Feature: You, Me and the '90s- When Music Ruled the World

FEATURE:

 

You, Me and the ‘90s

 

When Music Ruled the World

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Music today is promising new artists and sounds; possibility and freedom- it is easier to make music now (than any other time).  With the quality coming through (quite variable); I was keen to look back; delve into a wonderful decade of song- the 1990s (to me) remains music’s greatest decade.  From ‘Britpop’ rivalries to Grunge’s death; it was a period to remember…

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IT is perhaps neigh-on-impossible to distill the entirety of the 1990s…

into one music-based blog post.   It would be hard to fit (a summary of 2015) into one post, so today, it will be a challenge.  Actually it won’t, really: most of you know ‘90s music; all of you have an opinion- it does not need too much explanation.  I have been thinking a lot (about bygone music): harking back to good times; when there was some wonderful sounds/acts coming through- a formative time that contains great memories.  I like a lot of today’s music; its best and brightest: to me, the finest music emanates from the underground; the SoundCloud-based artists that sit away from the charts; do not get played on ‘Radio One- and have a lot more quality at their disposal.  The mainstream strikes me as rather mediocre and unreliable: some weeks you have great albums produced; the next (week) none at all.  I know the ‘90s was not a flawless decade- there were bad weeks/months for sure- yet the fact remains: it produced some of the world’s greatest acts; spawned some all-time classic albums- the ‘90s music has inspired so many modern-day artists.  Some would argue the ‘60s was the best decade for music- aside from the obvious legends; it is an overrated era- others would say the ‘70s- finer still yet still lacking that overall diversity and consistency.

The 1990s Dance Scene: Music for the Masses

 

Perhaps an odd place to lead-off yet a relevant one: today’s Dance music seems to appeal to a niche audience; popular to particular people- few tracks and artists tend to unite the population.  With the proliferation of nightclubs, Dance music has had to conform: the music seems dumbed-down and basic; with little cross-over appeal and nuance, it is designed to satisfy sweaty club-goers: the importance of melody and memorability has been lost.  Too hard and heavy; lacking real soul and heart, the ‘90s did it best.  During the 1980s the rise of electronic-based music spawned some great artists; that popularity and momentum parlayed into the ‘90s- a scene was born and solidified.  From the start of the decade, electronic sounds went into Dance music: classics and one-off gems were produced.  My favourite song of the genre- and one of the most addictive tracks of the period- was Rhythm is a Dancer (by German Euro-Dance collective Snap!).  Hugely anthemic and addictive, it remains a legendary cut- during a time when Dance music started to entrance the masses.  Where Euro-Dance is less known/popular now- we don’t really have a separate genre; Dance/Electronic music is more integrated- Rhythm is a Dancer is that rarest of songs- it is not niche; its appeal is singular and universal- a song that appeals to (those who grew up during) that time; to those growing up now- its appeal will never wane.  Deliriously energetic and boasting a humungous chorus, it inspired a wave of similarly-ambitious acts.

[youtube https://www.youtube.com/watch?v=WMPM1q_Uyxc&w=420&h=315]

Dance/Euro-Dance was not defined by novelty and one-off treasure: it was a culture that grew and inspired; at a time when the music was more innocent and less controversial (in this genre at least).  Ride on Time (by Black Box) is another diamond of the time- released in 1990; it is one of the decade’s most stunning Dance numbers.  As the decade developed, Electronic music started to build and flourish: it became affordable to produce Electronic jams; bedroom-born artists were coming from- the music developed from the dancefloors; made its way to the mainstream- the likes of Madonna and Moby were among the champions.  By 1999, Moby turned in Play: an album that stunned critics and fans- it went on to become the biggest-selling Electronic/Dance album of the 1990s.  Brimming with genius samples and stunning genre crossover, it drew the decade to a spectacular close.

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

Grunge: Its Rise and Fall

You cannot mention ‘90s music without including Grunge: a decade that seems retro and rare (now), the genre hit its peak (around the 1990s).  Having originated in the mid-‘80s- the movement was developed in Seattle- it hit its stride the following decade.  The genre struck a chord was disenfranchised teens and young listeners: dealing with apathy and social alienation, Grunge was their statements- the bands spoke for them; the band leaders were just like them.  To me, the three champions/finest acts of the Grunge kingdom (during the ‘90s) were Nirvana, Soundgarden and Pearl Jam.  You can mention other acts- Alice in Chains come to mind- but these U.S. giants defined the scene- Nirvana were the band that led the regal charge.  With Nevermind released in 1992, the decade started with a bang- that album remains one of the greatest ever produced.  Defined by epic riffs, throat-scraping anthems and rally cries to the affected- the album resonated with those feeling detached and angry.  Whilst Nirvana went onto create an album heavier and more genuine (In Utero); Nevermind remains their most popular album- its lead-off track stands as Nirvana’s most definitive moment.  Smells Like Teen Spirit is the song everyone associates with Nirvana: perhaps an albatross (for the band); it stands as a defiant testament- one of Grunge’s most staggering moments.  Having seduced and stunned the critics, Nirvana were the Grunge champions.

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

Although there were some knuckle-dragging Grunge acts- that appeals to the lowest-common-denominator.  Concerned with little more than aimless riffs and anodyne sounds, they composed the minority.  The genre is often perceived as simplistic and unintelligent: if you consider acts like Soundgarden and Pearl Jam, you would have to reassess your perceptions.  During the ‘90s, Soundgarden released two era-defining albums: Badmotorfinger and Superunknown- they released Down on the Upside in ’96; it never reached the giddy heights of its predecessors.  Badmotorfinger remains a raw and visceral experience: Chris Cornell’s voice was at its wracked peak; an emphatic weapon it was backed by stunning band interplay and intelligent lyrics.  Tracks like Jesus Christ Pose investigated the M.T.V.-generation bands- that stood in a messianic pose- with ego and arrogance to spare.  New Damage was the rapturous swansong; Outshined one of the album’s highlights- the line “I’m looking California/and feeling Minnesota” remains the album’s stand-out lyric.  On April 8^th, 1994 Kurt Cobain’s body was discovered: with his death, Grunge was rocked; the genre lost its leader- the world was in morning.  From that moment, a decline occurred: with Nirvana’s front-man gone, fellow bands were on shock; the music scene was rocked to its core- it signaled the down-shift and entropy.  In the midst of tragedy and heartache, Superunknown was released: Soundgarden’s finest album, it both breathed new life into the genre (until its death a few years later) and channeled Cobain’s spirit.  The album’s key track was Black Hole Sun: a song that looked at the fall-out and shock.  Although written before Cobain’s suicide- Cornell claimed the song came from dreams and dreamscapes; experimenting with words and ideas- it can be applied to the Seattle icon.  That semblance of darkness and pain; the need to “wash away the rain”- Black Hole Sun seemed like a Grunge epitaph.   Pearl Jam completed the Grunge triple allegiance: their album Ten remains one of the decade’s best; it inspired legions of new bands- and remains the band’s career high.  Compelling, masterful and unique, the album spawned classics like Black, Jeremy and Even Flow.  The economic track-listing- most titles were one or two-worded- was coupled with stunning songwriting; add in wonderful lead vocals (by Eddie Vedder) and gutsy perfoirmances.  Towering, monumental and epic, the album (released in 1991) remains one of Grunge’s great.  The genre exists today- a lot of modern-day acts are keeping the flame alive- yet its spirit lived and died with Cobain.  Along with Nirvana, Soundgarden and Pearl Jam, the genre spawned tremendous music and moments- another side to a multicoloured decade.

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

‘Britpop’: What Made the 1990s Special

Perhaps the defining genre of the ‘90s, it put British music at the forefront: epic battles were formed; stunning music came forth- one of the greatest musical movements of all-time.  Anthem-making and hugely creative, (the ‘Britpop’ era) spawned some of the decade’s best albums.  Whereas Grunge was America’s- and represented the voice of the youth- ‘Britpop’ was the British equivalent: a happier, more uplifting comparison, it was defined by effusive and rousing tracks.  The scene was dominated by two groups: Blur and Oasis.  On their heels, the likes of Suede, Supergrass, Manic Street Preachers and The Verve campaigned.  Before mentioning the Oasis vs. Blur issue; it is worth looking at the culture’s finest- acts that helped shape it into something monumental.  Inspired by the Rock music of the ‘60s, ‘70s and ‘80s- and leading-on from the Madchester scene- Suede were among (the most sparkling proponents).  Their self-titled album (released in 1993) boasted poetic lyrics and Smiths-inspired motifs.  Led by Brett Anderson’s unique voice songs like Animal Nitrate and The Drowners burrowed into the nation’s subconscious.  Theatric and grand, Pop-wise and catchy, the band created one of the jewels of the ‘Britpop’ era.  To me, Supergrass were one of the ‘genre’s’ best examples: their youthfulness and insatiable energy was only matched by their stunning songwriting and immense ambition.  If you look at their two finest albums- their ’95 debut I Should Coco and the 1997 follow-up In it for The Money- the band created some of the decade’s most memorable songs.  From their debut we had Caught by the Fuzz; the irrepressible Lenny- plus their peerless track, Alright (that defined ‘Britpop’ within 181 seconds).  In It’ spawned Richard III and Going Out; the wondrous Late in the Day- the glorious Sun Hits the Sky.  Packed full of nuance, range and passion, Supergrass remain one of ‘Britpop’s most underrated acts- were it not for the likes of Blur and Oasis; they would have been crowned ‘Britpop’ kings.

[youtube https://www.youtube.com/watch?v=fwjXgskUN50&w=420&h=315]

You cannot examine ‘Britpop’ without mentioning its parents: Oasis and Blur.  I am not sure which is the mum; which is the dad- depending on your background/location/personality depended on which band you favoured.  Being a Surrey-born, working-class ‘nerd’ it has to be Blur: the band spoke to me more directly; their music connected in a way (Oasis’ didn’t).  In 1995, the battle reached its climax: Blur’s Country House went against Oasis’ Roll with It.  Although Blur won the honours; it was an exciting time to be alive: the music world would never witness a shaping-up like it; when the media and fans got on board- clans were united and divide.  Whilst it balkanised music-lovers, it was all done playfully and in good spirit: you were either on Team Oasis or Team Blur.  Aside from the media-heavy speculations; the Damon Albarn v. Noel Gallagher spats- tremendous albums were produced.  Oasis produced two of the 1990s’ best albums: Definitely Maybe and (What’s the Story) Morning Glory?  Although Noel Gallagher cribbed from other acts- from The Beatles to T-Rex- and Liam Gallagher saw himself as John Lennon-reincarnated; you cannot deny their influence and genius.  1994’s Definitely Maybe produced Rock ‘n’ Roll Star; the hypnotic Supersonic- Live Forever was/is their finest achievement.  The band’s follow-up perhaps surpassed their debut: with Roll with It, Don’t Look Back in Anger sitting alongside Champagne Supernova and Wonderwall- (What’s the Story)’ remains one of the ‘90s most audacious albums.  That 1994/’95 period spawned some of history’s best albums: Blur were not to be outdone.  Whilst Oasis crafted their masterpiece, Blur honed theirs- the biblical Parklife.  Having begun life before Oasis- having faltered on their debut album- Blur hit their stride here.  Parklife defined the zeitgeist; remains an era-defining masterpiece: the tracks were joyous and hands-aloft; sweeping and emotive- the songwriting was beyond comparison.  Boys and Girls is quotable and cautionary- looking at the morons of the 18-30 scene; those who swapped sperm more than conversation.  Mini-operas like To the End and End of a Century showcases Albarn’s perceptive and original voice; his tight and ubiquitous lyrics- the songs spoke to a generation.  Throw in the heartbreaking Badhead; spoon some the bouncing London Loves- cannot forget that Phil Daniels-narrated title track.  Ending with the epic and sweeping This is a Low and it was Definitely Maybe’s southern riposte.  Their 1995 follow-up did not match Oasis’ sophomore release: to me, The Great Escape is no shame; it boasts some of Blur’s finest tracks.  Charmless Man and The Universal show Blur’s wit and cutting (observational) bite; their swooning and sorrowful side.  Inspired by the competiveness and communal influence of ‘Britpop’, Blur created a truly great album- its second track would form one-half of ‘Britpop’s most epic showdowns.

[youtube https://www.youtube.com/watch?v=i_2mWhfOhGU&w=420&h=315]

Hip-Hop/Trip-Hop: The Experimentation and Possibilities

 

 Whereas Grunge represented the heartaches, anxieties and struggles of America’s youth; ‘Britpop’ reflected a sense of British optimism and unity- on the periphery, something extraordinary was happening.  Whilst the ‘90s Dance scene was evolving and growing, the Hip/Trip-Hop movement was producing some heroes.  Some of the most innovative and diverse genres, everything from Dr. Dre- and his 1992 meisterwerk The Chronic- to M.C. Hammer was laid bare.  With West Coast Hip-Hop going against East Coast (The) Notorious B.I.G., Hip-Hop grew to be the ‘90s biggest-selling genre (by the middle of the decade).   As the decade proceeded, Rap artists came into the fore: female leaders like Lauryn Hill and Queen Latifah came through.  Not just inspiration to the women of (the music world) their music crossed gender lines- and compelled a generation of up-and-coming acts.  Away from Rap’s hard and heavy slam, girl bands like Salt-N-Peppa and En Vogue coming through- and producing sharp, sassy and electrifying beats- the scene was jam-packed and exhilarating.

[youtube https://www.youtube.com/watch?v=eIJcnZOIH1o&w=420&h=315]

Across in the U.K. we were showcasing some innovative and genius-minds Trip-Hop acts.  From Bristol, came Massive Attack: formed in 1988, the band produced one of the decade’s finest albums- the masterful Blue Lines.  That Trip-Hop/Experimental album was not only a nine-track masterpiece- that mixed sounds and sensations- but highlighted the effectiveness of sample-splicing- the album used existing songs/snippets to dazzling effect.  Take decade-defining songs like Unfinished Sympathy into the arena- and its unbeatable confidence and entrance- look at Safe from Harm and One Love (two distinct and staggering cuts) and you have a must-own L.P.  Bristol also produced the Somerset-named Portishead: a fellow act that spawned a Trip-Hop masterpiece.  Although Dummy is not quite up to Blue Lines’ standard- hard to actually level it to be fair- the album saw the Beth Gibbons-fronted band produce something of-its-time.  Considered one of the ‘90s’ essential albums, tracks like Sour Times, Glory Box and Mysterons are recognised by all- even now they summon up recollections and happy memories.  Ice-cold and hot-headed; emotive and tear-stained; black-and-white (yet bursting with explosive colour) the album was a kaleidoscopic statement of emotion and passion- no surprise it remains such a memorable album.  The Trip-Hop scene spawned some distinct acts: in the U.K. the likes of Massive Attack represented hard and emotive music; in the U.S., the likes of The Notorious B.I.G.- and his New York Hip-Hop attacks- was more wordy and lyrics-based; representing the sounds of the streets (and the struggles of his peers) it was a distinct break-away- something that was foreign and alien in the U.K.  With the genres producing some startling albums, it showed the ‘90s has endless appeal and breadth.

[youtube https://www.youtube.com/watch?v=ZWmrfgj0MZI&w=420&h=315]

The Rest… (Not to be Second-Best)

 

I stated in the opening- it would be hard to assess all of the decade’s best- and stand by that- not to say I am going to end it there!  Away from the main genres/players a lot of (other) great music arose: stunning Pop sounds, classic artists hitting their peak- greatly innovative acts doing their thing.  If you take the first point- and look at the Pop of the ‘90s- perhaps The Spice Girls are the most recognisable brand.  Aside from the quasi-feminist phenomena of ‘Girl Power’- something that seems quite nauseating in retrospect- their music (thankfully) was much more credible.  I am not (the girls’) biggest fan yet bow to their prowess: you cannot ignore their effect and quality.  Songs such as Wannabe and Spice Up Your Life remain (rightful) classics; their 1996-album Spice is a solid and tunes-laden accomplishment.  The girls not only heralded a wave of female-fronted Pop might; they inspired a wealth of young bands- that effect is being felt today; the number of Spice Girls-influenced bands today is huge.  Away from the Union Flag-laden Halliwell swagger, the Pop world was defined by its consistency and strength.  More reliable and fascinating (than today’s rather ho-hum offerings) U.S. artists like Sheryl Crow and Fiona Apple were coming though.  With Crow’s Friday Night Music Club; her awesome self-titled album: between them songs like All I Wanna Do, If it Makes You Happy and A Change Would Do You Good among the scores, the young American burst into public consciousness.  Leading the intelligent and nuanced Pop elite, Crow was joined by Fiona Apple: in 1998 she released Tidal: an album filled with supple and mature tracks; rich and deep compositions- the teenager was to remain a secret no longer.

[youtube https://www.youtube.com/watch?v=9wfpXI5PKlw&w=560&h=315]

In the ‘90s Michael Jackson was still ruling the Pop scene.  Having passed his glory days- Thriller remains his defining album; Off the Wall his most underrated masterpiece- History was unveiled: the 1991-album was greeted with applause and fervency.  With few minor niggles- a little over-long and overproduced- the album is a hard and heavy attack: blistering jams and assaults; smooth sensual gliders; wonderful Jackson-esque anthems.  With tracks like Black or White ranking among Jackson’s best; the furious Jam kicking (the album off to) a wonderful start- the album showed the King of Pop had lost none of his touch.  Drawing in new collaborators and styles- this album showed more Rap/Hip-Hop edges- Jackson’s songs are more accusatory and sharp; his voice firmer and angrier- his pen more varied and agile.  During the late-1990s, U.S. Pop was particularly productive: acts like Britney Spears and Backstreet Boys came through; lesser acts such as Hanson plied their trade- a varied mixture that supplied something for everyone.  Whilst today’s (U.S. Pop) market has a different sound/componence; there is no denying it derived from ‘90s acts: you cannot understand the influence/effect (the acts had).  Aside from the Pop legends of all, a lot of other (great) music was coming through: from British acts Seal and Jamiroquai; Hard Rock acts like Guns N’ Roses and The Black Crowes (from the U.S.)- a smorgasbord of sounds and sensations.

[youtube https://www.youtube.com/watch?v=JbHI1yI1Ndk&w=560&h=315]

Why it is Special to Me: What Makes it so Enduring

 

Perhaps I am a little biased: being born in 1983, I grew up with ‘90s music- it sound-tracked my formative years; scored my childhood- formed some of my earliest memories.  For me, the 1990s music scene is synonymous for two reasons: its wealth of diversity and the staggering quality.  I have touched on a few genres/acts: the truth is; there is a lot I have missed out/couldn’t fit in.  If you look at today’s scene- and the music of 2010 onwards- what is the best we have done?  There are none of those great ‘Britpop’ battles- just spats between rappers and female Hip-Hop acts- and few enduring albums.  Just casting my mind around: you have the novelty songs and Dance anthems; the Pop classics and Rock epics; the Hip-Hop wonders and Neo-Soul smooth.  There is no denying how full and variegated (the ‘90s is): that wealth of difference and range has affected music forever; created and inspired terrific acts- you can keep your ‘60s music!  The quality helped to enforce this point: sure, there was some complete crap (as there is in any decade) yet the 1990s has an ear and eye for quality control- something the modern music scene could take note of.  Essentially, the ‘90s represented something wonderful and life-changing: the music is still in my head; the memories are burning bright.  Everyone has their own views- when it comes to the best decade for music- yet people of my generation have no doubt; the 1990s was an unimpeachable milestone; the finest time for music- we will never see a decade like it.  Just sit and think of individual songs- I am thinking about Seal and Snow- and you get a host of weird, wonderful (and unique) brilliance.

[youtube https://www.youtube.com/watch?v=i7iQbBbMAFE&w=420&h=315]

Penultimately: The 1990s’ Finest Album

 

The Bends by Radiohead: simple as.  We all have our own favourite and opinion: I can understand some choices- I love Nevermind and Urban Hymns; have plenty of time for Ill Communication and Dookie- but none come close to Radiohead’s finest.  Not only is a tremendous stand-alone album: it was the start of an unmatched 1-2-3 from the Oxford band; they followed-up with Ok Computer; then Kid A- three peerless, genius albums came forth (no other act since has achieved a feat as impressive).  The Bends wasn’t expected by anyone: following Pablo Honey (Radiohead’s debut) few could have predicted what was coming next- bands do not go from Pablo Honey- a solid yet unspectacular album- to an epoch-defining work of wonder.  I adore everything about the album: from its minor lapses (I’ll admit Planet Telex is an awful and poor opening track; the running order could be improved at the mid-way point) to its unbelievable highs, it is a perfect creation.  Thom Yorke’s voice comes into its own: when operatic, it swoons and strikes the heavens; its sweet falsetto-laden moments are ethereal and transcendent- he can switch from an angry bite to an angelic croon (within the space of a line).  The title track is a rampant and racing thing: vivid and image-filled, the song is among the band’s most urgent.  High and Dry- disliked by Thom Yorke especially- has an infectious chorus and stunning vocal turn.  Hard rockers My Iron Lung and Just showcases the band’s tightness and musicianship- the brutal honest of Bullet Proof…I Wish I Was.  Completing its work with (the wondrous and deeply affecting) Street Spirit (Fade Out) and you have the album’s finest moment; a chilling and hugely nuanced work of genius.  Thom Yorke- and his voice that inspired the like of Matt Bellamy and Tom Chaplin- is the star of the show.  Formidable and commanding, it boasts such a huge emotional range: that force and beauty is not forced or unnatural; it sounds completely seamless throughout.  So much urgency and spine-tingle, the Radiohead front-man turned each song into an exorcism.  The entire band is tight throughout: Jonny Greenwood’s guitar work is especially staggering to behold.  Filled with texture, passion and accomplishment, it is hard to believe (the ability he possesses).  The songs not only stand the test of time; the album placed Radiohead on the music map; marked them as serious contenders- they were bolstered and inspired to create a tremendous follow-up.  Radiohead were the ‘Britpop’ outsiders:: they were not cheery like Supergrass; not representing the youths’ voice (like Oasis and Blur)- they were the moody and independent spirits.  Loners on a voyage, they did not need to fit into a mould; become part of any scene- their tremendous music surpassed everything else.  For me, there is no better album ever created- nothing will come close to matching its legacy and quality.

[youtube https://www.youtube.com/watch?v=47x7dC_nXKw&w=560&h=315]

Finally: My Favourite Artist of the 1990s

I shall finish off with my favourite musicians of the decade: the peerless and beautiful Jeff Buckley.  I ‘discovered’ Buckley about ten years ago: having heard Hallelujah (via a live recording he performed in 1992) I was compelled to check out the American singer; delve into his back catalogue- see what he was about.  When you look at Buckley you have to address the tragedy; his untimely demise (he drowned in 1997 aged 30) and his what-could-have-been mythology.  Once you get back from that precipice- and concentrate on the man and his music- well… that is when you are seduced.  What struck my hardest was that world-straddling voice: his lungs could belt out insane notes (beyond the capacity of human understanding); his immensely beautiful calm had feminine qualities- he is the epitome of the term ‘voice of an angel.’  Although Grace remains his sole studio album- there have been compilations and live recordings published- that is no minor feat.  That album demonstrates everything that makes Buckley great: his personal and tender lyrics; that deeply emotive and dramatic voice; his quirkiness and humour- a personality that equaled his talent.  Whilst Hallelujah remains his most famous song- few recordings are as transcendent and spine-tingling as this- Buckley’s original material is not to be overlooked.  His tales of love and sweetheart loss stand apart from his peers: his lyrics are not cliché and humdrum; his poet and Dylan-esque insights.  Just spend some time on YouTube; listen to all you can- just what he was capable of.  Having fallen in love with the Live at Sin-e (double album); that best showcases his interpretative qualities: recorded at a New York café (in the early ‘90s) Buckley tackles the likes of Billie Holiday and Van Morrison; Leonard Cohen to Mile Davis.  That goofiness and charm oozes out; the witty banter and rapport- the audience for the recordings must have been a dozen-or-so; that intimacy and special atmosphere led to some of his best performances.  Armed with his guitar (and an adoring café crowd), Buckley seduced and enraptured- leaving jaws open.  Radio interviews see the young man in a different light: that stunning intelligence and huge musical knowledge; his quirky and funny edges- someone you cannot help but adore.  I never met Buckley yet feel a huge sadness (when thiking about his death): the manner of its happening is heartbreaking (he was on his back in the water of the Wolf River; relaxing and listening to Led Zeppelin; just him and a friend)-he wouldn’t have stood a change; he was sucked under the water without a fighting chance.  You can’t change the past and change reality: all you can do is cherish what is left; be thankful for what was created- Buckley did not leave the world short-changed.  One of the most influential singer-songwriters ever- so many modern artists are influenced by him- I loved that guy; the reason I am a music writer is because of him.  He was shy and vulnerable- he suffered bipolar affective disorder- he was scarred and struggled; he gave love and compassion to so many- he deserved to be with us today.  I just am thankful for all his music; those timeless performances- every word and thought he left on this planet.  For me, Buckley represents what the 1990s was about: that freedom of expression and creativity; drinking in the diversity and multiculturalism of the music scene; the reciprocal warmth the crowds provided- the richest time for musicians to exist.  We may never see anything approach the ‘90s- and all the phenomenal music it provided- that is not to say we should let it fade.

[youtube https://www.youtube.com/watch?v=rzcGs0slGhA&w=420&h=315]

Let me know your thoughts and favourites; what defines the decade (for you) - feel free to disagree with my conclusions.  Whatever your age; wherever you grew up, you cannot deny the spectacle of ‘90s music: those dreamers and innovators; that rich tapestry of song- so many wonderful and evocative memories.  For me, it was a better and simpler time; the music helped me overcome hard times- ritualistic school bullying; deaths in the family and the onset of depression; struggling to fit in- and focus on something pure and compassionate.  It also lead me to where I am not: the rich variety of ‘90s sounds inspired me to take up music writing; investigate bands and songs- perhaps no higher praise from me, I guess.  What does the 1990s mean to you?  Do you have fond memories and favourite songs?  Let me know if you can: it would be great to hear individual opinions; lead me to something (I may have forgotten about).  For now, do what I will be doing: revisiting some tremendous songs and albums (from a wonderful decade).  When it all comes down to it- and when the 1990s is concerned- we have never…

HAD it so good.

_________________________________________

Your 1990s Playlist: 

No Diggity- Blackstreet

[youtube https://www.youtube.com/watch?v=1ymZLKz7mac&w=420&h=315]

Black Hole Sun- Soundgarden

[youtube https://www.youtube.com/watch?v=3mbBbFH9fAg&w=420&h=315]

Losing my Religion- R.E.M.

[youtube https://www.youtube.com/watch?v=if-UzXIQ5vw&w=420&h=315]

For Tomorrow- Blur

[youtube https://www.youtube.com/watch?v=F156egcVGp0&w=420&h=315]

Groove is in the Heart- Deee-Lite

[youtube https://www.youtube.com/watch?v=etviGf1uWlg&w=420&h=315]

Sabotage- Beastie Boys

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

Glory Box- Portishead

[youtube https://www.youtube.com/watch?v=8uciibl0rcs&w=560&h=315]

Californication- Red Hot Chili Peppers

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

Everlong- Foo Fighters

[youtube https://www.youtube.com/watch?v=eBG7P-K-r1Y&w=420&h=315]

Basket Case- Green Day

[youtube https://www.youtube.com/watch?v=NUTGr5t3MoY&w=420&h=315]

Street Spirit (Fade Out) – Radiohead

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

All I Wanna Do- Sheryl Crow

[youtube https://www.youtube.com/watch?v=yAEpLMTjCC8&w=420&h=315]

Push It- Salt-N-Peppa

[youtube https://www.youtube.com/watch?v=vCadcBR95oU&w=420&h=315]

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Track Review: Night Wolf (Ft. Kite)- Bitterness

TRACK REVIEW:

Night Wolf (Ft. Kite)

 

Bitterness

9.5/10.0

Bitterness is available at:

https://soundcloud.com/nightwolfuk/bitterness-kite-produced-by-night-wolf

RELEASED: August, 2015

GENRES: Electronic; Hip-Hop

ORIGIN:

Bedfordshire, U.K.

THIS one is going to be pretty exciting…

Every time I review Night Wolf- I have done it a few times now- it always offers something startling and fascinating.  His genre-bending, sound-fusing kaleidoscopes mix emotions and dangers; elliptical beauty and razor edges- it sounds loose and effortless yet perfectly honed and concentrated.  Before I get to my review subject- and bring him to the public fore- it raises some interesting issues: chief among them, the innovation of the Electronic scene.  I have waxed lyrical regarding the virtues of the Electro.-Pop scene: its chief proponents (female-heavy let’s be candid) are doing some fantastic things; contorting emotional beats inside orchestral electronics; bristling and hard- topped off with some candid beauty and tenderness.  To be fair, there is a slight stagnation and stalling occurring- a lot of the new Electro.-Pop acts coming through are perhaps coming off a little samey- and this will soon abate.  Being fascinated by the likes of FKA twigs and St. Vincent, I am hearing a lot of similar-sounding acts: those that tie too closely to these artists; do not inject notes of difference and distinction.  It is understandable given the influx of hungry artists: there will be some familiar sounds for sure; the acts that stand out have their own voice.  Having reviewed the likes of ADI- the Israeli-born wonder- and others, there is a lot of innovation and personality: ADI especially is a mistress of urban beats and hard-stabbing; deft at weaving emotion into every note and swathe- all wrapped around her stunningly gripping voice.  When you have a guitar, bass and drum (at hand) there are instant limitations: bands come that surprise and seduce; that said, there are many more that sound uninspired and phoned-in.  Perhaps there are boundaries and limits- when creating something great in Rock and Indie circles- but that is where Electronica stands alone: there is great potential and variation; the chance to come up with something genuinely new and fresh.  With that, electronic artists like to mix genres and fuse cultures: tie in some Hip/Trip-Hop magic; drip some Urban-inspired swagger; maybe some Classical threads into the mix- and come up with a rich and multi-coloured feast.  Of course, this freedom has a reverse affect: sometimes the artists have no ear for concision and consistency; just wildly string notes together- like a bored child banging at a piano.  When the artistry is intelligent and focused; when the artists really hit the mark- that type of produce is beyond compare; few other genres provide the same degree of wonder and joy.  Before I continue on that point, let’s have a look at Night Wolf:

“I am a composer/producer/artist signed to Fly Productionz Ltd (UK), working with MusicJar (UK) + SumSerious Music LLC (USA) + Sky Rocket Records (Europe) + GungHo Music Group Ltd (China). Started out in rock bands as a drummer, had classical piano training at the age of 7, gave up after grade 3 to concentrate on my own music. Alongside solo projects I work with my partner Centrist (Mike Ziegler) From Dekalb Il. We formed into Harmony's Descent around 1 year ago. Please stay a while and sit back and browse over some of my work, please leave feedback as it’s always welcome, I am always on the lookout for new artists, accapellas and producers to collab with.”

Having such a rich and variable music upbringing, Ryan Wilcox- the man behind the wolf- has utilised this for his creations: his tracks combine gorgeous strings and epic compositions; dirty and gritty Urban notes; hard-hitting Rock beats- combustible inside his pot of psychotropic spark.  In 2013 I got to review (the fantastic E.P.) The Moonlight E.P.- a five-track collection that showed what the young artist could achieve.  With Watt the Time Mr. Wolf (arriving that year) and a stunning body of work beckoning forth, it has left me stunned and hungry- with every new release, something new comes out.  Whether he goes it alone- and comes up with a tremendous instrumental- or a collaboration (combining with some fabulous singers) the results are sensational.  It is that huge musical knowledge- and the love of multiple genres- that mandates the sound; his ambition and drive is immense- you can hear that confidence and passion slam from the speakers.  With Bitterness released- and Kite lending her voice to the song- it is a great preview of what’s to come; a new ‘Co.-Lab’ album is on the horizon- things are on the rise for the Bedford-based maestro.  An exceptional and intelligent composer, Wilcox varies his songs and themes: no two songs sound alike; with each new release something bracing and unique is offered- the latest cut is no exception.  Perhaps his most impressive and nuanced song to date, it seems this/next year will produce some wonderful music (from Night Wolf) - the creative juices are at their finest.

When it comes to Night Wolf’s latest maneuver, one must look back- and see how far he has come.  Bitterness builds from his latest works: if you take a look at the Night Wolf’s more recent work, there are definite similarities to be found.  In the earliest days- a few years ago- the music was fully-formed and confident; there were few loose edges.  With each new release, Night Wolf has become more insistent and nuanced; his tracks more emotive and ambitious- a trait that has defined his latest track.  Earlier this month, Dehumanised was dropped.  An instrumental track- like most of his output as-of-late- it twinkles and shimmers.  With stuttering beats- creating Trip/Hip-Hop edges- the song is dreamy and light.  That beat adds a sense of lurking danger- something that defines our hero’s sound and identity.  By fusing dark and light shades; force and passion, you get a full-bodied and diverse track- one that appeals to lovers of Rock and Indie; can draw in traditional Electronica fans; recruit some new support.  Atmospheric and lustful, it builds images and scenes- the listener is free to conspire and drift; fill in the gaps- there is a constant sense of chill and relax.  Although the song never explodes or expands; that consistency and focus works in its favour.  The Shard (released five months ago) boats harder beats and pulsing electronics.  Combining finger-clicks and vibrating passion- there is a Dub-Step undertone to proceedings.  Whilst the foreground mingles static pulse and fascinating string-picking, you get a Classical-cum-Hip Hop fusion; one that is evocative and emotive.  Give its title, you begin picturing the London landmark (whether this is what Wilcox had in mind I am not sure) - that is where my mind went.  Atmospheric and tender; epic and personal, the song is another Night Wolf diamond.  Vacant Mind (recorded around the same time) is another scenic and dream-like composition.  The electronics twist and turn; there is sawing and singularity- a bond of plinking and swelling; rushing electronics and nuanced undertones.  Distinguishing itself from (Dehumanised and The Shard); Vacant Mind lives up to its title: the composition draws very vivid images; it inspires the listener to imagine- and let the music do its work.  Wilcox is a master of emotion-building and atmosphere: he can say so much without any vocals (or needless noise).  Showcasing complete command and confidence, the recent output ranks among his best.  Bitterness continues that run of form for sure: the compositional backdrop introduces shades of (the aforementioned tracks); there is a slight move towards emphasising the beats.  With Kite’s spectral voice flowing over the composition, Night Wolf punches the percussion: it is hard-hitting and tough; combined with synthesisers, the composition is deep and detailed.  Having studied Night Wolf’s historic works- and vocal collaborations too- I can see growth and development.  The subject matter has changed and evolved- whilst retaining that distinct identity and style.  On Bitterness, there is incorporation of the modern Electronica/Electro.-Pop scene; little shades of ’80s Synth.-Pop; parts Hip-Hop too.  There is not a radical departure to the new track: retaining his central hallmarks, Wilcox has gained fresh confidence and inspiration; found a new muse- created a track that provide future glimpse; show where he is now.  The latest revelation combines so much; ties in multiple sounds and suggestions- fans of Night Wolf’s existing work will be pleased; new supporters will find much to enjoy.

The opening moments of Bitterness are a slow-building scene-setter: you picture moonlight and stars; something autumnal and haunting- a few people walking the street; silence gracing the pavements.  With electronic keys and strings- light and delicate, the mood starts to twirl and build- the song begins to take flight.  With such a romantic mood; a slight feel of orchestra- in fact, the opening coda puts me in mind of The Cinematic Orchestra- a lot of emotion and depth is whipped-up.  Given the lead-in sentiments, the opening line is somewhat juxtaposed: “It’s a bitterness I long for.”  Kite’s voice has elements of Bjork under its skin- the annunciation and pronunciation- together with sweetness and strength.  Swaying and hypntoised, her vocals are syncopated and paced: the line is carefully disseminated; floating on the compositional wave- lost in moment.  Mixing trippy-ness with dreaminess, the song instantly does its work: you settle into the sights and sounds; imagine the events unfolding- transpose yourself with the heroine.  Evocative and dramatic, the rain and weather beats; the night-time beckons.  As our heroine (looks at a subject or feel) that comes “back for more”; it licks its lips- you start to wonder (what is being) referred to.  Whether looking at bitterness- coming back and capturing her attention- or a particular person; you are in two minds.  There is intrigue and fascination mingling together; a concoction of ambiguity: the listener is left to guess that is being projected.  Tip-toeing and dancing in the composition- that remains firm and passionate; dark-hued and compelling- some of the words maybe echo a little (and lose something in translation)- this only adds to the sense of drama and grip.  While some of the lyrics get buried down in the mix, the vocal itself remains mesmeric and haunted: distance and washed-away; strong-tongued and sensual, Kite is consistently engaging and stunning.  Whilst the electronic foreground remains constant and focused: continuing its plight and sound; a lush Jazz-fused parable sound commingles.  Whilst Kite gets caught in the soul-grabbing breeze- the listener is wondering whether a broken romance is afoot; a sense of unease is haunting her mind- some ecstatic brass comes into the fold.  Soothing and chocolatey; sassy and vintage- you could hear it echoing from the doorway of a ‘50s Jazz club- the trumpet dives and kisses.  A rapturous tongue of velvet, the listener gets a chance to relax and kick-back: it is a deliriously calming sound; a hugely emotional hit.  Easing the sense of bitterness and anxiety, the composition starts to inject compassion and evocation- our heroine has her eyes closed and drifting away; her mind racing and conspiring.  Before you become too sedated and quelled, the composition suddenly ignites:  a gravitational beat sparks in; it cracks through the Jazz-flecked haze; the mood gets hard and hot- those trumpet notes still linger in the mix.  Combining seamlessly and naturally, your thoughts and attentions mutate: as Kite lets her voice glide and haunt- her vocal is aching and powerful; floating and magical- the song steps up another gear.  At its fullest and most dream-like, that beat scuffles and stutters.  Both tripping and vibrating; Urban-sounding and Hip-Hop-infused; the foreground hits its stride.  The sort of sound that could score an Ibiza club floor; a summer night-inspired rapture- it is a fantastic and wonderful sound.  Back again is our heroine: she is mired in the bitterness; she longs for that feeling of bitterness- whether it is human-formed or emotive; you are caught in its trance.  At each introduction, that voice does exactly what it is supposed to: drawing the listener directly into the song, it mixes ‘90s and modern-day (it is hard not to think of Bjork when hearing her voice).  The track itself bonds so many genres and time periods together.  With its Dance/Electronic undertones, aspects of ‘00s Ambient-Dub and Ambient-House- it will draw in the club-goers of old.  At its heart is a very modern and of-the-minute vibe.  Tranquil and emotive; full-bodied and descriptive the music is ready-made for the mainstream- although one suspects Night Wolf wants to stay under the radar.

