Track Review: Queen Kwong- Cold Daggers

TRACK REVIEW:

 

Queen Kwong

 

Cold Daggers

9.3/10.0

Cold Daggers is available at:

https://www.youtube.com/watch?v=RbLHuilG4ec

RELEASED: 14^th May, 2015

GENRES: Punk; Rock

ORIGIN:

Los Angeles, U.S.A.

The album Get a Witness is available at:

https://itunes.apple.com/us/album/get-a-witness/id1018965951

RELEASED:

28^th August, 2015

TRACK LISTING:

Cold Daggers

Newt

Get a Witness

Love Me (cover)

Red Devil

Bells On

Medicated

Purrfiction

DOWNLOAD:

Cold Daggers; Get a Witness; Red Devil; Bells On; Purrficiton

STANDOUT TRACK:

Cold Daggers

OVER the next few weeks, I hope to review…

everyone from The Portraits (a London-based Folk band) to Eliza Shaddad (another London act; a Dream-Folk/Electro. act); through to Alysse Black- a Seattle-based Soul singer.  In the middle, I am looking at a couple of (young, upcoming) bands- one Surrey-based Punk act; another U.S. band.  At the moment- and when it comes to reviewing- I am splitting my time between the U.K. and U.S. (mainly a London-L.A. divide); concentrating on female-led music- giving the girls a real investigation (in a non-weird/perverse way).  Before I get to my featured band- and their new single and album- I am reminded of a couple of points: one concerns new punk sounds; the other looks at new bands coming through- and the variety you can expect.  When it comes to the genre, there is a lot of misconception: people always have very distinct views and perceptions; a lot turn their noses up- others expect a very particular sound.  From the days of Sex Pistols and The Clash- via The Ramones and the U.S. giants- the genre has shifted and mutated: modern punk music is varied and evolved; distinct and fascinating.  Back in the ‘70s and ‘80s there was a lot of political and social rebellion (in the music): the punk masters were rallying against injustices; their sociopolitical lyrics attacked government flaws and ills in the community- tackling large issues and vital themes.  It is not true Punk bands have completely turned away from politics; strayed from the course of injustices and inequality- there are fewer bands campaigning the hot topics; using music as a platform- it is needed in today’s climate.  What Punk is doing- and I guess there are a lot of bands that do not fit into that model- is providing aural and sonic illumination; genre-fusion and compelling avenues- really pushing the boundaries of the genre.  Whilst the likes of The Clash and The Ramones (are among my favourite bands) the genre has moved-on since the 1970s- the modern innovators build upon their forefathers’ work; inject youthful vibrancy and direction- tackles subjects of love, alienation and harsh emotions.  I guess tastes and desires have changed somewhat: music-lovers seek that emotional and romantic support- bands that can channel and represent their frustrations; their sense of disenfranchisement.  When it comes to bands (and Punk acts for sure) we need a familiar voice; someone voicing our inner concerns/experiences- people we can relate to.  Perhaps the most fascinating aspect of new Punk is the range on offer: compared to genres like Indie and Pop; Punk is producing more colour and personality; a much greater grasp and ambition.  Before I continue on my theme- and raise a new/connected issue- it is worth mentioning Queen Kwong.  Coming to my attention- via a Facebook friend- I have been fascinated by their music; their current album (Get a Witness) has not-long been released: already, it has been met with critical acclaim.  Impassioned hearts have been queuing to offer congratulations; dig into the music- and provide patronage to a stunning band.  The L.A.-via-Detroit clan has been making music for a while now- and is growing in stature and reputation.  The band have a reverse-modesty/honesty about their music: songs will take time to love; some require great patience- Queen Kwong’s ‘unique’ blend is spicy and alcohol-flavoured; sharp-tongued and dark- a very beguiling and strange concoction.  Led by the stunning and snake-tongued Carré Callaway, the band has a natural and vivacious leader: that voice recalls Patti Smith and Joey Ramone; the energy and passion and insatiable- the venom-and-vulnerability mix is heartbreaking and intelligent.  Backed by her musical brothers- Wes Borland, Fred Sablan and Hayden Scott- the four-piece are moving through the ranks- gaining high-profile kudos and backing.  With the likes of Daniel P. Carter counting as fans/patrons- the band recently played Reading Leeds; a dream-come-true realisation for them- the future looks positive.  Perhaps Queen Kwong are a band that will win-all in time; ensure there is less division and balkanisation- not all the world are attuned to their potential and strength.  Having seen their Cold Daggers video (and reviewed the song below) there are some cynical and blunt comments: the YouTube illiterate- with their inarticulate and misspelled criticisms- has voiced their opinion; there are some doubters and detractors- you can’t win them all!  I appreciate (that a lot of bands) do not deserve unanimous praise: some bands are plain overrated; others cannot inspire everyone- I feel Queen Kwong deserve a lot more support and love.  The band are forward-thinking and original; their music recalls music giants- from Queens of the Stone Age to Nirvana- whilst their live performances are the stuff (of drunken) recollections and histrionics.  Their album will silence some dubious tongues; affirm their status (as one of the most promising bands around) - the tide will turn in their favour.  Containing so much aural surprise; swathes of sonic surprise- Get a Witness is an album ready-made for 2015.  With the likes of Drenge and Wolf Alice- providing this year’s best, heavy albums- Queen Kwong should not be overlooked.  Their violet-haired lead is one of the most scintillating voices on the block: going from a gurgled and intoxicated hush to a full-throated assault, she is capable of eliciting so much emotion and imagery- few other singers have such a range at hand.

Away from the sneering and empty minds- that tend to poo-poo a band like Queen Kwong- a loyal and ardent fan-base are following the L.A.-based band: their social media ranks are multiplying and dividing; their army is growing by the day- hardly surprising, given their musical ambitions and achievements.  Having worked hard the last few years- and spent time honing and developing their sounds- the band are hitting their peak: their L.P. is the result of hard effort and fettling; experimentation and consideration- it has picked up some very effusive feedback (from a large range of reviewers).  It is important we embrace and seek-out Queen Kwong: few bands like them exist; they have a very distinct sound- a lot of bands sound tired and uninspired; too bored to forge a personality.  The U.S. up-comers suffer no such comparison: they are a band of the moment; nestling into that (small core) of genuinely great Punk acts.  In the past, the female-led Punk clans- from Bikini Kill to The Slits- have revolutionized the genre; inspired a wave of new acts- Queen Kwong’s music will lead to such movement.  In the U.K. we have Wolf Alice- a young group with a hell of a kick- that blend of snarling kick and ethereal down-beat.  In the U.S., the Punk/Alternative scene has a different tone of voice: perhaps more direct and fully-formed (artists like Queen Kwong) embody the past masters; the Grunge/Punk masters of old- weave in some majestic oddity; a dash of drunken haze- wrapped inside a cloak of heartache and attack.

When it comes to Queen Kwong, there are acts you can bring to mind- that (may have) influenced the quartet.  Comparisons are made with The Stooges, Nirvana, Iggy Pop and Patti Smith- in fact; Roger O’Donnell (The Cure) made those comparisons.  With regards the vocals, Callaway has been tied with Smith: that same graveled and raw undertone; the drama and emotion.  In that sense, I can see links with Bikini Kills and The Slits: that same undisciplined lust; the anarchic spirit and inchoate edges.  With regards (the band themselves) you can draw links with Queens of the Stone Age, Nirvana; Iggy Pop and The Clash.  That raw and vibrant animalism; the dark and seedy underlies; the guttural and determined guitar sound- echoes of Iggy Pop and Nirvana come out.  The songs- on their latest album; their past work- mixes anthemic grandeur with personal confession.  As Nirvana did (with In Utero) you get a grittier and bare-naked sound; something corrosive and angered; impassioned and savage- at the heart is heart itself; something constructive and thought-provoking.  Queen Kwong always sound- in spite of some jagged and slanted moments- cohesive and linear; always in control of the music- never letting it wander and ramble.  Their discipline-and-anarchy approach leads to some wonderful results: Get a Witness is filled with juxtapositions and contrasting emotions; mood-shift and unexpectedness- you never know what comes next.  Perhaps the biggest (and perhaps, less obvious) comparison is Queens of the Stone Age- I hear shades (of the) Desert-Rock legends.  That crepuscular and blood-lust crawl; the Lullabies to Paralyze-era work.  Critics noticed- when reviewing that work- the sexiness and late-night cinema sound; minor-key ghostliness and foreboding Metal (Allmusic’s words).  That L.P. marries Hard-Rock heaviness with something brooding and dangerous; whiskey-soaked swagger- cool-as-shit attitude.  Queen Kwong initiate and infuse these qualities; those variations and themes- the range of sounds and components.  Whilst their work is less authoritative and mesmeric- time will rectify this juvenile slight- the early signs are quite positive: they channel Q.O.T.S.A.-cum-Nirvana sensations; undertones of Patti Smith and Iggy Pop- encapsulated in older Punk sounds; a veneer of modern-day Alternative.  If you are inclined towards any of these acts/artists; if you are compelled by the above- it is well-worth seeking-out the L.A.-ers.  Having spent time in Detroit- where some fantastic Blues-Rock has emerged- there are some shades of early-career ‘White Stripes- their debut-album sound can be extrapolated (in some of Get a Witness’ songs).

Before ‘getting down to business’ it is worth assessing the band’s progress: seeing how far they have come; whether their music has improved/altered much.  Love is a Bruise (released in 2010) showcased Callaway’s serene and sensuous voice; the stunning and singular voice- something that haunts the songs; causes shivers and stun.  Fans noted the impeccable production and sparse sounds: some moments were built (solely around) the voice; few other touches and intrusions.  Bad Lieutenant (released three years later) saw a slight shift: more band-orientated; the E.P. is a heavier and harder affair- our heroine’s tongue sharper and more acidic.  There is melody and soothe to be found; these moments are fewer and occur less frequently- this time around, the sound is more driven and fierce; the lyrics remains razor-sharp and memorable; the sentiments and intentions without question.  Having evolved and changed a bit- within the three years between records- Callaway gained confidence and impetus; her voice sounds more rounded (on Bad Lieutenant); her passion and zeal more engaging- perhaps there are fewer pure moments.  That lack of serenity/beauty- that was more evident across Love is a Bruise- was replaced by a more rampant and urgent.  Separating herself from the female singers on the scene, Callaway comes across more rounded and nuanced; her voice has more layers and potential- able to authoritatively rule when calm and reflective; stunning when letting her voice shout and campaign.  When it comes to the new album, there is another gear-shift: the L.P. is even-more band-centered; there is an emphasis on the complete sound- as opposed to Callaway’s voice.  Get a Witness was completed in 9 days; a song a day (was recorded) - a White Stripes-esque sense of workmanship and economy.  Whether avoiding studio costs- or more likely, going for something immediate and natural- the band improvised the tracks; flew by their pants- and let the mood hit them.  Whereas previous incarnations (and their songs) are more rehearsed and considered, here, there is a different vibe: you can sense the unpredictability and unchartered sound- the music does not suffer or compromise.  If anything, the band sound more alive and tight; there is a distinct sense of relax and intuition (perhaps the environment and confines suited their creative process).  Being such a skilled live band- where anything can happen; set lists often take a back seat- the band show no nerves; the record (is essentially) a live-sounding/recorded beast: perhaps Queen Kwong’s most home-made and raw record.  The band have grown in confidence; become more daring and bold- their adventurousness and playfulness (maybe the wrong word) has paid dividends.

With a name like Cold Daggers, you would expect something evocative and tormented- the song’s first lines (not only reference the song’s two words) they paint a troubled tableau.  The words ‘cold’ and ‘daggers’ seem to come right to the fore: our heroine- seemingly lying on the street, struggling- has a hole in her chest- one, that is, “so damn wide.”  Being the album’s (Get a Witness) lead-off track- and the L.P.’s first words- you get an instant bang.  The vocal sounds emotive and affected; the delivery is fast-paced (yet instilled with nuance and melody).  One of the most essential stand-outs- from the song’s fledgling moments- is the composition.  Bare and efficient, the bass pules and stings; the guitar yowls and roars- elicited as punctuation; teeing-up the vocal- whereas the percussion teases and sprinkles.  Hugely atmospheric- the combination creates so much speculation and attention- the song begins with a hefty deceleration.  The band (all at once) sounds fully-formed and tight; no signs of weakness- there is clear passion and focus.  Of course, I am looking at things literally: the idea of murder and violence; something horror-inducing and disturbed.  The listener could perceive things in another way: the idea of being shot a cold stare; someone tossing an evil glint- our heroine being chilled and ripped-apart.  That open-for-interpretation potential; the what-ifs and uncertainty- it gets the mind and imagination racing.  As our lead has lost time; is under the spell of a personal curse- seemingly affected by events and relations- that composition gets under the skin.  Insistent and pulsating, that bass keeps driving and rushing- such a catchy and additive sound.  Whilst the feet tap; the head nods- you are drawn to the background.  The guitar acts as rapture and fire: it spews animal-like bite on occasions; emphasising the sense of loneliness and hollowness.  The track starts to step up and change-up: the percussion gets harder and more masculine; the mood gets more packed and claustrophobic- everything tightens and constricts.  The production values give everything a necessary authenticness and sense of occasion- were it over-produced the song would sound insincere- with the vocal especially note-worthy.  There is a charming petulancy to the voice: it is womanly and strong, yet has a slight temper and rebellion- a Punk-attitude teen that can’t get her way.  I hear elements of Alison Mosshart and Patti Smith: that cigarette-beaten sexuality and dark-lipstick moodiness; creating something both vintage and utterly primal.  Our heroine asks- “how did we lose our heads?”- and slams; she wants to remain bed-bound; hide from things- that desire to escape is paramount and prescient.  It seems a relationship has hit a reef: there is recrimination and regret; a lot of overt anger- being presented in an idiosyncratic and delirious way.  Callaway screams and breathes; she hushes and hurdles- a performance that trips and spirals.  The guitar becomes more ghostly and wailing; purging its way to the forefront, those howling notes build the tension- and back up the vocals in their plight.  Before the 2:00 mark there is a loss of clarity: some of the vocals get mixed-down and buried; the clarity suffers- the franticness of the delivery means some words get lost.  That is not to say it is a major detraction: the emotion and sheer vibrancy does its work.  At this point, the percussion gets even sweatier and more alarming: backed by bass and guitar, the composition closes the walls in; seemingly bouncing off Callaway- she seems to be reacting to the tension in the music; similarly, the boys vibe off her demonic rattle- it is a heady and head-spinning coda.  That chorus is reintroduced and chanted; its importance cannot be overlooked- the heroine seems utterly tormented and overcome.  After the pain-staking execration, the band step into the breach: the guitar reverberates and throbs; echoes of Queens of the Stone Age come out.  Both cosmic and militaristic- the percussion-and-guitar combination teases Prog.-Rock and an army march-call- the song reaches full intensity; not for the faint-hearted.  Towards the final moments, there seems to be no way back: that voice gets more sucked-in and detached; the song gets more weighted and foreboding- our heroine unleashes a wordless vocal; the band hammer and punch around her.  Blissed-out and unhinged; the track ends on an appropriate note- that cold dagger-stare; the harshness and trapped-in vibe; wanting to escape a harsh experience.

