This Week's Albums: August 7th, 2015

This Week’s Albums

 

August 7^th, 2015

IT is a case of “Something old, something new/something ‘borrowed’, something…

 

that doesn’t rhyme. “  I do a D.J. gig every week; I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts)- in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; from FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people (about music); play some awesome stuff- turn people on to some great/forgotten sounds (well, I try to).  I shall publish this every week; try and highlight some fantastic albums- maybe some you had forgotten about.

The Old: Dire Straits- Brothers in Arms (1985)

8.5/10.0

This Grammy/Brit award-winning album was a formative part of my early years- it was released when I was a two-year-old.  Perhaps a product of its time- the boogie/New Wave effects of Walk of Life sounds outdated- the album serves as Dire Straits’ peak.  From denouncements of the era to real-life recollections- Money for Nothing was inspired by Mark Knopfler visiting a hardware store; seeing M.T.V. played on a bank of screens.  Throughout the L.P. you can detect the immaculate craft and production; its Pop-orientated ambitions serve the band well; showcasing (lead and guitarist) Knopfler at his peak.  It is those inimitable strings that define the album: from the stunning intro. of Money for Nothing to the jazzy riffs of Your Latest Trick- there is a whole feast of guitar-based wonder.  Whilst the album is intensely top-heavy- its finest moments arrive within the first four tracks- that is not to say the quality dips.  Tying together stunningly-imagined compositions and genre-spanning ambition and you have an album of imagination and direct lyricism.  Whether a child of the ‘80s (like myself) or someone looking for a terrific album: there is plenty of treasure to be found here…

[youtube https://www.youtube.com/watch?v=iwDDswGsJ60&w=420&h=315]

The New: Frank Turner- Positive Songs for Negative People (2015)

7/10

 

Some weeks are filled with great releases and plenty of choice: unfortunately the last couple of weeks have been a bit slender.  Not familiar with Frank Turner, I snapped up his new L.P.: keen to see what his drive was; I was pleasantly surprised.  Garnering mixed reviews (thus far) the album   Positive Songs for Negative People sees the Springsteen-esque talent- a songwriter who can pen real-life anthems without seeming overly-cloying- come to the fore.  Tape Deck Heart (Turner’s 2013 album) was a product of perfectionism and craft; here he sounds looser and more urgent.  Whilst his lyrics border on the cringe-worthy- he is not quite a Chad Kroeger/Matt Bellamy creation- his bombast and passion make up for it.  Get Better is a proclamation of anger: the hero comes back from the brink; battered by the pain of break-up, it treads familiar lines- yet the way Turner delivers his fury stands him apart from the clan of effete peers.  Sometimes the 33-year-old’s throat-scraping vocals get irksome, yet it is his authenticity that makes up for it: whatever you think of Turner the Man, you cannot deny Turner the Musician- Positive Songs’ is the sound of him exorcising his (relationship) demons- and doing a damn fine job of it.

[youtube https://www.youtube.com/watch?v=tB4Avdlz3lk&w=560&h=315]

The Influencer: The Verve- Urban Hymns (1997)

9/10

 

We all know this one: back when Richard Ashcroft was an inspirational songwriter- his solo albums seem to be a case of diminishing returns- The Verve were at the Britpop forefront.  At a time when the band looked set to implode- due to tension within the ranks- what you get is an album of concision and wonder.  From the Rolling Stones-cribbing Bitter Sweet Symphony to the arms-in-the-air anthem The Drugs Don’t Work, it influenced a wave of acts- I hear shades of this album in so many modern-day Indie acts.  Catching the Butterfly sees the band at their tripped-out best; Sonnet is a touching ballad- it is an album of immense power and diversity.  The Lancashire-based band may have since split; Urban Hymns remains a crucial and stunning statement: as Britpop darlings like Blur and Oasis were fading out (and past their peak), The Verve showed leadership and a guiding light: not only producing their career peak, but compelling a host of upcoming bands (to follow their lead).  Filled with lush and orchestral strings; quote-worthy anthems (Lucky Man is especially striking) the album is an essential purchase- make sure you re-investigate this diamond; and remember when music used to make you feel…

[youtube https://www.youtube.com/watch?v=1lyu1KKwC74&w=420&h=315]

The ‘Other One’: Rage Against the Machine- Rage Against the Machine (1992)

9.5/10

Few bands have arrived this hot off the blocks- for a debut album; Rage Against the Machine is an audacious work of genius.  A hugely influential work- the first album to convincingly fuse Rap and Metal- it is filled with fist-aloft, f***-you mandates.  Killing in the Name is (the album’s) most famous statement: its expletive-heavy rebellion against police brutality and racism not only highlighted America’s ills (the corruption rife in society) but acted as a rally-cry for the masses- the disenfranchised youth had their signature tune.  The album is synonymous with its guitar-and-voice by-play: Zack de la Rocha’s feral howl and Tom Morello’s insatiable guitar innovation were perfect partners- sound-tracking ten tracks of power and fury.  Although the tracks do run on a bit- most of the songs are over the five-minute mark- there are few fillers.  Wake Up is a woozy, dizzying and mutating beast- the range of guitar sounds/movements is exhilarating (even re-adapting Led Zeppelin’s Kashmir); its political messages insistent; Bombtrack is an explosive opener- “Burn, burn/Yes ya gonna burn” is its repeated promise.  Although the album is profanity-laden, that language is never deployed with juvenile smuttiness or attention-seeking: it is a way to highlight the anger; emphasise the messages- make sure you remember every song.  One of the finest albums (of any genre) it is a must-have for every music lover.

[youtube https://www.youtube.com/watch?v=Lp3kcHchD1Y&w=420&h=315]

Interview: The Updraft Imperative

Interview:

 

The Updraft Imperative

SINCE the day I discovered The Updraft Imperative…

I have been following their music closely.  Chair was released last year, and remains one of my stand-out reviews: not because of the quality (would never blow my trumpet that hard); but because it introduced me to something new- a genre of music I am not usually familiar with.  Aside from dabbling with Sixpence None the Richer- a Texan Christian-Rock band- the Christian-Rock genre was little-known.  Many of us here (and throughout the world) may see it is a niche genre- unfamiliar with what treasures lie within.  Being an atheist myself, I find much to recommend (with regards The Updraft Imperative).  Mixing U.S. Rock sounds and traditional Christian-Rock- music that is constantly inspiring and upbeat- few can deny its charms.  Having a good relationship with the band (and their manager Diane Sherwood) I was keen to catch up; how new music was progressing- what inspires their music.

Having known you guys since Chair's release, I am amazed at your progress.  Can you sum up 2015 for everyone?

So far it's been a crazy year!!!  Crazy-busy with all our personal lives/commitments, and of course crazy in the way our album has been so well received worldwide. From N.Y. to London, Australia to France, it's been (bar from a few exceptions) embraced by D.J.s and listeners alike.  The Updraft Imperative has featured on multiple well-known indie radio station charts, along with numerous charts here in Aus.  So, yeah, so far it's been a pretty amazing year....certainly wouldn't have thought the last 12 months would have panned out so incredibly well as they have!!!

It's been a mash-up of hard work from all of us including our promotions manager,  answered prayers,  great conversations opening and closing doors- and a growing number of awesome supporters.

Did you ever think you would come this far: have the attention of big stations and names; have such support behind you?

For me (Murray), no. I honestly abandoned the idea of making music heard on radio stations around the world a little while ago.  It appears that my ideas and the realities that can occur do often not align.

It is sometimes hard to see how far you've come, when there is still so far to go.   So many opportunities to arise and fulfill.   But there are so many things that have happened that we never really thought would.   Largely due to supportive radio stations and individuals.  For which we say a big thanks!!

How much does the fan support- on social media- mean to you guys/your music?

Twitter & Facebook is an amazing way to link with so many different and diverse people from around the globe; you are an example of that.  It's easy to let your focus either slip from it, or become transfixed on it, but sharing what you can when you can, and having people engage with that, interact and partially own it is truly cool!!

So it actually means a great deal.  As a band we don't aim to fill every weekend with shows as we all have jobs and families.  So social media and recorded music are important tools.  Meeting people through social media who love our music is always an inspiration and will continue to be a major part of our music.

I know what inspires your music; are there particular events/situations that compel you to write and record?

For me (Murray), usually it's a good drum rhythm/beat, with either a bass groove or guitar riff.  The rest flows on from that.

There are events and situations that inspire song writing.  As an example, the last two songs Josh wrote... One came from listening to a guy who had been part of many difficult circumstances, and meets many people of the same.  It was a reminder to look deeper into people and not make surface judgements and that life is often 'messy'.  The other...we are involved and support a mission that rescues and educates young girls that would otherwise be involved in sex trafficking.  A story of one of these girls being stolen away recently inspired a song that will hopefully help bring these tragedies to light.

With so many bands and acts coming through; what challenges does The Updraft Imperative face?

Stay true to our vision of seeing people changed, and challenged by our music.  At the same time, acknowledge that some of our songs cut to the quick a little more than others, so try to work on that 'formula' without abandoning our core sound.  But we also must keep adapting/growing as a music entity.  Though people may have liked Chair as an album, I think they would like the next offering we make to be more of the same, not exactly the same.

I guess to be original is an important goal of ours, so as not to blend in with the main flow.  Sometimes that can be a challenge in itself, because being slightly outside what might be considered the norm or in a particular genre can make your pool of listeners smaller.  But we trust that if we make consistently cool music, people won't be able to help but catch the T.U.I. train.

Not knowing too much about the music of Australia, what is the scene like there?  What kind of genres and acts are breaking through/most popular?

Hip-hop and Electro./House/E.D.M. is probably quite strong in Aus. at the moment.  Yes there are Indie bands, but if you have a Mac and a half-decent mixing program anyone can crack out a half decent sounding dance track.

We're by no means experts in the Aussie music scene.  There are areas that have a great music culture. I'm not sure Brisbane is the best of them.  I think most would consider Melbourne to be the place to be.  And I do think there is quite a variety of genres that do well.  But as I said.  We're no experts!

If you guys had to choose your favourite three albums (each member can choose their own) which would they be?

Murray -  Soundgarden- Superunknown, Petra- On Fire, Miles Davis- Doo-Bop.

Josh - Downhere - self titled, Ed Sheeran - X, Jason Mraz -  Mr. A – Z.

Pete - Right now, the top artists on my playlist include Asgeir, alt-J, and Royksopp.  There's a decent amount of "Classic Baby Lullabies" appearing in my Spotify feed... but that's another story.

I understand there is new music being planned.  What can you tell us about that guys?

It's.....new ;)  It's like we said before, more of the same, but with a matured sound that hopefully reflects where we've come from as a band, and where we are going to in the future.

We gave you the background of a couple of them earlier but apart from that we are pretty pumped with what is evolving so far.  There are a few added sounds that we didn't explore much last time, we think the songs are more focused and sit beside each other well.  Music videos will accompany the single releases, and we should see an album dropped mid-2016!!

You have come a long way- in a short space of time- what does the rest of this year/next year hold for you?

Though we have some gigs/commitments coming up, spending time putting the album tracks together will be high on the priority.  Oh...and filming a couple of music videos.

Are you guys heading to the U.K. anytime soon, and if so, can you head my way?

Oh we would dearly love to drop by your neck of the woods!!  Not over-committing to large-scale ventures such as an international tour is something to watch, but we always have it in the back of our minds that if all the planets align in the future........ If we were to come to the U.K. we will be having dinner at your place, don’t worry about that.

Sorry we can't give you any dates as yet.

Being a Christian-Rock band, do you think the genre is underrated/ignored or is there a dedicated core (of fans/listeners)?

I  think that's it's actually overpopulated with bands that 'claim' they are in the Christian-Rock genre, but when you listen to the message in the music, often the message is ambiguous at best- and fairy-floss nonsense the rest.  When you listen to The Updraft Imperative, there is absolutely no doubt what we are about- not what we hold dear to and believe.  You don't need to look at the genre next to the album title to decipher what we are about.  The most amazing thing is, we have been picked up for radio play by mostly secular radio stations, and have found it a challenge (initially at least) to have Christian/Gospel stations play our tunes.  I suppose there's something to be said for uplifting and encouraging music- in a world that is often far from that- and where people crave that more than a belting Rock song played on a 7-string B-tuned (though they have their place :)

There really is a massive group of listeners.  But as mentioned earlier,  I would say that much is very main stream/formulae driven songs.  And that's fine, as is obviously what people want to hear.   But we still want to be a bit different and have loved the fact that our music can be enjoyed within a secular environment as well.

In terms of fellow Christian-Rock bands, who are your current favourites?

Murray - I know it's naughty, but I'm drawing a blank (refer previous comment).  Oh, wait, Strypers’ new album is kicking!!!  And so too is Sacred Warriors’ new offering!!!!

Josh - Needtobreath, Leeland, Downhere, For King & Country When it comes to inspiring musicians- that have influenced you chaps along the way- who would they be? Murray - Cat Stevens, the groups America & Bread; Petra, R.A.T.M., Midnight Oil, Whiteheart, Living Colour; Sly and the Family Stone (I could do this for pages ;)

Josh - Jason Mraz, Ed Sheeran, Rob Thomas, Freddie Mercury

Pete - I would say my drumming style is most influenced by the likes of Chad Smith, Noah "Wuv" Bernado, and Lester Estelle.  Not that I'm anywhere near as good as those guys...

What constitutes a typical day for The Updraft Imperative- in term of your music schedule and day-to-day activity?

Murray - As I manage a mechanical garage, I'm committed between 8&6, with music coming into focus later in the evening.  I'm fortunate to have a reasonable music studio set up, and when we live out on the boondocks, one can make almost as much noise as one likes

Josh - I guess much of it would be interacting with social media.   Discussing with each other certain events and decisions.   Designing promo material, like single covers or editing video.    If I'm lucky, sit down and play song guitar and have a sing.

What advice would you give to new musicians coming through- maybe those who are scared of the challenges of the industry?

Set your sights and standards high, but your expectations low.  If you have it around the other way you'll almost be certainly guaranteed a disappointing music experience.  At least if your sights and high and likewise your standards, though you may be surprised when the news comes on radio play, you can almost be guaranteed of a snowballing effect once there's activity and motion.

I would say that is important to have good people as your support who love your music and believe in what you do.  Don't have your head too far in the clouds.  Have realistic goals and work hard.  And if people want to join you in the thing that you live to do, then great.  Just remember to enjoy yourself.  Life's not about "making it"

Before I finish, have always wanted to ask: how did you and your manager (Diane Sherwood) find one another?  What is the tale behind that?

Twitter!!!  Like all good stories of connectedness, it was through Twitter via The Bedroom Hour (that T.U.I. found Di).  Murray made the initial connection, shared our iTunes or Soundcloud address (can't recall which)- and the rest is, as they say......

Di here! I can confirm this to be correct!  I'm not altogether sure who found who, but it was away back in 2012, just as the boys were recording Chair.  I seem to recall lots of 'joking' about how me managing a West London band- while based in Scotland- wasn't enough of a challenge; and managing a band in Australia would be a much better idea...

Two years later, circumstances had changed (with The Bedroom Hour) and that 'much better idea' and my new challenge became a reality.  Some would say it was fate.  I prefer to use an awesome word (pinched from our Josh) and consider it more of a 'Godincidence' ;)

Lastly- and for being ripper sports (my worst Aussie slang there!) you can pick any song- and I will play it here…

Murray has picked his favourite pick-me-up smile-on-face ever which is Temples on Fire, by Sacred Warrior (from their latest album please).  If you aren't a fan of classic ‘80s style Prog./Heavy rock, tune out now

[youtube https://www.youtube.com/watch?v=zdNFVcC3a10&w=420&h=315]

_______________________________________________________

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/user/TheUpdraftImperative

SoundCloud:

https://soundcloud.com/theupdraftimperative

Interview: ADI

Interview:

 

Photo: Noa Flecker

ADI

I have been following the career of ADI for a while now.

The Israeli-born beauty has established herself as one of the most innovative Electro.-and R.&B.-Pop artists in the world.  With a stunning talent and incredible songwriting talent, she has come a long way.  From the raw and ready sound of her mix-tapes- through to the current suggestions within Heaven- ADI has a huge future ahead.  With her distinct fashion and down-to-earth personality, the young songwriter is preparing her next moves.  With Heaven having just been released- one of her finest compositions to date- I was keen to catch up with ADI; see what the future holds- and what advice she’d offer to up-and-coming songwriters.

Hey ADI.  Thanks for your time.  How has your day been?  Where you at the moment? My day was great!  I’ve been looking for a new flat here in Tel Aviv for quite a while now, and finally found one today!  So I’m pretty happy.  I’m now chilling at home, after a few hours of working on a new beat.

Your new track Heaven- an electronic colour-fest with emotion and passion- has really caught my ear.  What inspired the track and will we see it developed (changed or more vocals added)? Well I was listening to a lot of interesting and unique producers lately, and their music has inspired me quite a lot (from Ekali to Gravez to Negium Beats).  Heaven was made after I was sitting in a park by a river (here in Tel Aviv), and for a few minutes I just felt like time has stopped by, and it seemed like I was surrounded by landscapes of quiet and nature.  I ran back to my studio real quick and made this beat, and I knew that that's gonna be its name.  I can't say that it represents the rest of the upcoming music, cause the other tracks I’ve been working on were full of vocals and R.&B. elements; but it's definitely the general vibe.

With the huge rank of female singer-songwriters coming through, do you think there is a pressure- for new acts to succeed instantly and establish themselves?

I don't really know and I have to say that I don't really think about it.  I wanna create 'good' art, and enjoy while I’m doing it.  I’m not trying to make anyone like my music... I’m being me, trying to create music that I would enjoy listening to.  This shit takes time... it looks like artists just blow up but it's never like that...  It takes so much time and work to develop you artistic language and get to a point where you deliver something that is fresh and new.

On that note: the rigors of demand and expectation can cause anxiety and stresses.  What helps you to unwind and relax?  Is there a place (either physically or spiritually) you like to go?

I guess the only thing that really gets me stressed are my own expectations from myself. I’ve been working real hard on the new music, and it always feel like you can make it better but at some point you just have to let go.  The fact that I listen to such great musicians makes me want to improve and push myself more and more.  I think the place that relaxes me the most is that river I mentioned in the second answer.  It’s so green and full of trees… the sound of the water just makes me feel like I’m in a different zone.  Another thing that helps me relax is making lists!  I’m a freak of lists.  It makes me feel like I control my chaotic life in some way lol

Photo: Noa Flecker

Having reviewed Was It You? - and being a huge fan of your music- can you tell us about the future?  Can we expect a new E.P. or album soon?

Yes!  I’m working on that E.P. for quite a while now, but I don't have a specific release date as I’m still changing things, but.... I’m about to release another track quite soon.  This time - with vocals :)

What themes/ideas are inspiring your new music?

I’m trying to be as real as I possibly can.  It deals mainly with my everyday life - relationships and all the regular things but also feeling like an outsider, suffering from social anxieties and anxieties in general; having a writer's block and feeling depressed/different than the rest.  It’s all about being honest about my dark sides and sharing it with the world.  I really hope I’ll be able to help others just like some artists helped me.  The new music is really different than my old music in that sense - it was harder for me to share my darker sides in the past, but actually I’ve always had that dissonance in me - on one hand feeling like I can conquer the world, and on the other hand feeling like a pathetic piece of nothing.

You strike me as a very unique artist: you have immense beauty and style; a distinct flair.  How important is fashion and style with regards your music/image?

I love fashion.  I love visuality in general.  I’m trying to combine it in my creation as much as I can cause I see it as a way of telling a story and creating a picture full of different elements and colours.

There are a lot of great Electro.-and R.&B.-Pop artists coming through.  Who out there would you recommend?  Any acts that have stuck in the mind?

I’m mostly into Hip-Hop/Future/R&B producers lately… so the names that immediately pop to my head are Esta, PARTYNEXTDOOR, Sam Gellaitry, Bryson Tiller; Tory Lanez, J-Louis, Mura Masa, Nao, Post Malone...

Photo: Noa Flecker

You were born in Israel and obviously spend a lot of time there.  How does the music scene differ from other parts of the world?  How do the people compare?

The music scene in Israel is getting really cool in the last 2 years or so.  It used to be quite different in the past - I used to feel that the music here is totally disconnected from what's going on in the rest of the world, but there's a huge change now- and there are more and more awesome acts and producers that create really cool music.

You are signed with Brick P.R. (in London).  Do you get to come to London often?  When can we next expect you?

LONDON IS MY FAVOURITE PLACE IN THE WORLD.  I WANNA LIVE THERE.  I used to be there quite a lot but I don't have a specific date yet.  I will definitely update you when I do :)

Your mix-tapes are immediate and filled with treasure.  Is it easier/better to create mixtapes (as opposed to albums) because it costs less/is quicker?

I don't think that the money is an issue in the type of music that I’m creating.  It’s mostly electronic and the fact that I produce a lot of it myself makes it pretty simple and fast.  The only reason I made a mixtape/E.P. was because I didn't feel ready to create an album.  I always felt like releasing an album is a big statement, and I just wanna do it when it feels right.

Some of your songs deal with love and heartache.  Having dealt with break-up aree you in a happier space now or still searching for love?  Do relationships (and their capriciousness) help or hinder your creative process?

I mostly create when I feel OK.  I can't really create when I’m torn apart.  I’m in a happy relationship for quite a while now but the main thing is that you can feel lost and alone also while being in a relationship.  There are always ups and downs- it never ends.  I have the most amazing boyfriend, but life is just a bit more complex than that.

Your social media ranks are swelling- you get a lot of love from your fans.  How important is social media to you and getting your music out there?

I love my fans and I enjoy communicating and interacting with them.  They mean the world to me.

Music takes you all around the world; to new cities and areas.  Is it quite disconnecting being away from home, or is it something that you enjoy (being on the road)?

It’s pretty tough being away from my boyfriend, family and cats.  I miss them a lot and I’m trying to Skype them as much as possible.  But it's also amazing to travel the world and get inspiration from new amazing places, artists and people.  It’s pretty interesting and fun.

Being a songwriter myself- hunting for a band for my songs- what advice would you offer any up-and-coming artists- either with regards succeeding or the creative process?

Be patient, that’s my main tip.  It takes time (a lot of time).  Even when it seems like it's not gonna happen - don't give up.  I wanted to give up so many times.  But at the end of the day, there was this tiny voice inside my head that reminded me that this is my destiny.  Music is what I’m supposed to do.

To finish- and for being such a great support- you can name any song (either your favoruite or a song that means a lot to you); I will play it here…

It’s hard to choose my favorite song but in the last few days I’ve been listening nonstop to Drake's dis. (disrespect) song Back To Back and Bryson Tiller - Ease.

[youtube https://www.youtube.com/watch?v=pfDn0F6BrX4&w=420&h=315]

_________________________________

Photo: Noa Flecker

Heaven begins with trip and mis-step.  The electronics stutter and grab; retreat and haze.  Like a beautiful day, the scenery whizzes by; the leaves rustle- the composition spins and conspires; dizzies and ducks.  With some machine-like vocal wordlessness; married to some punchy beats, the song takes off.  ADI fuses some terrific touches into the song: hand-clap percussion; some hard and harsh low-down beats; lighter and elliptical colours- to create a cacophony of delight.  Both head-spinning and in control; the song is layered and delightful- parts of your mind try to keep up with things.  Entranced in the whirlpool, Heaven projects so many images- beauty and landscape; harsh streets and darker corners- in addition to healing love and perfection.  As it reaches its climax that insatiable beat keeps pressing; the electronics yelp and jump; the notes contort and interact- a riot of variegated sounds.  ADI is a mistress of seduction and beauty: she knows just how to buckle the knees; entrance and alert the senses- get the mind working and guessing.  Images and scenes flash through the brain; the notes compel you to imagine what is unfolding- picture your own Heaven.  Delightfully gripping; impressively nuanced the song makes you beg for more- you could happily listen to it over and over.  I know ADI is dropping some vocals over the song: she has so many options.  It would be great to hear something swooning and breathless mixing with a rushing and uplifted vocal; combining the two to create something quite rapturous; a duality of the senses- match the emotion and ambition of the foreground.  Whether she chooses to leave the vocals without lyrics- and have something wordless instead- that would be an option.  To my mind, there are some great lyrics possible: a chance to put down an honest love song; a paen to her native Israel- a shout-out to her fans.  Maybe combine the subjects and have an all-sweeping song: one that ties in everything; around this ideal of Heaven- and what that means to her.  Of course, she could go down another route- and choose to leave the song as it is.  That is the beauty of the track: it has so much potential to it, you find yourself desperate for answers.  What we have now is by no means piecemeal: it is ADI at her most inspired- an urgent and fire-crackling song; one that is as pure as they come.  The Tel Aviv resident has taken the surroundings and her native surroundings; been compelled to put down her electronic pen- and come up with something staggering.  Time will tell- as to what direction the song takes- but as is, she has created her finest track to date- giving a tremendous insight into her future sounds!  If you have not heard Heaven…

YOU cannot afford to miss out.

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Follow ADI:

 

Official:

http://adiulmansky.com/

Facebook:

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

Twitter:

https://twitter.com/adiulmansky

YouTube:

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

SoundCloud:

https://soundcloud.com/adiulmansky

Instagram:

https://instagram.com/adiulmansky/?hl=en

Track Review: Greenfield and Conder- I.O.U.

TRACK REVIEW:

 

Greenfield and Conder

 

I.O.U.

9.2/10.0

I.O.U. is available at:

https://www.youtube.com/watch?v=DqJZluwVmz8

RELEASED: 2013

GENRES: Pop

ORIGIN:

London, U.K.

IN the coming days I will be stepping away from the arena of…

female singer-songwriters.  It has been great getting to grips with some special singers: from U.K.-bred solo acts to female-led bands, I have heard a lot- some terrific music and diverse sounds.  What strikes me about the solo field is the amount of female participants.  In terms of the band market, the men dominate (over the women) - there are few female-only or female-led bands (by comparison) - when it comes to solo work, the girls have the edge (in number terms).  The reason I am ‘looking about’ is to uncover a male solo artist.  It may sound off- that it is difficult to find one- but it is hard to find an original one.  Ed Sheeran has a lot to answer for when it comes to upcoming male artists: the acoustic-guitar led model is ever-present and rising.  Most newcomers are not Sheeran; do not have his cachet and personality- they come off as endless insipid and boring.  Unless you have an amazing songbook- or stunning voice at your disposal- you can unleash scant magic (with only a six-string).  The best male sounds come when electronics are introduced: more sounds and shades go into the music; there is more diversity and range- the voice itself acts as instrumental support; rather than standing out alone.  There are some great male singers, yet to my mind, they are a dying breed.  Gone are the days of Jeff Buckley and Nick Drake: the artists who can own a room with their voice and guitar; their incredible songwriting inspired and compelled.  There are too many sound-alikes and inane voices: male singers trying to be someone else, or simply coming across as unspectacular.  The female singer-songwriters- when left to the simplicity of voice-and-guitar combinations- fare a lot better.  Perhaps it is a stereotype, but I feel their range and sounds are more varied- there are more colours and contours; great depth and emotion on display.  Sensual and fierce, emotional and direct, I cannot put my finger on it.  Perhaps it is their style of music.  The boys tend to go more Folk/Rock- with touches of Acoustic-led Pop- whereas the girls introduce more Soul and Blues sounds.  The latter have greater richness and depth; the former is more restrictive and homogenous.  When a great female singer arrives, it is great to expound their virtues: such as today’s artist.  I am going to do things a little differently here: whereas most reviews look at current songs- released that week/month- today I am looking back (a couple of years).  Featuring a terrific song (from an eager young artist), Greenfield is a name to be reckoned with.  The gorgeous Londoner is partnered with Gavin Conder (her boyfriend) and the duo is striking indeed.  Before I mention Conder- and the duo market- let me introduce them to you:

“Jess Greenfield and Gavin Conder met at a friend’s 60’s fancy dress party seven years ago. For the record, he was Austin Powers and she was a go go dancer. The usual stuff happened that happens when you meet your partner and they became a couple. Singing as a duo was still a way off.  He wanted to be a singer but wasn’t doing it for a living. Infact Gav has had the obligatory every-job-imaginable essential for a future superstar. From an events manager in Greece to a forklift truck driver to a wood yard stripper, Conder started singing professionally after making his escape from Butlins where he was a barman, with the girl friend that helped him ‘acquire’ some cash. Hiding the cash in his guitar, he packed his life up and into his car and drove to Wiltshire. Meanwhile, Jessica, who comes from a music loving family, found her rich, golden voice when she was on holiday with her family in France. Her dad would play guitar and get the family to sing along. The 15 year old Jess, who was already in love with the music of Donny Hathaway, Dusty Springfield and Tina Turner, sang ‘Cry Me a River’ and surprised everyone, not least herself. She also has the mandatory list of jobs on her CV including working in a bar, a secretary in a publishing company and a sales assistant in a homeware shop.  By the time of the fancy dress party, both were working professionally as singers with a great live reputation, playing or singing in function bands and groups, while writing and recording their own songs, separately, whenever they could. Gav, whose singing inspirations include Sam Cooke, Connor Reeves and Marvyn Gaye, joined a blues band as lead singer and Jess did endless session work and gigs. The blues band came to an abrupt end and Gav, who loves all things martial arts and extreme sports, went to stay with the Shaolin Monks in China to completely get away from it all.  While Gav was away, Jess had recorded a demo of a song she’d written called ‘Forgiveness’. A mutual friend suggested the song would make a great boy/girl duet and they should record the song together to see what it sounded like. Unbelievably, It had never occurred to them to sing together before. On Gav’s return they went into the studio. It was difficult at first. Bickering and sniping were in evidence but respect for one another’s talent won the day and a unique vocal accord was discovered. Greenfield and Conder, the duo was born.  Jess’ warm, deep, soulful vocals and Gav’s heartfelt, rough but sweet voice alone can melt the hardest of hearts, but combined is a different ball game altogether. Live, she plays piano and he plays guitar. Together they make a sound that will take your breath away.”

The reason I raise my point- about male and female solo artists- is the fact then- when you get a great male and female singer together- that cynicism disappears; you eradicate the shortcomings- and are presented with something fresh and wonderful.  Gavin Conder is one of the stronger male voices I have heard: potent enough to carry its own weight; it differs from the crop of rank-and-file male singers.  Possessed of soulfulness and passion- presented in a very personal way- he is capable of tenderness and amazing highs.  Not a run-of-the-mill acoustic troubadour, he has an amazing tone and sense of style.  Not only has Greenfield augmented my passion for the female sector; Conder has (helped to at least) dispel some reticence towards the male scene.  It is when the duo get together you get the biggest effect: their voices commingling is what makes their music stand out.  Duos can be a tricky proposition: if they have a weak bond the music is bound to suffer.  There tends to be some great male duos- the likes of Royal Blood spring to mind- yet tend to stick to Rock/harder sounds.  Acts I know- like Knuckle and Huxtable- all project that same smash-and-slam Royal Blood (line)- it tends not to deviate too much.  When it comes to female duos, it is largely eclectic.  There are great Electro.-Pop duos- the likes of Say Lou Lou come to mind- and terrific Acoustic artists.  By and large there are fewer Hard-Rock duos- the most fascinating two-piece is the boy-girl dynamic.  Aside from a few of my regular duos- Ivy and Gold are the most prominent name- the reason why my point rings true is passion and intuition.  When I reviewed the likes of Gypsyfingers- a fellow London duo that specialises in dreamy Acoustic-Folk and are a wonderful act- the byplay between Victoria Coghlan and Luke Oldfield (boyfriend and girlfriend) was evident.  It is risky mixing romance with music (or ‘business’ as it were) but if you can detach your relationship- and not have the two stepping on toes- something spectacular can unfold.  You can tell how close Greenfield and Conder are; they natural bond emanates in their music- elevating it beyond the boundaries of solo work; above that of the boy-boy/girl-girl dynamism.  The duo is planning new work- there is talk of a forthcoming album- so it is high-time more eyes were tuned their way.  It is not just their vocal byplay that sparks alive: the way they combine musically resonates.  Greenfield’s piano-led beauty- combined to that of Conder’s guitar work- goes into their work; the way they pair-off one another- intersect and unite- cannot be faulted.  Keen to investigate this up-and-coming duo- one of the strongest to come out of London for quite a few years- it seemed only right to check out their music.  I.O.U. - recorded a couple of years ago now- sees them at their best: a testament to their songwriting talent; the way they blend with each other- in addition to their (myriad musical) abilities.