Essentially, Bitterness is a track that boasts questions and speculation: why is the heroine in that state of mine?  What exactly is being referenced?  You begin to picture and imagine- as the song unfolds and develops- trying to get to the song’s heart.  The vocal itself is filled with emotional resonance and huge power.  Whilst (at its core) fairly soft and tender, there is an underlying force and passion; something quite pressing and urgent- the words clearly resonate with Kite.  Whether she is inspired by the likes of Bjork (I am not sure) but I get that vibe: that same sensual and weightless vibe; the hypnotic and wide-eyed wonder.  On that note- and looking at an album like Post- there are hallmarks and similarities- whether Night Wolf has been influenced too.  Minimal and bubbling percussion hints; Jazz and Electronic fusions- here something Bjork-esque is created.  Whilst the lyrics have an abstract and mysterious quality, the composition burnishes with volatile emotion and tranquil beauty.  Kite’s turns the minimalist lyrics into her own personal mantra: something that haunts and caresses her soul; dives and delves into her heart.  With impeccable delivery and complete conviction, the duo combines naturalistically- a perfect match, in fact.  Night Wolf is a constantly evolving artist; like the greatest musicians around, he is always evolving and changing- whilst keeping his innovation and personality strong.  The production is rich and expertly-handled: it allows the notes and composition to breathe; the vocal is not buried or hidden (in spite of some lyrics being a little unclear).  Not cluttering the song (with needless noise or effect) there is sparseness to proceedings: each note and instrument is employed to tremendous effect; a real sense of intelligence has gone into the track.  Whilst not as full and vivacious (as previous compositions) Bitterness shows more focus and emotion: Night Wolf may have crafted his finest achievement; something that showcases a new direction- and heralds a gleaming future.  A fond discovery, Kite is a singer with a great future: a voice that can go seamlessly anywhere, it would be great to hear more of her- perhaps the two will unite once more?

It is clear some great things are ahead; Night Wolf is on the prowl- the current offering is scintillating and amazing.  Having followed his work (for a couple of years now); seen the development happen- that level of confidence and innovation is at its peak.  With each E.P. release, the public gets varied and multifarious compositions: songs that tackle pressing issues; mix genres together- and leave the listener blown-away.  The one-off singles and releases surprise and grip; the collaborations bring in new voices-those who lend their tones to Wilcox’s compositions.  With Bitterness, Night Wolf has shown his flexibility and consistency: it can be nobody else but Night Wolf; here, there are new sounds and adventures; some fresh ambitious laid bare- the coming-together is quite sensational.  Having worked on The Co.-Lab Vol. 1 (in 2013) - the E.P. spawned huge response and praise- the second part is forthcoming; new songs will feature- another round of sensational collaborations and works.  Bitterness could feature anywhere; it could define the entire E.P. - knowing Night Wolf you can never realty predict anything.  It is rare to see a composer/artist that has such a consistency and sense of evolution: a lot of similar acts tend to grow fatigued and bored; others produce the odd gem- and then lose focus and traction.  With Wilcox, there is no such fate: with each new release, his ambitious increase and stretch- it not only creates new fans and support; it give people like me (reviewers and such) a real treat.  Make sure you keep your eyes and ears to the ground: in the coming weeks/months Night Wolf will be back into focus; up-to-date material will be dropped- a chance to see what is inspired (the young master).  Having been invested for a while now, I do not have bias or naivety: I have heard what has come before; how his music is growing- I know this year will see some truly spectacular music come forth.  If you are new to Night Wolf, make sure you do not stop at Bitterness: go back into the annals and investigate his catalogue; dive into the jungles of beats and strings- let your mind and body fall victim to the insatiable sonics.  Before I depart once more, I want to jump back to my original thesis: when it comes to Electronica and the genre-splicing innovators.  I am not critical of the band/mainstream market- and music that does not fall within Electronica realms- but feel that there is a lack of diversity.  Some truly great bands and solo acts are being produced; some innovative young stars- to my mind, there are confines and limitations (with the music they play).  Electronica has that potential to go anywhere: you can splice genres and decades; drop in samples and epic beats- bring in other voices to flesh out the music.  Of course, unless you have a focused vision- and are able to channel that potential into something coherent- then it can all go to pot.  Ryan Wilcox- and his night-dwelling moniker- has that experience and background: a classically-trained musician, there is confidence and proficiency a-plenty.  Since his earliest days, Night Wolf music has been defined by its stunning atmospherics and multi-layered compositions.  It is not just the instrumental moments that strike the brain: when lacing in political messages, he sounds authoritative and stirring- and not some faux-political singer/songwriter.  The mainstream market tends to focus heavily on bands and popular stars: genres like Hip/Hop/Electronica are still niche and under-the-radar- the media tends not to cast its eye away from obvious artists.  If you look away from the critically-approved festival acts; the obvious choices- you can discover something new and special.  Not all electronically-produced music is going to be high standard: there are limitations for sure; every genre suffers that reality.  My point is; there are some very obvious bonuses: the Electronic/Electronica artists have great mobility and options; when genres are mixed some of the finest songs can emerge- the biggest emotional hits are produced.  Night wolf is not your average hit-and-run artist: no random heaviness and aimless noise; no vague sounds and thread-bare compositions- with each song, you get depth, nuance and emotion; a guarantee of utmost confidence and stun.  Make sure you share Bitterness around social media; ensure the song finds new fans- and give Night Wolf some love.  Investigate Kite too: a young singer with a sensational voice; a singular talent indeed- someone with a definite future ahead.  A perfect compatriot to Night Wolf’s stunning visions, I hope the two collaborate again (very soon) - here they sound natural and made-for-each-other; completely in-tune and in-step.  Few British artists put out music as consistent and filled with colour and emotion- Night Wolf is one of those rare artists.  It is only left for me to dive back into Bitterness; speculate what is to come- and await The Co.-Lab Vol. 2.  With the weather being pretty awful; fortunes being mixed and unpredictable, I need something reliable and fulfilling.  With Night Wolf in full flight…

THAT is a guarantee.

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Track Review: Waiting For Wednesday- One Way Ticket

TRACK REVIEW:

Waiting for Wednesday

  

One Way Ticket

9.4/10.0

One Way Ticket can be heard here:

https://waitingforwednesday.bandcamp.com/album/when-we-were-seventeen

RELEASED: August, 2015

GENRES: Modern-Folk

ORIGIN:

Bradford, U.K.

The album When We Were Seventeen can be heard here:

https://waitingforwednesday.bandcamp.com/album/when-we-were-seventeen

TRACK LISTING:

One Way Ticket

Girl You Don’t Love

Hold You Up

Looking for a Home

Train Wreck

Rhythm to this Song

There’s a Plan

Waiting For Wednesday are: Laura Shackleton, Guitar & Vocals Anna Watkins, Vocals

Huge thank you to our "When We Were Seventeen" band Virpi Kettu (Violin), Dave Kaer Jones (Drums), Christian Gallon (Bass) and Pete Dudbridge (Lead Guitar).

© & ℗ 2015 Waiting for Wednesday. (W4W02) Recorded, mixed and mastered by Mark Sturgess at Soundstation Recording Studio, Wakefield, West Yorkshire. All songs written and performed by Waiting for Wednesday (L. Shackleton & A. Watkins)

Photography by Suggys Photography. Retouching by Prefix Studio Ltd.

IN the ‘middle’ of my new-women-of-music marathon, today…

I am looking at a unique northern duo: a best friend twosome who makes some sumptuous music.  Before I introduce them I am pricked by two themes: female-related music and the diversity of the scene.  For some reason- perhaps fatigue at the lack of male diversity- my thoughts have been with the girls (of music).  As part of my D.J. set- I do a weekly spot at a local bar- my playlist is turning to some great female acts: En Vogue are among the top choice; their timeless songs and stunning harmonies strike the heart- something the male equivalents are not capable of (in quite the same manner).  Bering one of those (underrated) and legendary ‘90s acts, it has put my thoughts with genre range and diversity- but I shall get to that soon.  At the moment, new music is not exciting me quite as much as before (I am talking mainstream sounds here).  Bands like The Strypes and Foals are producing new material; not up to their best, there is a lot of fatigue and disappointment- not many acts really creating something magnificent.  The best new releases (from this week and next) are Australian acts: this week, the magnificent Totally Mild; next week, the Punk-Rock outfit Royal Headache.  These gems- from bands that are largely unknown in the public consciousness- are bucking the trend; however, the last few years have been (disappointing years) - how many great albums have stuck in your mind?  If anything, new music is offering the most excitement- with so much passion and competition bubbling away.  Not just a game of numbers, there is consistency and quality- away from the ho-hum/mediocracy of the mainstream players.  I love the bands that are coming up; the hard and hot anthems; the striking Electro.-Pop orchestrations- it is the girls that are lingering in the imagination.  Perhaps more imaginative and ambitious- I have raised this point in a previous review- the women are leading the way; coming up with the finest music- and showcasing an amazing sense of range and passion.  The boys can do soft and gentle: songs from the heart; designed to seduce and compel the soul- it is the girls that have that distinct edge.  Whether it is harmony-laden or Folk-based solo work, the girls showcase more beauty and nuance.  Aside from the serene and ethereal, they are better (when the mood calls) for something primal and enraptured- Electro.-Pop and similar sounds.  With more impressive solo artists- that pen more compelling tracks; have a bigger arsenal of emotions- the female acts coming out are impressive indeed.  It may be a brief reign- or maybe an over-exageration- but the boys could learn a thing or two- take a listen to some of the best (female acts); around; they are demonstrating how to make some genuinely nuanced and fabulous music.  Before I continue on my point- and in fact, raise a new one- let me introduce you to my featured act:

“Feisty female duo with sweet and husky voices harmonise distinctively in their stirring songs of love, loss and the importance of strong women. Influenced by the likes of Joni, Janis and Emmy-Lou, they write stories in the folk tradition and play them with a rock passion and country twang.”

It is the solid friendship- the Bradford duo display in their music- that makes each note so sublime and urgent; they have a clear affection and bond- the sort usually reserved for lovers.  Of course, the boys (in bands) have a kinship and brotherly bond- nothing that comes close to the intuition Waiting for Wednesday show.  It is great to be back in Yorkshire: this country is my favourite music avenue; it is pressing some of the most fantastic music in the U.K.  Whether you like the stadium-sized jewels of Allusondrugs; the charming duo-play of Issimo; the solo beauty of Jen Armstrong (or some Jonnythefirth Blues magic) and you are well catered for.  It is not Yorkshire bias, yet their commentators are bang on the money: the county is the most fervent and diverse (in this country).  When interviewing Damien Hughes- of the band Allusondrugs- I posed the question (as to why there is diversity in Yorkshire).  He explained to me: “I think people are throwing themselves into music more in this area because there’s not as much to do...  I don’t think there’s any more opportunity up here than there is in London for example, but there’s definitely a lot more “competition” in London, there are so many people in one place so naturally there will be a lot of bands in the same place.  So maybe it’s just that the north isn’t as saturated as the south.  I could be wrong.”  It seems a good explanation to me: down south we are a lot more built-up and stressed; there is (perhaps more) anxiety and pressure- the north has less negativity and saturation.  Bradford’s Waiting For Wednesday not only go to prove the point- that show what great music Yorkshire is producing- but they display their own voice and sense of style.  Their Modern-Folk sounds have embers of Smoke Fairies and their contemporaries; little hints of U.S. Country sounds- when it comes down to it, they are their own group.  Having grown up (and been inspired by) a wide range of acts, the girls imbue this in their sounds: it is not singular and predictable; there are diversions and avenues; mixtures of sounds and emotions- music that is emotional and full.  Whilst the ‘90s is synonymous with its diversity and range of sounds- I will touch on this in a blog later in the week- the 2010s is seeing a decline (in this trend) - there isn’t that same degree of innovation and surprise; those epic battles and peerless chart sounds.  With acts like Waiting for Wednesday- epitomising the quality coming out in the Folk genre- there are embers (of the ‘90s) in their music; that same sense of originality and quality- something mainstream artists can take note from.  With new releases- when it comes to albums being dropped- a rather patchy affair; we need to give new music’s best some deserved acclaim.

This is not the debut of Waiting for Wednesday: Girls Don’t Play Guitar was their opening salvo.  A nine-track stunner, the album touched on issues or love and loss; passion and panache.  The opening (self-titled) track was the perfect introduction: rushing guitars and urgent vocals, the girls melt perfectly.  Assessing a tired relationship- where the two lovers are divided and hiding feelings- and ambiguity too.  Maybe looking at the music industry or ambition; moving on in life and losing friends- the song paints images with several meanings; the listener can picture their own interpretation.  Giving My Heart Away is more direct.  Having been heartbroken several times (the girls) are learning from the past: having been heartbroken several times, they are being put through fire.  Perhaps better not to have loved at all, the song has bruised skin and bloodshot eyes- a lament about the inequities of trust and love.  Over Her Shoulder is more sprite and upbeat; a jumping Folk coda: the girls unite their distinct voices; the wind blows and guides (our heroines) - it is a travelogue of evocativeness and scene-setting beauty.  Raincloud displays a softer and tender side: from its finger-picking opening, it is a beautiful and sensual song- showcasing how ethereal the (girls’ voices) are.  Both deep and introspective, it is another stirring and atmospheric track.  Filled with talent, range and variegation (Girls Don’t Play Guitar) stands as a remarkable achievement: an album that cemented their wonder from the off; is consistently tight and wondrous- a stunning achievement.  Since then- and with their new album in the ether- there is development and growth.  From the opening notes (to the lead-off song) there seems more confidence and urgency: those vocals seem even more arresting; those shivers come thicker and faster- their senses heightened here.  With fewer tracks (seven) and more economy the album is crisper and more emotive.  With shivering violin running through Girl You Don’t Love, those two (distinct and awesome) voices hit their heights- never have they sounded as intense and gripping.  Looking for a Home is a fast-flowing rusher: metaphors of sunken wreckages stalk; the vocals trip and effuse- that drive and punch never relents.  Both anthemic and intimate, it is a song filled with gorgeous wordplay and amazing performances.  There’s a Plan contains that inimitable violin- here it haunts and tenderises; sways and kisses- as the girls close the L.P.  One of the most Country-orientated tracks, it is gentler (than previous offerings); allowing them to demonstrate their beauty and sensitivity- providing wisdom and life lessons along the way.  The composition builds and glides; the track grows larger and more scenic- a stunning close to proceedings.  With a little more tightness and concision, the girls have developed their work; built on that (fantastic sapling) promise- come up with something both epic and personal; detailed and yet somehow simpler.  The duo list the following as influences on their Facebook page: Johnny Flynn, Janis Joplin, Bonnie Raitt, Joan Baez, Nancy Griffith; The Tallest Man on Earth, Edward Sharpe and the Magnetic Zeros, Radical Faces, First Aid Kit; The Dixie Chicks, John Prine, Tegan and Sara, Fleetfoxes, Mumford and Sons, Laura Marling; The Cranberries, Brandi Carlisle and many more.  If you are inclined to any of these artists; if you are familiar with a few- you will find some familiar tones within When We Were Seventeen.  There are shades of the ‘60/’70s Folk pioneers; a straddling of U.K. and U.S. sounds; modern Folk and classic singer-songwriter templates- use these words as a guidance.  What Laura Shackleton and Anna Watkins are (is their) own act: they have put some much personal heartache/input into the songs; honed their stunningly original voices; poured their hearts into the music- it would do them a disservice to compare (their music with) anybody else.  A produce of an innovative and constantly-evolving act, it bodes well for the future. 

Having attuned myself to Waiting For Wednesday, the issue of picking a track- that best represented their current ambitions- was a tough call.  One Way Ticket seemed like the best song to select (the opening track from their latest track).  The infant notes are tender and delicate: riparian and soothing, the strings give way to our heroine’s voice: it comes in rich and hard; determined and reminiscent.  Looking back at teenage love- “He was my baby/when we were seventeen…”- the song visits the past; directly references the album’s title- those themes of teenage passions and ill-fated bonds.  Hanging with the scene’s cool kids- and hanging by her fingernails- our lead lets her voice strike and emote: full-bodied and impassioned, you instantly start to picture; the images come vividly to mind.  The early moments are sparse and focused- the vocal is the most prominent sound- making sure the lyrics are not impeded and overcrowded.  With each word making its way into your mind, the duo unites in song: the track’s heartbreak and strain starts to come through.  Whoever the sweetheart was, his sights were set elsewhere- “He met someone cooler.”  Themes of alienation and teenage strife are not often represented in song- aside from the teenage Pop stars- it is not a subject touched-upon too much.  Both original and compelling, you are gripped into the story: always rooting for our heroine, your attention is grabbed; you hope things work out well- the urgency of the vocal makes everything striking and fascinating.  Having met someone prettier (and better for him) the song’s focus has gone with the cool kids; left our girl in the dust- and broken a heart in the process.  Before the song becomes too sad and emotional, the compositional comes into view: the (acoustic) guitars ramp-up and march; the tempo rises and swells- a Country-cum-Folk jam gets underway.  Another side of the story is unveiled; another friendship put under the microscope.  Perhaps a culpable party- the object of the boy’s true affections- there is plenty of deceit and duplicity.  As intended romances have crumbled, it seems friendships have too:  “Before she met her lover-boy/she was my best friend.”  Perhaps there is no so much bitterness, as there is caution and support.  The boy seems to grabby and clingy; always wanting attention it seems- our heroine advises her to run (for the hills) and away from him.  Warning the girl to “run for the hills my darling”, the song picks up and shifts; goes through another gear- that galloping coda gets under the skin; propels the feet and arms; gets the listener uplifted and energised.  In spite of wisdom and truth being expounded; the song’s (naïve and untrusting girl) is not being smart- the ‘cooler’ girl is smitten (to an extent)- a fly falling into a trap.  With a sense of desperation in the vocals- the two unite to emphasise that sense of danger and ill-fated love- you see the story unfolding clearly.  That boy is luring her in; making sure he gets his way, we all know how it will end- that teenage naivety is blind to sensibility; the girl is a victim walking into the lion’s jaw.  Our heroines want to buy a one-way ticket: there is too much love (in our lead’s heart) to “spend my days alone.”  There is some depth and cleverness in the lyrics: maybe there is a second (and other girls) being talked-about; maybe the unwitting victim is (our heroine) - perhaps employing an ambiguous narrative to help shield some pain.  To my mind there are other girls in the picture- the boy is unfaithful and a cheater- and you feel a real sympathy; our lead wants love and trust; someone true and supportive- instead she is fighting for a man who is a no-good.  With Watkins taking the lead; letting her smoky voice lead the charge, every word is stunning and pressing.  That voice is a rare thing indeed; it sounds like nothing on the current scene- parts Tracy Chapman and Janis Joplin; Etta James and the Blues legends.  It is impossible to really bring names to mind: that voice is cigarette-battered and sensual; whiskey-soaked and hurricane-strong- something that can be tender and light (in spite of its immense power).  Shackleton lends her sweet and supportive tones: contrasting Watkins’ darker shades, Shackleton provides gorgeous harmony; her tight and focused guitar work provides rush and energy- the two combine magnificently.  Back to the song, and it seems things will not work out: the anti-hero has promised the world (to our lead); he is kicking about with other girls- it seems once a cheat, always a cheat.  Someone who can’t commit, it seems heartbreak is imminent.  Whether they were teens when they settled down- or this is a little later on- the boy is being an idiot; thinking he can lead a double life.  When the truth out; the cat is out the bag- that is when a vengeance whirlwind is unleashed.  Our heroine grabs the rat’s tail; spins him about his axis- tosses his (cheating arse) onto the concrete.  Perhaps too trusting- or just deep in love at the time- a harsh truth has been learned; at least the boy is not getting a second chance.  Whilst investigating a horrible and disreputable guy- who could have snared other girls; cheated on them- our heroine (both in united voice) look at a more honourable gentleman- (Watkins’) grandfather.  He fought in the war; battled for love and peace- someone who only wanted good things in lie.  A true and reliable man, it seems he has departed- and would be ashamed of the world today.  Whilst there were never such a thing as ‘the good old days’- institutional racism and homophobia was rampant (from the ‘40s-‘80s for instance); domestic abuse was rife and more prescient; corruption was a huge concern- at least there was more honest and dignity (in love).  With fewer cheating dogs, it is perhaps good (her grandfather) cannot see things- he would be shamed at the world’s state.  It appears our heroine will live her life alone: having overcome heartache and hard lessons, it is time to take a breather from things.  The tale itself is a rare one to behold: a lot of songs concerning dislocated love take a different perspective; they are rather clichéd and trite.  Here, our duo present something classical- it has hints of older Blues and Folk templates- and deeply personal.  Their sense of storytelling and wordplay is stunning: they mix simplicity with complexity; heartache and defiance; memorable lines and uplifted choruses- a hugely impressive whole.  Ending the song in dramatic fashion- the duo unites once more; their vocals slowed and elongated- the messages are slower and more punctuated.  The song’s anti-hero is a shallow and lying type: someone who wants disposability and meaningless qualities, you hope he gets his comeuppance- and gets caught in his own web.  With the song drawing to a close- and our duo letting their voices reign one last time- the track settles down; the notes die and fade- One Way Ticket completes its travels.

Before I get to the duo (and congratulate them) it is worth mentioning the production sound.  Everything is rich and decipherable: the sound quality is amazing and sharp; every note and vocal is crisp and concise.  Nothing gets buried among the composition- like you hear in so many modern tracks- which make the song so effective.  Allowing the vocals to be heard and understood, nothing suffers as a result- the guitar and percussion are not second-fiddle or under-mixed; everything is perfectly balanced throughout.  The percussion work (throughout the song) is atmospheric and impressive.  Not overly-powerful or needlessly wandering, it is tight and emotive: backing the vocals, the drum work adds heartbeat and insistency; keeps everything gripping and tense- allowing some breath and beauty when the mood calls.  It is our Waiting for Wednesday duo that should be applauded.  Watkins’ central voice is at its peak here: more emphatic and scintillating (than on any other track I have heard) it is a perfect cocktail, here.  There are dusky and bitter notes; a sweetness and optimism underneath; a lot of power and anger- so much emotion and range within a single voice.  In fact, over the course of a single line you get a switch and change: the vocal mutates from raw to soothing; wracked to relieve- without compromising integrity and consistency.  One of the most distinct voices in modern music- how many other singers have that same sound and power?- Watkins lets her voice create magic and emotion.  Other (lesser) singers would come off as too weak or slight; maybe too effete and forced- Watkins sounds both naturalistic and completely intuitive.  Channeling the spirit of Blues and Folk legends, Watkins has a nuanced and rich voice- one that is hard to shake off.  Filled with power and passion, One Way Ticket is turned into a stunning exorcism: a song that jumps to life; burns and ignites with a furious fire.  Laura Shackleton provides the sweeter and lighter vocal: providing a sense of tranquility and grace, her voice is lush and full; sweet and sensual- a perfect counterpoint (to Watkins’ tones).  With her guitar charging and gripping; fast-flowing and scene-setting, you cannot ignore her talents.  Seamlessly blending with Watkins- that intuitive bond and closeness comes through in every moment- Shackleton provides a sense of light and soothe (but expertly backs up Watkins’ angry and accusation).  When the two unite, that is when you get the biggest hit: their voices are made for one another; that unique combination is hard to define- two voices that summon up so many emotions and possibilities.  Finally, to the song itself.  One Way Ticket is a perfect opener (to When We Were Seventeen) that explains and defines the themes.  Based around teenage love- the naivety and heartaches of that life- it is surprisingly mature and addictive.  The lyrics are original and fascinating; they do not suffer hackneyed thoughts and over-predictable sentiments (like so many contemporaries) - instead you have a sung that bristles with personality and intelligence; tremendous story-telling and drama.  Mixing redemeptiveness and strength- when our heroine deciders to get away and shake off her boy- you get some tenderness and honest confession- the lying and dishonor takes its toll; the scars are visible it seems.   Such a rich and stunning track, One Way Ticket should be on everyone’s playlist: a track that keeps revealing layers (across repeated listens); a masterclass in modern-day songwriting- that will appeal to lovers of Blues and Folk; as it will Pop and Rock.

Waiting For Wednesday are a duo who demand a lot of respect: they are among the Modern-Folk world’s most arresting acts.  Being familiar with dreamy duos (like Gypsyfingers- another blog regular); it has been great discovering the Bradford two-piece- an act with a clear future ahead of them.  Inspired by the likes of Fleet Foxes and Laura Marling you can hear (a little of both acts) in their music.  Those spectral and haunting harmonies- Fleet Foxes have perfected- makes its way to the surface; those spine-tingling voices get right inside your mind.  Like Laura Marling, the duo combine classic Folk songwriting with modern production and sounds.  The girls have received some high praise indeed- from local and nationwide press outlets- their songs are being broadcast (on a variety of) radio stations- they are gathering quite a head of steam.  No wonder when you consider it: since their debut album/mini-album, the duo have grown and developed; their sound is fuller and more electrifying- no small praise considering how great they were (in their debut stages).  Shackleton and Watkins have a solid friendship and unbreakable bond: when their voices mesh it is entrancing and silencing; when alone, they have their own style and quality- there is huskiness and sensuality; sweet-toned vibes and beauty.  With their heart in the ‘60s/glory days of Folk/Rock- you can hear shades of Bob Dylan and Janis Joplin- and their soul in the present-day, that vintage-cum-modern blend creates a full and crowd-pleasing sound- not only essential to the young and fresh-eared; it will spike an interest with the more mature audiences.  Their new album shows just what music-lovers require: stunning songs with wonderful stories; sensational and beautiful compositions; wonderful vocals with something a little extra- that unique and original sense of identity.  The seven-track record showcases the girls’ beauty and passion; their exceptional sense of love and drama- all tied around their unbeatable vocal wonder.  Hardly lesser-fiddles to the legends of Folk past, the Bradford duo have updated that sound; instill that distinct Country-Folk-Rock blend- and truly make it their own.  There are many treasures to be found along When We Were Seventeen: stunning emotional moments for those in need of solace; beauty and uplift for the romantics and lovers; hard Rock edges for the gritty and rebellious- the girls have crafted a record that speaks to everyone; not just reserved for the few.  Before I finish things off, it is worth circling back to my opening: regarding the music of Yorkshire.  I am not surprised the county has spawned another treasure; produced a sensational act- Waiting For Wednesday are going to be a festival act of the future; one of the best new duos coming through the ranks- the promise and potential is all there.  Soon they will break from the Yorkshire barriers; gets national (and international) demand- I can see them being mainstream regulars in years to come.  Whilst the future is very much that, we must concentrate on the here-and-now: One Way Ticket is the sound of (a duo) with plenty of potential; voices that demand attention- and lift the spirits in a rather spectacular fashion.  I know a lot of music fans growing bored at the moment: the mainstream is not really producing consistency; a lot of new music can be rather predictable and below-par- they are in need of something not only new; that which will last and reveal its true potential (across repeated investigation).  Waiting For Wednesday brand music that has nuance a-plenty- songs that get better with each listen; sheds a layer of mystery with each fresh play.  On top of that, there is consistency and popularity.  Their second album/mini-album, the girls are growing in confidence and stature: they are not about to call time or quit; they have many more records left in them- meaning fans can breathe easy and find something reliable.  With their social media ranks growing- and their fans being loyal and dedicated- it is the perfect time to discover something special.  Scupper preconceptions and hang any notions of underwhelm: these girls mean serious business; their careers are just starting- expect to hear more from them very soon.  With gigs and radio play mounting up, the dynamic duo is on their way up- make sure you get on board as soon as you can.  In a world of indeterminate music; acts that can fizzle with little provocation- it is good to hear an act not only solid in their bond; the quality is consistent and stunning.  Whether you are a Folk lover or not, there is much to recommend here.  Neither niche nor clandestine, the girls make sounds for the masses; they say it loud and proud.  If you have not investigated When We Were Seventeen, rectify this at once.  Not just one of the best Modern-Folk albums of the moment, perhaps one of the…

FINEST albums of the month.

[bandcamp width=100% height=120 album=2851033932 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small track=1126638217]

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Follow Waiting For Wednesday:

 

Official:

http://www.waitingforwednesday.co.uk/index.php

Facebook:

https://www.facebook.com/WaitingforWednesday

Twitter:

https://twitter.com/w8forwednesday

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Music:

http://waitingforwednesday.bandcamp.com/

  

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Video:

https://www.youtube.com/channel/UCpnvEFQiMvGBW1AZZshmwPw

 

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Gigs:

http://www.waitingforwednesday.co.uk/gigs.html

 

Interview: Alison Levi

Interview:

  

Alison Levi

IN the coming days, I am turning my (electronic attention) to…

the girls (in a non-perverted way).  With interviews (with) Dana McKeon and NINA approaching; some interesting reviews and new bands- I am focused on the women of music.  Just having assessed IV Rox- a London-Essex Pop-R ‘n’ B collective- I turn my attentions to Alison Levi- one of my favourite musicians around.  Because I have followed her career (for a long time now) I was keen to catch up with her; find out what was on the horizon- following the release of her latest track, Long Way Down.  In the last few months shr has been performing various gigs; taking her music to new crowds- working on new projects.  When I reviewed Levi last year (in February) her track Boy You Better Run (live) came under my radar: I was staggered by thr vocal prowess; its beauty and intimacy; the power and emotion- I came away feeling stunned and seduced.  Few female singers have the same breadth and range; the ability to switch emotions (within the space of a line)- Levi is that rarest of artists.  Being such a down-to-earth and witty figure- her Twitter feed is filled with humour and comedic insights- it has been great catching up; seeing what makes (Levi tick)- and the finest moments from 2015.

Hi Alison.  I hope you are well.  How has your day been?

Alright thanks! I’ve been writing for an anti-smoking campaign.  Not exactly authentic songwriting but it’s actually a lot of fun.

You are based out of London- where a lot of (varied) female singers are based.  Do you feel pressure as a singer (to make your voice heard)?

I think that it doesn’t matter where you live; the industry as a whole is saturated with musicians and singers from all over the globe (that want to be heard and make a career for themselves).  This is on the one hand brilliant for music and the consumer- as there is an unlimited supply- though on the other hand, it makes it incredibly competitive and difficult for the musician.  I certainly don’t compete with other women: being female should have nothing to do with it.  There is a tendency I suppose, to make us compete with each other ‘cat fight’ if you like; but I try not to partake in that.  I’m competing with everyone equally, including myself!

What do you think distinguishes your music/voice aside from your peers?

The mix of genres maybe? I seem to be unique in my diverse tastes; I grew up listening to Bubblegum-Pop like the Spice Girls or Britney Spears (as well as) Hip-Hop and bands like Radiohead and System of a Down.  The contrast was really vast.  I just love songs and I think it doesn’t matter what genre- if you have strong chord structures and melody I’m yours.  Also the cinematic aspect too, I LOVE film scores; I’ll have them in my playlists along with my other music.  I love the sense of drama and emotion in them; it really gets me.  Mostly I hope people can hear that I’m a true songwriter (more than anything else) which I see as a unique craft- and I really try to make good songs.  Then you put my loud London voice over it and hopefully you have something that is undeniably me!

Your official website (and social media feeds) shows you have a cheeky and humorous side.  You come off as very fun and witty.  Do you find it important to connect with your fans; come off as quite personable and approachable?

Well first of all thanks for saying that: I do think it’s important to connect with fans but it can’t be contrived; they’ll sniff it out if it is, people know when you’re faking it.  I just like funny things- "I LOVE HUMOUR!" (If you’ve seen Amy Schumer on Jimmy Fallon recently you’ll get that).  If that’s how I come across them I’m chuffed but I’m really not trying to have a particular image per se.

With the proliferation of young singer-songwriters, have you any particular current favourites?  Perhaps any bands that have caught your ear?

Is there a particular proliferation of young singer-songwriters at the moment?  I think there always has been, and always will be.  I am LOVING Eryn Allen Kane’s ‘Have Mercy’- my God that’s such a good 3-minutes-35-seconds; she sings so genuinely and with such skill.  Kwabs has become a bit of a staple too; he’s a really exciting artist, and not many people have heard of him.  He ticks all the boxes for me, really great songs; really good lyrics, unbelievably good baritone voice with so much technical ability- I’m mad about him.  His live version of ‘Perfect Ruin’ on (YouTube) IS perfect.  Everybody has to hear it; go now and thank me later.  I actually met him backstage at his Koko gig (in Camden) a couple of months ago and decided I was going (to tell him how much I) respected him as a fellow musician- and what a brilliant contribution to the industry he was making.  But of course, me being me, I lost all my controlled demeanor and grace (if I had any to begin with) and just told him (I loved him over and over) as he awkwardly side-stepped to get away from me.  I regret nothing.

You have had a busy year- having performed at various locations- and achieved a lot.  What have been your fondest memories of 2015?

Playing Hay on Wye Festival (in May) was great fun.  I played last year too and it’s such a good festival; really relaxed atmosphere and people really shut up to listen to you.  This is going to sound really corny but I just really love writing and singing: my highlights are completing a song I’m really proud of or singing with friends at a house party.  I really (really) enjoy that.  So it’s those little moments I’m most fond of.

Back of the subject of music (and femininity): do you think the industry has a sexist side?  Do you feel a need to conform/fit into a particular ideal?

It’s so hard not to conform.  The most popular accounts on Instagram (for instance) are the stunning models.  There is a lot pressure to be seen having the best, most successful, happy life ever- and looking bloody great while doing it.  It takes a lot of self-esteem to remember I’m not a model; I’m a musician and I don’t care what people think.  That’s a fluid feeling that comes and goes though.  I definitely have my insecure moments.  This is probably going to be received with a collective sigh, but everything has a sexist side.  In fact, that’s sounds too apologetic of a sentence doesn’t it?

Unfortunately discrimination- whether sexism, racism, homophobia, whatever- is ancient and ingrained in our society; so it doesn’t matter what profession you’re in- it’s present in some way or another.  I used to spend my life debating with people; hammering my points of view until I learned (rather slowly) that people don’t respond positively to it.  There does seem to be a gradual understanding of it though (overall) which I am really happy to see.

I particularly love your voice; when I reviewed you (last year); I heard comparisons with Eva Cassidy.  Where does that voice come from?  Is it a very natural sound, or do you ‘go somewhere’ particular when you are singing?

That’s a huge compliment to me; but of course being British, I’m going to completely reject it!  I really don’t think I’m that good: Eva Cassidy had an angelic quality; her voice was gentle and tender.  I feel like a new-born baby elephant in comparison, but not as cute.  I can honestly say I wasn’t born with this voice; I was always musical.  I started writing as soon (as I learnt my) first 3 chords on the guitar and I definitely had an ear for tuning.

The actually quality of my voice (however) took a few years to get anywhere near-good.  I would copy my friend (who had an exceptional voice); I would listen to artists and harmonise along with them.  It took years of singing for me to find a shape in the notes that I was happy with.  “Practice ‘til your ears and fingers bleed” as my dad would say- oh, and having an emotional connection with whatever you’re singing or playing.  That’s probably the best quality to have; you can have a ‘technically’ terrible voice but if you’re feeling it, so will everyone else.  That’s so important.

On that subject: which singers and artists have inspired you the most (growing up); who ranks among your idols?

Oh that’s a loooong and rather clichéd ol’ list.  Stevie Wonder, Queens of the Stone Age, Otis Reading; Lauren Hill, Jill Scott blah blah blah.  No one’s really interested in knowing that, I don’t think. The most inspirational people; the people that got me picking up an instrument in the first place was a covers band called 100%- which sounds like the name of a ‘90s boy-band Pete Waterman managed- they were the antithesis of that I can assure you.  I used to go and see them every Saturday in Camden as a teenager.  They were playing other people’s songs in a rundown pub; their instruments were beat-up and the sound was terrible.  But they could play.  People would just go mental.  They were incredibly skilled musicians with so much passion; I used to look at them and be (like): “Arrrrghh I have to learn how to play like that!!”  Still haven’t though.

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Long Way Down is a new (demo); some fresh material.  Can you tell us a little about the song and what inspired it?

I was asked to write a song for a film that was in its writing stages (at the time).  I was given the script to read and there was a particular interaction with the two main characters (that kind of mirrored what was happening in my life at the time).  I sat at the piano and it fell out.  Pretending to yourself that you’re over someone- and filling your life up with distractions whether it’s people or things- when all you really want is them (“but you’re the one I want”).  The film #FastLife should be out in 2017- so keep an eye out for that.

Can we expect a new Alison Levi E.P. or album this year/next?

Yes!  There’s so much to come.  I will of course post it when it’s ready in the coming months!   Not sure what to call it though… any suggestions?  Anyone?

I know a lot of musicians that struggle to make music; find the financial pressures too stressful.  Do you experience that yourself; what are the greatest obstacles (you encounter) as a young musician?

Of course; the struggle is real!  No really, that struggle is important.  It wouldn’t feel like an achievement if it was handed to you.

A large percentage of the greatest songs come from heartache and break-ups.  Knowing you- and knowing you are in a long-term and committed relationship- does that make songwriting more difficulty; does that happiness lead to more natural songwriting?

Life experience does lead to ‘natural’ songwriting, definitely.  But natural doesn’t always mean good.  I can write for other artists and it can feel natural because I tap into how they might feel.  Or I can write from genuine emotion of mine and the song can be terrible.  But inspiration does often come from love and heartache equally- they seem to conjure creativity like nothing else.

Recently I published an article about anxiety: how musicians tend to be susceptible; how music can aid anxiety.  Do you think there is a correlation between the two, and as a musician, how do you unwind/get your mind away from modern-day stresses?