Being inherently undisciplined and unpredictable, Cold Daggers may scare a few faces: it has a raggedness and rebelliousness not often witnessed in new music.  Reminding me of Horses-era Patti Smith: an album where Smith mixed ‘60s Blues-Rock with Beat Generation poetry.  Her untamed and compelling compositions seduced listeners and critics- gaining acclaim and accolades over the years.  Queen Kwong (and Callaway especially) has Smith-esque traits; her voice explodes and calms- both exhilarating and in-the-moment.  A unique and distinct track, it is quite foreign- and has few contemporaries and sound-alikes- so requires patience and consideration.  If you give it time- and allow its charm and quirks get to you- the rewards boast multiplicities.  The track has an instantaneousness and hook: those pulsing strings and persuasive percussion notes- they get to you on the first listen!  I love the track because it sound so vital and alive; it is untamed and completely engrossing.  The vocals never sound forced or off-putting.  A natural and intuitive singer, Callaway laces the song with theatrics, vulnerability and beguiling colours- making it such a stand-out cut.  The band not only adds their own weight, they perfectly conspire (with their lead).  The instruments enforce the vocal drive; the vocals compel the boys- that togetherness and bond makes Cold Daggers such a rough diamond.  Indicative of the album itself- those open wounds and stirring atmospherics- the band show masses of innovation and contours.  The guitars switch from howling to focused; lightning-strike to tender.  Similarly, the bass and drums match that acclaim.  The former is a constant presence: pulsating and heartbeat, the bass is nervy and bouncing; completely memorable and stand-out.  Adding emotion, rhythm and focus, it does what a (great bass) performance should do- keeps the song level and driving; everything is kept in-check.  With the percussion hissing and snaking; rolling and stamping: you get huge amounts of gravity and force; teeth and venom- perfectly befitting the song’s mandate.  Altogether, you have a band both winging-it and utterly in-command: the song boasts unquestionable energy and desire; the band want you to love it- you are powerless to resist.

The rest of the album contains wonder, fascination and depth: no two songs sound the same; there is so much diversity and depth to be discovered.  Newt builds off rumbling percussion and snarling guitars.  The vocals are duplicated and elongated; determined and hypntoised- there is a sense of somnambulism and delirium (our heroine seems wracked and tired; strained and concerned).  The scuzzy and fuzzed-out guitars have hints of Sonic Youth and Grunge- recalling memories of the ‘90s heyday.  The entire composition sounds tight; the percussion is particularly stand-out and impressive- creating a never-ending charge and momentum.  One of the tracks minor songs- not in the top three; not in the bottom three- is a great way to kick follow Cold Daggers; a dramatic and dramatic statement.  Get a Witness starts with slight (and faded-in) sounds; tender and mystery- quite light and tender.  The vocal remains pure and calm; the lyrics talks of ashes spreading; someone staying on a sinking ship.  Quite oblique and atmospheric, you wonder what is being referenced; who our heroine has in mind- the images are intriguing and striking.  Throughout the song the instrumentation is sparse and effective; the odd note flickers and ignites- the percussion rumbles and flows (like a wave) without too much force.  Love Me leads with an urgency and passion.  When Elvis Pressley tackled the song, he brought soul and immense heartache to the track.  Queen Qwong strips it down; it is less layered and overwrought; the vocal is light and ethereal- always floating, it is imbued with tears and strain.  A great and unique cover, the track drills down (to the song’s) core; it sounds new and original- something quite befitting of Queen Qwong.  With the organ floating and hovering, there is a gospel and ethereal edge; tie that with some Indie and Punk lo-fi attitude and the song will get inside your head.  Red Devil kicks with distortion and backwards-sounding sample; Psychedelia and ‘60s Pop then mutates into something driving and Hard-Rock; our heroine is on the road and hitting the highway.  The first words reflect my insight:  in the driving seat, the song starts on the tarmac: there is a lustful and evocative sound; the vocals alternate between sensuous and angered.  The song’s lyrics look at lies and dishonesty; being healed with stones and peace.  As advice, medication and spirituality are offered, it appears our heroine cannot be cured- she is taking drugs and still feels “like hell”.  The composition mixes Revolver with Hole; touches of Nirvana and Queens of the Stone Age- a complex and varied composition.   By tying in ‘60s-Beatles with ‘90s-Grunge, you get a mingling of primacy and Pop nuance; raw emotion and emotional complexity- one of the album’s stand-out moments.  Coming next is Medicated.  It starts with a wooziness and drugged-out crawl.  The guitar is drunken and dark; night-crawling and baying- the instruments stab and retreat.  Seeking light and creatures; the vocal seems like a mantra.  It is the vocals that grip the most; cling to the mind and compel you to speculate.  It seems access and success is not enough; those thoughts are repeated and reinjected- the words weaving inside the compositional notes.  On this track, the band stand-out too: the composition is improvised and live-sounding; that energy and unpredictable force comes out- creating something dangerous and dark; engrossing and haunting.  Purrfiction builds ever-up.  Hazy and vibrating, the strings (electronics and percussion) slowly tease and glide.  That composition then bursts and staggers into life.  Thrashing and demonised, the track gets a shot of adrenaline- our heroine looks at “pull-down stitches” and “build-up bridges.”  Lead vocal switches from purring and smooth to enflamed and desperate- mixing with the bolstering and primal composition.  Touches again of Queens of the Stone Age come out again: that Lullabies to Paralyze-Era Vulgaris sound- the witch-like cauldron song; the dirty and disconnected emotions.  Quite a delirious and trippy number; it is one of the album’s finest moments.  Bells On is a stamping and ramping beast.  It kicks right off the bat; that determination and urgency is paramount.  The voice looks at dreams and longing; (it appears) these dreams have gone.  Whether romantic or music-based (or something else), there seems to be loss and heartache- the sentiments are repeated; they get heavier and punchier.  A track harder and more tortured- backed by a Grunge-cum-Noise-Rock parable- it shows the band at their exhilarating best.  Later into the song, images portray animals (being beaten into the ground); odd and disturbed images are brought in- showcasing the band’s gift for lyrical evocation.

Improvised and on-the-fly, the album does not suffer preconceived ideas: that it is patchy and unfocused; lacking concision and depth- that is not true at all.  The L.P. mixes themes and ideas; the vocals alternate between soothed and insatiable- the composition mutates and remains unpredictable.  The entire group comes together superbly.  Each track is tight and intuitive; the guys know their role- the vocal drives the composition; the composition inspires the vocal.  Lead by a natural voice, Callaway brings vivid life to each song- her multifarious tones say so much; cover so much emotional ground.  Some singers have a narrow and insipid voice; others are not adept at conquering too much territory- not really exploring the entire spectrum.  Callaway is consistently stunning and dramatic; her voice brings each word to life- sucking the listener into her mindset.  Backed by an incredible band; Get a Witness is a tremendous album.  The production allows each note and idea to be heard; everything is extrapolatable and detectable- nothing gets lost in the mix.  That lo-fi and live-sounding production makes (the album) sound like a live recording; you picture yourself alongside the band- as though you are watching them in concert.

I would recommend you check-out Get a Witness: an album that steamrollers the Punk/Alternative scene; offers something fascinating and fresh- a band with a huge amount of confidence and passion.  It is clear to all- and something the band would confess themselves- some songs/moments are divisive: certain tracks may split opinion; others are instant classics- whilst some take repeated listens.  That is the point of great music: no band gets universal acclaim from all fans; for all of their tracks- the best acts are those that reveal their beauty (over time and listens).  Queen Kwong- and their Sci-Fi-cum-Ancient-Egypt moniker- are a festival-primed band; they have the support and ammunition- why would you ignore their potential?  Their sound will appeal to Punk-lovers old and new: those with their heart back in the ‘70s; those born in the ‘90s- the music reaches and touches a wide range of ages and tastes.  Embers of Queens of the Stone Age, Bikini Kill, Nirvana and Patti Smith comes out: all tied around a very personal and original band motif.  Carré Callaway is a striking and stunning singer: with sides of vulnerability, heartache and optimism, she (strikes me at least) a complex and fascinating woman- a singer with a unique voice; a personality that speaks to fans.  She is not some faux-Punk Siren; an insincere and forced representative: she is a genuine article; a woman with a lot on her shoulders- able to exorcise those demons through some staggering and emotive music.  The entire band is tight and electrifying; ear-grabbing and mind-altering: an act that should be ruling the festival scene; for many years to come.  Having played Reading and Leeds- given the British audiences a first-hand window into their live majesty- the guys embark on a mini-tour.  Having returned to the U.S. - and launched their album in New York- the band are back in Europe (in December) - taking in Germany and Holland.  The Punk scene has changed somewhat (since the ‘70s and ‘80s0; its proponents have shifted focus and topics: less politicised and socially-motivated, the tendency is to concentrate on love and the self- something, perhaps, the younger generation will relate to (more heavily).  It seems Queen Kwong have a unique opportunity: with so few Punk/modern band attacking politics and inequities; maybe they should rise through- tackle racial prejudices and gun violence; political corruptions and impunities.  Maybe that is not their thing; they current music is connecting with a vast audience- I am happy for them for sure.  It is a shame there are critics and naïve: those listeners not connected with the band; happy to distance themselves and snide- they are missing out on some terrific music.  Whilst some songs require multiple listens- others are more direct and immediate- that is the band’s hallmark: in time, all of their songs reveal their charm; worm their way to the front- and make their effects known.  It is time to end; and before I close things down, I shall return to my initial thread: concerning Punk bands; the range of acts on the scene- where do Queen Kwong fit in?  Well, if you take their sound and album: how many other acts convey such a sense of occasion, drama and fascination?!  With so many pale and sexless acts ruling the airwaves- the stations seem to be a mesh of bland and same-same acts blathering on- it is refreshing to hear Queen Kwong shout their intentions: shaking- up expectations and adding their dizzying assault; comingling old and new sounds- embracing tracks that speak to the masses.  Aside from the clandestine ‘haters’- that spew their bile over YouTube – the reaction has been emphatic and impressive- fans from around the world have been keen to voice their praise.  Callaway and her boys are on an impressive trajectory: off the back of some festival odyssey; Daniel P. Carter-inspired magic; some wonderful memories- the U.S. band are in rich vein; ready to kick (the world’s) ass- and make a name for themselves.  It is still early-days period; the band is still honing, working and fine-fettling: Get a Witness sees few cracks and minor-notes; songs brimming with lustre and passion- a stunning grasp of concept and feel; few listeners will come away opinion-less and unimpressed.  There is no much meagerness and unimaginative music (on the waves); that sallow and beta male wussiness- the public yearns for something with guts, grit and balls.  The Americans offer just that; they go further and provide a deeply unique and fascinating experience: music that delves deeper and elicits resonance and reaction; combustible and strange music- guaranteed to impress and seduce.  If you are not familiar with Queen Kwong, then rectify this: their new album is a perfect starting-place (make sure you hear their past work).  As the weather changes; the season changes- and my musical mind grows weary of the established lot- I am seeking something alive and hopeful- music that goes beyond expectations.  When it comes to L.A.’s Queen Kwong, my desire is not only met…

IT is hugely satisfied.