In 2012, the duo released Introducing Greenfield and Conder: their debut E.P. that did exactly what the cover promised- it introduced them to the wider world.  The four-track collection instantly boasts their chemistry and commitment (to the material); the passion which they display- in addition to their stunning songwriting.  Indiscriminate Act of Kindness is touching and piano-led.  Conder’s soothing and melodic vocal swoons with romance and tenderness.  Scenic and tale-telling, the song looks at a figure booking into hotel; strangers bunking down; an act of kindness forming- and quite a rare and unique romance unfolding.  The song has a great scenic and episodic development; the tale goes on- as the strangers interact and move along- giving the song a real sense of reality and relatability.  Forgiveness is soft and Soul-infused.  Feeling foolish; restricted and being treated badly, Conder sings about the harshness of love; the need for forgiveness.  The track has that sound of Soul harmony groups; the way the vocals are layered and interact elevate the song- it is one of the richest and most memorable tracks on the E.P.  Forever Young has combination of piano and guitar.  A guiding song that shows tenderness and compassion- it seems like a message to a child.  Lead vocal by Conder- with terrific Backed by Greenfield- the song focuses on staying young; the world is quite scary and unpredictable- there is caution and support; a guiding hand all the way.  Not Enough Love finishes the E.P.  Sparser than previous tracks; and duo unite on the verses.  Looking at inequality and imbalance; the fact (there is not enough love) in the world, it has maturity and insight- like Forever Young there is a sense of dissatisfaction and fear; that feeling of injustice.  The E.P. shows Conder take on (the majority of) lead vocal- letting his soulful and powerful voice take the helm.  Greenfield provides uplift and support (in the choruses) but when the duo unites- that is when you get the biggest hit and effect.  Available at https://itunes.apple.com/gb/album/introducing-greenfield-conder/id482115533?ign-mpt=uo%3D4, it shows the young duo enter the music landscape- stamping their unique print upon it.  Whilst mostly acoustic/piano-led, the E.P. shows some powerful moments- a real mixture of emotions and subjects.  With consistently impressive songwriting, it was a fantastic debut- and an insight into (what their future signs) would contain.  I.O.U. is a natural development: thematically it possesses a similar personality (to the E.P.’s themes); the vocal deployment is similar- the confidence and sound has developed and expanded.  Building off the E.P.’s template, the track shows them at their peak.

Beginning with a vibrating guitar sound- quite woozy and Blues-sounding; intriguing and strong- the track begins strongly.  Conder approaches the song with his patented blend of soulfulness and nuance- vocals that are both convincing and impassioned.  The song looks (at our hero) being caught “in the rush from 9-5.”  Treacle-smooth and unwaveringly direct, the voice comes to the forefront: our lead sounds like a man with a weight on his shoulders; whether referencing his own life (and hectic schedule) or not- you can feel that sense of strain and fatigue.  Not able to say goodbye (either to loved ones or a friend) feet are not touching the ground- the pace of modern life is cataloguing his every move.  When the song looks at love- and Greenfield joins the lead (previously providing wordless backing) - is when you get that sense of understanding.  The song’s title references the duo’s love: it is “an I.O.U. kind of love.”  There are times when each of them will be alone; the pace of the world pulls them apart- but will always be there in the end.  It may be the case they owe (one another) time affection; whatever happens they will be there for each other.  Augmented by some swooning backing vocals- both heartfelt and emotive- Conder offers support and comforting words.  As said before- and across their E.P.’s songs- the tracks are at their peak when the duo combine voices.  When Conder and Greenfield join their voices, you get that biggest rush- and the song elicits its shivers.  Both have spent time apart; there is that feeling of disconnection- that desire to spend less time apart; break from the rush of the 9-5 life.  In the chorus there is that combination of wordless vocals and directness- sweeping and unified; tender and beautiful, the chorus is both effectively catchy and a direct emotional hit.  In terms of the composition, there is no needless overcrowding and layering.  The guitar remains shimmering and light- a constant presence throughout the track- and never hurries or becomes too imploring.  Delicate production provides necessary weight and backbone- the main focus on the vocals themselves.  Towards the song’s 3-minute mark, the duo reaches fever-pitch: their voices rise ever higher; the intensity becomes palpable- and the song’s message becomes ever more pressing.  Keeping the lyrics simple, the song makes its way into your mind- the chorus is especially memorable.  Whether it is the busy nature of London life- or a sense of having too little time to themselves- the track can be appreciated by all.  A lot of people find themselves in the same situation: when you are at the mercy of work and commitments; too rushed to kick back- yet know your relationship will always be there.  Our duo has a solid foundation and bond; they cannot be separated or broken- by the strains and stresses of the modern age.  The song is that which can be understood by all; it is quotable and memorable- it builds of Greenfield and Conder’s previous work; adding something new to the mix.  Both showcase what incredible singers they are.  Conder’s reliable tones are at their peak: honeyed and breathless; passionate and anxious, they add force and conviction the lyrics.  Greenfield’s stunning and beautiful voice is a superb support: working effectively in the background, they are at their peak when united (with Conder) - the duo’s voices are a perfect blend.  The production allows a live-sounding feel to come through; it is as though you are hearing this track in a small venue- it has an intimate and raw sound.  That said; there are no loose edges or wasted moments- it is polished enough to allow the vocals to shine; lyrics and vocals are both clear and concise.  I.O.U. is a terrific stand-alone song: a loyal addition to their E.P.’s work; a glimpse to their future sound- it will be fascinating to hear their new work; find out what is coming next.  Differing from a lot of the duo’s out there, Greenfield and Conder show what a unique force they are- their style betrays a debt to nobody; they are one of the most individual acts about.

As I look around the new music landscape- and wonder if there are many great male singers about- the ideals of fascination and diversity are on my mind.  The past couple of weeks have taught me a lot about the music scene: which sectors are rising fast; which are dying out- the best musical formations out there.  I am still skeptical about the male singer-songwriter mould: I feel there are too few genuine surprises/heroes- not enough genuine unpredictability and quality.  The female sector is much more assured: the sense of variety, adventurousness- and most important, quality- is right up there.  What has struck me most- and changed my way of thinking- is the duo market: taking the innovativeness of the female voice; the potential and strength of the male one- combining them into something special.  A fast-rising trend, duos are producing some of the finest music around.  Perhaps that would quell the unease I feel; remedy the (male singer-songwriter) malaise: by joining forces, the overall soundscape is much more tantilising.  Gavin Conder could survive and flourish as a solo artist: I feel he hits his full potential joining with Greenfield.  Being a committed and established couple, this trust and connection comes out in their music- I.O.U. is alive with passion, potential and panache.  Showing themselves to be exceptional musicians and voices, Greenfield and Conder are on a steady projection.  I cannot wait for new music to drop: see how they have developed; what new ideas they have brewed- whether that insatiable simpatico is still alive.  I feel it will be burning bright; the duo have such a gilded connection- their music demonstrates this unbreakable spirit.  Their E.P. showed what a strong partnership they have.  The four-track released bristled with inventive songwriting and exceptional performances; brilliant vocals and absolutely no filler.  I.O.U. expanded this further: built on their E.P.’s strengths and added extra layers- the duo sound even more urgent and focused.  London is at the forefront of the duo machine: creating some wonderful two-pieces, Greenfield and Conder are among the very finest.  Everyone from Gypsyfingers and Ivy and Gold- both London acts- do something different; if you want something heavier, there are options out there- there is a huge demand out there.  New music and the mainstream are overrun with solo acts and bands: an immense desire exists to see something different- the duo market provides that release.  I shall leave with a quick thought: that which relates to originality and inspiration.  I worry the new generation are being polluted by reality music shows- gives you a view on my politics and ethics- and feel the need to either take a cheap way out; or else they are being limited by what is out there- not enough variation to really compel them.  Bands suit the band wannabes; the solo artists provide something else- the duos often get overlooked.  I would love to see more come about; really tackle the hegemony and established orders- they are producing some of the most exciting music around.   When this happens- and there is that much-needed explosion of change- you will breed a stronger culture; one that offers quality and concision.  Greenfield and Conder should take heart (from these words): they have the potential to inspire other acts/musicians- keep that London-centric duo tradition going.  Make sure you listen to I.O.U.- and come to your own conclusions- and visit their E.P.: a work that deserves wide acclaim.  As the year fades by the pair are plotting new sounds; formulating their next move- make sure you do not miss out on that.  I am not sure what direction (the proposed album) will take, but one thing you can guarantee is the quality.  Never limited or uninspired, it will be a must-hear release.  Given the strength/nuance of I.O.U. I am…

LOOKING forward already.

[youtube https://www.youtube.com/watch?v=DqJZluwVmz8&w=560&h=315]

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Follow Greenfield and Conder:

Facebook:

https://www.facebook.com/pages/Greenfield-and-Conder/238054656253857?ref=tn_tnmn

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Music:

https://www.youtube.com/channel/UCR7qW_QFXUsFBaREKKUhqbQ

Feature: In Their Skin- A New Charity Initiative

FEATURE:

In Their Skin

 

A New Charity Initiative

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With animal rights/humanitarian issues at the forefront- featuring recent events- the ideals/issues of animal welfare have come under scrutiny.  Great charities do great work; they need full support and funding- to ensure there are fewer cases of cruelty.  It is time to do something about it…

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THE human race has outdone itself these past few weeks…

What with events in Africa.  American tourists kill more than 380 lions a year: they tend to have a deficiency when it comes to guns and humanity.  If it were not bad enough slaying your fellow countrymen, they want to export this sadism to the continents- take it out on poor, defenseless animals.  Of course, it is not just the U.S. that is culpable: animal cruelty/neglect is a sin every nation is guilty of.  Atrocities and injustices (involving animals) generate a lot of anger and unity: this past week the human race has bonded (against an evil human) and showed their solidarity- you wonder whether this will lead to action and change.  Charities deserve support and backing; severe issues (like animal cruelty) need stamping out- it is something that can be avoided.  We do not need vaccinations of scientific breakthrough; no need for research or money- we need for the human race to stop being c****.  This may seem like an impossible conundrum: most of us are animal-loving and sage; the minority drag the world down- and question the functionality and humanities of the human race.

In the past I have started charity initiatives- for Mind and Shelter- that have reached their plateau too soon- people were not getting involved/active.  I guess it is the pitfalls of social media/modern-day humans: very few will actually latch onto an idea; share good work- so long as they can be bothered.  Breaking through walls- and hitting people’s consciousness more vehemently- is an ill in need of a remedy.  When I launched Time out of Mind- to raise awareness of mental health issues- few took part- the idea died on its backside.  Same goes for the Shelter idea: on both occasions the charities did not share the idea; unwilling to get involved- when a charity cannot be bothered to back a scheme (that would raise them funds and awareness) what the hell do you do?  Wildlife conservationism and animal humanity are ideals we all can adhere to: most human beings love animals; none of them want to see them harmed/marginalised.  Having a good relationship with the R.S.P.C.A.- and supporting the likes of P.E.T.A. and the W.W.F.- it got me thinking: there is a way to make some positive changes.

Social media has shown it can mobilise and augment a charity campaign; vulcanise a charity’s aims- and get people unified and working together.  My idea is this: to be called In Their Skin it proposes people be more involved in animal protection- and put themselves in animals’ skins.  Using SoundCloud and YouTube, it would be a music-based imitative.  Music is the one thing that unites all people: it is the soother of pain; evoker of fond memories- nearly every human has a musical opinion.  I understand the success of viral campaigns- the ice bucket challenge, #nomakeupselfie, Movember etc. - relies on mind-numbing simplicity- perhaps that is the idea?!  If something is too complicated/time-consuming it is unlikely to appeal to the masses- many of whom have short attention-spans.  I had an issue with the ‘big boy’ viral campaigns.  The ice bucket challenge was simple-minded and unrelated to A.L.S.: the idea was tagged to the illness rather haphazardly and a lot of people did not donate to the charity- thus missing the point altogether.  #Nomakeupselfie labored under the impression not wearing make-up was brave: there is nothing brave about being bare-faced; it is the removal of vanity and showing a human face- something more women should do more often.  It belittled actual bravery: the kind cancer suffers (the campaign was raising money for) go through.  Movember was also a little aimless: a random oddity that has nothing to do with anything much.  In Their Skin would directly involve charities; bring in animal-related stories/issues- and is fun too…

What I want to do is work with the R.S.P.C.A., P.E.T.A. and the W.W.F. - a hell (of a lot of) acronyms, there!  Whatever your views towards the charities- whether you agree with their ethics/practices or not- they work tiresly towards animal protection.  Weter you are a cat or dog lover; have passion for exotic wildlife; are a committed vegetarian- that wants changes about the way animals are used and killed- then this is for you.  Each user/participant would complete a three-part piece.

First: the person would go to YouTube or SoundCloud.  Here you get to compile your own playlist.  Consisting than (no more than) 12 songs, you get to compile a bespoke playlist- something that appeals to you.  It can have brand-new music or unheard-of songs; classics and vintage hits or something very niche- the idea is to try and inspire others (with your music choices).  On both platforms- in addition to naming your playlist/giving it an ‘album title’- you can design an album cover- https://www.canva.com/create/album-covers/ is the first place to visit.  You can have fun with it; make it personal and fun- and share your choices with the world.  It may sound like a complicated thing, yet takes little effort/strain at all: it is a very simple step-by-step procedure.

Secondly: once that playlist/album is saved (and created) the second step involves animal photos/story.  Find a picture of you with an animal.  It can either be your/someone else’s pet or wildlife- any photos of you with an animal.  You tie this to a personal statement: what animals mean to you; why we should end cruelty- and put these two together.

Lastly: after you have done the above, it is a case of sharing it social media.  You would have the playlist/photo/story together, paste in the Justgiving link- where you should donate to- and the final step (when you share this) is to nominate three people- they in turn keep the ball rolling.

Simple as that!  The Justgiving page would raise money for the three charities (mentioned above) and directly involve the charities- they can share and promote the campaign on social media, too.  It gets music involved; gets people thinking about their favourite music- and most importantly, it involves animals.  Less inconsequential than some other campaigns, the idea is to get people involved- keep the momentum going and raise money.  Through awareness and viral-level proportions, greater awareness would be raised; we can start to make big changes- educate those abuse and extinguish animal life.  I understand that there is great apathy in society: social media is compartmentalised and limited; certain people will participate in this sort of thing.  Attitudes and apathy needs to change; we cannot just pick-and-choose who/what we get involved with: animal cruelty/abuse is something EVERYONE should be concerned about- no excuses not to get involved.

I just need to know whether people would a) get involved and genuinely take part, and b) if this concept is too complicated/user unfriendly?

OVER to you guys!

Track Review: Hannah Boleyn- Tough Love

TRACK REVIEW:

Hannah Boleyn

 

Tough Love

9.1/10.0

Tough Love available at:

https://www.youtube.com/watch?v=EqRpPM2llGE

RELEASED: July, 2015

GENRES: Soul; Electro.-Pop

ORIGIN:

London, U.K.

 

The album, The Boleyn Affair can be pre-ordered here:

http://hannahboleyn.tmstor.es/cart/product.php?id=25476

RELEASED:

02/10/2015

LITTLE is known about today’s musical subject.

Beside her music and image, our star has kept some cards to her chest: in terms of biography/influences, there are a few gaps- what we have is the music alone. A sweet and down-to-earth personality, there is a bit of mystique: the listener extrapolates clues and insights from the songs; what makes (Hannah Boleyn) tick- the person behind the music. Before I speak more about Boleyn, it has raised an interesting point: the issue of social media honesty vs. musical quality. In an age where people are more honest (read: incredible open and waffling) there seems to be no filter- most will post ANYTHING to social media; tire the moon with talk about food, mood- and pretty much anything else for that matter. All of it is personal and unimportant; rarely does anything crucial or factual make its way through- is social media necessary force? I guess it’s good to have an outlet, of sorts: somewhere you can ‘vent’; a way to share thoughts/words- more importantly, you can share music and creative works. Social media is at its most useful when music is being shared: it gives people a chance to hear some new sounds; discover something fresh and inspiring- a new hero/heroine. As important as the music (the core) is, how much should musicians give away? When it comes to their biography, do you air on the side of caution- stick to basics and do not disseminate too much- or are you open with the listener- give detailed personal information; favourite music etc.? I would say a mixture of the two: it is wise having some biography and insight, yet never give too much away- the music should talk the most. Acts and bands that are too forthcoming risk taking away the mystery; becoming too predictable and maybe losing appeal- although it shows they want to connect with the listener; come across as personable and grounded. When you provide few details, the music has to stand up: fill in the lines and back up the minimalism. If your music is impersonal and abstract; this is an issue: the artist risks becoming a name and nothing more- not concerned with being a human, more a portal (or marketing force). If you write personal music (from the heart) it provides opportunity to unleash and unfurl- allows the listener into your psyche; give them a bit of background and insight. Hannah Boleyn is an up-and-coming young artist with beauty to spare: stunning to look at, her music is even more jaw-dropping- something that is open and insular; heart-breaking and sensitive. Her personal website has links to social media/YouTube etc., yet not a lot about her as a person- where she came from; which artists inspire her; a window into her life. Maybe this is a sapling move: Boleyn does not want to give too much away- fearful the music will take second billing- yet I am curious indeed- it would be good to know more about the young star. Possessing such an impressive voice/talent; being in touch with her fans- very friendly and warm- there is that desire. I, for one, would like to know who inspires her- goes into making that voice; moulding her songwriting- and what her plans are (for the rest of 2015). More likely, the music is the mouth-piece: it gives you all the information you need; is objective and vociferous- more eye-catching and informative than any social media biography. The solo realm is a tricky one to crack: the fastest-growing sector, it is the definition of accessibility and ease. Providing you can pen a tune and compose some music- and have a voice of sorts- you are welcomed in- no need to recruit a band or do much else. So long as you have your own sound/voice, then you are straight in. That said, few modern singer/songwriters have a distinct and unique voice; that different and stand-out sound- there is a lot of sameness and predictability. Hannah Boleyn is a proposition apart- that surname alone is both historic and classical- and is not run-of-the-mill singer/artist. Apart from the title of her new song- Tough Love was the name of a recent Jessie Ware album- there is a very particular artist here. Gaining social media ground- her Facebook and Twitter followers are coming in thick and fast- the London-via-Leicester heroine has serious ambition. You can hear the confidence come out (in the music); that drive and hunger- somebody who wants to forge her standard on the music world. There are so many female solo acts out there- more than the men I dare say- and a lot of Pop/Electro.-based examples: trying to separate yourself from the pack is quite a mean feat. Tough Love is Boleyn’s shout-out to the (music) world; her voice coming through- a deceleration to the scene. With her debut album forthcoming- The Boleyn Affair- the rest of 2015 will be an exciting one. Having worked hard over the past year, the young musicians is excited about the future- the chance for the public to hear her in full voice; the full extent of her talent.

Despite being a fledgling act, Tough Love is not Boleyn’s first release. A year ago the single Cemetery was unveiled. The artwork for the single sees our heroine dressed in a chic black dress; bedecked in sunglasses and under an umbrella, it is a perfect representation. The song itself sees our heroine going down to the graveyard; flowers in hand, she is looking for forgiveness, for answers- it seems like a complicated backstory. Imagery and scenes come fully to life, due to that inimitable voice: husky and whiskey-soaked; emotional and intoxicating, Boleyn brings her emotional range to the fore. Finger-clicks and Doo-Wop elements fuse retro sounds with modern production- the result is an explosive and groove-laden kick; a song that fizzes and bubbles; a perfect introduction (to the young star). Following this, When You’re Gone and SO OK were unveiled- along with Tough Love as part of the Cinematic Soul E.P. The former is a restrained and investigative piece; that unique vocal sound looks at past love- a hard break-up and recrimination. Having been put through pain and heartache (by her beau), our heroine is in defiant mood- laying the world to rights. Elements of Amy Winehouse- at her Back to Black best- comes out; that sense of unease and anger- perfectly projected by Boleyn’s world-weary voice. Catchy and sonorous; overcome and overpowering, it is a stunning track. SO OK is a big and brassy number: smoky and urgent, it boasts a huge chorus and classic sounds. Mixing ‘50s Soul/Doo-Wop with some modern Soul sounds- Winehouse comes out; parts Gabrielle Cilmi- and you have a gem afoot. Another introspective track, it sees Boleyn casting her mind back: looking at events. Rather than heart-aching, there is a lighter touch here: the entire track has a relentless drive; it is quick-paced and itchy- never straying from its kick-against-the-world strut. Since these creations- and foreshadowing the L.P.’s forthcoming sounds- Boleyn has progressed and developed. Tough Love- originally premiered last year- sounds full of confidence and ambition; the vocal style/production is slightly different- it has more of swagger and swing; bigger electronic beats; a much bigger rush. Whereas previous incarnations have been more Soul-influenced, here there is an emphasis on Electro.-Pop and electronic influence. Much more suited to the dancefloors and beach scenes- as opposed to Jazz clubs and soul-searching moments- we get more of a smile (in spite of the subject matter). As Boleyn wants love and belonging, the composition swirls and pummels; it is a fast-racing and breathless thing- showing how much more confidence/passion Boleyn (has now). There is quite a difference between Tough Love and, say, Cemetery. Since her debut release, the young singer seems to have matured and developed- throwing off her old skin and bursting into life. Keeping her voice and lyrics strong and ear-catching, instead the overall sound has been bolstered- it is more alert and vibrant; essentially more modern-sounding. Whether you view this as a good thing- Boleyn’s music varies between modern-day rush and vintage Soul without compromising her personality- you will love Tough Love: it is the (urgent) sound of a young woman on a mission.

Tough Love begins with some gentle electronics: almost classical in tone, it builds up a sense of intrigue and romance. When Boleyn comes to the fore, her words are questioning and imploring. Her future seems uncertain; she’s searching for love: will things work out? Will she find someone out there? Riddled with doubts and uncertainty, our heroine is looking outwards for answers. Just as the song starts to settle into a calming (sense of self-examination); the composition rushes and bursts- becoming more frantic and full-bodied. Building off a simple refrain- “I don’t want your tough love”- our heroine has had enough; clearly at a critical stage, she wants a change. The composition joins crackling percussion- providing a sense of urgency and heartbeat- and swelling electronics. Sounding contemporary and mainstream- it could easily accompany a similarly high-charged song by Boleyn’s contemporaries- the vocals elevate proceedings. Retaining her traditional sense of Blues-cum-Soul emotion with passion and urgency, you are caught up in the song. “Say I’m right or don’t speak”; “Please do as I ask you” are two thoughts (that hit my mind): the former shows a woman who has seen too much pain; been through a great deal of upheaval- at a point where things need to change for the better. The latter solidifies this: that urgency and strain comes to the forefront; that need for escape and betterment is clearly evident. Boleyn’s husky and swooning vocals- employing small elements of Winehouse and Cilmi- makes everything sound more authoritative and pressing. Were the vocal sweet and effete, the song would lose a lot of potential- it would come off as rather ingénue and naïve. Boleyn’s full-bloodied womanly deceleration stands proud- and makes Tough Love an arresting thing. That insatiable chorus comes back to rule: quotable and sing-along, it grabs and seduces- an explosion of electronics and voice; a combination of tension and release. A sure-fire festival chorus, it is designed to unite crowds; get hands raised- and gets voices singing. Usually (songs like Tough Love) would be designed towards a certain market- females normally; the younger sect- and would normally have limited appeal. With the messages very much of a female perspective- with songs that do not reach beyond these confines- it is quite frustrating. Most modern Pop/Soul singers- who write similar songs- limit their appeal and audience- come off as limited and one-dimensional. Boleyn is not aiming for a ‘key market’ or demographic: the track is designed for the masses; for your boys and girls, young and old- anyone who care to take notice. This widescreen appeal does not come at the expense of quality and integrity: the track does not dumb-down or betray its roots; it is a filled with detail and consideration. As the song nears its end, our heroine is still searching (for answers): she is “sick of trying”; having been through the mill, she has reached an impasse. The composition introduces some twanging strings; injecting that passion and rush- before the chorus is upon us. The key to Tough Love is its simplicity and chorus. Being quite chorus-heavy, its central message is the weapon at hand: something that is deployed and used to great effect. The song is something of a rarity for Boleyn: it is unlike her previous output; I am unsure whether (her forthcoming album) will contain similar tracks- Tough Love is a slight one-off. If you are a fan of Boleyn then you will not be disappointed: the track contains her hallmark vocals and direction; the change towards Electro./Pop shows a natural development- and not a permanent switch. The Boleyn Affair is sure to contain mixtures of sounds: Blues/Soul ‘classics’ like Cemetery; harder rushes like Tough Love- something more gentle and acoustic-led. An artist that wants to employ diversity and range, Tough Love is a tantalising release. Perhaps those who favour Rock/Indie sounds will take more convincing: the song will need a few spins before its layers are revealed. At the end of the day, Tough Love is a confident and catchy slice of song; something that shows a sensitive and open writer- one who knows the importance of nuance. Tough Love is not a disposable song: it is something that sticks in the mind; reveals new insight (upon each listen) - positive signs with regards the album. A track that looks at love and frustration; the need to find happiness and satisfaction, everyone can relate: the song speaks to the masses; it can be extrapolated by everyone- in that sense, few will not find anything to recommend. I love Boleyn’s voice and its dark huskiness; it has highs and sensitivity- quite a multifarious and varied instrument. Moulding simple and effective lyrics with a complex voice, it is a wonderful combination- it comes off superbly on Tough Love. With some terrific and clear production values, few can deny the charms on offer. One thing is for certain: The Boleyn Affair is an album everyone will want to investigate.

What of Hannah Boleyn’s future? Well, the solo sector is a busy and competitive one: there are new entrants each week; the quality is high (well, it’s variable actually; some fantastic most pretty okay), but I feel Boleyn will do just fine. Tough Love is an open and honest tale: a song that yearns for satisfaction and comfort; a young woman in need of loving arms- a traditional and personal tale. Building off a fantastic chorus, the lyrics are a great insight (into our heroine’s romantic past) - a terrific achievement. It is hard to say what the album will contain- more tracks like Tough Love or fewer examples of this kind; some more uplifted and defiant tracks?- but it is surely going to be a fantastic thing. Boleyn has a very hungry sense of determination; an artist who wants to remain- and record music for many more years. Being fairly new off the blocks, time will be the important factor: whether Boleyn can capitalise on her initial promise- secure a long and prosperous career. When reviewing Nelly Furtado on Saturday- a small review of her debut, Whoa, Nelly! - I highlighted one vital factor: her uniqueness and sense of style. Not one of your Pop princesses- who are committee-made and without any sense of personality or talent- she came across as fresh and daring. Bending her notes and words; stretching lines and peppering lyrics (with vocal tics and quirky asides), she made an impact- few singers are as distinct and memorable. Not only (was her voice) both instant and original, her lyrics betrayed any preconceived notions: mixing behind slams on the modern-day (radio-friendly) scene- Shit on the Radio’- and personal freedoms- I’m Like a Bird- her subject matter varied vastly. Not willing to stand still, her album was packed with personality and uplift; insatiable choruses and a gorgeous voice- sounding like nobody else but Nelly Furtado. Boleyn is yet to drop her new L.P.- that comes in a few weeks- yet Tough Love shows plenty of familiar comparisons: a voice that is uniquely hers; a special way of phrasing; that knack with a chorus- my suspicion is the album will build on this and expand outwards. If that is the case- evidence suggests there will be variety and excitement- you should keep your eyes peeled. Hannah Boleyn marks herself from her peers; aside from the urn-up-and-sling-some-generic-music-together posse. Tomorrow, Boleyn plays Ronnie Scott’s (Jazz Club): a practical rite-of-passage for young singers worth their salt. An exciting gig for sure, and one that proves one thing: the capital is embracing what they hear; there is an audience out there. The young singer has worked hard her career: made steps and tirelessly plugged; that sense of ethic and indefatigableness comes through (on Tough Love). Make sure you check out the song- enjoy every note and confessional beat- and investigate an artist with a lot to say- someone with clear signs of longevity and prowess. Packing huge emotional weight; hugely effective as a lyricists- and possessed of a voice that could melt the ice-caps- Boleyn is on her way to the top. It will be hard to forge some space; poke her head from the throng, yet she need not worry: her music has potential enough to elevate her to great things. In time her social media ranks will swell; more will be known about (the personal behind the voice) and more gigs forthcoming- must go and see her the next time she plays London. I am glad I found Hannah Boleyn: an artist I will be watching closely; seeing where she goes from here. Tough Love is an earnest and spine-tingling statement from a young woman with plenty of strength and passion. As I close this review I am pleased: not just for the sake of witnessing a brilliant young talent, but most impressively I didn’t even make…

A single Anne Boleyn/Henry VIII joke.

[youtube https://www.youtube.com/watch?v=EqRpPM2llGE&w=560&h=315]

________________________________________________________________________________

Follow Hannah Boleyn:

 

Official:

http://hannahboleyn.co.uk/

Facebook:

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

Twitter:

https://twitter.com/thehannahboleyn

__________________________________________________________________________

Music:

https://soundcloud.com/hannahboleyn

 

 _________________________________________________________________________

Videos:

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

 

This Week's Albums: August 1st, 2015

This Week’s Albums:

 

August 1^st, 2015

IT is a case of “Something old, something new/something ‘borrowed’, something…

 

that doesn’t rhyme. “  I do a D.J. gig every week; I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts)- in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; from FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people (about music); play some awesome stuff- turn people on to some great/forgotten sounds (well, I try to).  I shall publish this every week; try and highlight some fantastic albums- maybe some you had forgotten about.

The Old: Pink Floyd- Wish You Were Here (1975)

10/10

Following the success of Dark Side of the Moon- an album that by all means, changed the face of music- the band produced Wish You Were Here: an album that differs yet contains the same quality and sense of genius.  Where D.S.o.t.M. was a dark and challenging listen- ethereal and haunting the one moment; disturbed and shivering the next- Wish You Were Here (an album about and inspired by, Syd Barrett) is a gentler, more textured thing.  Although there are few songs (five in total) the songs are sweeping and grand- no track is shorter than 5:24 (Have a Cigar); the Shine On You Crazy Diamond suites (that bookmark the album) total 26 minutes.  The band have gone on record stating (the album ranks as their) favourite; a pleasure to listen to- their crowning achievement.  From Welcome to the Machine’s pulsing build-up- fractured electronics and aching vocals- to the title track’s heartbreaking lyrics (“We’re just two lost souls/Swimming in a fish bowl”); it is a phenomenal achievement- an album that should be cherished by everyone.

[youtube https://www.youtube.com/watch?v=hMr3KtYUCcI&w=560&h=315]

The New: The Maccabees- Marks to Prove It (2015)

8/10

 

An album that has been greeted by mixed reviews; it is your classic vote-splitting album: an L.P. that is intriguing and impressive yet not strong enough to draw new fans.  The London band’s fourth album sees them in fine voice- I would give the album 8/10 for interest’s sake- and following up 2012’s Given to the Wild.  This time around the group sounds inspired and united; in love with the act of making music- a band finding their true voice.  Spit it Out- the finest track of their career- begins with gentle piano; the atmosphere builds (the vocal is both tender and haunted) and flourishes- the song explodes into life.  Not just a simple fluke, the band follows this up (with four or five similarly ambitious tracks).  The title track is a rushing paen to the strains of modern life; the stresses and oddities of our society/city life.  With its racing vocals- a composition that hurries and scrambles- it is a tremendous gem.  Perfect for nights in- or dancing in the summer sun- the album contains ounces of passion and heart; insight and drama- awash with stunning tracks.  Whilst not their strongest album, it still shows a band that are at the top of their game- with plenty more to say…

[youtube https://www.youtube.com/watch?v=ga6R2MBBHo4&w=560&h=315]

The Influencer: The Smiths- The Smiths (1984)

9.5/10

 

One of the most influential acts of the ‘80s- the decade was not a complete car crash- The Smiths have inspired a huge amount of bands- half of the bands I review regularly possess Smiths-esque touches.  Morrissey’s witty and unique lyrics; his stunning and semi-operatic voice- tied to Johnny Marr’s stunning guitar work- came together in their debut L.P.  This Charming Man is the iconic standout: the song that remains their most quoted/famous.  Although The Smiths turned in better albums- The Queen is Dead is their finest cut- they were fully-formed from the off- turning in an album that changed the face of guitar music in the U.K.  It was not just the songs’ structures that were radical- breaking away from the verse-chorus-verse predictability- but the lyrics and compositions.  The former looked at everything from sexual frustration to child molestation; violence to homosexuality.  The album started a revolution in music; the public were staggered (by the Manchester band’s) sound and innovation- in no small part due to Morrissey’s wonderful penmanship.  With his delirious croon bringing the subjects to life, Marr laced the songs with intelligence, emotion and diversity- a stunning arranger and wonderful guitarist.  An album that will continue to inspire and amaze.