I can only speak from my own experience- and I do suffer with anxiety funnily enough- so maybe that’s true.  Suffering in one way or another taps in to something powerful and people respond to it.  It’s vulnerable and genuine.  I still haven’t figured out a way of alleviating stress.  Writing my way out of it I suppose, but not always.  Sometimes you just have to sit there; fester in your own misery and ride it out.  Just try not to drag anyone else down with you.  Misery loves company after all.

You are based in London- an area I am keen to settle in very soon.  Do you find the city inspires your music and is there a big/friendly music community here?

Well, I’ve worked in the London music industry for a number of years: it’s actually surprisingly tiny (like a small town); everyone knows everyone and their business.  Like anywhere, you have friendly, supportive people and… not-so-friendly, supportive people- to put it politely.  I find people will often help you if you ask nicely (and boy do I owe a lot of favors).  You have to remember to pay them back!

To those that are following your footsteps; coming into music now: what advice would you offer to them?

Don’t do it…. No, it sounds cliché but it took me a long time to really understand it.  Work your f**king arse off.  Work every day.  Don’t stop working and you will reap the rewards (whether creative or financial).  Oh and be really (really) nice to everyone.  EVERYONE.

Finally- and for being a good egg- you can name any song you like; I’ll play it here…

Well it has to be Kwabs' ‘Perfect Ruin’ (live version).  Really take it in; watch the way he sways as the song progresses.  Listen really hard.

[youtube https://www.youtube.com/watch?v=Y3Vm5Gt8y6w&w=560&h=315]

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Follow Alison Levi:

Official:

http://www.alisonlevi.com/

Facebook:

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

Twitter:

https://twitter.com/alisonlevi

YouTube:

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

SoundCloud:

https://soundcloud.com/alisonlevi

Instagram:

https://instagram.com/alisonlevi

Track Review: IV Rox- Freak of the Week (REFIX)

TRACK REVIEW:

IV Rox

  

Freak of the Week (REFIX)

9.4/10.0

Freak of the Week (REFIX) is available at:

https://soundcloud.com/ivrox/ivrox-freek-of-the-week-refix

RELEASED: 20 August, 2015

GENRES: Pop; Electro.; Soul

ORIGIN:

London, U.K.

AT the moment, my reviews are turning into…

a girls-only zone.  Having reviewed a number of female artists lately, the next week sees me interview/feature Dana McKeon (A Maltese-born Beatbox star); NINA (A German-born Electro.-Pop singer) and Hannah Dorman (A British Country-Rock artist).  In-between I am assessing Waiting for Wednesday- an up-and-coming British duo; their lush and dreamy music is among the most seductive around.  It is not really coincidence (I am reviewing the girls) as they tend to provide the more diverse music: always a little more depth and originality; they cover a wider spread of genres- and provide something genuinely deep.  The boys do well in the band arena: nobody rocks harder (or more commandingly) than them; they are the masters of the anthem-sized riffs/tunes- a necessary sector of music I love exploring.  When it comes to moving away from Indie/Rock parables, there is a little less consistency.  I am on the search for a great male singer-songwriter: someone who breaks away from the trend of Acoustic-Folk/Pop acts; a bit of Electronica and fervency; something quite soulful and intense.  When it comes to the girls, there are plenty of these acts: the boys seem to be comparatively lackluster and under-the-radar.  The band market is a weird and wonderful thing: by far the most profitable type of music (compared to solo work etc.) they are the festival-headlining, hands-aloft musicians that get the crowds enflamed.  Today, I am doing something quite different: in the four years I have been publishing to my blog, I have never featured a girl group.  There are a few good reasons for this.  For one, I am not the biggest fan of the ‘genre’: for every Little Mix (one of the most credible current examples) there are dozens of dismal equivalents; by-the-numbers artists that are all no-chills, bland vocals and inane songs.  Boy bands are typically aimed at the young girl market: they don’t have the strength and credibility to translate to other (age ranges) and forge any real conviction.  Aside from your One Direction-esque bands- that fill a market need and committee-led sound well enough- there aren’t many stand-out acts.  When it comes to girl bands, there is a little more choice: there are still typical drawbacks- most of the songs have 15 writers’ credits; there is little instrumentation; it can be quite cover version-heavy; the vocals tend to blend into a sea of sameness.  IV Rox have superseded the pitfalls and limitations (of the girl band market) and produce music that can rival the mainstream stars.  There are a lot of up-and-coming girl groups emerging, yet London’s IV Rox have spiked the social media ear; amassed a host of fans- seem to be on an unstoppable charge.  Before I continue my point, let me introduce the four-piece to you:

Raquel, Natalie, Dolly and Nadine

“Hailing from London and Essex, IV Rox are fast becoming the next big British girl group!  IV Rox girls have gained themselves over 18,000 followers on Twitter and have landed themselves with a hugely dedicated fanbase of 'Roxstars'. Natalie, Raquel, Nadine and Dolly have an infectious energy and impressive vocals complete with effortless harmonies. Their already loyal and dedicated 'Roxstars' are hugely important to the girls and they will continue to interact with and appreciate their rapidly growing support as they look forward to a big year and a big future!”

Continuing my girl band theme- and reasons why, until now, they have been foreign to these pages- there are a number of other points.  The modern-day girl band market seems to be getting a bad rap: a lot of the current examples tend to be very sound-alike and indistinguishable; quite unspectacular and mould-fitting.  Whilst IV Rox have hallmarks of modern girl bands- four gorgeous girls; swooning and uplifting harmonies; Pop-cum-Soul blends- there is something different about the group.  For a start, the band is not label-made and manufactured- not the sort you’d expect to be produced by The X Factor or a talent show.  There is genuine friendship and bonds in the group; none of the limitations of the current breed.  Whilst the likes of Girls Aloud- brought together by a voting public- have inevitably split (one suspects there were more fractious moments than the media reported), IV Rox have a sisterhood bond; there is genuine love among the ranks- this bleeds into their music.  With passion and soulfulness being top of the agenda, the music crackles and explodes; the vocals rise and unite- you can tell they are in love with the art of music-making.  Whilst the media has a rather disparaging and snide attitude to girl bands- to be fair there are (a hell of a) lot of terrible groups- there are some genuinely great ones.  IV Rox put me in mind of the bygone legends: the likes of The Spice Girls and En Vogue.  Perhaps disparate, unconnected names, there is some relevance.  Being a fan of En Vogue, albums like EV3 and Born to Sing stick in the mind.  For those who have only heard Don’t Let Go (Love), dig into the American band’s back catalogue: their songs have personal touches and insatiable harmonies.  Funky Divas- their 1992 masterpiece- saw them hit their stride: the R ‘n’ B-cum-Pop fusions cemented the L.P. as one of the 1990s best.  What a lot of girl bands negate is the past: they say they are influenced by The Spice Girls, En Vogue, Destiny’s Child etc.- few actually display that influence.  IV Rox are not a one-dimensional Pop band; burying their identities amidst a sea of Auto-Tune and over-production.  With its members being influenced by the R ‘n’ B girl bands (of the ‘90s) - and having a wide range of influences- this comes together beautifully in their music.  The vocals are sumptuous and stirring; the songs- whilst largely covers at the moment- contain plenty of passion and kinetic energy.  The girls have the potential to re-appropriate cynicism and class boundaries: reintroduce some of the ‘90s glory days; use their music/platform to influence and inspire.  Whilst not at the giddy heights of the great girl bands (quite yet) they are in their tender years: there is ample evidence to suggest they will have a shining future; be able to break into the mainstream- and nestle shoulders with the likes of Little Mix.

If you are new to the band- and a lot of people will be- Freak of the Week (REFIX) - is a good starting point.  Although it is a cover version, it does showcase how adaptable and intuitive the girls are- they place their own stamp on the song; very much make it their own.  The best way to get a true impression is to go back: investigate Imperfections (released in February).  The seven songs along the E.P. let the girls open up and explore: the songs look at jilted ex-boyfriends and no-good guys- an E.P. aimed at young girls and women; very much imbued with maturity and thoughtfulness.  Under the Bridge- consider the E.P. stand-out- bristles with energy and sassiness: the vocals trip and spill; the cool-vibed seduction mixes with polished and clear production- highlighting the girls’ stunning vocals and harmonies.  Badder Than a Mother unites Hip-Hop vibes (they collaborate with Stormzy) to create something hard-edged and vibrant- a song that raps and attacks; it retreats and rushes.  The energy keeps flowing; the girls’ harmonies soothe and augment- never sounding over-produced or processed.  Passionate and proud, the song shows the band looks at command and control (in a relationships); a bad-boy beau; a guy who is good (to his girl) but has a distinct edge.  The song reminds me of Destiny’s Child debut; a little En Vogue; it has 1990s remembrance yet comes across as very current and modern.  Down for Me (with Ghetts on board) continues this cross-genre splice: vibrant and emphatic, the song fuses fast-scratched Rap with punctuating harmonies- the combination is exhilarating.  The composition is busy and street-seeking; the beats are hard and hot; the electronics are ominous and dramatic.  The girls need a protector; someone who is in their corner- a guard against the vicissitudes of the world.  Lush and heavenly, the vocals blend neatly with the Rap verses: a perfect combination showing the girls are as comfortable collaborating as they are out on their own.  Case of the Ex is Imperfections’ softest moment: a more Pop-led number, it is notable for its stunning production and tripping beats.  Looking at paranoia and cheating hearts, the heroines read the rights- the central man has been texting his ex; doing no good.  Before you think it is settling into a sense of defeat, the song explodes with Trip-Hop fury.  Crossing Massive Attack, Tricky and The Prodigy, the song explodes into a club-uniting anthem- something that tumbles and crashes; intoxicates and delights.  The vocals switch between low-down coo to enraptured highs; the music matches the mood- the entire effect is spellbinding.

I hope future releases pick up from Imperfections: the E.P. mixes genres and sounds; it is street-wise and vulnerable; passionate and vengeful- sharp enough to prick the underground; seductive enough to rule the mainstream.  I am impressed by the girls hugely: they have exceeded expectations and crafted an E.P. that is both expected (in terms of its themes and lyric ideas) yet totally unexpected (when it comes to the compositions and vocal stun).  Not to put pressure on them; I would expect their next release to build upon sapling success: retain its sense of adventure and originality and introduce new ideas.  I hope the girls address modern concerns- away from love and heartache- to speak to other demographics and sectors.  They should retain that bold sense of right and truth- when dressing-down horrid boys- but their maturity could see them tackle politics, inequality and social issues- the same sort of the Rap/Hip-Hop mainstream do.  The bangers and anthems of the past- My Lovin’ (You’re Never Gonna Get It); Say My Name etc. - are being overlooked and updated.  Modern girl groups feel too much need to add street/Rap elements; bring in too many collaborators- when they go solo subjects tend to focus on narrow ideals.  If you listen to the aforementioned songs- the former particularly- the public is crying out for that type of jam; something that gets every single soul singing.  From IV Rox’s openings, I can see them penning an equivalent classic; something brash and declarative- both U.S.-sounding but uniquely British.  It may be a lot of expectation; I think they have it in them.

Freak of the Week is a track by English Hip-Hop duo Krept & Konan.  Taken from their debut album The Long Way Home (released last month), the song is barely-born- the IV Rox girls have been quick to pounce.  Whilst the original is an edgy and straight-ahead affair- it is a typical Hip-Hop/Rap affair.  Whilst the girls have kept the electronic beat intact- the introduction does not differ from the original- that is the comparisons end.  Whereas the original is a male perspective- and gets dangerously close to being misogynistic at times- the girls give that an about-face; turning it into something less controversial.  The girls have instead scrubbed the Vegas tales and freely-available women; they have written their own perspective- something as edgy; told through their glasses.  The tale begins at a late-night rendez vous; our heroines are walking the town and hanging out- before being approached by a man.   Asking if (she is) free- the answer is a ‘no’- he seems to be relentless in pursuit.  It seems (the unnamed figure) is the typical rag-tag no-good- the type of ‘boy’ that wants notches and numbers- but the girls are having none of it.  Not wanting to be the “Freak of the Week”, he is being put in his place: the words come from a place of independence and strength; there will be no love-her-and-leave-her coming-together; the boy is being taken down a peg.  The original idea (of the track) is diving into the Vegas scene: the boys see a promiscuous woman (a freak) that is moving her body; she is quite objectified and lusted-after; there is little empathy or depth.  The song is as instant and raw as you could imagine: it mentions Snapchat and party-jumping; raucous nights and getting wasted- the N-Bomb is dropped when needed.  The girls couldn’t really get away with doing a beat-for-beat cover- it would sound a little bizarre.  Their hearts and minds are not in the U.S.; walking down a British street- whether London or Essex- the role-reversal sees the boy and his B.M.W.; the desperate chat-up attempts- it is less obscene but no less edgy.  The man/boy is sure flash; he has the money and the motor- essentially he is looking for another trinket and diamond.  Negating the human aspect- treating a woman like a woman- everything aims towards shallowness and materialism.  Without a personality or an iota of charm; essentially he is waving keys and showing his wallet- trying to compensate for a lack of heart and guts.  The IV Rox lead is having none of it: having seen too many have-a-go-bed-hoppers, she knows what to do- shut down his mouth and put herself on top.  Not your make-up-strewn blonde girl- that would get with anyone for a few minutes in a flash car- the cheapness and crudeness is being seen-through.  At its heart, there are deeper issues and emotional contemplations- a slightly softer side pervades.  Whoever the man is, there are some feelings and need- the girls wanting something quite quick and easy.  Whether the coming-together/lust is intended to be long-lasting or meaningful, you get that sense of longing- wanting something to scratch an itch.  Krept & Konan’s alcohol-strewn party scenes are replaced with street-life, late-night club-going: the guy might be just what is needed; so long as our heroine is in command that is all that matters.  Maybe misreading things, but I feel there is a mixture of disposability and meaning: that need for a man and warmth; at the same time, looking for something that is quite simple and uncomplicated.  Perhaps the girls have a different take, yet you can picture the scenes: we have all seen that club-going conversation; the dancing and sweat-making temptation- and the inevitable conclusions.  At the heart of things, the guy is screwing things up: when issues arise (and things get deep) he seems to be heading away; emotions are essentially too complex and meaningful.  The girls unite when the moments call: “When you see/there’s an issue/post that picture/let him miss you.”  The Hip-Hop original had heavy vocals and domineering beats: it is a tough and gritty song that paints some vivid scenes; the boys are having an awesome time- essentially, they are living the life.  In this version, that central (bouncing electronic) beat remains strong- and is the song’s compositional focus- yet the REFIX is a lot more pleasing.  More relatable and less divisive, the lyrics are still relevant and restorative- it seems like the girls are putting themselves in the guise (of the original song’s) girl; stating she cannot be objectified and bought.  Where Krept & Konan are looking on- at the girl is being leered-over to the beat- IV Rox are shouting back: essentially, they will not be diminished or de-humanised.  Not wanting to be second-best, the girls let their voice swell and unite: the boy is being sleazy and crude; why is he being so arrogant?  With the likes of Rhianna and Beyoncé capable of crafting similar-themed tracks- the man being given a going-over; his material nothingness beaten-down- the girls inject their own take.  Although they have an Americanised take on things- and level-in said artists together with T.L.C. and the ‘90s legends- that actually works in their favour.  They never lose their British voices and grounded personalities; instead they link U.S. and U.K. sounds; the beats and street vibes of both countries- to create something ubiquitous and popular.  The motifs will connect with young women and their target audiences; the incredible vocals and insatiable beat reaches further- the song does not alienate swathes and people.  A short and sharp attack, the four-piece move from the gears: the song never loses pace and vision; it remains steel-eyed and independent.  Strong-willed and in-charge, the girls are laying the law down; putting the boy in his place- a kick against arrogance, disrespect and inhuman ambitions.  Krept & Konan didn’t spare blushes or show restrains: their Freak of the Week is fast food-cruising, late-night detours and getting it for free.  The central figure seems like a caveat or accessory: not really tangible or respectful, the song looks at getting cheap thrills; the boys are on charge and getting their way- it did not draw me in.  I appreciate the hallmarks and keys of the Hip-Hops scene- a lot of songs deal with similarly empty and sexist ideals- yet it is not something you want to promote.  The girls are not promulgating this myth and sexism: they do not want women (mentioned in the original) to be seen as common-place; true women are not like that- essentially, it is not okay to toss them aside like a personal possession.

Whether the band are friends with Krept & Konan (or are fans of their music) I am not sure.  Whilst I actually like Krept & Konan’s debut album, I find Freak of the Week a little off-putting and ‘filler’.  Better songs lurk on the album; this track is low down the list to me.  Although their original did get into the nation’s top 10, it has some downsides and de-merits: chief among them is the rather rampant objectification and sexism.  I know the scenes exist (that are in the song) and the boys probably don’t condone the actions (they present in the song).  The girls have recognised the stunning beat and composition; decided to post their retort- give it a female perspective.  Giving the song a new lease, what we have sounds like an original- they have owned it and complete reinvented the track.  Less aggressive than the original, their track is deeper and more nuanced; the vocals more emotive and compelling- the performance more urgent and electrifying.  Like Little Mix- who are pretty apt when neutering rather awful men) the girls show they have a similar boldness and sassiness.  I know I have been tirelessly name-dropping En Vogue- and will do for the rest of this review- but I see some of them (in IV Rox).  Whereas the U.S. giants mixed intense and deep beats around delirious vocals and sky-scraping wonder; the girls have done the same thing.  Some notes go off the charts; the harmonies twist and glide- the lyrics are sharp and quotable; inspired and cutting.  Most girl bands don’t show much emotional depth; their lyrics are penned by armies of writers- they lose identity and come across as puppets of marketing men.  Here, IV Rox shout their independence and songwriting skills: the track will appeal to fans of mainstream girl groups but will go much further- it is broad and stunning enough to drawn in Rock and Indie lovers; fans of the ‘90s masterpieces.  Sharp and emotive; polished and slick, the production values allow the girls’ voices to be right up top- nothing gets buried and overlooked; there is no bleed-in or obscuration.  Fewer hands have crafted the song- compared to a lot of girl band hits- so you can tell this is an IV Rox-led assault; a track that unites Deep-House with ‘90s Club music; ties in R ‘n’ B with club-based Electronica- a song that will speak to ‘90s kids and modern-day teenagers.  Gifted with stunning production merits, the track showcases IV Rox’s gamut of pluses: those intense and heaty-melting voices; the dizzying delivery and intense beats; the maturity and sense of strength and pride.  Seamlessly following on from their E.P., it not only showcases the girls’ adaptability (a cover version that is technically not a cover version) and emphasises intelligence and smarts.  One of the most insistent and gripping songs of the moment; make sure you check out Freak of the Week (REFIX)- reinventing a song that needs fixing; a clever piece of wordplay around the word ‘mix’- and its many glories.  Leave your preconceptions and snobbish attitudes at the door; embrace something wonderful- a stone-cold tune that reveals its true force (over multiple spins).

The girls’ 7-track E.P. Imperfections was greeted with acclaim and applause: new fans were recruited; reviewers were impressed with its depth and concision- the consistency and quality shone through.  Their Freak of the Week take is currently doing the rounds: it shows the girls have lost none of their potential and lustre; their inimitable voices gilded together- they showcase themselves to be tremendous interpreters.  Not just your run-of-the-mill band- who cover songs without changing a note or syllable- here they have made the song their own: it sounds like an original; an IV Rox standard- they put their very distinct stamp on things.  Having been introduced to the girls- by their P.R. representative Tasha Demetriou- I have been pleasantly surprised.  I am never going to be a fan of the boy band market: I can find no quality or merit among any of its acts; I will never be converted.  The same can be said of (the majority of) girl groups: those that are talent show-stamped/committee-controlled will never really impress me at all.  IV Rox have their own sense of identity and authority: their music blends of-the-moment urgency and ‘90s shades: little hints of the all-time great girl bands.  I know the band is making their next moves: expect to hear some new music coming pretty soon.  That will be exciting to hear: the girls have tonnes of confidence and style; their voices (when blended particularly) are tremendous.  I guess when it comes to their direct competition, Little Mix are their closest comparison.  If you look at the two genetically, there are similarities for sure; a similar make-up and image: that does not do IV Rox a disservice; the two bands are distinct and have their own heritage.  The most impressive comparisons can be described this: the impressive and slick production; the mature and infectious music; Americanised sounds and songs.  What our IV Rox have going for them is their edges: the band have a wider appeal- they can draw in fans of all genres; go beyond the teen boundaries- and will speak to both men and women.  If you go beyond skin-deep looks- it is true the four are stunning and undeniably heartbreaking- there are four distinct personalities; they are a band made up of four strong women- which will speak and connect with older women (in their 20s and 30s); the revitalised ‘90s vibes will inspire those who grew up with them- myself included.  In terms of the male vote, there is a huge potential: if you consider the ‘90s R ‘n’ B legends; they are still seducing male ears- with their timeless harmonies and relevant messages.  Whilst a lot of contemporaries tend to focus on tried-and-tested themes- heartbreak and bad men; the need for space etc. - IV Rox have something more about them.  With plenty of street sass and ammunition, the four-piece could go on to craft something spectacular.  I am not sure that a future release will sound like- whether it’s an album or E.P. - but it would be great consider.  If the girls fuse genres like House, Soul, R ‘n’ B, Soul and Rock; put their own lyrics and music into the fold; introduce sophistication and political relevance among the fun- then they could really reign without challenge.  Too many other girl bands- your Saturdays, Fifth Harmony etc. - are too confined and homogenised; too concerned with ticking boxes and not pushing boundaries.  The London-Essex collective could craft something Funky Divas-esque- sorry to bang on about the album.  Our time needs anthems and nostalgia: something modern and relevant; yet something that evokes the ‘90s and ‘00s- thus uniting multiple ages and factions.  In a time of crisis and uncertainty it is not folly to connect with that (in the music): the girls could speak about injustices and discrimination; women’s struggles and racial prejudices- they have the credibility to affect some real change (in the girl band music market).  Toss in some funky-as-hell jams; some personal ballads and introspection; keep the production and sound true and focused- they could come up with one of the best albums of the year.  Of course, that will be down to them and their team- the producers and writers they conspire with.  Their current offerings- the E.P. and current single- show they have huge potential and long-term reign- the girls have a lengthy career ahead.  If they keep the music this fresh and alive; consider broadening their grasp (for future releases) and don’t try and follow the pack- they will draw in many new faces and ears.  Their tweak of Freak of the Week is brash and rejuvenated; attitude-laden and sparkling.  If you are ignorant of the girl band market- because too many bad examples have spoiled the genre- then make time for IV Rox.  The girls are starting their climb and making big plans: brace yourself for a forthcoming attack.  When that arrives…

MY eyes will be trained their way.

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Follow IV Rox:

Official:

http://www.ivrox.com/

Facebook:

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

Twitter:

https://twitter.com/IVROX

Instagram:

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

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Music:

https://soundcloud.com/ivrox

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Videos:

https://www.youtube.com/watch?v=29wP6iVISPI&feature=youtu.be

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The E.P. Imperfections can be purchased here:

https://itunes.apple.com/gb/album/imperfections/id959570873

This Week's Albums: August 21st, 2015

This Week’s Albums

 

August 21^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: The Clash- The Clash (1977)

 

10/10

Hugely influential upon its release, it remains the quintessential Punk album: a creation that stands as a masterpiece.  Regarded as one of the greatest albums ever, its tinny guitars and lo-fi production; the anti-establishment anthems and songs about race (and unemployment) - it has everything!  As relevant today- as it was in ‘70s Britain- it was a kick against the corporations.  Packed with vital rage and charging bite, The Clash sees Joe Strummer and Mick Jones unite perfectly: the former’s slurred vocal and the latter’s rampant guitars are a stunning bond.  White Riot and London’s Burning are all-out, white-hot stunners; the band dabbled with Reggae sounds- (White Man) In Hammersmith Palais and Police & Thieves (Junior Marvin cover) showed another side to the band.  The likes of The Libertines were inspired by this album- their debut is a city-lives version of The Clash- which in turn has spawned a host of Punk-Rock bands.  Tales of Janie Jones (about a brothel keeper); condemnation of the Americanisation of the U.K. (I’m So Bored with the USA) are among the album highlights.  Tremendous songwriting and alienated-themed compositions make this a definitive album- one everyone should own.

[youtube https://www.youtube.com/watch?v=Wjmh52fkQJA&w=420&h=315]

The New: Totally Mild- Down Time (2015)

 

9/10

Not to be called a ‘Dolewave’ album, the Melbourne band has unveiled something scintillating.  The Elizabeth Mitchell-fronted group offer stunning harmonies- our lead’s vocals rank among the most heavenly around- and deep, layered songs; tracks that demand repeat listens and fond investigation.  Having enthralled the Melbourne scene, the entire band offer mystery and sparsity; beauty and etherealness- the blissed-out, sun-drenched guitars marry tear-inspiring tales of modern life and love (where vengeful lovers strike).  Reviewers have noted (the album’s) ennui and sadness; the surf guitars and not-there drumming (just don’t call it Dolewave!).  Money or Fame showcases a haunting, spectral saxophone; Christa is a perfect opener (of woozy, hazy guitars); lyrics of lascivious and shallow subjects: “It doesn’t matter what you do/it only matters who you do it with.”  Move On best boats Mitchell’s glorious vocals: a galloping song replete with swooning tones and pure bliss.  Everything modern music should be; Down Time is a misleading title: these Australians provide Glory Time.

[youtube https://www.youtube.com/watch?v=fH3lH6eYnxI&w=560&h=315]

The Influencer: Joy Division- Unknown Pleasures (1979)

 

9/10

With its nods to Strange Days-era Doors (and band such as Neu!), Joy Division laid out an extraordinary debut.  Nightmarish and haunting; doom-laden and intense- Unknown Pleasures has its moments of beauty and light.  The ten-track album is a stunning glimpse into Curtis’ dark psyche: a mind that would implode and sink to harrowing depths (a year later).  The entire band is tight and together: the bass is guiding and commanding; the drumming smashing and bare-knuckled; the atmospheric and evocative guitars- all spiraled around Curtis’ sonorous croon; filled with pain and paranoia.  Destined-for-failure love lingers within Shadowplay; New Dawn Fades pairs Bernard Sumner’s ascending guitar riff and Peter Hook’s descending bass part.  She’s Lost Control transplants Curtis’ epilepsy hell into a female figure (a song documenting a girl that has seizures).  Martin Hannett’s expert helming lead to perfect production: little bleed-through and overcrowding; all the eeriness, theatrics and intensity remains untouched and raw.  One of the most influential albums ever, it was the pioneer of the Post-Punk scene; Joy Division’s pinnacle moment- the finest album of the late-1970s.

[youtube https://www.youtube.com/watch?v=UBAO9WcdrOM?list=PLEEHoMydZ5AzEdksmePf_DRu6rL1ttooQ&w=560&h=315]

The ‘Other One’: Tricky- Maxinquaye (1995)

 

10/10

To me, few acts pack as much danger, passion, unexpectedness and range into a single album: Maxinquaye remains one of the 1990s most astonishment moments.  With Martin Topley-Bird supplying vocal firepower, songs like Black Steel- a cover of Public Enemy’s Black Steel in the Hour of Chaos- sound effortless and reborn; Brand New You’re Retro splices Michael Jackson’s Bad with Expressway to Your Heart.  The vocals- from Tricky and Martine- mingle whispers with violent outbursts; barely-spoken utterance with bold proclamation.  The collaboration-heavy album sees myriad samples and stunning instrumentations; sonic landscapes and concrete-biting terror.  A natural successor to Massive Attack’s Trip-Hop genius- Tricky was a member of Massive Attack before going solo- it topped multiple end-of-year lists: it was seen as 1995’s best album; considering The Bends was released that year, it is an incredible achievement.  Doped-out crawl and grinding mandates are seamless bedfellows; the entire album revolutionised the Trip/Hip-Hop scene; its immense power remains intact.  It takes multiple listens to reveal (Maxinquaye’s) implacable, stunning potential.  Once you do, there is no going back…

[youtube https://www.youtube.com/watch?v=TDHl5djnYM4&w=420&h=315]

Track Review: The Fontaines- Dusty Springfield

TRACK REVIEW:

The Fontaines

 

Dusty Springfield

9.4/10.0

 

Dusty Springfield is available at:

https://soundcloud.com/thefontaines/dusty-springfield-1

Released: May, 2015

GENRES: New-Wop

ORIGIN:

Los Angeles, U.S.A.

By Charlotte & Hank Fontaine

With

Mike Coleman, Jason DeMayo, and Scott Zimmerman

TODAY provides one of my most interesting reviews…

in recent months.  Not perhaps because of the music- although that does intrigue and fascinate- but the act’s make-up and componence.  I have a lot of points to raise, but for now, I am drawn back to the U.S.- and Los Angeles in particular.  My last few U.S.-based reviews have taken in the likes of Brooklyn and Rochester; I have seen a bit of L.A. - my featured artists are a stand-out duo; you would be hard-pressed to find comparisons- they are certainly distinct from the crowd.  The Los Angeles music scene seems to be standing toe-to-toe with New York: that West-East divide is leading to some great competition; to my mind, L.A. is edging it slightly.  Whereas New York has some fantastic bands- great Rock and Indie folks- and terrific solo acts, L.A. has that edge of diversity- that goes beyond expectation and offers something genuinely fascinating.  Away from Burbank, Pasadena and its environs, L.A. seems to be the hotbed (of Californian music).  London- and areas of the U.K.- offer different/distinct acts like ISSIMO (a review favourite of mind); we have old-style Electro.-Pop fusions; some ‘30s/’40s Soul music- finding some U.S. comparisons is always pleasing.  I love the more ‘traditional’ musicians- and the genres we all know and love- but when you dig deeper; find something that dares to do its own thing- THAT is when you get the biggest surprises.  Before I introduce The Fontaines, I am urged to mention a couple of points: music diversity in the U.S.; the brother-sister duos (and their rarity).  In the United States, a lot of great acts are coming through: being in the U.K., coming across them can be hard- often you stumble upon them on social media.  It is hard promoting all great U.S. music (in addition to our own) but the best tend to make their voices heard.  There is a lot of activity happening across all 50 states: Washington, Florida and Tennessee have their own scene and artists; the west and east tend to differs slightly- the big competition (and epicenters of fascination) is in California and New York.  It is hard to label a particular sound (to each state) because they are both so mobile and different- it seems most genres are catered for; a huge amount of wealth and quality can be found.  After trips to Mrs. Skannotto and The Falling Birds- two great New York bands; via the lovely Melinda Ortner- I am not back in California: assessing one of the state’s most special and original acts.  I am not surprised The Fontaines have come about: I know Los Angeles has a thriving music scene; a community that supports new musicians- a place where terrific sounds is being born.  Among the bands, duos (and solo artists) it is rare to find a brother-sister combo.  Aside from the likes of The White Stripes- husband-and-wife-pretending-to-be-brother-and-sister- it is a rarity to see.  From The Breeders and First Aid Kit; along to Radiohead and AC/DC: some great acts have consisted of siblings.  When it comes to the sibling duos, there are not many that come to mind.  I have reviewed a lot of duos that consists boyfriend-and-girlfriend- from Gypsyfingers through to Greenwood and Conder- so The Fontaines really appealed to me.  When reviewing duos (that consisted partners) the music always seemed that much stronger- compared with duos that were friends/colleagues- and always more together.  Perhaps it is that special bond- whether it is sexual or familial- but some tremendous music is produced.  Duos (that are partners) write about love and relations: being in happy (you’d assume) relations, the music always sounds care-free and upbeat- even at their most downbeat, there is still that air of electricity and togetherness.  Apply that to the brother-sister parable; the closeness and familiarity translates into music: siblings have that special bond and understanding; an intuition and shared connection- it would be good to see more sibling duos come through.  The Fontaines are causing quite a stir: one of the Unites States’ best new duos, their style is striking and vintage; harmonious and beautiful- everything you could want from music.  Before I touch on their music (some more), let’s introduce the duo to you:

“Charlotte (20) and Hank (25) Fontaine are a brother-sister duo currently living in Los Angeles. After growing up all over the world together they decided to start writing together in 2013 after discovering the open mics, house shows, and cabaret nights of Southern California. The Fontaines currently perform across the country both as a duo and backed by bands ranging in size and instrumentation. Visit thatfontainesound.com for more information about upcoming shows and releases.”

Shying away from the avenues of Rock and Pop; distance from Electro. music and Folk: the duo reinvent Doo-Wop sounds; inject some modern relevance; add incredible vocals- scoring some scenic and vivid songs.  Dubbing their music ‘Nu-Wop’, the California twosome has taken a bygone style of music- added their personalities and takes on it- and come up with something fresh and vibrant.  Placed somewhere between Pop and Electro.-Pop (with some Folk edges), the genre is under-performed; the duo have done something fascinating- updated Doo-Wop sounds and given it a new lease of life.  Some might sneer and say it is not a cool idea: Doo-Wop sounds died out; how can you make them fashionable?  Well, to the naysayers, I would say this: take a listen to the music; that splice of innocence-cum-edgy stylisations; the gorgeous voices and evocative lyrics- how could you possible fault that?  Too many people judge sight-unseen; assume music will be terrible: a few seconds in The Fontaines’ company and any reticence is instantly dispelled.  Not since my investigation of Gypsyfingers have I witnessed a duo so in-tune and close; their voices and parts seamless and natural- their music incredible.

Being a new duo out of the blocks; The Fontaines is the only example we have of the guys- their debut E.P. is their first real step; they are a two-piece with a lot (more to) say.  A lot of acts- when they come fresh onto the scene- sound nervous and uncertain (in their initial recordings) - no such issue here.  Fully-formed and completely authoritative, the duo’s E.P. is rife with terrific moments, plenty of nuance and wonderful economy- there are not too many tracks; they do not last too long; you are left wanting a little bit more (in a good way).  The best thing about the E.P. is the song titles- the quintet of tracks are named after various Hollywood (and music) legends.  From Dusty Springfiield and Charlotte Fontaine- two fine ladies of music- we have Dustin Hoffman and Paul Newman; plus Australian legend Cate Blanchett.  It is unique and charming take: rather than give generic and boring tiles, each song instantly draws imagery- mini-dramas that seem like films in themselves; the songs evoke sides (of their subject).  The entire E.P. is consistent and engaging; each track has its own skin and sound- without losing identity and its focus.  The vocal harmonies elevate the music; the compositions are sparse yet emotional- the lyrics fill the imagination; allow the listener to conspire and wonder.  Both dreamy and modern-sounding- embers of modern-day duos come to mind- there is that older-day whisper; the entire E.P. is a stunning achievement.

The duo themselves have a range of influences- Sam Cooke, The Beach Boys, The Drifters, Patsy Cline; Brenda Lee, Peggy Lee, Elvis Presley, Jeff Buckley and Lesley Gore- with a little of each represented.  Perhaps The Drifters and Patsy Cline are the most obvious influences: the former and their style of music; Charlotte Fontaine’s Cline-esque vocals.  To be fair, the two-piece only employ the merest of hints (of others): their own brand and sense of focus comes out.  I would first of all suggest you investigate the band with fresh ears: dive into their music and have an open (and empty) mind.  From there, have a look back: take in some (older) Doo-Wop sounds; investigate some Beach Boys and Patsy Cline; Sam Cooke and Jeff Buckley- the artists that have compelled (the duo).  Only then will you get a full understanding of their music and agenda- plus, it is a great way to discover some terrific music (you may have forgotten about).  The Fontaines is the sound of a young act with confidence and intention: I can see future releases showcasing this bold and urgent approach; building off their initial promise- and adding something new into the mix.  Across the five track, the brother-and-sister combination channel the legends of old; offer some incredible fresh music- the E.P. never loses its sense of emotion, focus and consistency- and wrap it around intrigue and mystery; beauty and soul- the complete package.

The initial moments of Dusty Springfield are teasing and relaxed: a guitar-strummed tranquility that eases the senses; begins the track with a calming refrain- gently beckoning the vocal in.  When our heroine arrives at the microphone, initial impressions are quite stirring.  “Maps run cross my cheek/Lilac blush don’t look at me…” get you thinking and theorising.  The vocals begin with a sexiness and breathiness: fairly low-pitched and husky, there is an edge of ‘60s Soul and Pop; something quite classic and emotive.  Fontaine herself showcases herself (in the early seconds) to be a talented and emotive singer: never over-singing or emoting too strong, she keeps her voice passionate and resolved; showcasing a slight edge of vulnerability.  The initial lyrics- and rest of the first verse- look at a relationship dilemma: perhaps love has hit the rocks; bonds are growing tired- and there is a need to rekindle the romance.  Maybe her sweetheart has been ignorant and short-sighted: overlooked our heroine and broken her heart- there is a tangible sense of loss and strain.  With Swing, Doo-Wop and Soul tones, the song notches up a gear; it kicks up and heightens- the energy levels rise and proceedings become faster and more electric.  The line “you can’t do that, can you?” is a repeated mantra: a central accusation and slung criticism- her man is not prepared to talk things out; stay around and work things through.  Whether casting herself in the guess of Dusty Springfield- and writing a song she would sing- or basing it around her own pain- that sense of authority and genuine hurt comes out.  Although the lyrics look at loss and break-up, the composition has plenty of drive and uplift.  With the percussion remaining determined and alert; the guitar twanging with pride and promise- the song never loses its potential and promise.  The song has a great tightness and sense of economy.  The verse and chorus are really the only lyrics: there are a few other lines, yet for the most part, there is that singular verse and chorus.  After the questioning and dissatisfaction; that loss of incentive and confusion, the chorus comes back into the mix- the track swings between tender and investigative to full-bodied and spirited.  Our heroine does not want to “pray out loud”; she does not want to (have her man) hear her words- there is that need to keep her true feelings inside.  There is clearly a sense of resentment and anger: it is wrapped around effusive and glistening swagger; that endless energy and fizz.  The duo do not merely keep the pace/composition basic and predictable; the vocals do not comes across as lazy at all- there is always one eye on projection and mood.  For instance, when the line “So don’t tell him, I don’t want to pray out loud…” the song halt slightly; the words are projected with punch and pace- catching the listener by surprise and showing another dimension.  It is at this stage you get the truest incarnation of Doo-Wop (or Nu-Wop) and Rhythm-and-Blues.  Although the entire song has a modern and contemporary sound, those vintage/retro elements make it such a diamond- never insincere or faux; the genres are treated with huge affection and respect.  Charlotte Fontaine’s lead vocal is consistently engaging and determined; completely committed and authoritative- you buy into every word she says.  The song keeps peeling mystery-skin reveals and ideals: as the moments tick by, your mind is caught in two different plains.  On the one front, I see her man leaving her; disappointing our heroine and there being a need for reconciliation.  A new take (on an old idea) you are sucked into that relationship quagmire- wondering just how it will work out.  On the other hand, maybe the words are fictitious to an extent: maybe the Fontaines are writing a song for Dusty Springfield; casting themselves in her guise.  That interpretation becomes a little far-fetched; that sense of mystique and open-for-interpretation aspect.  As you unpick and decipher the lyrics- trying to reveal their true understanding- that composition keeps coming to seduce.  Surf-Rock guitars hurry and race; the percussion keeps the emotions in check.  Consistently surprising and busy, it is a terrific counterpart: it perfectly augments the lyrics and whips-up its own sense of drama and life.  By the final moments, the images and sense of evocation builds: it is a filmic song that projects scenes and sights; the lovers and their scenario- their fate and fall-out.  At its heart, Dusty Springfield has a wounded heart: our heroine wants things to be better; her beau to stay for her- knowing he never will.  Never wracked and overwrought, the vocal performance keeps light and impassioned.  As the final seconds arrive, you wish the song could go on: perhaps reveal new truths and twists; answer questions and cliff-hangers- whether things will be resolve at all.