[youtube https://www.youtube.com/watch?v=RbLHuilG4ec&w=560&h=315]

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Follow Queen Kwong

 

Official:

http://www.queenkwong.com/

Facebook:

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

Twitter:

https://twitter.com/QueenKwong

Instagram:

https://instagram.com/queenkwong/

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Videos:

https://www.youtube.com/channel/UCrpMwyJqtsTY0OWL7rD1yPw

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Gigs:

http://www.queenkwong.com/#!tour/c9a0

Track Review: In Hoodies- She Got Caught

TRACK REVIEW:

 

In Hoodies

 

She Got Caught

9.3/10.0

She Got Caught is available at:

https://www.youtube.com/watch?v=hA4tqdwl6HQ

RELEASED: 23^rd July, 2015

GENRES: Rock, Alternative

ORIGIN:

Istanbul, Turkey

The E.P. She Got Caught is available at:

https://inhoodies.bandcamp.com/releases

Vocals-guitars-keys etc.: In Hoodies Drums and percussion: Aliberk Aslan Programming-String arrangement-Keyboards: Tim Wills Bass Guitar: Martyn Campbell Lead Guitars: Si Connelly Violin -Viola: Mike Sidell Cello: Ben Trigg

Written and composed by Murat Kılıkçıer

Recorded at Shed Studios (except bass and drum tracking; at Kore Studios) -London

SGC mastered by Ian Cooper; My Con mastered by John Davis at Metropolis Studios - London

Artwork by Ethem Onur Bilgiç (www.ethemonur.com) Produced and mixed by Chris Potter (Z Management) www.zman.co.uk

TODAY marks both a milestone and a departure.

This will be my first review (of a Turkish artist).  Until recently, my European-based reviews have centered on U.K. artists: last week I assessed a French band (Archi Deep and the Monkeyshakers); today is the time of Turkey- a country whose music/musicians I am not overly-aware of.  Having been contacted by In Hoodies’ lead- he has a connected with Goldbirds’ Si Connelly (a band and man I am affiliated and familiar with)- it has been great investigating a brand-new sound; from a nation (in musical terms) unfamiliar to me- to see what Turkey is offering.  Before I get to my featured artist, I have been thinking about certain artists; how Rock and Alternative music is portrayed- and the male solo sector.  Let’s start with the issue of Rock and Alternative music.  In today’s market, those genres tend to be band-led: there are few solo artists that play this genre; that tends to be focused around Pop/Folk/Electro. themes.  It is a generalisation, yet one that holds firm: most solo acts in general steer away from Rock and Alternative sounds.  In the mainstream, the likes of Jack White- and his Blues-Rock anthems- sit alongside Beck and Frank Turner; Pink and Lorde could be included- to be fair, it’s a short list.  If you think about it really: can you name a list of new male solo artists (who play in the Rock/Alternative realm)?  I am not sure why this phenomenon exists- I guess it is easier to portray genuine Rock backed by a band- but loneliness/solo music tends to attract a certain ‘vibe’: sounds that portray longing and romance; introspection and desire- the Rock/Alternative market appeals more to the band; sound more tempting to them.  The male solo market in general is somewhat hit-and-miss: I touched upon it previously; it seems the quality is somewhat lacking- the female market is a lot more prosperous and varied; more dependable and reliable.  It is something that has to change- the predictable plight/sound of the solo artist- and brings about a revival of sorts.  The new music scene is quite burgeoning and prodigious: if you ferret around and dig; you will find genuine quality and longevity; artists that go that extra mile- and come across as genuinely innovative and new.  The mainstream is a little stagnated (at the moment): there is a leaning towards certain acts/genres; little mobility and sense of surprise- no surprise the last few years have been particularly slow (when it comes to fantastic albums and acts).  It is no one’s fault, particularly; I guess it is a rough/mediocre spell- perhaps the tide will turn in years to come?  What is embracing is the ambition of new music: over the past few months, I have witnessed (lots of great acts) shouting their intentions; fusing genres, styles and era- producing music of the highest order; defined by merit and emotion; meticulous detail and endless passion.  In Hoodies is both an unknown quantity (to me) and a bit of a forbearer: an artist new to my mind; someone who could bring about a revival- and inspire more (similar acts) to come through.  Last week I reviewed Bee Meru- built from the disintegration of Saturday Sun- who is (bar some additional musicians) a male solo act- and sounds better/different to most other music out there.  In Hoodies has slipped under the radar; managed to escape the mainstream lense- this will change in time, for sure.  The young Turk has a very particular image and artistry: paintings/graffiti-style images (of our hooded) hero; each image/publicity shot seems to be reflect a different art/genre style- from Manga to black-and-white drawing.  Murat (the man behind the hood) is based out of Istanbul; a city that is growing as a music centre; showcasing some great music- attentions should be focused here.  When reviewing Electro. artist ADI- who is based in Tel Aviv, Israel- I was stunned by the quality (coming from the city); how few listeners/media sources look here- one of Asia’s most flourishing and innovative musical centres.  Whether Istanbul (and Turkey) gains attention and credit- and diverts media eyes from the U.S. and U.K. - is hard to say; with the likes of In Hoodies coming through; this can change soon enough.  Although his social media pages are a little sparse- a few photos with little biography/background- his official site is eye-catching and humorous; fascinating and insightful- given a glimpse into the young artist’s mind.  The E.P. She Got Caught has been picking up buzz and attention; reviewers and listeners have latched-onto its layers and sounds; that mix of force-cum-intelligence- responded to its sense of endeavor and ambition.  Not just a great release (in its own right); the music contained not only could inspire more up-and-coming Alternative male acts- it could lead to mainstream shake-up; have the solo market undergo a renovation- and lead to a less homogenised (male songwriter) scene.

In Hoodies is pretty new on the scene- his E.P. is the first real recorded music- and making those first steps.  It is hard, therefore, to look back; see how he has developed- and how his music has changed.  For that reason, it is worth assessing the sound in the context of existing acts: where it fits in (genre-wise); which other acts coming to mind- whether She Got Caught is worth the time.  Addressing the latter point; the E.P. (only being two songs) shows a small window; a glimpse into his psyche- what is motivating him.  The E.P. looks at relations and romantic inner-workings; longing and desire- not portrayed in a predictable or usual manner.  In the mainstream- and artists that play the same music/style as In Hoodies- there is a tendency towards narrow themes/ideals: the lyrics tend not to stick in the ear (neither poetic or striking enough) and seem somewhat over-predictable.  The music has that similar fatigue and lack of ideas: not true of all artists; there is an over-reliance on a certain way of working.  In Hoodies has a sound that will appeal to lovers of the Indie/Alternative/Rock milieu- and the current crop of artists- as his sound is contemporary and modern; he goes beyond what is expected; coming up with something with a unique twist.  Just seeing his official website; you get the sense of a young man with a love of words and emotions: his poetry/haikus and scribblings have intellectual properties; twisted and skewed ideas- vivid scenes and emotional depth.  Not an artist with a rhyming dictionary and a list of clichés, this radiates in the music: the lyrics and scenes surpass the (somewhat bogged-down) vague metaphors and overly-familiar themes; the lyrics we have all heard before- and can quote with our ears closed.  In Hoodies’ music has a mixture of familiarity and distinction: the compositions have a radio-friendly edge; there is a contemporary vibe- albeit with an edginess and home-made sensation.  Based in Turkey, In Hoodies (is of course) familiar with British/western music; the sounds coming out- he mixes that with something homely and self-made.  What captivates me (when it comes to his music) is the richness and depth.  Going past what is expected/represented, In Hoodies brings exceptional music (and multi-talented musicians) into the fold; understands the importance of musical range and support- thus eliciting the biggest emotional reaction.  Semi-symphonic with an air of fragility; She Got Caught is as vivacious and intriguing as (its E.P.) cover- there is an underlying mystery and ambiguity behind everything.  It takes several listens- if you want to get to the bottom of each song- music that demands concentration and attention.  If these facets appeal to you; if this is what you seek (when hunting for a music muse) then call off the search party- here is the man for you.  When it comes to male-driven solo acts, there are few true originals (when it comes to Alternative flavours) so In Hoodies provides a much-needed breath of air.

A plaintive and tender guitar stroke welcomes She Got Caught in: it bristles with tease and swoon; romantic undertones and calm.  The mood then swells and builds; the guitars become more fevered and uplifted- the composition cracks and expands with a breathless passion.  Without a single word being spoken; the composition says so much: able to reflect a sense of reflection and longing, the coda gets inside the mind- and sucks the listener in.  Our hero is coming alone; coming to take chances: early words are delivered with a sense of inner-focus and refrain.  Whereas a lot of contemporaries let introductions linger on; showcase little emotion in the early stages- In Hoodies ensures the sapling exchange builds up momentum and speculation.  It seems the heroine- or subject being referenced to in the song- has “a plan”: you picture a coming-together or conversation; the two conspiring and conversing- maybe the heroine has set a challenge; declared an ultimatum.  There is a certain obliqueness and openness to the initial lyrics: allowing the listener to picture their own ideals; allowing some interpretation and subjectiveness.  The production values allow each note and vocal to come through strong: not mixing things low; cramming too much in, there is a naturalness and professionalism: everything is crisp and clear; there is plenty of atmosphere and (room to) breathe- the song swims and flourishes with conviction strength.  Caught and left in the rain- not feeling different or renewed- our hero increases that enigma and secrecy.  Backed by river-deep and autumn-vibed strings, the track has a quasi-orchestral sound: it is never overwrought or fake; each instrument elicits stunning emotion and clarity.  The song’s heroine expounded pretty words: our man advised rest and breath; take a break and take it easy- again, your mind wonders and speculates; what is being referred to?  In the midst of investigation and detective work, it is impossible not to be caught-up in the composition: it is sparse and gentle; has an addictive little lick- a sun-kissed undertone that is both calming and impassioned.  It seems the heroine has been through a tough experience; maybe life is taking a bad turn: she has been caught in the “eye of the storm”; in need of rescue and relief- our hero’s voice seems genuinely sympathetic and supportive.  In the accompanying video for the track (on YouTube) we see our man walk a forest; across the evocative scenery- in a hoodie and mask (looking like a Medieval warrior-cum-urban-gang-member) we see a woman on the ground- he reaches down to place a mask (on her face; a symbolic and romantic gesture).  Perhaps that is the background to the song; the real reason for events: our man can hide behind a persona; distance himself with his music (in a good way: reflect his pain through the songs) - our heroine seems bare and exposed; in need of communality and togetherness.  Maybe I am reading into things too much; it seems like ghosts are haunting the girls- spirits and haunt that “no-one knows.”  Reminding me of early-days Badly Drawn Boy (that vocal tone and melody) She Got Caught never needs to race or volumise: the stunning composition and gripping vocal does all the work- builds up fascination and loyalty.  Still gripped by the song’s video- which transforms and sees the two standing; both wearing masks it has an odd air to things.  Both spiritual and filmic (there are edges of Japanese animation) it is a beautiful video: highlighting the song’s sense of beauty and individuality.  The two sweethearts stand aside one another; our hero is lending a hand- all the time, you feel the two drifting apart.  A song that speaks to lovers and strugglers; those stuck in a hard situation: the track has a universality and familiarity.  The way In Hoodies describes events; how he lets his words and voice captivate- few other singers have that sense of power and distinction.  If anything, She Got Caught has embers of modern-day Beck: his Morning Phase sounds seem to have a modern-moment sister, here.  That album (Beck’s) was filled with warmth and beauty; determination and wisdom- immersive and tender.  There is sorrow and pain (in She Got Caught) yet the song has plenty of hope and strength: the focal messages implore change and motivation; getting out of holes (and bad ways) - there is that desire to change things for the better.  Metaphors and imagery is summoned up- bird on a wire; a human in a hole- to highlight the fragility and vulnerability; the sense of danger and uncertainty- you certainly root for the heroine.  In Hoodies’ voice remains romantic and concerned; never anxious or detached- always convincing and genuine.  The track begins to exude and emote (towards the final stages); the tension and urgency builds- the instrumentation becomes more heated and stirring.  Our hero looks at his girl; keeps his eyes set: she’s getting (in her own) way; making mistakes and caught in traps- all the while, you wonder what has caused this; whether a relationship break-down is afoot.  The duo got caught between “two fires”; both strained and lost- you wonder if the hero will come out of this the same.  Clearly there is a lot of back-story and history; the two have been through some real turmoil- there is that desire to see light and happiness.  The guitars chime and sparkle- with Indie/Alternative edges- whilst the vocal aches and campaigns- reminding me a little of Noel Gallagher.  In the final seconds, the composition takes a leap and shift: the guitar (bass and percussion) jumps and races; a push towards the end- keeping that energy and deep emotion clear and focused.

   She Got Caught brims with passion and moment; that sense of sorrow and heartache- undertones of redemption and hope.  In Hoodies’ E.P. is a two-song insight into a young mind: a man who has suffered some heartache and upheaval; someone with a deep soul- it is poured out across the E.P.  The title track is a perfect statement of his music: oozing tenderness and power, the song never relents or wanes; its messages are vivid and sincere.  As I said, the song has subjects/themes that are directed towards similarly-inclined people: those caught in a hole; maybe in need of direction.  The vocal is both unheard-of and familiar: there are suggestions of other artists- Gallagher and his ilk- yet the Turkish singer surpasses expectation- he is seamless when raw and open; effortless when calming and introspective.  Backed by superb backing- the musicians assembled perfectly compliment the lyrics- the song glides and floes; catches the emotions by surprise- and implores you to think.  She Got Caught mixes classical strings (they are subtle but effective) with multifarious and deep guitars- that are atmospheric and beautiful.  The composition supports and augments the songs; almost creating their own lyrics, the instruments marshal force and voice- whipping-up their own life and sense of ambition.  Maturity and logic; openness and inspiration: these are elements that come through across the song; radiate and gleam- the track hits the mark after the first listen.  With that exceptional and perfect production, you are compelled to revisit and go back: fill in gaps and lines; uncover mysterious moments- and try and dig to its core.  Whether the young master will follow up (the She Got Caught E.P.) with another- or take a break- he should be proud and pleased- he has created something current and fresh; very much his work.  Few modern artists pack this much promise and authority into their debut moments- an artist to watch closely.