[youtube https://www.youtube.com/watch?v=cJRP3LRcUFg&w=560&h=315]

The ‘Other One’: Nelly Furtado- Whoa, Nelly! (2000)

8.5/10

The stunning Canadian singer burst onto the scene with Whoa, Nelly!  Differing from the crop of singer-songwriters (of the era), Furtado’s distinct style and projection took critics by surprise.  Amidst the sea of Pop puppets- and premed princess of the scene- Furtado was a refreshing antidote.  Her scatting and note-bending fused with elongation and unique quirks- making her songs stand out impressively.  Filling the album with upbeat and positivity, the young singer displayed a sense of wit and naivety (some of the lyrics and songs fall short but they are few and far between).  Turn Off the Light is an infectious and album standout- that shows Furtado at her eccentric and mesmeric best- and is one of my all-time favourite songs.  I’m Like a Bird is the singer’s “freedom song”- a simple narrative that is impossible to forget.  Shit on the Radio (Remember the Days) does what it says; it’s the response to market forces- that desire to ‘fit in’ with the modern scene; hence the outpouring of dirges and bland songs.  The entire album brings sunshine and smile; it is to played loud and proud- a perfect solution to the capricious nature of a British summer.  If you have not checked it out, then there are no excuse- and dare to prove me wrong.

[youtube https://www.youtube.com/watch?v=kOL7aeIDruA&w=560&h=315]

Track Review: Scout Killers- Honey

TRACK REVIEW:

 

Scout Killers

 

Honey

9.2/10.0

Honey is available at:

https://www.youtube.com/watch?v=7aMtzU4fn8M

RELEASED: 5^th June, 2015

GENRES: Rock, Alternative

ORIGIN:

Bath, U.K.

The E.P. Stand Your Ground is available at:

http://scoutkillers.bandcamp.com/

TRACK LISTING:

Stand Your Ground- 9.2

The Rains- 9.0

Time and Again- 9.3

Honey- 9.2

Cease and Resist- 9.2

DOWNLOAD:

Stand Your Ground; Time and Again; Honey

STANDOUT TRACK:

Time and Again

RELEASED:

12^th December, 2014

ANOTHER day welcomes another band…

to my attention.  From Americana and Blues sounds, today something new is afoot: a band that has crafted their own stamp on the Alternative/Rock scene.  A lot of modern acts- that play in these genres- tend to tie too closely to other acts: lack originality and come across as a bit stale and forced- there are exceptions to the rules.  In today’s scene- and with the amount of new acts coming through- the competition is pretty tough; there are few excuses for playing it safe- if you do not distinguish yourself, you will find yourself buried.  The biggest variations (in music) come when you look to other genres- electronic music is perhaps ahead of the field.  When you mix genres and sounds; take leaps and be innovative- that is when you come up with the best music.  To my mind, the Alternative scene is becoming a little predictable: so many new artists lack that killer hook; their songs seem rather predictable and unmotivated- the whole sound comes off as insipid.  This is a generalisation, yet there are some bands that buck the trend.  For a start, the lyrics need to be unique: stay away from overused fell-in-love-had-heart-broken-what-will-I-do mandates; take time to craft words that have a distinct bent.  Once that has been cracked, the music needs to stand apart.  Too many acts present rather mundane and tired compositions; there are few surprises and distinguished moments- it leaves the listener somewhat disappointed.  The vocals are vital, too: make sure they are filled with passions and urgency; do not sound too like anyone else- grab you from the first moment.  Scout Killers are new out of the block: the band are taking their first steps; having released latest record (last year)- the band have already released an E.P.- the signs look good- fans and reviewers are pricking their ears; the five-piece stand apart from their peers; their heavy-cum-universal sound is proving very popular- and no surprise.  Before I continue on, let me introduce Scout Killers:

“Scout Killers are a five piece alternative/rock/indie band that formed in late 2009 in the Bath and Bristol area. The band currently consists of Scott Cox (lead vocalist), Julien “Zombie Beast Man” Morrez (guitarist and backing vocalist), Beau Stevens (guitarist), Josh Ellis (bassist), and Chris Phillips (drummer).

The band draws its influence from such artists as Rage Against the Machine, Queens of the Stone Age, Pearl Jam and Red Hot Chili Peppers. It's clear to see from their powerful live sets that they hold viscerally expressive vocals, atmospheric and foreboding guitar swells and shadowy rhythmic undertones high on their priorities when it comes to songwriting.

After a successful tour following the release of their EP “We Cage the Storm”, and a well-received music video for the single version of “The Waves”, it was time for the band to head to the recording studio. One bloody, sweaty, tear-filled year later, Scout Killers re-emerged.

Now, with their debut album released, and the music video for the album's flagship song “No Reason” having been met with such a positive and welcoming reception from fans and critics alike, it's no wonder that Scout Killers are being described as having a “very promising horizon ahead of them.”

Their new E.P./album (technically the former) Stand Your Ground is gaining positive feedback: their renewed confidence and fresh sounds are enlivening and festival-ready.  Although their influences are somewhat overused- Queens of the Stone Age and Rage Against the Machine are obvious influences- the band do not rip them off; they channel their essence- tie them around their own voice and flair- and come up with something striking.  One of the best things about the band is their location: based out of Bath, the boys are putting the city on the map.  So many bands emanate from London/the north, so it is great to see a Somerset band come to the fore.  I hearing what different parts of the U.K. are offering: you can get a real sense of an area, based on the music that comes through.  A lot of London-based bands tend to be heavy and hard; further north there is more melody and range; Scottish bands are among the most innovative and unique.  Too many new acts are scared of stamping their own footprint: they hear the mainstream bands do well and decide (the easiest course of action) is to take their sound; lazily repackage it and pass it as their own.  Scout Killers have their own range of idols- and instill a little of each into their boiling pot- yet are determined to present their own voice; not come across as uninspired.  Because of that, the band has built a solid fan-based.  Critics and fans have been flocking to see the boys; reviews have been positive and laudatory: their new track is already gathering some pretty impressive praise.

To see how far the band has come, one must look back- investigate their previous output.  Back in 2013 (in July) the band unveiled their debut album.  Self-titled, the L.P. was rife with early promise: from the distorted/T.V./radio tuning introduction of Red Sky; the band went in hard- and stamped a unique take on things.  Subverting expectations- and building up a lot of intrigue- it was a perfect opener.  Tracks such as Too Close bristled with stadium-sized riffs- the sort Foo Fighters are masters of- and Long Way Round possesses heart and genuine emotion- a track that mixes tenderness with prowess; power and sensitivity.  By the time we reach the closer (Push) the sense of innovation does not abate: the swansong is a perfect finale (to a tremendous L.P.).  To my mind, the band has improved in the last couple of years.  Their debut album was replete with sonic innovation and genuine talent.  Perhaps a little indebted at times- certain verses/compositions reminded me of Californication-era Red Hot Chili Peppers; sometimes elements of Rage Against the Machine were too evident.  From the debut days, the band has expanded their palette; brought in more diversity and range- in addition to crafting a more original and strong voice.  The performances are stronger and tighter; the compositions more fascinating and multifarious; the songs more nuanced and memorable.  Although there were exceptional songs from the off- the likes of Red Sky cannot be denied- the band are now more focused and confident.  The songwriting is more rounded and assured; the lyrics more fascinating/varied- a stronger outfit altogether.

With so much quality throughout Stand Your Ground, Honey is perhaps the most ‘traditional’ Scout Killers track- that would remind you of their early work.  Uniting their sapling sounds with more up-to-date influence/inspiration, the boys start with a huge kick.  Earthy and sensual; pounding and primal, the sparse beats (that welcome the song in) are an early declaration- the potency and passion is stunning.  Controlled and emotive, the band manages to whip-up infant fascination- with as few notes as possible. Yearning (guitar) strings melt with syncopated beats; reminding me of In Rainbows-era Radiohead- sensational cuts like Weird Fishes/Arpeggi and All I Need- the song remains controlled and firm whilst showcasing a real ear for emotional build.  Perhaps the Radiohead comparisons are apt- little flecks and moments put me in mind of their finest moments- yet it is the band themselves that shout loudest- a very distinct product of Scout Killers.  Swooning and floating; toe-tipping and serene, it is impossible (not to) get caught up in the introduction- it is one of the most perfectly-formed I have heard this year.  After the majestic opening, the song starts to crank up; the vocal comes in- initial words look bedroom scenes (lights on; blinds should be closed- questions about fatherly love).  Within a few lines- where our hero looks at an ingénue and distinct central figure- the song begins its mystique.  In my mind, I was looking at a lonesome teen (female); someone who maybe is shallow and free from respect- maybe pushed away by her friends.  The music video (on YouTube) sees a gorgeous young ballerina apply lip-stick; with a vacant stare, she is the embodiment of the song.  Caught up in the rip-tide, the listener is powerless to escape- picture the scenes and imagery.  With its accompanying video- that reminds me of Wild Beasts’ Albatross; shows the young star pirouette and dance alone; dazzle in the light- it perfectly soundtracks the song- helps to get behind the song’s meaning.  The band keeps things level and focused; the composition trips and delicately plucks- the vocal is whispery and romantic; filled with passion and potency.  Whoever the subject is- whether a former sweetheart or friend- you look at the song in two minds- caught between sympathy and a sense of condemnation.  Our hero advises warning and caution- “look at only your mistakes”- and there seems piecemeal empathy.  Whilst the verse progresses, things become clearer- the verse looks at a romantic partner; someone who has come crawling back (to our lead)- and light is shed.  Many songs look at similar themes- a former love comes back for more; causes much heartache and worry- yet Scout Killers find a new spin; do not make the song too heavy and accusatory- there is an underlying sense of forgiveness and tolerance.  Couple a griping and swooning vocal; a rich and engaging composition, and there is scant vitriol- making the song more three-dimensional and loveable.  By the chorus, the composition becomes harder and granite- Grunge shades of Ten-era Pearl Jam- as our lead lets his voice soar.  The band does not stray too far from a tried-and-tested presentation- in terms of the compositional elements and structure- but this works in their favour.  They do not wander or needlessly divert; instead keep the song focused and tight- instead adding ounces of beauty and grace.  A perfect soundtrack- for either your summertime festival throngs or late-night moonlight drives- the song soothes the sense and spikes the brain- the track is both gentile and forceful.  By the midway point, the composition starts to change a little: the percussion becomes more prominent; the vocal more determined and soulful.  Our hero looks at his girl; the ambitions and dreams she had; what she wanted to be- the sense she has wasted time and clung on to a life raft too long.  By the second introduction of the chorus, the scene becomes heavier still- the composition gets fiercer and the sense of anger more evident.  Mixing traditional Alternative shades with bespoke Scout Killers qualities- their ear for compositional dynamics and emotional deployment.  Essentially, the band knows when to hit it hard; how to get the biggest reactions from the music- how to build a song up.  Before the track is through, the band let the composition into the spotlight.  The guitars start to chug and sway- like a huge wave crashing the rock- those Grunge/Alternative shades become more persistent (and replace earlier calm and tenderness).  Combining with the chorus, the guys rise ever higher- the vocal is at its most tortured here.  Straining and roaring, our lead reaches for the heavens (or perhaps Hell I guess) as the song comes to its conclusion- and leaves the listener with questions.  Wondering whether issues were resolved- whether our hero will repeat patterns of the past; his girl will figure out what to do- there is that sense of mystery.  Whilst not their finest track, Honey is a perfect example of their modern work: it shows how far they have come; what confidence and quality they have at their disposal- a band that deserves a huge following.

Each member (of the band) turns in an exceptional performance.  Since 2009- when the band recruited its ranks from the Bristol and Bath area- the guys have become stronger and more confident.  Their Cage the Storm E.P. - forgot to mention it early; essentially a natural playmate of their debut album- was a terrific effort; their current work is their strongest.  Scott Cox’s lead vocal is very much his own: there are shades of Eddie Veder and such- yet nothing too obvious or scene-stealing.  His voice has developed and matured- since the earliest days- and his sense of passion and urgency is at its peak.  Capable of ranging from an impassioned coo- in the early stages/verses- to a blood-curdling assault—the latter moments- it is a stunning performance.  Cox very much takes you inside the song; grips the imagination and senses- his aching tones come across as completely genuine and true.  Julien Morez (“Zombie Beast Man”- must be a family name) and Beau Stevens unite their guitars.  Covering a huge amount of ground- from gentle and plaintive lows to enraptured highs- they showcase a huge amount of talent and skill.  Very much unique players, the duo conspire with a sense of unity and intuition- neither player steps on the other; they fuse their guitars to create a fantastic thing.  Josh Ellis’ bass guides the song forward; it is the heartbeat of Honey that guides the song forward.  With his unique voice- he fills the song’s spaces superbly; creates a distinct sense of identity and rhythm- his bass fits wonderfully with the band.  Seamlessly fitting in the fold, the bass work supports the percussion; emphasises the mood of the song- elevates the composition hugely.  The percussion work (from Chris Phillips) is exceptional throughout.  In the early stages, he elicits punchy beats: acts as an accelerated heartbeat; maybe a strike of anxiety- he manages to create a sense of atmosphere and (building tension) with a single beat.  As the song develops, his drum becomes faster and more empassioned- towards the end it is a firestorm of passion.  Never pushed to the back- his beats, at times, are right at the forefront- he perfectly supports the band; keeps things tight and controlled- whilst proving what an essential player he is.  The entire band are tight and in-step throughout; the track is a natural evolution from the band- they show just what a tantilising prospect they are.  Combining mainstream qualities with underground grit, Honey is a song at home on the airwaves (Absolute Radio and XFM) as it is at small (and sweaty) clubs.  It has sweeping emotion and a desire to be loved; a sense of rebellion and plenty of anger- all the things you want from a song.

Having listened (to the entirety) of Stand Your Ground, you can hear that confidence and passion: the band is not in it for the short-term; they have a desire to become festival mainstays- they have the potential to be just that.  Each (of the five tracks) bristles with energy and emotion; the performances are universally exceptional- the title track is the perfect kick-off.  Starting with moodiness and build-up, there are strings and echoes; ghostly vibrations and electronic buzz- a real mixture of moods.  Perfectly blended, the song punches and kicks; that neon fuzz is joined with sparking guitar- the combination elevates the song hugely.  Anthemic and defiant, the boys are standing their ground: our hero stands with his subject; fighting against the tide they are overcoming the odds- and not backing down.  With its swaggering and bolstering composition- that marries delicious riffs with powerful percussion- the song gets under the skin.  Completed with a lustful vocal; a huge amount of passion and it is the perfect lead-off.  The Rains begins more urgently- than its predecessor- and chugs into life; building steam it is a compelling number.  The vocal contains its patented blend of urgency and emotion: the composition itself is at its fervent peak- threatening to explode under the weight of things.  Teasing and testing; scenic and simple, the track is another gem- one that compels the listener to picture the scenes; immerse themselves in the music.  Time and Again is one of the most curious tracks: its introduction is lighter and more summer-like; there is a calm and serene breeze to it.  Almost an acoustic-led number, the track shows the band more restrained and reflective.  With a vocal that mixes breathiness and seductiveness, the band is in introspective mode.  Perhaps with a little edge of Pearl Jam (and their calmer, yet more emotive moments) the track never explodes or betrays its roots.  Wonderfully performed and gripping, those vivid lyrics come to the forefront: rain battering down; the need to protect (his sweetheart/friend); the building tensions.  Acting as a safeguard, our hero pours his heart out; the song acts as a declaration- the band are more than up to the task.  Tight and seamless, the entire song shows the lads at their most intuitive- one of the best tracks from Stand Your Ground.  Cease and Resist has a spooky and hard-hitting beginning; ethereal build and squalling riffs marry together- it is the hardest track on the record.  Primal and brutal, the song clatters and claws; feeds and lusts- the band spring into life.  A perfect swansong, the song is impossible to ignore.  With a vocal that remains calmed- well, it does not scream- the song is one of the stand-outs.  The composition is one of the most dizzying: twirling strings and jumping riffs spar with tight and menacing bass; the percussion snaps and strikes- a fitting end to Stand Your Ground.  With its ferocious lust- still ringing in the ears- it is a memorable song- one that shows what a range the band has.

It is this range that defines Scout Killers: they do not stick with one tired sound; they vary their ambitions and projections- without sacrificing their own identity.  Sure, there are elements of Rage’ and Queens’- some little sniffs of Linkin Park in the finale- but the south-west boys are their own boss: a group that have their own tales and ideas; keen to break away from the pack.  I know how hard they have worked; how hard they tour- they are keen to get their sounds heard by a large audience.  Their social media numbers are rising; their name is starting to gather huge pace- Stand Your Ground is their statement to the world.  Honey is the perfect introduction to the band: it fuses their hard and passionate edges; some softer and more melodic centres- words that burrow into the mind and speak to the listener.  One of the most tight and well-rehearsed bands I have heard, their music sounds seamless and perfectionist- yet they have a great loose vibe to things.  It is only left for me to implore the band to come down our way (London).  As part of their tour, the band play Newcastle, Birmingham and Oxford- let’s hope they have a London date very soon.  There would be venues willing to house them; some right on my doorstep, so it would be great to see them- I can imagine they are a fantastic live proposition.  In a week where I have seen one of my favourite acts (Bi:Lingual) call time, I am keen to help bands survive- too many terrific artists have had to break-up; overcome by the lack of public support.  Scout Killers should have no such fears.  Their fan-base is pretty loyal and dedicated; they are gaining new ground (by the day) - hopefully they will recruit new followers very soon.  In an age of sound-alike and uninspired bands, it is great to see Scout Killers succeed- I cannot wait to see where they go from here.  I suggest you snap up Stand Your Ground- you can get it on their BandCamp page- and investigate Honey (and its terrific, balletic-themed video).  The lads are on a rampant charge; they have talent in their arsenal- a group to keep your eyes on.  If you are looking for a new muse; a band that ticks all the boxes; differs from (the tiring norm) then look no further…

I know just the guys!

[youtube https://www.youtube.com/watch?v=7aMtzU4fn8M&w=560&h=315]

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Follow Scout Killers:

 

Official:

http://www.scoutkillers.com/

Facebook:

https://www.facebook.com/scoutkillers

Twitter:

https://twitter.com/scoutkillers

Instagram:

https://instagram.com/scoutkillers/

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Music:

https://soundcloud.com/scout-killers

 

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Videos:

https://www.youtube.com/channel/UCX7CkyTDXwkncDcQvtqH3Pw

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Gigs:

http://www.scoutkillers.com/gigs/

Feature: Music- the Modern-Day Gamble

FEATURE:

 

Music: The Modern-Day Gamble

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With a few of my favourite (new acts) calling time; I am saddened and shocked- although it is perhaps not surprising.  So many new acts are coming through: given that, is the music industry turning into a giant gamble?

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THIS past week has been a weird Hell-ride of varying different…

emotions and plans.  On the one side, certain parts of my personality have done damage- the depression/anxiety coaxial; self-doubts and fears- looking at my bank balance have exasperated the issue.  On the flip-side, the bad aspects have forced me to focus elsewhere: namely London (moving to and working in); and steady employment- a full-time score at a music P.R. agency- coupled with some charity work- would be awesome.  When I consider the ‘plans’ part of the argument- doing what I SHOULD be doing; moving somewhere that is a lot more ‘me’- I have had my doubts.  In addition to worsening neurological symptoms making my writing a bit sloppy- my social media statuses have more errors of grammar and spelling- I wonder if I am cut out (to be a writer).  Having looked out the music world, I am throwing caution to the wind.  There are so many great acts out there- some stunning sounds coming through- I cannot help but get involved; put pen to (electronic) paper and share the word- the best music needs eyes and ears dedicated to it.  Something is making me sad, alas: many great artists are having to quit and pack things up; give up on their craft for various reasons- lack of commercial support; financial strains or bond-breaking within the ranks.

One of my favourite acts (from the last couple of years) is Crystal Seagulls: a London-based act fronted by the talented- and fine-looking chap- Jim Lawton.  The band mix (or I guess it should read ‘mixed’) Indie-inspired sounds with stadium-sized choruses- their songs mixed everyday emotions with personal heartaches.  On paper it may sound like a tried-and-tested formula, yet Crystal Seagulls superseded expectations: the workmanship and nuanced elevated them above their peers- songs like Play Dead and Stroked drip with quality and panache.  Having reviewed the band (on several occasions) each new visit brought fresh surprise: every single song contained its own personality and drive; no weak links or moments- I tipped them for festival glory.  Whether a death-kiss (I’d like to think I’m intuitive enough to know greatness when I hear it) the plain fact was, the band had to call it quits- these things do happen.  Not wanting to push the agenda- and find out the specific reason behind the band’s demise- I know its members are looking around- Lawton himself is planning new music; he’s a talent too ripe to be left on the shelf.  I was shocked when the band split up- back in March of this year- as things seemed so assured and set: their music was gaining recognition and support; the quality improved by the release- it was only a matter of time before greatness arrived?  Sadly, no; the market forces and competition- tied to pressures of making music- made their mark; the band went their separate ways- at least we got the enjoy their music in the first place.  I understand that bands/musicians- regardless of how awesome they are- don’t always go all the way; fulfil their full potential and make the mainstream- Crystal Seagulls seemed dead-set.

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Two more acts- that have sadly gone the way of the elephant in the room (or dodo; I’m getting confused here) are The Bedroom Hour and Bi:Lingual.  The former were- in addition to being another London band- a great Indie-cum-Rock band.  With phenomenal vocals and lush compositions- think a splash of Elbow tied to something symphonic; via some edgy electronics and swaying codas- the band gained huge following.  Having crafted gems like Hinterland (their last full work) and Themes, the boys showcased huge qualities: the songwriting was relatable and inspiring; the performances tight and razor-sharp; the emotion dripped from the speakers- tied around anthemic scores and stunning stories.  Another band I oft-reviewed, each assessment brought a smile to my face: coming away from their music, I always felt better and more uplifted- compelled to pen my own songs; look inside myself.  Originality was never a factor: the band always produced unique and personal songs; never owing a debt to any of their heroes.  Although the vocals possessed a mingling of Elbow-cum-Doves, the songs stood above prediction- each one was very much a product of The Bedroom Hour.  A young and hungry act, it seemed like everything was laid-out- another act destined for the festival circuit.  Being based out of (west) London, the guys had the capital at their feet; a wealth of fans and venues- perfect opportunity to show just what they could do.  When the band decided to split, again, my heart was broken: I was looking forward to seeing the lads play; review their next release- watch them climb to the top.

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This week has been tinged with sadness: my old muckers Bi:Lingual have announced their resignation from the music world.  Citing a lack of public support, I was shocked and shamed: the guys’ music is so rare and sparkling, how could it not gain a huge following?!  What separated the band from their contemporaries?  First of all, their style was fresh and innovative: fusing Hip-Hop and Rap, the boys laced in Hard-Rock and Metal- a veritable cornucopia of grit, rush and street-level Rap.  Putting important subjects under the microscope- the ineffectiveness of a lot of (modern-day bands); society’s less-than-reputable characters- the band were a gang on fire- saying things we were all thinking.  The lyrics were smart and sharp; the vocals frantic and impassioned- the band performances chocked with rage and style.  If you imagine a lovechild of Rage Against the Machine and well, THEM.  The boys (based up in the north-east called time due to personal issues; an inability to push their creativity forward- in essence public apathy can be added.  Their music deserves huge plaudit and promotion, yet many were not turned-on and in-tune- not sure why there was such a struggle to get the music heard and appreciated.  Maybe it is too vibrant and forward-thinking; perhaps a little too honest and raw- I am baffled to be fair.  Shocked at their announcement- the band has a last tour date; yet there will be no new music- it was a genuine kick in the face.  Speaking with Dylan Cartlidge- the band’s voice and lead- he has new ideas and songs; the man will be back and performing in the future.  With plans to book the band (for a charity gig); being close-knit with Allusondrugs- Bi:Lingual and Allusondrugs had a brotherly bond- the guys seemed like a great booking.  Whilst Yorkshire’s Allusondrugs continue to dominate, the equally-talented Bi:Lingual are nearing their final bow.  Few would have seen it coming; many are unwilling to believe it- the Bi:Lingual boys will play no more.

[soundcloud url="https://api.soundcloud.com/tracks/156430355" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

This is a subject I have touched on (well groped half-drunk to be honest); looked at in previous posts: a lot of great musicians are struggling to survive (in this current climate).  A few other acts- who shall remain nameless- have spoken about their struggle and expectations- the sense they are not (as far along as) they want to be; feel they are failing- unsure why they are not further along.  From superstar female artists to young bands, I hear a lot of the same thing: the public are not taking them fully to heart; their music is not getting full recognition- what is causing this?  There is an issue with personal expectation and desires: many new musicians want to be at the top instantly; they have ambitions to be big names- when it does not happen (at least at the early stages) it can cause stress.   The best musicians are always looking ahead; planning moves and aiming high- most want to be on the festival circuit; ruling the airwaves and dominate public consciousness.  Feeling marginalised and overlooked, musicians are feeling the strain: the feeling they are climbing a mountain; will they ever fulfil their dreams?  Away from personal goals, two other factors come into play: financial pressures and personal relations.  When you are entrenched in music- and have such a hectic creative process- personal bonds can be frayed; if you are in a band, relations can often take a hit.  That need to succeed and flourish demands huge time and effort; a lot of late nights and touring- inevitably things can become tense to say the least.  If that was not bad enough, financial issues can be a, well, issue.  It can cost- depending on which studio you visit- a hell of a lot to record a song/E.P.; many musicians have to work several jobs- just so they can cut a single.  With social media/music-sharing sites in full flight- and most acts feeling they have to give their music away- the profitability potential is reduced.  Unless you get gigs and sell music, where does the music come from?  After you have collected gig/music profits; deducted costs and expenses, there is not a lot left- you then need to find money to record new music.  When you work endlessly (at a job); spend what little time you have (recording music), it can become exhausting and devastating- leading to natural aging and decline.

Bands succeed and continue- the likes of Los & the Deadlines are perfect examples of groups showing no signs of slowing- and acts expand and succeed- graduating to the mainstream from the underground.  It is easy to point fingers (and pretty fun too) but it is hard to pin-point one aspect: just why certain musicians fail or split; why others continue to grow- social media is one of the worst perpetrators.  Still unregulated and compartmentalised (the likes of) Facebook and Twitter are chasms of randomness- no logical bonds and sense of organization.  What I mean is, they are a big mess; the layouts of both are insane- essentially one long timeline; you have to endless scroll to see if you have missed anything important.  Facebook and Twitter need a serious overhaul: with some organising and planning they can be a lot more effective and useful; make it easier to find the statuses/information you need.  It may be easy for me to say- and in practice hard to actually do- but social media needs to spend more time and money on improving their service; rather than whatever they do with their profits (the mind boggles).  Once this happens- and I’m not holding my breath the likes of Zuckerberg will do anything useful- we need a one-shop music website- something that tied together all the existing platforms.  There are some good music/social media tie-ins, yet nothing that is comprehensive and detailed.  If you had a Facebook-esque site for musicians/new music; channels for discovering new music/the best new acts (in addition to loads of other features) things would be a lot easier.  I tossed the idea around in a previous post- and my all-in-one website Psychoacoustics is still in the planning; would love to get a music café/bar set-up in London- and think it is a relevant concern- can we reliy on modern social media?  A contradiction in terms, social media is not pulling its weight; whether due to constraints- or people not being altruistic and thoughtful- bands are feeling the pinch.  All it takes is a share/re-tweet; a few seconds to click a button- it can change a musician’s entire career.

Whatever happens in the future- with regards music sites and organising social media- I am sad at the modern culture: it is not fair certain acts fail whilst others flourish.  As I bid farewell (to some great acts), my mind is racing; trying to figure something out- a way to make things better; prevent music-based tragedy from occurring.  As Bi:Lingual plan their farewell moves, all is left for me is to wish them the best of luck- I am sure the boys will be back soon (in various other formations).  I am always looking for ideas and inpuit; getting people involved- so we can all help and build something great.  Soon, I will be re-pitching/posting my music website/café idea (Psychoacoustics) - as I look to set up a charity too- and always want to promote great music.  It would be great to hear feedback- whether you agree with me; what the solutions are- so we do not have to bid farewell (to some bloody good musicians).  Music is a scary industry; it is a risk that does not promise success.  With success/the future being such a gamble, is it really worth the risk?  Well, in short, yes: I guess there is nothing we can do (to override the bad stuff) in the short-term.  For now, enjoy your favourite bands and acts; please share and promote their work- for God’s sake, it only takes a few seconds.  If I have to see another great act split up, I will have to think about my writing/journalism career (and whether it is really helping musicians).  When I think of that…

IT really does scare me.

Track Review: Lauren Housley- Ghost Town Blues

TRACK REVIEW:

Lauren Housley

  

Ghost Town Blues

9.5/10.0

Ghost Town Blues is available at:

https://laurenhousley.bandcamp.com/album/ghost-town-blues-single

https://itunes.apple.com/gb/album/ghost-town-blues-single/id1003856261

GENRES: Soul; Blues; Americana

ORIGIN:

Manchester, U.K.

Written by LAUREN HOUSLEY (copyright control) and THOMAS DIBB (copyright control)

LAUREN HOUSLEY - Lead and backing vocals CRAIG HANSON - Drums MARK LEWIS - Bass/Backing Vocals/Percussion THOMAS DIBB - Electric Guitars/Piano/Tambourine/Backing Vocals LAUREN HOUSLEY - Claps and Foot stomps STEVE PARRY - Organ Ghost Town Blues Choir - TOM BARBER-REDMORE, JON KENZIE, PENNY NICHOLLS, HAYLEY WILLIAMS

Produced by MARK LEWIS and THOMAS DIBB Executive Producer LAUREN HOUSLEY Engineered and Mixed by MARK LEWIS Mastered by PETE MAHER Assistant mixing by ADAM STOKEL at SPIRIT STUDIO (Manchester) Assistant engineering by MARK WAGSTAFF and GREG CHICHE Album photography by SVEN ESELGROTH Album artwork by JULIA LOWE Makeup by JOY ONONOKPONO BIG BAD RECORDINGS

The album Sweet Surrender is available from August 28^th.

The album is available to pre-order at:

http://laurenhousley.co.uk/shop

TRACK LISTING:

Nice to See Ya- 9.4

The Waiting Game- 9.4

If You Were Mine- 9.4

Face the World Alone- 9.3

Ghost Town Blues- 9.5

When Autumn Came- 9.3

Sweet Surrender- 9.3

Show Me What Love Is- 9.4

It Ain’t About You- 9.4

All You Need is a Friend- 9.3

DOWNLOAD:

Nice To See Ya; Ghost Town Blues; Show Me What Love Is; It Ain’t About You

STANDOUT TRACK:

Ghost Town Blues

All tracks written by LAUREN HOUSLEY and THOMAS DIBB All tracks produced by MARK LEWIS and THOMAS DIBB Executive Producer LAUREN HOUSLEY All tracks Engineered and Mixed by MARK LEWIS All tracks mastered by PETE MAHER

Assistant mixing by ADAM STOKEL on tracks 2, 3, 4 and 5 at SPIRIT STUDIO (Manchester) Assistant engineering by MARK WAGSTAFF and GREG CHICHE on tracks 5 and 9

Lead and backing vocals on all tracks by LAUREN HOUSLEY.

