A lot of new acts (on the scene) tend to stick to familiar sounds- replicate other bands and lack originality.  MUTT have a great Punk/Alternative sound- you could see them fitting into the scene of 1970s New York (playing CBGB and The Ding Dong Longue (on the Upper West Side).  Saying that, MUTT have some ‘modern vibes’- and sounds of current acts- like Royal Blood and Green Day.  Their raw and sparse production puts me in mind of Pixies and early-day Nirvana- around the time of Bleach.  With Spencer up top, I am put in mind of icons like Patti Smith, Joan Jett and Alison Mosshart- with shades of Debbie Harry in there.  It would be remiss to (say the band is the sum of) their parts, yet you can hear some others: great bands and acts (of past and present) come through in their music.  Defined by tight-knit and enlivened performances, the quartet invoke the spirits of (Punk and Grunge greats); unifying U.S. and U.K. sounds- flavours of London, Birmingham and Manchester into the bargain.  If you are new the band- and most people will be to be fair- you may be a little cautious: am I really going to like them?  What I would say is, that if you are a fan of most genres- and not picky and particular- then investigate MUTT- they do not push away anyone; they make music for the masses.  With a sound made for festivals (and small, sweaty bars) the band have a ubiquitous and mobile sound- I could well see them supporting all manner of other acts.  What impresses me most is the production values: it is lo-fi and raw; live-sounding and primal- whilst having professional and assured qualities.  Sharp and rushing; instant and memorable: the band are not disposable and expendable (instead primed for some long-term regard).  Whether you are a fan of Alternative music- including ‘genre sisters’ Grunge, Hard-Rock and Dream-Pop- or something more Pop-based, you will appreciate MUTT: a group that aim to galvanise and inspire fans; rather than balkanise and divide.

Following on from Sapling’s- the E.P.’s lead-off track- comes Etching: the E.P.’s most direct and memorable offering.  The band is keen to emphasise economy and concision (every track on their E.P. is a one-worded offering).  Starting with a bold and chest-beating introduction, Ethcing gets off to the races: it is a hot and heavy combination; a swaggering mixture of U.S. Punk and Alternative sounds.  Our heroine approaches the mic. with an alluring and pin-pricking vocal: an intoxicating sound that emphasises every word.  With fingers tangled- and souls being plucked- our heroine sounds aghast and angered: there is a sense of urgency and passion to hear delivery.  “My future follows the etching on your back…” sings Spencer: enraptured in her own words, you can hear that urgency and sweat.  The boys in the band make sure (they aid their comrade ably) with a full force of noise: the performances in the early stages perfectly blend Grunge grit with melodic overtones.  Images of future tense (and soul-burning possibility) are enflamed by fuzzed-out guitars; dead-eyed bass drive- rampantly flailing percussion.  In the midst of some loose and swinging moments is plenty of focus- every note is tight and assured.  Mixing the vocal stewardship of Parallel Lines-era Blondie (Spencer has hints of Debbie Harry at her peak); MUTT change through the gears: their passion and performances are unwavering; they never lose pace and power- there is a huge emphasis on the overall sound and sensation.  With some Black Sabbath riffs; Nirvana-esque stab- bonded to Dookie/Minority Green Day- you can hear some familiar sounds- the band update these influences with their own stamp and personality.  The chorus is (perhaps the song’s) most defining stamp: a simple and memorable coda that is built for chants and chorusing- the festival crowds and mosh pit-stalking fans.  Never losing its grip and prowess- the song is a shade under 5 minutes- the band keep Etching mobile and shape-shifting: incorporating different riffs and diversions; the track never seems wayward or overlong.  Each member steps up to the plate: before the 3-minute stage, a fuzzed-out riff starts things; it mutates with bass and percussion- developing into something dangerous and savage.  Our heroine seems malevolent and witch-like: slurring and teasing, the vocals crawl and swagger like a beast (feasting for blood).  Just as you feel like the song is coming to land, the band let loose: the volume rises; the vocal intensifies- the composition hits its peak.  As Etching comes to a close, you get a sense of exhaustion: having wrung the emotions; played with such force and passion- the listener needs a chance to relax/reflect.

A sharp and potent track (from a terrific E.P.) it is great to arrive upon MUTT: a band with a great sense of confidence and authority.  Etching is a song, very much in the mould of Royal Blood: designed to rule the festival scenes; put the authenticity back into music.  With their incredible bond- and expert performances- the song benefits hugely.  The bare and raw production values allow the band to come across as live-sounding- as though you were in the studio with them- which adds to the track.  Too much polish would dent its potential; strip away its true sound- and disvalue the lyrics.  One of the things- the band may want to think about in the future- is decipherability and intelligibility (some of the words and notes get lost in the mix; some of the lyrics are a little hard to fathom).  Spencer is a terrific singer- and one of the best new voices I have heard- who has a unique sense of projection and delivery.  Making sure her words slither and spiral; tease and tense- it is great to hear such a refreshing and urgent voice.  Backing Bennett (on guitar) the duo manages to whip up a storm of strings: fusing genres and emotions, the duo is compelling throughout.  Nevitt’s bass- Sam Bicknell plays bass on Hammerheart and Silver- is direct and driving throughout: guiding the song forward, it is a compelling force.  With Murray providing pummel and (percussive anger) and you have a solid backbone: a drummer who is by no means in the background.  Some minor detractions aside, Etching is a solid track (from a terrific band) and should see them go far- I can see them coming out with future E.P.s (and albums too).

MUTT’s (self-titled debut) is an impressive start: the group has a great deal of potential and class.  Backed by assured (and original) songwriting, the band has a close and gilded bond- every song is defined by a tight and urgent performance.  Most bands- when it comes to their infant days- seem a little nervy and shaky: this is not the case with MUTT.  From the streets of Birmingham, the four-piece have eyes for bigger things: when their name is fully recognized, they have the potential to travel far and wide- across the U.K. and U.S.  With music that is both familiar and different, the group is making a great start- and showcases their full abilities and qualities.  Their E.P. - and its four tracks- covers a lot of ground: various emotions and subjects are touched-upon.  There is not a weak track there; no real need for improvement: what I would say is for the band to look at clarity- a few of the lines and verses seem a little muted/indecipherable (either overcome by the composition are too low in the mix).  It is a minor ‘quibble’ among a sea of plaudits: the group should be very proud.  It would be good to see them expand upon this E.P.: think about taking a mini-tour; working on a new music video- getting their name and image out there.  The group’s E.P. is a four-track collection perfectly arranged/programmed: each track is fairly long; they manage to drop every ounce of possibility from every song.  Saplings is a perfect opener: a vibrant and rollicking track that is kick-ass and vivacious- a brain-rattling testament of MUTT’s ideals.  Hammerheart’s foreboding basslines; its savage attack-and-feast mentality is insatiable- propelled by a vocal that is both shivering and romantic (strangely enough).  Silver sees the band teasing and tempting: a perfect closer (and one of the E.P.’s most compelling tracks).  Never overcrowded or formulaic, the group shifts their sound: tracks modulate emotions and sensations; there is never a dull moment- MUTT is a bitttccchinnn’ (sic.) proposition.  I shall conclude- as I have been rambling on a bit- by looking to their future: just what the rest of the year has in store.  I would suggest the band augment their social media output.  Although it is early days, an official website would be great: it not only gives fans a clearer glimpse into the group- it puts all their information and links into a handy source.  The group has caught the ear of reviewers and the press: it would be awesome to see more interviews and personal information- who influences the group; where they hope to go.  The music speaks volumes, yet it would be good to know (the people behind the music) - get their names out there.  What is most important (I guess) for now, is the music: whether their fledgling offering is worth seeking-out.  The short answer is: hell-yeah!  Whilst not as instantaneous and monolithic (as the likes of Royal Blood and The Ramones for instance) the band are a step above (most of their) peers- more direct and hot-bloodied than most acts out there.  Forged by their close bond- and clear intuition- the four-piece have a definite future: where they go from here is their own choice.  Their self-titled record is a confident slice of music: an E.P. that deserves wider acclaim; gain a big following.  In a time of change- for myself and other musicians- it is great to hear a band with some guts: doing things their own way.  That is something...

EVERYONE should be inspired by.

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________________________________________________________________________________

Follow MUTT:

 

Facebook:

https://www.facebook.com/mutttheband

Twitter:

https://twitter.com/MUTTtheband

 __________________________________________________________________________

Music:

https://soundcloud.com/mutttheband

Track Review: This Modern Hope- Home

TRACK REVIEW:

This Modern Hope

 

Home

9.4/10.0

Home is available at:

https://soundcloud.com/thismodernhope/home

RELEASED: April, 2015

GENRES: Indie, Alternative

COUNTRY OF ORIGIN:

U.K.