In Hoodies is an act that (pretty much at least) gives me fresh impetus and invigoration: I actively seek great/different solo acts; the boys tend to be a little less daring- the Istanbul artist has produced a terrific track (and brilliant E.P.).  Having journeyed to London- and joined with an amazing and legendary producer- the results speak for themselves.  Not your run-and-the-mill, acoustic-led tale of love-loss-anger-introversion etc.; what you have it is music that delves deeper: it possesses the hallmarks of great Indie/Alternative music- the passion and anthemic appeal; that sense of swagger and heart- whilst displaying personality and individuality.  I said up-top; when it comes to Turkish music- or any outside of the U.K. and U.S. - my sights are a little limited.  Perhaps showcasing the natural limits of social media and the press- how can you make the people conscious of music from all around? - I am glad (to have assessed) In Hoodies.  She Got Caught (the E.P.) is a short insight into a daring young artist; someone with a rich knowledge of the scene- a young man who wants to make big impressions.  You can HEAR that ambition and passion come through: the music is consciously nuanced and catchy; the lyrics both outreaching and introverted; the production values seamless and completely befitting- keep your eyes and ears peeled, folks!  It is the imagery/sense of mystery that compels me: those sketches/artwork (on the official website); the cards-close-to-his-chest enigma; the music alone- you have to fill some gaps, but have a great time doing it; come to your own conclusions.  Before I finish up, it is worth assessing Alternative/Indie; a few thoughts about the E.P. itself.  My Con (the E.P.s second half) is a slow-building and soul-grabbing little slice: In Hoodies lets his voice seduce and pervade; dreamy and urgent- you get wrapped-up in the song.  Confessional and tender; devotional and hopeful- the song has quite a modern sound, yet seems inimitably his own.  Both tracks on the E.P. have a fairly soft and sensual sound: there is no break-away riff or stadium-sized lust- everything is kept fairly intimate and controlled.  This works in his favour; In Hoodies crafts music designed for lovers and dreamers; those that want to break away from the mundane- his music/voice is appropriately gripping and focused.  There are some great male artists on the scene- aside from my initial fears and diatribe- from the likes of James Blake to Sam Smith; Pharrell to, well... there’s a lot out there.  My main problems lie when you get into certain genre: when the boys stray away from Pop/Folk/Indie music, the most interesting results occur.  Maybe it is just my tastes- and having been overwhelmed by the wave of samey acoustic guitar-wielding acts- but innovation and originality always creates the biggest waves.  In addition to (the aforementioned acts); there are some promising new artists coming through the ranks- those that go beyond the stale and repetitive sounds (favoured by the charts and the media).  Personal and romance-based music does not need to be dull and predictable; it can be utilised in fantastic manners- In Hoodies is putting his slant on the themes.  Overcoming the pitfalls the genre/scene can produce- sticking to close to other acts; not getting bogged-down in cliché and superlatives- the Turkish star seems like he has a future.  It will be interesting what comes next: whether a full album comes out; another E.P. perhaps- if the sound is expanded somewhat.  She Got Caught showcases a unique lyrical voice; an artist going beyond the boundaries- let’s hope this drive and initiative continues long (for years to come).  Let’s finish off with the young man himself: how to describe him and his musical role?  Playing in the Alternative/Rock arena- a little bit of Pop can be heard- he is one of the genre’s finest new stars.  Away from the beige and insipid examples- we all can list quite a few- In Hoodies has that necessary edge and flair; an intelligence which results in some terrific- that is capable of leading to long-term success.  I shall finish with a list; made by In Hoodies- how he describes himself/his music (on his official website; read it to the sound of Radiohead’s Fitter Happier).

“Self-made, song writer

Sponge heart, deal hater

 Big time… Naysaye

No talent, sketch-drawer

Half-baked, demo-recorder

Need a way, but a map-burner

Dream-head

Over-fed

Semi-weight

Neo-late

   Shelf-warmer

Few and far

In a ball of yarn

Lost, not found

 Bit of a mess-maker

Student of little kids

Mood swings, ill at ease

Praying with no bliss

A phony, a twist

Angst-reflector

Scooter-lover with no license

Story-teller got no guidance

A walking, talking crisis

Disturbed meditator

Hyper- empathic egoist

Bruised by educational fists

Slowly fading as an occupational disease

Just a windmill-fighter

Stuttering

Hollering

Whıspering

     Communicator

Hood-looking, with no dis.

 Not designed but a row of accidents

 All ears, all ears, all ears

    Disappointment supplier

Speaks truth as a foreign language

Burns the saint keeps the wıtch

Black as pitch

Switched-off

At last-ditch

Lost in the music...

TAMBOUINE break.”

[youtube https://www.youtube.com/watch?v=hA4tqdwl6HQ&w=560&h=315]

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Follow In Hoodies:

 

Official:

http://www.inhoodies.com/

Facebook:

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

Twitter:

https://twitter.com/inhoodies

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Music:

https://soundcloud.com/inhoodies

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Gigs:

http://www.inhoodies.com/#!gigs/c12yc

Track Review: Echo Arcadia- Ghosts

TRACK REVIEW:

Echo Arcadia

 

Ghosts

9.5/10.0

Ghosts is available at:

https://soundcloud.com/echo_arcadia/02-echo-arcadia-ghosts/s-kMvTz

RELEASED: Late-2015

GENRES: Folk-Indie; Pop-Rock

ORIGIN:

Edinburgh, Scotland

IT is a relief to be back with a band that….

have had a quiet year (this year).  I am glad to hear back from them- was going to check round their houses for any dodgy smells/piling mail on the doorstep- but the boys (and girl) have been busy working- getting some new music together.  Having called off the police- and putting my ‘body-poking pole’ back in the closest- I can breathe a sigh of relief and welcome them back- one of my favourite subjects from last year.  When assessing Beauty in an Average Life- the band’s L.P. released last April- it marked both a turning-point and an eye-opener.  On the one hand, my reviews became fuller and more detailed- the Scottish band’s music brought so much out of me- and consequently, turned me into a better writer.  The music- offered by Echo Arcadia- was so evocative and dream-inspiring; compelling and dramatic- filled with so much beauty and heart.  Few bands (up until that point) had elicited the same reaction- the hand-trembling visceral; that ecstatic paen- trying to get everything down.  Not to over-sell the band; the music had that special quality- something I had never heard before; have not heard since.  Deeply personal and special, it also had a wide appeal: songs that connect with listeners; sounds that both comfort and intrigue- the band’s passionate performances completely natural (and enough to overwhelm the sturdiest of ears).  Before I (re-)introduce the band- and update you on their activities- I am reminded of a few things.   My first point- don’t need to sigh that hard; I only have three (points) - concerns band variation/style.  A lot of what I am hearing- from my last review to the majority of this year’s- is heavy and Rock-influenced.  Bands tend to- and not that it’s a bad thing- turn the volume up; get those riffs screaming like a bitch; ensure (the music proffered) kicks balls and pulls hair- leaves the listener (a triturated) mess of skin and bones.  Within the chaos and coskureidness (not a word; sounds good, mind) there is nuance and intelligence- we’re not talking about Nickelback here!  It is always nice when bands are more ‘daring’; that is to say, go beyond the majority- craft something with that emotional depth; something possessed of symphonic edges- put beauty before muscles.  It takes a lot of guts and assuredness- making tender and emotive music requires more thought and patience- to deliver on this; go beyond the expected ‘norm.’- and create something that captures the mind (in addition to the heart and body).  I love my guitars-turned-right-up-brother kind of sounds: the Rock/Indie/Alternative market is throwing some terrific bands out (including my last review, Archi Deep and the Monkeyshakers).  Being influenced by the likes of Arcade Fire, The National and Radiohead- three of my favourite bands; shall touch on this more, anon- the Echo Arcadia-ns produce stunningly evocative sounds; filled with emotion and soul- no wonder they resonate so hard with fans and reviewers.  My second point is- shall return to my initial fascination soon- concerns Scottish music.  The six-piece hail from Edinburgh- a city that is producing some of the finest up-and-coming bands.  From my perennial, obligatory- and downright right-to-reign-supreme- lovelies Universal Thee (their Pavement-cum-Pixies blends are darned wonderful) to Ded Rabbit- a band amassing followers and effusiveness- and their tremendous anthems- the city is showcasing some (wondrous musicians).  I touched it on a previous interview- when questioning a Yorkshire-based musician- who said (the reason the county produced so much great music) was the lack of suffocation and shoulder-bumping- you may encounter in London and Manchester (and busier cities).  That lesser suffocation; the space and freedom (to conspire, breathe and relax) leads to better music; fewer anxious moments- a more intuitive and organic experience.  I think Edinburgh- maybe even compared to Glasgow, say- has that freedom; the engaging and brotherly (music) community; the space to create.  I know I bang on about London and its musical splendours- love that city; want to like it all over- but eyes should be trained to Scotland.  In addition to being quite overlooked- anything north of Manchester and the music media starts to switch off- the country is producing more variation and quality (in my opinion) than any other part of the U.K.  Echo Arcadia are the embodiment of this: a band distinct from the London-scene; indicative (of Scotland’s) growing nursery- where its children have already learnt to run; are a lot more savvy and developed (than their southern peers).  Before I get to my last point- and exhaust everyone’s eyes- let’s meet (once more) Echo Arcadia:

Leigh Moyes - Lead Vocals, Rhythm Guitar Tony Dalton - Lead Guitar Euan Mushet - Bass Dan Ciesielski - Drums Andrew Gray - Violin, Vocals Jenna White - Vocals, Synth

“Echo Arcadia make sweet music out of Edinburgh, Scotland. Their unusual mix of gritty rock backbeats, grumbling guitars and catchy pop melodies have gained them a growing fanbase. The seven members' eclectic influences marry to create a fresh alternative to the usual indie-pop/rock fare.  The band consists of frontman and rhythm guitarist Leigh, lead guitarist and vocalist Vonny, guitar, vocals and trumpet taken care of by Kevin, Pete on keys and vocals, bassist Euan, Andy on violin and Dan on drums.  Following the release of their inaugural 'Broken Chapter's EP in October 2010, the Arcadians have enjoyed an intensive period of gigging, also relishing opportunities to play acoustically, allowing them to hone their sound and take their music to a new audience. 6 months later, they recorded their first single, 'Joker', (made available for download in early March 2011), Edinburgh Spotlight had this to say about it: “Sparkling and freshly polished...the track uses layers of shimmering guitar and Leigh and Siobhan’s atmospheric vocal harmonies to create a multi-faceted little nugget of poppiness. All this builds up to a classic vocal refrain which we guarantee you will be singing in the shower, on the way to work, shopping at the supermarket and everywhere else until all your friends tell you to shut up (or until they get their own copy)."  The band are scheduling gigs further afield with aspirations of a UK tour in the near future.”

My last point relates to the band themselves: and, in addition to that, the personalities that come through.  A lot of new bands (and those bedded-in) do not win you with their personalities: they come off as gruff or aloof; concerned with the music itself- no need to speak to people, huh?  With Echo Arcadia- and what I love about the band- is their friendliness and approachability.  Having (had a) line-up reconfiguration- the odd change or two- has not fazed the band- they remain as effervescent and humorous as ever!  With their hirsute boys- except the under-fuzzed Tony: needs to get some serious beard-age going on! - and their gorgeous girl, the band compel and fascinate.  Their biography (on their official website) illuminates this side: Leigh is scared of submarines; Jenna is preparing for zombie apocalypse (aren’t we all, sister); Tony has a Burger-King-sign-meets-one-testicle-resulting-in-severance nightmare; Andrew’s street-cred. has upped; Euan has a magical bass- and Dan hits things (hope they mean percussion-wise; might want to keep an eye on that).  What you get- from their homepage and biographies- is a band filled with life, laughs and love- essentially qualities for any new act.  Why, you may ask?  Well, when you are a more relaxed and smile-inducing band, better music comes through: you have a complete package; you root for the band more heartedly; are more likely to want to see them live- and thus, remain in their camp.

Before I tackle (the band’s) new song- and get down to the nitty-gritty- it is worth assessing their progress; which acts infuse their sound- what new material sounds like.  In terms of new listeners- and where have you been all this time?!- the band list (the below) as influences

Arcade Fire, Radiohead, Biffy Clyro, Death Cab for Cutie, David Bowie, The National, Broken Records, The Smiths; The Cure, The Killers, Echo and the Bunnymen, Vampire Weekend, Pink Floyd, Air, Killing Joke, and Neil Young.