‘Nice To See Ya’ CRAIG HANSON - Drums, ALAN KEARY - Bass, THOMAS DIBB- Electric Guitar/Acoustic Guitar/Resonator/Backing Vocals, SCOTT POLEY - Dobro, STEVE PARRY- Organ, Rhythm Section and Vocals Engineered by DAVE KEARY at RED DOOR STUDIO (Limerick)

‘The Waiting Game’ CRAIG HANSON - Drums, ALAN KEARY - Bass, THOMAS DIBB - Electric Guitar/Guitar Solo/Piano/Backing Vocals/Claps, JACK MCCARTHY - Congas and Percussion, Mark Lewis - Backing Vocals/Claps, STEVE PARRY - Trumpet/Sax/Trombone/Organ/Wurlitzer, Rhythm Section and Vocals Engineered by DAVE KEARY at RED DOOR STUDIO (Limerick)

‘If You Were Mine’ JOHN HIRST - Drums, ALAN KEARY- Bass, THOMAS DIBB - Electric Guitar/Acoustic Guitar/Banjo, EWAN GUILFORD - Piano, SCOTT POLEY - Pedal Steel/Acoustic Guitar/Percussion, TOM BARBER-REDMORE - Backing Vocals

‘Face The World Alone’ JOHN HIRST - Drums, MARK LEWIS - Bass/Percussion/Backing vocals/Friction Fingers, THOMAS DIBB - Electric Guitar/Acoustic Guitar/Backing Vocals, LIVIU GHEORGHE - Piano/Electric Piano/Prepared Piano, SCOTT POLEY - Pedal Steel

‘Ghost Town Blues’ CRAIG HANSON - Drums, MARK LEWIS - Bass/Backing Vocals/Percussion, THOMAS DIBB - Electric Guitars/Piano/Tambourine/Backing Vocals, STEVE PARRY - Organ, LAUREN HOUSLEY - Claps and Foot stomps, Ghost Town Blues Choir - TOM BARBER-REDMORE, JON KENZIE, PENNY NICHOLLS, HAYLEY WILLIAMS

‘When Autumn Came’ THOMAS DIBB - Piano, CHRIS HILLMAN - Pedal Steel, ANDY CRICK - Cello, SIMMY SINGH - Violin

‘Sweet Surrender’ CLIVE MELLOR - Harmonica, JOHN HIRST - Drums, JOHN POPE - Double Bass, THOMAS DIBB - Electric Guitar/Acoustic Guitar/Piano/Backing Vocals, STEVE PARRY- Organ/Production/Engineering, SCOTT POLEY - Pedal Steel, RACHEL LASHAM - Percussion, MARK LEWIS - Backing Vocals

‘Show Me What Love Is’ STEVE PYCROFT - Drums, JOHN POPE - Double Bass, ALEX DEE - Electric Guitar, THOMAS DIBB - Acoustic Guitar/Piano/Backing Vocals/Banjo/String Arrangement, SCOTT POLEY - Pedal Steel/Electric Guitar, STEVE PARRY - Organ/Production/ Engineering, MARK LEWIS - Backing Vocals, String Quartet - Leos Strings: RACHEL SHAKESPEARE - Cello, CAROLINE PETHER- Violin 1, ROSEMARY ATTREE - Violin 2, ALEX MITCHELL - Viola

‘It Ain’t About You’ STEVE PYCROFT - Drums, JOHN POPE - Double Bass, THOMAS DIBB - Electric Guitars/Acoustic Guitar, STEVE PARRY - Wurlitzer, RACHEL LASHAM - Congas and Percussion, Backing Vocals - PENNY NICHOLLS and HAYLEY WILLIAMS

‘All You Need Is A Friend’ CRAIG HANSON - Drums, MARK LEWIS - Bass/Backing Vocals/Percussion, THOMAS DIBB - Piano/Acoustic Guitars/Backing Vocals, PHIL ROGERSON - Backing Vocals, RACHEL LASHAM - Percussion, STEVE PARRY- Organ

Album photography by SVEN ESELGROTH Album artwork by JULIA LOWE

THE past few days have provided…

a chance to investigate some terrific artists.  From U.S. Americana to British Folk it has been an interesting last few days: the arrival of my next review subject causes me much pleasure.  When reviewing Little Sparrow last week- British-based artist Katie Ware- I was staggered by her work (I reviewed her song Wishing Tree) and the talent behind it- and how far she has come.  I love reviewing band, but for my money, the solo market provides bigger promise- the effort needed (to succeed on your own) is immense.  Solo acts have managers and support, yet there is a huge task ahead: they have to forge their own career; take on all the creative duties- it can be quite a lonely life.  If that were not bad enough, there is still that (public tendency) to air towards the band market: the public purse usually favours this type of music; sole acts tend to play second fiddle.  Because of the constraints of lone performing- the amount of sound/variety you can produce is already limited (compared to bands) - it is harder to find popularity; there are definite constraints.  When a great solo artist comes along, it makes it all the more impressive.  After reviewing Manchester-based (Cambridgeshire-born) Little Sparrow, here is another Manchester singer-songwriter: an artist with a tremendous future ahead.  When speaking (via email) with Lauren Housley, I was amazed by how accommodating she was: all the information/photos/links I required were provided- and a lot more.  Keen and enthusiastic, it was a pleasure to see- few acts have so much passion and an incredible personality.  When looking into Housley’s music- and her biography- I was struck by the immense quality and unique bent.  Someone who is very much separate from the crowd, you will not hear another like her- the music on offer is among some of the most captivating and memorable.  Utilising the classic sounds of Americana and Country, Housley ties this to Blues and Soul motifs; adds some Blues-Rock swagger together with some Pop sweetness- the resultant creation is something few listeners can/should resist.  Aside from a stunning sound, Housley boats two other weapons: a tremendous voice and wonderful songbook.  Before I continue (on this point) let me introduce Housley to you- in her own words:

 “A woman walks into a bar and asks: “Do you want some live music?” In no time, the place is ringing to the vibrant and original sound of one of the most notable new voices in Britain.

The artist in question is English chanteuse Lauren Housley, who’s been tirelessly honing her stage and song craft, playing regular gigs for her ever-expanding fan base as well as some of those impromptu ones, and winning widespread acclaim for all of them.

All of that groundwork by the native of Rotherham in South Yorkshire, now based in Manchester, will soon culminate in ‘Sweet Surrender,’ the excellent debut album she is ready to unveil. Housley’s songs, all written with longtime creative partner Thomas Dibb, evoke the same ambience as some of her forerunners among strong, empowered female artists, such as Janis Joplin, Eva Cassidy and Lauryn Hill.

After the promise of her ‘Rather Be There’ single and the earlier ‘One Step Closer’ EP, the album confirms the arrival of a vocal and songwriting presence with tinges of blues, Americana-style country, old-school soul, pop and rock in her locker, but a warm, intense and engaging style that’s all her own.

To name just two examples, the slow-burning intensity of the ballad ‘Show Me What Love Is’ turns heads every time she sings it. Meanwhile, the upcoming single ‘Ghost Town Blues’ moves stylishly among its soul influences from Massive Attack to Motown. And they’re just a taste.

“I think I’ve always had an ability to connect with certain emotions,” says Lauren of her emotive style. “I’ve been writing songs since I was about 13, but back then, I probably didn’t know that I was. It was just a form of expression at the time.”

Around a packed datebook of gig engagements, such is her popularity, Housley made ‘Sweet Surrender’ in three different locations, with some of the best up-and-coming young musicians Britain has to offer. Sessions included time in Ireland at the studio owned by Dave Keary, guitarist with Van Morrison, and featured his son Alan playing bass.

Further recording took place in Wallasey, on Merseyside, with multi-instrumentalist and producer Steve Parry, whose extensive credits include being musical arranger on ‘The Voice.’ Producer Mark Lewis then recorded some tracks and ultimately oversaw the whole set. “He’s ended up developing the whole album,” says Lauren, “which is really nice, because it’s given it an all-round feel.”

Housley grew up in a household where her parents were “massive music fans,” and although there’s no professional lineage, her dad loves to sing and does a great Elvis. In her pre-teens, Lauren was a British aerobics champion, travelling the country and practising every day. Then came her formative songwriting, and when her mum came home with an Eva Cassidy album, a creative light really went on.”

The solo market- and especially the female solo realm- is producing some interesting artists.  In the mainstream there are some rather bland examples (the likes of Lucy Rose leap to mind) but some terrific acts (the likes of FKA twigs for one) - in the new music sector, there is more choice and quality.  Lauren Housley rises above her peers due to her confidence and natural ability- there are few voices as potent and attention-grabbing.  With her album around the corner (Sweet Surrender) tongues and mouths are salivating: it will be a chance to see the young artist in full flight.  Having received the album as a private link- the perks of being a reviewer- nah nah! - I can attest to its potential: it is one of the most scintillating and diverse albums I have heard (this year).  Housley’s unique perspectives and touching tales bring her songs to life; her compositions are rich and filled with detail- that immense voice is one to behold.  The solo artist has a lot of hurdles to face; the stress of getting attention and gigs- the endless work to ensure their careers can flourish.  Housley has little to worry about: her early work is filled with wonderful moments; there are no weak links or lesser tracks- the entire listening experience is phenomenal.

Lauren Housley’s album is the first fully fledged account of the young star: an opportunity to see her songwriting in full force; that voice let loose.  To my mind, she has grown in confidence; her music has developed greatly.  Rather Be There was released last April and was hotly received.  Filled with passion and energy, the song is alert and packed with romantic implore.  Housley’s vocals are striking and bold throughout- reaching fever-pitch at times.  A bracing and staggering deceleration, it remains a superb song.  Her E.P. (One Step Closer) contains the same urgency and confidence: the songs are uplifting and vibrant; it is a wonderful set.  That said, Housley has improved and developed (since then): a songwriter, her lyrics are stronger and deeper- filled with more detail and insight; her new confidence and inspiration is to be applauded.  The compositions are fuller and more nuanced; as a singer her voice has come on bounds- it is more electrifying and bracing; stronger and more rounded; bigger highs and more delicate lows. Whether live experience/touring- or perhaps a natural development- Lauren Housley has built on her early promise; improved her craft and vocals- the future will be very exciting indeed.

After a few seconds of ethereal echo- adding in the spectral ghost feel in from the start- the track pounds in to life.  A rifling beat is delineated: possessing (strangely) Hip-Hop-style kick, it is rushing and gripping- making you wonder just what is coming next.  When Housley steps up, her voice is instantly bracing: both urgent and soulful, it is an arresting sound.  Before you can take it all in, your mind focuses on the early sentiments:  “So black was the night /Not a soul to be seen under the streetlight /Heaven’s been shut, it’s closing down/So what were you thinking?”  Alone in the ghost town (the song’s subject) is addresses with a lustful voice.  From the off, my mind was looking in different directions.  When it comes to the ‘who’ behind the lyrics, perhaps a sweetheart or former partner?  There is ambiguity and obliqueness to the early exchange: the listener is left conspiring and imagining- just who is being addressed.  The lyrics certainly paint vivid images: your thoughts race and tumble; the scenes and sights come fast- every person will have their own interpretation.  In the verse, Housley’s voice is fairly dark and husky: a serious and world-to-rights delivery, there are signs of Amy Winehouse to the delivery- yet Housley ‘s voice is a lot more powerful than the late Winehouse.  By the time the chorus arrives, the composition lightens; the song becomes more upbeat and sprite.  I wouldn’t go as far to say ‘jubilant’, fierce.  Rebelling and fighting, the chorus is an electrifying testament.  The lyrics- of the chorus- have less ambiguity; by this stage there is a little less mystery- it is not so much the ‘who’ but the ‘what’ that is evident.  Maybe not an attack/rally against a particular subject, there seems to be (and I may be off here) a push against life; bad luck and dark forces.  Whether directed at a group of people; the way some think only of themselves- or the troubles in the music industry- it seems Housley has had some heartache.  With its strong and intriguing lyrics (“So I said… Come on, ready when you want me, No fear/keep the karma coming/I’m here, standing on my own two feet /Just keep on looking at me /You ain’t got nothing on me.”)  There is that endless sense of defiance; Housley’s voice and spirit is mesmerically charged- backed by the Ghost Town Blues Choir- she is on fire; the composition crackles and dances; the instruments fizz and spark- the entire mood drags you in; you’re powerless to resist.  Throughout the song I am caught between romance and community: the song looks at broken hearts and disreputable sorts; there is a wider sense of discontent and anger- that mystery keeps presenting itself in every line.  By the next verse, Housley is directing her words to a subject; someone who is going to be hurt; you sense heartache is just around the corner- “Darkness fell, in the blink of an eye/So what were you doing?/All alone with the bad guy that night.”  Seemingly foolish and naïve (the subject) you get a sense of repeated patterns- perhaps this person has been here before; not listened to advice and reason.  Housley’s vocal remains strong and sturdy; filled with panache and caution, it is an intoxicating blend- seamlessly uniting Soul prowess with Pop undertones.  Where contemporaries of the mainstream tend to falter in one aspect- usually the lyrics or the originality of the vocal- Housley shows herself to be a wonderful talent- succeeding where (most) fail.  The vocal work is an exercise is emotion and nuance; the lyrics constantly engaging and fascinating- the composition is rich and variable; never slowing or relenting.  At the heart of Ghost Town Blues is a sense of personal reflection; in the midst of it all Housley questions her own self- the latter lyrics are the most intruiging.  When our heroine announces “All I hear are little voices say/Go back (go back, go back, go back)/Go back (go back go back go back)”, you start to wonder again- go back to a former life?  A town/hometown?  Maybe an old profession/way of life?  A relationship or single life?  There is that caught-in-two-minds mystique- each line is fascinating and gripping.  Hoping it was a dream, Housley opens her eyes- the nightmare/pain is real- there is that longing to get away; break from a way of life- shake the voices in her head.  By the closing moments, the defiance rating has reached boiling point: in spite of everything, Housley stands on her feet; battling against the tide, she is not going to be broken- not one to be defeated or overcome.  It is the rush of the composition that keeps proceedings ‘light’ and level- against the introspection and investigation of the lyrics.  That commingle of emotive lyrics and rushing notes blend perfectly; the fusion is a perfect blend of classic Soul via modern-day vibes.  Backed by a wonderful band- and terrific backing vocals- Ghost Town Blues is a cacophony of emotion, intelligence and vibrancy.  It is impossible not to move the feet; compel your body to move- at the very least a huge smile is on the face.  That takes care of the emotional centre of the brain.  When it comes to reasoning and processing, the words delve deep: yu feel sympathy and empathy (at the struggle and sadness); support at the sense of rebellion and strength- it is a song that grabs different parts of the brain.  At the very heart is heart itself: a track that speaks directly to the listen; can be appreciated by all- it resonates at a personal level, whilst retaining a very distinct voice and personality.  Ghost Town Blues is a perfect slice of Lauren Housley: it showcases her voice in full flight; a sensational weapon that cannot be beaten- few modern vocalists have such a range and passion- it is a tremendous thing.  Backed by solid production- which sounds polished and fresh- the song comes fully to life; each instrument and note is clear and concise; allowed full room to breathe- nothing seems overly polished or false.  The composition is packed with passion and soul; heart and bite- it is a myriad of colours and shades.  At the very core is Housley’s vision: her story is one that grips the imagination; her voice seduces and overpowers- the entire ensemble is sensation- and a perfect introduction to Sweet Surrender.

Having listened to Ghost Town Blues, I was blown away by the talent on display: it is a song that begs repeated spins; Housley’s natural ability is laced in every note and expression.  Speaking with her, you get a sense that this (music) means the world to her: few artists have such passion and determination.  It is not just the music (where this passion comes through) but in the way she speaks/interacts.  Having grown up in a musical household- where her formative years were awash with terrific artists and sounds- this has translated into a wonderful beginning: it is only a matter of time before the young heroine is gracing festival stages.  I would love to see Housley in the flesh- if she ever performs in London I will be front-centre- as I adore her music: Sweet Surrender is a bold and nuanced statement; an artist with a brave and original voice- a sound that is impossible to ignore.  With regards to Sweet Surrender- and the background/run-in- here is all you need to know:

“The album follows the promise of her ‘Rather Be There’ single and the earlier ‘One Step Closer’ EP. To name just two highlights from ‘Sweet Surrender,’ the slow-burning intensity of the ballad ‘Show Me What Love Is’ turns heads every time she sings it, while the upcoming single ‘Ghost Town Blues’ moves stylishly among its soul influences from Massive Attack to Motown. And they’re just a taste.  ‘Sweet Surrender’ was recorded in various sessions in Ireland, and in Wallasey, on Merseyside, overseen by producer Mark Lewis. Contributors include some of the best up-and-coming young musicians Britain has to offer, such as multi-instrumentalist and producer Steve Parry, whose extensive credits include being musical arranger on ‘The Voice.’  The versatile singer has also formed a country band, the Chorlton Country Club, as a fun side project, and is a member of the Manchester dubstep and drum ‘n’ bass collective, the Kaleidoscope Orchestra. Now she’s coming to a live venue near you, armed with a debut album that will turn heads and win hearts.”

After being blown away by Ghost Town Blues, Sweet Surrender promises jewels a-plenty.  Opener Nice to See Ya begins with a Country-inspired kick; it is a pure Americana treat: our heroine opens her arms and hearts; offers her services and support- backed by a swinging and kick-ass composition.  Constantly energised and moving, the track is a perfecting opening statement- one that is impossible to forget (and will have you singing along for ages).  Away from the charm and humanity of the opener, come The Waiting Game and If You Were Mine.  Completing a dazzling trio, The Waiting Game is more introverted and restrained.  Romantic and investigative, there are more Jazz/Soul tinges: the vocal is softer and more alluring; the composition supportive and calm.  Looking at love and heartache, our heroine is in reflective mood: realising love is hard/the road is long, she is looking at her man (finally she seems to have found ‘the one’).  A tonic of sunshine, there is clear desire and relief- the composition is one of the most compelling and rich; brimming with gorgeous brass and funky guitar notes.  With her voice at its most impassioned, Housley changes down a gear- to stunning effect.  If You Were Mine capitalises on this: the song begins with elegant piano; the vocal is even more tender and shivering.  One of the album’s highlights, our heroine is both soft and arresting: her voice is shimmering and sensual; the composition remains pure and touching- a break-away from the likes of Ghost Town Blues.  Face The World Alone carries on the parable: another tender track, our heroine looks at a friend/special connection; she is saying goodbye- they will “face the world alone.”  Having been connected since a young age, there is that sense of bond and pride: Housley has seen this person grow; proud of how strong they are- she is seeing them into the world.  When Autumn Came- following on from Ghost Town Blues- is another tender number: Housley is at her sensual best; shivering and spine-tingling, it is a Blues-Soul blend.  Backed by Country strings- wailing and echoing guitar- she looks at loneliness and waiting; it is both sad and inspiring- our heroine’s plight is both moving and affecting.

Sweet Surrender is one of the most ‘pure’ Country numbers- what one would think when looking at the genre.  With aching harmonica and sun-kissed percussion, the introduction is a perfect swoon- Housley’s voice is at its most relaxed and investigative.  Chasing dreams “into the dark” she looks at life and realisations: there is that need to break the silence; a desire to get away- she retreats to the river, her head to the sky.  With her head held high, it is a rally against the odds; colours are fading- it is one of the most vivid and thought-provoking numbers. Hot off its heels is Show Me What Love Is: another personal song; one that looks at struggles and love.  Housley sees the years “go by so fast”; there is that need for love and completion- our heroine looks out at the world.  Scanning the landscape, she looks for her love/ideal: someone who will hold her and keep her comfort.  Aching and desirous, the song draws you in: the vocal is both entrancing and sweet; the composition gentle and pure- the lyrics are stirring and emotive.  It Ain’t About You kicks the mood back up: like Ghost Town Blues it is a high-octane rush.  Beginning with a twirling and Soul-infused opening- the strings twirl and hop; the percussion is snappy and tight- Housley is back in full voice.  Looking at a familial/tense sense, it is a flip-side of previous numbers- looking at desire and love- and looks at disappointment and lies.  The focal point (the anti-hero) comes home reeking; showing up late to the home, Housley (cast in the role as long-suffering wife/mother perhaps) is coming up with excuses- disappointed once more.  The song looks at what’s “going to be best”- it is not about either party.  Her man has been out every night; flirting and playing around- that sense things are hitting the rock.  Vocals switch between fast-talking and controlled; the backing vocals have elements of ‘60s Soul- the composition marries Soul and Pop; some ‘60s/’70s elements.  Sounding wonderfully vintage- that is to say, the glory days of Soul and Pop- the song crackles with life and energy.  The lyrics mix pathos and humour; the song changes course and projection- it is one of the most mobile and transformative cuts (on the album).  Looking at compromise and reason, the song looks for settlement and middle ground- all presented in a rhapsody of insatiable vocals; a song impossible to forget.  All You Need is a Friend is a perfect closer: it takes the mood down and ends the album on a reflective note.  Casting her eye to a friend/subject, there is the need for salvation: someone who is rolling around aimlessly; in need of a shoulder- somebody caught up in the tide.  Casting her hand out, there is a universal message: when things are at rock-bottom (and seem impossible) all you need is a friend.  A positive message and stunning number, it is a beautiful swansong- ending Sweet Surrender on a triumph.

The entire album showcases what a star Housley is: packed with diversity and style; mood and magic, it is a sensational album- one that will appeal to all music fans.  Switching between Americana, Blues and Soul (with some Country and Pop in there) the album never misses a heartbeat- there are no weak or ineffectual numbers to be found.  At the centre is that insatiable voice: it can go from a delicious whisper to entranced rapture within a line- without losing integrity or genuine personality.  Both original and classic-sounding, Housley has an incredible voice; one that gives light and power to every thought- able to knock you off your feet and steal the breath.  The compositions vary between romantic (and light) and go to insatiable (and jam-packed).  Employing a range of guitars, pianos and sounds, each composition is rife with emotion and nuance- you find yourself coming back to certain songs.  Demonstrating a wonderful lyrical voice- her writing is both mature and intelligence; switching to humorous and oblique- Housley is a wonderful writer.  Not one to be bogged in clichés and insipid tedium, each song has a very personal stamp- something that will inspire up-and-coming songwriters.  When all is said and done, Sweet Surrender is a staggering debut L.P. - something that builds from early promise and puts Housley square in the spotlight.  An album that begs repeated investigation, you should not be without it- make sure you snap it up; or regret missing the opportunity…

Lauren Housley is a young talent with a bright talent: one that is not only going to flourish for years; it will inspire ranks of up-and-coming singer-songwriters.  One of the U.K.’s most vibrant vocalists, every song (on Sweet Surrender) gets inside your head; it rattles around the brain- and lingers long in the mind.  Ghost Town Blues- one of the album’s standouts- is just the beginning: it is the perfect starting point; if you want a taste of what Lauren Housley is about- then you should start here.  It is only left for me to wrap up- I’m sure you’ll be delighted- to wish Housley good luck (not that she’ll need it) and hope I get to see her play: I know she plays London in September (at the Sebright Arms on the 22^nd); I hope I have enough money to get up there.  I would recommend everyone check her out: whether you are a fan of Soul/Americana/Blues fusings or not, there are no limitations or restrictions- this is music with universal appeal and inclusion.    Sweet Surrender is out next month; an album that nobody should be without.  You may be sitting there and saying: “How can I trust it is fantastic; given there are only a few songs available online?”  Well, first of all, because I said so (and have no bias and sense of subjectiveness).   Most of all, the reception and feedback- fans and followers of Housley have provided- has been effusive and filled with praise.  No arguments; no hesitations, investigate Lauren Housley and her craft…

YOU have no excuses.

[youtube https://www.youtube.com/watch?v=_ARLf5yYNtI&w=560&h=315]

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Follow Lauren Housley:

 

Official:

http://laurenhousley.co.uk/

Facebook:

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

Twitter:

https://twitter.com/laurenhousley

Instagram:

https://instagram.com/laurenhousley/

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Music:

https://soundcloud.com/laurenhousley/tracks

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Videos:

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

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Gigs:

http://laurenhousley.co.uk/shows

E.P. Review: The Moth Lantern- Barricade

E.P. REVIEW:

 

The Moth Lantern

 

Barricade

9.4/10.0

The E.P. Barricade is available at:

https://itunes.apple.com/gb/album/barricade-single/id1010907713

RELEASED: 24^th July, 2015

GENRES: Alternative

ORIGIN:

Lincolnshire, U.K.

TRACK LISTING:

Barricade (All of This is Everything) - 9.3

Bring out the Claws- 9.4

Air- 9.4

STANDOUT TRACK:

Bring out the Claws

ONE of the reasons for my rather ‘boisterous’ rate of output…

is due to a (the need for a) distraction.  What with the horrors of job-searching- fruitlessly trying to get my arse out of Surrey (and the worst it has to offer) and to London- I need something to keep me ‘upbeat.’  It is terrific discovering a new act- that I have not surveyed before- yet coming back to a band/artist; that does else: it gives me causes for celebration; a chance to see how they have grown/developed.  In the music scene, you go one of two ways: start out strongly and collapse under the weight of financial/creative pressure or you keep going.  It may be black-and-white but there are few exceptions: I have seen too many great acts go down the first road.  When a (truly great) act makes headway; keeps producing records, it sends out a positive message: newcomers need not be afraid; there is a chance for them to succeed.  It is not just luck and hard woirk that creates this longevity: the music being produced has to be original and striking; penetrate the public ear- essentially, it has to appeal.  This year has seen some great acts come through; there have also been some dreadful ones to boot.  It is the female solo acts that are impressing most; the band market is flourishing- the male singer-songwriting realm is somewhat dirge-producing.  James Bay is perhaps the epitome of the point: something so bland, generic and wasteful, I have no idea why anyone buys his music.  The most interesting thing about him is his head-wear, and to be fair, Pharrell Williams has him licked- and can produce a few good tunes to boot.  The band market is starting to inspire (acts of the underground), which is where my thoughts have turned.  Having reviewed Tennessee’s Daphne & the Mystery Machines this morning- with their uplifting and spine-tingling Americana- I am not back at home- and welcome back some old friends.  Last year, I was lucky enough to assess Light Waves: the debut album from Lincolnshire’s (The) Moth Lantern.  What impressed me about the album- in addition to many other factors- was the consistent songwriting.  When it comes to music- and especially new music- the lyrics are a let-down: usually it is the music and vocals that resonate most.  In Dan Clark- the group’s principle songwriter- they have a stunning pen-smith: someone who can not only effortless taps into the common heart; he can write oblique and obtuse themes- a songwriter who is both agile and inspiring.  Before I continue on, let me introduce the band.

Dan Clark- Guitars, Lyrics and Music.

Jason Rungapadiachy- Bass, Lead Vocals; Lyrics on Bring out the Claws

Joanne Clark- Keys, Backing Vocals

Eddie George- Backing Vocals, Percussion

“The Moth Lantern are a four piece indie rock band from the UK whose funky ballads, catchy choruses and colourful jams encompass the spirit of timeless bands such as Fleetwood Mac and Beck. The Moth Lantern offer a concoction of powerful, gritty lead male vocals harmonised with soft, folkish female backing amongst crunching riffs, tight rhythm sections and psychedelic keys to create an edgy and enticing sound. Having been selected to play the Emerging Icons stage at The London 2012 Olympics and having featured on BBC Introducing East Midlands several times, The Moth Lantern’s mix of gentle acoustic ballads and harmonious rock songs present impossibly catchy choruses and immaculately layered production which makes their music impossible to forget.”

The four-piece band (in general) may be as common as Katie Price- and as manufactured and fake a lot of the time- yet there are those peeking through.  The Moth Lantern are not your run-of-the-mill Indie/Alternative act: each player contributes to the sound; the music is not dominated by one voice- it is a group effort and communal sound.  Although Clark’s words are at the forefront, it is the compositions that resonate in the mind- the result of each band member.  Backed by Jo Clark- Dan and Jo are a husband-and-wife- the vocals switch from tough and pervasive, to lush and ethereal.  This time around- unlike Light Waves- Dan steps back from vocal duties; drummer Eddie George provides backing vocals.   Taking on lead vocals is Jason Rungapadiachy: his inimitable tones add weight and texture to each track.  Compositions move from psychedelic swagger to introspective tenderness- all within the space of a few moments.  Light Waves was met with acclaim and plaudit: I still listen to that L.P. now; the critical feedback was effusive and congratulatory.  Having retreated to focus on new material, the band is back: Barricade is as striking and focused as its title.  What differentiates the music- from their earliest work- is the confidence and growth.  Their L.P. was rife was stunning tunes and terrific band interplay- although there were one or two rough edges; the odd song that was not quite as inspired as you’d expect (no fault of anyone within the band).  The new, three-track E.P. is faultlessly focused as tight: there are no loose notes or wasted moments- every minute has been well thought-out and performed; this has all been achieved whilst retaining a great, live-sounding core- that makes it such a triumph.  I will go into more depth below, but I am impressed by the band’s development: it not only bodes well for future released, but serves as guidance to others- how you can progress/inspire if you have a great line-up.

Barricade (All of This is Everything) is first out the blocks: the title itself is intriguing and open to interpretation.  Any die-hard fans (of the band) may be in for a surprise: the springing and scratchy introduction notes signal a move towards more Rock-infused avenues.  The initial seconds- building off a fast and frantic guitar- joins with percussion: the resultant coming-together kicks the song up a gear; gets the E.P. to the races.  Reminding me of early-days Manic Street Preachers (The Holy Bible) and The Libertines (Up the Bracket) there is a mix of ‘90s Indie and ‘00s Rock- the early words mix trips “into the unknown” and uncertainty.  Whether speaking to a friend or lover- based in fiction or fact- the lines look at protection and danger: the hero is trying to keep the wolves at bay; barricade the doors shut- to prevent any harm befalling (his subject).  The vocal itself- stronger and more determined than previous Moth Lantern outings- is determined and impassioned.  Backed by a rushing composition, you are caught up in the story: that struggle-against-the-tide story unfolds and progresses- the sense of nerve and danger ever-present.  Barricade’ is a song that showcases just what the band defines: that effortless and natural sound; the fantastic relations the members’ have- each player adds to the overall mood.  Between verses the band unleashes some hurried and harried strings; clattering propulsion- that emphasises that sense of claustrophobia and struggle.    Our lead turns the spotlight on himself- focusing on his struggle and sense of strain- as the song becomes more heated and defiant (the Manic Street Preachers comparisons came back to mind).  With the walls closing in; the haters/forces gathering, our hero sends out a plea:  “Stay with me/ ‘cause we got history.”   The song wins stripes because of the blend of simplicity and universality.  The lyrics share common themes and ideals- yet have a personal perspective to them- whereas the composition is both classic and current- it is straight-ahead and simple; direct and strong.  The Moth Lantern always does well with sing-along choruses; here they reach new peaks: the chorus here is one of their most effective and chant-worthy.  When Clark (Jo) combines vocals, the song changes up a gear: it becomes more effective and real- that sense of interplay and comradery gives it that extra something.  At the closing stages, the chorus is reuttered and deployed: not only leaving the song on a high but ramping up the emotions and sense of strain.  My mind was racing (when listening to the song) as to what inspired it; what is behind the story- that mystery may die with (Dan) Clark.  A great opening salvo, it sets out the band’s ‘new’ sound- their more Rock-infused direction- and welcomes them back into the public bosom.  Showcasing a great band performance (although not the strongest cut on the E.P.) it is an impressively memorable track- one that is designed for the venue floors and arena crowds.

Bring out the Claws begins somewhat differently (compared to its predecessor) and possesses a softer heart- it fades in and starts more gently.  Given the song’s title, that sense of restraint does not last too long: the band comes to play and unfurl a pummeling introduction- one that rattles and runs; strikes and retreats.  The vocal here- low-down and crooning; dark and imploring- looks at something rather animalistic and dangerous (“It’s got teeth/and I know you saw them too.”)  In the midst of the unfolding images- blood on hand; beasts on the loose; being shred in two- there is humour and uplift (whether intentional or not)- the song makes you smile as much as it does think.  With a unique vocal- that sees Jason Rungapadiachy present his sonorous tones- the song is gripping and original.  Few bands have a great vocalist let alone three (Rungapadiachy comes into his own as a singer- performing on the E.P.- whereas Dan Clark steps back): their bass player joins with George to present a story with beasts and feasting; canine lust and blood-fest- another one of those songs you mull over.  Whereas the title track looked at fighting the forces, here there seems to be another dimension: a nightmarish vision; uncertainty and choices; fighting the darkness.  With Rungapadiachy's sharpened pen (he wrote lyrics to this track)- presenting a track filled with oblique edges and stunning images- the song causes smiles.  Complicated and intelligent, defiant and striking, the vocal work is at its peak: Jo Clark joins the fray, and when the trio unites, you get the biggest shivers and effect.  It is the deployment of the lyrics that is stunning to hear: the words are not lazily tossed-off and sung; there is a real ear for timing and emotion; the phrasing and projection beings the words to life.  Bring out the Claws is one of the busiest and most bustling tracks (on the E.P.): the composition is multi-part and multifarious; the song changes direction and skin- agile and nimble it ducks and dives; making sure the listener is kept on their toes.  The guitar work- at its most effective here- adds necessary bite and vitality; the bass is taut and strong- the percussion gallops and guides.  Whereas Barricade’ was more Indie-sounding and focused, here there is adventure and expansion: the band does not repeat themselves at any time; Bring out the Claws is the perfect mid-way point.  Once again looking at life’s adversity- battling demons and bad choices; holding out in the midst of uncertainty- the band sound essential and urgent- completing a superb one-two.