Plaudits must be paid to the song’s addition musicians and support.  With Mike Coleman, Jason DeMayo and Scott Zimmerman on board, they add weight and colour to the track.  The percussion is hissing and perky; rushing and mood-setting: it makes sure Dusty Springfield remains essential and urgent.   The guitar work is consistently engaging and fascinating: switching between Surf-Rock and Soul; Doo-Wop and Rhythm-and-Blues so many styles and moods are introduced- Hank Fontaine adding a lot of twists and turns to the story.  The interplay between the siblings is incredible and sharp: at no point does either lose step or time; they back one another up and show how tight-knit there.  It is that central vocal that perhaps stands out strongest: going from tender and insistent to determined and bruised, there are so many emotional aspects to it.  At its heart, the song benefits from committed and impassioned performances: everyone involved gives the song their utmost attention and consideration; what you get is a track that keeps revealing new insight and sides- not many songs can boast that.  For those wary of revitalising older genres- and giving a lick of paint to older sounds- there is nothing to be scared of.  Doo-Wop suggestions are kept both true and new: the core of the genre remains intact; the duo simply modernise it and bring it into 2015.  With my other review subjects (that tackle Electro.-Swing and Doo-Wop) they always bring it into the 21^st century: make sure they do not betray its roots; yet make it accessible for the new generation.  The Fontaines are a duo with one foot in the past; one in the present-day: that not only adds weight and quality to their work; it ensures their songs are deeper and more nuanced- not one-dimensional and predictable (as a lot of modern sounds can be).  Dusty Springfield is a song that may take a few listens (to reveal its true firepower) but therein lies the beauty: once it does blossom and spread its wings, the effect is quite wonderful.  A track that suits the broken-hearted poets and moonlit-wandering; ideal for the dusty summer highways- it is an agile and adaptable number.  The stand-out from their debut E.P., it not only stands on its own merits: it provides a glimpse into their next E.P.; just what we could all see- and just how good it can really be.

It is hard to miss California’s The Fontaines: one of the most stand-out acts coming out of the U.S.  Whilst the music scene is filled with predictable bands- duos that do not stick in the mind; solo artists with nothing to say- these two exceed expectations; take the listener by surprise- seduce them with their entrancing music.  Even their fashion/style catches the eye: the black-and-white clothing- both retro and cutting-edge- reminds me of The White Stripes (they were red, black and white).  With our heroine being gorgeous and elegant; our hero dashing and handsome, the two-piece stick in the mind.  Were they just gimmicks and imagery, then they would fade in the imagination: as it stands, their music and promise are other sides; their chemistry and bond another- they have so many layers and sides.  Having assessed Dusty Springfield, I was reminded of the English legend: that elegant swoon; the classy and classic sides; the mesmeric vocals- seamlessly mastery of Pop and Soul standards.  The song itself portrays all these facets; it has a modernity and vibrancy- a track that demands repeated player and deeper critique.  I know a lot of U.S. acts are coming to the U.K.: there is a financial stress for sure but it is great to see American artists come to our shores.  I hope The Fontaines visit the U.K.; take in Europe too- there is a huge market for them.  Countries like France and Germany would take to their style; we in the U.K. have similar acts and would love to see them here.  London is promoting some up-and-coming Electro.-Swing acts; Yorkshire and the north is too- The Fontaines would nestle into the fold; gain an audience for sure.  Before I end up, I want to circle back to my original thesis: pertaining to U.S. music and sibling duos.  Maybe New York is providing some of the best Rock and Indie sounds- they take the lead when it comes to hotter and harder sounds- yet L.A. (and California) exceeds in other areas.  When considering diverse genres- Eletcro. and Folk; Soul and Pop- California is producing more gems; their artists are more daring and innovative- that is my perception at least.  One of the best aspects of British music is our range (of underground and niche) styles of music; the wonderful hidden treasures we have- that is the case with the U.S.A. too.  The Fontaines are making waves in their native land; they are starting to gather a lot of positivity and praise- I hope their music takes the U.S. by storm.  In this country, they are a slight unknown quantity.  That will change soon enough: it is impossible to keep their music a secret.  With a sound ready-made for Europe and Australia (yep; they would love it too). I can see their name gathering pace.  Their social media numbers are climbing steadily; the reviews are coming in- let’s hope the brother-and-sister team keeps their charge going.  Since the release of their self-titled E.P., the guys have been performing and planning: exciting times are ahead.  Their next E.P. is all-but-done: it is being mastered and finalised; new songs are being premiered.  Restless and ambitious, the duo is not letting the dust settle: capitalising on their current form, their new record should be something to behold- make sure you get a hold of it.  With their heart and soul being in the ’30 and ‘40s (with some ‘50s in there too) their minds and bodies are very much in the present-day- the signs are all very promising.  Do not let the L.A. wonders slip you by: check out their debut E.P.; let Dusty Springfield do her/its work- and prepare for what is to come.  All that is left to say is be broad when it comes to music and bands: if you are used to four and five-piece acts; try investigating duos.  When you stretch and broaden your tastes; dive into something a little bit different- that is when the real revelations arrive.  With few brother-and-sister duos on the scene, The Fontaines may seem like an anachronism and oddity: the truth is they sound completely natural and stunning.  Being close and committed, their clear affection comes out (in their music); their shared talents blend marvelously- the results are truly wonderful.  As I play Dusty Springfield- for the 'nth' time now- I am compelled to dip into L.A. music; see if there are more Fontaines-esque acts- really broaden my horizons.  When that happens- and an act connects that strongly- you become a more well-rounded music-lover.  With that in mind…

HOW could you ask for anything more?

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Follow The Fontaines:

 

Official:

http://thatfontainesound.com/

Facebook:

https://www.facebook.com/thatfontainesound?_rdr=p

Twitter:

https://twitter.com/TheFontaines

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Music:

https://soundcloud.com/thefontaines

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Videos:

https://www.youtube.com/c/thefontaines

Merchandise:

http://www.hannahdorman.com/merch/hannah-dorman-merchandise.html

Track Review: Elizabeth Ajao- FYI

TRACK REVIEW:

Elizabeth Ajao

 

FYI

9.5/10.0

FYI available at:

https://soundcloud.com/elizabethajao/fyi

RELEASED: June, 2015

GENRES: Funk; Pop.

ORIGIN:

London, U.K.

Download Elizabeth’s mix-tape Black Betty Part 1:

http://mixtapemadness.co.uk/ElizabethAjao/BlackBettyPart1/2004

WHEN life becomes quite transitory and changeable; you need something…

to keep you focused and distracted.  At the moment- when it comes to me at least- reviewing is taking up my time; allowing me a chance to ‘express’- channel some negative thoughts into positive writing.  Music itself has a way of being able to heal and aid: assist in easing anxieties and troubles; allowing the listener to become engrossed in something uplifting- and change their way of thinking.  My featured artists- and the music she produces- has a warm and confident sound; her music digs deep and makes you think- towing the line between personal investigation and outward decelerations.  Before I arrive at that, it is worth mentioning London-based music (in addition to the importance of individuality).  A recent study was published (by E.I.U./Mercer) listing the 50 most desirable cities in the world- the best places to live.  Perhaps not surprisingly, Melbourne topped the list- and retained its crown- without much competition; a city that has drawn in a lot of emigrating minds- people are keen to settle there and experience its wonders.  Among the top twenty, Australia (and New Zealand) featured prominently; Canada was well represented- European cities like Paris and Hamburg (had their place in the top ranks).  Surprising for me- although perhaps not a shock for most people- our capital was not in the top 20 (it failed to crack the top 50 in fact).  As a place to live, maybe there are too many drawbacks: too many people and pollution; too crammed and built-up; we lack the beaches and relaxation of Melbourne- and our weather is not exactly spellbinding.  London, for me at least, would be in the top 10: I find it has a great energy and community; the range of history and modernity fuses well- it is a city always on the move; you can never be bored.  Maybe not ideal for relaxing/nourishing, from a musical sense, London has done wonders: a lot of the best (modern) music emanates here- some of the most diverse artists call London home.  With the diversity (and range of nationalities) some wonderful music is produced: from fantastic R ‘n’ B and Rap to Indie bands and Electronica- there is such a wealth of quality.  It is that diversity that influences artists: compels them to try something different; put thought and effort into their music- subsume expectations and the mainstream; produce music of the highest quality.  Having grown a little tired of (the London Indie) scene, I have been hunting for solo artists: acts that offer more than drum/bass/guitar predictability- and flood the ears with something layered, seductive and captivating.  That brings me (neatly for me) to Elizabeth Ajao: a young up-and-coming artist with a rare talent; a voice that is both smooth and urgent; lyrics that are personal and inspiring- a musician that is a tantalising proposition.  Before I continue on- and raise a new theme- let me introduce Ajao to you:

“Elizabeth Ajao is a London based singer songwriter. She's just released Part 1 of her Mixtape "Black Betty” accompanied by a promo video for her original song "Sick".

Until now Elizabeth has been behind the scenes writing & recording session vocals for various projects. A chance meeting with producer Syze-Up from Desert Eagle Discs led to them working on original material and experimenting with her sound.

Currently she is locked in the studio writing songs and developing a unique style for her debut album. Until then she decided to have some fun, and introduce herself with the mixtapes.

Black Betty part 1 & 2 comprises Elizabeth's original songs as well as takes on classic as diverse as Creative Source, Arctic Monkeys, Cyndi Lauper & Mantronix. Elizabeth's unique style and voice pulls these all together to make sense. The mixtape features guests Brooklyn rapper Neefo Ducatii & Dave Stewart's (Eurythmics) group Mr & Mrs.

Keep your eyes peeled for Elizabeth in 2015 she'll be gigging throughout London and the UK promoting her mixtapes.”

This year has been a busy one (for Ajao): she has been performing and touring; coming up with new sounds- putting together her latest mix-tape.  Black Betty Part 1 was received with warm praise and effusive love: reviewers and fans latched onto its mingling of Soul/Pop; the Funk-cum-Urban edges- the mix of sounds and consistent quality.  With 'Part II in the ether- having been released a couple of months ago- I was delighted to dive in; see what was afoot- and investigate its finest moment.  I shall get to that in time; for now, I have been compelled to mention Ajao’s consistency.  When her first mix-tape was released; the confidence was all there; she arrived fully formed and ready: an eager artist with a true vision; a voice that was beyond lazy comparisons- someone determined to make a mark.  When the second mix-tape came out, there was no faltering or dip- of anything, the songs are stronger and more insistent; the sense of adventure and confidence heightened.  A lot of solo artists tend to stick to a tried-and-tested sound: they will not add too much innovation and genre-fuse; scared they will lose their identity and sense of personality- you lose out on a lot of potential.  Ajao strikes me as an artist that could do something tremendous: produce an album that tangles genres and sounds; joins hard beats with soulful vocals; lyrical savviness with something emotive and open- an album that offers a supreme spread.  When I look at some of my favourite albums of the last 15-20 years- that are synonymous with influence and inventiveness- L.P.s like Maxinquaye (by Tricky) come up.  That album sees Martine (Topley-Bird) lend her extraordinary vocals to the blend; the album is haunting and nuanced; mysterious and cut-and-paste.  If you listen to the murmured vocals and hushes; the insistent rushes and samples- everyone from Michael Jackson to Portishead is introduced into the fold- and you have a stand-out classic.  Ajao has that central voice (like Martine) already cemented: something that could score her own songs- and sound seamless on a song like Black Steel.  Whether she decides to or not, collaborating- with beat-makers and producers- could see something with that mystique and quality.  Fusers and genre-splicers are common place- they are usually D.J.s and Rap/Hip-Hop artists- that do not have that focal voice and strength.  Ajao has that mixture of warmth and strength; sweetness and black seduction- that could expertly lend itself to a range of possibilities.  That is in the future, yet (these proclamations) come off the back of her current offerings- it is clear she has a golden future; going to be one of the hottest to watch.

For a good representation of Ajao- and how she stacks up; how her work has evolved- you need to go digging; study her past sounds- and see how far she has come.  Writing’s on the Wall was unveiled 3 years ago: one of her earliest cuts, it is a Pop-cum-Soul gem.  When witnessing the vocal (and sound for that matter) I was put in mind of Aaliyah; her self-titled album- that arrived a couple of months before her death.  That romance and serenity; the pride and passion- I can see comparisons between Ajao and the legendary American.  Shades of Beyoncé and Destiny’s Child come out (in this track): the seamless melting of classic R ‘n’ B and ‘90s Soul- modernised and updated with verve and panache.  Looking at harmful seduction- a moth to her man’s harsh flame- there is indecision and doubt; not sure what to do- infatuated by a forbidden allure.  Catchy and rushing; stunningly realised- with some exceptional production values- it is a bold and stunning song.  Sick (released a year ago) saw Ajao step up things: the loose and mingled beats start the track; choppy and pulsating undertones foster a punchy percussion- it is heartfelt and louche; sweaty and emotive.  Maturing and updating her debut sounds, the track is sensual and raw: the music bristles with life and energy; vocals layer to create something vibrant and vivacious- the production puts the voice right up front.  Looking at a fall-out- the indiscretion and heartache from a relation break-up- it sees an unsuitable sweetheart; a man that has caused scars and tears- someone being given a comprehensive dressing-down.  Permeating the anger is a busy and colourful composition: the song is mobile and ever-changing; there is a mingling of Urban and Soul swathes; calmer Pop and Jazz- all wrapped around a direct and stunning vocal centre.  Can’t Hide Love (another cut from Black Betty Part I) displays Funk and Hip-Hop beginnings.  The introduction has street-hard ambitions; traffic-dodging rushes- an intertwine of hurry and relax; firm and contrite.   With Black Betty (the song; not the mix-tape) being sampled; you get a great fusion occurring- something that augments and defines the song.  Showcasing a sense of invention and emotion, everything is perfectly placed: the song is confident and brash; it does not hide its light- everything is in the spotlight.  More upbeat and righteous, we look at positivity and proclamation: not hiding love and emotion; not shying away from things.  Not only do the feet beat, the arms sway and punch: it is a song catchy and addictive; memorable and personal- yet something everyone can understand.  Nothing to It (from Black Betty Part II) sees a fresh and smooth introduction: dreamy and delirious vocals interlock and conspire- there are Jazz tones afoot.  Dropping in some Kind of Blue-era Mile Davis- together with something sensual and serene- the song is a calmer affair.  More introspective and textured, it is a short number- a perfect scene-setter and mood-definer.  Being a mix-tape, shorter songs will mix with longer: that is not to say this is a lesser thing.  Beautiful and concise, it shows Ajao to be both economical and tight- in addition to being inventive and diverse.  Being a mix-tape- and the second in the series- Horns of Dilemma is longer and more sprawling.  Again, the spirit of Aaliyah remains strong: that insatiable and commanding voice; the declarative vocals and throwing off the shackles; being a (proud and happy) slave to the beats.  Ayao channels her love of Urban/Funk sounds into a colorful and rich composition: the vocal is chocolate-scented and gorgeous; the sentiments true and heartfelt.  You drift away admit the serenity of the voice; captivated by the emotions of the lyrics- a song that tries to figure problems out; get off of dilemma’s horns.  Since her fire mix-tape, the second installment- that features FYI- has seen development and new subject matter.  Whilst heartache and indecision are key topics; the way they are presented seems bolder and more confident- the compositions are more addictive and nuanced; the vocals seem more intuitive and emotive.  That said; there is not much to it: Ayao began full of verve and potential; there is not much room for improvement- if anything, remaining consistent and true is the main hallmark.  Without compromising her ethics and sound, what we have is an artist with a true sense of identity.  The Black Betty-helmer mixes sweet-grooved lust with chop-and-change danger; arms-aloft emotion with heart-bleeding sentiments- a stunning range of ambitions and sounds.

Given everything I know about Ajoa- and her glistening back catalogue- I was primed for the joys of FYI.  The opening moments (of the song) echo and repeat the title: a shimmering voice signals “FYI”; it reverberates and ripples; creating a sense of uplift and passion.  From the first moments you get an idea of the song: it lays out its identity and sound within a few seconds; part Pop-Soul; parts R ‘n’ B-cum-Funk.  From the sapling calm; the insistently-delivered notes, the metre and pace changes- turning into something determined and urgent.  With Beyoncé-inspired vocal prowess- the delivery is sassy and strong; the tone is R ‘n’ B-meets-Alternative.  Firing her lines forth- almost with a Rap-like fury- our heroine is the “revolutionary”; trying to make a better life (and escape pain and struggle) she is in determined mode- stepping into the beat.  That ‘beat’ in question is a wave that crashes and rides; hip-shaking and snaking it slithers and strikes.  Our heroine used to be ordinary and plain-laced; her new love- a seemingly irresistible drug- has been hooked to her veins; she is powerless to resist.  Whether insecure (or coupled with an edge of sarcasm) Ayao seems very cool-nerved and relaxed: if nerves are frayed it’s cool; she is learning some nefarious tricks; there seems to be a casual attitude to things.  At the heart of the song- and as the title may suggest- is that need to come out on top; not be held back by others and issues; to take charge.  Our lady is out of her hole; not willing to be tied-down and defined, she is in command: that sense of against-the-odds swagger radiates in every note.  Backing the fast-paced vocals (that trip from the tongue and bounce with a fever) is that insatiable chorus.  A consistent beat runs through the spine- that is both catchy and time-keeping- the composition is sparse yet effective- augmenting the vocal whilst adding dimensions of rhythm, passion and firepower.  Having been “reincarnated” and reborn- having changed her tact and being given a new lease- you can hear that confidence and sense of vivaciousness.  Whether the words are directed at a current love- or a person/people that have doubted her- this is her rally call; the sound of a young woman on the attack.  As Ayao says herself, this is a cautionary tale: one steeped with I’ve-been-through-this dilemmas, she is treading lightly.  Her beau (and subject of her discourse) is being given a tongue-lashing: in the past, events have transpired; our heroine has been on the back foot- now he is asking forgiveness, it is her chance to call the shots.  Like the best R ‘n’ B female singers- including Beyoncé, Aaliyah and Alicia Keys- Ajao shows no signs of fakery and disingenuous spirit.  Her words come from a real place; her voice is natural and unforced- her aural exorcism is as fascinating and compelling (as any by the aforementioned artists).  Although her words are spun and tangle, the clarity and concision is still there- a few words get dragged into the rush; for the most part, they are intelligible and extrapolatable.  The casual listener will be hooked on that city-swagger beat; the f**-you rhythms; to the trained ear, the song goes a whole lot deeper.  It seems to be bond was cut under tense circumstances: as the chorus explains (the song’s anti-hero) has a look of surprise; he assumed he would not meet our heroine again- shocked at her resilience and determination.  The song not only appeal to young women- the demographic that live this song; can readily empathise with Ajao’s plight- but people of all ages.  As a young man- well, sort of young- it strikes my ear hard: the song has a more general appeal; it is a wake-up call and statement of independence; a strong-willed anthem that speaks to everyone- a track destined to inspire the crowds and listeners in unison.   Before the song’s half-way point, the chorus is reintroduced: with each new delivery there seems fresh inflection and nuance; it builds up steam and gets catchier- its simplicity and directness cuts right to the core.  Fancy-free and to-the-quick, that chorus is an insatiable swing: the type that will appeal to music-lovers (of all genres) - an indelible and glorious hook.  By the two-thirds mark, the native changes- and our heroine sings both sides of the story.  Casting herself as her former-beau- he asks for forgiveness; give things another go- she switches the tables and retorts- in essence, it ain’t going to happen.  Rather than projecting the lyrics with little imagination, instead, this is a clever move: the song is kept in the first-person; yet switching from recollection and hindsight to present-tense conversation gives the song fluidity and depth- it gives it a sense of reality and story; a cheeky little sense of sarcasm, too.  Sassy and in-no-mood-for-bullshit, Ajao is reading the rights; giving (her boy) a reality check- she is looking for an honest man; rather than a selfish kid.  By the closing stages the chorus is thrown back in- enforcing that sense of rebelliousness and moving-on- and leaving the song on a lighter note.

   FYI is a song both familiar and unique; ‘90s/’00s-isnpired and cutting-edge.  Ajao is clearly influenced by the R ‘n’ B legends (mentioned earlier); the great Soul singers and modern-day Pop leaders.  I have mentioned Beyoncé and Aaliyah a lot- and to be fair, she does not mimic them; instead injects a slight cadence and suggestion.  One of the great things (about the song) is its consistent flow: from the introduction on, you are powerless to resist.  Up there with the best on the current scene, FYI is a stunning accomplishment.  Clearly, Ajao has gone through some heartache and strife: the way she documents this is done in an effective and compelling way; there is little vitriol and judgment- instead, defiance and grace.  Delivered with a sea of urgency, passion and soul; the track is always striking and memorable- there is never a moment when the mood and pace drops.  The lyrics are both economical- there are not too many words; the ones there are (are) intelligent and personal- and the composition fresh and vibrant.  With a slick and polished production sound- that does not compromise clarity and naturalness for shine and shallowness- what you get is a bold and inspiring tale; something that will appeal to its target audience (young women) and compel everyone else.  In a current scene that has intermittent jewels; where Contemporary/R ‘n’ B is a patchy affair- Ajao offer something genuinely wonderful.

Having spent a lot of time with Ajao (and her music) I am excited about the future: whether the L.P. (or a new creation) arrives this year- or whether we wait until 2016- it is sure to be greeted with speculation and universal praise.  With Black Betty' (both parts) on the market, they are perfect representations of the London-based singer: with all that passion and talent on board, it will be fascinating to see (where that takes her).  If you look around the contemporary market- and fellow female songwriters- there are a few that you know will go onto great things; a lot that seem less assured; many that will fall within a few years.  Ajao fits into the first category for a number of reasons: for one she has- like I expressed with my Maxinquaye soliloquy- innovativeness and mobility to create a modern classic; she has that sensation voice and lyrical talent; to boot, her music is constantly gripping.  FYI is one side to the young artist: a confident and jam-packed song that burrows into the brain; demands repeated listens- and demands you investigate her back catalogue.  I am going to end the review talking a little about the future of music (in London) for our heroine.  Having come onto the scene with plenty of ambition and distinction, the next steps are vital: how will she capitalise on this form; where will her next music take her?  Of course, touring the capital will be on the agenda; taking her music on the road- and coming up with new music.  I have been deeply impressed with (Ajao’s) mix-tapes; her style and flair are to be commended- I am fascinating to see what is next.  In London, there are a wealth of new artists coming through: it is hard to distinguish the true leaders; which acts will be around (years from now) - and leading the charge to the mainstream.  The ones that will succeed- and remain in the public forefront- are those that showcase some difference and originality; go beyond the boundaries and expectations- genuinely compel the listener.  I have heard so many acts that come off as one-dimensional and dull; too timid to be bold and brave- preferring to wade through the waters of predictability and inpsideness.  I may be putting a lot of Ajao’s shoulders, yet there is a true spark there: someone that wants to be a main-stayer- and remain on the scene for many years- and a true inspirer: I feel she has the potential to do some great things.  Black Betty Part II- and FYI especially- provides a glorious glimpse into her psyche- and just what she can come up with.  Whether future cuts stick to her solid formula- or whether she brings in others to expand and broaden her sounds- is down to her; however there are options out there.  For now, it is well worth exploring Black Betty (in both its guises) and see where she is now: the rest of this year will see music percolating; new dates being confirmed- a chance for fans to see her in the flesh.  If you are looking for an artist that offer something different; provides something new to the ears- you should make some time for Elizabeth Ajao.  Away from the endless sea of Indie-Rock bands- with its indeterminable quality and range- there is that desire to embrace something different and fresh- music that not only motivates the feet and voice; it speaks to the heart and mind.  With that in mind, clear some time aside; sit back and relax and let…

THE young innovator get inside your head.

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Follow Elizabeth Ajao:

 

Official:

http://www.elizabethajao.com/

Facebook:

https://www.facebook.com/elizabethajaomusic

Twitter:

https://twitter.com/ElizabethAjao

Instagram:

https://instagram.com/elizabethajao/

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Music:

https://soundcloud.com/elizabethajao

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Videos:

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

Feature: Music and Anxiety- The Storm and the Calm

Music and Anxiety:  

 

The Storm and the Calm.

THIS month has been particularly horrendous and…

upsetting.   Sparing gory (and inane) details; suffice to say things are not working out how they should- backward steps are being taken.  At the crux of things is where I love: let’s call it X; I am not happy here- in fact, at the lowest I have ever been.  The geography and landscape is fine- there is history and tranquility to be discovered- but it comes down to (a certain number of the) people.  I would not tar an entire county- or in this case, an entire area- with an all-sweeping condemnation: a minority of the people falls under my scorn umbrella.  In addition to ‘the area(s)’ being very boring (and not equip for the young, ambitious and hungry) there are fundamental issues- attitudes and drawbacks; deep flaws and narrow demography.  I guess a lot of areas (have their own issues) yet ‘here’ they are more rampant and upsetting.  I know where I want to live (east London); I know where I want to work (in music promotion and charity) - I have everything mapped out.  It seems- for the next few months (minimum) - I will need to work and live around here: the only way to be able to get to London; having to do ‘make ends meet’ jobs.  Being where I am feels pretty lonely and detached- few I know understand the importance and wonder of London; even my own dog doesn’t like me much- it is about as hopeless as I have felt.  That burning desire to escape and get to where I need (causes its marks) and the day it happens, it will be a fantastic moment- until then, what is to be done?

The whole point of the opening paragraph- rather than a scorched earth/battered-warrior statement- was to highlight a common malady: anxiety.  Based on situation/destination alone, anxiety levels would be high (in me): having generalised anxiety disorder- a misnomer if ever I heard one- makes things a lot worse.  The point of moving to London- in time I want to relocate aboard- was to find remedy and calm.  I know London has its issues- among them tonnes of people and a lack of communication- yet there are opportunities and life; young people (and, in the centre of town, fewer families)- chances for writers and creatives to not only work, but to flourish.  There’s no point living for the sake of getting by; no use staying somewhere you detest (and makes you very unhappy) - it is something a lot of people face.  Anxiety can be caused by a lot of things, yet pressures of life- expectations and being ‘where you should be’- are near the top.  Being a music writer, music itself has a double-edged sword approach: musicians themselves (can be among the most) anxious; music itself elevates and cures a lot of anxiety.  Knowing a lot of musicians- and seeing so many of my peeps go through stress and sadness- it got me thinking about things: is there a common cause/link?  In some cases- where musicians have felt hopeless where they are- they are/have relocated; gone somewhere better and more opportune.  Among my London-project planning; the suburban mixology and capital-dreaming, I have been concerned for these people- the musicians that go through much heartache and self-doubt.

Being musically-inclined; a music writer, I was wondering: does being musical make you more anxious; or do anxious people go to make music?  It is a chicken-and-the-egg question, but interesting one- music certainly helps.  Of all the bands and acts I know-across Twitter and Facebook- a large percentage suffers anxiety and doubts.  Born that way, music is their outlet and way to cope: it distracts them from their situation and limitations; away from the stresses of their life- and gives them something to work on.  Mainly focused on solo artists, the issue of anxiety is a pressing one: music helps to elevate it (to an extent) but the stresses of the music industry exacerbates things- and adds to that sense of expectation and stress.  If you have a particular personality- that can be quite tense and nervous- then music is an ideal occupation: there is a chance to connect with audiences; join with fellow musicians; turn your angst into something creative- and be freed from the boredom of a workaday life/job.  I guess there is a certain creative brain: one that is always busy yet is drowned out by its own insecurities; fearful of the future; always getting worked up.  Being in similar position- and run-down by the stresses of life- I find music and writing helps channel those negativities; turn depression into something productive- and feel worthwhile.

From guerrilla beats to maternal entrance; sweet-leaf jams to anthems for the modern youth: music seems to be able to cater for everyone.  Perhaps those that are anxious/feel that way create the most innovative music: from my experience, they tend to be among the most productive and ambitious.  Whatever the reason why- a lot of anxious people go into music-making- I am not sure; music itself can help a lot of people- even those that do not make music.  Whatever your tastes and preferences, there is something that caters to your whims: the joys and wonders of the art can help a myriad of psychological issues.  Curative and redemptive, the attraction (of the music industry) is completely understandable.  Maybe the demands of the modern music scene (cause increased anxiety in young artists); I’d like to think music makes their lives better- assists them in channeling their frustrations and fears; put their concerns onto paper.  As much as anything, the music industry has community: listeners and fans can relate and connect (with the musicians); in a way it is a sort of therapy.  My heart goes out to my musician contacts- those who suffer anxieties and stress- and I hope music-making makes a difference.  For me, writing and reviewing helps distract my mind- and gives me the most reward in life- to focus on something genuinely productive.  Whether my words make a difference (I am not sure), but I’d like to think they do- the musicians I review help my woes and anxieties; they help a huge host of people.

It would be good to get people’s opinions: whether they suffer from anxiety; how much helps them- if there is a link between anxiety and the creative arts?  As I try to figure my way out of a hole- knowing there’s chance it may never happen- I know music is a saving grace; something that softens the blow- and allows me a chance to put my energy on the page.  I know anxiety will not be cured by music alone, yet it is a good start: just an hour or so a day (of music listening) can go a long way; help take the edge off of things- and comfort the senses.  The musicians I know are working hard and setting the bar high- which can cause a lot of stress and doubts- but they are doing a wonderful job; touching a lot of people in the world- and making a big difference.  To them, I would say this:

KEEP doing what you do.

Track Review: Mrs. Skannotto- The Outlier

TRACK REVIEW:

Mrs. Skannotto

  

The Outlier

9.4/10.0

The Outlier is available here:

https://www.youtube.com/watch?t=12&v=jxt668oTC3E

RELEASED: April, 2014

GENRES: Rock-Ska; Punk; Reggae

ORIGIN:

Rochester, N.Y.

AFTER assessing Brooklyn-based act The Falling Birds (yesterday) it is…

time to step across New York- and over to Rochester.  Whilst Brookyln’s The Falling Birds provided a slice of ‘60s Rock-cum-Blues (with their single Sweet Things That Kill); today I am looking at Mrs. Skannotto- a band that differs in quite a few ways.  I shall get to that soon, but for now, there are a few issues (that need discussing).  New York is among the most productive cities- when it comes to great new acts—and is showcasing some wonderful acts.  In my previous review, I compared (the U.S.) to the U.K.: the two nations are stamping out some terrific music; the U.S. is slightly ahead of the game- when it comes to the overall quality.  I am amazed by the range of sounds and genres being explored; the types of artists you can find- the U.S. is a fascinating area to behold.  Whether it is the larger population (we are a smaller and less populous nation) or the diversity of geography- between the 50 states, America is a lot more varied- but one thing is for sure: more eyes should be trained here.  I know people who are emigrating to the U.S.A.: favouring the crowds and opportunities; there is a lot more lure for the new musician- a better way of life perhaps.  Maybe it is the crowds that attract people; the fact (that the U.S. is a richer nation) or something else- it is a tempting life.  I am aware new acts face the same struggles British ones do- with regards financial stability and recognition- but there are benefits to the American way: chief among them is the range of opportunities.  Large and influential venues; a host of wonderful and supportive musicians- it is a much more ripe and stable music economy.  Out of this, fantastic music arises: New York is feeling this prosperity; among its five boroughs (some of music’s best) are being spawned- I am fascinated seeing what N.Y. is summoning up.  Before I step away from U.S. music- to interview too brilliant female artists (one Maltese; the other German), I am pleased to discover Mrs. Skannotto:

Joe Harmon - Vocals Mike Frederick - Guitar Justin Lloyd - Trumpet Dan Carter - Bass Evan Dobbins - Trombone Alex Bochetto – Drums

“Rochester, NY alternative ska/rock outfit Mrs. Skannotto is a band that's hard to classify. Their distinct sound reflects the eclectic musical backgrounds and styles of each band member.  Vocalist Joe Harmon explains, "We spend a lot of time trying to explore the boundaries of what genres like ska, reggae, rock and punk can do, mixing in elements of jazz, funk, and classic and progressive rock. We all have a wide range of tastes and influences, and bring those influences in to the writing process and our performances.”  Originally formed in 1998, the current lineup has been together for 4 years. The band's commitment to touring has kept them on the road for much of that time, and it's paying off. Harmon says, "We've learned a lot about playing and writing with one another since this lineup first came together. We keep getting tighter as time goes on."  Mrs. Skannotto is currently holed up in the studio at Hope Alive Media in Farmington NY, where they are reuniting with audio engineer Matt Goodwin and sound mixer Matthew Saccuccimorano, who they worked with on last year's 'Outlier' LP.  When pressed for hints as to what fans can expect from the new record, bassist Dan Carter says, "I'd say the focus will be on tight compositions, and further developing new ground explored on the last album. The music itself is different. We keep evolving musically."  Mrs. Skannotto will announce spring/summer tour dates soon.”

Although The Outlier is an ‘older track’- their L.P.’s title track was released last year- I was keen to introduce the band; get people aware of their music- as there are no movements mooted.  When a new release does come, I am keen to jump on that; the Rochester-based band is among the most engaging and innovative (in the U.S.).  The way they fuse genres; skip from one to the other- whilst keeping their unique voice- is to be applauded: few acts are as daring and bold; few can handle such a move- Mrs. Skannotto are fearless and striking.  I am not sure where they name derives- it has been bugging me for a while- but I am impressed by their entire make-up: their official website is informative and full; they have a huge spread of (music-sharing/social media) sites; their music is bold and stunning- a band that deserve long-term affection.  Having been formed in 1998, the New York band has survived the hurdles of music: they are clearly dedicated to their craft; have a dedicated and loyal fan-base- and intent on making music (for many years to come).  Whatever they have planned for this/next year; whether an E.P. or album is mooted- I suggest you keep your ears to the ground.  The U.S. media has latched onto their merits; we in the U.K. are less familiar with them- I hope that soon changes.

It is pretty hard to compare Mrs. Skannotto with anyone else: I cannot think of any other act that does things like them.  The best thing one can do is compare the band with themselves- see how they have grown and developed.  Burning Inferno of Fire was released back in 2002- seems like an age, doesn’t it? - but showcased what a band they are.  The title is not a boast or misdirection: it is indicative of the music contained within.  From the very first track (Just a Game) the band are off to the races: a Ska-Reggae fusion that witnesses the band in full flight; a delirious little song- something that remains in the mind.  Tracks like Ordinary Girl continue this sound- this track looks at love and its realities.  White Man on Vacation and What I Wanna Be are among the album’s highlights: they show the band at their tightest and most striking.  Their debut tended to stick with one sound/projection: that Ska-cum-Reggae vibe; trumpets featured (in most tracks) and the boys crafted their identity.  Bet You Didn’t See This Coming was released a few years later (in 2006) and saw a sea-change- with the introduction of heavier sounds.  Although not a complete about-face, there was a leaning towards Rock.  Songs like Some Dude rocked harder; saw the band step into new arenas- and widen their spectrum.  2010’s The Long Dark Road augmented and emphasised this: not only were more heavy edges instilled; the band sound tighter and more confident here- the songs more vibrant and stunning.  Girlfriend is s stunning blast; a song that never relents or slows its pace.  Get Off the Fence- as is customary to an extend- starts with a brief (Rock) blast- before heading into Ska territory.  Although Mrs. Skannotto will always be about Ska/Reggae (at their heart) they have started to become a little more urgent and direct- each new release sees the songs get harder and more insistent.  All These Evolutions (released two years ago) the album is more mature and serious- than previous releases- and sees the band tackle the modern world- from politics and the state of the nation; through to personal relationships.  More catchy and impressive- the hooks and compositions are more detailed and complex- the band hit their peak here.  Following on from that triumph, the boys stepped up to top gear: Outlier sees them change skins; up the ante- and present something wonderful.  Whereas previous cuts have featured mostly Ska and Reggae vibes- a lighter touch on most tracks- here they are harsher and angrier.  There is that shift towards guitar-heavy sounds; they have not abandoned their ethics.  If anything, the ‘new direction; works wonders: their music (on this album) is their most ripe and receptive; the songs are more nuanced and stunning- adding Grunge vibes into their melting pot.  Tracks like The Zealot put you in mind of Nirvana and Foo Fighters.  The Losing Side is more teasing and slow-burning; you think it will erupt in sea of strings- before the trumpets cut through the mist.  Entropy is a magisterial and upbeat swagger: a song that sounds like a carnival standard; designed to get people united.  Mixing Salsa and Ska, it is an insatiable cut.  Games Without Frontiers is a swansong with a kick: a dazzling little song that perfectly brings the album to a close.

The band have matured and developed with each new album/release.  The songs have become more confident and assured; their performances more commanding and passionate- their range and sense of ambition heightened.  The biggest change is the complexity and compositions: they have become fuller and more intelligent; by introducing new sounds and ideas, their music is fuller and more electrifying- highlighted on their latest album.