BREAKING away- when it comes to releasing solo material …

can be tricky- especially when used to the comforts of a band.  When I first started speaking with Rob Payne- one of This Modern Hope’s heroes- he was part of a stunning band: the mighty (The) Bedroom Hour.  That group- fuelled by their Elbow-Meets-The-London-Streets poetry- struck the public consciousness: their music contained anthemic uplift; stunning performances- tender emotions into the mix.  Describing them in the past tense is quite tough: they were among my favourite acts (of the last few years).  With consistently tight-knit performances- leveed to songwriting that surpassed their peers- it seemed they had an enormous future- king of the festival circuit, no less.  Unfortunately- and it is the way of music- the band called it quits: decided to part company and go off (on their own).  Whether creative differences- or the pressures of financing their own music- The Bedroom Hour are no more.  Mr. Payne now steps away from the band: This Modern Hope is his latest incarnation.  With a moniker that is appropriately apt- the music already produced is capable of uniting festival crowds (and exciting critics far and wide).  A stunning group- with a clear direction and confidence- that is sure to go a long way: there is a definitely a gap for them in (this rather busy) market.  I shall circle back to the band, but for now, there is a point to raise: the life of the new band.  I have seen (too many) acts capitulate and collapse: the strains of gaining a foothold should not be underestimated.  Some terrific acts- from The Bedroom Hour to Crystal Seagulls- have departed.  It is hard to pinpoint a reason- as to why this is happening- and look at a solution.  I guess there will always be creative differences- for bands that are together for a while.  Personalities (and differing opinions) get in the way; the members have different ideals- invariably this can lead to break-up.  Finance is another issue: the cost of funding a music career can be astronomical.  It is always heartbreaking- when looking at great bands call it quits- and something that is happening quite a lot- the best bands survive (sometimes it seems) by sheer luck.  It sounds rather cynical, yet music is a lottery: sometimes the best do not survive; some need a lot of luck.  When it comes to music- and the band market in particular- the current crop is (largely) male-led: the sounds being put out can be quite similar.  If you look at the mainstream- and the bands currently working away- and you will find similarities: few established acts really stand out clearly.  There is a hell of a lot of Indie acts; some interesting Rock acts- artists with Electro.-Pop avenues.  The music’s best and brightest (bands) are well-established and veterans- having been on the scene for quite a few years- and there are few (truly unique) new (mainstream) artists.  To my mind- and not that I am an expert- the solo artists (of the mainstream) are impressing the most- and providing the most fascinating new releases.  The artists of the underground are always more tanitlising: there seems to be greater invention and diversity; better mobility and passion.  This Modern Hope have a certain something about them: they employ shades of (established acts) whilst retaining a clear personality- their music is very much inspired by their own lives/experiences.  Having crafted a number of tracks- the band are in their infancy still- there is a lot of promise: a new album is in the works; it is only a matter of time before good things shape up.  Payne is no stranger to great reviews: as part of The Bedroom Hour, critics salivated (when it came to their songs and records).  A stunning and original guitarist, his talents resonated with me: he brings his charm, intelligence and talents to This Modern Hope- a three-worded band to rival the best of them.

Tear Me Down- one of This Modern Hope’s new works- is orchestral and sweeping: the introduction has grandeur and passion; plenty of chilling emotion.  Lush and proud, bracing and embracing, there are shades of Elbow-meets-Oasis.  With his voice showcasing parts (of Noel Gallagher’s) northern burr, Payne has hints of (the Oasis front-man’s) voice- whilst injecting plenty of his own passion and personality.  Building from a stunning- and richly symphonic- introduction, the track never lets go: tender vocals meet with southern pride- there is a love story on the rocks.  Our hero (looks back at) mistakes and errors: he is letting his heart pour out.  Yearning for his love- a sweetheart he is pining for- it seems (that she) completes him.  It is a short and sweet song (that lingers long in the imagination).  By contrast- and a track that is only five days old- FlashBack is more intimate and soft.  Washes of Folk beauty overcome (the listener); legends like Nick Drake and Neil Young (can be detected at times) - it is a song that looks at hazy memories; a romance that is blossoming.  With spring vibes- the warmth and tenderness of the finger-picking- and winter chill- the affecting and romantic lyrics- there is plenty to admire.  The song’s lyrics look at remembrance and recollection: our hero never wants (to let go of his girl); their romance is just beginning- the sighed and haunting backing vocals add shivers to the lyrics.  Pastoral acoustic guitar- tied with direct and impassioned vocals- give the track a consistent momentum- it is a track that counterbalances the force and rush of Tear Me Down.  Having a trio of tracks in the bag- and these being the embryonic steps of This Modern Hope- it is hard to compare and examine- these are the raw and early steps; the first chance to witness the band.  In terms of quality, you cannot hint at any criticisms: the tracks are both different and stunning; each has their own idea and voice- both will demand the listener to repeat (until the full majesty and force comes to the fore).  Slow-burning- yet immediate and instant- the songs are fully-rounded and professional.  Payne knows his way around a great song- having been in the forefront of the Bedroom Hour mix- and it shows here: the singer/guitarist turns in a duo of terrific efforts.  Stepping away from his band work- whilst keeping some of The Bedroom Hour’s lovelorn-cum-hopeful strength in tact- Payne has crafted something quite special.  Home sits into the fold seamlessly: different from FlashBack and Tear Me Down- it is a track that is a natural playmate- and something distinctly wonderful.

When Home begins, so do the shivers: the introduction builds and swells (much like Tear Me Down).  Walls are closing in; our man is starting to feel a strain- he has to get away from (this place).  With his voice fully in command- both aching and controlled- the initial moments are affecting and urgent.  After that graceful introduction- which is a mini-opera in itself- there is no rush and over-insistence (Payne makes sure he lets the song breath and expand naturally).  Taking his “last-ever gasp”, our hero seems disaffected and in turmoil: looking to escape from here, he wants to start again.  It is his pride- in his own words- that carries him home.  When it comes to (these initial moments), Payne is in reflective mood: his words are those everyone can relate to.  What is terrific about the track- among other things it has to be said- is the composition.   Not your usual throw-something-vague-into-the-mix-and-hope-for-the-best, Payne takes care and consideration- the notes and beats are disseminated to eek the maximum emotional pay-off.  Not overly-earnest and forceful, there is a naturalness and intuition: a man who is used to crafting top-notch tracks; someone with experience in these matters.  There are no nerves or unsure utterances: everything on display is delivered with the utmost conviction and passion.  Those Noel Gallagher comparisons made start to come in: at times Payne sounds like Gallagher (circa. What’s The Story (Morning Glory)?).  That- mixed with a bit of Elbow’s early work- and you have something that is at once familiar (in a good way) and original.  Being influenced by the northern masters- Elbow and Oasis- and employing tales of his current (being based around the outskirts of London) there is a great coming-together- the sounds of the north with the stories of the south.  Too many bands- and solo acts, in fact- come across as boring and underwhelming.  Through a song- that is not your workaday explosion of guitars and histrionics- and you get a stunning piece.  Able to draw in their listener- by the power and pride of the words; the grip and potency of the composition- and you are hooked.  The story at work- our hero and his girl- with its romance and yearning; it is something we can all relate to- a familiar tale.  The way the words are employed- and the choice of words to begin with- is original and memorable.  You can build images and possibilities; picture the scenes as they unfold- become involved with every note and line.  Kudos must go to the composition itself: a soundscape that is never-ending in its potential.  A man (and band) that looks out for the affected- and represents their struggle- Home is a song for the every-man: a tale that is designed to unite (and inspire the listener).  Backed by exceptional production values- that allow the vocal to sit up top; whilst letting the composition chance to breathe and affect- the track is crystal-clear and unfettered- as natural and open as any I have heard.  Shimmering and anthemic, here is a song for the masses: something (maybe consciously) designed for the crowds- to my mind it would be the perfect album opener (if Payne is looking at track listing; which track fits where).  If you are looking for a new song (and a great new band), you should definitely begin here.