Closing the E.P, is Air: one would think we have a light and airy closer here.  The opening notes dispel any sense of calm and relax: the initial notes are bouncing and ducking; the song is the most instant and rushing (on the E.P.)- making sure Barricade closes with a belter.  It is here that the new ‘Rock sound’ really shows its testicles: The Moth Lantern have never sounded as heavy and menacing.  Air kicks and swaggers; if it were a human it would be a leather-clad biker- thumbing against authority and smoking endless nicotine.  With elements of Muse and Radiohead, the track keeps gripping grabbing- little dashes of Talking Heads sprinkled in for good measure.  Spacey and gritty; insistent and bracing, the song is the band’s most anthemic and festival-ready.  When the vocal comes in, the subject matter is as foreboding (as the composition).  Our lead is looking over the precipice- and very evident of the mortal drop below- buckled against the rush of gravity.  There is a sense of disillusionment and not ‘fitting in’: our man (once more) is fighting against pain and adversity- the lyrics mix personal doubts and fears.  It is the incredible keys-and-guitar combination that gives Air its infectious belt: the track keeps bouncing and springing (like an extended version of the outro to Knights of Cydonia).  The band unites again vocally; when the voices are blended, you get the biggest rush- and the song reaches its peak.  When it comes to interpretations- trying to dig to the song’s core- there is a little mystique and wiggle-room.  Lyrics switch between dreaming and driving; falling and fears- they rush by as fast as the composition- causing a dizzying effect.  Essentially, there is that core of demon-facing/overcoming fears- one of Barricade’s hallmarks.  The entire E.P. looks at a very common issue (we can all relate to): whether Dan Clark has been particularly affected- and faced some personal upheaval- I am not sure; yet it shows a great new direction- the new, Rock-influenced sound suits them fantastically.  Whilst not quite as strong as Bring out the Claws, Air is a superb closer- one that is a fitting swansong.  Towards the closing moments, the band unleashes their inner space demon: the intergalactic, Space Age electronics fuzz and vibrate- you can feel those little touches of Origins of Symmetry-era Muse.  Like a galloping horse, the band keep that epic-ness afoot: the riffs are relentless and fast-paced; the percussion and bass frantic and fist-aloft-against-the-tide- each note and thought adds to the boiling, psychotropic cauldron.  Before the E.P. is through, The Moth Lantern throw in another de-tour: the final moments mingle softer moments (among the rapturous kick).  The hypothesis- or rather, the losing chapter- wraps things up.  Our hero is “not coming up for air.”  He has been wronged (and let down) and you sense some submissiveness and defeat- that sense that his luck is done.  Trying to be strong, instead he’s sinking like a stone- when all’s said and done; he’s not coming up for air.

Congratulations to the band, who have produced a stunning E.P. - one that gets stronger (and more compelling) with every new listen.  Improving on Light Waves, Barricade is their strongest work: their new harder edge works wonderfully.  Complete with a trio of stunning songs- that are unique and diverse- and you have a band with huge ambition.  It is hard to impress with just a trio of tracks, yet here they have done that: come the end, you find yourself wanting more; hoping there is a hidden track (there isn’t).  Perhaps the vocals get muted/buried a little at times- the opening track is most culpable- and this happens during Air too- for the most part, the vocals and clear and decipherable; the production rich and clear.  Minor detraction aside, The Moth Lantern should be applauded: they have compiled an E.P. that is personal and universal; ready for festivals- yet something that seems quite intimate (at times).  The production itself allows the band full flight: each instrument and compositional element is given full breathing room- nothing is compressed or mixed low; each composition is allowed to breathe and strike- meaning every track hits full potential.  In terms of vocal, it is not needlessly high up the mix- at times it suffers; for the most part it doesn’t- making the E.P. sound like a genuine band effort- some bands put their lead up front and leave the other members behind.  The Moth Lantern are, first and foremost, a collective: every member is essential to the music; each comes into their own here.  Vocal duties are split between the Rungapadiachy, George and Clark: it is Rungapadiachy’s that provides lead vocals; Eddie George and Jo Clark backing- when all three unify, you get the biggest hit (Dan Clark has stepped back from vocals on this record).  Rungapadiachy's lead vocals are an impressive replacement; it is great to have the bassist up front- he graces the E.P. with some tremendous vocals turns.  The songwriting is impressive throughout- the lyrics are never cliché or run-of-the-mill- and are those that can be appreciated by everyone.  Sharp and incisive lines mix with sing-along broadness: Clark has ensured the E.P. can be extrapolated and appreciated by a wide sect.  Jo Clark’s keys and vocals are stunning and mood-changing.  Adding magic and vibrancy in spades, you cannot ignore its effect.  Rungapadiachy’s bass work is reliable as ever: his unique tones add weight and majesty to the music; his guiding bass keeps the songs taut and controlled.  In addition, his lyrics (to Bring out the Claws) are both humouress and fascinating- he is developing into a fantastic songwriter.  Dan Clark’s sturdy lead drives the E.P. forward: he is a guitar talent with a stunning (and original voice).  In spite of not providing vocals, Clark wrote the lyrics (to tracks one and three); penned the music for the entire disc- showing himself as a songwriter to be reckoned with  He is the band's leader and songwriter extraordinaire.  With Eddie George’s percussion hard and heavy; controlled and calm, and you have a superb backbone- his drum work adds primacy and danger to (the E.P.’s finest) moments.  His backing vocals are impressively strong throughout- the band have shown they have a range of incredible singers- his blend of emotion and heart help bring the songs to life.  Barricade shows The Moth Lantern in full flight: something I hope continues for years to come.

It is the bond of the quartet (that translates into terrific music).  Were the relationships collegial and insincere, you’d soon hear it- the music would be half-hearted and limp.  The Moth Lantern are friends and close-knit; they have a great understanding and mutual respect- this funnels into some wonderful music.  After Light Waves’ stunning example, I was expecting a new E.P.: to my mind, it would have been a natural run-on from the album.  What we have is something both new and familiar.  The band retains their key strengths and core sound, whilst expanding and developing their craft.  New themes and ideas are tossed into the pot- Clark has crafted three (musically)- two lyrically- of his most compelling tracks- whilst the band sound more essential and tight- you can hear the new confidence and passion.  Simple things impress me when it comes to Barricade: it is a three-track release, yet it seems just-so; the length is spot-on; the running time is neither too long nor too short.  That said, the E.P. begs for repeated listens and some teasing- the greedy listener begs for a fourth track; it means there will be some hungry/eager fans (looking for more music from the band).  The running order is great too: the title track perfectly opens things; Air is a brilliant closer- any other arrangement would mean a weaker release.  I hope the Lincolnshire band find some more support and reviewers: I know I am the first writer to tackle the E.P.; I hope more follow suit- the social media ranks deserve to be fuller and expansive.  Hopefully Barricade will go a long way (to getting more people to their shores) as the guys have worked tirelessly- making sure their E.P. is as strong as it could be.  Wonderful vocals- that mix of harmonies and strong lead- and incredible performances are rife; the production values are clear and concise- the songwriting is at its peak.  As 2015 runs down, The Moth Lantern will be hitting the road; bringing their new sounds to the people- hopefully they will have a chance to relax and reform.  When the new year emerges, they will look around (at their next E.P. or album) and where they go from here- that will be exciting to see.  The Moth Lantern have managed to remain very much them- whilst bringing in a harder, Rock-infused edge.  They have not compromised their ethics, instead they have evolved and grown- the same way all great bands have.  Radiohead started with Pablo Honey; their Rock-edge masterpiece The Bends (the greatest album ever produced) followed- they went on to introduce new sounds and aspects (into future releases).  Great acts understand the need to keep mobile and open-minded- will the next release be a ‘Moth Lantern version of OK Computer?  I doubt it, yet the quartet is growing in strength and innovation; they are bringing in new themes and sounds- all to the betterment of their overall sound.  Barricade is a perfect soundtrack for the ‘summer’ days: the breeziness and alacrity (of their softer moments); the hard rush and hooks (of the harder) seep into the mind; it gets you singing along- gripped by the natural chemistry the band produce.  My one hope is The Moth Lantern gain wider acclaim: are embraced beyond their base; demanded further afield- a chance for new faces to hear their music.  Social media is doing what it can, but more can be done- they are a group with a great future ahead; a lot more to say.  If you are unfamiliar with the band, rectify this immediately: once you have cottoned-on, be sure to share the word- and get others involved.  Barricade is the result of hard work and a lot of passion: make sure this is justly rewarded.  Whilst the band’s masterpiece is in their future, their current work is deeply impressive and nuanced; good enough to nestle with the best out there.  I look forward to seeing the four-piece in the flesh; bring them down to London- get venues/crowds here converted.  When all is said and done…

THAT will be great to see.

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Follow The Moth Lantern:

 

Official:

http://www.themothlantern.com/

Facebook:

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

Twitter:

https://twitter.com/TheMothLantern

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Music:

https://soundcloud.com/themothlantern

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Gigs:

http://themothlantern.com/gigs.html

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Videos:

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

Track Review: Daphne & the Mystery Machines- Learn to Fall

TRACK REVIEW:

 

Daphne & the Mystery Machines

 

Learn to Fall

9.5/10.0

Learn to Fall is available at:

https://www.reverbnation.com/daphnethemysterymachines

RELEASED: January, 2015

GENRES: Folk, Americana

ORIGIN:

Franklin, Tennessee, U.S.A.

FEW current acts manage to really grip the imagination…

with any real panache- impress you with their music and imagery; personality and projection (the whole package). With current music producing so many acts- there being a desperation to make an impression instantly; through fear of being forgotten- it is hard to stumble across real ‘characters.’ In the U.K. we have some pretty interesting musicians: those who win you over with their charm and personality; seduce you with their charm- it would be good to see it more often. To my mind, there is a lot of seriousness and po-faced acts: those that concentrate on the music alone- in person they come off as being rather humourless and business-like. It is not a big deal- and not the most important thing in music- but you want to connect with the human being- it makes everything a lot more effective and memorable. Whilst assessing some U.K.-based acts- including Los and the Deadlines and Jen Armstrong- I was not only amazed by the music- and its uniqueness and quality- but the people behind them. Witty, fun and friendly, it was great to see: musicians that feel very human and relatable; people you want to go out and see- those that give a lot to their fans. In the U.S., they do this a little better: produce musicians that captivate you on many fronts; have that vote-winning smile- fully-rounded musicians that know how to win fans. I know it is a small point- and as I said, not as vital as getting music right- but if you work on the image/personality, you can gain many more fans- ensure people keep coming back to you (and want others to discover you). When Daphne & the Mystery Machines were recommended to me- by an aforementioned Yorkshire stunner- I was hooked from the first moment: here is an act that intrigues you by looks/imagery alone. Delving into their social media, the band comes across as familial and warm-hearted: an Americana troupe that are built on a foundation of fun and warmth; kindness and community (complete with some stunning music). Before I go any further, let me introduce the band to you:

Josh Preston (beard of directors, lead guitar, happy feet) Courtney Kinzer Blackwell (cello, bg vox) Jenn Palmer (lead vox, guitar) Daphne Culver (lead vox, guitar, harmonium, piano, accordion) Jess Perkins (upright bass) Amanda Palmer (harmony vox)

“Daphne and the Mystery Machines was formed in July 2014. Daphne Culver (Missouri native), most locally known from her musical career with the Granny Whites, had met some amazing artists since she moved to Tennessee. First there was Jenn Palmer, (Sugar Dames and Anthony Adams & the Nite Owls) they became friends a few years ago, after, and always had a mutual respect and adoration of each other’s songwriting and vocal styles, so they started collaborating, not knowing if anything would ever come of it. Then Adam Taylor (originally from Iowa), was working as an engineer at the Sound Emporium at the time Daphne was working in the studio for The Granny Whites. He was so talented on the boards and in the studio, but soon Daphne would find out he was hiding an amazing talent, besides beard growing. He was a stellar guitarist and caught the attention of the Granny Whites, they started featuring him at live shows. Daphne became so enamored with his guitar playing alongside her own, she wanted him to join in on her sessions with Jenn. Soon after this trio was formed Maria Kowalski, violinist of Sage and the Saints and several other studio and touring projects got thrown in the mix (after Jenn worked with her in the studio for the Sugar Dames and was blown away by her emotional playing and creative stylings). Marias past remains a mystery, was she a dolphin trainer? Carnie? Escaped convict? Her mysteriousness is only matched by her insane skills on the violin. Courtney Kinzer Blackwell, (cellist from Honeyboy and Boots) was the last addition. Courtney (Washington native) came in the mix a little more by chance. She was playing at a CD release show in Franklin, TN at Kimbro's Picking Parlor, and her performance on stage got the attention of Daphne. She searched her out and befriended her inviting her to bonfire jams and such, until she agreed to join what is now known as Daphne & the Mystery Machines. Their much anticipated debut was at the Tennessee State Fair and they are all looking forward to recording their first album and performing on tour soon.

Daphne and the Mystery Machines plan to start releasing singles in support of their upcoming EP by early 2015.”

It would be interesting for the band to come to the U.K. - maybe support Florence and the Machine on stage. It would be good to get Daphne’s (Mystery) Machines together with Florence’s- although it may just be my odd fantasy/wish-list. The group are built from a base of emotion and heartache; passion and pain; desire and love- concoctions that go into their incredible music. With some tour dates coming up- the guys are travelling Tennessee ready to amaze the crowds- the rest of this year looks prosperous; they have an album out in September- something you will want to get your hands on.

Aching and teasing strings beckon Learn to Fall in. Beginning rather tranquil and haunting, it sound progresses into something precise and strong: twirling and dizzying acoustic strings lift the mind and intrigue the senses- make you wonder what is coming next. Underpinned by some electronic tones, the song starts to expand and mutate: pick its feet off the floor and stride onwards- there is a tangible sense of itinerary and travel. The initial words- when our heroine steps up the microphone- are rather innocent and compassionate (“When I hear you sing/the songs that I wrote/I get a little lump/Down in my throat”). The vocal has a quixotic blend of southern U.S. and modern-day U.K. It may be an odd partnership, yet there are traditional Country music sounds; a striking Tennessee accent- all the hallmarks of a solid Americana/Folk pairing. On top of that, you have a very modern and striking voice: little bits Amy Winehouse and Adele; something soulful and British- the combination is effective and seductive. When the verse develops, something more philosophical and ruminative comes to the fore: our heroine looks at choices and mistakes; regret and our own decisions- not only creating some mystery, but speaking to the listener more directly. Whether speaking to a sweetheart (or friend of hers) there seems to be some perplexity. Maybe a situation has arisen- or life has taken an unwanted turn- but there is that need to go back; change events of the past- to avoid the strains of the present. Our heroine (and her subject) is out on her own; going into the world alone- perhaps there is a feeling that time has been wasted; youthful ignorance has led to mistakes- and a price is being paid. After the first verse- that is very much placed in the centre of attention- the vocal retreats; the band comes to the forefront to whip up a swaying beat; a striking support- adding emotion in spades. The guitars rise and pervade; the percussion crashes and strikes; plaintive strings add shiver and somberness- as our heroine comes back to the fold. When the chorus arrives, images are built up: I imagine something quite every day and relatable; that sense of regret and walls-closing-in-against-the-odds fear we can all understand. Whether lies and indecision have come to take their toll; a relationship is on the rocks- because of mistakes by both parties- it is not too sure- the song has room for interpretation; there is some ambiguity among the lyrics. The song’s most arresting moments arrive when Culver unites with her cohorts- the female vocals weave in and out of one another. Laying down some hard truths- you don’t have to be by the phone “to get that call”- the vocals soar and tangle; creating a stunning harmony and heavenly blend. To my mind, there was a sound (oddly enough) of ‘90s Rhythm and Blues- the classic girl groups of the age- that inspired legions of modern-day acts. There is that same sense of shiver and nuance- you keep repeating the verse; unable to take it all in (upon first listen). After the captivating vocals are complete, the band unleashes an instrumental coda- one that sees shivering guitars come to play. Reminding me of (a combination of) 1995 Radiohead and modern Folk, it is a stirring parabond; one that raises the song even higher. Never predictable or one-dimensional, the band gets stronger and more assured; the track gets better by the second- something few other tracks promise. After witnessing the stirring guitar quiver- that builds up so many images and emotions- the vocal comes back. Our heroine is still in firm voice; not wanting to deviate- more thought-provoking messages are presented. Whether speaking to a wider community (a universal message that everyone should take in) or a shamed lover, there is some anger and judgement; they better watch what they say and do- “’Cause it’s all coming back to you.” Among the sense of disappointment, there is some honesty and openness- a sense of compassion too. In spite of all the mistakes and short-comings, all that has been given (“has always been enough”). By the time the chorus comes back around, the vocals become more electric and spiked; it seems more effective and striking- meaning the song finishes (on an incredibly high) point.

It is impossible not to fall in love with Daphne & the Mystery Machines. On paper (and in photos) they seem like a band you want to meet- striking and happy; fascinating and interesting. When it comes to the music, they are indebted to nobody. Whilst Learn to Fall has some familiar themes- that sense of backs-against-the-wall fight; learning from mistakes of the past- the way it’s presented is indeed unique. The group does not go for bare-minimum with their words: the way the images and scenes they conjure will stick in the mind; they are an act that has a very individual perspective. The instrumentation and composition is emotive and stunning. Mixing aching strings and tender percussion, the band throw in quivering electric guitar- the effect is quite spellbinding. Standing above it all are those incredible voices: the stunning lead and the insatiable combinations. When leading the verses, Culver’s native accent mingles with some British tones (although my ear may be off); her strong and wonderful voice gets inside your head- and does not let itself go. When the trio (of voices) comes together in the chorus, you get an immense sense of swoon and romance- that aching beauty and uplifting grace. No member of Daphne & the Mystery Machines falters of slacks: each member is focused and tight; each element essential and paramount- most bands have one or two faults. Keeping Learn to Fall tight and focused, it does not overrun and wander- a song that does what it needs to; without wasting any words. Traditional Americana and modern-day Pop (with some soulful elements) combine to create a song that cannot be ignored- something that will unite all music lovers. With some incredible production values- the track sounds both intimate and expansive all at once- and you have a tremendous achievement. It is hard to judge the future on one song, yet the signs are all positive: I cannot wait to see what Daphne & the Mystery Machines’ album contains. Whether you are unfamiliar with the Tennessee band (or not) then do yourself a favour and get involved- they have a stunning future ahead of them.

Social media can be a very handy thing indeed: when you put a plea out- looking for a great act to review- those in the know always come through. I mentioned it in my last post; it seems we need some sort of music-based social media site- there are a few out there, yet none really cuts the mustard. It is hard to patrol and filter fantastic music: compile a bespoke list/channel that the user will desire. That said, the basic steps would not be a challenge: with the burgeoning of social media, it would be easy enough to make a better site- something more effective and full than what is already out there. It may be one of those ‘to-do’ things for me, because I do worry a bit: so many great acts are being overlooked and going past- only coming to your attention if you are lucky/have a music contact. In a social media age, it is ironic that the ‘social’ aspect seems to be lacking: when it comes to music/promotion, there needs to be something better (out there for the musician). I mention it because Daphne & the Mystery Machine- alongside many others out there- deserve a wider audience; great exposure- they would love/be adored by crowds over here; across Europe- and find opportunity and fan-base. With their eye-catching ranks- you cannot ignore the staggering beard of Josh Preston!- and stunning music, the future is looking very good. Having graced their social media pages- and seen the feedback fans are providing- they put on one hell of a live show. On the basis of Learn to Fall, I am looking forward to the forthcoming L.P.: see exactly what the band has to offer; how they will vary and adapt their sound across a full album. I love the music this country produces- I still think we are just edging it with new music- the U.S. has greater opportunities and support. I find musicians are talent is looking across the ocean: eyeing up the big cities; the warmth of Nashville; the lights of New York- finding better fortune over there (than they have here). The U.S. do somethings a lot better than us- their comedy is a lot better (ours sucks big-time); their dramas are superior (bigger budgets and better talent); their economy is stronger and more prosperous- and it seems the country has a better music climate. In spite of its superior size/population there seems to be greater diversity and community- hardly surprising so many great acts are coming through. Tennessee is synonymous with its terrific music scene- not just Country music and Americana- and the wonderful acts coming through. With its warm and friendly locals; the unique and charming music venues; the opportunities out there, it seems a very tempting proposition. What you find with acts- like Daphne & the Mystery Machines- is a natural warmth and sense of ease. There seems little anxiety and fear- like they have to hit a certain target; always have to look over their shoulder- they have a loyal fan-base and tremendous sound- a rather secure future it seems. There is a lot of preconception and judgement when you say the words ‘Americana’ and ‘Folk’- and tie it to the word ‘Tennessee.’ Many would imagine something quite antiquated and divisive. Many still have that preconceived notion of Americana-style music- and what Tennessee musicians produce. Sure, there are a lot of traditional and old-fashioned acts, yet Tennessee is a large state; its musicians are among the most talented in the U.S. - Daphne & the Mystery Machines are among the finest. Learn to Fall has some regrets and harder tones; it has warmth and heart to it: terrific melodies and building tensions; a combination of emotions- that comes together in an arresting way. Two things come to mind; make me wonder: firstly, if the band would ever come to the U.K., and secondly, what their album will sound like. Even on the basis of one track, you just know the band would be well-received here: those melodies and vocals remind me of Adele (and Amy Winehouse); the lyrics/music would inspire a lot of fellow acts- the crowds would love to see/hear Daphne & the Mystery Machines. Through London (and further north) there are venues they would suit; a definite fan-base awaits- of course it costs a lot of money to come over here (yet something for the band to consider). More urgently, their album will be hotly-anticipated and received: if it contains gems like Learn to Fall then it will be a staggering album, indeed. I’ll wrap this review with a singular message (to those reading this): expand your horizons and start to get out of the comfort zones. For me, I would not normally have known about Daphne’- the type of act/sound that is coming out of Tennessee- but I am so glad I did. Take away any preconceived notions; leave your restrictions at the door and there is a musical world out there: one filled with new heroes and wonderful sounds; entrancing moments and brilliance- start your search in the U.S. This country produces some wonderful music, but to my mind, the U.S. has a greater diversity and range- so much out there to discover. It may be hard to seek all the terrific (U.S.) music out; get to grips with everything out there. If you are looking for a phenomenal starting-point then start here…

WITH Daphne & the Mystery Machines.

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Follow Daphne & the Mystery Machines:

 

ReverbNation:

https://www.reverbnation.com/daphnethemysterymachines

Facebook:

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

Twitter:

https://twitter.com/DaphneandTMM

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Music:

https://soundcloud.com/daphne-the-mystery-mach

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Tour Dates:

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

Track Review: Little Sparrow- Wishing Tree

TRACK REVIEW:

 

Little Sparrow

 

Wishing Tree

9.6/10.0

Wishing Tree is available at:

https://uklittlesparrow.bandcamp.com/track/wishing-tree-2

The music video for Wishing Tree is released on Monday

https://www.facebook.com/events/451602031676284/

ORIGINALLY RELEASED: 6^th May, 2014

GENRES: Acoustic, Folk-Pop

ORIGIN:

Manchester, U.K.

IN a week where I am re-reviewing existing artists…

I am returning to one of my very favourite- a young woman who has one of the most captivating voices in music.  On Monday the video is released (for her twin single) Wishing Tree/Garden.  Having reviewed Little Sparrow’s album (Wishing Tree) last year, I was excited to assess (once more) its title track- review it with fresh ears.  It brings me around to an interesting point: the effect new musicians can have on the public- those who resonate and linger.  Before I introduce Little Sparrow, it is worth looking around the music landscape: there is a quite deal of tremendous and wondrous artists.  To my mind, the band market always seems to fair much better: they have more bodies and resources; it is easier to connect with the public.  Bands have always enjoyed hegemony: from the early-‘60s to current day, public money favours groups.  Being a solo artist is a lot harder and more challenging: the one person has to do all the work; they have certain limitations (bands do not) and have a harder time of things.  For that reason (when a solo artist succeeds and lasts) it is that extra bit special.  With the flood of artists coming into the market, it is harder to find someone truly special: that act that really strikes a chord; sounds that do something truly wonderful.  With the proliferation (and expanse) of social media, that task is no less easy- and often the mind and body can become overwhelmed.  When it comes to solo acts- that resonate and stay in the imagination- it really comes down to two things: the originality and potency of their songwriting; the effect their voice/composition has.  If we look at Little Sparrow- the alter ego of Cambridgeshire-born Katie Ware- and she proves my point.  When I first came across her music- when her album Wishing Tree was released (last year) - I was overcome by her voice: something that seeped into the senses; left me somewhat dumbfounded.  Few people can deny its magic; reviewers and critics were stunned and amazed- her music is still causing tremors and stun.  Before I go, let me give you a short introduction:

“As captivating to watch as she is to listen to, Little Sparrow's beautifully emotive use of expression mirrors the sincerity of her delivery, making her someone not to be missed.  Her delicately crafted folk songs are created with a combination of flawless vocals, strings, guitars, percussion and tender harmonies.  Singer-songwriter Katie Ware adopted the name Little Sparrow as she felt it characteristic of the sound she had developed and the direction in which she wished to travel.  Drawing upon influences as diverse as Kate Bush, All About Eve and PJ Harvey she creates songs that are filled with a blend of styles, woven into the colourful tapestry of her music, often with a mysterious fairy tale quality.

Listeners are taken on a journey that touches upon every emotion, from heart-breaking sadness to uplifting joy. 2014 was the most exciting year for her yet as it involved more live appearances than ever and most significantly she was thrilled to have fulfilled a huge ambition by releasing her beautiful debut album 'Wishing Tree'.  The album has gained many great reviews and much radio play from those including Janice Long (BBC Radio 2), Michelle Hussey (BBC Introducing Manchester), Dave Monks (BBC Introducing Merseyside); Guy Garvey, Tom Robinson & Chris Hawkins (BBC 6 Music); Simon Raymond, Ruth Barnes, Shell Zenner & Kathryn Tickell (Amazing Radio) along with many other radio stations regional and international.”

Little Sparrow has worked tirelessly throughout 2015: her music has been championed far and wide- taking her on the road and playing to new crowds.  With the music video arriving on Monday- for her Wishing Tree- it is only a matter of time before Little Sparrow is a household name.  It is hard to overlook that incredible voice: something that is heavenly and human; emotional and strong- few other singers have that range and sense of captivation.  Writing songs that speak to the heart- and paint wonderful tales and vivid scenes- Ware is among the best songwriters in the U.K. - someone who is inspiring others to take up music.  When reviewing Wishing Tree, every note and line lodged in the mind: the compositions were (and are) both nuanced and impassioned; the songs filled with detail and prowess- ruled by that insatiable and crystal-clear voice.  Take the time to investigate Little Sparrow in the full- through SoundCloud and YouTube- and check out the new music video (arriving Monday).  In a music scene with so many unimpressive and sound-alike artists, we need to herald and support her music- that which can truly inspire and impress.

The opening notes of Wishing Tree have Country tones: straining and breezy U.S. embers; a romantic and swaying sound that gently beckons the track in.  Mixing with Folk strings and the listener is intrigued and fascinated.  When our heroine comes to the mic., her initial words are curious and compelling.  “Take a step back from the things you see/You might get confused quite easily” make you wonder with whom she is speaking- whether a new love or a former friend.  When delivering these lines, Ware ensures the words are carefully and considerably deployed: unveiled with clarity and concision, there is an intentional sense of italicising and precision.  As the lines are being delivered in the foreground, there is a light and tripping backing vocal (a repetition of the main line); it is layered and presented so the two threads overlap and intertwine- creating a sensuous mixture of romantic and dominant.  Our heroine looks to be addressing a love/man: someone who is on her mind and thoughts; an anonymous beau arresting her thoughts.  Wanting (him to be her) wishing tree, Little Sparrow’s voice floats and pervades; flies across the sky- that sense of desire and lust is evident.  When assessing the initial stages of the song, I am reminded of two artists: Fleetwood Mac and Tori Amos.  Whilst there is an essence of Kate Bush’s mystique and etherealness, there is a suggestion of Fleetwood Mac- especially their Rumours/Tusk period.  Pastoral and dreamy; the song could easily fit within those albums.  Ware’s voice has suggestions of both Stevie Nicks and Tori Amos: that comingle of huskiness and child-like beauty; womanly strength and vulnerability.  As the song continues my initial thoughts are questioned: with regards the exact inspiration of Wishing Tree.  As our heroine counts to 10; taking off for the stars, I was starting to rethink my impressions- perhaps there is another subject in mind.  With her wishing tree, our heroine floats across the heavens; passing rainbows- the colours seep into her skin- and on its way.  Throughout, there is a real sense of dream-fulfillment and longing.  Ware’s voice multiples and variates- the backing vocals are hugely effective; the foreground varies its pace and timing- creating something both dizzying and unpredictable.  Caught up in the whirl of her own imagination, Little Sparrow is caught in a daze- taking the listener with her.  Wanting the stars to (tie her to the ground) you really get seduced by the lyrics and imagery- start to picture yourself with her; follow her in her quest.  It is not just the voice that entrances; the composition is changeable and nimble: switching between Country-tinged romanticism to dream-like Folk, there is plenty of depth, colour and variation.  The final moments are a myriad of cooing vocal and plaintive strings: the song starts to move to the heavens and complete its work.  Ware’s voice remains firm and urgent throughout; never succumbing to tire and ineffectualness- remaining beautiful to the very last note.

Having reviewed Wishing Tree last year, it is great to hear it again- and come at it with a fresh mind.  Nuanced and spine-tingling, it is a perfect Little Sparrow track: one that demonstrates what a tremendous writer and singer she is.  Plaudits must be paid to the production, first of all- that makes the song such a clear and concise wonder.  Each note and syllable has clarity and strength; nothing is buried or muted at all- the entire song has a very professional and polished sound.  That is not to say it is too polished; the production also provides quite a live-sounding feel to proceedings- earthy and open; expansive and fresh.  Ware highlights what an original and strong songwriter she is.  Making sure her words contain depth, ambiguity and directness, the listener is open to interpret the song- you can apply different meanings to certain words/lines.  At its heart, Wishing Tree is about dreaming and desire; escape and wonderment- that is achieved with aplomb.  When it comes to vocals, Ware makes sure she seduces at every moment: from the first line to the last notes, there is no escaping that sense of beguilement and entrance.  Aching and sensuous on the one hand; noble and strong the next; few can deny the potency and passion on display- what a wonderful instrument (her voice is).  Wishing Tree staggered me last year; it continues to blow me away now- a song that begs for repeated investigation.

The future will certainly be a golden one (for Little Sparrow).  After speaking with Little Sparrow’s friend (Shay Rowan; who looks after Katie/Little Sparrow) I know how hard things can be: the touring demands and input needed (for her music to thrive) is both challenging and exhausting.  Katie Ware is not a woman who tires easily and has been working passionately- ensuring new eyes and ears fall in love with her music.  Wishing Tree is an album that is (still gaining) plaudit and commendation- new stations and reviewers are starting to realise how special it is.  Fresh from music video recording duties, Ware has been performing some intimate gigs- the young artist never seems to stop working.  I am not sure what is in store for the rest of this year (and next year- although there are plans for a new E.P. next year) yet new music is sure to arrive.  Following Wishing Tree will be a challenge, yet there is plenty of inspiration and potential- it will be fantastic to see what arrives next.  Few solo artists have that same blend of mesmeric vocals and captivating songs; exceptional personality and rare beauty- someone very much made for the stage.  Ware is a singer/songwriter that is at home here (on the stage); dedicated to bring her music to the masses- an artist that is hungry and passionate.  Wishing Tree is one of those songs that demands repeated plays- it gets inside of your head and will not shake.  Struck by the tenderness and beauty of the song, your thoughts go into the wilderness: try and jump inside the lyrics and conspire; dream and float away.  The video for Wishing Tree is as captivating as the song itself: shot in the woodland, it sees our heroin (and other figures) dressed in an animal mask- well, a material animal head- given it a quirky and surreal aspect.  Whilst Wishing Tree’s dreamy and earnest lyrics unfold, you are presented with these strange and beautiful visions- giving the song an extra layer of beauty and appeal.  The video’s innovative use of stop-motion technology gives things a trippy and delirious feel: imagine Radiohead’s video for There There and you get a sense of what to expect.  The animal (mask) motif gives the video an eye-catching and dream-like feel- emphasising the song’s sense of delirium and imagination.  If you are new to Katie Ware and her exceptional music, make sure you do not miss out- an artist that deserves huge respect and support.  Before I conclude- and let you go on your way- I was keen to catch up with Little Sparrow; see what influences her- and what the future holds.