Having experienced Mrs. Skannotto’s previous output- and knowing their sound quite well- I ‘sort of’ knew what to expect- when it came to their track, The Outlier.  A few quick blasts (of guitar and drums) and my expectations were turned on their head: the sound is very much a mixture of Punk and Grunge; little bits of Classic-Rock in the mix.  Without trumpets and anything elliptical and flavoursome; what you have it an intense and hard-pushing rattle: an introduction that sweeps up the feet; takes the breath by surprise- and knock the senses into hyper-drive.  The initial moments put me in mind of (the likes of) The Offspring and their ilk- although my ears may be way off- and there is a catchiness and addictiveness (to the opening notes).  The vocals rush in charged and determined; filled with venom and direction- our hero is in no mood to compromise.  The initial lyrics have oblique edges; you are never sure what is being referenced- opening line “I’m gonna wait ‘til the moment comes” is an open-for-interpretation sort of thought.  Essentially, the guys have gone straight in with the chorus: usually bands do verse-chorus-verse; it can be predictable- here, we launch straight into the chorus; taking the listener by surprise.  Trying to catch your thoughts, the words tumble and savage; the band are tight and focused- the initial thoughts are thrown with little abandon; no time for reflection and pause.  In my mind, our hero is talking about a revolution; taking a chance to rise up- perhaps the fervency of the vocals influenced that thought.  By the end of the first verse (well, chorus really) there is an interlude of brass: it parps and parades with like a headless chicken; it dives and swoons- creating something both head-spinning and uplifting.  Not just a chance for a break, the musical parable is fascinating in itself: emotive and scenic, the band demonstrates how seamlessly they can shift- going from full-on snarl (to a more composed refrain) in the space of seconds.  When our man is back at the microphone, his thoughts turn to politics (“What’s that you’ve signed? /Are you out of your mind?”).  Perhaps we are looking at love and marriage?  That sense of ambiguity makes the song fascinating and compelling: my mind always treads towards the first interpretation.  The subject/subjects have wasted sovereignty; wasted opportunities and compromised integrity- patience and pride have been evaporated.  That chorus soon swings back in- with the added interjection of “I don’t want to hate what I’ve become/I’ll wait ‘til the war is won.”  Those images of politicians selling-out; wars being waged- and the population revolting and reveling- gets inside your head; the direction of the composition/vocal moulds your thoughts- and gets you in that mindset.  Whether perturbed and disgruntled by political in the U.S. - or overwhelmed by the state of the world- the band deliver a hailstorm of fire; a fast-talking riff that propels the lyrics forward.  What the band do is split the song into two: the verses have trumpet-laden spirit (tied with anxious lyrics); the chorus is guitar/drum/bass-led and more direct.  The effect is neither predictable nor boring: you are constantly fascinating and intrigued by the formation; your body and feet never stop moving.  The song looks at alliances and allegiances: the insanity of pairing up (with venomous allies); boycotting reason for something less pure and rational- leaving the country is jeopardy.  Once more- and as the song continues- half of my brain goes towards love and friendships: perhaps a broken romance is being assessed; maybe a former friend is being given a dressing-down.  The lyrics are intelligent and deep; simple and direct- a lot of attention and thought has (gone into them).  As hooked-into the verses as you are, it’s that chorus that really hits home: it is quotable and sing-along; smashing and stunning.  In terms of definition, an outlier is something that lies outside the main group (for example an island distant from a group; a cow separate from the herd).  When thinking about the song, the word could synonymise dislocation and loneliness: feeling separate from the government; left in the dark and exposed- this can also be applied to relations and broken friendships.  Thought-provoking and constantly engaging, the song does what it sets out to do: it gets the listener thinking and supporting; attacks its subjects impressively- and makes a valid point to boot.  Towards the final stages, the song starts to calm and restrain: trumpet bonds with guitar (they tango with one another); the band create a musical line that is complex and emotive- something upbeat and peace-making.  Reggae/Ska-tinged, there are stabs of guitar: it keeps the listener on their toes and always second-guessing.  With one further introduction of the chorus, the song comes down to land- and lands with a bang.

Filled with vivid images and vital messages, The Outlier is a song that fascinating and compels the mind.  Whatever your interpretation- and whatever the song actually symbolizes- there is a large political objective.  Images of war and back-stabbing; poor ties and deceit are laced in: few can ignore the passion and genuineness of these lyrics; the way they are delivered.  That authenticity is in no small part down to the band themselves: the performance is consistently excellent and spellbinding.  When the band are heavy and domineering (in the chorus especially) you can hear that passion and determination.  When the trumpet comes out; the mood starts to relent slightly- and something less rushing comes in- and they sound effortless and natural.  Lesser bands would struggle to blend (two rather disparate) strands into a cohesive whole: Mrs. Skannotto are masters of their craft; they weld their instruments, lyrics and expressions with no issues or gaps- everything is tight and stunning.  The brass performances (trombone in addition to trumpet) give the song a great sense of energy and lightness: making sure proceedings do not get too heavy and foreboding.  Exceptionally delivered, the brass gives the song heart and smile; mingles perfectly (with the other instruments) to give the song its unique edge.  With the bass guiding the song forward; keeping it on the straight and narrow- and injecting a lot of melody, force and rhythm into things- it commands with distinction.  The guitar work is exciting and jostling throughout: whipping up plenty of anger and attack, they never sound too forceful and directionless- the riffs and guitar lines add huge weight and direction to the track.  With a percussion sound that not only blends with the rest of the band- and supports the other players- but stands in its own right; you have an exceptional band here- playing at the height of their powers.  The lead-off track from their Outlier album; The Outlier is an anthem for the modern age: a contemporary and ever-relevant theme; it is a song everyone can relate to- and everyone will be deduced by.  A lot of bands- when they dabble in politics and these matters- can come off a bit short.  For every American Idiot (some would argue that album is filled with irony) there is Drones; for every Bob Dylan there is a, well...every other political singer.  Mrs. Skannotto have a voice that needs hearing; words that need to be aired- the way they complete this is impressive indeed.  Their lyrics are not ironic or cringing; they are not disingenuous and cloying- they hit the mark and do their work.  If you have not investigated The Outlier, then I suggest you rectify this now- a song that deserves a huge audience.

Having just played Spokane (in Washington) the boys head to North Carolina and Florida: far from home, they are taking their music across the country; checking-in down south- taking their music across the land.  It would be good to see the band come to England- I say this about every foreign act I review- but I mean it: their sounds would be welcome here; we have few bands like them- it would give influence and inspiration to our up-and-comers.  The Outlier is not a typical Mrs. Skannotto slice: if you hear this track alone, you get a false impression- it is not the ‘true sound’ of the group.  The best way to understand the boys is by investigating their back catalogue- and their L.P. at the very least- to get a true representation.  When you come away from listening (to their music) there is that feeling of happiness.  When the band are heavier and pressing- like they are on The Outlier- there is no sense of suffocation  or divisiveness- the band always make music to unite the masses.  Before I conclude, it may be worth mentioning the band as a whole: where they are headed now- what is next.  Their last L.P. came out last year; at the moment they are touring- would be pleased of a rest when they are done.  In addition to taking in- the splendours and many landscapes- of the U.S., when they finish touring, the band will have to make a decision: will they create a new L.P. or E.P.?  Outlier was celebrated and championed upon its release; the fans and public took to it; the range of sounds was amazing- an album that resonated hugely.  It would be great to hear a new album from them; maybe an E.P. in the meantime- I guess new music will be (on the band’s) minds.  It is not the band’s sheer energy and passion that grips- although that is one of the main assets- but their diversity and genre-fuse motifs.  A lot of acts- that walk the line between Ska and Reggae; Rock and Indie- tend to come off as forced and insincere- not the case with Mrs. Skannotto.  When they are in hot-and-heavy territory, their sounds are exhilarating and blinding: it reminds you of the legends of Rock; among the best contemporary sounds- few bands can pen a riff like them.  That said, when they introduce trumpets and a more jubilant tone; then you get a completely different experience- something upbeat and swinging; it catches the brain firmly.  Few bands are as replete and commanding; the New York band does not rest with one idea- their music changes course and projection; they like to subvert expectations at every turn.  What you get is a band that has a long future ahead of them- hardly a surprise they have survived (and flourished) for 17 years now.  If you are not familiar with them; have not heard a single note- now is the time to do so.  In the U.K., we have a few ‘diverse’ bands- that can integrate genres and styles- and consistent talent.  To my mind, Mrs. Skannotto are among the most impressive bands out of the U.S. - definitely keep your eyes alive.  What the next year has in store is anyone’s guess- of course; touring will be among the top priorities.  I do hope they release a new L.P. - although that will take time to craft- as there is demand a-plenty.  For now, investigate the wonders of Outlier; check out The Outlier (and its incredible sound) and follow the band closely.  If we ask nicely enough, they may…

COME and play Britain.

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Follow Mrs. Skannotto:

 

Official:

http://www.mrsska.com/

Facebook:

https://www.facebook.com/skannotto

Twitter:

https://twitter.com/mrsskannotto

SoundCloud:

https://soundcloud.com/skannotto

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Music:

http://mrsskannotto.bandcamp.com/

 

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Videos:

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

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Gigs:

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

Track Review: The Falling Birds- Sweet Things That Kill

TRACK REVIEW:

The Falling Birds

 

Sweet Things That Kill

9.7/10.0

Sweet Things That Kill is available at:

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

RELEASED: 12^th August, 2015

GENRES: Rock ‘n’ Roll; Blues; Rock; Grunge

ORIGIN:

Brooklyn, New York

FOR the next two reviews I will be pitting…

two New York bands against one another.   In a couple of days I am focusing on Ska/Rock band Mrs. Skannotto (such a cool band name: no idea what inspired it) who hail from Rochester: located in Monroe County; it is dubbed ‘The Flower City’; notorious as being one of the most idyllic parts of the U.S. (topping lists as the most desirable areas of the country) - its population is varied.  Split between white and black- about 40% of each, there is also a strong Latino population- Rochester itself is flourishing and nourishing community; one of the most sought-after parts of the U.S.  Mrs. Skannotto’s Ska-cum-Rock motifs- whilst not indicative of Rochester itself (not sure how you would simulate that musically)- is fitting with expectations: with acts like Polar Bear Club, Sirens and Sailors (calling Rochester home); Mrs. Skannotto are among the very finest- showcasing a direct and urgent style of music; a band with a huge future.  The Falling Birds emanate from Brooklyn: the most populous of New York’s five boroughs, it is also one of the most notorious.  To be fair, my knowledge of Brooklyn doesn’t extend beyond the comedy (the exceptional Brooklyn Nine-Nine), yet ‘Kings County’ has produced some of the world’s best music- from the likes of Grizzly Bear and The Drums, the borough is a hotbed for musical talent.  With a similar race/ethnicity breakdown, Brooklyn is perhaps grittier and more notorious (than Rochester) - the two areas are not that far apart; in terms of the bands and acts they produced.  At the moment, Brooklyn is the more diverse of the locales (taking the first round perhaps): The Falling Birds are a true Rock ‘n’ Roll band; heavy and hard when they want to be, they have plenty of range and surprise- a band that can shift tone and emotions within a line; are among the most arresting and memorable acts in the U.S.  Before I continue on- and raise another related point- let me introduce Brooklyn’s The Falling Birds to you:

Stephen Artemis - Guitar, Vocals, Harmonia David Burton - Drums Nick Albury - Bass

“Grungy rocker”, “blues infused”, “country with a whiskey roughness”, “punk too limiting”, “melting pot of American music” are just a few of the adjectives music critics use to describe The Falling Birds. Their musical range, creativity and instrumental skills defy easy categorization. They are consummate storytellers. They spin tales of joy and heartbreak, honed in the cauldron of life growing up in Albany, New York and the rural Mohawk River Valley observing first hand their inexorable economic and social decay. Principal songwriter Stephen Artemis absorbed Albany’s punk scene and upstate farm culture which formed the foundations of his song writing. “When I lived in the country, radio reception was limited to three stations, country, classic rock and oldies. In order to connect to alternative material, I had to create it myself” he said. It was during this fundamental coming of age when Stephen witnessed the insidious decline of New York’s northern Rust Belt. The experience profoundly impacted the subjects and characters that define his work. Years later building his musical career and reputation in New York City and keenly aware of the incalculable disparity coexisting in that remarkable city Stephen began incorporating these experiences into his songs. In 2011 Stephen met band mate Dave Burton, drums, and the first incarnation of The Falling Birds was born. Nick Albury, bass, joined in 2013. Each had left home in search of a more fulfilling life, but found life even more challenging in the Big City. The aftershocks of America’s Great Recession were still in full bloom and working multiple jobs made concentrating on their musical style extraordinarily difficult. To compensate Stephen began to workshop his songs on New York’s streets and subway platforms earning the hard way performance experience and pocket change. He calculated that if he could entice New York’s commuter warriors for even a few minutes, he might just have a sound that would attract a larger audience. The trio began writing songs that reflected their life stories and provided the inspiration to overcome the relentless grind of the City. The years of frustration and longing came to life in songs as emotional and chaotic as their lives. They learned the painful lesson that no meaningful art is produced without pain and the joys and disappointment life serves up. Instead of shying away, they embraced those experiences to create a sound uniquely appropriate to the times. Soon their shows attracted a loyal and enthusiastic following. They described their performances as a musical conversation, a place where each instrument speaks in a distinct voice. Their songs range from melancholic - stories of loss and longing - as well as rowdy that exude a heavy blues riff. The Falling Birds sound, as their name implies, is a fearless launch from the nest into a hopeful expectation of flight that is at once disturbing, compelling and ultimately optimistic. In 2014 The Falling Birds released their first EP, “Native America”, a five song chronicle of their experiences and musical influences. “Native America” received significant favorable reviews from independent media which led to their 2015 follow up, “Till We All Fall Down”, which will be released this coming fall.”

 

The band have absorbed a range of colours: the shades and contours of their idols- the gods of music past- and their geography; the people they grew up with- what you get is something both old-sounding and fresh; genres mix and trip (in and out of one another)- everything from Grunge and Blues to whiskey-soaked Folk and Rock.  The Falling Birds are doing business in a borough- and state for that matter- with a lot of healthy competition- New York is one of the most populous musical areas; the fierce competiveness has not bothered them.  The boys sound effortless and cool in every moment; their songs have little anxiety and fractious emotion- their songwriting is unimpeded and free from critical expectation.  Although their latest cut- that promise sweet things can kill- the band are always in control and ice-cold.  Whilst the U.K. is producing its fair share of Rock bands- acts that can kick through concrete- the U.S. is edging ahead- and showing a greater sense of range and emotion when they do.  We have some Falling Birds-type bands here- that lace together Blues, County, Pop and Rock- yet none with the same sense of fervency and authority.  Authentic and hungry, Brooklyn’s stunning trio is gathering a huge momentum; their reputation is growing- their fan base swelling by the week.  With Sweet Things That Kill picking up some prestigious reviews and press, things are looking good- watch this space…

If you are new to the group; wondering who inspires them- they list their influences thus:

“Mr. Hendrix, all the stones, Mr. Dylan, Mr. White, fellow birds The Black Crows, Chris Robinson, our brothers and sister across the pond in a Band of Skulls, NOFX (Mike sucks), the Sex Pistols, of course Kurt, the 60's, the 90's, yeah I guess the 70's too, don't forget about all the delta blues boys, are you still reading?, buy our albums please, and Mom & Dad.Song.”

That melting of U.S. Blues-Rock, Psychedelia and Folk- and essentially every other style/decade of music- is a good starting-point.  Their latest single has elements of ‘60s/’70s Blues-Rock; smatterings of traditional Blues music- elements of The White Stripes.  As it crackles and reaches fever-pitch there are touches of The Doors- that same magnetism and animal lust (displayed by Jim Morrison).  Traditional and modern; uniting disparate strands of ‘40s Blues (with ‘90s Grunge), the band cover the spread- not to be compared with anyone else.  They are a very unique and startling group: there are elements of other acts; you would be foolhardy to draw another name to their shore- The Falling Birds should be judged upon their own merits.  With comparison to their previous work, the guys are on the top of their game: Sweet Things’ is their most enlivened and scintillating slice (to date).  Native America E.P. was their previous work- recorded a year ago- and the first full introduction to the band.  A five-track collection, the songs are as striking (as the E.P. cover) - a stunning design that intrigues the mind.  Darling is a Grunge-laced, lo-fi diamond: scuzzy and swaggering at first, elements of Punk come out- putting you in mind of The Clash and Sex Pistols.  Cocksure and masculine, the vocals have bare-chested intentions; the composition is tight and gripping- the band are in-step and in command.  If Time Allows is more soothed and gentle: beginning with acoustic strings, the track offers respite and reflection- a chance to see the band’s sensitive side (and our lead’s adaptable and stunning voice).  Country/Folk-influenced, it brims with the ghost of ‘60s Dylan- harmonica at the ready, it has shades of Dylan’s mid-‘60s output.  Arms Out Wide and Dead Man Walking get the E.P. back in ‘heavy’ territory: the former begins like a haunting showdown- two pistol-slinging backs together; taking steps into the desert sun.  Slinking into Tarantino/Surf-Rock territory the song has ounces of cool and sparkle- it explodes into life and clatters with abandon.  Dead Man Walking has a similarly fascinating introduction: more Blues-Rock in sound, it is a leather jacket-clad rocker: imagine The Rolling Stones (circa-1968) spliced with The Black Crowes.  New York Love Song—the E.P.’s swansong- takes things to a seductive close.  Bristling with passion and tenderness, the harmonica leads the swoon- a passion play unfolds.  Largely instrumental, it is a time for reflection and settlement: take the E.P. to a natural close; allow the listener chance to think.  It completes an authoritative, jam-packed and mesmerising E.P. - few bands have come in this strong and bravely.  Borrowing sounds of the ‘60s and ‘70s- with some ‘90s/’00s Grunge and Blues-Rock- it has an evocative and nostalgic feel; the modern edges are all there- making it sound contemporary and fresh.  What comes through is the band’s individuality and personality: there is no mimicking and tribute act at work- they are their own force; a band with their own skin.  Huge and impassioned vocals sit with wonderful compositions and varied themes- backed by a lo-fi and ‘live-sounding’ production.  Sweet Things That Kill- and one suspects their ‘Til We All Fall Down E.P. - is the band at their peak.  Showing some continuity- fans of the band’s previous E.P. will find familiar themes- yet the guys are more urgent and emphatic here.  The production is a little cleaner and crisp; the riffs bigger and more nuanced- the aftertaste sweeter and more addictive.  It is hard to improve upon something (as treasured as Native’) yet the boys are ripe and receptive; fully up for the challenge- keen to keep the quality but naturally evolve.  Old fans will love their new movements; new listeners will find much to love- the trio sounds in love with music (on Sweet Things’); finding new inspiration- putting fresh sounds into the pot.  I guess their new E.P. will see Blues-Rock sit with ‘60s Rock and Punk- on their lead-off track, there is that definite nod to ‘60s/’70s masters- Hendrix and The Rolling Stones for sure.

Beginning in a flurry if Blues-Rock magic- where strings twang and swagger; the mood shimmies and puts on its drinking trousers- Sweet Things That Kill gets underway.  Done in the most exhilarating- yet strangely subtle and restrained way- the listener cannot help but be pulled-in- and captivated by early promise.  Arriving at the microphone; voice whiskey-soaked and lascivious; eyes trained and set- our front-man lays down his testament.  An anonymous (and rather femme fatale) figure is investigated: whether an ex-girlfriend- or else a friend- she is “so bad”- the song’s title (and sweet thing that kills).  In the early exchanges the guitar/bass/drum interplay has a traditional Blues/Blues-Rock template- an updated version of a Blind Willie McTell/Son House riff.  Chugging and fist-pumping; foot-tapping and determined- it is a catchy and slinking introduction.  The boys show how tight and in-tune they are (in the first stages): the composition sounds well-rehearsed and natural; there are no wasted notes or rambling- it is a razor-sharp riff.  Soaked in booze and cigarette smoke, the listener (cannot help but picture) the scenes: the bar-room meeting; the red-dressed heroine- teasing (and extinguishing male admiration) with a glint of her eye.  From the off, you are split between the past and present: the trio have a keen ear for ‘60s Blues/Rock heroes- The Rolling Stones especially- and the Detroit Blues-Rock movement (of the ‘90s and ‘00s)- the likes of Jack White can be heard.  That said, the riffs and composition has modern edges and contemporary threads- you struggle to compare the song to another; it is very proud of its exclusivity and rareness.  Ball-busting and intense, our hero lays down the law: his words crackle and ignite with lust- that endless sense of passion and persistence brings the song to life.  Whoever the woman is- and by all measures, she seems like a firecracker- it is having an effect: I get the sense (the woman referenced) is not so fictionlised; maybe a girl that has cast her spell (or our man).  Gun-toting beauty; trigger-happy cruelty: this gorgeous seductress has the capacity to crush a man’s heart; deceive with her sweet-natured appearance.  No doubt lulling (her prey) into a sense of false security, we can all relate (to what is being said) - whether a literal killer (or just a metaphorical one), I generated some rather vivid sights.  A song perfect for a Tarantino flick- or maybe a 1960s road movie- the production sounds quite vintage and bygone.  Lo-fi and bare-boned, you get a real visceral sense of sexuality and lust; as though you are hearing the boys live- every note and words sounds ragged and exhausted.  This makes the song a lightning bolt of energy; it comes across as genuine and distinct- although vocal clarity is lost a bit (some of the words seem a little muffled and buried; some lyrics get lost).  Sweet Things That Kill never relents (when it comes to pace); it pervades and electioneers: desperate to get everyone on board; make sure the song burrows into the mind- and never shifts.  By the half-way mark, the track sees it most enlivened moment: the vocal cracks and sparks; the composition shifts slightly- a brief emotional/tonal change of pace- before returning to that indelible central riff.  Due to some loss of decipherability- some steps in the story get lost- you have to start to guess and speculate.  Our hero is being tied-down (perhaps literally in some sense) and overcome; his subject doing her damage- causing quite a sense of delirium and confusion.  The blackbird high on the fire- similar to those on the single’s cover- the girl is doing her worst.  Becoming heavier and more concrete; grumbling and graveled- the vocal (and composition for that matter) get wracked and angry; the song reaches its exhausted peak.  With our front-man letting his voice roar; his words shoot and swing.  The guitar work is particularly vivacious: both insatiable and hungry; the riffs are punishing and psychedelic.  Clearly inspired by gods like Hendrix and Robert Johnson, the songs riff is straight out of the U.S.- you could imagine the song being written on a porch in the Deep South- dog by his lap and a bottle of bourbon by his (our lead’s) side.  Mixing songs like Back Door Man and Sweet Home Chicago, the Falling Birds boys update the ol’ Blues style: run it through their spectrum; they come up with something quite immense.  Bands like Black Rebel Motorcycle Club- the San Francisco band has never overwhelmed the critics- are past their best (whenever that was); they never rocked as good as The Falling Birds- they would do well to study this song.  Before the tale is up, you are not given a chance for breath: the song keeps coming round to strike; never allowing any submission or retreat.  The song’s anxious coda is repeated; the heroine has left the room- the dust is starting to settle.

Congratulations must be offered to the entire band: the trio summon the same command and noise a four (or five-piece).  Stephen Artemis leads with a commanding voice: his tones suggest elements of Jim Morrison, Mick Jagger and Jack White- at the heart of it, they are mere jumping-off points; his sound is very unique and distinct.  Sounding like the result of an epic whiskey and cigarette binge- that would floor a room of elephants- that gravelly and soaked vocal is utterly delightful.  It fizzes and electrifies with every word; the emotion and passion leant to every line is deeply impressive- the sheer power and prowess (from the first to last moments) is gripping indeed.  As a guitarist, Artemis channels the legends of old- the McTells, Johnsons and his peers- but has a very modern sensibility- fusing old and new works wonders where; you are reminded of Blues’ glory days but always kept in 2015.  Exhilarating and rampant, the riffage (sic.) is huge and Stone Age.  David Burton supplies drum support: his stick work is emphatic and impressive; he lead from the back; keeps the song level and focused- offering up a huge weight of gravity and pummel; perfectly bonding with his band-mates.  Tight and intricate, his work is not just shoot-and-squirt: there is a lot of rhythm and emotion; some nice little moments- that beautiful commingle with the lustful core.  Impassioned and strong; flailing and hardcore, he is a drummer to watch.  Completing the trio is Nick Albury: the bass player is the spine of the song; he keeps everything concentrated and moving; letting his bass provide plenty of urgency and power.  Theatrical and driving; dynamic and straight-forward, it is an incredible performance.  The entire band unites brilliantly: they are so tight and in-step throughout; a clear kinship and bond- you can hear the chemistry throughout.  Each instrument supports the other; the percussion bonds with bass; both augment the guitar- which support the vocal.  Intricate and intelligent; natural and intuitive, The Falling Birds have crafted a diamond here.  The only minor criticism is the clarity and concision.  Sometimes the basic/unsophisticated production mutes and depletes the vocal: the instruments drown out the voice; the intelligibility is diminished- some of the lyrics get lost in translation.  Maybe a lyrics sheet- to accompany the song- would help; I found myself straining at times- trying to decipher what was being sung.  That said, it is a minor quibble: you are so entranced by the song’s psychotropic trip, you just let it take you in- and thoroughly seduces.  Drunken and drugged-out; wracked and lustful, Sweet Things That Kill is an out-and-out triumph.

Well, then!  It is clear the New York band will rise to great things: building from promising beginnings, the boys get bigger (and more memorable) with each new release- they evoke a true Rock spirit without compromising integrity and ideology.  Their personalities and voices are original and personal; their style a superb blend of old and new- their music appeals to the brain, heart and soul (few other acts promise that).  It would be great to see the guys come play London: bring their mixture of black magic and mystique to the capital- and enthrall the British crowds (the boys are coming to Yorkshire later in the year; maybe they have to come further south?).  Perhaps that may be a while off, but for now, the band should be very proud: their latest track is a bold and stunning record; perhaps their finest moment- a sure declaration of intent.  Since last year- when they released their last E.P. - the boys have been working hard; laying down their new moves- let’s hope they capitalise on this momentum.  The guys are unleashing their new E.P. soon- ‘Til We All Fall Down- which will give the world a chance to see what’s next; fully exposed and in their glory.  Sweet Things That Kill is as stirring and memorable as its title; the band seem at their most natural and tight- no surprise the song has resonated with media and fans.  Before I sign off, I wanted to finish on this point: the state of music in the U.S.  Most of my reviews- being based around British music- usually end with the same sentiment- that the mainstream acts are being overpowered (and outdone) by the new/underground musicians.  In the U.S. the same is certainly true: the mainstream music/charts are as mediocre and unpredictable as ours; their new musicians are by far the most impressive.   With the likes of The Falling Birds leading the New York charge- and sister acts Mrs. Skannotto joining the fray- I predict big things- the Brooklyn trio will be a festival act to watch; they have the talent and intuition to make a long-term career (a distinct possibility).  One of the big things we need to do- as much as possible through social media- is to become more aware (in this country) of great U.S. music- and vice versa I suppose.  I discovered The Falling Birds through Yasmine Van Wilt- a stunning American singer/author- and I found her through... well, luck.   I am glad I made the discoveries: it seems rather serendipitous and fluky.  I guess that’s the way discovery/social media will work: how can we effectively overcome compartmentalisation?  That may be a conundrum for another day, yet the point remains: the likes of The Falling Birds should not be left to sheer dumb luck/friend of a friend discovery.  With a solid and scintillating set of songs; a terrific sound and sense of identity- they are a band to watch very closely.  Check out Sweet Things That Kill; dip into (The Falling Birds’) back catalogue- and see how good they are.  What the future holds- could be anyone’s guess I suppose- though it is sure to be filled with new ventures and extensive touring.  They have a new E.P. forthcoming, so that is something (to get your teeth into).  Make sure you listen to the single; take it to heart- and above all…

SPREAD the (good) word.

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

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Follow The Falling Birds:

Official:

http://www.thefallingbirds.com/

Facebook:

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

Twitter:

https://twitter.com/fallforthebirds

SoundCloud:

https://soundcloud.com/thefallingbirds

Instagram:

https://instagram.com/thefallingbirds/

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Music:

http://thefallingbirds.bandcamp.com/

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Video:

https://www.youtube.com/channel/UC7zLoKwLZqC2QtEBkSI_Crw

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Gigs:

http://www.thefallingbirds.com/shows

Track Review: Melinda Ortner- Ghost

TRACK REVIEW:

Melinda Ortner

 

Ghost

9.3/10.0

Ghost is available at:

https://soundcloud.com/melindaortner/ghost

RELEASED: March, 2015

GENRES: Electronica; Pop

ORIGIN:

Petaluma, U.S.A./London, U.K.

FOR the next few reviews/features, I will be looking at international talent…

concentrating on U.S.-born talent (for the most part): two New York-based bands; following up with NINA- a German-born Electro.-Pop star.  For today, I am investigating the gorgeous Melinda Ortner: born in California, the young Pop star has crafted quite a career; obtained and achieved some notable honours- had her music featured in some prominent places.  Before I get to her, I am keen to explore a particular topic: the range and ambition of female singer-songwriters.  It is a subject I raise in a lot of reviews- most of them in fact; even when reviewing male singers- but today it seems quite prescient: my featured artist is a striking and unique talent; someone that does not fit into mould- her music remains in the imagination.  I am not sure why the male-led songwriters seem (by comparison) homogenised and narrow- the females are leading them by a mile; they have much more at their disposal- and are championing the merits of the new music scene.  I know I bang on about artists like FKA twigs and such: my passion and exuberance does not start and end with her.  If you consider Soul/Pop artists like Adele; some terrific young acts like Lianne La Havas; the wealth of Electro.-Pop acts coming through- there is so much to behold.  The men do have a sense of mobility and range: they go from Folk to Pop; Electro. to Rock- yet there seems to be fewer (male artists) than female.  The last male solo artists that impressed me- and I mean really bowled me over- was James Blake: his 2013 masterpiece Overgrown is still in my mind- since then, there have been few that have made an impression.  When it comes to the females, there are more (making larger steps); sticking in the mind- causing excitement and inspiration.  When Pop is used as a starting-point- rather than being exclusively explored- that is when yu get the big reaction- tying it to Electronica and Soul; infusing some Blues and Rock together; by being inventive and intelligent, you create something more fascinating and nuanced.  With the girls leading such a revolt- even now, I am thinking of other great female artistrs and examples- I am always excited to witness (a new example).  Before I raise another point, let me introduce Melinda Ortner to you:

“With her debut album still to come, Melinda Ortner is quickly climbing in the music industry, both abroad and at home. In 2011 she was the grand prize winner of MTV’s “Steal The Spotlight” contest, and was chosen as one of 15 songwriters of the year for ASCAP’s Johnny Mercer Project. She was also semi-finalist for the IMWSC Songwriting Contest while her song “Something You Said” was featured on STAR 98.7.com’s indie playlist.  She has three recent song placements in the feature films, ‘I Hate Valentine’s Day’ by Nia Vardalos (My Big Fat Greek Wedding), ‘American Pie 7: Book Of Love’. She’s written for Chevrolet, and recently licensed a song to Glen Ballard’s young new artist also working with Desmond Child and The Jonas Brothers. In August 2011, she opened for Joe Jonas, Miguel and Cobra Starship at the official pre-VMA show at House Of Blues, LA. She played the 10th Annual Jeff Buckley Tribute with host Jack Osbourne, and performed with Magni Ásgeirsson (finalist from the CBS show “Rockstar Supernova” in Iceland). Furthermore she won “Best Performance” and “Best Song” 4 consecutive years at the West Coast Songwriters Showcase. She got to perform at Kate Hudson’s Christmas Party last year and was voted “Best of Sundance Music” also performing at SXSW in Austin, Texas. She was featured on PCTV and invited to perform the ESPN Dinner Party and several film premieres which led to writing the theme song for a feature film in Finland called “Gone With The River”. The track made it into the top 100 Billboard charts in Finland.  In 2011 Melinda completed a successful 4 month self-assembled Europe/Japan tour that led to great press reviews, radio and TV interviews, sold out concerts and a scheduled follow-up tour late 2012. In the meantime she’s completed another US West Coast tour, and regularly play shows in LA. She was also the main subject in a documentary released in Europe, where cameras followed her around for a year, filming her walking six dogs at a time to pay the bills whilst writing melodies for her album, then running off to the studio or a gig or some Hollywood meeting.  The music video for her first single “Heartbeats” has more than 45K views on YouTube,” and has been licensed for over a dozen wedding videos, promos, and company websites. Several of her tracks have also been aired regularly on MTV2, Showtime, HBO, USA Network, Pay-Per-View, as well as the Comedy Central, The Sundance Channel, and the Movie Channel.”

At the moment, I am fascinating by foreign talent: mostly those located around the U.S.  It may seem axiomatic; the U.S. has some of the best up-and-coming musicians around.  Ortner was raised in California- and currently resides in London- and seems to have seduced her home crowds.  After extensive touring around the United States; now based in the U.K. she is finding a loyal audience here.  With the likes of Mrs. Skannotto and The Falling Birds (two terrific U.S. bands); American musicians are starting to gain influence; make their way to our shores- or at least come under our radar.  With so much attention paid to British-born acts, it is always great to discover something different; international talent- artists that differ from ours.   Ortner is one of the most fertile and ambitious musicians to come out of the U.S.; her music stands her aside distinctly- her unique voice is evocative and exhilarating.  I love British artists a lot, yet it is wonderful to look further afield.

If you are new to Melinda Ortner, it may be worth looking at some of her idols: included is Goldfrapp and Fiona Apple.  The way these artists have their own (unique) voice, so too does Ortner: she is not your run-of-your mill singer; her voice mutates and develops- depending on her song themes and subjects, her voice adapts.  A lot of modern singers are too reigned-in and predictable- that is not the case with Ortner.  When the moment calls for it, she can go from heartbroken to upbeat; whispering and fragile through to a sky-scraping high.  It is worth judging the star on her own merits and voice: that said, if you want an idea of where she came from, the likes of Apple and Goldfrapp are key.  One of the best things about Ortner is her sense of range and ambition.  No too songs really sound alike; she never likes to rest and play it safe- always stretching herself and creating something new.  Ghost is one of Ortner’s newest compositions: a song that is mature and introspective; quite subtle in places- powerful and evocative in others.  It has an ear and sound that places it somewhere between classic Soul territory and modern-day Pop/Soul.  A soothing and sensational blend, the song creates new memories and ideas on each spin- one of her most developed and brilliant tracks.  In her earliest days, Ortner came out with Somethin’ Sorry- a track that gets out of the blocks from the first moment.  It is usueful to see where Ortner is now- and how she has developed- to get a real sense of her music.  Funky and stomping, jazzy and spritely, the song gets inside your head.  A packed composition fuses matching piano and dancing notes- a whirlwind of colours and emotions.  Guaranteed to put a smile on your face, it showed Ortner was fully-rounded right from the first moments.  Not willing to do a string of cover versions- and produce early songs that are effete and naïve- she is mature and confident here.  The song looks at temptation and forbidden fruit: wanting something a little wrong and different; wondering if (her lover) is the one for her- and he is the right man.  In the earliest moments, Ortner understood the importance of diversity and surprise: Another Chance seems like a very different beast.  Here she brings in influences such as The Beatles and Radiohead.  In the acoustic-led moments, I am reminded of The Beatles-era work (especially McCartney’s compositions); as it becomes heavier and Rock-ier, there are edges of Radiohead- circa-OK Computer.  Sweet Little Lies (recorded a few years ago) is raw and emotional; both contemporary and classic- looking at deceit and treachery.  I’ve Got You is chirpier and youthful; cute and seductive- as or heroine yearns for something better.  With The Right One (piano-based and soft) the song builds from tender beginnings- building to a rousing climax.  Issues of love and repression mingle; feeling trapped and alone- wanting a better life.  Ortner’s subject matter has not varied too much (and need not either).  When she launched her career her writing varied between fun and uplifting subjects- being in love and happy with her lot; the compositions matched this bonhomie- to more introverted matters- heartaches in love; feeling strained and anxious.  Ghost (and other up-to-date cuts) tow these lines: a variation on the theme, perhaps there is a tendency towards the latter- writing songs that are a little more grown-up and contemplative; perhaps more fitting with the expectations/sounds of the mainstream.  That said; Ortner’s compositions and diversity is still in place: she cuts loose and has fun (on some numbers); not always committed to being down-to-earth and investigative.  Whilst her discourse and thesis lean towards love and loyalty- and the nature of relationships- this shows Ortner has matured and developed.  A more fully-rounded and striking songwriter, her lyrics are tighter and more impressive; her melodies more addictive and nuanced- her songs packed with more detail and fine moments; more assured and bold.  The biggest change/difference is Ortner’s voice: it has certainly come into its own.  While earlier compositions maybe employed shades of her idols- and tried to fit into the current Pop scene- now her voice seems more personalised and variegated- more gripping and beautiful; impossible to compare with anyone else; more emotive and heartbreaking.  No One’s Gonna Love You Like This- a track recorded around the same time as Ghost- sees Ortner in fine voice; the composition is swelling and emotive- the chorus is one of her most catchy and stirring.  Improving and evolving (with each new track) it means the future will be very exciting: the American becomes more captivating as time goes on; who knows what a forthcoming E.P./album could contain- and the impact it will have!