There are a lot of Indie/Alternative acts kicking about: a lot of my reviews tend to feature quite same-same bands.  The band market itself is synonymous with (these particular genres) and it can be hard distinguishing the very best (from the distinctly average).   For every Elbow you get a lot of arse- I can tell the difference between the two.  The former- and why that act are lauded and celebrated- comes down to three things: stunning and everyman lyrics (Guy Garvey is a master of the suburban lovelorn); tremendous consistency (the band craft stunning albums without losing their stride) and flexibility- Elbow started to write ‘happier’ songs when Garvey confessed he was “too happy” to write (woe-is-me tales of disconnectedness).  Bad/average bands do not abide by (these rules): they are placid and flaccid; immobile and generic- crafting the most beige and aimless of songs.  This Modern Hope are inspired by (in their own words) “bravado, passion and carelessness”.  It is these ingredients of grit, youthfulness and uplift that make the music what it is: sounds of the public; songs that resonate with everyone; truly memorable tales.  Knowing Payne- and his talents as a songwriter- it is clear (when a debut album drops) there will be plenty of range and colour- lots of diversions and side-streets; songbooks crammed with fascinating themes and dreams.  Home is just the start of things.  In spite of the tried-and-tested title (it is one of the most common song/album titles of all-time) there is nothing ordinary at work here: the track is at once personal and comforting; it is exhilarating and fresh- like nothing I have heard lately.  Excelsior to his music and dreams: let us hope the band take off; get the recognition truly deserved.  This Modern Hope plan on dropping an album: through crowd-funding and sourcing, there will be a chance (for the public to make it a reality).  If you do see that notification- I will be sure to share it around social media- make sure you donate- and get on the ground floor of an awesome endeavor.  Home is where the heart is; FlashBack and Tear Me Down are free to investigate- make sure you head on over (to the SoundCloud page for the band).  I will leave this review- relived, I am sure many of you are- with a brief note: concerning new acts.  The promotion/publicity circuit is brutal and exhausting: getting your name recongised/augmented can be a grueling reality- something that leads to heartache and anxiety.  Even the greatest acts struggle to get acclaim and attention- finding public ears disgracefully ill-informed.  Not to dampen This Modern Hope- and this point is meant to inspire them- but it is worth sticking with- great music deserves greater exposure and acclaim.  What with there being (a huge mass of music) on the market; it can be hard discovering the best out there- wading through oceans of sounds can be a head-spinning experience.  If you are looking for some great new acts- artists that are worth repeated patronage- then This Modern Hope should be included (in your regular rotation).  The talent and originality is all there; the ambition is clearly formed- the urgency and passion all in place.  Take some time out and jump into something new: an act with clear potential and aims for the future.  When an album does arrive- whether it is this year (or next) - it will be fascinating to behold: see what This Modern Hope is all about.  With a trio of songs on the market, the initial signs are deeply impressive- plenty to suggest long-term regard.  Sit back; listen to the tunes- let your imagination swim.  Mr. Payne (and his act) is going to be around for a while- the debut album is starting to take shape.  When it is released, I am confident bigger things will arrive: festival dates, great gigs; terrific music and good times.  When it all comes down to it…

THAT will be something to look forward to.

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A Time for Change: Nobody Excluded

A Time for Change:

 

Nobody Excluded.

AS I get closer to another birthday (and an opportunity to feel bad…

about aging)- I have had time to reflect (and think ahead).  With The Single Voice (my charity idea) still pending- I am patiently waiting for Google to pen a reply; I will keep on them until they do- I have been looking around- seeing dislocation and heartache.  With an election coming up- I will be glad when it’s over so it isn't mentioned every few seconds- there is a time to affect change: elect a government that can make a difference.   In as much as that is the ‘aim’, I know the likely result: David Cameron will still be in No. 10 (when the results are announced).  I am glad (I live in a country) where I am not homeless: I have a lifestyle that is (whilst not comfortable) is certainly not desperate- I have a roof under my head.  It is great we have a national health service- a free health system for our citizens.  I wonder- with regards that last point- how long?

My main passion- when it comes to election promises/things this country needs- is our N.H.S.  If it were to be privatised, it would mean disaster: so many people would be excluded; many more would not be able to afford (to visit hospital; they would be selective about when they attend).  We have women’s rights- to a small extend- and something needs to be done: in 2015, we face (an almost Stone Age) system- where there a pay disparity; the rights of men supersede (that of women).  Mental health- and the stigma surrounding it- gets short shrift: no major party is pledging time/money into any real change (with regards this issue).  These are not just issues that matter to me: these are concerns we ALL share.  I am aware a government cannot address every concern: with a limit budget- and the country become overcrowded and overpopulated at a disturbing rate- we cannot all blame our current administration.  With the ‘average family’ growing- people selfishly shoving new life (into a small nation) with little concern for the future- you have to blame the public (to an extent).  It seems that something needs to be done: a new movement; something that can make (some small changes) - gain influence in years to come.

When Sandi Toksvig (help to found) Women’s Equality Party, I was relieved: someone (a group of women in fact) doing something great- forming a party that fights for a great cause.  In this day and age- where there is discrimination, racism and inequality at a socking rate- it is great to see (the issue of women’s inequality) addressed.  The party is in its infancy; it has the potential to affect some real change: the party wants to bring men into the fold; make it a non-exclusionary body- and get everyone working together.  Whether the party will ever gain seats in the Houses of Commons if to be seen- it seems very likely they can achieve this.  I have been thinking about something (along these lines) lately: trying to put something together; a body or movement that speaks to the minorities- addresses subjects/issues (the big parties overlook).  As I said a bit earlier: it is impossible to address every issue and problem.  There is plenty of room for (someone/something to come along) and challenge the established order: shake things up for the good; fill the gaps left by the main three parties.

Whether it will be a political party- starting small and getting people talking- or something else, I have been thinking hard: I want to start an organization that looks at mental health; aims for equality; puts money where it is needed- works at improving the plight of our musicians and talent; proffers charities and charitable organization.  Not just a niche party/body, it is a chance to answer some outcry: I know many people- who are voting and going to the polls- that want (a party or voice) that addresses THEIR concerns.  Part of the (thing with) The Single Voice, was to get charities augmented: have hundreds of causes- both local and worldwide- funded and highlighted- get people working in the community; inspiring others to go out and make a difference.  Whether it comes to fruition- and all the time I can walk and type it will- it will take some time to develop: seducing a beast like Google is going to take a lot of persuading/stalking.  In the meantime/in tandem, there is an opportunity (to unite people and get them involved): form a movement that listens to people- and formulates policies THEY suggest (not just sticking to a rigid party-formed agenda).

With Twitter and Facebook- being the oligarchs of social media- the pockets (of Zuckerberg) are getting wider; the bank balance is looking healthy.  I cannot critisise Facebook (too much) as I use it- and consider it a valuable tool and forum.  The thing is this: where is all the money (being raised through advertising) being spent?  In addition- to more pool tables being fitted at Facebook H.Q. - you have to wonder: that money is not going into improving the site.  In all the years Facebook has existed- however long it is now- there have been very minor changes (it has been redesigned and tweaked; some weird features- ‘poke’ for instance- have been removed).  When it comes to meaningful changes- harnessing a huge multi-million social media platform- there have been opportunities begging: get the young involved in politics; use the site to address social issues- add something meaningful to Facebook.  I love the fact I can post anything- usually inane shit and vague moaning- onto the site- as few people will listen to that kind of rubbish in the flesh.  I love the fact I can share music; promote musicians- and charities too- and ‘make a difference’- there is a chance to do so much more.

My mind/opinion is divided 50/50: between forming a ‘new’ social media/improved site; putting together a (minor) political party- each to be based in- and run out of- London.  The U.S. dominates the social media market- the richest and most influential people originate from here- and the most ‘charitable celebrities’ (by-and-large) are American.  This struck my mind hard: let’s get the U.K. back into the limelight (it was British man who invented the Internet (and the computer), remember.  What I want to do is create a platform that keeps the best features of Twitter/Facebook- the easy communication; simplicity of promoting/sharing important information- and take that further.  In addition to the ‘social’ side of things, the site would be divided into sections: health and charity; travel; music; film, T.V. and comedy; education etc. - it would read like a party manifesto.  With an eye-catching homepage- and making it easy to join/take part- the site aims to educate and motivate: get people in touch with the world; get them involved with charity; give the less well-of a chance to see the world- without being stuck in front of a screen.  Many musicians- and new acts coming through- feel the financial pinch: their music ambitions are turning into a nightmare; they struggle to make a living.  The site would aim to raise money- through huge sites like Google- and raiser funds for musicians; promote them effectively- in addition to making it easier to share/find great new music.  I will publish a full-length blog soon, yet an opportunity is out there: a way of creating something- almost political in nature- that not only can appeal to the Social Media Generation- it has a chance to make changes; speak to the minorities.

My idea- The Single Voice- is bubbling and boiling; my (much-storied/promised) concert will take place: these ideas take money and others.  When I can acquire the necessary funds/people- those ideas will be created.  I was wondering what people thought: would you buy into this idea?  If a site- or party indeed- were created (that made social media more relevant/much-improved) would people use it?  I am not trying to encourage people to use their laptops/P.C.s MORE- simply divide their time (between Facebook/Twitter and this site).  There are lot of different sites- that concentrate on music, politics, charity and so forth- yet none that unites them all- and puts them all under one roof.  A site/concept that would respond to feedback- and address the needs of all- it would be an online party, no less (a political movement online).