Your album Wishing Tree was applauded- by me included- for its stunning vocals and spine-tingling tracks. Which artists- either growing up or now-have influenced your work?

All About Eve, Tori Amos, P.J. Harvey, Kate Bush and probably the most influential was my dad's own music!

Now I love listening to the people that I normally find while I'm gigging like Tracey Browne and Raevennan Husbandes, Liam Frost, TGElias, Jessca Hoop.  Other artists are First Aid Kit, Agnes Obel, Elbow.  You are starting to tour quite a bit; see different parts of the world.

Do you enjoy touring/gigs? What have been the best aspects about hitting the road?

The best bits are meeting all the different people :)  My goal this year was to 'play out of Manchester', to play to new audiences.  (I am a home bird and thought I should try and fly the nest a little and see what happens!)  I am slowly achieving this throughout the year.  I love performing, so any opportunity that arises that seems a little exciting then I'm there!  I have a few lined up later in the year that are in different parts of the country.

A lot of songwriters have different ‘muses’ (when writing music). What subjects/themes go into making a Little Sparrow song?

Anything really!  Whatever is in my head at the time... A little song I am working on at the moment is about a spider, just because I saw one walking along the floor at the time!  But I also write from the heart, so the emotion will always spill out in some way.

What does the rest of the year hold for you?  Can we expect a new album/E.P. (this year or next)?

I am actually planning to hide away for a couple of months in the autumn so I can work on a new E.P., to release maybe later in the year or in early 2016.

Finally- and for being a good sport and lovely person- you can pick any song; which I will post here.

Do you mean a song that I would tell you to check out?  There's so many... But I will pick Agnes Obel - 'Riverside'

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

KEEP your eyes out for this truly wonderful artist.

[youtube https://www.youtube.com/watch?v=tjJDK0bfJkQ&w=560&h=315]

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Follow Little Sparrow:

Official:

http://www.littlesparrow.org/

Facebook:

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

Twitter:

https://twitter.com/uklittlesparrow

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Music:

https://soundcloud.com/uklittlesparrow

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Videos:

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

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Gigs:

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

Track Review: Gorilla Punch Radio- No Retreat

TRACK REVIEW:

 

Gorilla Punch Radio

  

No Retreat

 

9.2/10.0

No Retreat is available from iTunes on 7th August, 2015

GENRES: Indie-Rock; Alternative; Rock

ORIGIN:

Leeds, England

IT is time to say hello to one of the most…

uniquely-titled bands in the world.  The pronunciation of their name conjures everything from tropical radio stations to violent primates- their music, weirdly, mixes the two.  I have dealt with the Leeds-based band before: the tail-end of last year I got to say ‘hi’ and check out what they are about.  At the moment, the group is preparing to launch No Retreat: their huge single that is gaining radio-play and huge plaudits.  Before I delve more into the band, I want to raise an important point: getting acts together/social media compartmentalisation.  In the course of my ‘duties’ I get to hear some varied acts; hear a lot of great new music- you often wonder whether they could do better.  I don’t mean in the sense of quality; more quantity: can their social media numbers be boosted honestly?  I have managed to connect a few acts- through #FF-ing on Twitter; sharing stuff on Facebook- yet there is still some division- lots of similar bands are missing out (on one another).  It is good to be back in Leeds- at one point most of my reviews were set in Yorkshire- and a growing band with a great sound.  I am organizing a charity music day/night in November- at a local music venue- and getting bands together: Gorilla Punch Radio would make a perfect addition (to the line-up).  Like Goldbirds- another young act in their first stages- Gorilla’ make hot and heavy sounds- hardly a shock given their name- and birth colossal riffs and epic soar.  Working in a bar (as a D.J., among other duties) I get to do a Monday night slot I review four albums: one of them has to be brand-new; one ‘older’ (1985 and earlier) one of my choice- the final one has to be influential.  From the likes of Los and the Deadlines to Gorilla Punch Radio, Foo Fighters are a big influence.  In fact, this Monday night, as part of my album reviews- Sly and the Family Stone, Radiohead and Sleaford Mods are included- is Foo Fighters (and their seminal album The Colour and the Shape).  That album has compelled a lot of new acts- songs like Everlong and Monkey Wrench cannot be ignored for their impact and effect- and G.P.R. have taken this on board- their sounds under Foo Fighters’ riff-age and update it.  No Retreat is abound with Grohl-esque vocal; seductive slink and ferocious arpeggio jams; brutal to-the-bone pummel- tied around lyrics of alienation and against-the-odds f***-you mentality.  Returning to my original point, Gorilla Punch Radio has stablemates and hombres: bands that play a similar sound; have that same spark and booze-flecked abandon.  Hopefully I can get Gorilla Punch Radio to the south- come November time- along with Los and the Deadlines, Goldbirds, Bi:Lingual and Allusondrugs- to my mind, some of the most essential Indie/Rock bands coming through.  Yorkshire is producing (and has done for a while) some quintessential acts- a county cannot stop giving birth to some good-looking babies- and continues to do so- few county-mates sound like Gorilla’. Before I wrap-up the point, let’s have a look into the band’s biography:

Paul James Stefan Gandhi Mark Heppenstall Elliot Vaughan

“Gorilla Punch Radio, an exciting new alternative rock band from Leeds, are proud to announce the release of their debut single ‘No Retreat’.

After touring extensively in support of artists such as The Struts, The Pigeon Detectives and New City Kings with his former band Titans Troubadours, guitarist and singer Paul James decided to pursue his own sound and formed Gorilla Punch Radio in late 2014.

Mixed by the acclaimed engineer/producer Elliot Vaughan, whose previous clients include: Pulled Apart by Horses, Frank Turner and They Fell from the Sky, ‘No Retreat’ kicks off with an explosive guitar riff that’s sure to have fans banging their heads and punching the air.

The song’s theme focuses around the gritty realities of standing up in the face of seemingly overwhelming odds, with lyrics that are designed to inspire courage and a refusal to back down.

“We’re really excited about this song as it has taken a while to craft and perfect. Elliot has successfully captured the energy of Gorilla Punch Radio in this recording, and we can’t wait to share it with everybody!” – Paul James of Gorilla Punch Radio.

The radio-beating gorillas- I will ask them one day the genesis of their band moniker- have not been wasting time- instead honing their sound and making their new single the best it can be.  The band is coming into the market at the perfect time: the likes of Royal Blood and Drenge have redefined Alternative-Rock- that sort of White Stripes-cum-Led Zeppelin-via-Queens of the Stone Age jam.  Gorilla Punch Radio has a range of influences- mainly U.S.-led- and distills this in their unique brand of music.  The boys are looking ahead to 2016: who knows what is to come from the group; just what a potential album will sound like.

If you are new to Gorilla Punch Radio, there are a few acts that are good starting points- to see who has influenced the Leeds four-piece.  In terms of U.S. examples, I would say Nirvana and Foo Fighters count as idols (and to a degree our version of Nirvana, Allusondrugs).  Like their Leeds contemporaries Allusondrugs, Gorilla Punch Radio has their ear on ‘90s Grunge.  In terms of album comparisons- for Nirvana and Foo Fighters- I would select Bleach and The Colour and the Shape.  Nirvana’s debut was filled with rough and loose-sounding jams; Kurt Cobain’s burgeoning songwriting talent; a keen eye for social commentary and romantic rage- a perfect mix of meaty riffs and superb band interplay.  In terms of attack and lunge, The Colour and the Shape may not be in the Foo’s top 3; however, the album remains influential and inspirational.  Its Post-Grunge production values/sound inspired legions of bands and followers.  The powerful rushes and big hooks defined that Post-Grunge era; it comes through in Gorilla Punch Radio’s single- you can hear little bits of Up in Arms and Monkey Wrench.  Like Grohl, Gorilla Punch Radio has a graveled and masculine voice: a powerful set of pipes that shred through the material- no sense of cadence or fatigue throughout.  I would say- in terms of U.K. influence- you’d look at Royal Blood and Muse.  Royal Blood- themselves not long in this world- have created quite a furor; critics are salivating over their innovative sound.  Of course Royal Blood employ no guitars- getting that ‘guitar sound’ from bass only- but their straight-ahead attacks; mandates on love and broken hopes have been extrapolated by Gorilla’: the boys have aspects of Royal Blood’s debut- that same endeavor and ambition; the epic riffs and huge choruses.  Listen to the likes of Figure It Out and Out of the Black and you can hear a bit of No Retreat: the trip, duck and dive; the groove and head-rush; that immense carnivorous bite- all backed with some pretty cutting lyrics.  The production values are quite similar too: both bands come across as both live-sounding and polished.  Words and utterances do not get over-bleached or drowned; the vocals do not get pushed down and suppressed- it is all up-front and elemental.  At the same time, there is a great ragged edge to things: Gorilla Punch Radio wants their music to sound like it is in your face- no studio tinsel and needless overproduction here, thanks!  When comparing Gorilla Punch Radio to Muse, you’d go back to their ‘glory days’- the 1-2-3 of Origins of Symmetry, Absolution and Black Holes and Revelations.  Nowadays (and as was evident with Drones) Matt Bellamy has been getting his crayons out; scribbling pseudo-political lyrics with a surprising amount of juvenilia and homoeroticism- Bellamy is more Chad Kroeger than Bob Dylan when it comes to penning a line.  Among the over-serious attacks and lyrical retardation, the riffs and bat-shit-crazy goofiness remains- the likes of Repears, Defector and The Handler are among their best tracks.  Muse hit their peak (in my opinion) on Black Holes and Revelations.  That album saw their riffs at their sharpest- with Assassin and Map of the Problematique right up there- and the emotion at its most earnest (songs like Soldier’s Poem and Supermassive Black Hole are delightful).  Gorilla Punch Radio take that ‘overblown’ aspect and mute it slightly: they have retained the sharp and face-slicing riffs; the operatic and dramatic vocals; the made-for-the-U.S.A. sound.  What is most evident- and the best comparison- is the craft and production.  On Black Holes’, Muse sound fully-realised and equal- in previous releases it was The Matt Bellamy Show.  With No Retreat, Gorilla Punch Radio sound equal and in-step; each member pulls their weight impressively and there is no sense of imbalance- each instrument gains equal footing to add to the overall quality and force.

When the band released their self-titled debut album- at the end of last year- tracks like Bragging Rights stood out- that song was appropriate in its declarations.  The immediacy and intuition was evident from the off; the song was filled with passion and urgency.  On No Retreat the boys sound even more confident and assured- from the earliest seconds, they have improved their sound; come on since their earliest days.  From the get-go, the riff is snaking and poisonous: it snakes and jives its way through the speakers; a concoction of threads and notes- fizzing and popping with energy and potential.  Flecks of Foo Fighters and Royal Blood unite to create something fascinating and teasing- the listen has their interest and imagination pricked instantaneously.  Clattering and rumbling, the band unites tight and fiercely.  The boys are up the task at hand: the percussion is particularly dominant (in the early exchanges) as the Gorilla boys whip an epic and grand-standing introduction.  When our man gets to the microphone, you can feel the anxiety and hostility.  Pressure is building; the strain is coming- like “acid dripping in an open wound”- and he is pressure-bound and all-consumed.  Whatever has compelled this feeling- whether the stresses of modern life or high expectations- there is an unnerving degree of anger and explosion.  The fires are burning; the tensions are building: our man is overcoming the odds against some rather stringent forces.  In terms of the mixing and production, the vocal is given a good chance to shine and focus- it is not buried low and crowded by the instruments.  That said, the mix also allows plenty of instrumental swagger and prevalence- the band members never let up their energy and motivation.  With some Grohl-esque growl, the sense of balkanisation is evident: either rallying against life’s pressures- or people who are letting him down- our hero is putting up his armour (and suggesting sides are being picked).  Just after the 1:00 mark- and after the initial round of anxiety- the band crank out a spiraling riff; prabond their instruments in a flurry of fist-pump and shout- making sure the listener’s attention does not wane or wander.  In the same way Royal Blood slam and punch- not to belabour a point or compare the band to them too much- the Gorilla boys have that same raw and relentless sound; the mixture of ‘90s Grunge/Indie with something unique- an insight into the struggles the band face.  Defiant in the face of adversity, the lads are faced with fist-raising enemies- these gorillas are waiting in the mist- and detractors.  Both youthful and mature, the band is waiting for submission: they will not be beaten and put-down; they are here for the long-run.  Whether a declaration to the music industry- the band will not be overcome and overlooked- or something personal, that determined and relentless voice cannot be overlooked.  In fact, at the mid-way point, the guitar work shines brightest: a delirious and whacked-out grumbling riff burrows through the concrete; conspiring with drum and bass, the band reaches their heavy best.  Beefy and British- a fuse of contemporary ‘Blood and ‘80s Judas Priest- the fretwork is both exhausting and exhilarating; it keeps the mind guessing and the ears hooked.  When our man is back at the microphone, his burden is no less extinct- that insatiable chorus comes round to root.  Melodic and sing-along, forceful and bolshie, you cannot help but chant in support- the bitterness and side-choosing; rebellion and masculinity.  The lines have been drawn- as we find out by this stage- and the vocal becomes malevolent and cooing (down to a whisper at this stage) as the lines “have been drawn” and another has come; there is that tangible sense of warfare- sides coming together in an explosive riot.  The Muse comparisons may not be too far off (at this stage) as there is some tremendous vocal work- something operatic and high-pitched is unleashed in the background- and the riffs have that Absolution sound (Plug In Baby and The Small Print especially) - the lads expertly walk the line of genuine honesty and intergalactic epic-ness (a combination not even Muse can the hang of these days- one suspects Matt Bellamy needs to find a good woman and read some Aldous Huxley).  By the end, the boys join vocals; the heat is well and truly on- the song becomes a sprinting bull; a wild and horny monster (the extent of the emotions involved is combustible).  The final notes are a guitar hold: a final note is struck and it is held; floating in the musical cosmos.  This a good move as not only do you get a very vivid picture- imagine the boys downing instruments and walking off with triumph to applause- but it allows some calm and consistency (although a nice, sharp ending may have been better: think Out of The Black and Loose Change is we want to go Royal Blood again).

Each member of the band has expounded a lot of effort and time: No Retreat is testament to a lot of craft and discussion; some dry-runs and rehearsal- a song that sounds as loose as it does honed and studied.  The exceptional production values and tremendous mixing means every note is decipherable and crystalline- yet instilled with some dents and cracks (to give it a great live sound).  The lyrics remain simple yet personal; nuanced and open for interpretation: the band are fighting forces of suppression; trying to battle the odds- yet you are never 100% sure if they are battling particular people (or just the state of the world).  This means, not only can listeners fill in the gaps, but the song appeals to a wider audience- if it were too insular and personal its appeal would be finite and mortal.  As it is, their single has all the mainstream appeal or your Royal Bloods, yet is ready-made for the underground pits- the sweat-flailing floors of the country’s best music venues.  Arms aloft and fist-pumping in its criteria, the Leeds collective have crafted something both classic and current- yet they do not sound too like anyone else; only themselves.  The guitar work is exceptional and ferocious for large parts.  When it needs to be controlled and calm, it always bubbles with intent: threatening to punch you in the jaw at any provocation.  The bass work guides and glides in the calmer moments; frantic and driving when the song explodes.  Similarly the drums provide a constant heartbeat and sense of primeval beat: always making the song sound Jurassic and masculine in every moment.  Together, the instruments create a Rock symphony; a concrete-aiming kick to the senses- and it succeeds in achieving its aims.  With vocal work that has suggestions of Dave Grohl and the Grunge greats, we have a forceful and powerful voice: something that makes No Retreat such a terrific song.

It is hard to point at any negatives or suggestions.  At points, I would suggest making the vocal even fiercer and wracked: adding in a primal call and scream; adding extra intensity in the chorus perhaps- matching the passion and fervency of the instrumentation.  With regards the mixing- although it is exceptional indeed- perhaps putting the percussion higher up the mix.  No Retreat is a song that demands a huge beat and clear kick- putting the drum further up; clarifying and defining its quality and the song would have a punchier and harder sound (that its lyrics cry out for).  They are minor suggestions, and in reality, I cannot fault the song for any reason.  The Leeds collective has not only unleashed a superb stand-along single, but a taste of the future: if they produce an album with songs like his, they will be festival booked in a second.  Primed and born for both underground venues and large stages, the boys should prime themselves for the future- they are sure to be big names before you know it.

Having dealt with the band before (and their music) I knew what to expect to a degree- No Retreat blows away any cobwebs of expectation.  No mere Foo Fighters wannabe, the lads inject their own cocktail of force and relevance: a song that speaks to the listener whilst kicking them square in the nuts.  Cranking the volume all the way to 12 (even Spinal Tap couldn’t kick it that far) the Leeds brotherhood has unleashed a snarling cross-breed: the teeth and snarl of a British bulldog; the heart of and hunt instinct of an American Fox Hound.  Together, you have an unbeatable combination: edges of American greats with some home-grown honesty.  The band has taken every care to ensure No Retreat is a supreme thing; it is polished and ragged; rough-and-ready around the edges.  Let’s hope new music embraces the potential of Gorilla Punch Radio: the band is no mere one-trick ponies; they have a lot more to say.  When I reviewed Goldbirds- and their brilliant new music- I was confident they will go onto great things- I have no hesitations here.  Radio stations are embracing Gorilla Punch Radio; their fan-base is starting to climb- their social media ranks will be expanding and diversifying.  One day we will discover a social media platform for music- takes away the needless aspects of Facebook and Twitter- and dedicate something to music/musicians.  That way, not only will venues be aware of ideal/perfect bands (for their venue) but other musicians will be able to connect- fans will be able to find their type of music without serendipity.  ReverbNation and their ilk do okay but there is nothing comprehensive and fully-fledged.  At the moment, we have to rely on luck and good fortune: the mainstream media cannot uncover every great act out there; it is a hell of a challenge.  I hope the lads get some more sounds out there; get a full SoundCloud and YouTube account set up- at the moment, it is quite hard to locate their music.  In time- and when they have more songs out there- they will be readily available.  Their Facebook and Twitter accounts are well-maintained and full; they want to make sure they are updated and full- plenty of people will want to keep abreast of all their news.  What more can one say then?  Well, it seems new music is producing plenty of variety; some terrific acts are coming through- I wish Gorilla Punch Radio all the best.  The Indie/Rock/Alternative mould is starting to fill up; the competition and range is quite immense- everyone fighting for those future festival dates.  If the band keep crafting gems like No Retreat, then they will be assured: the likes of Los’ and The Goldbirds have shown what can be achieved if you get your sound right.  Personal and unique; contemporary and familiar in places, the Leeds clan should be very proud- make sure you do not overlook what they have to offer.  In a year that has provided some great acts; songs that stick in the mind, No Retreat is right up with them.  I have a feeling…

2016 will be a great year for the band.

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A Time for Change: The Single Voice: Uniting All

A Time for Change:

 

The Single Voice: Uniting All

ANOTHER day; another shooting in the U.S…

There’s almost a song lyric in that (steal it if you wish).  Seriously though, my opening line has almost become a cliché: every week there seems to be a new shooting; another chance to get angry.  It is all very well (President Obama) being disappointed- at how he cannot soften gun laws- but the fact remains: so long as the (irrelevant and seriously outdated) Constitution remains, the U.S. will always be strong-armed- never able to become truly civilised.  The news is dominated by violence and terrorism; horror and fear: we will never eradicate all of this misery.  With social media (and the Internet) growing and expanding, there is an opportunity being missed: a real chance to utilise it for genuine good, rather than self-promotion.

What the Charity Does.

I have mentioned The Single Voice in previous blog posts (probably bored everyone to tears) - I am really pumped about it.  Whereas charities focus on one issue/cause, The Single Voice brings them all together- and has its own agenda.  By uniting all charities, it is not only hoped that a) more money/awareness is raised for them, but b) each charity can help one another.  The Single Voice will have its own website- that would be eye-catching and unique- that is informative and easy to navigate.  There are links and ways for charities to interact; help one another and unite to raise funds.  The main points of The Single Voice are to make genuine changes and get everyone involved in charity.

The Charity’s Main Focus:

Mental health is a big issue: by addressing mental health issues, we can prevent so much tragedy from occurring.  A lot of gun violence and killing takes place, because (the perpetrator) has mental health issues- that are not being addressed.  The usual solution- when responding to terrorism and gun violence- is to shoot first; ask later.  It may seem pie-on-the-sky but actually talking about things; addressing issues before they occur is paramount.  In this country, there are limited resources: there is finite money/people available to tackle mental health issues.  By raising money- through mass online appeals and social media unification- we can generate funds; join mental health charities together- tackle those most vulnerable.

Another aim is to raise awareness of lesser-known charities: get their name into the forefront; compel people to do more for causes- and get involved in the community.  There are a lot of causes and concerns that get overlooked- go under the radar- that deserve wider acclaim.  From animal rights to equality for women, The Single Voice can help- by putting these charities up front.

The First Promotional Imitative- 2016

 

How it Raises Money.

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

The Main Site.

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

Registration.

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

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

The Initiatives.

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

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

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

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

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

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

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

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

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

Beyond Social Media.

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

Before Then…

I hope to organising a charity gig towards November/December- to raise money for Mind.  It would unite my favourite new musicians and would be an all-day event; not only aimed to showcase new music but raise a lot of money.

The Single Voice: Using Creativity to Make Changes:

The charity would use music and the arts to pull in people: encourage creativity and artistic endeavour to raise money and awareness.  Like the first promotional initiative, the charity’s website encourages creativity: becoming involved in music/creating your own sounds; D.J. work and music writing; comedy and screenwriting etc.  Having its own social media site, The Single Voice encourages collaboration and joint ventures: getting users to unite on creative projects; use music and arts to raise charity funds- and raise awareness of great causes.

Setting Up and Going Forward:

At the moment, there are a lot of ideas on paper; schemes and plans coming together- the first steps need to happen (before we can run).  Hoping to establish the charity this year, I will need trustees- and people to support it.  The website is the important next step: not only establishing what the charity does/aims, but having everything in one place.  There will be a social media channel and links to charities; bespoke music and screenwriting sections; ways to become active in the community.

The main aim is to help eradicate big issues and ills: from gun violence and terrorism to social inequality, there are ways to make a change.  Rather than use violence and hatred, raising money and awareness- helping tackle mental health issues- are much more vital.  By joining with companies like Google and Microsoft- helping to promote them- there will be money available and a necessary platform- which means The Single Voice can thrive.

The Point of Doing All This:

Something needs to be done in the world: there is too much needless violence; stupidity and ignorance; a lot of people not doing their fair share- people need to do a lot more in this world.  The Single Voice, not only aims to raise a lot of money and solve issues- but get people more involved in community and charity- and less concerned with social media and needlessness.  Before the end of the year, I will set up the charity and produce a more thorough blog- it may seem a little sketchy at the moment.  I just get so annoyed by the state of the world: too much rudeness and selfish people; needless gun violence and terrorism- nobody seems capable of being able to solve things like a human.  Things can be done; changes can be made- it just takes the support of the people…

Track Review: Tiny Rhymes- Arrows

TRACK REVIEW:

Tiny Rhymes

 

Arrows

9.3/10.0

Arrows is available at:

https://soundcloud.com/tinyrhymes/arrows-1

RELEASED: 23^rd June, 2015

GENRES: Chamber-Pop; Indie-Folk

ORIGIN:

Buffalo, New York, U.S.A.

The E.P., A Kinder History, is available from:

http://tinyrhymes.bandcamp.com/releases

Arrows

Oh, Amaranta!

Gold Mountain

Home

Performed by:

Sharon Mok- vocals, guitar

Katie Weissman- cello, vocals

Kathryn Koch- violin, vocals

Dan Schwach- percussion, glockenspiel

Brad Lauchert- percussion

Zack Steinberg- bass

Peter Isaac- trombone

All songs written by Sharon Mok/ Tiny Rhymes

Recorded at GCR Audio (Buffalo, N.Y.)

Mixed/edited/produced by Brad Lauchert/ BadTone Productions (Buffalo, N.Y.).

Mastered by Adam Grover/ Georgetown Masters (Nashville, TN.).

Art by Nicholas Dowgwillo.

ONE of the worst things about music reviewing…

is that sense of predictability: reviewing the same sort of sounds; similar acts and artists- you get to the stage where music becomes stale and formulaic.  This sensation is something that has been present lately: that feeling that a lot of the music (that is coming my way) does not break too far from the mould: predictable parables that leave little to the imagination; really does not linger too long.  Gladly- and very much distinct from other acts- Tiny Rhymes arrive.  A lot of my reviews emanate from the same sort of areas- the U.K. or Canada- yet Tiny Rhymes hail from Buffalo, N.Y.: my second trip to New York (having reviewed Ariana & the Rose) and my first to Buffalo- located in Western New York, on the eastern shore of Lake Erie.  Buffalonians (the name given to native dwellers) are a diverse mixture- the population is divided between Hispanic, Black and White (with Asian and Native Americans among the mix).  Recovering from economic downturn, Buffalo is a thriving economy (now): technology and financial services are big business; healthcare too- the area is bustling, in spite of economic issues (across other parts of the U.S.).  Tiny Rhymes are not what you’d expect (from a band from Buffalo) and are exempt from cliché and stereotype: the group marry Chamber-Pop and Indie-Folk- a hypnotic pairing of dark tones and orchestral undertones.  Before I continue my point, a bit of background is needed (provided by lead Sharon Mok):

“I've always played piano, but decided to pick up the guitar for this current batch of songs, and set out to create melodies influenced by my childhood experience with both Chinese opera and classical music.  While writing and recording in Buffalo, I met cellist Katie Weissman and we instantly hit it off. Weissman’s diverse technique and smooth, dark melodies added necessary dimension to the songs.”

I know there is a lot of music out there; a huge pool of multifarious sounds: the media (and social media) tends to bring us only a select few; there is a lot of compartmentalisation- so much quality goes rushing by.  Tiny Rhymes are a band that deserves wider acclaim: a group that dare to be different; break away from the mass of samey bands- their music cannot be ignore or overlooked.  Chamber-Pop is a genre (many are) unfamiliar with; maybe some will balk or shy away- unware of what the sounds entail; how good it can be.  Having listened to Tiny Rhymes- assessed their E.P. and its wonders- I am now a fan: I would urge everyone to take a sip of the Buffalo clan.  Mainstream tastes tend to via towards Pop and Indie: there is wiggle room, yet there is still a rigid leaning towards tried-and-tested sounds.  With the growth of Electro.-Pop and Indie music, tastes are starting to broaden: some long-forgotten sounds are resurfacing; great music is coming back to the fore.  Tiny Rhymes are not quirky and divisive: their sounds are a concoction of everyday emotion and delicacy; orchestral swathes and pin-sharp vocals- something that is a rarity in today’s scene.  I hope that more follow suit; start to learn from Tiny Rhymes: they are getting a lot of tongues wagging (in New York); spiking the public imagination- it cannot be too long before they arrive here.  In the U.K. we have some ‘fairly’ similar acts- the likes of Little Sparrow (a solo artist) spring to mind- yet nothing quite like Tiny Rhymes- their brand of song would be celebrated over here.  I do hope the group comes to London and play: there are clubs and venues that would house them without hesitation- the capital would love to see them.  The group’s E.P. has arrived; a four-track collection that demonstrates a wealth of treasure: stunning beauty and fragility; fantasy and reality- a stunning collection of songs (that linger long in the mind).

When it comes to comparing Tiny Rhymes’ work (with their previous cannon of songs) it is quite difficult- being so fresh from the blocks, the Buffalo group are a sapling sound.  The Cape- a single released last year- was replete with romanticism and yearning; jumping strings and crashing waves- a touching story with some stunning images.  Since then, the group has not varied their sound too much: they sound more confident and intuitive.  Tiny Rhymes started off strongly and impressive: over the course of this year they have cemented their sound; brought in new influence and elements- augmented their beauty and wonder.  It is hard to compare Tiny Rhymes to another; few other acts spring to mind- they are a rare breed indeed.  Chamber/Folk music does have its patrons, yet none do things like the Buffalonians: few acts are quite as original and ornate as the group.  Taking elements from bygone acts; a sprinkling of contemporary Chamber-Pop/Folk acts, Tiny Rhymes bring in their own voice and flair- not wanting to come across sounding like anyone else.  If you are new to their music, I would suggest investigating the (genres of music they play) and getting some background: even acts like The Staves and The Unthanks can be traced (to Tiny Rhymes) - there is that similar sense of beauty and tenderness.  What makes Chamber-Pop so beautiful is the mixture of instruments: yearning strings and low-high blends- orchestral grandeur and romantic delicacy.  If you’re a fan of other genres- and not usually tempted to the kind of music the band plays- I would advise experimentation: they are well worth your time; a valuable addition to anyone’s collection.

Arrows leads A Kinder History; it does so with some tremendous beauty.  The song’s initial notes pair plinking notes and tripping dance; a myriad of trickling cascade- a balletic version of a Disney score.  Merry and romantic; light and breezy, the listener is welcomed with a warm and intriguing heart- you are never sure quite what is coming next.  “If memory of you finds me sleeping…” open the track- the lyrics in the early stages are clever and oblique- where there is a sense of separation and remembrance.  Employing some deft wordplay, the subjects of dreams and memories are introduced: our heroine will (not forget her man) until she is dreaming- she wants to re-write a kinder history.  There seems to be some regret and lingering doubts: our lead wants her man to think of/remember her; not sure if he will.  As I stated, there is some obliqueness and ambiguity: your mind and heart converge down different roads; never 100% sure whether there is resentment or contentment- I guess there is a little of both (in every word).  After Dan Schwach’s dizzying glockenspiel; some terrific strings (from Katie Weissman and Kathryn Kock) it’s Mok’s vocal that steps into the spotlight- narrating her tale with stunning passion.  Mok’s female companions lend their voice, yet Mok stands out front: that blend of child-like innocence and womanly strength radiates and compels.  Superbly delivered- she delineates her words with a real sense for mood and pace- you are hooked in and seduced.  The song looks at the present and past: Arrows mixes the physical with metaphorical; exploring love and innocence- a rhapsody of heartfelt emotions.  Our heroine looks back at childhood- where she had all the time in the world- and the present- where she and her lover have none.  One is never sure whether the relationship is intact or broken; if there is a parting or doubts- the words leave room for interpretation.  To my mind, I envisaged two lovers split and fractured: maybe overcome by modern strains and the distance between them; there is that need to return to the past- where innocence and simplicity were so much more favourable.  You can sense that yearn and sigh; that need to restart things- make life less complicated and fraught.  Never overly-anxious and full-on, each line is delivered with softness and consideration (yet there is plenty of passion and conviction).  It is not just Sharon Mok’s show: her cohorts ably support her; adding symphonic lust and immense beauty.  In addition (to some mesmeric) backing vocals, each instrument adds huge weight- the strings lift the song to heavenly heights.  As the song progresses, the travelogue continue: each party seems to be bound in a different direction; their paths never crossing- perhaps they will meet by chance?  With our heroine moving and dreaming- her subject on her mind- maybe they will see one another; perhaps things have finished for good?  Friends and companions, that dislocation-cum-break-up mandate is a well-worn subject- yet Tiny Rhymes present it in a very personal and distinct way (never succumbing to lyrical cliché).  Before the 3:00 marker, our heroine makes a plea: “Don’t come back for me.”  There is that sense of succeeding; letting events take their turn- and giving up on a dream-like meeting.  With her voice starting to show its emotions, Mok reaches her impassioned peak- recollection and truth have caused their damage.  Wordless vocals enter the fray- as punctuation and sense of relief- and the listener is forced to reflect.  You find yourself emphasising with the heroine: wanting things to be different but knowing they never could.  Adding lightness to proceedings, Schwach’s glockenspiel comes back in- that candid hop and sweet-natured chime prevents the vocals from becoming too maudlin and weighed-down.  Supported by some superb production values- that makes the song sound like it is coming live from a cathedral/large room- you feel as though you are there; yet there is some intimacy to things.  The production makes the song vast and impressive yet mollifies too- at times, it sounds like this is a riparian lovers’ call (as though you are being serenaded by the riverside).  Quite an impressive and laudable step, it brings Arrows fully to life.  In the closing stages, unity comes through: each instrument and voice blends in; the wordlessness augments and swims; the band notch up the offensive- reaching spine-tingling levels.  Scene-closing and evocative, the final notes are beautifully escheated- and you find yourself seeking more; continue that superb and entrancing sound.