We are here to look at Ghost: a track that has taken Ortner to Cannes; has its own little life- and is gaining a reputation and positive acclaim.  It is not hard to see why (it is gaining such a reputation); why the public have fallen for it- the song has hints of the current scene, yet maintains Ortner’s sense of identity and flair- fans of her older work will find familiar threads.  Starting with a romantic and tender piano line, the introduction is pure and delicate: something quite entrancing.  Early on, our heroine is piecing things together; trying to figure things out- she has closed doors and broken bonds; things have changed and there is a sense of regret.  Running around in circles, feeling isolated- Ortner is coming under scrutiny it seems.  Whether based on real-life fall-out- or something based in fiction- it certainly comes to life: one suspects relationship breakdown (or falling out with friends) has inspired the song- maybe some important bonds have been severed.  Ortner (in these early exchanges) feels backed into a corner: people are blaming her (for problems and mistakes); voices and fingers are spiked- there is that sense of pressure and struggle.  It seems the judgement of others is off the mark: there’s that assumption (Ortner is looking) for someone to save her; rescue her from strife and sorrow- that she needs a life vest of sorts.  With her voice firm and resolute, there is that feeling of rebelling against expectation and common opinion: here is a young woman who is strong and mature; not someone that needs babysitting and constant interference.  Making sure proceedings never become mordent and depressed, the composition has a lightness and sense of openness- not too upbeat, instead it perfectly keeps emotions appropriate; never betraying the lyrics.  It appears a relationship has broken down- whether a friendship or romance; I suspect the latter- and there is regret for sure.  Our heroine laments circumstance; the fact she (has pushed her subject) away- as things are now, all she feels is a ghost.  With a memory haunting her mind, there is a feeling of desire: the need to go back in time and do things differently; have her beau by her side- at least get the chance to renegotiate the past.  Ortner’s voice multiplies and layers- creating a spectral and spine-tingling choir- as she looks back at the wreckage- “I buried it all/Watched as you called.”  Both emotional and vivid, the lyrics put the listener into the song: each person will picture the scenes; become involved with the drama- and root for the heroine.  With the song (developing into something) rousing and electrifying, it exceeds the limitations of current Pop- which tends to be quite one-minded and thread-bare- showcasing Ortner’s unique talents.  The love (she had) was “too hard”; the fall-out still reverberates- she pulled the heart out (of her man’s) chest.  Contrary to most similar songs- which blame the man; casts aspersions and assigns blame- here the tables are turned.  Ortner owns up to her culpability: she acknowledges her role and regrets her actions; changes the gender roles and shows honesty and bravery- that comes at quite a price.  Whilst she knows the truth, she is receiving scorn and derision- corned in; everyone seems to be against her.  Perhaps our heroine is turning into a ghost: that feeling she is detached from her heart and soul; the need to float away and escape the stresses.  With her man fresh in her memory, she is looking around- expecting to see him there.  The composition goes from tender (and piano-led) to something pounding and emphatic- a fuse of Pop-based sensibilities and something Electro.  Eliciting the maximum amount of emotion, the composition packs quite a punch: in the chorus it is particularly bold and punching; the vocals layer and rise- ensuring the words get right inside (the listener’s mind).  It is that chorus that is the most effective tool: with its memorable lyrics and haunting imagery, there is a mixture of sadness and energy; beauty and sorrow- making it a hugely stirring thing.

Never cynical or predictable, Ghost is a very personal tale: coming off the back of a scarring break-up, the song is an exorcism of sorts.  Never bogged-down or uninspired, the track is constantly enthralling and wonderful.  From its sparse and gentle introduction, the song runs the gamut of emotions: going from soft and shy to sparkling and thumping.  Ortner’s voice ensures the lyrics are brought to life: the performance is consistently impressive and emotive; the words memorable and economical- she does not cram the track with needless lines and moments; everything is tight and to-the-point.  The composition allows the vocal to stand out front: whereas other songs/artists lose clarity and decipherability, here every note and word is clear and crystal- making the song that more impressive and professional.  It is hardly surprising Ghost is going to feature in a film; it has received such praise and applause- it is one of Ortner’s most rounded and confident songs.  The song seamlessly fits alongside the current Electro./Pop/Soul palette of today: nestling itself alongside the best of the bunch, Ortner is an artist that has plenty of ambition and passion- reminding me of the St. Vincent and Robyn.  With that in mind- and seeing how female Electro.-Pop/Soul artists are coming through- where does Ortner fit in?  I would definitely rank her with the best out there (and the likes of St. Vincent).  If you consider songs like Digital Witness- from St. Vincent’s last album- that mixes additive brass with a witty and cutting lyrical theme (the shallowness and downsides of social media).  Ortner has always put her pen away from the predictable ink pots: she likes to write from her own perspective; with regards lyrics and composition, she pushes boundaries- one of the most innovative songwriters around.  Ghost shows the young singer in reflective mood: wearing her heart on her sleeve; it sees her at her most emotive.  Whether it is the sound of future releases- or if she will mix it up and incorporate different themes- time will tell.  As it stands, it is a stunning and gripping track- one everyone should investigate.

In a few days I will be looking at German-born singer NINA: an Electro.-Pop artist that is creating a lot of buzz and excitement.  As (my next two reviews) look at male-led bands, it has been great spending time with Ortner: a terrific female artist with a big future ahead.  The signs are all rosy and positive: with a stunning album under her belt- and a slew of great songs and accolades- the young American is not going to stop there.  Since I Wanna Be Ok- Ortner’s 12-track album released last year- she has been a busy lady- touring around the land; creating new songs and ideas.  Four years ago Ortner released Somethin’ Sorry; she followed that up with gems like The Right One and Caught in the Middle- with each new step she gained confidence and stature.  As things stand, Ortner is at her very peak: Ghost (released a few months ago) shows how vibrant and assured she is; the songwriting and performance is insatiable and mesmeric; the production values allow Ortner to shine and wow- it is a track that will linger in the mind.  With regards to future plans, I am not sure what is in mind: maybe Ortner will plump for a new single; an E.P. or album perhaps?  To be honest, she has the options and audience: whatever she decides to do, there is a hungry and dedicated fan-base waiting.  From what I have heard- and bearing Ghost in mind- it would be great to see an E.P.  Ortner launched Ghost in Cannes- the song is going to be featured in a film- and she is busy touring.  Next week she heads up to Edinburgh (to play at the Edinburgh Fringe Festival); recently she has played around London- she is one hell of a busy musician.  There are a lot of young female artists coming through- that marry Pop with Electro. and Soul sounds- and not all of them have long-term success.  It is vital to have a unique selling point: something that seperates you from the crowd; a style and personality that draws in faces- and an artistry that makes you distinct and attention-worthy.  Ortner has a down-to-earth talent and great beauty; a terrific set of lyrics and ideas- her music is constantly evolving and improving.  An assured and stunning singer, her voice has shades of classic Soul artists; little sprinkles of her idols- including Goldfrapp and Fiona Apple- and plenty of vintage shades (being a fan of The Beatles and Pixies, she knows about quality and making an impression).  After the dust has settled; when Ortner is less full-on and busy, it will be exciting to see what she does next: I am sure the business of music-making is going to be at the forefront.  With a sea of vivacious female artists bursting through, it is great to see an artist with genuine durability and sustain.  Make sure you check out Ghost; follow Melinda Ortner across social media- and keep your eyes peeled.  Maybe she’ll stay rooted in London; perhaps she will return to L.A. and the U.S.: one thing’s for sure- whatever she decides to do- it is sure

TO be something truly special.

[soundcloud url="https://api.soundcloud.com/tracks/196153883" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Melinda Ortner:

 

Official:

http://melindamusic.com/

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This Week's Albums: August 14th, 2015

This Week’s Albums

 

August 14^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: Dusty Springfield- Dusty in Memphis (1969)

 

9.5/10

We all are aware of Dusty Springfield: the legend is synonymous and widely celebrated.  If you do not own a Dusty album, make it this one.  With hits such as Son of a Preacher Man, The Windmills of Your Mind and I Can’t Make It Alone- it is an essential collection.  The queen of British Soul music went to Memphis- a climate and town that were foreign to her- and recruited the best musicians and producers.  With the likes of Memphis Cats and Jerry Wexler on board, Springfield’s stunning voice reigns.  An album that is far ahead of its time, Dusty in Memphis is a Soul masterpiece: Springfield has never sounded as authoritative and ready-made.  A natural-born Soul diva, she makes each track her own (the likes of Bacharach and David, Gerry Coffin and Carole King are covered).  Released in 1969, the album stood as a landmark release: for a white British singer to conquer the Soul market- normally ruled by U.S.-born black singers- was a huge achievement; Springfield sounds no-less striking and mesmeric.  For those seeking a perfect Soul/Pop album; brimming with transcendent moments- your search should begin (and end) here.

[youtube https://www.youtube.com/watch?v=DjydOI4MEIw&w=420&h=315]

The New: Neck Deep- Life’s Not out to Get You (2015)

 

8/10

I was going to by the new album from Dornik: a Psychedelic Soul star from south London (who used to drum for the likes of Jessie Ware).  H.M.V. doesn’t seem to stock it; Amazon doesn’t have it in stock- the stupidity of this baffles my mind.  Angrily, I had to plump for Neck Deep: in fact, my anger was soon allayed.  The Welsh band’s (sophomore album) delivers huge punch and emotion.  Tracks Threat Level Midnight are relentlessly pressing and addictive; Can’t Kick Up the Roots is one of the most captivating songs of the summer- Gold Steps is a Pop-Punk jam that is sure to be a live favourite.  Whilst not the finest album of the week; Life’s Not out to Get You is a stunning L.P.  Comparisons to Sum 41 and seem unfair and short-sighted: Neck Deep have their own personality and drive; their songs are more consistent and nuanced- a band to watch closely.  Whilst the relentless force and energy may grow tiring, it is an album you will revisit; one guaranteed to raise the energy levels- and get the crowds united.  If you manage to find Dornik’s self-titled album anywhere, let me have it!  As it stands, Neck Deep’s new album is a mighty consolation: a record that should be investigated by all.

[youtube https://www.youtube.com/watch?v=d6uIsM7s6pY&w=560&h=315]

The Influencer: Wire- Chairs Missing (1978)

 

9/10

A year before Dusty Springfield’s masterpiece arrived, Wire landed this stunner: a band and album you have probably never even heard of.  The record mixed cold and haunting synthesisers with dark and downbeat moments; a crucial evolution from Punk into Goth music.  Chairs Missing is a study in perfectionism and detail.  The arrangements are filled with stunning sounds and sonic texture; the songs deal with personal demons and disturbing avenues- the combination is hugely effective.  Too Late is a rousing Punk-Rock closer; packed with sweat and pummel.  I Am a Fly (the album’s highlight) is all mechanics and imagery; fly-mimicking guitar sounds; vivid lyrics- the band’s masterpiece.  Sing-along and quirky, it epitomises the disc as a whole.  Brimming with inventiveness and doom-laden prophecy, there are hints of early-career Pink Floyd: few artists manage to concoct albums so enduring and faultless.  Many of you will be unfamiliar with Wire: one spin of Chairs Missing will completely change this; compel you to dig deeper- and check out the band’s back catalogue.  The group are still recording today- and released their self-titled album this year- so high-time you got on board!

[youtube https://www.youtube.com/watch?v=OnIXXe83fe4&w=420&h=315]

The ‘Other One’: James Blake- Overgrown (2013)

 

9/10

The 2013 Mercury prize-winning album was a huge statement upon its release: confounding and startling critics- Blake’s sophomore L.P. took the music world by storm.  Blending melancholy and introspectiveness (with electronic soulfulness) Overgrown is a perfect ‘grower’: a record that takes several listens to understand; when you do the effect is wondrous.  Blake’s somber reflectiveness and ghostly soundscapes moved away (from his Dubstep-influenced debut); his subtleness and minimalism make the heaviest moments palatable and all-encompassing.  Retrograde is fragmented beats and spectral vocals; Digital Lion is trippy and Eno-esque: a song that ducks and races; catches you by surprise- Our Love Comes Back is the stunning swansong.  Defined by Blake’s jaw-dropping and captivating voice, Overgrown has inspired legions of modern Soul men- including the likes of Sam Smith.  Of-its-time and modern, the album fuses intoxicating loops with (stunning) digital beats.  Rebelling against the ‘traditional’ Dance/Club albums, Blake created an album to swell the heart; rouse the soul- far exceeding the expectations of the genre; showing his peers how it should be done.  Absolutely essential listening.

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

Track Review: Soulshaker Ft. Lucas- Far Away

TRACK REVIEW:

Soulshaker Ft. Lucas

 

Far Away

9.5/10.0

Far Away is available at:

https://soundcloud.com/soulshaker/soulshaker-ft-lucas-far-away-radio-edit-mp3cutnet

RELEASED: April, 2015

GENRES: House/Electro.

ORIGIN:

Surrey/London, U.K.

IT has been nice to focus on solo artists…

and see what is out there.  Although, technically, my featured track is collaboration, I am interested in the man behind the song; the voice that comes through- I shall introduce him soon.  For now, I am interested in the solo market; the range of sounds- and what can be achieved.  Over the last few months, I have been lucky enough to discover some great solo stars: the music is always ambitious and strong; the songs unique and personal- there is a lot of range and choice out there.  I find that the band market seems a little limited: most of the bands I have come across tend to tread the Rock/Indie lines; a few go heavier (or softer), yet there is less diversity.  Perhaps playing to strengths- you elicit the best results from these genres; it is what the public seeks- the lone artists has a tougher task ahead- without the support of band-mates, they have to do all the work; plan their careers- and fight off some tough competition.  When presenting with a new artist- someone that is just starting out- I always tend to find the same thing: they have worked tirelessly (to get where they are); spent a lot of money and time- put a tonne of effort into making it happen.  It is one of the signs of the times, I guess: to ‘make it’ or at least get recognised, you have to sacrifice a lot- that can include financial security and a degree of happiness.  With that in mind, eyes and ears will concentrate on the most unique: those artists that offer something special; break from the parable of mainstream predictability- and craft something that really strikes the ear.  This brings me to the issuer of genres/styles: the types of music that is currently favoured.  Electronic sounds are coming through at the moment: some of the best solo music at the moment includes Electro./House elements; something upbeat and electric- essentially, music that is gripping and busy.  With the likes of FKA twigs coming through- I know I mention her every review; there is a good reason for it- and the release of her new E.P. (Melissa), it seems to be a quintessential art-form- that is inspiring a lot of solo artists.  Within Electro./House parameters, you can achieve quite a lot: there is more mobility and potential; switch seamlessly between forceful and sensitive- you are not as constrained and limited.  I do appreciate great Folk/Pop music; yet find there are fewer stand-out acts: you really have to dig to discover something special.  Before I continue my point, let me introduce Lucas to you:

“My name is Lucas and I’m an R’n’B, Soul, Pop singer/songwriter solo artist from London. I have an eclectic taste in music so I’ll listen to pretty much anything. Listening to these different styles of music helps me to creatively write better songs, have a better production behind me and be more innovative in this ever changing industry. My style of music is a mix of old ‘90s R’n’B to modern R’n’B, Pop and old Soul! My vocals are inspired by my favourite artists from Michael Jackson and Stevie Wonder through to Mary J. Blige, Ne-Yo, Usher and Justin Timberlake to name a few. I am planning on releasing my debut E.P. very soon as all the songs are written and just need recording now so that is one of my favourite processes and I’ll have a few more cover videos out In the coming months. I also plan to start gigging as soon as I have my material all ready to promote!”

The young artist has a true talent: he is seamless when backed by electronic force; natural in the Pop arena- comfortable and striking when in the Soul mould.  With an eclectic music taste, it is perhaps not surprising: here is an artist that will not rest; wants to perform various genres- and showcase his full range.  Having just heard Elena Ramona’s latest song/collaboration- Got It is a typically assured and stunning track- it seems that a lot of young singer/songwriters are joining forces- with producers/Rap stars to create something quite awesome.  Lucas’ voice is the star of Far Away: together with Soulshaker, the track is a compelling and authoritative House/Electro. mandate- a song that demonstrates what a talent (Lucas is).  Soulshaker are a growing and reputable team: the producers-cum-D.J.s-cum-writers have worked with some incredible artists- their name is catching some influential ears; their portfolio is expanding by the month:

“Soulshaker are considered as being one of the hottest dance music production teams around. They won the 'Best International Dance Producers Award' at the Music Awards in, Malta, Europe, and to date have been involved in an unprecedented 12 No1 UK Music Week club chart Hits and countless more Top 40 Hits around the World including cuts on a new No1 Album in Japan. Always trying to keep their sound at the forefront of the underground dance music scene.”

Far Away is the perfect coming-together of production team and central artist: the hungry young artist joining together with innovative and professional producers- to create something quite dazzling.

If you are new to Lucas, it may be worth heading to (his YouTube) page: it shows a range of cover versions; the artists that inspire him- and what his voice is capable of.  What strikes me about (Lucas’ voice) is his naturalness and soulfulness.  When the likes of Plan B go into Soul territory it sounds a little forced: although Ben Drew has a Smokey Robinson-esque style, his natural home is in Rap.  Lucas seems like he was born to be a Soul singer: given his influences include Michael Jackson, Stevie Wonder and Mary J. Blige; it is not a shock (he has such a terrific voice).  From I See Fire (Ed Sheeran) to P.Y.T. (Michael Jackson), the young singer makes the songs his own- that rich and expressive voice brings life to the tracks.  There are not a lot of great Soul voices on the scene now: the trend airs towards Rock and Pop; the opportunities to discover a Sam Smith-type vocal are few and far between.  As we are witnessing a Lucas composition, it is hard to compare (Far Away) with previous output.  With Soulshaker joining forces- and Lucas’ previous output being mainly covers-based- this is a new venture; stepping into fresh territory- lacing his soulful voice with something harder and less Pop-based.  Definitely check out his YouTube/SoundCloud accounts; get a gist of what to expect- and what his voice can achieve- and listen to that (in tandem with) Far Away- it gives you a glimpse into his future.  In terms of confidence and authority, Lucas is at his peak (on Far Away) - he sounds more assured and stirring; his voice is in full bloom; perfectly mingling inside the composition.  Few young artists are as mobile and adaptable: Lucas shows he is as confident when tackling Justin Timberlake- as he is singing his own songs.

Far Away starts with a very pleasing opening vibe: the first beats of the introduction put me in mind of the ‘90s Dance scene.  With a suggestion of Show Me Love (from Robin S.) I was transported back to music’s heyday: when the Dance/Club scene was awash with stunners and epic tunes; here there is instant nostalgia and evocation.  That is not to say we are hearing a ‘90s tribute slice: Soulshaker make sure the introduction has a modern vibe: that comingle of ‘90s-via-current is intoxicating and wonderfully realised.  The tribal call-to-arms rush (of the introduction) then succeeds to Lucas’ voice- it comes in hard and focused.  Not overly-produced or processed, we get a naturalness and nakedness coming forth- a rarity considering the wealth of Auto-tuned Dance/House music.  Our hero’s initial words are deployed with emotion and pace- the lines are teased in to make sure they hit home.  Looking out across the land (so it is said) “we rise and we fall.”  As our man sees it all- his eyes and mind have witnessed too much- there is that desire to “drift away”- quite a mordent sentiment on first investigation.  When it comes down to it, there’s that need for calm and peace: get away from the rabble and chaos of events; find somewhere ensconced and quiet.  The song gains early stripes with its mixture of tradition and simplicity.  The composition remains vibrant, yet still pervades that air of ‘90s Dance: appropriating the glory days, you are instantly uplifted and smiling.  The lyrics themselves touch on common themes and concerns: the lines are quotable and memorable; kept basic and honest- to ensure the sentiments can be appreciated/understood by all.  With its rushing composition, the listener is gripped and invested- already sympathising with Lucas’ plight of anxiety.  As the beat gets heavier and more dominant- it is a static beat that punctuates and highlights the foreground- our hero is “far away”- there is a sense of obliqueness and mystery in some of the words.  Wanting to return to a certain “place”- whether that is entrenches in music-making or a happier time- there is that desire to return: escape an unhappy way-of-life and find some sanctuary.  Before you find yourself predicting the next moves- where the song is going and what will arrive- the track evolves and switches- a stunningly stirring mantra is unleashed.  Backed by a soothing (feminine) backing vocal, Lucas is “not gonna wait”: that sense of determination and spirit is unerring.  The entire piece is backed with a rousing and multifarious soundtrack: the beats are less punchy (and more soothing); the electronics are colourful and sprite- the vocal is up-front and clear.  That declarative statement comes around again (and again): it is a catchy and sing-along moment; sure to have club-goers and music-lovers unison in voice.  Both bellicose and smiling, that sentiment (“I’m not gonna wait”) seems to be the song’s central message- something that defines Lucas’ current objectives.  There is that feeling of boredom and uninspired day-to-day: the images of Lucas going through the motions; working a humdrum job; not fulfilling his ambitions- that is what strikes my ear.  Having heard a lot of modern Dance/Electro, tracks- including Elena Ramona’a latest- common themes come through.  Dream-chasing and self-sacrifice are hot topics among young performers: there is that sense of stress and emptiness; that constant struggle to pursue dreams- having to compromise and do a workaday job (just to fund your dream).   In my imagination- and I may be way off the mark- I get the feeling Lucas is calling out to the world: when he says he is “coming back” again; it refers to recording/touring.  He is telling the world about it- I am guessing social media is being referenced in these moments- and determined to throw off his shackles and demons.  Having overcome some hardships and trials, the young man has his eyes primed: he knows what he wants in life; music is his reason for existence- that desire and burning passion emanated in every note and expression.  Supported by an insatiable and fire-cracking composition- that teases ‘90s beats with cutting edge electronics; static crack with swirling undertones.  Writing a song that is not just personal- it can be extrapolated by so many people- Far Away is that definition of frustration: the need to get out of a bad way; feeling detached and alone.  The final moments reintroduce that stunning chorus: its addictiveness and entrancing qualities seem even-more pressing and glorious; a perfect send-off for the track.  The final seconds take things down rapidly: no time for fade-out or silence; the track comes to a succinct and speedy end.  All that is left is to reflect and take it all in: try and get to grips with the many themes, dreams (and sounds) of Far Away.

As a song, it is filled with catchiness and nuance: you find yourself repeating it; missing things out on the first lap- you keep coming back time and time again.  When you sit down and listen to the track, there is that instant nostalgia and recognition: consciously or not, Lucas and Soulshaker have crafted something that is ‘90s-sounding yet modern; ‘oldskool’ and current- a wonderful concoction.  As beat-makers; Soulshaker come into their own.  I have checked out their previous work, yet here they seem to be at their peak: the production qualities and sound is exceptional; it is clear and polished, concise and crystal- allowing every note and vocal to shine without any fear of muting/clarity loss.  Lucas’ central vocal is the real star here: his soulful and direct vocals bring the words to life; keep the listener fascinating from first to life- he showcases himself as a natural front-man and voice; someone with a huge amount of instinct and drive.  The song’s messages are personal to him: they can be understood and appreciated by everyone- we have all experienced that sense of disenfranchisement and struggle; the need to do something meaningful and good.  Keeping the lyrics direct and simple, it not only makes the song memorable and quotable- it is perfect for the current crowd; those who want their songs easy-going and catchy.  That is not to say the words are unintelligent or basic: Lucas has managed to make his thoughts deep and thought-out; yet has not made them too wordy or complicated.  Soulshaker and Lucas seem like natural counterparts: their distinct voices/talents blend perfectly; there is a seamlessness that made Far Away such a stunning song- there are no loose edges or nervous moments; always a feeling of natural bond and intuition.  I hope the two combine in the future; join force again for another round- this one-off collaboration will see the fans and listeners desiring more.

Lucas shows himself to be one of the best up-and-coming talents around.  It would be good to see an official website from him: something that ties his social media together; puts himself up front and proud- is a one-stop port for his music and news.  As things stand, the future is looking pretty good.  I know he is planning his debut E.P.: a chance to see him in his element; show the world what he is about- and make his mark on the scene.  Being such a superb interpreter it will be interesting to see whether Lucas- when his E.P. has been completed- opts for originals-only; or whether he will include a cover or two.  Having studied his SoundCloud page, it seems like he has plenty of ammunition and music: his original tracks (largely snippets and ideas) seem full of potential and possibility; he may have a hard task narrowing his options down.  Before I mention Lucas more, it is worth reflecting on Far Away- and the collaboration with Soulshaker.  The startling production/D.J. crew seems like natural bed-mates: their intuitive ear is the perfect springboard for Lucas- when they join force, you get a real simpatico; I hope the two join forces again.  The composition and production values are tremendous: they allow the vocal to reign yet do not negate the music itself—which is rich and filled with detail.  A song that is ready-made for the dancefloors and clubs- that also has a made-for-radio popularity and quality- they have created a gem here- a song that cannot be ignored or overlooked.  Soulshaker are on the rise; a growing force, they will be worth watching closely- and make sure you follow them closely.  With regards the central voice: here is an artist that will go onto big things.  Being a mutual friend of other great London/Surrey-based talent- including Elena Ramona and Chess- he is one (of the core) of young artists making their first moves- and showing the music world what they’re about.  Far Away is just one side to the young man: given his musical upbringing- and his eclectic range of idols- and list of cover versions; any future E.P. will be fascinating to predict- just what can we expect from Lucas?  Well, it seems like there will be a leaning towards Soul and Pop: that unique voice augmenting tales of love and struggle; against-the-odd and fighting on.  Lucas has overcome some hurdles and set-backs (in his life) so it will be fascinating to see how he distills that- and whether it will feature in his music.  Of course, Far Away shows he is adept in the House/Electro. milieu: maybe his upcoming E.P. will combine all these strands.  Far Away has already made its way into an E.P. - the track features a number of remixes- yet when Lucas goes alone, that will be the most interesting release.  Equip with a honey-rich set of pipes; a confidence that bellies his age and youthfulness- keep your eyes peeled.  The likes of Sam Smith and Paolo Nutini- two young and startling talents; both complete with stunning Soul tones- have shown what can happen- they are both among the best singers/artists on the scene.  Smith has gone onto critical success and applause; Nutini is one of the most impressive singers around- there is no reason Lucas cannot join the pantheon of the greats.  Of course, he will want to focus and regroup: plan his next moves and start to hit the road; taking his music to new audiences- before dropping an E.P.  With so many jaded and fly-by-night artists coming through- most of whom have no real quality and durability- we need to embrace the truly deserving: those singers that have a long-term future; are filled with distinction.  As the weather is somewhat capricious (read: complete crap) and summer is fading away, we all need something to rally the spirits- Far Away is just the tonic.  Take a listen and drink it all in; it is a song that has nuance and fresh layers- all spiraled around a smooth and essential (central) voice.  With Soulshaker providing ample support, Lucas is eyeing the future; making his next essential moves.  Given what has come before, I predict 2016…

WILL be a very prosperous year for him.

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Track Review: Noralyn- Masquerade

TRACK REVIEW:

Noralyn

 

Masquerade

9.3/10.0

Masquerade is available at:

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

RELEASED: 5^th July, 2015

GENRES: Pop

ORIGIN:

Brisbane, Australia

TODAY my mind is focused on a number of different subjects and ideas…

My discourse and consideration is towards Australia and their music; female singers- and the tabloidisation of Pop music- and the state of modern Pop music.  At the moment, a lot of attention is coming from the U.S. and U.K.: the media is still focused wholly on these narrow shores; tending to push their home-grown first and foremost- missing out on a lot of talent.  One of my favourite reviews was for Anna von Hausswolff- a Swedish singer and artist- and her incredible music.  With a voice like Kate Bush; songs that look at death and mortality; compositions that present sweeping strings and funeral organs; epic introductions and stunning moments, I was blown away.  Again, the likes of The Updraft Imperative (Australia), Say Lou Lou (Australia/Sweden) and Little Dove (U.S.A.) are among my highlights- all based away from the U.K.  In Australia, the music hubs seem to be Melbourne and Sydney (the former particularly); few media eyes tend to cast themselves towards the likes of Brisbane- where my subject emanates from.  The capital of Queensland, the city is a bustling city: nearly a third of the population emanate from overseas; the climate is hot and sunny (in the summer); the landscape gorgeous- a hotbed for art and science.  A city that deserves wider acclaim, it houses a lot of culture and diversity.  Based away from Melbourne (Brisbane and Queensland) play second-fiddle somewhat- gaining a smaller market-share of attention.  When you look at Australia, there is a lot of great music coming out: some terrific Hard-Rock bands; some fascinating Electro.-Pop artists- a lot of range and surprise.  Compared to the U.S. and U.K., there is less consistency and choice- having fewer than 22 million people in the country- in Australia.  Eyes and minds tend to look at traditional Australian artists: the likes of INXS, Silverchair, Wolfmother and Tame Impala- there is a lot of focus on the bands of the nation.  When it comes to solo acts, there is Kylie Minogue and Gabriella Cilmi- both born in Melbourne.  Away from the populous cities; separated from the obvious climates, you get some great acts- Noralyn is one such example.  Making sure eyes turn to Brisbane, she is one of the hottest and most distinct artists to come out of Australia: with a sound/genre-fuse that sounds U.S.-made, she has retained her native voice- making her music sound popular, yet very much her own.  Her Pop-cum-Electro. fusings are gaining a lot of attention.  I shall mention her voice (and its potency) later, but I want to look at Pop and the female-led Pop scene.  Noralyn has spent time in England: she was awarded a scholarship to study classical piano, before moving to Brisbane fairly recently.  The love of Kate Bush and Tori Amos comes through in her performances/vocals; her love of Pop and Classical music blends into her music- creating something quite special and uplifting.  With evocative and scenic lyrics, her music is stunning in its breadth and effect.  When I look at the modern Pop scene- and the mainstream acts we have- there are few that really stand out; not many that really lodge in the mind- perhaps they are lurking in the realms of new music/unsigned territory.  If you think of (the likes of) Lucy Rose- representing the bland and mediocre crop of singer-songwriters- it is quite depressing and forgettable.  The best results come when you go beyond the bland: tie in Electro. edges and classical themes; go beyond the acoustic-led sameness that pervades the scene.  There are some terrific female singer-songwriters in the U.K. (and further afield) yet there is still that leaning towards the band market: the public purse is more readily available to them (than solo acts).  One problem- that accounts for the bad press solo artists gets- is the tabloidisation of the scene.  Barely a week goes by without Iggy Azalea feuding with someone; Rhianna baring her breasts; Sarah Harding causing embarrassment- nothing to do with the music; more to do with politics and scandal.  It is a pity, because great artists are being overlooked; the art of music-making is being forgotten- replaced by tittle-tattle and needless celebrity gossip.  For those willing to do their research; put the effort in and look further afield- gems and treasures can be discovered.  Noralyn is a fascinating example: one of the most compelling artists I have come across.  Based away from the U.K. - which, in itself, provides me some relief and excitement- her music is arresting and captivating.  Not only does that voice hit you hard- with its mixture of quirkiness, sweetness and huge power- but her music too: she is 24, yet has a maturity few of her peers possess; a pen that is sharp yet vulnerable- her latest track has popular appeal, whilst remaining hugely credible and uncompromising.  Few of us would look to Brisbane- when it comes to seeking some great new sounds- yet Noralyn could start a trend: with the likes of The Updraft Imperative putting the area in focus, we need to change our habits; get away from the tried-and-tested areas/sites; look across the world- only then will you really discover something fresh and different.

It is hard to compare Masquerade (with any previous Noralyn work); as this is really her first out-and-out solo move.  The young Australian has recorded music- a charity E.P. included in the list- but here she is out on her own- and beginning with a bang.  In that respect, the best thing to do is look around for comparable (artists) - give you an idea of who inspires her.  Tori Amos and Kate Bush are names that will be bandied about: when it comes to unique and striking, there are few better names.  Noralyn has that sense of individuality and appeal: her tones are not ordinary and boring; there is that child-like innocence; belting and emphatic moments- together with some U.S. /U.K. tones.  In terms of albums- from Amos and Bush- I would mention Little Earthquakes (Amos’ debut) and Never for Ever (Bush’s third album).  Amos broke onto the scene with her debut: filled with beautiful and emotive numbers, Amos introduced a new way of singing- bringing so many emotions to every song on the record.  Sexy and haunting; innocent and powerful- the album mingled a host of themes and concerns.  Buh’s third album saw (the British icon) find her voice; become more confident and stable- the singing style was theatrical and tailored; more controlled and focused.  The songs (within the album) saw seriousness and romance come under the microscope: there was never a sense of flightiness or loss of control; it remains a focused and subtle (by Bush’s standards) L.P.  Noralyn fuses and overlaps the two albums.  She takes some of Amos’ diversity and range- on her single, there is seriousness and innocence; her voice sounds both fragile and strong- and Bush’s song-craft- with a little dabble of her acrobatics into the mix.  Not to say her song (and future works) could match these albums- there is no reason to suggest they couldn’t- but the earlier indicators are positive- Masquerade is a confident song that never lets up; offer so much colour and contour- with some black-and-white seriousness and maturity.

Quite dark and serious keys (greet in Masquerade).  Sounding Classical and focused, it grips you from the very first notes.  Noralyn’s breathless vocals come in and give the song a sense of etherealness and movement- sounding a little like a cross between Lana Del Rey and Tori Amos.  The song begins quite measured and restrained: our heroine makes sure her messages resonate; that the notes hit the mark- rather than let it all rush by.  Focusing on an unnamed subject- or perhaps aimed at those who cover their feelings- there is a sense of secrecy and closed-off emotions.  Where the wreckage is swept away “underneath the carpet” (the song’s subject) is putting on a brave face- or perhaps just not confronting things.  Whether a personal insight- Noralyn projecting a venerable and hurt side- or towards a particular friend, I am not sure- what is certain is the sense of emotion and urgency.  Even in the initial stages- where things are quite down-beat and introverted- there is that pressing passion; the voice quivers and resounds- the keys are impressively firm and striking.  Just before a new thought is introduced, there is a musical build-up: a muscular percussion beat bonds with rising keys; the mood swells and envelops- before our heroine comes back to the microphone.  It seems that- whether speaking to herself or her subject- nobody wants to “see you cry”- there is that need to suppress feelings and keep up pretence.  With her voice cracking and gliding- in an Amos-esque bout of expression and verve- the chorus comes into play.  Our heroine would rather believe a “pretty lie”; tonight begins the masquerade- the images and sense of mystery heightens.  To my mind- my perceptions can be lead astray somewhat- I was thinking of a relationship; maybe bonds have been strained- our heroine having to keep her emotions buried.  Maybe a plea (to a friend or associate) you get the sense of doomed love: two parties at odds; fractions and dislocation- masks being worn; truths being withheld.  Keeping the composition energised and hypnotic, the piano strides and gallops; the percussion punches forth- a perfect setting against Noralyn’s vocals.  The vocals in question crackle and shiver; they tremble and rise- operatic and grand yet filled with emotion.  If you watch the song’s video (on YouTube) our heroine wears a mask; set against a row of lights, she can be seen sat at her piano; pounding the keys- giving a focused gaze to the camera.  Many songs have been written- with regards repressed feelings and lies- yet Noralyn imbues Masquerade with her own ideals- her choice of words and imagery are vivid and enlivening.  Finding a poker face “to hide behind”, that tensions mounts: the feeling damage is irrevocable.  Augmenting the composition, the listener gets drawn into things: that insistent and gripping voice gets into your head; takes you away- you are powerless to resist.  In the same way as debut album-era Tori Amos (mixed the deeply personable with variegated vocal styles), here Noralyn crafts something special: her voice twirls and swoons; her words remain tense and judgmental.  There are- in the world of Masquerade- plastic people: fake smiles and eyes that deceive and double-cross- our heroine has seen too many.  Noralyn’s piano work does not remain static and bordered: after the chorus she unveils a twinkling flourish; a rippling wave that beautifully punctuates the chorus- a perfect lead-in to the following verse.  When the promise is hidden and dissipated- perhaps her lover’s folly; the cruelty of a ‘friend’- there is heartache at hand.  Our heroine’s voice elongated the words; her projection is striking and effective- reminding me of Nelly Furtado’s delivery across Whoa, Nelly!  A watershed moment has arrived: Noralyn seems at a loss for words; she has been hurt and affected- my mind shifted to another interpretation.  I feel her subject could be (a former) love; someone who has betrayed her- and left damage in his wake.  Whatever/whoever the inspiration, you are entranced by the urgency throughout: Noralyn’s stunning voice waltzes and explodes; the composition remains constantly engaging- a stunning combination that lifts the songs (to heavenly heights).  Surrounded by plastic people- where it “doesn’t feel right”- our heroine is looking around; she needs answers and rectification- and people she can rely on.  As the song comes to its end- in the video, Noralyn sits at her piano; looking quite doe-eyed and broken- you have to feel for the heroine; that struggle and hurt- it is a feeling we can all understand.

Masquerade is a stunning debut release: a song that shows a distinct personality; a wonderful voice- a songwriter with a hell of a talent.  A lot of Pop songs fall at one hurdle: maybe the lyrics are cliché and weak; the composition one-dimensional and phoned-in; the vocal unarresting and po-faced- here there are no such issues.  From the first notes, the track keeps you fascinated and invested: the piano playing is wonderful and evocative; the percussion and electronics multifarious and powerful.  When it comes to the lyrics, they are by no means simplistic and inane: here we get an insight into Noralyn’s mind; she represents (a well-trodden subject) with a new lease of life- putting her own stamp on relations and lies.  Backed by a voice that is exhilarating and varied- her highs are bird-like and pin-sharp; her middles and lows heartbreaking and tender- and you have the complete package.  Supported with some terrific production work- that keeps the song fresh and modern without compromising clarity and feel- and Masquerade is a winner- no lie.  The multi-talented Australian has a bright future ahead; her songwriting is well-realised and impressive from the off- it will be fascinating to see what she creates next.