If I were to whip up a ‘manifesto’ would you vote (for me)?  Whereas the charity idea is reliant on Google- them fellas better come through- this is less dependent: it can work without their input/need.  Let me know what you think; if you have any ideas for the site- I want to get this put together (to help make some real changes).  Later today I will be starting an online petition; getting something put together- I am always looking to make change.  I know many of you are, too.  This is a chance to do something (about the issues we all face).

Remember to vote (on Thursday): let your voice be heard.  Whoever is P.M. on Thursday (hopefully not Mr. C.), there will be questions unanswered; gaps left gaping- holes that need to be filed.  When it comes down to it…

WE can help to fill them.

Q. and A.: New Musicians in 2015

Q. and A.:

New Musicians in 2015.

 _______________________________________________________________________________

As we head through 2015; I have been catching up (with some of my favourite music acts): keen to probe and uncover, I ask them about their influences and ambitions- and what music means to them...

_______________________________________________________________________________

The Questions…

1. What have been the highlights of your music career? Which memories stick out to you?
2. If you had to choose your favourite album and song what would they be (and why?)
3. If you could choose your major influences- with regards past music and present- who would you select?
4. You have had a lot of people supporting you- fans from around the world (willing you on). What would you say to them?
5. What do the coming months hold for you? What plans are ahead?
6. Finally, and in a sentence: What does music mean to you? How important is it in your life?

The Acts…

The Updraft Imperative

1. Josh: Personally, I was in Nepal in 2011 and performed as part of an outdoor concert to about 8-10,000 local Nepali people - not knowing what to make of it all. It was pretty awesome! As part of The Updraft Imperative, the last year has been a constant buzz. Really not knowing from one day to the next what exciting news might pop up. A couple of specifics… Just after Di started do some promotion work for us, we were reviewed by a guy we didn’t know (you might know him) and he gave us a great review. Something none of us really expected. I felt like that gave me confirmation that we were on the right track with our music. The other was getting to no.1 on the Sunset Island Music world unsigned band chart. I don’t even know if that’s a big deal or not, but it certainly felt like it! Murray: One of the major highlights would be recording our 1st studio album! It was awesome to take 10 songs, pull them apart, record & layer and do everything else to them, and then listen and share the finished product with the world!! Another was when a group of friends I was in a band with toured around Australia over the course of 2 weeks! Some of the venues we played at were amazing, like an old WWII hanger in the middle of no-where, and in someone's underground house in an outback mining town. Plenty of others but those 'stick out'. Pete: Probably not one single moment that sticks out. Recording for the first time was a memorable experience - as is the international attention our band is getting.

2. Josh: I think I have to say a self-titled album from ‘Downhere’. A somewhat well known Christian band. I wouldn’t say it was because of music genius. Although I think I appreciate their creativity and great voices. But more than that, I was listening to that album in a time of my life that was somewhat tumultuous, and so, it’s harbours memories of comfort. One song off that album called ‘Calmer of the Storm’ was/is a reminder to me that God is in control. Murray: MAN!!!! How hard's this question....ummmmm 'White Rice' by Magdalen off the album 'Revolutions'. It was my first foray into to the world of heavy groove/funk, and with Ken Tamplin shredding his way all over the place, it is my go-to song if I want to get amped!! Album? Well I would have to say 'Grace' by Jeff Buckley. An open, honest, raw yet intensely emotional album. The dynamics across the album are ridiculous, from his haunting gothic rework of an Elizabethan poem, to a no-holes-bared drop-D scream-fest!! Of course that's to go with the hundreds of my other 'favourites'. Pete: This is a hard one! Currently I'll say my favourite album is Asgeir's "In the silence" because just about every song is a winner. If I had to pick one, it would probably be "King and Cross" though.

3. Josh: Here’s a few….Abba, Petra, Queen, Rob Thomas, Josh Groban, Jason Mraz, Downhere, Jeff Buckley. Murray: Early would be Cat Stevens, Bread, America, Michael Card, Petra, Russ Taff (appearing also with The Imperials), and Barry Manilow (if I were to be completely honest). Later would come the likes of Led Zeppelin, Bach, Red Hot Chilli Peppers, Jeff Buckley, Jeff Beck, RATM. Pete: Argh! Right... RATM, Chilli Peppers, P.O.D., Daft punk, Asgeir, DC Talk... the list goes on!

4. One massive, sincere and heartfelt THANK YOU! Thanks for your best wishes, your messages, your interactions, your support for our music and album, and belief in what we are doing as band members and artists. We spend time constructing songs so that others may hear and enjoy them, and when that happens, it's a truly fulfilling and humbling experience. We are so fortunate to have some great people that support us and our music. We would also say don't be backwards in coming forwards. We know we only know a small percentage of you all, so we would love you to make yourself known. Send us a message and engage with us and we will do our best to be equally engaging with you!

5. Coming months… Murray, his wife and 4 kids, are currently relocating to a new property. It's on a big spread of land, and it also has a great space for him to set his studio up in again. Some song writing there with Pete and Josh is on the cards , as well as support band for a tour that helps fight human trafficking, a few other gigs and recording new music. We're all very much looking forward to mashing some tunes out in the studio again!! (and as everyone else forgot to mention, I'll point out that their 'hardworking, dedicated, loyal' promo manager is travelling half way round the world to see them next year and promote a 'new recording'! - Di x
6. Josh: Music is a part of life and I love so many aspects of it. It’s an encouragement, a release, a way to the soul, a joy, an excuse to dance, and a way of expression. What a gift! Murray: Music, I believe, is a gift from God. As I am able (to the best of my ability) to write songs I know it's especially important that others hear these songs and that their live's would be the better for hearing!! Pete: Music is a form of expression - a language that communicates the messages of the heart, regardless of your native tongue.

Follow The Updraft Imperative:

Official:

http://www.theupdraftimperative.com/

Facebook:

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

Twitter:

https://twitter.com/TUI_Official

[youtube https://www.youtube.com/watch?v=9_sT5vsePLI&w=560&h=315]

Allusondrugs

1. There's been a few, mostly some of the awesome gigs and tours we've been able to do. Over past year we've had the opportunity to play at Leeds and Reading Festival and do tours with Enter Shikari, Marmozets and Lonely The Brave. It's all very awesome.

2. Faaaaar too many to choose from. You should definitely check out All The Best Tapes' album RIGHT NOW! I don't want to tell you what to do, but you're doing yourself a massive injustice if you don't listen to some All The Best Tapes before you float away into the great abyss. Here is a great track from the album: https://www.youtube.com/watch?v=ABQz3k1au64 Here is the album: https://fxdrecords.bandcamp.com/album/all-the-best-tapes Here is their Facebook page: https://www.facebook.com/allthebesttapes

GO!!!

3. Again, far too much music to mention. We're all Deftones fans...

4. Be nice to each other so we can carry on loving you.

5. Lot's of gigs! This year we get to play some ace festivals like Great Escape, Download, Long Division, NASS and Y-Not. There's going to be some new music coming out soon too, WATCH THIS SPACE!

6. Music is the glue that binds us, Confucius once said, "If one should desire to know whether a kingdom is well-governed, if its morals are good or bad, the quality of its music will furnish the answer"

 Follow Allusondrugs:

Official:

http://www.allusondrugs.com/

Facebook:

https://www.facebook.com/Allusondrugs?fref=ts&ref=br_tf

Twitter:

https://twitter.com/allusondrugs

[youtube https://www.youtube.com/watch?v=fSJ7Zvo54_U&w=560&h=315]

Nina Schofield

 

1. So many fun things stick out! I feel lucky to say that – playing at packed festivals, releasing my last single ‘Over it Under it’ and getting such a great response on the radio and online. Having the song I wrote with Aurosonic (“Lift You Up”) played by Armin Van Buuren on his radio show…Being nominated for Best Female Vocal at The HMMA’s and Best Female Artist at the BOB Awards and so many other things. And I hope the best is yet to come..

2. My favourite album is without a doubt A Rush of Blood to The Head by Coldplay – I’m going to make it easy on myself and choose my favourite song from that album too which is God Put A Smile Upon My Face. Every song on that album takes me somewhere – I think that’s the sign of amazing music – I don’t even have to listen to the lyrics and I can feel the energy and passion behind the music. It’s inspiring!

3. Coldplay (!) Imogen Heap Michael Jackson Ocean Lab Taylor Swift Ellie Goulding There’s so many more, but we’d be here forever!

4. Thank you, and bear with me! I’m working hard behind the scenes to get everything as perfect as it can be for my next release and I’m grateful for everyone sticking with me so far. I can’t wait to get new music to everyone! I appreciate every tweet, message, instagram like…everything I get is noticed and appreciated. I hope my fans can see me as a friend too!