To my ear (the Edinburgh band) are the link between Arcade Fire and The National; they fuse Pink Floyd-elements with David Bowie hints.  Those male-female vocal partnerships (that Echo Arcadia’s Leigh and Jenna boast) remind me of early-days Arcade Fire.  That intense and naturalistic interplay; the superbly unique (both equally important tones).  Relating to the Canadian band, Echo Arcadia have that same sense of danger and ambition- seen across Arcade Fire’ debut Funeral.  On that album, euphoria and drama mingled together (sometimes within the same song); the band created something daring and foreign- that engrossed and stunned the critics.  Echo Arcadia lace high-drama with something tender and introverted; they can switch between symphonic and detailed.  Arcade Fire (on their debut) introduced love codas and rallying calls: songs that belted their intentions; interlinked sonic innovation with nuanced and addictive mantras.  Similarly, the band investigated hard-hitting issues- suicide and desperation- and well-worn love themes.  Echo Arcadia (on the debut album), displayed that same flair and style: able to go deeper and darker, they always bring it back around; they interweave dizzying compositions with something singular and tender- putting me in mind of the Canadian band.  In terms of The National (and Arcade Fire) front-man Leigh- who shares vocal duties more on the band’s new cuts- has those distinct tones: the sonorous and world-aware soul of Matt Berninger (that runs rampant on the American band’s discs) and Win Butler’s lightness and all-empowering directness.  The National are masters of downbeat and intense lyrics- that are highly poetic and vivid- matched against gripping compositions.  Echo Arcadia are less ‘morbid’- if that is a fair assumption of the band’s material- yet have those same poeticisms and lyrical intelligent; able to create stunning lines and oblique images- all spiraled around deep and engrossing sounds.  If you look at Davie Bowie and Radiohead- the former’s Berlin-period work; the latter’s albums Kid A and In Rainbows- you get some comparable beats.  Between 1976 and 1979, Bowie’s ‘golden period’ was unveiled- albums including Low and “Heroes” were produced.  Low cut the album in half: one half was Rock-driven and more ‘conventional; the other side more experimental.  Angular instrumentations and odd beauty united beautifully; the album is challenging and complex; the guitars go between robotic and furious; the synthesisers go from ice-cool to textured- the entire album was a masterwork of style and emotional balance.  Echo Arcadia (on their early work; on their current sounds) battle chilled electronics with some jagged guitar lines; compositions that change direction and impression- putting me in mind of Bowie’s 1977 work.  By the time of “Heroes”- released the same year as Low- Bowie utilised harder sounds and deeper compositions; more detailed synthesisers and groundbreaking sounds.  Echo Arcadia are Bowie acolytes; they have studied his gleaming regency- have created something personal and familiar; their music dips into Bowie’s 1977-era- and matches it with impressive ambition and intuition.  Finally Radiohead- Echo Arcadia are fans of U.S. and U.K. bands; varied styles and genres- I am reminded of Kid A and In Rainbows.  The former album- released off the back of a glorious 1-2-3 for the Oxford band; after The Bends and Ok Computer- and boasted their most experimental and daring work.  Forgoing their Rock-driven past, emphatic and pioneering electronics swam over songs of fractured love; remaining optimistic (in the face of reality-checks) and wanting to disappear- when solace and peace is required.  Fast-forward to 2007 and In Rainbows provided another groundbreaking change: the band turned-in one of their greatest achievements.  With no wasted moments or songs; heartbreaking beauty and emotion mix-abstract and accessibility nestled alongside one another.  Radiohead employed heartbreaking metaphors and vivid imagery- death and suffocation; a trapped animal in a hot car- with songs of desire and a tremendous sonic collage (that married Rock swagger with Synth.-laden/dreamy love songs).  Song-orientated and stunningly pretty, Echo Arcadia have considered the challenge: their music puts me in mind of (these two Radiohead) diamonds.  Both pioneering and challenging- their synthesiser work runs a gamut of emotions and possibilities; their subject matter fuses optimism with heartache- Kid A aspects come out.  If you consider Echo Arcadia’s sense of beauty and accessibility; their fusions of Rock-drive and electronic dreaminess- just listen to their debut album; you get bucket-loads of it.

Since their Beauty in an Average Life phase- when all these artists and albums stunningly come to the fore- the band have remained consistency; yet have introduced new challenges and changes.  All that beauty, emotion and sweeping soundscape- that was trickling in every note (of their debut L.P.)- remains intact and pure; if anything there shows greater promise and mobility- perhaps a great sonic depth and emotional richness; some new themes and fresh ambition.  The band sound more confident and determined (on their current offerings); more ‘together’ and inspired- building on their early promise; the Scottish band sound completely striking and daring; they ooze quality and nuance- every song possesses stunning details and depth.  The changes concern both sound and line-up: the band have incurred a minor shift-around- band members have been promoted; new faces have provided Synth. Sounds- which has not altered their consistency, togetherness and unity- a plight that would befall lesser bands.  In spite of some re-workings; Echo Arcadia sound even-more together and relaxed; they seem more natural and ambitious- their new songs (although at the rough-and-ready stage) showcase immense potential.  At its heart is the band’s relations and solidity: they are great friends and truly together; completely in-tune and old-friends-jamming-once-again- this radiates in their new material.  What this all means- the albums comparisons; the changes/improvements within the ranks- bodes well; pointing towards a huge future- their second L.P. could surpass their debut; it will appeal to loyal fans (the core sound has not shifted too much) and bring in new followers- Jenna’s central/duet vocals breathe new lust and beauty (into the band’s repertoire).  The bond between partners (Leigh and Jenna) is at its peak; the band tightness is at it level-best- the music is at its richest and most ambitious.

Recorded in March (among the band’s other upcoming album tracks); Ghosts begins with some haunt and echo- appropriate give its title.  Languid, aching strings romantically strain and yearn; backed by a driving and pitter-patter, beat, the song whips up an evocative and tender beginning- eliciting a lot of emotion and beauty (within the first few seconds).  Initial lyrics see Leigh step to the microphone; his voice soft and urgent; emotional and shivering.  Ghosts are wrapped (around him) like a “winter coat”- you imagine what is being referred to; whether (the ghosts are) memories or simply bad times.  Keeping the cold at bay; until “time stands still again”- the images of ghosts and protection are enforced; distinct and vivid images come through. Keeping his voice level and restrained- not letting it needlessly fly or rise- the words are clear and concise; that sense of emotion and determination is clear- you find yourself rooting for the hero.  Whether coming off the back of a relationship- maybe love has broken down or ruction has occurred- you start to question and speculate.  To my mind, something less tangible is being referenced: perhaps some self-doubt and unhappiness; maybe some sense of vulnerability; what has caused it (I am not sure).  Leigh’s voice- in the early phases- reminds me of a cross between Bryan Ferry and Win Butler.  There is that romance and breathiness; a calming and soothed tone- packed with plenty of meaning, heart and passion.  As you get entranced within the song; dive inside the lyrics- and, subsequently, follow our hero’s plight- the song develops and augments.  Spiked and shimmer guitar notes come through- earlier in the song, a beautiful electronic/piano sound backed up the song’s grace and serenity- and instantly transform the mood.  From its tender and introspective beginnings, Ghosts starts to climb and evolve: the strings rush and spark; there is a sound of ‘70s Rock greats lingering in the coda (suggestions of Pink Floyd eek through).  Joined by Jenna, the vocals unite and rise: the duo’s voices perfectly mingle (within each other); Jenna adds some beauty and enchantment- her voice remains calm and serve; never stealing attention, it perfectly fuses within Leigh’s aching heart.  It is said “ghosts sit still and stare at me”- causing the listener to project some rather striking images- and cause anxiety and sadness.  Throughout these early moments- and hearing what has come before- you start to wonder its causation and origin: why is our hero in this place?  What has enforced these thoughts?  The band manages to project that balance of intimacy and grand.  The scenes that unfold- spirits hovering; the cold beckoning- are simultaneously epic and personal; universal and unique; each listener can relate to the song; share experiences and similar feeling.  Once again- and before you start to predict where the song may be headed- the mood shifts once more; the composition becomes heavier and harder- the percussion hisses and fizzes; the song becomes even more urgent and haunting.  With some spectacularly and tender wordless vocals (Jenna’s voice particularly stands out), those shivers increase; an extra layer of beauty is unfolded- you get a real visceral sense of specteralness and ghost-haunting.  Adding in some quivering and spirit-inducing electronics/synths., Ghosts earns its most immediate (and title-referencing) hit- that sonic embodiment of the song’s ideals.  What Echo Arcadia do so well- and proved so on their debut album- is that ability to switch sound and course; take a song through the heavens without warning- then bring it straight back down.  Lesser bands would simply keep on the same course- with regards the vocal and composition sound- yet Echo Arcadia understand the importance of instrumentation and unexpectedness- keeping the listener on their toes; subverting expectations.  Those images and metaphors keep coming back in; our duo seem haunted (still)- you wonder whether resolution and answers will be found; what is causing such unrest and investigation.  The ghosts pass through “like an open door”; whisper secrets as they go, the vocals (from Leigh and Jenna) remain firm and tender.  Like a “debt that can’t be sold”, that mystique and intrigue climbs ever higher: the band keep true revelation at bay; ensure true meaning and genesis is never released.  This means the listener is free to interpret and wonder: to my ear, the song is a universal message; designed to appeal to the masses- not one necessarily enforced by individual circumstances.  I know the band have had some tough times- some doubts and personal woes- yet the song seems to have a ubiquitous and wide-reaching message: its lyrics and meanings can be extrapolated by all; each listener can relate to an extent- Ghosts is a track that seems like an anthem for the broken-hearted.  With the volume and tension at a high- the band come in rushing and hard; tight and fast-flowing- Jenna unveils a sweet-sounding (yet chilling) insight: her heart and soul are laid bare; her vulnerability and fears exposed.  Parabonding with herself- Jenna’s backing vocals remain on the scene- you get a layered and transcendent moment; the beauteous and gripping voice hits its peak- and leaves the listener seduced and overcome.  Before the track ends its fight, the composition spirals and storms once again: the guitar dizzies and rises; the bass drives the composition forward; the percussion remains strong-willed and leading.  It is the electronic notes (synthesiser offerings) that add colour and evocation: that compositional ghost hovers and flies across the night’s sky; its work and damage done- as the band put the song to rest.

Before I mention the band themselves (and their role in the song), it is worth mentioning: this version is a pre-album, ‘demo’ version.  Some aspects could change; the overall sound may sound a little different (when the song gets into the studio), but from what is on offer, I would not change a thing.  The track sounds fully-formed and ready.  Whilst it has that live-sounding feel to it- the band may want something more polished and full- Ghosts is a tantilising and fascinating insight (as to what the band are working on now).  I chose the song (to review) because it boasted their merits and hallmarks: those incredible (duel) vocals; the detailed and everyman lyrics- topped off with a stunning band performance.  Ghosts’ raw form may want to remain as such- although the band may have different ideas.  First of all, it is worth commending the production and sound of the song.  Although a ‘Living Room Session’, there is clarity and concision- a lot of acts I have reviewed recently have negated this concern- you can hear the lyrics clearly and sharply; the composition is sharp and colourful- the quality comes through clearly from start to finish.  This quality is the result of the band themselves: the performance is consistently tight and impressive; each note and thought is delivered with the utmost sense of importance and passion- there is no wasted moments; no lazy offerings.  Leigh has come up with a song (that shows him at his creative peak: clearly inspired and compelled (either by real-life concern or something else) Ghosts is a stunning and nuanced track; one that sounds deeply personal- yet has a voice that speaks to all; lyrics that will resonate and resound.  His vocals (throughout) are calming and concentrated; direct and emotive- shades Berninger, Bowie and Butler come through- is ensures the song never slips from the memory; each thought and word is brought to life.  Showcasing his lyrical and musical dexterity, our hero has crafted one (the band’s) finest tracks; something intimate and grand- a song that demands repeated listens and fond consideration.  I am slightly new to Jenna’s voice; that sensual and soulful vocal- Leigh explained he keen to share the vocals; claims not to be the best singer around (pish!).  Whilst Leigh’s voice remains reliably gripping and dramatic; pairing with Jenna is a wise and considered move: the duo sound natural and made-for-one-another (being partners you can hear that connection).  Their tones complement one another beautifully: Jenna has an ethereal and sweet quality; plenty of seduction and raw emotion- when it stands alone, you get the biggest emotional reaction.  Joining Leigh’s rhythm guitar, Tony’s lead strings realty stand out.  Never stealing focus and encroaching at all, what he does is augment and emphasise the mood; add an enormous emotion of energy and mystery- so many colours and possibilities are unveiled.  When solo-ing, you get a scintillating and mesmeric sound; you are swallowed-up in its immediacy- he manages to employ so much evocation and weight.  Not only (does Tony’s guitar) have its own magic and plaudit; it bonds with the rest of the band; drives the rest of the instruments- becoming more subtle and blended-in when required.  Euan’s bass work acts as guidance and backbone: keeping the song supple and focused, he drives it forward; perfectly conjoining with (the drum and guitars) the bass is instilled with colour and personality; rhythm and melody- ample heart and energy.  Dan’s drum work impressed me from the first to last (as it did through the band’s debut album).  Most of the time, the drum is required to remain subtle and controlled- add a heartbeat and sense of urgency to support the vocals.  When the song climbs and explodes, the percussion leads that charge: both granite and combustible, the drum stands out loud and clear; evokes such an amount of grit and influence.  Ghosts also boasts some wonderful synths. and strings.  With violin (I may be wrong, that is the sound I picked up) adding some romance and shiver-inducing beauty; Ghosts is given a necessary dose of despondency and grace.  The strings remain light and tender; just weaving into the background- adding a huge amount of emotion to the track.  The synths. really stand out and pervade.  During the initial phases, the focus is on the vocals (largely): as the song mutates and expands; the synths. comes in and do their work- the representation of the ghostly spirit; an audible embodiment that certainly creates haunt and coldness.  That said, there is also light and energy to be found: the synths., on the one hand, create drama and tension; on the other, there is plenty of charm and wonderment.  Overall, Ghosts will please older Echo Arcadia fans (such as myself) as it continues their Beauty’ work- they keep their hallmarks firm; do not radicalise and transform their sound too much.   For those new to the band, there is plenty to recommend: the song is perfect for when you’re feeling introspective and thoughtful; it makes the listener imagine and reflect- a powerful and hugely evocative song.  Ghosts also has a stand-alone quality: it is a great track that should be played at full volume.  Never morbid or overly-emotional, it is a terrific song that reveals new light (across further spins); one of the most stand-out and stunning songs on the scene- I cannot wait to hear it sit on their new album.  On that thought, I would recommend you follow Echo Arcadia; check out their progress and going-ons: with a new L.P. coming forth, there is no real excuse.  Being such a patron and supporter (of their debut) their new material is both faithful and different: keeping that unimpeachable quality and brilliance, the band is investigating new themes/subjects- Ghosts sees the Edinburgh clan in inspired voice.