Applause should be meted out to each Tiny Rhymes member.  Mok’s lead voice- and her lyrical direction- are at the forefront.  Her soothing and delicious tones are the perfect clothing to an amazing body of work: a song that resonates with all, yet feels deeply personal and special.  Her narrative and wordplay is incredible and stunning; her voice constantly engaging and gorgeous- few other leads could achieve such a feat.  The strings-and-vocals combination of Weissman and Kock is to be commended: not only exceptional players, their tones fit perfectly (alongside Mok); adding beauty and weight- lifting words and lines to unbeatable realms.  Perfectly in-step, the trio work wonderfully off one another- there is a clear love and affection; a natural bond that ekes through in every note.  Glockenspiel and other notes are supremely delivered (by the rest of the band).  The glockenspiel incorporates delicate beauty and crystal-like fragility; one of the defining aspects of Arrows.  When the band unite and weave (in and out of one another) the biggest chills are elicited: the bond they all share makes the song such a thing to behold.  Arrows is the perfect lead-off track; a perfect starting-point for A Kinder History.  The song showcases the band’s core strengths: personal and relatable scenes; stunning vocals and harmonies- authentic and genuine Chamber-Pop majesty; gorgeous string and percussion.  If you need an escape; get your mind off of modern life- investigate this stunning track.  It will melt the woes and raise a smile: when it comes down to it, how many other songs do that?

It is great to discover something genuinely wonderful: an act that comes out of nowhere; something unexpected- music you would never (have otherwise) heard.  Since reviewing Tiny Rhymes, I have looked into Buffalo’s music: the area fascinates me and I was keen to check out Tiny Rhymes’ colleagues and peers- who the movers and shakers were.  Few local acts resonate as hard (as Tiny Rhymes) yet Buffalo boasts some terrific music: from Goo Goo Dolls to Gym Class Heroes, there is a lot of fervent activity.  By and large, the music (coming out of Buffalo) sticks to the Rock-cum-Alternative territories- with some Metal and Folk peppered around the edges- so Tiny Rhymes are still quite unique.  In such a bustling and developing region, you’d expect some contrast.  Let’s hope more acts follow suit: we have too many bands that play it hard and heavy; tend to prefer something more forceful and to-the-point- Tiny Rhymes’ nuanced and uplifting beauty should not be overlooked.  Arrows is the perfect starting place- when investigating the group- and their E.P. (A Kinder History) is packed with stunning moments.  Oh, Amaranta! Is a tear-inducing sway; it begins with aching strings- the introduction then is overthrown with a beautiful and sighing vocal.  With its bare and natural production values, the song has a pastoral sound- a great live-sounding tone that makes each word more authentic and tangible.  Bubbling and rising, the song goes through waves and swells: rising like a phoenix, before demurring into the shadows.  Relentlessly touching, it is a song that gets under the skin: Mok’s lead vocal is entrancing and impassioned throughout.  Gold Mountain is similarly wistful and cooing: in the early stages it boasts similar traits to its predecessors.  Before long the group layer in; the sound becomes larger and more atmospheric: it is one of the most evocative takes of the E.P.  Putting your mind in the wide open; soaring across the sky, the track is stunningly sweeping; magisterial and graceful- a wonderful thing.  Home is the E.P.’s closer- and perhaps an appropriately-titled swansong- which sees Tiny Rhymes sign-off in style.  Tender and soft, trembling and honest, our heroine is focused on the door- looking to “run right out.”  There is a need for escape; get away from things and start again- find some sense of personal relief.  Overall, the E.P. has a consistent and loyal sound: the group do not stray too far from their signature feel; choosing to variate from track-to-track- never breaking away from that core of beauty and ethereal delight.  The four tracks are a testament to study and intelligence: a group that sound contemporary and classic; cultured and everyday- able to unite the mainstream with the underground.  Baroque-Pop is a genre that showcases many legends- from Belle and Sebastian to Florence and the Machine; Fiona Apple to The Decemberists- and is a very popular (and profitable) style of music.  Chamber-Pop manages to take in Baroque elements, whilst employing classical edges: Tiny Rhymes have a keen ear for Folk and Indie; never willing to become rigid and restrained.  I have a lot of genuine respect for Tiny Rhymes: in a music world of homogenization, they are separating themselves with distinction- the signs are all very positive.  With their E.P. gaining some heated praise, the U.S. newbies will take great solace and heart: hopefully it will not be too long before a second E.P. (or L.P.) is introduced.  As mentioned earlier, it would be great to see them (the band) in London: hear that stunning music up close and personal.  Arrows is a perfect song for the season: filled with sunshine and warmth, insight and mystery, make sure you do not let it pass by.  Having bogged-down in a sea of predictable acts, it is nice to regain some sense of focus and difference: it is my hope some similarly-ambitious acts come my way.  If you need a break from the heaviness of Rock and Indie; the staleness of Pop; the rank-and-file acts, then get involved with Tiny Rhymes: a soothing and medicinal balm that counteracts the stresses of modern life.  Brimming with talent and beauty; exceptional songwriting and exemplary performances- they are one of the most tight-knit and close groups I have ever heard.  Long may their success continue; they have overcome the first hurdle: their music is catching on and growing; their name promoted and celebrated- tiny steps, but vastly important ones.  It is wholly conceivable Tiny Rhymes will be playing internationally; creating another E.P. (and many more after); going on to great things.  In a music world packed and expanding…

FEW survive to see the day.

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Follow Tiny Rhymes:

 

Facebook:

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

Twitter:

https://twitter.com/TinyRhymesMusic

YouTube:

https://www.youtube.com/channel/UC38vthDSCRnSYiQHXZM0pIA

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Music:

https://soundcloud.com/tinyrhymes

Feature: Inspiring New Music- The Rise of Boileroom

Inspiring New Music:

 

 

The Rise of Boileroom

By Sam Liddicott

Wednesday 29th July, 2015, 09:00

[twitter-follow screen_name='samliddicott' show_screen_name='no']

ONE of the bittersweet things about living around Surrey…

is the- not all, but a (worryingly) high amount of- people and attitudes (okay, technically two).  Buried among the sweet and lovely people (there are a fair few) is a much large malaise: a lot of rather ‘unlovable’ humans.  An aesthetic of insane/slow drivers, extinction of common manners (among a lot, but not all); unwarranted sense of self-entitlement (ditto).  The youth/young- again only a certain percentage- lack drive and any ambition; are demonstratively profane: Guildford is particularly culpable/to blame.  There are some horrible aspects to (certain parts of the county) but some rather good ones- firm among them is the terrific music.  It is the great people of the county who produce and support the music: make it an attractive place to visit (rather than stay in/live).  Unfortunately, there is a trend towards London- and something I am desperate to do very soon- because Surrey produces fewer chances (for new musicians/music-loving folk).  The coffee shops- a sanctuary where an adult should be able to unwind- are filled with wailing children (and their 'parents'); the pubs either too crowded or too distracting (we're there to drink, man).  When one wants to unwind/escape they look towards venues- a chance to hear great music in a terrific setting.  London still houses the most influential bases- including Roundhouse and Koko- yet Surrey (and areas like Guildford) is starting to forge real estate.

As jaded/purely fed-up (as I am with) a lot of Surrey people, there needs to be more foresight: recognise that- among the problems and social flaws- there is a demand for live music; music-lovers do not want to commute to the capital/further afield (every time they want to see their favourite act).  Having experienced issues with the A.C.M.- refusing to conduct a feature; being very ungrateful when I sent their students a gift (a big-ass pile of music no less, bitches!)- I turned to Boileroom: the best and most impressive venue in Surrey (in my opinion).  An undoubted salvation of Guildford, it is a venue with an immense amount of fight: a hot-spot that deserves a happy life- it does the town a lot of credit.  Being familiar with their work- and the acts they housed- I was keen to catch up; champion the work they do- introduce them to the wider world.  There are many acts I know- from Yorkshire, Scotland and afar- who would love to play here/are seeking somewhere great- I hope they finally get in touch (with Boileroom)...

The Intro.: About Boileroom

 

“Founded in September 2006 by an independent collective dedicated to promoting the highest quality live music, creative arts and club events, the Boileroom has quickly garnered a reputation as one of the South East’s best live music venues. Now in its’ seventh year, Guildford’s most established and respected independent live music venue books an eclectic and varied programme of music and events.

The Boileroom has a national presence as a destination venue, and to date has played host to no less than 10 Mercury Music nominated artists, BBC 2 Folk Award Winners, MOBO Award Winners, Ivor Novello Award Winners, BBC Sound Of Artists, and Rock & Roll Hall of Fame Inductees; booking emerging touring acts as well as well-established stalwarts like: Ed Sheeran, Foals, The Bronx, Marmozets, First Aid Kit, Catfish & The Bottlemen, Soweto Kinch, Fairport Convention, David ‘Ram Jam’ Rodigan OBE, to name a few.

We have also had the pleasure of curating several different stages and events such as: Vintage Guildford at Guildford Cathedral; Lewis Watson at St Mary’s Church, Martin Carthy & David Swarbrick at Holy Trinity Church; curating stages at Magic Summer Live 2013, Redfest, Staycation Live, the Guildford Beer Festival; curating the stage and running a cafe at The Artist and Makers Festival; plus many more.

The Boileroom is the first port of call for music fans and creative minds to come and visit.”

[youtube https://www.youtube.com/watch?v=wJA5wT-myw4&w=560&h=315]

Boileroom is chief of the tribe- among the new music venues of Surrey- and is leading the revival: the creation of charming and inspiring houses (for musicians).  Having overcome adversity- I shall touch on later- the venue has managed to host some truly wonderful acts- including Wolf Alice and Ghostpoet.  Among Guildford’s streets and avenues sits Boileroom: if you were to drive past, you may whizz by without realising.  Whilst London music hotspots are pulling in the modern-day legends, Boileroom is not exactly a shrinking violet: huge names play there regularly (in-between festival dates to boot).  In addition to its proximity to London, Boileroom is a perfect venue: it has intimacy and character; it’s capacious and accommodating; there are great loyal crowds (who flock to see the latest acts).  Having an award-winning bar (and exceptional food), the reviews speak for themselves: patrons have provided numerous laudatory statements; italicized Boileroom’s multiple merits- word-of-mouth and reputation has cemented (the venue as an essential stop) for any act worth their salt.  That said, there is work to be done; renovations/improvements afoot- Boileroom is a venue that deserves a long (and prosperous) survival.

Verse 1: What Makes Boileroom Special?

Starting at staff-level; the people who work there have a clear passion: dedicating their time and lives (to the pursuit of) terrific music.  This passion and dedication spills over into the working day: Boileroom is maintained to a high standard; the food and drink is faultless; the service wonderful- ensuring that the consumer has the best possible experience.  In addition to the environment/team, Boileroom does not just stop at the music: multiple events are held/backed- ranging from activism and debate; vintage fairs to street parties.

What is your Activism?

 

http://www.theboileroom.net/events/29-jul-15-what-is-your-activism--the-boileroom/

“A series of workshops discussing activism and personal politics…

Over the course of five workshops, participants will discuss their ideas of what activism is, what kind of activism they are personally involved / interested in and what their personal politics are - whether it's simply buying organic food as and when they can or chaining themselves to railings at protests every weekend!

The sessions will involve group discussion, talks from guest activists and artists, arts and crafts workshops, a trip to a radical political zine archive and research into local political history, amongst other things.”

As a group we will be thinking about collective work and action and what we can learn from each other.

There will be an introductory session on Wednesday 15th July; where we will discuss the issues that are most important to us. We will then programme the following sessions based on the interests of the group.

If you would like to attend, please drop lydia@theboileroom.net an email. If possible, please include some information on why you are interested in attending, and your particular areas of interest within activism."

Vintage Guildford

 

http://www.theboileroom.net/vintage-guildford/

“To get in touch about having a stall, running a workshop, or playing some music, use the following lines of communication below:

Email: toni@theboileroom.net or lydia@theboileroom.net

Call the office phone on 01483 440022 (Mon-Fri, 9am-5pm)

A bit more info about our Vintage Guildford events

Having successfully run our own Vintage as well as Artisan market at the venue for some years, we’re stepping it up a gear and moving to local landmark the Guildford Cathedral.

As Guildford’s Independent, Alternative Live Music venue, we pride ourselves on championing our local music and creative community. Which is why we are delighted to announce that we will be hosting Vintage Guildford: a fair that provides a platform for the finest local vintage sellers, designers and makers to exhibit what wonderful items of yesteryear are available right on their doorstep! There will be stalls selling vintage clothing, homewares, vinyl, and more!”

[youtube https://www.youtube.com/watch?v=Ufq9N5hKqHs&w=560&h=315]

Staycation 2015:

  

http://www.theboileroom.net/staycation-2015/

STAYCATION LIVE 2015 Saturday 1^st – Sunday 2^nd August 2015 Midday – 7pm each day Phillips Memorial Park, Godalming Free entry – Donations going towards the Teenage Cancer Trust, and the running of the festival. All Ages welcome

http://www.staycationlivefestival.co.uk/

Godalming’s community music, food, and arts festival is back for it’s fifth year. Held at Phillips memorial park in the heart of Godalming, over the first weekend in August; this free family-friendly event brings together some of the finest local food offerings, live music, and family-friendly activities.

The bandstand is transformed into the main stage for the weekend, and will see the likes of Americana blues legend Martin Harley Band headline on the Saturday, and folk-rockers Leatherat on the Sunday; alongside local electro-swing act Captain Flatcap, Stevie One Bloke One Mandolin, and many more besides!

The Boileroom stage is back for the second time. This year bigger and better than ever, with the help of the Music Works School in Milford. Expect to see some of Surrey’s rising musical stars perform in the Cloisters area of the park. There will also be 20 stalls of local Vintage sellers with a mixture of women’s and menswear, home-wares, accessories, and much more besides! Come and pull up a pew or browse the rails while listening to some tunes.

Staycation Live started off life as a pub gig, raising funds to support local and national charities, and despite it’s rapid growth as a community arts, music and food festival, it’s ethos remains the same. After joining forces with Godalming Town Council, TST Live have raised over £3000 for the likes of Disability Challengers, Shooting Star Chase Hospice, Rhythmix and Oxfam.

This year, Staycation Live will be in aid of the Teenage Cancer Trust (TCT), with the help of local fundraisers Teens4Teens in Godalming & Surrey. The Teens4Teens choir will also be opening the main stage each day – get down early to bag a spot at the front, or buy a CD and support the cause!

For full line-up info, head over to the Staycation website: http://www.staycationlivefestival.co.uk/

BOILEROOM 2ND STAGE LINE-UP

SATURDAY The Joshua Martin Band-Midday The Joshua Martin Band is a unique sonic experience, performing in their own original and mind-blowingly groovy style.

The Keep Cats-12.30pm The Keep Cats are brothers Jonah & Eden writing songs, twanging their guitars and beating some drum… & now introducing Fin, the ‘Axe’ & Louis, ‘Stix’!

Marcus Coyne-2pm Acoustic singer-songwriter Marcus Coyne plays melodies inspired by the likes of Swoon-some Ben Howard, Bon Iver and Passenger.

Otis Mensah-3.30pm Otis Mensah is a flipside alt-rap artist that has risen from a new wave; age and era which embraces a contemporary, experimental epidemic of nostalgic authenticity in rap music. The music he creates often captures a melancholic vibe & a mellow atmosphere however accompanied with lyrics which transcend to something much more prolific and poetic.

There will be Vintage clothing, jewellery, homewares and furniture from the lovely Vintage Mabels, take a look at their lovely wares here

http://www.vintagemabels.co.uk/

And some face-painting too!

SUNDAY

Risk-Midday RISK is a 3 piece, modern british rock band. Alex Griffith on Bass/Vocals, Tom Ofield on Drums/ Vocals and Alex Frow on Guitar/Vocals.

Sophie Scott-12.30pm Singer songwriter recently graduated from ACM, and currently gigging around the locality with her unique and original songs.

Beau Halford-1.45pm

Bourne Weird-2.45pm

One more TBA-3.30pm

All of the acts performing each day have come through our ongoing programme at The Boileroom named The Project; helping aspiring young musicians through showcase events, mentoring, workshops, Q&A panels, and more. For more information on The Project, email toni@theboileroom.net.”

The Chorus: Question and Answer (Part One)

Having reached that stage in the feature/’song’, we come to the important part: the heart of Boileroom.  Determined, not only to put my thoughts on paper, I wanted to question the staff: see what life was like at Boileroom- and which acts have stuck in their mind.  Having done so much great work, it would be only be fair to give them a say: let the people who make the magic happen, speak.  Thanks to the staff at Boileroom- especially Lydia Stockbridge- for donating their time: giving an insight into 'Boileroom Life'- and the year's highlights.  Without further ado, here’s what (they) had to say…

Boileroom has overcome some difficult times- including a threat of closure- and overcome them all. How has the last year been (for the staff at Boileroom)?

It’s been quite an intense year and a half here!  From going through a challenging 2014 with the license review, and then coming out the other side and building bridges with our local community; to winning Best Bar None Awards (overall winner for our attention to detail with our policies and adhering to our licensing conditions) - the upstairs revamp courtesy of our Patreons, transforming the garden with plans to turn it into a community garden.  An amazing 2nd Independent Venue Week at the start of this year with our penultimate, amazing show with You Me At Six: it’s fair to say we hit the ground running in 2015, with no plans to stop anytime soon!

You have Patrons (people who donate to ensure the venue remains open and supported). How is that progressing? Is there still a long way to go?

This has been such a positive and encouraging process for us here.  The Patreon site is unique in crowdfunding – although we will be rewarding our Patrons when we reach our 275 target with a big party; our Patrons support what we do as a business as a whole financially, with their help we launched Originate Studios, and our community garden- it’s great to be able to reach out to our supporters directly.  As a small, independent venue we receive no funding, so for us to communicate in this way with our customers is a real game-changer for us; in helping us to push forward and actually put into progress all the changes and scope we have for the venue.

The venue is noted for its intimacy and character.  How would you say it stands out from other venues?

Thank you!  We put a lot of effort into creating a unique, alternative atmosphere for all of our events.  Attention to detail is key for us here – all of our artwork is done in-house, all our venue artwork was created by local artists in the area; even the labels of our Little Boileroom beer have been hand-designed by our illustrator friend Dan Bowden (he does some amazing gig poster designs for our venue Birthday party too).  We want it to be a memorable experience coming to an event here, I feel personally that shows at smaller venues are the most exciting ones – being able to get up close and personal to your favourite band or artist is always an unforgettable experience.

A lot of attention- when it comes to venues – tends to be focused in London.  Do you think the music scene is growing (in counties like Surrey)?

I think that tends to be because the focus of national press is aimed at cities, because they tend to be based in the capital.  However, I think regionally there has always been a scene – it’s just not talked about as loudly!   Online publication Noisey recently did a feature on regional scenes including Guildford, I also think we’re (comparatively) young as a venue- so it’s taken a bit of time to build up a rep too.  Surrey in itself has a rich cultural heritage – so many legendary acts have come from this county – The Jam, The Stranglers, Reuben, Hundred Reasons, Vex Red, and so many more – and also for hosting legendary shows:  Rolling Stones at The Wooden Bridge pub, David Bowie, AC/DC at University of Surrey, The Beat and The Selektor at Guildford Civic; Fleetwood Mac at the Gin Mill club in Godalming – the list goes on!

https://twitter.com/allgigs/status/623038908029276162

Vintage Guildford- held at Guildford Cathedral- is one of many Boileroom events.  Can you tell us a bit more about it (for those looking to come along)?

Sure thing: we run 4 Vintage Guildford events a year at the (Guildford) Cathedral and it’s great fun. A family-friendly event (under -5s go free!); with a vintage market of 35+ stallholders selling vintage clothing, homewares, furniture, records, accessories and vintage-inspired handmade bits and pieces too.  We also have a pop-up salon for vintage hair-do’s and nail art; craft workshops that are child and adult-friendly, a café selling tea and cakes, and live music too.  There’s a lot to pack in in a day!

When it comes to booking acts- and finding the best underground music- how does that work?  Is there an audition/interview process, or do you check out (the acts') songs before booking?

We always keep an ear to the ground for local acts, attending other local shows when we can and reading local blogs.  We tend to check out people online, whether it’s a video or songs uploaded to Soundcloud or Spotify.  We also encourage people to get in touch with us, and our Youth Programme (The Project) is all about nurturing upcoming talent.

On that note:  who are you particularly looking forward to hosting over the coming weeks/months?

Ah, we have some great shows coming up:  Rat Boy, Hooton Tennis Club, Darwin Deez, Keston Cobbler’s Club, The Milk, Martin Carthy (and a few more we can’t tell anyone about yet)!

[youtube https://www.youtube.com/watch?v=vLg4NcwPfqc&w=420&h=315]

Verse 2: What the Supporters/Public Say

Working in the area (at The Stoke Pub and Pizzeria- just down the road from Boileroom) many regulars wax lyrical: expound the virtues of the venue.  The Smyths recently played Boileroom: a gig that is talked about in fond terms.  A particular couple I know (from my pub) are regulars at Boileroom (Dave and Jane)-  some of the venue’s most loyal clientele.  The Smyths were lauded for their fantastic performance and authenticity- a lot of cover bands are not overly exceptional; The Smyths were.  Keen to catch any act that plays, the people I speak with all agree on the same thing: not only are the acts (that play there) top drawer; the venue is both homely and grand- a rare mixture in this day and age.  Boileroom has that quality to it: it could easily nestle itself with central London; rub shoulders with the ‘big boys’- I could not imagine (the guys at Boileroom) would want to move there; what with the reputation and loyalty they have.  Having overcome a lot of adversity, it is word-of-mouth that does big business: the people who come time and time again keep it going- those with a huge passion for music.  What impresses me most (about Boileroom) is its diversity: you do not just get Rock/Pop acts; there is a staggering range- from Hardcore to Acoustic; Alternative to Indie-Rock; all in-between.  As stated earlier, it is not just sapling acts that play there: the big-hitters are keen to grace the venue.  It is this blend of brand-new treasures (and established acts) that seduce the public imagination- speaking with people- that is what compels them so.  With regards the aforementioned couple- I hope they don’t mind me name-dropping them- they want to see everything they can.  Their eclectic tastes- they love Wolf Alice and current sounds as much as anything- is well catered for- Boileroom is the perfect setting for them.  Outside of (Dave and Jane), the venue attracts a great young crowd: a few days back I saw a line of teenagers (to be honest they looked about 10) queuing for an act- they must have been dehydrated/knackered by the time doors opened.  That is the charm of Boileroom: you get a wide range of ages coming in.  The enthusiasm and professionalism the staff display (is oft commended); each person is dedicated and friendly.  Some venues exist/thrive simply by the names/acts they pull in: Boileroom manages to boost so much more; a combination that is hard to beat.

[youtube https://www.youtube.com/watch?v=1ZpQFApy7Ng&w=560&h=315]

The Middle Eight: Upcoming Events/Dates at Boileroom

 

It is not just the music (Boileroom offers the people) but a vast array of events- from vintage fairs to family days.  Keen to draw in the whole community, Boileroom makes such they are always busy: nary has a week gone by without something colourful or compelling happening.  From social activism to fairs, the venue has a lot going on (no excuse not to get involved).

[youtube https://www.youtube.com/watch?v=HUVnebFNe8A&w=560&h=315]

What’s On (Selected Highlights):

What Is Your Activism? Wednesday 29th July

What Is Your Activism? Wednesday 5th August

Little Comets Friday 7th August

Fox and the Law Saturday 8th August

Monuments Wednesday 12th August

What Is Your Activism? Thursday 13th August

Steve Conte NYC (New York Dolls) Tuesday 18th August

What Is Your Activism? Wednesday 19th August

Red Jumpsuit Apparatus Friday 21st August

Hanshotfirst Album Launch Saturday 22nd August

Street Party! Sunday 30th August

Craft Club Monday 21st September

RAT BOY Monday 28th September

Barrence Whitfield & the Savages Thursday 8th October

Wheatus: 15th Anniversary Tour Friday 9th October

Vintage Guildford Saturday 10th October

The Chorus: Question and Answer (Part Two)

Recently, Boileroom has been hosting workshops- discussing activism and social issues.  What has the response been like?  Have you seen a lot of people turning out/getting involved?

It’s been great – we’re trying to grow the community events organically, our Craft Club has been running now for 3 years and we now get between 12-20 attendees.  We’re aiming to do the same for our new workshops, it’s been great fun meeting new people in the local community, and branching out into new areas.

What have been the proudest achievements for Boileroom- over the last couple of years?

Ah there’s a lot!  Overall winner of Best Bar None (this February) was a really proud moment; for myself and the team to have our hard work on all our policies recognised.  Being a flagship venue for Independent Venue Week and taking part in that has been a great success for us, and we’re very proud to be a part of it-and Music Venues Trust too- and fly the flag alongside other independent venues. Being the 100th venue to sign Attitude Is Everything charter- improving deaf and disabled people’s access to live music.  There’s been a lot over the years; I’m really looking forward to celebrating our 10th birthday next year.

I know a lot of people who are regulars at Boileroom- come in time and time again, impressed by the great music. What would you say keep people coming back?

I think it’s a combination of things – an eclectic programme, bringing in new, local, and renowned national and international talents, being as inclusive as we can, and also good customer service – being welcoming, friendly from the moment a customer comes in the doors to when they leave – manners cost nothing!

https://twitter.com/HanshotfirstUK/status/624549808360026112

Boileroom has a particularly impressive and informative website- in addition to great social media channels.  Do you think it is vital to have up-to-date and full online presence?

Absolutely – we’re in a digital age, as well as the traditional routes of promoting in print, a lot of our customers use the internet and social networking, we try to reach as many people as we can.

Being a music reviewer/writer- and someone looking into music P.R./promotion- what advice would you offer; to anyone looking to go into music P.R./promotions?

Having a passion for music helps!  Keeping an open mind, exploring as many genres as you can, getting out there and meeting people, checking out shows, staying up to date with how bands and artists are promoting themselves.  Also being organised with your time and good communication; as well as always being friendly and polite – as I said before, manners cost nothing!

I know a lot of young upstarting bands/acts (who would thrive at the chance to play Boileroom):  is it easy to get under your radar/play the venue?

For sure!   All they have to do is drop Duncan@theboileroom.net or me on Lydia@theboileroom.net an email with a short blurb on the band; links to where we can take a listen to their music, and we’ll see what we can do!

[youtube https://www.youtube.com/watch?v=G1zri1Zm5uk&w=560&h=315]

Penultimate question:  are there big plans for the venue going forth- any developments and events?

Always – we don’t like to rest on our laurels here, we’ve got big plans for next summer and our upcoming 10th birthday – keep your eyes and ears peeled!

A long question, but one for all the staff (and one where I will put some music links/videos here)

Your favourite act from this year (who played at Boileroom)?

This year – it’s a tough one but I really enjoyed Loom last weekend – snarly garage-rock/post-punk noise.

[soundcloud url="https://api.soundcloud.com/playlists/33551337" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The act you would recommend to readers (who have played Boileroom)?

Cosmo Sheldrake – such an awesome live show – really entertaining and talented performer

[youtube https://www.youtube.com/watch?v=11vHDlFByPg&w=560&h=315]

Your all-time favourite song?

Sabotage – Beastie Boys

[youtube https://www.youtube.com/watch?v=NgX8DSOBLIc&w=420&h=315]

Your all-time favourite album?

Yeah Yeah Yeahs – Fever To Tell

[youtube https://www.youtube.com/watch?v=1YhfzO52ToQ?list=PL062093FF6A2446E8&w=560&h=315]

Best new song of this year (can be any genre or artist)?

Shamir – On The Regular

[youtube https://www.youtube.com/watch?v=Lp9GgdCgMXk&w=560&h=315]

The Guitar Solo: Supporting the Venue

 

With financial realities/strains; pressures of survival, Boileroom is looking for supporters (or ‘Patrons’).  If you would like to donate to Boileroom- and why the hell would you not?!- then visit: https://www.patreon.com/theboileroom?ty=h.  As Boileroom themselves say:

“For 9 years, we have developed and thrived without financial aid; but due to many factors this has become increasingly difficult, and to ensure our survival we are reaching out to our local community.

We need your help to continue with this work and develop our new creative space, we love what we do with a passion that is limitless.

Please invest in us so that we can continue to invest in Guildford's creative community.”

Whereas major cities have the money- and the population to keep venues healthy- there are bigger issues in the home counties- there is simply not as much financial support.

[youtube https://www.youtube.com/watch?v=27W94C8eTyI&w=560&h=315]

For only a few pounds a month, you can make a big difference: ensure that Boileroom continues to operate; support great new music- make a real difference in the community.  The venue is undergoing some changes- some refurbishment and a new garden- and making some plans; looking to the future.  With so many great acts coming through- and some terrific artists like Wolf Alice doing well- Boileroom is a natural home.  A space where bands can feel welcome and comfortable, they are guaranteed fervent support- in a brilliant environment.  We all spend so much money on needless peripheries; junk we don’t need: few people take the time to donate to worthy causes/projects.  Look at reviews (about Boileroom); watch the videos on the official site- all the cool events/dates coming up.  For all this to take place- and keep going year after year- there needs to be backing from the public- do something wonderful with your money.

The Outro.: The Future…?

Barring any challenges and upheaval- let’s hope Boileroom’s struggles are at an end- the future looks promising.  Of course, there is a little way to go: great venues require constant finance and patronage; great music coming through the door- bums on seats (figuratively speaking).  Capricious as fortune is; fickle as the public can be, Boileroom is doing tremendously- its reputation is solidified; its popularity continues to grow.  As much (as I) posses an issue with Surrey’s people (the small number that causes needless obstacles and stress) there is a loyal core of music-lovers: people who want to see great acts play on their doorsteps.  There are other music bars/venues around Guildford/Surrey, yet none have the same status as Boileroom- just talking to people and it is evident what an effect it has.  Among the upcoming events- full listings at http://www.theboileroom.net/listings/- is the latest What Is Your Activism? (on July 29^th); Street Party! (on August 30^th).  Wheatus are stopping by on October 15^th- as part of their 15^th Anniversary Tour- it will be a date to remember (although a middle-aged band singing Teenage Dirtbag may be a bit too ironic).  Monuments- one of the best new Metal acts- play on August 12^th (shall stop by and see that); there is a lot going on- definitely something for everyone!  Boileroom has had a tough upbringing; its infantile years have been staggered by challenges and pressures- there is still work to be done.  What makes the venue so special- aside from the great music- is the hard work that goes into it.  The staff does exemplary work- there are no rank-and-file members in the venue- with everyone showing dedicated passion and hard work.  It is only left for me to say a) thanks to the staff of Boileroom (especially to Lydia Stockbridge) for their support and time, and b) go visit the venue- and see some wonderful music.  In a world where digital media is taking over; London is stealing focus- it is essential (venues such as) Boileroom thrive.  Do something good…

AND support a wonderful venue.

All photos included are taken from Boileroom’s official website- http://www.theboileroom.net/ (and its social media pages)

_______________________________________________ 

Follow Boileroom:

 

Official:

http://www.theboileroom.net/

Facebook:

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

Twitter:

https://twitter.com/BOILEROOM

Instagram:

https://instagram.com/boileroom/

YouTube:

https://www.youtube.com/channel/UCf4TuQQz7WRraTQ64ficvPw

The 350th: Foreplay is for Cowards- A Celebration of New Music

The 350^th:

Foreplay is for Cowards-

 

A Celebration of New Music

AS I ‘celebrate’- well, wonder how the hell I did it- the 350^th blog post, I decided to do something different…

and put together a playlist- that which celebrates the best of new music.  Having reviewed a lot of acts- from around the world; all different ages- it was great digging through SoundCloud- seeing which songs would fit in (hopefully my arranging/producing skills are passable).  It is not just celebrating new music; there is a charity component: users/listeners are encouraged to visit a JustGiving page- I have set up- and donate (to The British Red Cross).  In as much (as they do) terrific work- often in extreme and dangerous circumstances- they are desperately under-funded- and need support now.

[soundcloud url="https://api.soundcloud.com/playlists/126187293" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Across the 21-track collection, there is a great mix of sounds: from the new Pop sound of Jen Armstrong to the upbeat Blues of Jonnythefirth- with lots of diversity in-between- there is something for everyone!  Take a listen to the playlist and enjoy!  I have called it Foreplay is for Cowards because (and not that I believe that statement) it a) sounds like a cool album title (my first two- if I get a band- would be Marriage: A Beautiful Revenge and American Genius) and b) it begged a simple- yet effective- ‘album cover’- something I whipped up for the project.  Not sure if I will make it to 500 blog posts- which is why this event may not be as arbitrary as it seems- and I want to highlight some of my favourite/hardest-working musicians- there are many more (I want to include).  Maybe on the 400^th we will do it again; do something special- maybe get everyone together at a gig.