5.  The coming months are full of studio sessions for my own releases as well as for some records I’m featuring on which I’m really excited about! I’m hard at work on some other artists’ projects too which is great fun. I’m in the middle of planning my next trip out to L.A. and organising everything for my next release. I’ll be playing a free show at The Bedford in London on 2nd June for anyone who fancies hearing a sneak peek of my new tunes before their release!

6. Music is my motivation, my passion and my future; it connects everything I love in a special way

Follow Nina Schofield:

Official:

http://www.ninaschofield.com/

Facebook:

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

Twitter:

https://twitter.com/nina_schofield

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

Los & The Deadlines

1. It's always hard to pick specific highlights, but I'd have to say going into the studio to record is always a very exciting time. Bringing in the songs you've worked at for so long, to hear them slowly come together track by track in the studio is an amazing feeling. Another highlight (more of a funny one) would be when we played a set at The Islington.. our song 'Standing In The Bank' is usually the ending of our set, a big wall of noise and sound where we all go crazy. After the song finished the sound engineer ran on the stage and frantically started checking the mics and equipment on stage, upon realising nothing was broken by our antics he turned around and said "wow.. you guys trashed the stage in the most professional way!".
2. At this very moment I would say Led Zeppelin IV - When The Levee Breaks (although that answer might be different tomorrow).. It's got it all, massive drums, hypnotic larger-than-life guitar riffs, a tasty harp-solo.. from the moment Bonham starts the intro it just commands your attention.
3. Queens of the Stone Age, Primus, Battles, The Mars Volta, De Staat, Soundgarden, Frank Zappa and many, many more..
4. Avoiding the expected soppy thank-yous.. we obviously are grateful for every single person that has supported us in any shape or form over the years.. the main thing we'd say is: we hope to play a show near you as soon as possible!
5. The coming months will be mainly centered around the release of the new 'Perfect Holiday' E.P. and promoting the hell out of it so as many people as possible get to hear it. Besides that the usual band-life continues, so more shows, much more writing and a healthy dose of band-banter.
6. Music is the noise that connects us all.

Follow Los & The Deadlines:

Official:

http://www.losandthedeadlines.com/

Facebook:

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

Twitter:

https://twitter.com/losdeadlines

[youtube https://www.youtube.com/watch?v=VpuyKBL4Z6k&w=560&h=315]

Universal Thee

1. (Robin):The highlight so far has been the recent recording session that we've done. I really feel we've stepped it up to a whole new level. Last year I really enjoyed playing on the main stage at the audio soup festival. It's the loudest I've ever played through an amp and it was exciting to play on a huge stage.

2. My favorite album changes all the time. I am currently listening to a guided by voices album I created from all there mini albums, E.P.s (and B-Sides) during their first classic line up era. Bossanova by the Pixies. I hadn't listened to this for ages but have recently gone back to it. I'll always be a big Beatles and Nirvana fan as that's what I spent my youth listening too. Really love Big Star. Favorite song ever? Probably I See A Darkness by Bonnie Prince Billy

3.Biggest influences for me: Pixies, Big Star, Weezer; My Bloody Valentine, The Nerves, The Byrds; Gram Parsons, Teenage Fanclub, Jesus Lizard; early Metallica/Megadeth, Flaming Lips, Blur, Everly Brothers- Interpol's first album (Wire); early Dinosaur Jr,; Part Chimp, Mink Stoles.  Recently I like First Aid Kit. I liked person Pitch by Panda Bear and the first couple of Perfume Genius albums- particularly Mr. Peterson

4. I would like to say thanks to all our fans around the world. Your support is really appreciated and I hope you like the new album when it comes out.

5. We've recorded about half of the next album so will spend the next few months writing and recording the second half. We are playing at a few festivals this summer.

6. Music means everything to me and is mostly what I think about in my head. I love playing and writing. Highlight so far has been the recent recording session that we've done. I really feel we've stepped it up to a whole new level. Last year I really enjoyed playing on the main stage at the audio soup festival. It's the loudest I've ever played through an amp. and it was exciting to play on a huge stage.

Follow Universal Thee:

Facebook:

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

Twitter:

https://twitter.com/universalthee

SoundCloud:

https://soundcloud.com/universal-thee

[youtube https://www.youtube.com/watch?v=sjUzaqV8iyw&w=560&h=315]

Jen Armstrong

1. Winning the Make It Break It Award at LIPA when I was 16. That kind of kicked it all off for me! It was a great start to my career. I also loved opening for Nerina Pallot at Shepherds Bush Empire, and for Billy Ocean and The Proclaimers at a local festival.

2. I guess it has to be Ben Folds, Rocking The Suburbs. I could listen to it all day, every day. He’s one of my favourite, if not my favourite, artists. There are a handful of other albums and artists that mean a great deal to me too though.. picking one is too hard! Same goes with the song. I hold certain songs very close to my heart for different reasons. Love Song by Sara Bareilles, such a strong solid piano driven pop song that, again, I could listen to over and over and over. Video Killed The Radio Star- not only an amazing pop song, but so iconic and has itself lodged firmly as an important piece of pop music culture. Apres Un Reve, Faure. There are just too many. I could give you 100 of ‘my favourite songs that I couldn’t live without.’

3. Classical music. Various composers. I grew up with it, I played it, I listened to it, it was my life from 7-18 years old. It had a tremendous impact on who I am today as a musician, performer and writer. Hanson were the band who got me and my sister inspired to write music ourselves and form our own sibling band! I played the drums! Because of Hanson! And then bands like Savage Garden, Muse, Orson, The Feeling, Ben Folds Five.. massively influential bands for me as a teenager. Now? I’ll be honest, I need to expand my musical library. But Ben Folds, Gavin Degraw, Sara Bareilles.. massive inspirations. And people like Adele, Jessie J, Ed Sheeran - English folk putting an almighty stamp on the world with their music, wow I absolutely aspire to, and am inspired by that.

4. Thank you for believing in me. Every year that passes, I find myself faltering and questioning myself a little more. Without you, I would have given up a long time ago.

5. I’m in the States until August. Trying to ‘make it.’ My future plans all ride on the next 3 months.

6. I’m in a strange place right now. Music is my life. Always has been. But taking something so beautiful and forcing it in to a means of making money and creating fame, absolutely tarnishes the magic. Part of me wishes I had never embarked on this journey, and I had kept music as something special that I could run to when the world was closing in on me. It was my recess. It was my escape. It made me feel better. More and more it becomes the reason I can’t sleep at night. The reason I now question my life and my choices. I’m not blaming music, of course, music is wonderful. And it is so sad that I may have turned the music, the magic, in to a catalyst toward my self destruction.

Follow Jen Armstrong:

Official:

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

Facebook:

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

Twitter:

https://twitter.com/jamusicuk

[youtube https://www.youtube.com/watch?v=mMN5nPjslpw&w=560&h=315]

Ellene Masri

1. Memories is what I hope to give people. I’m looking ahead for greater things and constantly trying to improve myself!

2. Rapture (Anita Baker) produced by Dean Gant (A.k.A. Sir Gant). The arrangements are wonderful and the musicians are some of my all-time favorite. (The late) Ricky Lawson on drums, Freddie Washington on bass, Paulinho Da Costa on percussion and of course Sir. Gant on keys. Song:  The Secret Life of Plants (Stevie Wonder)

3. Bob Marley, Stevie Wonder, Richard Bona, George Benson, the stunning India Arie... there are so many (artists I love).

4. Thank You. I Love You!
5. We shot a live video performance last Sunday in Los Angeles with Sir. Gant as the musical director, the Legendary Bennie Maupin on Saxophone, the coolest drummer Michael White; James Manning on Bass, David Leach on percussion (and myself on vocals and guitar). Its editing is in process. We have upcoming shows in Europe and the Middle East.