Being my second experience with Echo Arcadia- barring a drunken dream we shall never speak of- I have been both surprised and comforted.  Having speculated as to their whereabouts- vivid images of zombie apocalypses, Burger King lawsuits and submarine attacks came to mind- I am glad the Edinburgh band is back.  As the band explains, they have been hard it; contributing their music to a film (Safe Haven); they have been adding synths. to their work; working busy-busy- putting together their sophomore L.P.  Can they top (the staggering) Beauty in an Average Life?  Short answer: hell-yeah, course they can, son!  To be honest with you- given that album’s impeccable standards- there was not much room for improvement- with their new material, I don’t know, they sound even better!  Perhaps re-inspired or energised- by relations within the band or some time away- but the new music (I have been lucky enough to hear) is among their very finest- and this is the ‘demo.-sounding’ tracks coming out.  I chose Ghosts- as their album’s standout track/one I think best sums them up now- as it contains all the bands’ hallmarks: those entrancing and emotive vocals (supplied by Leigh and Jenna); the incredible composition- that draws in so much beauty and atmosphere; history and evocation; grandeur and tenderness- and the stunning lyrics (that seem to connect with everyone, somehow).  The band themselves make (the music so) gripping: their performances are tight and well-rehearsed; they have such an affiliation and connection- you can hear those solid bonds; that natural (shared affection).  This all bodes well for the future: when their new album drops (not sure what it is called yet) I for one will want to get on top of that: dig into its mysteries and warm kisses; untangle its messages and mysteries (or something less pretentious).  What Echo Arcadia have done- in addition to pleasing my musical senses- is confirm my deepest beliefs: that Scotland is producing some fine-ass music; showing the U.K. how it’s done- differing from the London/Manchester/Liverpool (predictable; over-exposeed0 co-efficiency.  The band has that radiance and cheekiness; those distinct and loveable personalities: a group you want to hang with; lift pints with- share their adventures.  When it comes to the music, they are both entrancing and nuanced: their songs grip (upon the first listen) and then keeps giving more- every new spin uncovers something special.  Ghosts is a perfect 2015 track: it encapsulates a lot of modern vibes- and what the finer end of the mainstream is producing- and adds warmth and quality to a (let’s face it) somewhat lackluster musical year.  It only leaves me to summarise, now- sure you’ll be glad to hear.  Having been contacted by Leigh- the band’s leader and all-round nice dude- I was primed for something special: following Beauty in an Average Life; my expectations were high.  Having regrouped- or slightly reconfigured- the band have had a creative retreat; put new thoughts to paper- fusing and concocting their new sounds.  I can tell you this- and from having the new album (in a nearly-ready form) on my laptop- the signs are all good.  Building from their debut- retaining its core sound and qualities- the guys have added new elements (instrumental and lyrical); the vocals are stunning (both Jenna and Leigh offer highly-charged and gorgeous tones); the compositions are rich and colourful- lush and flowing; building and grand.  Make sure you check out Ghosts- go to the band’s iTunes page and check their first album out- and buckle your seatbelts: Echo Arcadia will be back hard and fast- sparing no prisoners!  It has been great to reconnect with the Edinburgh band- and hope they hit-me-up when the album is released- and assess their new sounds (again, one of my favourite songs from this year).  Having spilled my thoughts- and possibly caused pronation of the fingers- it is time to leave the zombie-bashing-testicle-missing-submarine-fearing-thing-hitting band to their business; wish them the fondest- and keep an eye peeled.  Back last year- when reviewing their album- that review changed my writing; made me more hopeful and deep- their music broke the boundaries of (the music I was used to) hearing.  This year, I have heard a lot of terrific music- more varied and impressive than last year- but Echo Arcadia have done it again: connected with a part of me (I thought had dissipated).  Whether it is their particular music brand; their kinship and warmth (something else, perhaps) - those Scots always strike me hard.  Anyway, have a listen/investigation; dive into their creative annals and…

BE sure to snap-up their forthcoming album!

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Follow Echo Arcadia:

 

Official:

http://www.echoarcadia.co.uk/

Facebook:

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

Twitter:

https://twitter.com/EchoArcadia

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Music:

https://soundcloud.com/echo_arcadia

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Videos:

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

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Gigs:

http://www.echoarcadia.co.uk/

 

Interview: NINA

Interview:

 

NINA

ANOTHER week; another great female artist...

has come to my attention.  London-based; German-born, NINA is one of the most impressive Pop/Electro.-Pop artists coming through- her voice is among the most distinct on the scene.  A lot new Pop-based artists tend to stick too closely (to someone else’s voice); come off as somewhat uninspired and unoriginal- NINA has no such flaws; she is one of the most captivating and singular artists on the block.  Under the caring wing of Aztec Records, the superstar has recently covered Heart of Glass- by the inimitable and timeless Blondie.  Her fan-base is building and diversifying- gaining support and kudos from all corners of the world- new music is mooted; the signs are all bright.  Inspired by the likes of HAIM, Fleetwood Mac and The Doors; NINA channels multiple sounds/sensations into her music; creates stunning atmosphere and compositions- those that get inside the heart; convey everyday emotions and personal insight.  Having released the E.P.s My Mistake and We Are the Wild Ones (one of its tracks is featured/reviewed below), eyes on are the German singer: it will be exciting to see where she goes next.  With her music gaining so much support; her songs winning-over so many fans, I was keen to catch up with NINA; see who influenced her (growing up)- and when we can expect a new E.P…

Hi NINA. How has your day been?  Where are you speaking to us from?

It’s been a productive day.  I just finished recording a new track in my home studio.

The modern scene is seeing a lot of female singer-songwriters come through.  What would you say separates you from the crowd?

It took me a long time to find a project (and a sound that I wanted to represent) and I think I found something that it’s different from the rest.  Something that takes me back to my younger years, the retro feel, the synths; the sounds I grew up listening to.  I think people can relate to that.

You are based in London- and represented by Aztec Records.  How have you found life in London?

There is no place like London- I’ve lived in London for 11 years.  I’ve pretty much lived here throughout most of my youth.  Although I’m a free spirit, and don’t call anywhere my ‘home’; I put London very close to my heart.  The music scene is like no other.  London is magical and very influential.

Being born and raised in Berlin, how does the music scene differ here (compared to London)?

I think it’s hard to compare Berlin and London.  I couldn’t tell you which music scene I’d prefer; they’re both so different. I like how hardcore Berlin can be- with their Techno/House raves- and how surprising London can be (with constant up-and-coming raw talent).  Amazing artists like Amy Winehouse, Ed Sheeran; Jessie J., John Newman (and many more) all started off performing in little venues in London.  It’s inspiring to see.

Growing up, which artists influenced your sound/direction?

I loved bands like Depeche Mode, Queen, The Doors and artists like David Bowie, Blondie and Cyndi Lauper.  Their stage presence, charisma and sound were mesmerising.

Which current artists would you recommend?

From the U.K. it has to be The Levity- a new up-and-coming band from Devon.  Their live shows are awesome and I’ve been collaborating with them recently on a couple of songs.  They’ve got the ‘80s sound nailed to perfection.

And from the States, HAIM- they’re simply awesome.

Your latest track is Heart of Glass (a cover of the Blondie song).  What compelled you to record that track?

I’ve always been a huge Blondie fan.  Growing up listening to them definitely shaped my music style, so it was an easy choice.  I knew I wanted to make it my own; but that isn’t easy to do with a song you’ve listened to all your life.  But me and my drummer (Laura Fares) sat down one evening and it just flowed.  I’m glad the response has been great- and I’ve had lots of Blondie fans sending me lovely comments.

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Your My Mistake E.P. (released last year) was met with acclaim; it resounded with listeners.  What themes inspired the E.P.?

The ‘80s era and the New Synth-Wave movement.  The main theme is about learning from unsuccessful relationships.  It can hurt but it will get better.

I am reviewing We Are The Wild Ones -the title track from the E.P. - and was wondering: that particular song stands out in my mind.  Can you tell us a bit about it (what inspired it etc.)?

Like ‘My Mistake’, the ‘80s were a big influence.  I collaborated with another band and we knew exactly what we wanted it to sound like.  It’s about escape, wanting to be free and loving ‘til the end, no matter what.  “Find what you love and let it kill you” like Bukowski said.

Can we expect new music from you soon- an E.P. or album- and touring dates?

Yes; I’m releasing my 3rd E.P. very soon- and I’m working on that with amazing producer Richard X (who I deeply admire).  I’ll also be touring Sweden, Italy and Germany before the year ends.

What advice would you give to up-and-coming singers; are there any words you would offer?

Always stay true to yourself.  Work damn hard; find yourself and your own style and never give up.  Be strong, be focused.

Finally- and for agreeing to take part in the interview- I will play any song here (of your choice) - name it…

Massive Attack – Teardrop 

[youtube https://www.youtube.com/watch?v=u7K72X4eo_s&w=420&h=315]

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We Are the Wild Ones’ title track looks at “Midnight street lights”; a place where there is haunt and (lack of) forgiveness- a cold and shallow countenance.  The opening (electronic beats) remind me a little of Erasure.  Matching their Wonderland-era climb, the introduction pulses and smashes; it is a lot harder and more sexual (than NINA’s peeps’ music) and makes its declarations know.  The percussive beats are both dramatic and scenic- you get a sense of city streets and harsh sounds; cold and dark avenues; juxtaposed by star-crossed lovers and (the lights emanating from) local bars.  In fact, the entire introduction has that ‘80s-Synth-Pop sounds- the likes of Erasure, Gary Numan and The Human League.  NINA concocts her own (swelling and catchy) blend of beats and electronics; hard to tie them with anyone else- that distinction and originality shines through.  Eliciting so much potential (in the opening exchanges) you wait for the voice to come in; what tone it will take- how it will melt with the composition.  NINA’s voice- on the wave of ghostly Synth.-Pop beats- is light and emotive; not too heavy-handed, the vocal dispenses its words with careful economy- ensuring the listener understands each idea and image.  It seems our heroine is waiting for a man- her wannabe star-crossed lover- as she tangles within the shoulders of a London night- knowing some (of their) hearts will break.  Right from the start, the lyrics aim for philosophy and life truths- life is shorter than we’d care for; we have to do all our living soon- that urgency and sense of determination shouts its name.  Wanting to- in the name of her man- “stretch across the highways”; “Until our voices echo through the dunes”; you get a sense of the romance and bond- that hungry desire to be rekindled and united.  After initial proclamation, an air of defeatism creeps in: as (the two) are the wild ones; the lost souls- maybe there is no hope for them.  It seems those more ‘ordinary’ and predictable find happiness- they do not have ambitions and those desires- whereas the young and restless do not get what they seek.  That air of pessimism is never heavy and mordent: the electronics crackles and sizzle; the beat remains static and insatiable- giving the song a king-size sense of atmosphere.  As our heroine’s voice endeavours and promises- she has a “full tank” of gas; a heart full of dreams- you root for her (and her man).  Dreamy and nuanced, the electronics-cum-beats-fusions back up the mood and momentum: the voice is perfectly complimented; allowed to nestle in the sonics- and let (her words) do their work.  The chorus underlines and emphasises the song’s core: the lovers and wild and free; outsiders of sorts- maybe this world cannot accommodate their lust and ambitions.  Riding that wave of emotion, NINA lets her voice glide and break; there is an underlying sadness and acceptance- maybe the lovers will remain distant and parted.  Towards the final stages- and as the chorus completes its work- the dizzying, hypnotic electronics comes back around; sparkle with multi-coloured grace.

We Are the Wild Ones is an anthem for young love: those that do not fit within societal boundaries; sit outside the borders- and yearn for something special and different.  The gorgeous German has clearly witnessed frustration and heartache; short-lived desires and a lot of what-if- I hope she is in a happier place now (the song was released two years ago).  The entire track bristles and campaigns with alacrity and underlying twilight.  Perhaps in London- and her beau being in Berlin or elsewhere- you picture the scenes and conversations; that sense of alienation- all vivid and real.  The percussion bonds beautifully with the electronics; the former is a racing heartbeat; a granite-tasting kick- paradoxically, the electronics mutate between swooning romance and razor-edge anxiety.  Having fallen for the E.P. We Are the Wild Ones- and its motifs of frustrated love and wild hearts-NINA continued her noble quest; producing even-more engrossing and staggering music- it bodes well for the future.  With a third E.P. on the production line, I am curious where she goes next: more tales of near-miss desire; talents of happier romance (she may be in a committed relationship) - or something more oblique.  Given (NINA’s)

[soundcloud url="https://api.soundcloud.com/tracks/85782018" 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 NINA: 

Official:

http://www.ninamusic.co.uk/

Facebook:

https://www.facebook.com/NinaSoundUK

Twitter:

https://twitter.com/ninasounduk

YouTube:

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

SoundCloud:

https://soundcloud.com/ninasounduk

Instagram:

https://instagram.com/ninasounduk/

________________________________________

Tour Dates:

http://www.ninamusic.co.uk/

Track Review: Archi Deep and the Monkeyshakers- Nowhere Man

TRACK REVIEW:

 

Archi Deep and the Monkeyshakers

 

Nowhere Man

9.5/10.0

 

Nowhere Man (teaser) is available at:

https://www.youtube.com/watch?v=W7sVC2SNBEo

RELEASED: 9^th September, 2015

GENRES: Rock ‘n’ Roll

ORIGIN:

Oléron, France; London, U.K.