For now; enjoy the music and remember to donate- all the links and information is below.  Once you have done that, check out the acts included- these guys have tonnes of quality songs.  Thanks for reading and supporting the blog: here’s to the next 350 (you may be bored stiff of my by then)!

Peace X

Playlist link: https://soundcloud.com/samliddicott/sets/foreplay-is-for-cowards

JustGiving link: https://www.justgiving.com/Sam-Liddicott8/

E.P. Review: Los and the Deadlines- Perfect Holiday

E.P. REVIEW:

Los and the Deadlines

 

Perfect Holiday

9.5/10.0

Perfect Holiday is available at:

https://losandthedeadlines.bandcamp.com/

RELEASED: 13^th July, 2015

GENRES: Alternative, Rock, Grunge

COUNTRY OF ORIGIN:

U.K.

TRACK LISTING:

Feel at Ease- 9.6

It Could Be So Much Better- 9.5

The Youth’s Opinion- 9.6

Batshit Crazy- 9.5

Lust to Shop for Nothing- 9.5

DOWNLOAD:

Feel at Ease, The Youth’s Opinion, Lust to Shop for Nothing

STANDOUT TRACK:

The Youth’s Opinion

Lyrics by Alex Losardo

Music by Los and the Deadlines

Band:

Alex LoSardo - lead vocals, guitar

Niels Bakx - guitar and backing vocals

Rotem Haguel - bass and backing vocals

Alberto Voglino - drums and backing vocals

Recorded and Mixed by Tobin Jones at The Park Studios

Produced by Tobin Jones and Los and the Deadlines

Mastered by Phil Joannides

Artwork by Alberto Voglino

WHEN you get to a certain point with an act…

you have to cut to the chase.  There is no need for a lot of background; a big build-up: Los and the Deadlines (have been on these pages) a number of times; almost like old friends- most of you will be aware of them.  Before I get down to business- via some biography and background information-  I will raise one point: longevity and modern-day bands.  Some of my favourite ‘underground’ bands- Crystal Seagulls, The Bedroom Hour etc. - have called time- bands in the mainstream have split up: it seems great music does not guarantee a long-term future.  In the case of the aforementioned bands, the issue lies deeper: aspects around management and relations; personal fulfillment and finance.  It is such a shame this has to happen: great acts (who make great music) forced to quit, in spite of their glorious sounds.  With so many new acts coming through; so much competition (for festival/gig spots), people are being forced out- only a select few go the distance.  I am all for bands/acts coming through; great musicians coming to attention: the more musicians we produce, the less likely we are to see consistency.  There is this trend towards brevity and short burst: bands come and succeed; they are then overcome by pressure/external factors; a new band comes along (and repeats the process).  Seldom do we see- in the realm of new music- acts that last a long time- several years; produce many albums and E.P.s.  Maybe I am over-simplifying, yet my point is valid: life expectancy is fairly short-lived; not too many people acts have a long career- it is quite upsetting to see.   Before I finish my point- with regards Los and the Deadlines- let me introduce them to you (using their own words):

“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 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.”

Here is a group that will overcome the odds: forge a long career and make a great show of things.  With their latest E.P. out- which I will review later- the band are growing in confidence: their music is getting stronger and they show no signs of slowing.  The relationships in the band are solid and brotherly; the boys have a clear respect for one another- this comes through in their music.  With regards other factors- finance and competition- the Los’ lads seem to be overcoming it: they are one (of few bands) who seem unlikely to split: I can see them playing on for many years; becoming headline regulars.  It is hard to pin-point the one reason behind this; why they seem so solid- the music itself is a key factor.  In a scene of over-familiarity and sameness, Los and the Deadlines do things differently: the band mix ‘90s Grunge with modern Rock; their lyrics mix modern life with politics; their anthems are unique and original- few other acts can be tied to them.  It is not just their originality that defines them: the sheer confidence they project is hard to refute; it makes every note so vital and urgent.  The combination of forces- the great relations and terrific music- marks the band out for greatness- expect to hear a lot more from them.  Perfect Holiday is their latest offering: to my mind, the finest work they have produced to date.

Barreling out the gates (like a horny rodeo bull), Feel at Ease is a demented and feral thing- a snarling track that wants to eat you alive- well, in the initial moments at least.  The song’s intro. mixes distortion with tease; jumping bass with rolling-rock percussion- a typically dizzying/head-f*** opening from Los and the Deadlines.  Taking your brain one way; your body the other; that bass twang lodges inside your brain- before our front-man steps up to the mic.  Having reviewed this track previously- back in April of this year- I knew what to expect: over the last three months, the song has revealed new beauty.  Looking at the central figure- someone who has a ‘big plan’ to make money and get on his feet- that mixture of despondency and hope is infectious.  We all can relate to that loser-in-the-face-of-the-odds struggle: someone who is desperate for a bit of money; convinces himself safety is just around the corner- a lyrical subject not too many bands touch upon it.  Tired (our hero is) of trying to achieve the dream, he is walking the streets- looking for a way out of his struggles.  Looking for a “quick fix”, our man is trying everything he can: that need to feel at ease is paramount.  Entrancing as the lyrics/vocals are- and the distinct Spoken Word-style LoSardo delivers them- the band joins the fray- delivering an impassioned and quirky composition.  The guitars chug and jive; the percussion hisses and teases- the bass twangs and strikes.  As our hero speculates and worries- paranoia grows; his ‘contact’/way out seems to have a dead phone; it seems like he has been screwed-over- the vocal gets anxious and sweaty (our hero needs a Plan-B).  Just as another parable is delivered, the band changes direction: the music becomes focused and hard, Grunge-like (Nirvana’s early work comes to mind) and pressing- although never too heavy or forceful.  The band’s twirls and spirals; solos and arpeggios add emotion and drama to proceedings- the song seems like a film score or tangible thing (their instruments represent heartbeats and anxiety; the emotions of the hero).  Additive and sing-along, Feel at Ease boasts a memorable chorus: the entire track whizzes by (actually it is 3:29 long) but you are left wanting more- entranced by its magic and mystique.

   It Could Be So Much Better begins with a punchy beat: soon joined by a leather jacket-clad guitar (sounding a bit like glory days AC/DC), it is a fantastic opening.  Controlled and confident; teasing and underplayed- the band tempt you in from the opening seconds.  As the title suggests, our hero wants things to be better: the song looks at the malaise of modern life; the boredom of the situation- that need for something else.  Our front-man is caught in a daze (“On T.V., nothing ever changes. It’s getting boring/Open up my cupboard to look just for the right booze”); junk food and cigarettes are on his mind- almost as a way to medicate the realities of life.  The chorus is spoon-fed and teased; highlighting the importance of the words- and getting the listener invested in the song.  By the time the second verse appears, our man looks out at the world: the way humans can become better; the wat we can “start evolving.”  Typical of the band, the music speaks as loud as the lyrics: the composition fuses Grunge and Alternative; dark grumbles and static beats- to create something moody and angry; grumbling and concrete- underlining and emphasising the band’s messages.  Looking into modern life and the workplace, our front-man is bored: his boss is disgruntled; our man wants better from life- “Pretty sure I won’t be here tomorrow.”  Past the half-way mark, the band unleashes a twirling coda: guitar notes crackle and spark; the percussion spits and strikes; the bass guides and lunges- an epic soundscape begins to unfold.  Expanding and elongating- throwing in some new sounds and diversions- the band goes full frenzy: ramping things up and rushing for the heavens- before the chorus comes back to play.  With his voice more urgent and bold, our hero is wracked and determined- a man who knows things need to be improved.  A likely future-single- and a song that ha myriad music video options- would kill to direct the hell out of that puppy- it is a terrific sophomore number.  Once more touching on the everyday, the boys highlight a common issue: that need to break from the mundane; the frustration of the workplace- the desire to do something meaningful in life.  Completing a tremendous 1-2, Los and the Deadlines have rarely sounded more assured- It Could Be So Much Better is one of their finest (and most assured) number so far.

   The Youth’s Opinion is next off the blocks: it wastes no time in making its voice heard.  Feet-tapping and s***-kicking, it is an introduction that stumbles drunkenly.  The album works like a concept work: a central character that progresses (as the album does).  The opening number looked at desperation and scraping- relaying on half-arsed leads and dodgy deals.  The following track sees him in a mundane job; determined not to stick it out- looking to change the world.  By this stage, we see some development: this song is a musical job interview; that series (of inane questions and job requirements) - almost like our man is trying his luck again.  Whether speaking in the first-person- or documenting the events of a fictional character- it is another addictive and unique number.  The lyrics stand out here; the real-life/common quandaries are laid bare- again, we can all relate to what is being sung.  From the banalities/purposelessness of job interviews (“Please provide at least two references/We'll decide if they're strong enough relationships”) there is a mix of world-weariness and sarcasm- that juvenile spit that shows distain (for such noxious logarithms and mathematics).  The chorus is a mixture of desperation-cum-submission; our man looks at the requirements of the job market (“I'll do anything, anywhere, any given time/I'll never ask what is fair, I will never whine”); backed as it is by cooing vocals- giving it a great mix of Pop and Rock; adding some light amidst the anxiety.  Complete with terrific vocals (including backing vocals) our hero mixes speaking and singing (excellent delivery when speaking; emotion and passion when singing) adding weight and emotion to the song- and emphasising Los and the Deadlines’ hallmarks.  The song itself could have a few meanings: in addition to the workplace it could look at the music industry itself (that desire to tick boxes in order to survive) or a relationship dilemma (“Take me now, take me here, promise not to leave/I need a chance, give me a chance, PLEASE”).  Building up the mystery, adding in some great delivery- a mixture of David Byrne and Bloc Party- the song whizzes and dances; trading vocals (inside one another)- you are captivated by its layers and details as they unfold.  The song’s title seems most prescient: that need to fit into what youth want; to fit into the 18-30 market- whether their opinions are inane and stupid (as they tend to be) or not.  Punctuating the song- and coming in around the half-way point again- the band provide some breathing room: a well-structured and strong compositional moment arrives; a wonderful bridge that provides a real sense of progress and development.  The final verse is fast-paced and angry- lines are separated by little bursts of guitar and punctuation- as our man ups the (sarcasm) ante (“Congratulations, we are willing to offer this permanent position with 20 days holiday per fiscal year, this will involve unsocial hours and you'll need to provide a track-record of meeting targets, good writing skills, excellent face-to-face communication, savvy with social networking and really do value the youth's opinions..”).  When these words are delivered it has me wondering: are the band speaking about the music industry itself; showing their dissatisfaction with ‘market goals’- making music that will satisfy social media needs/a sector that want things a particular way?  Roaring and rollicking, The Youth’s Opinion is a brilliant midpoint track- and shows how strong the band are (turning in one of their most compelling and tight performances).

The penultimate number is Batshit Crazy: a song, presumingly not about fine love or tender romance.  Starting with- an intro. that, strangely, mixes Reggae and Funk into the mix- the band do not go crazy in the initial phase- making sure the song begins with passion and kick; rather than fury and vengeance.  Echoing and spacey (the early guitar utterance’s vibrate and wail) the boys change direction again- never staying with a basic/predictable sound; making sure their songs sound different and distinct.  Looking at a disreputable scene- delivering his sermon with that blend of judgment and revulsion- our hero has seen some things- strip clubs and poles; a 16-year-old selling herself; his stomach turns as things unfold.  You can picture the lyrics; see what is going on- sympathise with our hero’s plight.  In an insane world, these types of occurrences are quite common.  If we go down two avenues- the concept album developing for one; a new social issue the other- it is a fascinating song.  Maybe our lead/character has reached a breaking-point: dissatisfied with the world, he needs to blow off steam- the way he is doing it has caused disgust and regret; maybe a necessary wakeup call.  In terms of a message/theme, the band looks at the seedy and dark underbelly: the dank corners of society that need to be eradicated and purified.  Alarmed by the city (“Her smoke is done, she rolls another/A man from the corner shouts he loves her!”) our hero is in disarray- the vocal is particular emotionally-fueled and tense.  Without change or innocent, the chorus seems pretty apt- and a good a way as any (to describe what is happening).  Marrying frenetic strings (with something taut and punchy) the band are on Red Alert- the composition is one of the most frantic on the E.P.

Taking Perfect Holiday to land, Lust to Shop for Nothing is a sensational closer: a track that makes its impressions instantaneously.  Melting howling and snarling strings with combustible drumming, the introduction is alive and flailing: one of the strongest opening statements on the record.  Consistently nervy and stressed, the vocal is gripping and tense: if we follow the story along, our man has reached a breaking-point.  The song looks at consumerism and wastage: blowing money on things we don’t need; dislocated from reality, we/the subject blows money on pointless objects- leaving little left for rent and necessities.  The dissatisfaction is almost palpable in the early phases- “Baby I'm broke, got nothing left/Had a bad month, just paid the rent/Here's my credit card just spend a little less”- as our hero rallies against the insanity.  Essentially, we spend too much time behind the screen: shopping and frittering away the time; forgetting the importance of human touch and reality check- using money prudently and wisely.  Shades of Queens of the Stone Age come out in the song- the composition has elements of their Rated R-era work- with our front-man sounding a little (Josh) Homme-esque at times- whether the band are influenced by Q.O.T.S.A., I am not too sure.  Whereas previous numbers have expanded and evolved, Lust’ is more focused and linear- in order to get its message across effectively.  A cry to the masses, the band is completely in step: the composition is emphatic and filled with detail; the vocals combine and multiply- the energy and emotion involved is electrifying.  As you’d expect from the lads, the midpoint gives way to musical adventure: having delivering some truths, the band unveil a stunning statement.  Brash and pugnacious; syncopated and considered, the boys are in top form: at this point they unleash their tightest and most intriguing moment.  It is hard to ignore that sense of judgment and dissatisfaction: the ideal that online shopping and the Internet is replacing real life/human interaction- we are becoming slaves to the machine.  When the next verse starts to kick into life- “I had such a good time, what did you do?/Thank you so much, you’re too kind/I was at home looking for deals online/Let’s stay in tonight, see what we can find”- that combination of sarcasm and dissatisfaction comes into the spotlight.  Our man is caught in a relationship that offers boredom and the indoors; no romance or reality- just needless surfing and shopping.  Whilst the protagonist wastes time (shopping for nothing), our man has reached his limit- maybe he feels guilty he is not too dissimilar.  The closing notes give the E.P. a fitting send-off: the guitars ramp up and attack; the drum rolls and pummels; the bass leers and contorts- perfectly wrapping-up a terrific track.

The entire band should be applauded and commended: they have really put in a lot of effort; come up with their strongest record to date.  Whereas Part One: Bank looked at financial issues and caffeine; consumer life and woes, here they tackle new themes: finance and consumerism are still in place; the job market and online issues are brought to the fore.  Whereas Part One’ looked at inane Facebook posts/’selfies; Perfect Holiday focuses on online shopping- the band are always brilliant at tapping into modern concerns/habits.  Throughout the five tracks, the boys look into woes of society- the stresses of pointless jobs; the way we throw away dreams and life- and funnel it into terrific anthems.  Forgoing love and break-up stresses, the band are original and more vital- why waste time saying the (same as anyone else) where there are important themes to be explored?  The performances are uniformly exceptional- the entire group is in perfect sync.  Alex LoSardo marks himself out as one of Rock’s most distinct singers: someone who pairs Spoken Word commentary with emotive vocals.  Most bands- who play similar music- sing everything in full voice: it is one-dimensional and predictable.  As Los and the Deadline’s lead, LoSardo does things differently- not content to let the lyrics do all the talking.  His lyrics filled with stunning commentary and witty moments; brilliant cut and oblique avenues- one of the most accomplished set of lyrics the band have crafted.  Most songwriters stick to tried waters- love and heartache; nothing too unique- yet LoSardo has a very special type of talent: he is someone who wants to make changes in the world; a person that wants to speak for his generation- and not just speak for himself.  Niels Bakx shreds it with passion- combing effortless with the front-man- and showcases his full range of emotions.  A spectacular guitarist- and one who has played with many other acts- mixes the theatrics of Matt Bellamy, the Rock grit of Page and Hendrix; the Grunge and Kurt Cobain and Kim Thayil- a multifarious and diverse guitar talent.  Adding so much passion and importance to proceedings, Bakx almost steals the show: his guitar work is exemplary and inspirational from start to finish.  Rotem Haguel- the band’s new recruit- provides bass and backing vocal.  The former is consistently guiding and authoritative: keeping each track controlled and focused; guiding the band through every moment- making sure it all ties together.  When combining his voice (with LoSardo) you get a great blend of tones: something that adds great weight to the songs (he sings on).  A fantastic addition, Haguel demonstrates himself to be a phenomenal player: one of the most expressive and instinctive bass talents in modern Rock.  Completing the line-up is Alberto Voglino: the band’s backbone and percussion king.  At once primal and animal-like; the next teasing and restrained, Voglino combines drumming gods- Grohl and Peart; Ulrich and Castillo (Queens of the Stone Age)- into his special blend- one of the biggest names to watch.  Together, the band is tight and mesmeric; nobody misses a beat- the entire effect is fantastic.  Backed by terrific production values, Perfect Holiday is a tremendous achievement: an E.P. that brims with TUNES and insight; modern relevance and riffs; fist-pump and demure- what more could you possibly want?

Perfect Holiday is Los and the Deadline’s most impassioned work: the band have come on leaps and bounds; created their mist solid work- the most vital statement of their music.  From the earliest notes, the listener has little time to rest: every hook, riff and vocal gets under the skin; the lyrics are quotable and stunning; the band performances consistently tight and inspired- the overall effect quite spellbinding.  Usually when a band unveils an E.P.- especially when there are four or five songs on it- there is a weak link: that one track that is not quite as special as the rest- the supermodel who breaks winds when nobody is looking.  When Los’ produced Part One: Bank (in January of 2014) that E.P. was great: I did feel that the opening two numbers could have been a little stronger; perfect a tad more urgent- to make sure you are gripped from the go.  Perfect Holiday suffers no such slight: Feel at Ease is a gripping and nuanced opener that reveals something new (with each listen).  The London-based clan has undergone a slight band change (a new-ish member in the fold); their lyrical focus has shifted a bit- whilst still retaining their cores of social commentary, relations and personal investigation- whilst their musicianship is stronger than ever- their current E.P. shows no weakness or surrender.  Even as you look at the E.P.’s cover- a dilapidated (and possibly bomb-destroyed) building- there is sarcasm, irony and juxtaposition: the boys have a keen sense of humour; political edges to their music- that destructiveness and anger; beauty and restraint.  Although their ‘Shows’ page- on their official band website- is blank, keep your eyes peeled: the boys will surely be taking to the road; playing around London for sure- promoting the E.P. with a vengeance.  If you can catch them live- and it is something I am yet to do- then I would recommend it: the band’s live reputation is legendary; the boys put on a hell of a show.  With Perfect Holiday fresh in the minds, it will be interesting to see what happens next- whether the band are going to rest or pound the tarmac instantly.  The lads deserve a rest: their E.P. is the summation of endless hard work and effort; fettling and perfecting- making sure it is the very best it can be.  Brimming with quality songs and memorable moments, the future looks very positive- and will be great to see what comes next.  Of course there will be (a lot more) music afoot: I am curious whether the boys will decide to record an L.P. - record a 10 or 11-track album and expand upon their sound.  It is great to see Los and the Deadlines again; I am always cheered when they release new material- their current effort is the perfect soundtrack to the summer.  Complete with epic riffs and stunning moments; cutting lyrics and anthemic performances, here’s a band that will go the distance- their music can be appreciated by all.  If you are looking for a new band- one that will keep coming back/last the distance- and a unique sound, then get on board with Los’- ignore them at your peril.  In (a music industry) where there are predictable evils- the rise and success of mediocre and horrendous Pop acts- and unpredictable moments- great bands splitting- Los and the Deadlines are calm waters- dip your toes in.  Sit back, relax and breathe: and let their music…

BLOW you away.

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________________________________________________________________________________

Follow Los and 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

 _________________________________________________________________________

 Video:

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

 

__________________________________________________________________________

Gigs:

http://www.losandthedeadlines.com/?page_id=577

 

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Track Review: Victory Kicks- Died a Patriot

TRACK REVIEW:

Victory Kicks

  

Died a Patriot

9.4/10.0

The album High Wires is available at:

https://victorykicks.bandcamp.com/album/high-wires-lp

TRACK LISTING:

Writers’ Strike- 9.2

No Great Shakes- 9.3

Concept Car- 9.3

Died a Patriot- 9.4

High Wires- 9.4

Ended with Theft- 9.3

Spring Bulletin- 9.2

The North Fall- 9.4

Lancaster Gate- 9.3

Wherever She Writes- 9.3

DOWNLOAD:

Died a Patriot, High Wires, The North Fall

STANDOUT TRACK:

Died a Patriot

RELEASED: 20^th July, 2015

GENRES: Alternative, Rock

COUNTRY OF ORIGIN:

U.K.

All songs written by John Sibley. Recorded and Produced by John Sibley. London 2015

Unmanned Aerial Vinyl 2015. UAV-VKLP002

IT is always good revisiting an act…

that I have previously assessed- to see how they are progressing.  Music- or in this age at least- is defined by short-term lust: acts tend to come and go; there is a lot of transitory appeal; artists dissipate before you know it- before a new one comes along.  If you can remain and pervade- stick in the imagination and keep producing work- you are onto something.  It may be an over-simplification, but most new artists tend to not last too long- only a selected few last the distance.  I guess it is the nature of the beast: with the competition out there- and the amount of money needed to record music- it is inevitable in a sense.  That seems to be the impression I get (when looking at the new acts of the mainstream) yet new-new music- acts of the underground; away from the mainstream- do things a little differently- there is less pressure to succeed here.  Those starting out are building up their name; just beginning their careers: as a result, they are determined to produce music and keep stamping out songs- without the same huge pressures you get in the mainstream.  I have said it in previous pots- with regards pressures musicians face- some do fail; some acts and bands suffer dislocation and collapse- it is a sad reality of music.  However, there are a lot of great artists coming out: acts that are producing a lot of music; look ahead to the future- determined to stick around.  This brings me to Victory Kicks- the brainchild of John Silbley- whom I have reviewed before (their debut E.P. Emergency Noise was released in June of last year).  Since Emergency Noise, the band has released The Young Flood: their follow-up E.P. that was received with plaudits and praise.  Before I continue, let me give you some insight (into the four-piece) in their own words:

"Victory Kicks started life in early 2013 as a home recording project for songwriter and guitarist John Sibley. After writing a large number of songs and realizing that waiting around for a record deal would mean that most would inevitably be forgotten, John decided to start piecing a recording studio together at home. Old songs were finished off and new songs were written and often recorded the same day with John handling vocals, guitar, bass and drums as well as production duties and working out how to do the latter as he went. Early EP's and singles containing short, lo-fi pop songs were recorded and shared amongst friends and family. Victory Kicks then went from solo project to band with the addition of friends from other London based acts and established its own record label with the release of its first official EP, Rockets for Ghosts in July 2013. Comprising seven home recorded tracks of short, catchy indie rock, Rockets for Ghosts was a success for the band garnering favourable reviews and receiving airplay for the first time on stations in both the UK and the US. Ghosts was followed by the release of three singles, including the song Radio Saves which saw the band make its debut appearance on BBC radio playlists.

Taking the decision to record music at home would allow the band the flexibility to record new songs as and when they were written and since the release of its debut EP in 2013 Victory Kicks has built something of a reputation for prolificacy - 2014 has already seen a full length album called The Decibel Age as well as a seven track EP called Emergency Noise. A third record called The Young Flood will be released on November 17th. Today, Victory Kicks is a four piece band consisting of old friends making home recorded music whenever possible."

Victory Kicks intrigue me for two reasons: they have a lo-fi, ‘90s-influenced sound; they have a low key presence among social media channels.  There are few bands that tend to portray a ‘lo-fi’ sound: music that is neither heavy and urgent or more gentle and sedate.  Victory Kicks have plenty of presence and force: they tend to concern themselves with mixing beauty and nuance; passion and thought-provoking sounds- without coming across too strongly.  The boys still retain their key ideals: recording music that sounds home-made made and honest; sparse and raw- free from the peripheries and baubles of modern studios.  Every track sounds intimate and homely: the quartet is one of the few bands that have an honest and vintage recording sound- giving inspiration and guidance to bedroom kings and queens.  Whereas at the beginning- Sibley was recording all the parts/components in his bedroom- he has the support of the band; yet Victory Kicks has lost none of its hallmarks and trademarks- that distinct sound is very much in place.  That mixture of ‘90s-cum-modern-day influence does wonders: sprinkling mid-‘90s Grandaddy with early-career Guided by Voices is an intriguing blend.  I hope the resulting months see the band expanding their social media pages: maybe stamping an official website; getting involved more on YouTube: exploiting and utilising what is on offer; given the fans a glimpse into their lives.  The band has produced plenty of music, yet remains borderline-anonymous: their Facebook page shows few photos (of Silbley and gang); no tour dates or gig information- just the music itself.  It is always important to focus on the music, yet I would like to know more about V.K.: where they will be playing next; a little bit more of the ‘personal’.

When you look at influences/other acts- that you can compare and tie to Victory Kicks- there are a few possibilities.  The shimmering and wistful sound of Grandaddy- and particularly albums like Sumday- has influenced Sibley: High Wires has that Grandaddy-esque pairing of rural calm and sympathy for lost souls (plus touching on modern themes like technology and its effect on society).  Grandaddy’s finest moment was The Sophtware Slump focused on technology and machinery: the detrimental effect on society; requiems that were sympathetic and cautionary- songs that saw humans being alienated and replaced (by technology).  Sibley has a similar voice and style: touching on modern concerns and social issues with a mixture of intelligence and passion; rich melodies and aching vocals.  When Wilco released Summerteeth (in 1999) it was lauded for its beauty and sparsity- that bellied the studio craftsmanship that helped spawn it.  Both lush and sweeping, intimate and lo-fi, the album was a commercial hit.  The pastoral themes and focused song-craft resonated throughout; the album is a symphony of beauty and alienation.  British Sea Power- a Brighton-based act formed in 2000- hit their stride around Open Season and Do You Like Rock Music?  The music is rough-hewn and honest; organic and vintage- music designed for the people (rather than a particular individual).  Victory Kicks have managed to borrow influences from the above acts, yet they are their band.

Died a Patriot begins with a charming and gripping rush: the introduction mixes chugging guitars and driving force; punchy percussion- marrying the ‘90s grace of Grandaddy and R.E.M. with Victory Kicks’ patented blends (that has been evident in their past work).  Not too forceful and overwrought, instead the listener is teased in; seduced and hooked- fascinated as to what (is to) come.  Initial lyrics look at new beliefs and clarity; one-track minds and mortality- our hero’s voice is packed with emotion and urgency.  There is some obliqueness and mystery to begin: it is not instantly clear what Sibley (is referring to).  You sense some political and personal strife; a mind that is clouded and confused- in need of, in his own words, “a new belief.”  The vocals have a breathy and light quality; Sibley aches and yearns- but never seems overwrought.  Mortality and death are looked at- never in a mordent or depressing way- with the hero wanting to “die a patriot”- “sometime/somewhere.”   One of the track’s great strength is its simplicity and format: it is largely an instrumental track to start.  From the introduction- to the closing moments- that propelling and gripping (instrumental coda) seems to ruminate hard- and win most focus.  Both breezy and light; jagged and sharp- it is a score that is addictive and memorable.  Sibley keeps his lyrics focused and sparse- the entire track contains fewer lines and lyrics than a lot of their previous tracks.  Themes of dislocation and questioning come around; mortality and meaning feature large- our hero looks for meaning and resolution.  Towards the half-way mark, there is this sense of loss: our hero needs a new belief; something meaningful and new- seemingly disaffected and adrift.  Caught between “high and low” you start to show sympathy (for our front-man); hope that he finds resolve and safety- his mind is confused and shadowed.  Either a personal plea- or a reflection of modern society- there is that search for meaning.  Sibley spends his days seeking stable ground: as life is, things need to improve.  Mixing in shades of Wilco and British Sea Power, Died a Patriot pairs reflective and pastoral sounds with sweeping emotions- grabbing the listener and demanding them to take notice.  The band takes great trouble when it comes to the composition and componence: the entire song sounds well-rehearsed and considered; expertly crafted.  Being Victory Kicks, that perfectionism comes with loose and live: the band make everything sound natural and live-sounding.  Part of your mind focused on the lyrics themselves: wondering about their true meaning; pining for the front-man’s plight.  The other part (of your mind) looks at the composition: that endlessly fascinating mix of bonhomie and stir; emotion and uplift.  Keeping his card close to his chest, Sibley’s words take on several meanings: on a personal level there is dislocation and loss; on a wider scale there is political and social unrest- something we can all relate to.  Died a Patriot is a typically assured slice of Victory Kicks authority: a song that perfectly sums High Wires up.  The stand-out from their album, it is a perfect introduction to the band- and what potential they have.

High Wires is as striking and memorable as its album art: an album that does not shout and scream; it does not just fade and fizzle- instead it slow-burns and compels; demands some repeated investigation (and hooks you with its minimalism and lo-fi charm).  Most of the ten tracks are short and tight; no song runs on and outstays its welcome: the entire album is defined by its economy and brevity- by the end you are left wanting more (the guys tease that out of you).  A lot of modern acts trend to put out too much; produce lengthy tracks (and long albums) - by the end you are somewhat bored and annoyed.  Victory Kicks are an intuitive and intelligent act: they know how to put out their message without needless showiness and loquaciousness- High Wires is a focuses and memorable album.  Sibley has developed and improved as a songwriter: the hooks and melodies are stronger (and more memorable); his lyrics are more compelling and gripping- the songs more diverse and multifarious.  The band’s core sound is in place, yet Sibley has managed to both sound more original- fewer nods to his heroes and influences- and bold: his vocals seem more confident and passionate; the production values are stronger and sharper- whilst coming across as live-sounding and bare.  I was a big fan of Emergency Noise- and saw The Young Flood as a noble effort- yet find High Wires (to be the band’s) finest work.  Emergency Noise seemed a little long- it was a seven-track E.P. - and has the odd filler; The Young Flood improved on this- as of now, the group has truly hit their stride.  It is not just the songs that have struck me, but the sound itself: how many other acts have that home-recorded sound and majesty, whilst producing songs that are festival-ready and anthemic?  Excelsior to Sibley, who has managed to craft quite a special album: one that hits you upon a cursory spin; reveals magic and layers upon further investigation- and keeps on providing little insights.  I love a lot of the current crops- Everything Everything’s latest L.P. is filled with technoclour passion and rushing sonics; lyrics that are more downbeat and introspective- yet it is great to promote the underground: great artists that are working hard and pressing on.  It is only a matter of time before Victory Kicks are infiltrating the festival scene: playing alongside some of the best acts of the moment.  The fact that they not only keep getting better yet show no signs of slowing is encouraging- I predict the band will be making music for many years to come.  Sibley and co. has a natural and unique voice that is hard to fault: music designed for the masses without pretention or fakery.  High Wires’ strongest moments- Died a Patriot and the title track- occurs in the middle of the L.P.; Writers’ Strike is a perfect opener- Whenever She Writes a graceful and memorable swansong.  With no filler or weak moment, what you have is a consistent and studied effort- each track has a very Victory Kicks feel; nothing is forced or disingenuous.  Originality and consistency are what makes the band: although each song sounds fairly similar (in the sense there is no great sonic or lyrical leap) that works in their favour- you never feel the band is betraying itself or trying to please too hard.  Sibley is a natural songwriter with a keen ear (and sharp pen) which comes across throughout the album.  What comes next is anyone’s guess: maybe there will be some tour dates or bookings; perhaps an E.P. or follow-up album?  Being a lo-fi, low key band, we will find out in time; for now, just enjoy their latest offering: an album that is rife with standout moments and stunning songs.  In a music industry that is not overflowing with tremendous acts (and albums), the likes of Victory Kicks..

DESERVE a huge amount of support.

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Follow Victory Kicks:

 

Official:

http://victorykicks.bandcamp.com/

Facebook:

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

Twitter:

https://twitter.com/victory_kicks

__________________________________________________________________________

Music:

https://soundcloud.com/victorykicks