6. Music is my way of expression. Being able to express yourself as thoroughly as possible is a necessity in life

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/watch?v=OR_VFMGSlt0&w=420&h=315]

Track Review: The Bandicoots- Mind Your Manors

TRACK REVIEW:

The Bandicoots

 

Mind Your Manors

9.2/10.0

 

Mind Your Manors is available at:

https://soundcloud.com/thebandicoots/mind-your-manors/

RELEASED: 25^th March, 2015

GENRES: Rock

COUNTRY OF ORIGIN:

Canada

 

The E.P. This Is Why We Can’t Have Nice Things is available at:

https://soundcloud.com/thebandicoots/sets/this-is-why-we-cant-have-nice

I’M going to embrace my inner naivety; accept that …

I am just ‘well known’ among the streets of Hamilton, Ontario.  Every other day, I receive a new email: usually from an Ontarian band; proffering the same sort of music- I wonder why this is.  Not wanting to think the worse- that a huge record label is just sending (slightly edited) spam emails to me- I think it is just ‘luck’- maybe a previous review (being published by a fellow Canadian) has caught the imagination.  Regardless, this will be the last Ontario/Canadian review (for a long time): there comes a time when you have to employ some rationale- concentrate on homegrown bands; focus on diversity and difference.  Canadian music has always struck my ear- with its energy and sense of innovation- yet there has been some stagnation: the masses (that get in touch from Ontario) have started to clump and blend (into one).  Being slightly world-weary, I was surprised to come across The Bandicoots: a band that has that distinct edge; are a cut above the similar-sounding conveyor belts (of bands I have been receiving mail from).  As I train my mind back to London- and help some of my favourite U.K. acts get some recognition- I can at least (bid Canada farewell) with a lighter heart- relieved there is a positive (end) note.  Hamilton is a gorgeous city: an area with ethnic diversity (a lot of English live in this locality); wonderful cityscapes; stunning views- a wonderfully thriving economy.  It seems the citizens are not police-orientated- the amount of police-levelled hate crimes is pretty high- but you cannot fault the place: it is one of the most evocative and stunning areas of Canada (check out: http://en.wikipedia.org/wiki/Hamilton,_Ontario).  The likes of Caribou (and Nicole Appleton) call Hamilton home:  the port city is a safe haven for many musicians.  In terms of new music, there is activity a-plenty: many of Canada’s finest new acts are plying their trade in Hamilton.  The Bandicoots are one of the best (the city) has to offer: a hungry act who are aiming big.  With their latest E.P. - This Is Why We Can’t Have Nice Things- being dropped; it seems they are on the rise: early reviews have been glowing and positive.  Before I come back to the band (and Hamilton indeed) it seems pertinent to raise one issue: the plight of new musicians in this country (the U.K.).  I know a lot of great musicians- across twitter and Facebook- who are in real trouble: their finances are dwindling; their fate is waning.  I feel real sympathy and heartache: so many great acts are struggling; it is one of the saddest parts of music.  This country is producing a heap of new musicians: by the week, we are seeing clans of new bands/acts/artists- they are cramming into a small isle.  For the ‘established’ acts, what are they to do?  Many musicians (that I know) are finding life difficult: trying to get their voices heard is a real struggle- it is a sad sign of the times.  I hope something can be done: finding a way of gifting every musician an equal voice.  Maybe it is overly-optimistic; it seems fair the best should get (their fair) shout: have their music proffered and promoted (and witnessed by as many people as possible).  I’m not too sure with regards Canada: whether musicians there have that same struggle; have the same issues?  Canada has a population of (fewer than) 36 million- some 27 million fewer than the U.K.  The country (Canada) has a 50/50 split- of men and women- with their nation, wide and wonderful- a lot of open space and room.  It seems things are more ‘cramped’ here: the big cities and towns are compacted and suffocated.  Aside from moving to Canada- a drastic ‘Plan B’ potential- what are we to do?  It seems Canadian music is ripe and receptive: the new acts coming out are less stressed and angst-ridden; have a slightly ‘easier’ time of things.  That said; the possibilities (and opportunities) for Canadian acts are limited- compared with here in the U.K.  U.S. acts have the routes and contacts- and the major music cities- yet Canada seems self-sufficient: the musicians have a harder task than their U.S. counterparts.  Aside from the ‘tasks’ that face Canadian musicians, they seem- and Hamilton residents at least- to be less overwhelmed: their music is freer and more effortless.  The Bandicoots are showcasing this sense of alacrity: their debut E.P. is swimming in energy and youthfulness; acres of passion and swagger- that is sure to see them well-received here.

When it comes to (The Bandicoots’ current disc) it is worth looking back: to see how far they have come; how they have developed.  Their last release- appearing in December of last year- was No Turn on Red: one of (the quartet) of tracks from the E.P.  Swooning and shimmering in the introduction, the song is focused and fuzzy- the vocal is passionate and tempered.  One of the most direct tracks (from the E.P.), the boys are in-step: the performance is tight and electric.  Graceful and kicking; biting and honest, the song looks at leaving town: getting away and trying to find a way out.  A romantic suicide (almost), the song is a farewell: the hero is bidding goodbye; trying to get away from things.  Being the first foray- for the band and their music- the E.P. is purest (testament of what they are capable of).  Just After Dark- with its bounce and youthful vigour- is a gut-punch.  You cannot help but think of Arctic Monkeys: the band’s E.P. has the sound of early-career ‘Monkeys.  Just After Dark shares skin with Balaclava and D is for Dangerous: that same stop-start energy; the spy-theme-cum-shout-out sound- the swing and swagger arrives by the bucket load.  The vocal passion- the band’s committed and enflamed parabond- and delivery cannot be faulted- signs of Favourite Worst Nightmare’s (best moments) come to the fore. That is not to say anything negative: the band is not replicons of the Sheffield legends.  The E.P. is chocked full of personality and uniqueness: the Canadians have taken their own lives- the street scenes and romantic woes- and funneled it into distinct and personal songs.  Employing a pinch- of Turner-esque saltiness and Yorkshire pepperiness- and you get The Bandicoots: an act with their very own sound.  It is great to hear Arctic Monkeys come through in any form: for a while, most new U.K. bands were indebted to them.  As of late, that ‘trend’ has subsided: there is a tendency to think wider (and err away from their doors).  Being (that this is) a first effort- from the Canadian newbies- This Is Why We Can’t Have Nice Things is a stunning statement.  Four tracks of tight, focused- and variably emotional- numbers; it’s an E.P. sure to sell well over here- the sound is just what we favour over here.  The question is- when their sophomore effort arrives- how do they top/alter at all?  Do they stick with the same sound; widen their scope- or bring in different influences?  The boys are pretty unequivocal; their flair and passion is unwavering: their songs are packed with determination and nuance- qualities that will stand them in good stead.

Starting with a sensual slink; a call-and-response hard punch: Mind Your Manors begins its life with plenty of aim and potential.  Sparing no time (for wasted notes and loose ambitions), the tight (and springing) introduction is gripping- enough to get the mind working.  When the vocals come in, some intriguing words are brought in.  With a fascinating opening verse- “Those daydreaming eyes could likely see you to the moon/sending you packing for the stars on a hot air balloon/For days/Stuck in a haze/You ever see a place like this?”- you start to conspire and imagine.  With its poetic-ness and imagery, the band does not go for the base and asinine- they ensure their earliest words are striking and memorable. Allowing his voice to dream and drift, out hero has a lot on his mind: the heroine of his focus has a ‘shady’ day-time life.  “Replace your midnight pining for a bill in her thong” leaves little to the imagination- you can almost smell the sweat and stains of the strip club scene.  That sense of release and escape- the subject yearns for a hide-away beyond the reach “of the (tip) jar”- is a trademark for The Bandicoots- the E.P. has plenty of escape-and-run ambitions; that need to get to a better life- run from that which holds you back (and punishes the soul).  With his comrades providing ample support, Mind Your Manors hits for the grit- the hero does not (want to stay here) “any more than you.”  With those stories in your mind- the pole-straddling muse tearing up and dying inside- you get caught up in the drama and tableau.  The track has a merry streak- whether ironic or genuine- that gives it energy and panache: a combination of ‘60s Pop and Arctic Monkeys cheek lodges the melody in your mind.  Distracting by the composition- that is both subtle and powerful- you drag your attention to the forefront: the tale continues; the players progress.  Building off the strip-club-and-its-desperately-naïve-clientele parable, you can see the images all too clearly- the way (the patrons) think they have a shot; the dancers have anything for them (bar dreams of their wallets and credit cards).  With ‘Miss. Mary’ (the dancer) and ‘Maya’ (having “taken a stab”) the protagonists are making their mark: the boys have to hit up the cash machine; the bouncers are getting rough- it seems things have gotten out of hand.  You cannot (but admire) the wordplay- the pen is as mighty as the Arctic sword- which tumbles and spirals.  Both literary- with wit and pathos- it is detailed and scenic- in few words, the band manages to project vivid scenes and wonderful byplay.  The song’s ‘customers’- whether the band themselves (based on real events?) or fictional wannabes- have drama ahead: they have scared up money (to pay the tab); are preparing to tighten their laces (in order to outrun the muscle).  With its heart rooted towards Arctic-esque avenues, the lads never try to ape or copycat: their words and themes were never explored by Turner’s crew- they take a common situation and give it a fresh spin.  Concocting spiraling notes- mood changes and subtle key changes- the band never loses momentum; the song constantly pines and prods- taking your mind somewhere else.  Imbued with some terrific moments- the 2:30 mark gives way to a beautiful harmony; the most fervent and ecstatic point- the composition is glistening and delirious- a cornucopia of styles, swagger; beauty and stomp.  When the final moments come into view- the outro. has a cheeky glint and wink in its smile- you cannot help but reflect: shoot a smile and hit ‘repeat.’