The album #3 will be released in October:

Recorded and Mixed at Ardent Studios (Memphis) by Adam Hill. Mastered in London by Noël Summerville. Designed by Storm Studios.

Produced by Archi Deep and the Monkeyshakers.

TRACK LISTING:

Nowhere Man- 9.5

I’m on the Run- 9.5

High Minds- 9.3

I Can See- 9.5

Real- 9.4

If Only it Was Sunny- 9.4

DOWNLOAD:

Nowhere Man; I’m on the Run; I Can See; If Only it Was Sunny

STANDOUT TRACK:

Nowhere Man

THIS is my first review I have had to resort to an online translator…

to decrypt a band’s biography.  Thanks to Bing- and apologies to the band if the biography (below) - is inaccurate.   My featured band is based in France: my first review to emanate here; few new bands hail from here- at least the ones that reach the media’s attention.  Today marks a departure and fascinating diversion: I get to assess a French act- not one you’d think of; you’d have preconceived notions- and look at Rock ‘n’ Roll- its representation in today’s scene.   Looking around the music landscape, most of the bands (coming though) originate from the U.K. or the U.S. - it is a generalisation that has some truth to it.  Having recently reviewed a few U.S. acts- two from New York; one from L.A. - I have been back in British territory- reviewing the talent here.  The media in this country tend to focus their attention on homegrown acts; occasionally putting their mind in the U.S. - although in the case of Totally Mild and Royal Headache; in Australia too- but rarely does it extend to Europe.  When we think of ‘European music’ we tend to have stereotypes and false ideals: a lot of people tend to think of Euro-Pop or something arcane and bygone.  Perhaps this was true years ago- as recently as the ‘90s the European music scene has not been that varied- but recently, a lot of great bands have come through.  From Swedish Electronica to German Pop; Europe is producing some incredible music- that is possessed of character, soul and diversity.  Although my featured band has links with London, they are a French act: their sound, oddly, has U.S. tones to it.  Perhaps geography is an irrelevance (in today’s market): so long as the music is good, who cares?  Well, there is a reason for my tangent: the mainstream media neglects a lot of land; tend to focus too narrowly- there is a world of varied music out there!  Recently I have encountered everything from Israel-based Electro.-Pop- the irrepressible ADI- and German Synth./Electro. sounds- the equally capitalised (and beautiful) NINA.  I understand (music from Europe and Asia for instance) is less voluminous- you have to dig quite hard to discover great acts away from obvious areas- but we should all change our thinking.  Being in contact/connected with French journalist/online peeps, I get to hear French music coming through: fewer acts come from here (compare to the U.K.) yet the quality is very high; the sounds are adventurous and agile- there is plenty of ambition and urgency.  The French music scene is showcasing some great new talent; depending on the region/locality, you can find some wonderful new sounds- that will blow away any antiquated perceptions and clichéd ideas.  Before I raise a new point, it is time to introduce Archi Deep and the Monkeyshakers (apologies if my translations appear idiomatic or inaccurate):

“Everything begins in the dark light and the London fog, Deep Archi is armed with his guitar and preach the gospel to the streets of London (Himself!): I do not want your money, I want you to like me on Facebook!  Soon after, a phone rang, he must go, we need him, but he will not come alone ...!  Deep Archi and the Monkeyshakers to appease on the island of Oléron between each eruption!  They are needed: strong, raw (l) s, free and possessed!  Their determination and their rage open the doors - without trial and without label - allowing them to dust off the lobes and globes with electrically incorrect riffs, bass and scrap O rage on drums!  All wrapped towering irate!  They take you away.  Fire begins to set, in November 2013 they released EP # 1!  A hundred dates in the legs, ultra-room equipped with the most creepy cellar, they exploit every centimeter between unstructured groove and tantrums! Live on stage and off!  A surprised public - lobotomized - starts with them!  Schizophrenic and transcendent, they operate, fast, very fast!  Basic training, eccentric structure, not at all impressed!  Almost disrespectful for a tangy Rock'n'roll, abused and assured manner and the Archi Deep Monkeyshakers!  The DANCE takes a prominent place in this public - monkeys - He has no choice, he is caught in the throat, the most violent songs (but sexier) since their creation, take everything on their passage!  Finally - regurgitating - EP # 2 album (June 2014) even stronger!  He strikes with US power!  A summer of more than twenty five dates!  All the more explosive than the other! They operate in Rock'n'roll service!  Psychotic and disconcerting!  September sees the start of a promo tour in five months European target for the second album!  With over thirty dates from France to England: they claim that their place is on stage!  These three are determined to prove that he will have to reckon with them from now on!  Hold on!  To quote a friend 'Rican: {} They are (NOT) just a (fuckin') rock'n'roll band!”

In addition to having (perhaps the) best band name ever- you cannot read it in print without conjuring vivid/strange images- the boys really look the part: the have the ice-cold swagger and vintage-cool wardrobe of a classic Rock act; the cocksure sound and incredible exhilaration- they are compellingly tight and confident; brimming with confidence and intensity- without compromising quality and integrity.  One of the band’s qualms/issues is being called ‘just’ a Rock ‘n’ Roll band- the term, in fact, does tend to limit perceptions.  If you look-up the term ‘Rock ‘n’ Roll music’ you will get images/search results of 1950s music- maybe Elvis Pressley and Buddy Holly; something quite specific.  I guess their sound is Rock ‘n’ Roll to an extent- it has that thrilling evocation of Pressley and Little Richard; Bill Hailey and his contemporaries- although their projection/sound is very modern and 2010s.  What you get from the band is something familiar yet very unique: you can hear shades of (other bands); the overall sound and feel is very-much their own- they are a group indebted to nobody.  The most arresting aspect of Archi Deep and the Monkeyshakers is their comradery and tightness; their undeniable flair and quality- each of their songs is deep and layered; they do not produce tossed-off fillers.  Having just discovered the band- being tipped-off by their manager, Arthur Di Piazza; one of the best things (about the French band) is their song-craft: so many modern Rock/Alternative bands focus on one/several aspects; something always gets missed out- no such luck with these guys.  They have the stunning images and photogenic portfolio- they make sure fans/reviewers have plenty of photo options- and great personalities- whether dressed in costumes/masks; leather jackets or something else, they are always interesting, cool and compelling.  In addition, they have the music-related pluses: for one, their songbooks are packed with slice-of-life motifs; tidbits of wit and vitriol; slabs of modern-day love woes- quotable and relatable; unique and fresh.  Their compositions are full-bloodied and nuanced: with each listen you notice something new; their performances are consistently stunning and high voltage.  Most importantly is their spirit and genuineness.  They have a clear desire and passion; they are a True Rock Band- not posers or fakers in any sense.  With so many vague/mediocre bands on the block, Archi Deep; are a cut above.

When it comes to (the band’s) new ventures, it is worth looking back- and seeing how they have changed.  Looking back at their past work, it gives a glimpse of what inspires them; the themes they relate to- and what has compelled their current work.  I Got Inked has a scratchy and juggernaut opening.  Howling strings fuse in to create an intriguing and emotive opening.  The song looks at a hard relationship; being driven mad (by his other half); having to make sacrifices.  The chorus has a memorable catch to it; the vocal is a bit underplayed- and feel a bit more force could be elicited- with our hero sounding quite wracked.  Whoever the heroine is, it seems the relation is imbalanced and hard work: our hero is by her side; they are going through the motion- whether there is underlying love/passion, I am not too sure.  Erase Yourself is a more soft and gentle affair.  With its acoustic-led beginning, the song has a calming and relaxed air.  Our man is being treated like a fool; recriminations and anger comes to the fore- his voice remains controlled and level.  Mutating into something wracked and pain, the track begins to mutate and grow.  As the title suggests, there is that need for a break: our hero is in a bad place; a relation that is causing its scars and heartache.  You can sense that strain and annoyance throughout; the vocal here is more convincing and determined- portraying the full depth of emotions- whilst the band are tight and impressive.  Half of a Two is (at that point) the band’s best track: the full embodiment of their talents, it is a catchy and hypnotic number.  The song looks at wanting to be different; in a relationship it is a cautionary tale: our man sees everyone else- and the way relationships usually go- and does not want to be like that.  The voice is more characterful and alive; filled with idiosyncrasies and nuance- little yelps and howls come into the fold.  The quirkiness and vocal prowess reminds me of early-career The Rolling Stones- it has that ‘60s vibe to it.  The guitars rollick and strike with Blues licks; they jump and tumble; colourful and full-bodied.  Dizzying and dancing, this is the band’s stand-out cut- boasting their finest lyrics and most impressive performance.  With #3- and tracks like Nowhere Man- the band have hit their stride.  Sounding more confident and intuitive, they have upped the quality; there is more consistency and passion- the tracks are more detailed and memorable.  Their current offerings are their finest achievements: for new fans, it is worth going back; looking at what they have produced- it is stunning and filled with intrigue.  Over the last few years, the boys have regained new inspiration- fewer tracks deal solely with relationship imbalance- and they have introduced new sounds into their tracks; mingle more Blues-Rock tones- their music is more rounded and complete.

Nowhere Man starts with a slight pause: a teasing little gap; a moment of reflection- before the band rush into proceedings.  Cocksure and breezy, the opening seconds see our man in louche voice; relaxed and confident- living “like a nowhere man.”  Perhaps referencing The Beatles- and imaging themselves the lead in their Rubber Soul classic- the band (who would go on to reference other songs across the mini-album, #3) instantly intrigue.  Our man does not know “where to go”- only he knows he “can’t go back”- seemingly in the grip of unfolding drama.  Introspective and anxious; unsure and determined- there is that fight-or-flight instinct.  Things have reached a head- and the situation/life has got out of control- so there is that desire to escape.  Whether coming-up against an obstacle or for, our hero has reached a plateau- there is tangible stress and tension.  Addressing (perhaps a girlfriend or lover) you get a real sense of urgency: this is augmented and defined by the ensuing compositional coda.  The riff/parable unleashed is spiraled and groovy; swaggered and cool- a marriage of Blues-Rock sex and Classic-Rock authority.  Putting my mind if early-‘90s music- Rage Against the Machine’s debut; Nirvana’s Nevermind; perhaps some embers of Pearl Jam- and you get suggestions of Grunge and Metal; not overwhelming and visceral; that underlying threat and potential.  Having raised his initial concerns- and made his decelerations and feelings known- our hero is in reflective mood: backed by a bolstering composition, he is kicking his feet up; places and spaces are f******-up his mind- you feel a real connection with his plight.  Both oblique and emotive, some of the lyrics make you wonder: is he talking about his home town?  Is a relationship causing him to be so nervy?  What has caused this situation?  Rampant and edgy (the composition); cool-handed and concentrated (vocal); the song gets right under the skin.  Not able to complain- so the song foretells- our man asks (his baby) what to do; where to go- clearly our hero needs some direction and inspiration.  The French band brings in some Beatles suggestions.  Whereas they reference (Rubber Soul’s stand-out in the title); perhaps juxtapose and transpose the song’s theme- casting themselves in the role of the Nowhere Man- there are other Beatle-esque touches.  The riff- that spiraling and cocky swagger- puts me in mind of I Want You (She’s So Heavy) - from Abbey Road- cum-Revolver (little touches of certain songs).  At the backbone, is perhaps, some Rage Against the Machine touch- a little bit of Killing in the Name’s central riff (slightly muted and melodic).  This is not to say the boys are cribbing others; shirking originality: they cheekily lace-in classic samples; nod to the greats- lace it into their stunningly centrifuge.  Both pleasing and daring, the effect really comes off: that riff/the riffs have an air of familiarity yet seem completely natural- like they could belong in no other song.  Perfectly sound-tracking (our hero’s) travelogue- and supremely voicing his inner monologue- the band are tight and focused throughout.  The percussion clatters in the background- whipping up a heady storm- as the bass drives and powers through.  The guitar stutters and smashes; completely intoxicating to the very last- with our front-man in enflamed voice.  As the vocal gets echoed/processed- in the final stages- things become more blood-thirsty and dangerous; the song snarls and bites- this bad-dog attitude rules the foreground; it insinuates itself in every note and moment.  As the song starts to draw-in that chorus comes back around- our man still seeking guidance; seemingly drifting on a breeze of confusion; needing his girl to lend her hand.  Still invested in the unfolding; the song keeps its cocky swagger up-top: that energised and rampant riff presses and campaigns; it gets more urgent and spiky.  By the closing notes, the listener is overcome and exhausted- what with the pistol-whipped storm that has unfolded- and is given a chance to rest and reflect.