Having spent a lot of time with Noralyn and her music, I have been hooked and grabbed- a fan that will follow her career closely.  Stunning to the eye- few other singers and musician are as stunning and beautiful as she- it is the music that remains in the mind.  That particular and exotic vocal style- which nods to Amos and Bush yet has its own sound and personality- is matched by ambition and artistic reach: she is not an artists contented to do the minimum; she is focused and fresh; eager and talented- someone with a big future ahead.  Masquerade is a burnishing example of her fire-power: I cannot wait to hear more music from the young Australian.   At the moment, the first moves are being made: Noralyn only just moved to Brisbane; her aim of being a singer is only starting- so it would be premature to predict her next move.  I hope she looks towards an E.P. perhaps: Masquerade would be a perfect lead-off song; maybe a four-track record would be great- to really showcase her talent and vocals.  Bring her Classical and piano skills in: present a ballad or slow-burning anthem; something tender and passionate- combine that with songs that offer uplift and dance.  After hearing one song- and knowing what she is capable of- it is impossible not to project and predict (on her behalf)- and wonder just where she is going.  For one, Noralyn has a future: she is going to be an artist that will go beyond Australia; gain popularity and applause in the U.K. and U.S.; see demand from Europe and North America- and be wanting this side of the globe.  I hope Australia welcomes her forth: the likes of Melbourne would do well to host her with open arms; see what a talented singer she is.  Before I wrap up, I will just mention one thing: the female singer-songwriter sector.  We all know what is out there; the sort of sound/trends that are coming through- I think there needs to be a rethink.  The best female (and male, in fact) solo acts are not those Voice-auditioning wannabes; the sort that is mass-produced, committee-written- and terrifyingly pointless in essence.  The finest voices are those that have their own voice; they write their own music- and are not slaves to the desires of label men/women and T.V. audiences.  Noralyn is the antidote to the (growing and dismal) mass of made-for-tweens robots: the anodyne conveyor belts that offer no personality or longevity- simple vacant-eyed ‘musicians’ that are short-lived and utterly excruciating.  Social media is going a long way to curbing the trends: the true music-lovers are championing the (best and finest) solo acts- the mainstream media needs to catch up.  Until that day arrives- and one wonders if it ever will- be thankful for serendipity- and the likes of Noralyn.  Masquerade is a colorful and slinking song; masked and seductive the one moment- bold and intoxicating the next.  Backed with a tremendous vocal potion- that sees child-like sweetness tussle with sensual prowess- the young Australian is a superb artist.  The lyrics are memorable and inspiring; the composition effective and nuanced- the entire effect is quite brilliant.  These are the early days, yet the signs are all positive: Noralyn will be producing music for years; it will be fascinating to see her next move- what she has in her mind.  Make sure you check her out; show her some social media love- and investigate Masquerade.  In a scene where the greatest wealth emanates from the ten-a-penny acts, we are all richer for being poorer- the rare and underground artists are leading a revival; the ones that are the future of music.  On a wet and sullen day- unless it is sunny where you are: in which case, damn you! - you would be wise to check out Masquerade- and all the sunshine and energy it offers.  Guaranteed to stick in the brain, just sit back and take it in and…

SUBMIT to its many charms.

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

______________________________________________________________

Follow Noralyn:

Official:

http://noralynmusic.wix.com/noralynmusic

Facebook:

https://www.facebook.com/NoralynMusic

Twitter:

https://twitter.com/NoralynMusic

 _______________________________________________________

Videos:

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Track Review: False Advertising- I Don't Know

TRACK REVIEW:

False Advertising

 

I Don’t Know

9.4/10.0

I Don't Know is available at:

https://soundcloud.com/falseadv/i-dont-know

RELEASED:

March, 2015

GENRES: Fuzz-Pop, Grunge

ORIGIN:

Manchester, U.K.

The album False Advertising is available from 4th September, 2015

TODAY marks a breakaway from two distinct areas of music.

Having been entrenched in Mancunian music (for the past few days), I am straying away from the area- ending with the mighty False Advertising.  In addition, I am looking towards female-led/male-only solo work: sounds that bubble and percolate; have electronic themes and sparkling upbeat- coming off of band-made heaviness/Indie-ness.  Within this valedictorian (well, sort of) speech, I am going to be focusing on an up-and-coming band- one that has entered the scene at just the right scene.  Portraying Fuzz-Pop/Grunge hybrids, the Manchester trio is striking indeed.  I shall come to them soon, yet I have been compelled by a number of things.  In the next few days I am going to be writing to our Prime Minister: provide a supplication; a plea to make change; through the conduit of charity and business-linking- so that we can help eradicate (needless) issues- societal blemishes that should not exist.  I shan’t divulge the details- mainly because I’m not sure what they are yet- but one of my ‘hot topic’ concerns is within music- not something I will pitch to the P.M. directly.  In new music, there is such a needless lack of support and finance.  Big businesses and companies- who defecate money like it’s going out of fashion- have cash going spare; more than they know what to do with- it seems like a great opportunity is being missed.  One of the most frequent things I hear- pertaining to new musicians and their struggle- is how hard it is to sustain: make their music and keep laying down sounds.  The expense and hardships of making music take their toll: there needs to be more money available for great acts.  Google and Apple; Microsoft and Amazon: here are organisations that have pennies to waste; plenty of finance available- money that can be better used to help fund the arts.  By having more money available; making sure great musicians are helped out- the music world can become more vibrant and anxiety-free.  In terms of reciprocity, it would be easy to solve: bands and acts (that receive money) could have adverts running- on their band pages/videos- for said companies; nothing too intrusive.  I don’t know, really- it just seems like there are things that can be done.  My point is that certain band come to my attention by mere chance- either they will follow me (on Twitter) or I hear of them from someone else- rarely does the mainstream media dedicate too much attention to great new music (away from the mainstream).  False Advertising are one such band (that deserves a bigger leg-up and coverage) and- before I continue with my point- let me introduce them to you:

“Sitting somewhere between Pixies, The Primitives and Yuck - False Advertising is a slab of loud but highly melodic fuzz delivered by a trio with no fixed front-person, with Jen Hingley and Chris Warr fronting the band and drumming alternately. Backed up on bass by Josh Sellers, their nostalgic influences result in a sound which is sludgy, yet radio-friendly and approachable.

False Advertising have self recorded and produced their debut album with plans for its upcoming release to be revealed soon.”

The band is simply Jen, Chris and Josh: a talented trio that are among the most bracing and interesting new bands around.  Having spent a lot of time reviewing London bands- from the likes of Los and the Deadlines to Ivy & Gold- it is good to be in Manchester- a city that is challenging the capital for sheer quality and diversity.  The band release their debut album on September 4^th (it is self-titled); it will be a big leap for the band- who up until now, have not released anything fully-fledged.  At present, the band has released a couple of songs: I was keen to feature I Don’t Know, ahead of the album release.  The trio has been planning for ages now: the album has been gestating for a long time; in the process of being made- until now, it has been hard-fought and speculated.  The band is excited about its imminent release: with promises of dissonance, sweetness and Grunge-influenced hooks- from ‘90s masterstrokes to modern-day strike- it promises to be a wonderful affair.  Before I get down to reviewing, it is worth commenting on a couple of things.  The genres of Grunge and Fuzz-Pop (in a way, a baby sister of Grunge) are not that often featured (in the mainstream press).  With the likes of Wolf Alice coming through- and Hard-Rock acts like Royal Blood inspiring legions of new acts- False Adverting is quite a band.  Soon it will be in vogue and wide-spread; for now, the genres are somewhat under-represented.  There is a lot of Electro.-Pop and Pop; tonnes of Indie and Rock- acts that inject a little Grunge into the mix should be celebrated.  The likes of Allusondrugs- the Leeds-based band who are on a steep trajectory- are a great example: a young band that is rising through the ranks with little opposition.  Since the Grunge heyday- when the likes of Nirvana, Soundgarden and Pearl Jam were in command- the trend has turned away from Grunge- towards something a little less heavy and fuzzy.  If you know where to look; there are some great Grunge bands- putting the genre back into the spotlight.  I hope False Advertising’s forthcoming album will see a sea-change: get the bygone genre back into focus; in the minds of the mainstream press- shake-up the pale and lipid band market.

The trio includes the likes of Yuck and Pixies as influences: there is a little of each in their music.  When listening to I Don’t Know- and their track Wasted Away- I was reminded of each.  There is a little bit of Yuck’s luster (in the music of False Advertising): in the same way Yuck (on their debut most glaringly) mixed oblique with direct; blended hypnotic and grinding (to great effect) - the Manchester trio do likewise.  There are little shades of Pixies; that same mixture of soft-loud dynamics; the grimy and darker shades- the ability to turn a song on its head in the space of a few notes.  To be fair, False Advertising has few sound-alike comparable: when listening to their music, I could not think of too many other acts.  When it comes to Grunge- and bands that play in this field- you can always hear the influenced: it comes across quite glaringly and obviously.  Not indebted to any other act, the Mancunians instead take the smallest of particles- a tiny bit from their heroes- and update the sound; filter it through their creative process- come up with something original and unique.

Ahead of their album release; I have been fascinated by I Don’t Know- one of their most direct and evocative tracks.  Together with Wasted Away (also on SoundCloud) it is a chance for the public to hear the band- get a glimpse into their album’s potential/possibilities.  I Don’t Know begins life with a wonderfully intriguing introduction.  At first, we have a woozy and punch-drunk guitar sway; a passive-aggressive little undertone that soon erupts; as the snare kicks in the intro. kicks up a gear- and the song explodes into life.  At this stage, there are little nods to the greats of Grunge/Indie/Alternative- Soundgarden and Nirvana; Alice in Chains and Smashing Pumpkins- all done in a very idiosyncratic and unique way.  Within the first twenty seconds, the to move through the gears: the percussion slams and devours; the strings contort and bounce; the riffs crunch and drive- an exciting and head-spinning way into things.  Before you become overwhelmed; you feel overcome by the weight of things, the band brings it down a notch.  When our hero comes to the microphone (backed on vocals by Jen) the song gets underway- and the tale begins.  It seems there are some woes and anxieties on the mind: the day is not going so well- our man can’t wait for it “to start again”.  Amidst the strains of pain and aching bones, our man is looking for some solace and relief- whatever is causing the heartache; it is taking its toll.  The first stages of the song are rife with tight musicianship and energetic performances: the entire band unite superbly and unleash an edgy and powerful proclamation.  The only detraction I would have related to the vocal clarity and decipherability.  They will forgive me for misunderstanding or misinterpreting the words; only it can be quite hard to pick them all up.  Reverbed and echoed, the vocal loses some of its finesse and intelligibility- getting a little buried in the mix; being drowned-out by the music itself.  Whilst it does cause some problems (with regards picking up the lyrics) it does at least sticking to a classic Grunge parameters: the rawness and vitality that echoes through cannot be understated; you are gripped by the song regardless of minor quibbles- it is both instantaneous and thought-provoking.  The male/female vocal hybrid put me in mind of Pixies.  Whilst our leads do not model themselves around Black Francis and Kim Deal, there is a little of that chemistry and formula: the way the vocal interlace and weave; the deployment and structure- I detected a little hint of early-career Pixies.  Whether the two leads are putting themselves on opposing sides- one plays the female ‘villain’; the other the male ‘villain’- or they are in unison (against an unknown subject) I am not sure.  It seems a relationship/friendship has broken down; being dragged along with snideness and tense emotions.  Whoever our man is rallying against, it (seems he must) descend to (her) level- his ‘counterpart’ is being rather immature and cutting; causing upset and pain- “Your jokes are mean” so it is told.  Having been a long-time fan of Universal Thee- a Scottish Indie/Grunge act influenced by Pavement and Pixies- they too have the same boy-girl vocal byplay; that way with words and great delivery- I wonder if False Advertising would play with them one day?  It seems there is no détente or impasse- our man is being taken out and pummeled- whatever the circumstances behind the drama.  Whatever he gives (our lead); there is no sense of thankfulness and satisfaction- it is never enough.  Backed by his band cohort, I was lifted by the naturalness of the vocals: there is a sense of togetherness and intuition; each member has great respect for the other; the way the voices seamlessly entwine is superb.  It is (the band’s) deployment that is highly effective.  Syncopated one moment; punctuated the next, lyrics are not lazily slung and delivered with the least imaginative sense of urgency.  Some words run into the next; the lines are presented with pizazz and passion; contemplation and consideration- making the song more effective and stunning.  Aside from a little bit of lost translation (when the vocals are at their most fuzzed-out and distorted) it actually adds to the effect- that unwavering sense of pressure and anger.  Seemingly losing his touch, our man is casting his mind around- searching for answers in the sea of confusion- and seeking a safe resting place.  Before you get too entrenched in the story development- the same way the introduction catches you by the brain- you are given a breather.  Combining their instruments, the trio unveils a cheeky and spaced-out riff: something quite swaggering and hazy; a little lost and crawling- a drunken tip-toe that highlights the song title.  With our leads combining in voice, they augment that sense of loss and confusion- the listener begins to wonder what the outcome will be; whether any sort of resolution will be discovered.  When the band become more minimal and quiet- away from the rabble and pace of the verses- you hear a new side to them- how effective they are as musicians and composers.  The chorus itself is a stand-out mutating beast: at first it is teasing and spiraling- variegated and elastic- before becoming more primal and crepuscular- transforming into a hairy, drooling beast.  The strings add the colour and control: keeping the song level and grounded yet exhilarating and wild- I was impressed by the sound.  False Advertising has a D.I.Y. and interchangeable work ethic.  With Jen and Chris up front- there is no set lead vocalist; the trio rotate and pair-up in various formations- the drumming is handled by both Chris and Jen- again, there is no solo drummer.  Josh provided bass work- which is particularly impressive and authoritative here- and that does not mean a detraction and cessation of quality and consistency.  The drumming (throughout the track) is intense and brutal; flailing and monster-like- without becoming undisciplined and aimless.  As the song progresses, you cannot escape that feeling of insecurity and unease: the protagonist(s) fighting against the tide; trying to find justice and compromise- never able to find what is needed.  The production allows the band to really flourish: there are no embellishments and shine; the song is raw and honest; you can practically see the ribs showing- it is almost like you are hearing the song in a live setting.  By the final notes you sit back and contemplate; try to get to grips with things- wonder if you have understood everything in the song.  The band will have their own truth and interpretation, yet the listener will have their own ideals: it is a track that can be extrapolated and appreciated; we have all been in a similar scenario- so I Don’t Know seems tangible and realistic.  With few drawbacks and detractions- apologies to the band if I have misunderstood any of the lyrics- the track is a fresh and bracing kick; a runaway donkey that is kicking fiercely- one of the trio’s tightest and most impressive performances.  Not merely a one-off gem, it instead acts as a teaser (when the album comes out soon) - if you like this, you will surely love what False Advertising offers.  I Don’t Know has nuance and layers; fuzzy and strung-out moments; vibrant and emotional swathes- a song that is dead-set to be a live favourite.  If the band decide to come to London, this will be a song that’ll have me dancing- a true fist-pumping, voice-raising nugget; inspiring sweat and singalong, you cannot ask for any more.

False Advertising’s self-titled album is dropped in a few weeks- with its striking cover and eleven tracks of intrigue- and is something the band are very proud of.  The trio produced, mixed and recorded the album themselves; without record label input the guys have put this all together themselves- few acts have such a work-rate and sense of ambition.  I urge you to grab the album when it lands- it will be available on the likes of iTunes and Spotify- but go and listen to I Don’t Know- a great example of what to expect.  The song shows the guys in hot and heavy voice: it is a mandate and shout-out to the masses; an example of what can happen when you focus and knuckle-down- the trio is among the most engaging acts of this year.  As the year progresses- and after the album comes out- the band are touring Manchester (and stopping off in Leeds) - the north seems to be the ancestral home for the new wave of fuzzy/Grunge acts.  What False Advertising has done is create something both timely and classic: they have lovingly touched on the ethos of ‘90s Grunge; updated it around their own voice- and modernised the genre.  Too many bands get caught in the quagmire of expectation and playing it safe: on the one hand they make music to meet a market need; on the other, there seems to be little adventure and boldness on their sapling effort.  Manchester’s bi-genre Grunge attack are no such slouches: they make music they want to make; the type of sounds the public need to hear- all done with a keen eye towards shaking things up; a debut album (this soon into a career) is impressive.  As the guys say themselves, it has been a long time in the works: with limitations and (the drawbacks of self-producing an album) it has been a hard task- the hard work will all be worthwhile.  Before I wrap things up- and you’ve come to expect a certain degree of loquaciousness from me with regards these things- I want to highlight two more points: localisation of bands; market trends.  On the first point, a lot of new bands tour locally: it costs money to come farther afield; makes more sense to (first of all) woo the home crowds- unaware there is a demand elsewhere.  I know there are financial limitations yet False Advertising would find patronage and venues down south- London especially would be able to house them proudly.  Maybe they are being sensible to begin, but I would love to see the guys live- get them down this way and have their music shared (in the capital).  I think a great deal of fledgling acts have to restrict themselves initially: when their album is unleashed, let’s hope they get their backsides down to us (in London).  Lastly, the current market needs an overhaul: in the mainstream at least there is too much Indie music (still); too few genuinely exciting acts- the likes of Royal Blood and FKA twigs come by once in a blue moon.  So much attention is paid to the existing, radio-featured acts, that a lot of tremendous music gets overlooked.  Were the press to cast their eyes further afield- and see bands like False Advertising come through- they could get into the mainstream; inspire other acts- make it a much more vibrant and quality-focused arena.  Oh well; for now I just have to appreciate what we have in front of us: if you have not heard this Mancunian trio, rectify this now.  Their debut L.P. looks primed to be a firecracker of a thing: crammed with retro. Grunge moves; some very modern-day ideas- colour and vibrancy; emotion and reflection- that will see the 11-track release much-heralded.  Ensure you buy the album when it comes out- as the trio have spent a lot of time and money producing it (and deserve recompense)- and check out I Don’t Know- a stunning song that shows just how strong (the band is).  If the new music arena is to gain maximum respect; get some of its best to the mainstream, then there needs to be more support: music-lovers need to come together; get the U.K.’s finest into widespread consciousness- and utilize social media for all its worth.  Some music fans are doing their best; many more need to do better- it only takes a few seconds to share music/acts across social media (Twitter and Facebook).  With no excuses available, please give this eager three-piece some attention; gets their music trending- they are a future festival band that will be kicking arse.  Ready-made for the dials and ears of the best radio stations- including XFM and Absolute Radio- the white-hot act leading a charge.  False Advertising is an album you need to own- and one that should be promoted far and wide- as it shows a band doing things ethically and with a great ethos- produce it yourself and make sure your own direction dictates the sound.  With so few bands- the new ones at least- doing things the same way; taking full control of their production, I am pleased False Advertising have taken this step.  When all’s said and done it is…

SUCH a refreshing change.

[soundcloud url="https://api.soundcloud.com/tracks/197754422" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

__________________________________________________________

Follow False Advertising:

 

Official:

http://www.falseadvertising.co/

Facebook:

https://www.facebook.com/falseadv

Twitter:

https://twitter.com/falseadv

Instagram:

https://instagram.com/falseads/

 ______________________________________________________________

Music:

https://soundcloud.com/falseadv

 

__________________________________________________________

Gigs:

http://www.falseadvertising.co/live/

Track Review: From Carbon- Darkness

TRACK REVIEW:

From Carbon

  

Darkness

9.1/10.0

Darkness is featured on the album Wealth.  Listen to the song here:

https://soundcloud.com/fromcarbon/darkness

RELEASED: 2014

GENRES: Indie/Alternative-Rock

ORIGIN:

Manchester, U.K.

Produced by Yves Altana Engineered by Chris Oliver Wriiten and performed by "From Carbon"

WEALTH TRACK LISTING:

Velvet

Spirit

Darkness

Berlin

Pure

Mountains

Everything is Control

Please Please

Demons

Wealth

Understand

Sad Apples

THIS will be the last review (for a little while at least) to focus on Indie/Alternative acts.

Having featured the likes of The 48ks lately- and contemporaries who play similar sounds- I am looking further afield: to international Rock acts; female-lead Pop/Soul; something quite different- hoping to broaden my horizons.  That is not to say the Indie/Alternative moulding is not a pleasant one- far from it in fact- it is just the genres have been under my radar (a lot lately) - so a detox is needed.  Before said detox, it is time for one last piss-up: a hell-for-leather night with blurring, booze and vomit-strewn toilets- well, not quite.  Contrary to popular belief- that perpetrated by the media and lazy ‘music-lovers’- Indie music is synonymous with aimless and brainless tunes- so long as the music is catchy, it doesn’t matter about the words/themes.  That may be oversimplifying, yet the media tends to concentrate more on riffs than lyrics; the basics as opposed to intelligence and nuance- a lot of the Alternative darlings do not deserve their praise and position.  Today’s focus/rant looks at Mancunian Indie music: words that go together like Sarah Harding Lip-Syncing Disaster- her recent ‘performance’ on I.T.V. was like watching Freddie Mercury at Live Aid- or the exact opposite.  The northern city has produced more of the Indie/Alternative greats- maybe Liverpool can be added in- than any other city.  London is coming through and competing, yet Manchester has that historic legacy: from the Factory days through to The Smiths and The Stone Roses; along to Oasis- Doves and The Charlatans can be thrown in there.  The city has produced some of music’s most influential bands: each with their own aesthetic and sound; each one with its own vibe- the city is not exactly letting up.  In the last few years, The 1975 have stated their claims; there are some young up-comers emerging- few can match From Carbon.  (Carbon itself) has a fascinating biography: an incredibly high boiling point, it is an essential element; diamonds emanate (from carbon); carbon is a pattern maker.  The band themselves share chemical similarities; their componency is the same- the boys are among the most previous and important bands breaking through the Manchester scene.  Before I continue my point- and raise a couple of new ones- let me introduce From Carbon.

Scott Jeffreys - Lead Vocals Gray Shaw – Bass Jason "Nut" Coverdale – Drums Adam Smethurst -Lead Guitar Fiona McBurnie – Piano Sarah Hinkley – Violin Chris Oliver - Guitars

“Upbeat, Passionate and intelligent indie rock songs with the occasional soaring  ballad & waltz, beautiful melodies and thought provoking lyrics.”

The band’s biography is kept simple and to-the-point: that mixture of soaring melodies and intelligent lyrics defines them; their beauty and passion comes through in every line.  What I would say about the band- as a suggestion perhaps- is to make their album music more accessible.  Having released Wealth (last year) it has gained praise and attention- free to purchase online.  It would be great to hear the music on SoundCloud- make it free to listen to their music- thus engaging a wider audience; making it obtainable to a wide audience.  Being a D.I.Y./self-funded band, the desire is to raise funds: have their music raise money; ensure the band can keep producing/playing.  With that said, providing a link to the album- as a free download- would improve their chances.  It may sound counter-intuitive, yet if people get a taster, they may be willing to buy the album- fewer would snap up the album without a song or two for free.  From Carbon have a pretty healthy fan-base; their social media ranks are growing- I can see them gaining fans from across the U.K. and abroad.  With new music mooted, let’s hope the boys get something organised on YouTube/SoundCloud- and tease the masses in.  The official website (for the band) is informative and well-designed: clear and concise, it provides gig dates and up-to-date news.  The boys’ have covered Facebook and Twitter: between the social media sites, the band are keeping fans updated and informed; ensuring their keep in contact- making them aware of future events.  Following Wealth’s release (last year) the band have been laying down new plans/sounds; taking their music on the road- getting ready for their next attack.  Wealth is the sound of a band with purpose: the song titles are economic and tight (most just one-worded); the tracks are nuanced and addictive; the songwriting consistently excellent- the band performances incredible.  The way I came about the band (not sure that is the correct grammar) was through Shay Rowan: a Manchester-based photographer/music-lover and all-round top guy- he expounded the wonders of the band; lead me to From Carbon- bit of pencil/lead/carbon wordplay there, to boot!  Hilarity aside, the Manchester boys deserve their kudos and high praise: their music goes beyond that of the bog-standard Indie-cum-Alternative themes; stronger and more detailed- with much more striking lyrics.

To get a flair/feel for the band- assess who influenced their rise and sound- it may be worth digging into the following: Arcade Fire, Velvet Underground, Oasis, James; R.E.M., INXS, Longpigs, U2 Martha Wainwright; PJ Harvey, The Beatles, Elvis (Pressley), Johnny Cash, Rush; Lou Reed, Leonard Cohen… If you are a fan (of any of these acts) there is a little of each to be found- to be honest, they are the faintest of hints.  From Carbon are very much their own band; a force to be reckoned with- one of the most original bands to come out of Manchester.  If you are a fan of the ‘classic’ Manchester bands- Oasis etc. - you will see some comparable shades.  From Carbon are capable of writing stunning songs about modern-day concerns; tapping into the consciousness of the young and affected- striking a chord with their incredible lyrics.  Throughout Wealth there are nods to their heroes; yet every song bares the hallmarks of From Carbo: there are a few moments where you are put in mind (of any other band).  With that in mind, it creates a pleasing feeling: you do not feel short-changed or cheated; there’s that feeling you are listening to a fresh and innovative group- very much complete with their own voice.

Initially, I was going to review Understand- another track from the album Wealth- yet changed my mind: Darkness is available to listen to online; a better chance for the listener to connect with the band- rather than buy the entire album (to hear the song).  In time, I hope the boys put all of Wealth’s material on SoundCloud- they will get a bigger audience and make it easier to recruit new fans- yet Darkness is online for all to hear.  The introduction begins with a galloping blast: a riff that spirals and snarls; it is razor-sharp and frantic- the song spares no time in getting off the blocks.  Both uplifting and head-rushing; Darkness swirls and strikes.  The guitar see-saws and vibrates- reminding me a little of Achtung Baby-era U2- and the listener is instantly gripped.  Without uttering a world, the track kicks and punches its intentions; before the vocal comes to play there is an awful amount of build-up.  When our man comes to the microphone, the lyrics look at a central subject- “She’s got nothing to lose/nothing to prove…”  You feel a relationship is on the rocks (under strain) and some sort of fall-out is taking place- although you are not clear who the perpetrator is.  With a serious and focused vocal, the words are given maximum emotion- a very dead-ahead delivery that makes sure they are understood and hit the mark.  Allowing his voice to rise and emote, our hero takes the (song’s subjects) to task- stepping away from the first-person clichés, and focusing on an anonymous couple.  Whether the ‘he’ of the song is Jeffreys- or the tale is fictitious; or else based on a friend- the male party is in need of a “slap in the face”.  Seemingly “all over the place”, the song’s focal points are making a mess of things- whether it is relationship-based or they have just screwed up we are not sure.  When the chorus arrives, darkness is seen as a rescue aid- Jeffreys employs the first-person; making me wonder whether he is a bystander or one of the song’s central subjects.  Throughout the early stages there is a sense of ambiguity and intrigue: you are never quite sure the background (behind the song); unclear what is unfolding- yet the way the lyrics are portrayed; it allows some vivid speculation.  The vocal is forceful and determined; filled with passion and urgency, it makes every word jump out- nothing gets muddled or lost under the weight of the composition.  “Free/the 73/wake up to your needs” is uttered: another oblique sentiment that builds more fascination and wondering- what exactly is being referred to?  The composition keeps pressing and plugging; it builds a huge amount of weight and emotion- ramping up the emotion.  The chorus swings back around; the darkness is beckoned in- and another layer unfolded.  When love goes wrong- as the song foretells- the hero (of the song) always plays the victim- seemingly an immature and naïve figure.  There is no sense of sympathy or empathy in our lead’s voice: a guy with no real sense of reality, the song’s core is being given a dressing-down.  Before you become entrenched in the song (some more); investigate the lyrics and dive into the story- the band come back to the fore.  Those attacking strings melt with forceful bass; the percussion strikes and pummels- the knife-edge composition mixes anxious strings and dark-edged beats.  Showcasing the band’s tight and intuitive relationship, it is a stunning segment.   Melting some of U2’s skyscraping early work with some Velvet Underground overtones; the song’s messages and central themes hits home.   With every disaster, the song’s lead is playing the victim; coming off the hurt party- someone who needs things to go his way all the time.  By the time you become invested in the story, the song comes to its end: the final utterance of the chorus sees our lead backed on vocals; that central mantra- “Darkness, rescue me”- comes back into effect- augmented and emphasised in the final stages.  By the time the song comes to its end, you are left wondering how things worked out: if the lead (Jeffreys) was rescued; if the song’s subjects found what they needed- if there was a fair resolution.

Being available on SoundCloud, Darkness is (one of two songs) that the public can hear- an insight into their stunning album.  Uplifting and emphatic; heavy and serious, the song tows the line between emotional grab and stadium-sized riffs/choruses- a fascinating mix that seems ready-made for the crowds.  One of the most agile and fresh bands to come out of Manchester, Darkness is better than most tracks out there- a testament to the band’s songwriting talents; the close and tight performances of the band members.  Jeffreys leads from the front: his vocal is strong and resilient; gripping and emotive- making sure the song’s messages are understood and appreciated.  Someone who has seen his share of disreputable sorts, you hear the convicting and sense of fatigue- the need to get away from crap situations; find some sort of salvation.  Gray Shaw’s bass keeps the song sturdy and focused: making sure nothing gets out of hand; he leads with force- displaying a keen ear for melody and rhythm.  Instilled with a clear sense of personality and purpose, Shaw matches cutting drive with restrained guidance- adding force and emotion when the song calls for it.  Smethurst’s lead guitar- sitting with Oliver’s guitar work- is emphatic and impressive throughout.  Strong-armed and resilient, the guitars cut and shred; attack and sting- making sure the listener is kept on the edge of their seats.  Never too heavy-handed and imposing, the strings add the necessary degree of weight and punch- the perfect complement to Jeffreys vocals.  With Jason “Nut” Coverdale charging from the back- providing a huge amount of drive and passion- and you have quite an incredible band.  Coverdale’s stick work is impressively tense and gripping (from first to last); keeping the song hard and heavy.  Completed with some fine production work- that makes sure no notes or vocals get lost or misheard- Darkness is allowed to breathe and flourish- and be fully appreciated.

Before I make my way out of my ‘comfort zone’- and towards some foreign wonders- I am looking around the current scene; the growing mass of Indie bands- wondering what their future will be.  At the moment (that genre) is the fastest-growing around: it requires more truth (and fewer diversions/musical complications) than other genres- it is more straight-ahead and to-the-point.  Within the genre, there are opportunities for mobility and surprise: those that understand this are those that remain in the memory.  Fatigued by the throng of twenty-something bands aimlessly playing- thinking it is sufficient enough to phone it in- when a terrific act comes along, it is always pleasing.  It does not take a lot to stand aside: some personal and intelligent lyrics; an original and bracing sound; songs that stick in the brain- few acts negate these simple points.  The From Carbon boys have their own drive and personality- although they include a little of other bands, they are very much their own.  Darkness is a track that has not received a lot of air play and blog space- I do not understand why.  One of Wealth’s standout tracks, it is the band at their finest- the distillation and fine process of all their shades and elements; a brilliant fusion of components- getting too much into the carbon analogies (the band need to change their name!).  Before signing off, it is worth pushing the band into your mind: check out the (couple of songs) they have on SoundCloud; make sure you snap up Wealth- ironically, it is very reasonably priced; make certain to make the band one of your ‘new discoveries’.  In the Indie/Alternative arena, there are few bands that really pull it off: tick all the boxes and put you in mind of the legends past- the likes of The Smiths, Oasis, Doves and so forth.  Although the boys have their unique sound- and could not readily be compared to those acts- the comparable bedrocks remain: the knack with an instantaneous chorus/tune; lyrics that mix personal introspection and huge uplift (The Smiths could even do that) and terrific melodies- what else could you possible desire?!  Well, there is more to recommend: From Carbon are planning new songs; readying themselves for future sounds- so brace yourself for what is to come.  In the meantime, investigate Wealth; hope over to SoundCloud; give them a ‘Like’ and ‘Follow’- so you can keep up-to-date with all their happenings.   In a (music world) bestrewn with variable/mediocre/bat-shit lame acts, we should embrace those that circumvent expectations- go out their way to make exceptional music.  From Carbon are an elemental band; starting out and finding their way.  Although they are carbon now, we all know what (carbon turns into) and it is only a matter of time.  My lame/insatiable carbon-based puns aside, get involved in their graft; support a fine young band…

SIMPLE as that.

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____________________________________________________

Follow From Carbon:

 

Official:

http://www.fromcarbon.co.uk/

Facebook:

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

Twitter:

https://twitter.com/FromCarbonBand

 _________________________________________________________

Music:

https://soundcloud.com/fromcarbon/tracks

 

_____________________________________________________

Gigs:

http://www.fromcarbon.co.uk/events/

 

E.P. Review: The 48ks- Caught Up in the Wrong Crowd

E.P. REVIEW:

The 48ks

  

Caught Up in the Wrong Crowd

9.5/10.0

 

Caught Up in the Wrong Crowd is available at:

https://soundcloud.com/the48ks/sets/the-48ks-caught-up-in-the-wrong-crowd-ep

RELEASED: August, 2015

GENRES: Rock/Indie

ORIGIN:

Doncaster, U.K.

TRACK LISTING:

Changing- 9.5

Where the Wind Blows- 9.4

My Town- 9.5

Reason- 9.5

STAND-OUT TRACK:

Changing

CAN never be too sure whether there is an apostrophe...

in the 48ks- the guys will forgive me for excluding it.  Anyway, I’ll get back to that later: for now, I am drawn back to the Indie/Rock hybrids- and the bands that play these genres.  Over the last few days- and some reviews coming up- I am stepping away from the genres; looking for something a bit different- expanding the horizons and all that.  It is always exciting witnessing an Indie band come through: there is so much potential to be found; what can be done with guitar, bass and drums- and whether the music produced elicits a reaction.  It may seem like odd wording, yet it is a difficult situation: so many Rock and Indie bands are stale and predictable; come across as lumpen and uninspired- tend to come off as boring and retracted.  You do not have to limit yourself to tried-and-tested themes/sounds; the genres allow movement and invention- something quite exciting and fresh.  Maybe the scene needs a shake-up; the bands need to start expanding their themes- go beyond the usual parameters.  Within the songs of love and relationships, there are some interesting acts coming through.  With the rise of acts like Royal Blood, the newcomers are starting to become bolder: up their game and start showing some nouse.  The 48ks are a familiar band to me: I have reviewed them before- I reviewed their album For Every Day a Memory last year- and know what they’re capable of.  Returning with a new E.P., the anticipation has grown.  The band is no mere upcoming wannabes: they have already caught the ear of some prominent names- including B.B.C. 6 Music’s Huey Morgan- and their new release has already been spotted by Steve Lamacq.  It is clear their music is striking the collective ear; good enough to appeal to the taste-makers of the country- and get some really impressive airplay.  Before I go on, let’s welcome the band: 

Ryan Lightfoot- Vocals Steve Dale- Rhythm Guitar and Backing Vocals Simon Kato- Lead Guitar and Backing Vocals Adam Golightly- Bass Guitar and Backing Vocals Chris Morris- Drums

“Living in the shadows of noisy neighbours Sheffield, Doncaster has its own Phoenix rising from the ashes of closed mines and Thatcher's Britain telling stories of their lives and times. Whereas Sheffield has the musical heritage of Pulp, Arctic Monkeys, the Human League, Def Leppard Doncaster's famous sons are Kevin Keegan and Jeremy Clarkson. No bands. The 48ks aim to change this. Their manifesto is to "provide proper tunes", "proper songs that mean something to someone, songs you and your mates can sing together and you believe every word" and purge the charts of soulless, lifeless rubbish. With songs in the classic style of Lennon/McCartney Jagger/Richards is there any reason why Lightfoot/Dale of the 48ks can't join their heroes. They've certainly got the tunes. The 48ks formed in late 2009 and after various personnel changes they have grown into their own shoes with relentless gigging and songwriting. Combining their collective influences and adding their own individual ingredients they are intent on bringing the guitar and vocal harmonies back to the forefront of modern music. Their love of their heroes The Beatles, The Kinks, The Stones, The Jam, The La's, Led Zeppelin, Oasis, The Who, Ocean Colour Scene and Cast is the standard which they aspire to. The 48ks write tunes for the people. If they were not in the band then these are the boys they'd be rooting for. They've put the hard work in; they've worked for a living so people can relate to what they are saying. They all love a beer, a flutter on the gee gees, a night on the tiles, going the footy and their clobber but music is their passion.”

Hailing from Doncaster- and being residents of Yorkshire- the band stand in good company.  Across the county, there is a host of legendary bands- Arctic Monkeys and Pulp as mentioned- and some great newcomers (like Allusondrugs).  I think one of the members of One Direction hail from Doncaster- not sure which is which; they all look like pre-pubescent hairdresser apprentices- but no human wants to be tied to One Direction- unless they’re hurtling down to Earth with no chance of survival.  It seems like the boys are in a very unique place: not only put their hometown on the map; make sure musicians from the town follow in their footsteps.  It is clear the band are aiming high; their songwriting and musicianship is among some of the finest (of the current scene) - their tunes are simple and effective; quotable and festival-scoring- the sort that unites the fans in a throng of sing-along ecstasy.  Having impressed me with their album, their new E.P. builds on their core sounds; expands their ambitions and direction- they sound more confident and complete here; the songwriting is stronger and more impressive- a natural step forward (for the band).

 

Looking at the bands influences- and who has inspired their background and music- the likes of The Rolling Stones and Oasis are in there; as are Ocean Colour Scene and Cast- a lot of northern influence.  Throw in The Beatles and La’s and you have some localized- and let’s admit majestic- influencers.  The 48ks’ new work has more in common with Oasis and Ocean Colour Scene: there is a ‘90s vibes to proceedings; anthemic guitar work- some urgent and passionate vocals.  To be fair (to the band) it is really difficult pointing to any other band: there are touches of old legends; some suggestions of newer acts- when all’s said and done the band are very much their own.  It is their compositions that will seem the most familiar: they link the glory of ‘60s Rock- Led Zeppelin and The Rolling Stones- and infuse some modern-day hardness; to create something quite special.  The stunning song-craft and wonderful melodies ensure the music remains in the head; perhaps little flecks of The Beatles and The La’s- in terms of the terrific ear for catchy choruses and brilliant Pop sounds- but The 48ks are keen to stamp out their own sound- which they do with aplomb and attack.  Keeping their songs tight and focused there are no wasted moments and wandering ideas- songs do not pad out or trail off; they always remain controlled and level-headed.  The band’s L.P. was a stunning statement: a brave and ambitious effort, it showcased their combination of strong songwriting and brilliant hooks; big-time choruses and relatable lyrics.  Since last year- to my mind in any case- the band sound ever more assured and confident; they seem to have grown in stature- producing music that is dripping with energy, lust and magic.  The band’s intuition and courtship makes the songs so addictive: each member understands their role; the performances are tight and professional- the boys do not sacrifice their ideals and quality at any moment.  If you are new to the band, it may be worth dipping into the 1990s annals- investigating the likes of Ocean Colour Scene, Oasis and Cast- and listening to those bands; the legends that inspired the lads- and just what compelled their music ambitions.  Before you investigate Caught Up’ clear your mind to an extent: approach it with fresh eyes and just let the music do its work.  A natural leap for the band, it shows them channeling their ambitions and inner strength- and producing something quite epic.