The entire band puts in a hard shift: the performance and commitment is fantastic and impressive.  The vocals throughout are superb: that mixture of northern drawl (and Canadian accent) gives the lyrics real intent and meaning- few other singers would add such weight and conviction.  The words are (perhaps the most) impressive thing on display: a song sheet with plenty of quotable lines; ounces of memorability and vivacity- poetry and drama.  You cannot fault anything in display: Mind Your Manors is a song that is no fluke- the band produce three like-minded gems (into their E.P. repertoire).  Having listened to their new single- a few times now- I am deeply impressed: the song reveals new tricks/magic with every spin.  It is that kind of nuance/strength that will see the band inspire- hopefully they can bring their music to Britain (a nation awaits, sirs).

As the Ontario band embark on tour dates- taking their debut E.P. on the road- you have to tip your hat: the lads have produced music designed to unify the masses; get the festival crowds moving.  Whether a cynical ploy, or a natural development, and it leaves them with this conundrum: do they stay in Canada or move to the U.S. /U.K.?  With a sound British-influenced (in small parts) they have a definite future here: many crowds and towns would welcome them in.  This Is Why We Can’t Have Nice Things has cynicism and sarcasm; passion and openness- colour and black-and-white shades.  The band is committed and tight throughout: each song is defined by a clear and concise performance.  Allowing ragged and raucous edges (to come in), the band impress throughout.  Aided by fantastic production values- that allows vocal clarity and a raw sound to reign- and you have a triumphant effort.  Too few bands (especially in this country) have their minds set to the future: I am hearing too much anxiety and fear come out (in the sounds of the new-born musicians).  Whether it is a Canadian thing- and there is a more open and less tense market there- I am not sure.  It is a sign of the times I guess- that every candidate has a hard task ahead- that stress and nerves will take a hold: if you can think positively; have ambitious plans in your locker- this reflects in the music.  The Bandicoots are a group with no signs of quitting; no quarter is being levelled towards demure and fear- the band is looking forward and dead ahead.  Make sure you check out their E.P. - and new single- and take time to investigate a band that means business: a group we may be seeing in the U.K. in the near-future.  I will finish with (my earlier point coming back around): wonder why Hamilton, Ontario is a big player; comes to my attention (on a tri-weekly basis).  God knows why I am popular there- and whether any other areas of Canada will contact me- but it is ‘interesting’ at the very least.  If the music is varied and high quality then fair play: I am finding too much sameness come out here.  From such a beautiful (and varied) city, you would expect a bit more variegation and diversity: I hope bands here start to widen their aim and ambitions.  The Bandicoots have plenty of potential about them:  Mind Your Manors- with its clever wordplay- is a fine example (of what the group is about).  With music’s issues- compartmentalisation and wide mass of musicians- it is hard (for new acts) to make their mark- harder still to resonate and remain.  I hope The Bandicoots keep strong; bring in some new sounds (for their next release) - as much as anything, come play their music in Europe.  With so many (of this nation’s) finest starting to feel the pinch: it is essential we are given some fresh impetus.   I guess it is flattering- that so many Canadian acts are coming to my attention- and it is encouraging to see such energy here- as I step away from the country for a number of weeks.  When it comes down to it (and having many Hamilton residents coming to you), you could say this:

THERE are worse things in life.

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Follow The Bandicoots:

Official:

http://www.thebandicootsmusic.com/

Facebook:

https://www.facebook.com/TheBandicootsMusic

Twitter:

https://twitter.com/TheeBandicoots

SoundCloud:

https://soundcloud.com/thebandicoots

BandCamp:

http://thebandicoots.bandcamp.com/

Instagram:

https://instagram.com/the.bandicoots/

___________________________________________________________________________

Music:

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

 

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCeb0c6Ey7BF-Kg8qGW_VfIQ

Track Review: Gelato- Room Service

TRACK REVIEW:

Gelato

 

Room Service

9.3/10.0

Room Service is available at:

https://www.youtube.com/watch?v=6elaGtN0A-U

RELEASED: 9^th March, 2015

GENRES: Alternative, Heavy Metal

COUNTRY OF ORIGIN:

U.K.

Gelato’s self-titled E.P. is available via:

http://gelatomusic.bandcamp.com/releases

Released: 10 March 2015

Drew - vocals & guitar

Phil - bass

Ben - drums

Recorded & mixed by: Tobin Jones at The Park Studios, London UK

Mastered by: Phil Joannides

IT has come to my attention the music industry is quite a…

cruel (and unflinching thing).  Actually, I sort of guessed that: over the last few weeks, I have noticed some great acts ‘call it time’- and close up shop forever.  A couple of my favourite (London) acts have disbanded; gone their separate ways- irked by the strains of music and its demands.   It is sad to see such a thing: a tremendous act have to quit; overcome by the pressures they face.  With so many acts coming through, you are going in (with no idea of where you will end up) - quite how things will work out.  I guess this is true of any industry/job: with music, there seems to be an edge of cruelty- an unpredictability that is unfair and harsh.  I have seen some fantastic acts dissolve; others who stress over their art- unsure whether they are doing the right thing.  A lot of the problem stems from money: not having enough to fund an entire career.  The cost of recording (even a single song) can be huge; parlaying that into an E.P. (more still) - it is asking huge demands of the musician.  Of course, creative difference can get in the way: it seems finance is the major bugaboo- and something that needs to be addressed.  Whether something can be done (and financing arranged for an act) is to be see; someone needs to take action- too much good music is dying needlessly.  The work is the main thing: being proud of what you are doing.  Whether there is a common solution (to avoid acts having to split/strain) is to be seen; for those playing (and starting up) such issues have to be put aside- and concentrate on the act of music-making.  When confidence is high (right from the start) that comes out: the public can embrace music (that is stunning).  Gelato have that confidence for sure: an act with a clear eye on the future.  Few bands possess quite the same sound, direction and urgency: their mix of quality and nuance is sure to see them be around (for years to come).  Before I continue, let me introduce you (to the band):

“The head-hitting, high-energy pace of GELATO brings a solid rock sound with pop undertones, reminiscent of the Foo's, Queens, and more.  After months of throat-shredding, string-snapping & stick-shedding, here is their debut EP, recorded with Tobin Jones (Bo Ningen, Twilight Sad, Cold Specks) and spearheaded by first single Room Service.  Join the party!”

There is nothing fake or false when it comes to Gelato: here is an act that is genuine; unconcerned with following anyone else.  Being familiar with groups like Los & The Deadlines and Allusondrugs, I know how good this country is (at producing hard-hitting bands with a real kick).  Throw in the likes of Bi:Lingual and there is a solid core coming through: acts that fuse genres into a boiling pot of noise, melody, wit, anger (and other varied, contrasting colours).  The boys have just arrived, yet the signs are all good: their debut E.P. is a trio of stunning slices; songs that bounce around the brain- a collection of rock-solid, soul-shaking tracks.  A lot of new acts coming out tend to play softer (that is to say less vivacious) sounds; concentrate on introspection and self-examination: if you come into a packed marketplace (with so many like-minded competitors) it is hard to distinguish and stand apart.  When things are shaked up; the volume is turned up- that is when something terrific occurs.  Gelato are already setting tongues wagging: their music is connecting with people; new audiences are switching onto their potential.  It is still early; it would be remiss to charge ahead: from what has come out, the guys have a lot of options- and chances to play some rather high-profile venues/dates.

If you have (not as yet) discovered the band, then there are two starting points: Foo Fighters and Queens of the Stone Age.  Both Dave Grohl—featured acts (Grohl was present during Queens’ Songs for the Deaf and Like Clockwise… albums) have made their mark- the lads have an essence of each.  To my mind, there is more Queens’ than Foo’- the vocals have that air of Josh Homme at his best (his braggadocio-cum-cool swing).  When Queens of the Stone Age launched Like Clockwise… I was astonished: I did not think the band would produce (something as wonderful) given what came before (Era Vulgaris).  When Like Clockwise… came out, my faith was renewed: the Californian boys were back at their best: an album solid with anthems and classics; a mixture of their glorious past (and renewed present).  Gelato have the force and prowess of Foo Fighters’ debut (their self-titled effort) - Punk elements came through; passionate performances abound; lunging urgency grip the imagination.  Don’t get caught up with other acts (when trying to assess Gelato): the band are their own beats; they simply borrow the odd bit (here and there).

Grumbling and moody vibes stir up Room Service: something dark is bubbling; the burbling bass notes kick the dust about- something dangerous is looking on.  Keeping the mood intense and unknowing the intro. begins to heighten and expand: the boys kick up the gears and expand their intentions- spiraling guitar fuses with hissing percussion; leading to a dizzying combination of sounds.  Keeping things focused and intense, Gelato tie in some wordlessness: a low-down hum reverberates; the chorus of sighs melts into the fray- the building blocks have been laid.  Just as you feel some explosion (is going to erupt) the vocal comes in: at first it is quite controlled and moody.  Emphasis is placed more on sound and feel- than clarity and decipherability- the grumble and sneer of the vocal means some of the lyrics are hard to pick up on.  This is no criticism or slight: the passion and intention of the song overcomes any slight minor.  Our front-man is missing out; his mind is casting out: his thoughts are spinning; his tongue lacerates and conspires- you start to build up your own interpretations.  Using the hotel/room service motif, one imagines something half-lit and flickering: a girl (or sweetheart) is on his mind- who he wants to keep by the phone- as the night draws in.  At its core- the song itself- has another interpretive possibility: a lonesome (or band-helmed) hero waiting for room service- impatiently treading the floor.  Whatever the listener imagines- and there is an open-ended quality to the lyrics- images do come flooding- ideas percolate thick and fast.  In the early stages, Room Service broods and prods: the low notes and insistent vocal has quite an overwhelming quality.  In spite of there being plenty of melodic nuance- the cooed backing vocals add relief and elliptical promise- there is a foreboding and harsh grip- something that adds to the track (and gets the listener on their toes).  Taking a little of Nevermind (Nirvana) with Foo Fighters’ early moments; pulsing in some Queens’ magic (especially their Songs for the Deaf-era work) and you get something quite special.  Room Service has plenty of punch and explosion: in the initial foray, these threats are kept mooted and demurred.  The boys have a wicked gleam in their eye; a seamless knack of mixing their talents together- incorporating elements of familiar sounds.  It is clear (listening to the lead do his thing) there is frustration and “missing out”- his mind is not calmed or settled; anxiety and anger are showing their skins.  Past the two-thirds mark, we get that sense of anger (come out to play) - the song expands and fizzes into life- those early introversions are dissipated; replaced with something vitriolic.  Never savage or reckless, the boys keep everything in order: ensure the song does not get lost in a swap of random notes- endless screaming and aimless pondering.  Catchy and addictive, you cannot help get lost in things: the chorus itself is an insatiable little thing (that begs for some sing-along chorusing).  Whether looking at a nervy hotel-based scene- or something disconnected and concerned with broken love- the band gets inside your head: each line seems to resonate and reverberate.  By the closing stages, the hypnotic swirl (grumbling vocals in the back; lighter vocals at the front- insatiable vibes around them) takes its toll- the group crank things to the max.  Just as you want a bit more, the song comes to its close: everything that has come before (still echoes in the head); the boys leave things with an evil glint.

You are hard-pressed to find detractions; have any criticisms at all- perhaps decipherability is an issue.  Some of the words are hard to understand- perhaps a lyrics sheet would be helpful- and get passed by: not a big issue when it comes to Room Service.  The vocals shine throughout: never overwrought and pretentious, there is genuine passion and personality- plenty of focus and force; light and optimism.  Drew’s vocal made have elements of Homme (and Grohl) without sounding sound-alike and forced- plenty of individuality and freshness come out.  When his guitar work comes into the light, you get the sense of a unique player- someone who has a real authority and understanding (and better than most of his contemporaries).  As a front-man he leads the music superbly: never stealing all focus, instead you get a real command and leadership- something that adds weight and wonder to the music on offer.  Phil’s bass almost steals the show: at the start it is viper-like and growling; as the song progresses, it expands and guides.  Never too lonesome and detached, it not only leads Room Service- making sure each word is giving plenty of stature and weight.  Ben’s percussion leads from the back; it is always statuesque and meaningful: marking himself out as a solid time-keeper, his sticks work keeps the song strong and intense- there is plenty of control and calm.  The entire band is tight and focused: they have a clear understanding and affection; each member knows their role- and plays it extremely well.  A band with a rich and varied sound, Room Service is just the start of things- their E.P. contains plenty of range and diversions whilst keeping their core sound loyal.

The E.P. Gelato is as varied (as the ice cream the band derives their name from): a packed and chocked arsenal of tastes, sensations and satisfaction- guaranteed to leave you wanting more.  Lead-off track (Get My Way) comes out of the gates snarling: a cutting and driving intro. leads the assault.  The sound of Queens of the Stone Age comes out: the glory days of Songs for the Deaf; that tremendous confidence and tremendous sound.  Hypnotic and swirling strings put me in mind of Homme (and his crew); the backing vocals (that coo with intimacy) have shades of Queens’ greatest moments- touching on their Lullabies to Paralyze work.  I adore both albums; the boys do not steal or mimic: instead incorporate (those albums’) best moments and finest assets- the result is wonderful.  With its U.S. vibes; the passion and urgency comes through in the delivery- swagger, energy and lust filters into every note.  I know Gelato are inspired by Foo Fighters- an act I have never liked at all- and they supersede the American masters- especially their latest L.P.  Being a huge fan of Dave Grohl (the drummer rather than a lead) I hear that coming out- the drumming is intense and tight; never overplayed or uncontrolled.  Ruffians closes the E.P.: a song that is brief and memorable; filled with the band’s core strengths.  A wonderful bookend- to Get My Way- here is a claustrophobic and suffocating number: one that comes with ragged edges; some lip-licking looseness- a vocal that is ice-cold and cigarette-smoking cool.

Gelato have shown (with their E.P.) they have the talent to remain: they are not one-trick wonders; they show a range of sounds (through the trio of songs).  The band remains tight and in-step throughout; each number seems well-rehearsed and authoritative- there is enough fun and frivolity to win over (the most stone-hearted listener).  The band manage to tease and tantilise: it would be great to hear some more tracks; expand on the three numbers- Gelato leaves you wanting (a lot) more.  With acts like Foo Fighters being past their best- they have been since their early days- and Queens’ slowing (although still immense), we need new kings: an act that have that Desert-Rock-cum-Californian cool to it; bits of mystique and dark magic- a concoction to please the senses.  What does the future hold?  Well, the band is going to playing and gigging: getting their music out there to the fans; getting people excited.  Whether the boys have album plans in their minds (or are thinking of touring the E.P.) I am not sure- their music would have some support across the U.S. (with its Queens of the Stone Age edges).  Returning to my opening point- that looks at why bands fault; the stresses that face musicians- I am pleased for Gelato: the band are concentrating on their work; the work is the main thing- hopefully financial issues are not going to come into play.  The band have a focused and tight sound; a clear affection- for each other and their songs- that is infectious and gripping: they will be capable of uniting fans of all genres- they are not out to exclude anyone.  With melody afoot; hard-rocking vibes being spat out- ample cool being wracked to 11- Gelato have a bright future.  Darlings like Royal Blood are getting (a lot of current) kudos: riding the crest of a wave; taking the bull by the horns.  I do not think this is a zeitgeist thing: the public have always embraced sounds that err on the side of heavy.  In conclusion, the band should be very proud: few acts have the ability to mix by-gone (and legendary) bands with their original and distinct personality- mixes them together to provide something both fresh and familiar.  With summer looming, we all need something upbeat and crowd-pleasing: sounds that unite crowds; get feet moving- and get the voices chanting loud.  Take the time to discover something special; an act that have ammunition to go far- and take the market by storm.  Whether you are fan of Foo Fighters and Queens of the Stone Age (or not) then do not despair: their music is designed to unite- and not divide.  Gelato is just the start of things- and the band will not get ahead of themselves- but the signs are all good…

THE boys are here to stay.

[youtube https://www.youtube.com/watch?v=6elaGtN0A-U&w=560&h=315]

________________________________________________________________________________

Follow Gelato:

 

Facebook:

https://www.facebook.com/GelatoMusic

BandCamp:

http://gelatomusic.bandcamp.com/releases

_________________________________________________________________________

Music:

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

 

______________________________________________________________________________

Videos:

https://www.youtube.com/channel/UCULLt9GxP5txTyf-ZwtSEFQ

 

 _________________________________________________________________________

Tour:

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

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/

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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)

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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.

[soundcloud url="https://api.soundcloud.com/tracks/198688397" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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

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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]

________________________________________________________________________________

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/

 _____________________________________________________________________________

Music:

https://soundcloud.com/adiulmansky

 

_____________________________________________________________________________

Videos:

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

 

___________________________________________________________________________

Brick London:

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

The Most Insulting Phrase You Could Ever Say

The Most Insulting Phrase You Could Ever Say

 

____________________________________________

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

____________________________________________

“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/

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Music:

https://soundcloud.com/nelsoncan

 

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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

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Music:

https://soundcloud.com/marisarodriguezmusic

 

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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!

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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

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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]

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