Changing starts with an appropriate spring: the composition mutates and develops; beginning with a strummed and ear-catching riff, the beats patter and rumble- ducking and diving; keeping the listener on their toes.  The intro.’s riff has Punk and Rock edges- little bits ‘60s ‘Stones; suggestions of ‘90s Britpop- although to be fair, it is very much a (The) 48ks creation.  Catchy and insistent; head-nodding and feet-moving, it throws the E.P. into the heavens- and sparks the sky alight.  When our hero arrives at the microphone he is reflecting on issues; taking it all in- assessing events in life.  Both ambiguous and double-meaning, you wonder what has (inspired his thought-provoking words) - and whether it applies to a relationship breakdown.  It is life’s changes that are causing the issues: when he looks in the mirror, the image staring back seems unfamiliar- either older or different somehow.  Perhaps a natural (yet quite regrettable) transformation to older skin (the youthful glint is being replaced by something more lived-in) there is that sense of alarm and submission- maybe not wanting to let go.  Sentiments/concerns that apply to many, you emphasise with that sense of pain and regret- and find yourself singing along.  Caught up in the jumping riff, the entire band step up to the mark- their instruments blend to create an atmosphere that is claustrophobic and open; attacking and at ease- something that takes you in varying directions.  Our man talks about (and to an unnamed person/people) “’you should know my name”; and, as the thought develops, “’my game”- perhaps a call-out to the music world; a snarl at a jilted love- maybe a general kick-out.  Taking time to reflect on life; looking at events that have unfolded- you are never free of that urgency and haste; things are transforming (and not always for the better)- the song never relents or lets up.  The chorus and melody has elements of the ‘60s heroes- your Beatles and Stones- and certainly gets inside the head.  The band keep things simple and straight-ahead: the composition remains tight and focused; the song’s quotable lyrics are deployed to memorable effect- the entire ensemble is so well conceived.  Backed by a passionate vocal; some uplifting backing vocals- the final stages are compelling.  By the time the final chords rally, you find yourself humming along (still); gripped by the song’s energy and luster- it is one hell of an opener.

Following that emphatic opener, Where the Wind Blows begins more serenely- and has some gentle sense of embrace.  Acoustic-led and tender, the vocals are light and sensitive.  Caught up in the wrong crowd, our lead- backed on vocals by his bandmates- laments and reflects; he is being led astray- and it is not pleasing.  Acting almost as a title song- the song does name-check the E.P.’s title- it seems like a home town anthem: maybe the crowds and scenes have grown wary; creating something quite negative- there is that sense of dissatisfaction and loneliness.  Keen to throw off the shackles (of this oppressive force) our hero calls out (maybe to a friend or lover) to come with him- take him by the hand and make (their way) into the night.  The track (like the E.P.’s opener) boasts an impressively authentic ‘60s vibe: signs of psychedelic ‘Beatles-cum-Ocean Colour Scene fuses with The La’s/The Byrds; the effect is quite staggering.  Classic and modern; upbeat and introverted, the song is nuanced and layered- something that is not throwaway; instead it appeals to the brain, body and bones- really hits all the marks.  Speaking to (the unnamed subject) they are coming around “at the wrong time”- there is a sense of ambiguity to the lyrics.  There is obviously turmoil and doubts; something fractious and nerve-shredding, you are compelled and curious.  The subject certainly promises fun and escape- although there is some doubt from our hero- as the memories flow; the night develops- that knowledge that (if they go where the wind blows) it will all be okay.  When the song reaches its middle eight- and the rest of the band step into the spotlight- you get some overt hints at the ‘90s power bands- that Oasis-via-Cast combination; some Ocean Colour Scene too.  The 48ks manage to transmogrify (any ‘90s influence) around their own template; nothing ever sounds borrowed or second-hand- it is very much them being them.  The strings wail and shred; woozy and stinging, the bass comes into to keep it level- guide the music and keep the backbone strong.  With some punchy and strong percussion the band crank through the gears- before the vocal comes back in.  “You can have it any way you want it” is the mantra that unfolds: something that is both chant-able and oblique- the band always deliver their prophecy with a sly wink; what does the “it” (first) refer to; what does the “want it” reference?  Anyway, by the time the song is over, the listener is left to recollect: try to dig to the song’s nub; put the pieces together- knowing that the truth is known to the band alone.

   My Town jumps into life: with is bouncing and spiraling riff- that manages to weld some ‘60s Power-Pop with classic Indie strides- it begins with intent and ambition.  Insanely catchy (in its simplicity) the band unleashes something insistent and festival-ready.  One of the best things about the band is their introductions: they do not wait to get into your head; their songs always come charging out the blocks- and do not relinquish their attack.  “I see trouble” are the first words; “stony walls” and “the eyes of the trees”- a glimpse into the band’s town.  Whilst the wounds have healed (so it’s told) the scars are raw- the marks have been left.  It seems like the boys know the limitations of where they hail: their home town has its issues and limits; there are problems and heartaches- that will not bring them down.  In the early exchanges I was not sure whether the lyrics- which paint some vivid brushstrokes- reflected Doncaster with a positive or negative image (if there was a sense of anger or pragmatism).  Just like Arctic Monkeys unveil fantastical scenes of modern-day Yorkshire, The 48ks join them: their way with words is effective and striking; fewer poetic flourishes (than Turner’s lyrics) it is direct and powerful.  Building off of that central thesis- “’you’ll never bring me down”- it is a kick-against-the-world mandate- something designed to inspire festival crowds.  Contorting and dancing; jagged and melodic- the song is a busy and bustling beauty.  As our hero walks through the streets- noting some rather disreputable visions along his way- there is that sense of defiance: he will never be overcome and defeated- on his way, nothing is going to bring him down.  One of the most instant and effective tracks (on the E.P.) it should be a live favourite- a song that is designed to compel the masses.  At the very least, the song leaves a giant smile- just what great music should do.

After some confusion and anger, we need some Reason- the E.P.’s swansong delivers that in spades.  Beginning with an intriguing riff- that put me in mind of Green-era R.E.M. (and tracks like Stand) it has U.S. vibes- with a dose of ‘60s U.K.  Big and heartfelt; uplifting and Pop-infused, the song looks at relationships and lessons.  Whether the bond has broken- or is just on the rocks, stranded- the words “we’ve been here before” suggests lessons not learned.  Whether an argument or series of mistakes, our hero casts his eyes around- it seems hearts are very much on sleeves.  The song looks at reason-finding; that is the chanted chorus- a direct plea; why stand in line and not fade away?  The lyrics retain some classic elements- the sentiments and pleas have been employed before- but that is the idea: the song is designed to be extrapolated and understood; connect with the listener- and be taken to heart.  Whilst its origins are rooted in personal realms, the overall projection is very much universal and common- a track that we can all relate to.  That optimistic compositional sound- there is always a grin on the strings and percussion- contrasts with the lyrics; the juxtaposition is quite effective- and lifts the song beyond predictable avenues.  Our hero has seen all he needs to: the duo (whoever the second party is) stands and looks around; there is fatigue and a lack of new direction- what are they to do?  Part of your brain thinks of relationships and love; the other looks beyond that- maybe to relations in Doncaster- that sense of being trapped in a place- or at a friendship.  Maybe I am over-reaching but the song makes you think: go beyond obvious interpretation and get the brain working.  Before you become too entrenched in deep thinking, the composition comes to roost: blitzing with abandon, the strings rage and conspire; it is a brief parable yet adds some much-needed vitality and punch- the entire band are tight and focused from start to finish.  The composition itself changes and develops; never standing on its heels (which seems fitting given the song’s ideals of movement and moving on.  As the song comes to a close- and the E.P. itself in fact- you leave wanting more- can we have a fifth track?  The answer is ‘no’ and so it should: the band have always been about concision and economy; never giving more than is necessary- it just leaves you wanting more.

The entire band should be congratulated: they play with such passion and verve; each member knows their role- there are never any wasted notes or ineffectual moments.  The vocals are captivating throughout; very much the product of originality, they sound at once modern and fresh- yet imbued with a touch of the ‘60s and ‘90s masters.  The bass work is tight and focused throughout: keeping the songs in check; leading by example- whilst showing plenty of passion, personality and innovation.  Not just there to simply guide the songs, what you get it rhythm and strength; heart and soul- that lifts the songs and adds plenty of colour.  The guitars shine and dazzle throughout: at times blissed-out and knackered; others vibrant and stinging- they change course and skin without a blink of an eye.  So much contrast and diversity is dolled-out; the players each have their own voice, yet seem brotherly and close-knit- combining with such naturalness and effectiveness.  Suggestions of Oasis, Ocean Colour Scene and The Beatles comes out (in the guitars) yet these are guiding notes- the faintest of touches are used; the lads are the epitome of originality in their riffs and guitar motifs.  The percussion keeps everything levelled and focused; it adds heart and pummel- switching between urgent and fierce; managing to recoil and demure when the mood calls.   Together, the band are exceptional and impressive; their performances and uniformly excellent- the product of rehearsal and intuition.  Backed by excellent production values- making everything sound natural yet not too bare and lifeless- instead every note and variegated contour is allowed to breathe and colonise; get inside the mind- make sure its presence is felt.  The vocal and instrumental levels are just right; nothing steals focus or is muted down- just-so in fact.  That leaves the songs themselves: a four-track E.P. that shows the band at their creative best.  Not only are the riffs and compositions consistently engaging and catchy, the lyrics vary and inspire- they touch on everyday concerns and real events; yet there is plenty of room for personal pleas and hometown woes.  Both frustrated and constricted; optimistic and hopeful- The 48ks cover a wide spectrum.  Caught Up in the Wrong Crowd is a fantastic E.P. that suggests great things: if the band can keep up this rate of progress and quality, then international acclaim is shoe-in.  If you like your music with balls, brains, and above all, originality, you need to hear this- and hear how it should be done.

Having investigated Caught Up in the Wrong Crowd- heard where the band is at the moment- it is clear The 48ks have a bright future.  They are not a band that are tentative and nervy; they have no loose edges and wasted moments- their songwriting is strong and determined; their performances focused and well-rehearsed- their songs both every-day and personal; uplifting and introspective.  It is hard to predict the future: see which bands will make it; those that will struggle- early signs are important.  If you can come out flying; keep that momentum going- you have a much better chance of sustaining interest.  Their debut L.P. was an impressive and consistent effort; their new E.P. sees them in fine voice: at their most inspired and urgent; the songwriting is at its peak; the performances tight and honed.  The band have always rebelled against the rank-and-file bands; the acts that are clichéd and tired: The 48ks are proper songwriters, writing- in their own words at least- to the Lennon/McCartney, Jagger/Richards line- penning songs that have the ability to endure and inspire.  Caught Up in the Wrong Crowd might be a shot at their contemporaries: the sense The 48ks are alien in a sea of below-par songwriters; maybe caught in a town with little ambition and music heritage- there is plenty of ambiguity and mystery.  That is (one of the things) that makes the band ones to watch: their passion and urgency sits alongside mystique and open-for-interpretation words.  Among their four-track release, the Doncaster boys run the gamut of emotions; present vivid scenes and wonderful tales- all wrapped within their stunning performances.  It is no fluke- the fact B.B.C. 6 Music are championing the band- they are so good: their idols and influences have made their way into the music; they inject aspects of each- whilst retaining their unique core and voice.  It is only left for me to come back to my original point: the quality and consistency of Indie/Rock bands.  It is true; there are too many average acts: those contented to do the bare-minimum; swaying along with nary an original idea in their head- no direction or real sense of pride.  The 48ks are still in their infant days: their initial footsteps are showing them to be one of the most promising new acts in the country- it will be fascinating to see them develop.  With new competition spilling in (by the week) the facts remain: it is vital to make an impression; not just relegate yourself to lackluster campaign; make sure you make your intentions know.  The 48ks are worth watching closely: Caught Up in the Wrong Crowd not only sees them hit their stride running; the E.P. is a tantalising glimpse into their future.  The boys have played some impressive dates/venues thus far: I predict some big festival dates soon; they deserve a chance to be on the big stage- and stake their claim among the best out there.  There is no way in music (unfortunately) to get rid of the most lipid acts; celebrate and augment the very finest- in time, the music does its own fighting.  The 48ks should be very proud: not only have they crafted a wonderful and nuanced E.P.; they are shaping-up to be one of the best bands to come out of Doncaster… well, ever.  They should keep their sights set; aim high and far- it would be good to see them rock London, one day- there will be plenty of options for them done here!  I can’t see them staying in Yorkshire too long: their music translates county lines and boundaries; it is universal and yet, strangely unique- not many bands can boast that.  When the boys do launch their next album, there will be talk of ‘that difficult second album’.  On the evidence here, The 48ks will have…

NO such fears!

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Follow The 48ks:

 

Official:

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

Facebook:

https://www.facebook.com/The48ks

Twitter:

https://twitter.com/the48ks

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Music:

https://soundcloud.com/the48ks

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Video:

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

Feature: Music's Unsung Heroes- Part Two

Feature:

Music's Unsung Heroes- Part Two

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WITH musicians getting a lot of credit- and being at the forefront of attention- I was keen to highlight those behind the scenes: the managers, labels (photographers and venues) that promote new music; work tirelessly- to get great music to you.

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Pat McGuire- Music Photographer

Hi Pat.  For those unaware of your (good self), tell us a bit about where you came from/what you do?

I'm originally from a small town in North Lanarkshire called Viewpark- which is half-way between Bellshill and Uddingston.  All 3 towns (and North Lanarkshire in general) were a hotbeds for bands in the early ‘80s when I was a teenager.  I was involved in a few myself until the mid-90s when I kinda dropped out of music and started doing "normal" jobs (and raising my family).  In fact for maybe 10 years I didn't even go to gigs or buy much music at all.  Then around 2011 my wife bought be an entry level D.S.L.R. as she knew I was bored with my job and needed a creative outlet.  I had shot on 35mm film cameras in the early ‘90s and studied design and photography for a while- so it only took a week or so for me to get back into photography.

By this time I had moved into Glasgow so I knew that there were lots of venues and bands out there and a bit of a vibe going on as usual.  But I was still outside the loop.

Initially I was just shooting abstracts and architecture and just walking around the city.  I got into street photography for a while too as a kind of therapy to de-stress from my boring day-job.  But then I did some pictures of a friend's acoustic set (at a gig in town) and after that I was asked to cover a 4 -and fundraiser by some friends from my workplace.

After that it escalated quickly: I got hooked on doing live band photography and started getting back into music in a big way again.  But I think one of the turning points for me was bumping into an old friend of mine outside my house one day.  Duglas from The BMX Bandits.  He was playing at the Oran Mor all-day-er so I asked him for a photo pass and he arranged it for me.  I turned up expecting just to be doing shots of The Bandits but the pass was for the whole event- so I got to photograph a lot of bands, including Fatherson (who have just recently signed a record deal ) The Twilight Sad; of course The BMX Bandits, and a few others.  I think this was 2011 but I'd need to check my photo gallery for the exact dates as my memory is pretty bad.

So after that people like Duglas (and other friends I knew from the ‘80s and ‘90s) were still playing.  So he was a bit of a catalyst for me to start approaching people (for photo passes and getting to shoot at gigs).  It's really thanks to him and people like him that I got a portfolio together and the confidence to do live band and promotional photography.

So now I just keep doing live band photography and sometimes write gig reviews too.  Essentially I owe it all to my wife and my friend Duglas.

Currently I'm working with a few up-and-coming bands.  Have had some of my work featured in national and local press and online, have done some cover shots for a C.D. - The Beat Movement "Another Piece of The Puzzle".  I have another record cover in the pipeline right now too but I can't talk about it too much as yet.  I've also shot and had press for bands like Sleaford Mods (N.M.E. used one of my pictures of them. But the band are mates of mine now so I had lots of access) who are supporting The Who at Hyde Park this weekend (and playing Glastonbury too).  I have slow weeks and busy days, sometimes I'm booked for too many gigs and other times I'm sitting about wondering if I'll actually be doing any photo work at all.  But anyone who does live music reviews or photography has to get used to that.  What we do is always a bit of a stop/start occupation.  But the pros outweigh the cons in my opinion.

Based out of Glasgow- and knowing many great bands from the area- what is the music scene like? Are you seeing a lot of promising acts coming through?

I am seeing lots of great bands playing a lot of gigs and making a lot of music yes, but as to "coming through"; if that means getting recording deals or being able to actually make a full time career out if it I'd say no.  But that is where the 'Arts' in general and music in particular are right now.  Fatherson recently got a deal and they have been playing and touring and working day jobs for ages.  Likewise Gerry Cinnamon has got signed too, but it wasn't like in the movies.  One gig and someone gives you a deal.  He played his arse off and also did and still does open mic. nights (at The Priory on Sauchiehaul St., used to be Wednesday nights but now it's on a Thursday as of this week).  You have to put the work in and be good (and have songs to even have half a chance at getting anywhere now).  The days of breakthrough bands are over and the music scene has to adapt.  The music "industry" too, but right now the industry is still making too much capital on legacy bands (or established acts to care).

Photographing some great bands- and having done so for many years- any particular acts/moments stand out in the mind?

Well...while I'm 46-years-old and have only really been doing live band stuff for 4 years, I've had to catch up a lot with other photographers (who are either younger than me and have more energy), or the folk who are the same age as me (but have been at it for longer) - which is a bit of a challenge as there are some very fine photographers out there.  But to answer the question...loads!  Act/bands-wise I have a few favourites of course, but any band that is playing live and giving it a go even if the venue is not as full as it should be get a lot of respect from me.  I've taken some shots that blew me away when I looked at them the next day and then remembered that the venue had more bar staff than fans; but the band played the same as they did (a month later with 400 people) and the front rows going mental.  That takes a lot for a musician/singer/group to do and I've been there myself so I understand that if your audience is me- with a camera and 5 pals- it might not be the best gig of your life.  But if you play it like you mean it, I'll try to get you some nice images.

Universal Thee are a case in point.  They came over to Glasgow for a gig once (and the gig wasn't as full as it should have been).  But they were excellent as usual.  Then not too long ago they played at Nice ‘n’ Sleazy and had the comedian Phil Kay dancing about like a maniac in the crowd.

But I'm rambling as usual...so favourite acts/moments include but are not limited to...Stu West (bass player from The Damned) - He gave me shots while I was stuck at the right-hand of the stage and everyone was shooting Captain Sensible and Dave Vanian on the left (in the photo pit at the O2 ABC, you get first three songs then chucked out; usual rules for medium to large venues).  He must have felt sorry for me and came over so I could get some images :)

Also Gerry Cinnamon at King Tuts last year when he was over the barrier and the faces in the crowd are all just staring up at him.

Lyall Mooney of The Beat Movement (at Nice n Sleazies a few months ago) was another good one.  He is a guitar hero in the classic sense and we are pals- through me shooting the band a lot.  He gave me a classic shot and knew to let me get a few while he was doing his thing so I'd have options later on.  He wasn't posing as such.  He plays his guitar the same way all the time and is very mobile.  I think after a year or so of seeing my shots he trusted me to capture a nice shot.

I could literally go on and on but any band or singer or player or whatever that just does their thing with passion enthuses me and makes me want to get a great shot of them.  My main ethos is to try to get shots that I like first, the band or act like too and that show them as they want to be seen.

Musicians get a lot of glory.  For those wanting to go into band/live photography, what advice would you offer?

Don't expect any glory at all.  Or much money either.  It's the bands and musicians that people pay good money to see.  Not a guy with a camera who got in for free.  If the band and the fans of the band like your pictures then you are doing it right.  After that you can look forward to maybe getting a mention now and then.  But from the point of view of a new photographer I'd suggest asking a mate's band if you can do some shots live and at rehearsals just to get the practice.  After you get confident you can approach bands you don't know and show them your previous work.  Approach venues and clubs, use social media and email.  You need to build on your portfolio and keep doing it to get better at it.

Don't worry about equipment too much: my camera gear is less than professional but it does the job. The main thing is to use what you have and do the best work you can.  Also get used to rejection.  You won't always get a photo pass so just move on to the next one.  Don't be afraid to email a band directly (easy to do with social media).  You might be lucky and they might say yes.  But if they say no, accept it and move on to the next one.  Bands need good live and promo. shots and if you can do work you will start to get asked directly to cover gigs.

Also, this is the big one: be nice.  Sounds easy but I know bands that will point-blank refuse a pass to a photographer who maybe annoyed them during sound-check (or by emailing them 3 times a day for a pass).  Even if that person does good work, the band don't need to have to worry about a photog being a plonker.  I'm lucky in that people tend to like me (after they get over how scary I might look).  I try to keep conscious that the gig is for the band and their fans, and I'm there to try and get some nice pictures.

Using that approach, which comes naturally to me, I end up becoming friends with a lot of the bands I've covered.  Most bands are nice people too so it kinda works out.  So yes, don't be a plonker, practice a lot and do the best work you can with the gear you have and the lighting the venue uses and so on.

You clearly have a huge passion for music: what motivated you to become a photographer?

I covered part of this in question 1.  But for live band photography I think I used to read lots of weekly or monthly music magazines- even before I played in bands myself.  Pictures of Joy Division or The Jam or The Clash always seemed to look exactly as the bands sounded.  I'd spend just as much time looking at the photos as reading the gig/single/L.P. reviews or interviews.  So many years later this has influenced how I try to make my photographs look.  If I can I play some music from the band whose pictures I've taken when I'm working on my shots the next day.

But the other reason is bands are cool.  Middle-aged photographers like me are not.  I get to re live my youth, see some cool bands playing and do pictures of them.  I love doing street photography and abstracts too, but I still get a buzz when I'm shooting a live band.  I sometimes feel nervous too and get the shakes.  But then the band starts and I start shooting and my nerves disappear.  Within 30 seconds or so I'm too busy doing my stuff to worry anymore.  It's almost as if I'm playing the gig but not if you know what I mean?

In terms of capturing that ‘perfect image’ what would you (defines it); is it a particular moment or something else entirely?

I don't know if I have as yet captured a perfect live band image.  I'm still working on it.  I'm working with and against my own limitations all the time.  But essentially music is all about emotion.  So if an image emotes in the viewer's mind and they get an idea of what the band sounds like and are about, then that would be close to perfect.  Saying that, what you or I or even the band think is mediocre, the fans might think is brilliant and vice versa.  It's all subjective I guess.

Of all the (great acts) coming through, which would you recommend?  Who are the finest acts coming through?

Loads.  Really too many to mention but right now I really like The Beat Movement, The Blue Lena's, Universal Thee (of course) Jamie and The Giants, Gerry Cinnamon; a cracking new band from Manchester called Alias Kid.  A Math-Rock band called Lamina; Lola in Slacks are great as well.  Too many to mention really and I've probably missed out a few (and they will email me shortly and pull me up) :)

On that subject, what/which music/musicians influenced you?  Which albums are especially important?

Since playlists and computers happened I tend not to listen to albums from start to finish the same way as we used to.  But when I do I'd say things like all the L.P.s by The Jam or The Who- as they seemed to be track-listed to be a journey or a story.  The La's by The La's became influential to me though maybe 20 years after it was initially released- just because of where I was at the time and what was happening in my life.  I loved it when it first came out, but it became more relevant to me as a 40-year-old than a 20-year-old for some reason.

At the same time The Jam and Joy Division kinda cover both ends of the same thing that I can relate to as well.  It's actually a difficult question to answer and my answers may be different depending on what day or week I answer it too.  I'll need to ask my wife to be honest ;)

Knowing acts like Universal Thee- who recommended you- Scotland is producing some tremendous talent. What is about the country- as opposed to other parts of the U.K.- that produces such unique talent?

Scotland is producing excellent bands and talent in general.  But I actually think that the entire country is- well outside London and the "music industry" anyway.   I'd say that Manchester or even Nottingham is just as vibrant with new bands as Scotland is.  I feel that bands outside London have to work that wee bit harder to get anywhere (and that creates a filter that forces bands to decide if they are doing it for the right reasons), or if they should be playing weddings and functions instead (nothing wrong with those types of bands by the way....  ) So the end result is that groups and bands form and split up and then form new groups (until they get it right musically), but still they have to slog from gig to gig and try somehow to keep a full time job to support their music.  That means that to be into playing music you really need to be "into" it.  The days of the big record deal are over.  The music industry is stuck in nostalgia mode (with a few exceptions) new groups have to adapt and work so much harder now than ever before . But if you don't give it a go, you won't get anywhere so you need to keep going.

So yeah, I've totally not answered the question as I don't really see Scotland as being any different culturally or musically as the rest of the country (apart from London of course ;) )

As you work so hard- and continue to photograph the best and brightest- name any song… and I’ll play it here.

Tiger Tiger - Universal Thee.  Seen play it live a few times and this video is lovely too.

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

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The Dutch Guy- Music Blogger/D.J.

Hi (The) Dutch Guy. For those new to you- or unaware- tell us a bit about yourself; how you got started.

I've been a fast-moving radio personality for 20+ years, starting of as a baby D.J. on a pirate radio station here in Holland- only to become 'The Dutch Guy' on an oldies station in Dallas Tx., U.S.A. years later. During those years, my love for music just grew stronger and stronger and I would play independent music whenever I could and was allowed to.

In 2011, I lost my last radio gig and decided to devote my time to promoting these hot and upcoming independent artists (and bands through my blog).  Because, let’s face it, there's so many great music out there, but the mainstream media outlets simply won't pay any attention to these artists.  So, I like to think I'm doing my little part, in my own 'unique' way...

We know- have reviewed and adore- Ellene Masri. You take a lot of time to promote the women of new music: how important do you think it is to do that (in an industry where men get a bigger say)?

It does seem that I'm promoting the independent sisters more than the brothers.  But to be honest, I don't pick and choose.  When I hear something that I personally dig, I like to run a feature on it.  It's about the talent and their music, not their sex or looks...

Having been in the business- reviewing and radio- for over 20 years, what keeps driving your passion; how do you find the energy to keep going strong?

It's hard at times, I'm not gonna lie. I've been taking time off (line) twice since I'm running the blog.  But I always keep an eyeball out for new music and that's what keeps me going, the music!  Whatever is going on in my personal life, it's the music that always finds a way to pick me up again (and show off those dance spasms) I'm known for whenever I dig a tune.  Thank god webcams weren't around when I was still doing radio, ha!..

Bloggers and D.J.s are slightly unsung- when the musicians get a lot of credit. For those wanting to follow in your footsteps, what would you say to them?

Don't do it because you want to be the next hot blogger or D.J.  Do it because of YOUR love for music. The music business is nasty and people will just use you or burn you to the ground when they are done with you.  Sure, I've made awesome friends in the process, but I also got used by artists, big time!

Do it for the music, do your own thing; come up with something that sets you apart.  Don't do it for the fame, the so-called credits, the quick cash or the numbers of visitors/followers.

Don't expect your blog or show to become an overnight success: it's hard work!  Pick a schedule and stick with it.  Sure, you can change or try things, but overall, stick to the schedule, so people know when to expect your new stuffs.  Don't over-promote yourself; promote the music.  Do an ego-check at the virtual door; don't expect anything and be grateful to the ones who do show you love, one way or another.

I never paid any attention to my website hits, or when I was doing radio to my listener stats.  People usually don't believe me or find it strange, but the way I see it, even if there's only one visitor or listener who digs the music I'm promoting, my job is done!  It's about the artists/bands, not me... Sure, I'm having me some fun in the process, sure, it's nice to know that people dig what I'm doing, but that's it.  Nothing more, nothing less...

Your website is incredible; your interview style is causal and unique. You have a real bond (with those you interview/feature). How important is it to not only connect with the music, but the person/people behind it?

Thank you for your kind words about my website, but it's just plain lame.  I never got around to really spice things up . On the other hand, like I said before, it's about the music, not me.  So, less is definitely more!  But I do plan on launching a brand spanking-new website in the (near) future.

As for my writing skills, I got none.  I'm not a real journalist or blogger.  I can give you plenty of names who are better, more professional than me.  I do like to use my own words, and that is what sets me apart, I think.  Whenever I use the word 'schweet' for example, people keep pointing out that I wrote it the wrong way.  I know I did, but it's one of those little things that makes me, well me.  But in the end, It's about the music of the artist/band I'm promoting- and I like to let their music do the talking for me.

I do like to have a bond with the artists I promote, or with the ones who visits my website for that matter- makes writing a feature that much easier when you know what makes a person tick.  'Cause let’s face it, most journalists/bloggers ask the same questions over and over again and I'm the kinda guy who likes to know what the last furry thing was they've touched.  Twisted/sick?  Maybe, but the answers are usually funny as hell :)

In terms of all your interviewees/musicians, who have impressed you most in 2015?

Don't think I can answer this one.  First, I haven't done many 'Wednesday Q&A's' this year and second, I absolutely dig each and every artist/band I've featured on my blog.  So, take your pick J

You have your ear to the ground: any big music tips for this year; particular acts we should seek out?

Depends on which genre you like.  I almost dig any genre, with a strong love for Soul and Funk.  But I can go absolutely bananas on a Folk track as well.  But Well-Known Strangers is one of my hottest finds this summer.  Just peep the Q&A I did with them & their stuffs and you'll understand why...

You are based out of Holland. What is the music scene like there? Any great Dutch acts coming through?

It's funny how many times I get this question.  It's even funnier when I see/hear their reaction when I tell them I don't pay much attention to the Dutch scene.  I usually don't care about my national scene.  Can't explain why, it simply is.  But I do have a few that I absolutely dig and really have high hopes for, Jerusa (Pop), Secret Rendezvous (Electro-Soul), M.C.Melodee (Hip-Hop) and Rouge United (Rock)

You are a busy man; you never stop working. What does the rest of the year hold for you? Any new plans/ventures?

Plenty of plans, but with me changing 'day jobs' (to an over-the-road truck-driver to provide for my family), doesn't leave me with much time to finally launch the things I've been cooking up for some time now. Some people think I get paid to do what I do, but I don't.  So, until I land a sponsor (or two), things aren't going as the way I planned it.

But with that being said, a new website will come and I eventually will launch the weekly YouTube show I've been working on; to take my independent music promotion to the next level.  After that, I might even do a radio show again, who knows.

But it all comes down to time, money and my family.  So, I do know how it's like to be independent, whether you're an artist or a promoter like me, it is hard work to do what you love to do!

As you work so hard for musicians- and have such passion, name any song- new or old, and I’ll play it (on here).

My list goes on and on, so I like to choose a song that hopefully will inspire people to keep following their dreams, whatever that might be.  When I was a baby D.J. on a Dutch pirate radio station, I wanted to be on a U.S. radio station, and in the end, I did for years.  I want to take my Indie music promotion to the next level, and I will succeed.  It will take some extra time, but it will happen.

'Cause one of my radio gurus, Scott Shannon, once said: 'If you’re willing to work hard enough, you’ll accomplish whatever the hell you want to. All you really need is focus and determination; the rest is up to you.'…

With that being said: Journey - Don't Stop Believin'

[youtube https://www.youtube.com/watch?v=1k8craCGpgs&w=560&h=315]

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Official:

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Interview: Damian Hughes, Allusondrugs

Interview:

 

Damian Hughes, Allusondrugs

IN a music scene where the bands have to compete harder...

than anyone else; finding success stories is quite hard- when an act does rise; sustains attention and appeal- it is always rewarding.  Yorkshire-based Allusondrugs are one such example: an act that have forged their own sound; encapsulated live crowds- and risen to public prominence.  It may be early days, but the signs are all good: the band has owned festival after festival; their gigs are legendary- their online following is swelling by the week.  With stunning music and tremendous band interplay, the boys have a shining future ahead.  Determined to quiz the band further, I caught up with Damian (the band’s chief songwriter).  Without further ado, here’s what unfolded…

One thing about Allusondrugs (that really strikes me) is your blend of sounds and genres. Which bands/artists have influenced your work?

There are loads, far too many to mention.  We like all like a bit of Deftones and My Bloody Valentine. There more than just what music I'm listening to that goes into what I write though; there are dreams I'm having, films I'm watching, feelings I'm feeling, food I'm eating.  It's all just whatever my life feels like at that particular time.  But then again, maybe I'm just lying about all that stuff to appear more deep. Menace Beach, All the Best Tapes, Louise Distras and Salvage My Dream are all good artists that take up a lot of space in my head.

You have had a busy 2015: any particular moments/gigs/months that stick in the memory?

All the festivals we played this year were really good, especially Y-Not (that was amazing).  Liverpool calling was really fun too.  It was a tiny place at the back of a pizza bar but it was one of the most fun gigs I've played this year- lots of sweaty love and everyone having a great time.  There was lots of stuff to climb on too.

I know a lot of people note the resemblance (your lovely lead) shares with Kurt Cobian. Does that ever get boring or annoying? Is it something that has (perhaps unconsciously) influenced your sound?

Do my singer's facial features influence the music I write?  No, really really not.  The amount of stick Jason gets for that is silly.  People say he's trying to imitate him because he looks a bit like him in the lower part of his face and he had bleach blonde hair for about a month.  You can't choose the way your face develops can you?  It's not like he got presented with a bunch of mouth and chin combo deals and said “I'll have that one!”  There is a certain musician that I think he looks up to a lot but it sure as flip is not Kurt Cobain.  I don't think he even listens to Nirvana; all I've heard him listen to for the past 6 months is Mac Demarco and Erasure.

On that note: which acts of the moment would you recommend? Any particular favourites?

Menace Beach, All the Best Tapes, Louise Distras; Salvage My Dream, Vukovi, Forever Cult, NARCS, Trash, Bruja

Having performed at various festivals throughout 2015; have you guys got into the ‘festival swing’- or is still a bit never-wracking?

There's always nerves, but nerves are good.  Nerves keep you on your toes.  Nerves stop you from being too comfortable.  If you're complacent on stage you probably won't give it your all and it will be obvious. I can't see how anyone can go on a stage in front of loads and loads of people (and really care about what they are doing without) feeling even a little bit nervous beforehand.

Can we expect some new Allusondrugs music soon at all?

Yeah

What goes into recording your music- in terms of influential themes and people?  Does one member write a lyric/another music or is a collaborative process?

It all comes from the spiritual plain, I tap into it every so often and all this raw feeling and spiritual energy flows through the filters of my mind and out onto the paper or into the 4-track and I feel so connected to the universe. It's a real trip maaaaaaan.  I write the bulk of the tunes, Jason writes the odd one.  Jason's songs are a bit more green and mine are a bit more purple.  We take the tracks to the rehearsal room, play them over and over until they actually start sounding like music; then somebody might suggest changing a certain part slightly (and I'll be a complete baby about it and start throwing things).

If you could choose your dream festival line-up (of any bands/acts past or present) who would they be?

Cardiacs, Nirvana, The Beatles, Amy Winehouse; Robert Johnson, Janis Joplin- anybody else that I didn't get to see before the split up or died.

A lot of great new bands- like Bi:Linguial- have split and called time. Do you think there is a lot of pressure for bands to succeed; do you feel like you have to hit targets/work to a particular beat?

Everybody wants to do well.  It's not a pressure to succeed; rather, it's a desire to succeed.  If you want to do well you have to work hard and think about what you're doing.  This applies to everything in life.

When you guys need to unwind/relax, what do you find most effective?

You want me to say drugs don't you? (Moi?  Hell, no! - Sam).  I don't drink or take drugs and I've recently quit smoking.  If you look after your body and your mind you will find yourself not needing to relax that much.  That said, sleeping and eating good food is amazing.  I'm starting to think about meditation.

The band clearly has ambition and plans for the future. Were you to turn into an established mainstream act, could you see yourself changing your sound- or would you keep it faithful?

We'd do whatever we felt like doing.

You hail from Yorkshire- a county that is producing some fantastic new musicians. Are there greater opportunities (in Yorkshire) or do you have your own theories (as to why it is so fertile)?

I think people are throwing themselves into music more in this area because there's not as much to do. It's not just here though; Liverpool is also a hotbed for talent- there's a lot of good stuff happening in Scotland.  I don't think there's any more opportunity up here than there is in London for example, but there's definitely a lot more “competition” in London, there are so many people in one place so naturally there will be a lot of bands in the same place.  So maybe it's just that the north isn't as saturated as the south.  I could be wrong.

In terms of your own music, which song are you most proud of and why?

I don't have a favourite, I don't think any of us do.  There are one or two songs that are a bit more boring to play but people seem to really like them and it's great to see everyone in the audience coming together and having such a good time so it's worth playing them.

Your social media numbers are huge- expanding by the week. How important is social media with regards your creativity and success?

Social media has zero bearing on creativity; it's just a promotional tool.  But for that purpose it is extremely important, in a time where everyone is glued to Facebook on their phones (and laptops) it's there that your promotion is best residing on a day-to-day basis.  I'm not saying that good old-fashioned methods (like word-of-mouth and putting posters up and handing out flyers) aren't all perfectly valid methods of promotion- but you should absolutely not neglect your online presence just because you want to stay oldskool (sic.) or whatever.

Not long ago, you recorded at/visited Abbey Road Studios. Given its heritage and history, was it weird- or does it seem like a natural home for you guys?

We had some mastering done there.  It's a massive place.  It was really cool to see the place were so much important, historic music was brought to realisation.

What advice would you give to upcoming acts/bands- those who want to succeed/follow in your footsteps?

I'm not really in a position to giving advice because we're still a relatively new band ourselves.  All I can say is just work hard, work very (very) hard, all the time.

I always like to hear which albums/songs influence musicians. As a band- or each member can choose- which three albums have been most important to you?

This changes constantly. Right now it's:

Menace Beach – Ratworld

Severed Heads – Come Visit the Big Bigot

Aphex Twin – Selected Ambient Works 85-92

With your music in demand, can you see the band moving (to London or abroad) or are Allusondrugs remaining where they are?

Right now we stay put. Maybe later we go somewhere else.  Honestly I'm not particularly fond of this country; there are better places to live.

As you have been great sports, you can choose any song you like- I will play it here…

This is amazing!

Arca – Sheep (Hood By Air FW15)

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Follow Allusondrugs:

 

Official:

http://www.allusondrugs.com/

Facebook:

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

Twitter:

https://twitter.com/allusondrugs?lang=en

YouTube:

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

SoundCloud:

https://soundcloud.com/allusondrugs

Instagram:

https://instagram.com/allusondrugs/