Before moving on- and reflecting on the rest of the E.P./mini-album- it is time to dole-out praise.  The vocals throughout are determined and focused: our hero lets his voice strike up emotions- without letting it wander- keeping things tense and tight.  Never over-abusing his talents, the vocal turn does not need to yelp or yowl- he projects so much passion and drama with few notes and pitch changes.  Making sure everything remains anxious and gripping; Rock-infused and energised- the vocal performance is stunning and nuanced; filled with detail and emotion.  The bass work is fantastic and driving throughout.  Containing plenty of melody and rhythm, it guides and supports the song; drives the (other band members) along- whilst ensuring things do not lose focus or become undisciplined.  Percussion duties ensure Nowhere Man has plenty of power and panache; huge weight and a real sense of danger.  At times it is viper-like and night-crawling; at others it is more teasing and subtle- switching course and projection within a few seconds.  Making sure the song never loses its fascination and unpredictability, the drum work is hugely impressive.  Mixing well (with the rest of the band) the percussion sits neatly in the fold; never treading too far into the spotlight- instead it shows its own personality and sense of endeavour.  Finally, it is worth mentioning the guitar work: the riffs and codas are exhilarating and scintillating.  Fusing and sparking so much passion and sexuality, they always get inside your mind; never renounce their ruler-ship- completely takes the senses away.  Employing some near-familiar riffs- some ‘60s and ‘70s Rock touches- the guitar mingles modern with vintage; tender with rampant- the results are immense.  Nowhere Man is synonymous with its stunning riffs and epic solos; that dangerous-cum-sassy electric drive; the fizz and explosion.  The song looks at common anxieties and concerns- that need to figure things out and get some perspective- and you wonder whether (the song’s hero) ever finds absolution.  Clearly pained and confused; aimless and determined- there is that contradiction of emotions and needs; a man desiring something real and stable.  Backed by fantastic production- which is clear and concise- you can hear every note in crystal-clear detail.  The production values give the song a rugged and raw edge- without making it sound slap-dash and under-produced- whilst ensuring each instrument and facet are given proportionate representation.  A stunning whole; a wonderful track: Nowhere Man is a perfect opener; a great example (of what Archi Deep and the Monkeyshakers) are all about.  Boasting their hallmark sounds and themes, the boys have created something timeless and of-the-moment- a song you dare not ignore!

Across #3, the boys augment their name and stamp their authority (on proceedings).  Building from their previous E.P.s, the tracks are more solid and detailed; more nuanced this time around- compared to previous outings.  I’m on the Run has a fuzzy and woozy opening; it is sexual and sensual- a really dizzying assault.  On the edge and tense, the composition teases and stops- before exploding into life.  Our man is on the run and hot; being chased and nervy- there is that sense of (wanting to kick away) the blues; find some solace and direction.  Mixing elements of Black Rebel Motorcycle Club, Queens of the Stone Age (and Led Zeppelin); the track is propulsive and racing; raw and hardcore.  On the run (from pride) the hero is wrapped in a lusty and zesty- cigarette-stained and whiskey-drunk.  The band is up for the challenge as they unleash a meaty and compacted swagger- both unpredictable and heavy.  Riffs and solos erupt into sonic orgasms; the vocal crackles and ignites- the band sound at the top of their game.

   High Minds is gentler and rushing.  The acoustic guitar jumps, skips and hops; the track starts on a restrained note.  Referencing The Beatles- moving from Rubber Soul-referencing Nowhere Man- they bring in Revolver- paraphrasing Eleanor Rigby.  Our man looks at “all these lonely people”- a coda and lyric slant that is charming and bold.  Surveying scenes (and the world around him) our man sounds uninspired and lost.  His voice roars and electioneers; it sounds essential and assault-ready- in no mood to take prisoners.  One of the most exhilarating and gripping lead vocals, the song looks at the present and future- high minds are failing; our man drives like a “wild honeymoon.”  Hand-claps and calmer moments come in, to help define this song of change and desire.

I Can See is grumbling and chugging beast.  Locomotive and low-down, the opening moments are Blues-Rock (sound of early-career White Stripes; teasing in some modern Jack White elements).  The vocals have elements of Jack White throughout; that same yowl and yelp; similar tones and colours- without sounding too similar.  The song’s central riff is soaked in whiskey and attitude; it is without inhibition and motive; it is an animal cut loose.  That indelible composition then rushes and explodes again- the band is masters of subverting expectations.  Being cut out and alienated; that feeling of being distant is reintroduced- the mini-L.P. is a bible of disconnection and misdirection.  Funk-laden and cool riff strides and swagger about; the band unite in a tight jam- the composition is economical and hugely effective.  An arena-sized jam, it is designed to get voices singing and feet stomping.  Our hero can see no shame- not sure if he is referring to a girlfriend or friend- that sense of being pushed-away comes in.  The Most psychedelic and hypnotic riff, Archi Deep and the Monekyshakers are on fire.  The song is psychotropic and drug-addled; staggering and drunken- the boys make the sweat drip from the speakers.  Those squalling riffs remind me of Rage Against the Machine and Hendrix; parts Muse- without the needless bombast.

   Real has that Blues sound; part Detroit, part New York.  Classic-sounding and modern (at same time); the introduction has elements of Pixies- their Doolittle phase especially.  When the opening vocal arrive, they are haunted and cooing- the bass guides and supports with a supple heart.  The track begins to build second-by-second; gets a little more intense and pronounced.  No-one can faze him out (our hero); nobody can get him out- maybe he is in trouble or struggling.  With the vocal less intense and more focused, the track stands out distinctly; it is a stunning creation.  Strong tones and pure emotions a-plenty; great Rock/Blues sounds unite perfectly.  The bass work really comes into own; it drives the song forward (and contains lots of melody and passion).  Similarly, the percussion snakes and stings; rattles and rolls- keeping the song essential and vibrant.  Real has that quiet-loud dynamic- Pixieis and Nirvana come back to mind- and really catches you by surprise.

If Only it Was Sunny is a catchy and addictive closer.  Our hero’s voice is enraptured and snarling; it twists and turns; he wants to find reason and resource- showcasing full emotional and octave range.  Things would be better if it were sunny (so it is said); life needs to be understood- again those feelings of doubt and clarity define the motives.  Here, the band really come to the plate- their most electric and compelling performance.  Filled with rapture and drive, the boys are scintillating.  Things wouldn’t be scary (were things brighter); it seems life is in need of revitalization; some fresh inspiration- that feeling of anxiety seems palpable.  When you least expect it the track stops; the sound of (a rewound tape comes in); you think things have ended.  Just then, you get a wheezy and dizzy little riff; the vocal comes rushing in- and a final coda is elicited.  Repeated over and over (the words hard to decipher; the sense of emotion and pace gets in the way) - the song ends its plight.  Recorded in Memphis; mastered in London, the album unites British and American sounds; fuses classic and modern sounds- into a boiling pot of wonder.  The mini-L.P. has quality and emotion throughout; the band is seamless and tight- the songs are nuanced and addictive.  Each track is bracing and amped-up; the band brings the swagger hard and heavy-a concoction of pure Rock and Blues sex.  Revealing new insight with every listen, make sure you investigate #3 (upon its release) - one of the finest records of 2015.

I have vacillated and carried-on with loquaciousness and fervor- fascinated by these new kids on the block.  In fact, the band have been around for a little while; well-known in their local area- making waves (and building a reputation) in London.  With social media/music media being compartmentalised and disconnected- it would be impossible to have every media source aware of every great band- I guess we (at some point on another) will see great music slip by.  I am glad Archi Deep and the Monkeyshakers have not passed me by: investigating their current offerings has been a huge pleasure.  With my opinions already laid-out- with regards their forthcoming single and E.P./album- it is down to the reader/listener- I hope their music is shared around; they get due attention and acclaim.  It is just left for me to raise a few (smaller, you’ll be happy to know) points.  I hope the band come and play London soon: they have links here, so it would be good to see the boys in the flesh.  With the U.K. unaware (of acts like these guys) I hope that soon changes- their imminent release should see them grab column inches.  With a full and considerate online spread- their official website is full and eye-catching; they are all across social media and music-sharing websites- the band have laid the ground work.  When it all comes down to it- regardless of looks and electronic details; attitude and promises- the music does the talking- if that is not good enough, you will not last long.  What comes through with Nowhere Man- and their E.P./album itself- is the quality and confidence.  The words ‘epic’ and ‘anthem’ will be bandied-about (when reviews come in) but that is what you get- each song seems like an event; they have that grasp and sense of ambition.  The performances are stunning and bristling; the range of Rock sounds is exhilarating- all underpinned with genuine emotion and plenty of heart.  The French-Anglo band differs from their peers and colleagues: a lot of Rock/Alternative bands tend to sound like someone else; miss a key ingredient- what you have here is a group that has few cracks and minor faults.  When their new music is officially released, make sure you give it a fond regard: check the myriad twists and turns; the fascinating stories; all the drama and force- something that will (linger long) in the mind and invigorate the senses.  I started this review by looking at French/European music; its rarity and misconceptions- the way the public reviews and perceives it.  Gone are the days of Euro-Trash and narrowness; the European scene is as vibrant and prosperous (as that in the U.S. and U.K.)- the range of artists (coming through here) is impressive indeed.  For now- and because their latest cuts are privy to mine (and a select few) ears- get onto their SoundCloud account; check out the track below- and imagine what is to come.  Superseding and overthrowing their previous songs- the boys have produced their best work this year- you are sure to fall in love; admire the band’s spirit and verve- if you don’t now; soon enough you will.  Whatever you do, promise me two things: that if you love what you hear (and you will) share it about social media; the band have a bright and long future ahead.  For music to thrive- that which is instilled with promise and ambition- it needs continued patronage; a thoughtful audience.  Oh, and secondly, don’t call Archi Deep and the Monkeyshakers…

JUST a Rock ‘n’ Roll band!

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______________________________________________________

Follow Archi Deep and the Monkeyshakers:

 

Official:

http://www.archideep.com/

Facebook:

https://www.facebook.com/archideep?__mref=message

Twitter:

https://twitter.com/archideep

Instagram:

https://instagram.com/archideep/

 _________________________________________

Music:

https://soundcloud.com/archideep

____________________________________________

Videos:

https://www.youtube.com/channel/UCfHhYpgoc_9T3BBcxM0TUug

 

__________________________________________________

Gigs:

http://www.archideep.com/concerts

Track Review: Bee Meru- Paraphrasing Prophecies

TRACK REVIEW:

Bee Meru

 

Paraphrasing Prophecies

9.4/10.0

Paraphrasing Prophecies is available at:

https://soundcloud.com/bee-meru/paraphrasing-prophecies?in=bee-meru/sets/a-handshake-with-who

RELEASED: August, 2015

GENRES: Folka Archaica

ORIGIN:

Swanage, U.K.

The mini-album A Handshake with Who is available at:

https://soundcloud.com/bee-meru/sets/a-handshake-with-who

TRACK LISTING:

Paraphrasing Prophecies- 9.4

A Maya Calling- 9.2

When I Was a Hedge- 9.2

Pass on Through- 9.0

Giant, in This Life- 9.0

Post Bop- 9.4 

DOWNLOAD:

A Maya Calling, When I Was a Hedge, Post Bop

STANDOUT TRACK:

Paraphrasing Prophecies

Album features the wonderful musicians, in no particular order - (The silky day confederation have approved, reconfigured and beamed alien impregnation into all) -

Allan 'Ghengi' Varnfield - Drums (1,3,4,5,6) Alec 'Rover 2k' Harrison - Bass (1,3,4,5) Tobias 'Baines' Fitton - Bass (6) Alex 'Boo Big Gun' Hedley - Vox (2,6) Jack 'Harmodessey' Cullimore - Strings (1,3,4) Michael 'Vibagrove' Alberry - Keys (4) Anna 'Anaine Banome' Merrick - Vox (1)

OVER the past few days I have been concentrating on…

female-based music.  It has been great getting to grips with its depth and range: I have been amazed by what has been offered; how many different sounds have come forth- it has been quite sensational.  From Folk and Electronic music; across to Country and Beatbox; there seems to be ample talent out there- a scintillating melting pot of genres.  Few would argue about the quality coming out (when it comes to new female musicians).  The guys have their talent and abilities, yet the female acts/bands seem to be nudging ahead: when it comes to diversity (at the very least) they are edging into the lead.  I have been searching around for some great male solo artists.  Over the past few weeks I have been investigating the odd male-led band; U.S. artists that have intrigued me a lot.  When it comes to male solo acts, there has been a scarcity: not too many great examples are coming forth; I am not sure why this is.  I guess a lot of the male-based music is contained within bands: compared to the women, the band market is largely male-dominated.  The mainstream is not really helping issues too much: if you real think about it, can you name three (great) male solo artists?  I had to Google it, and still couldn’t name three- the solo realm is dominated by female talent.  I guess the girls are better on their own; there is a certain personality required (to make it as a solo act).  Less evident in new music, there are a few male sole stars coming through: when it comes to range and innovation, they are still (the men) lacking.  In my mind, the men seem less daring- when it comes to genre and sound fusions- less experimental and ambitious- their sounds are more linear; perhaps more restrained and confined.  A lot of Folk/Pop-based acts- represented by the likes of Ed Sheeran and James Bay- are emerging; fewer stunning artists- that lay out their emotions with any degree of sonic inventiveness.  My featured artist is a bit of a mystery and enigma: with few online sites- just a Facebook account- there is scant information; he is just starting out- emerging from the ashes (of a deceased) act.  Billy Merrick- the man behind Bee Meru- was a member of the band; one of the most distinct acts coming out of the scene- is stepping out on his own (albeit with supporting musicians) to create new life.  Before I go into more depth, it is worth mentioning Saturday Sun.  Having reviewed the band a while back- and being impressed by their originality and sound- it is sad they no longer play.  Derived from a Nick Drake song- from his album Five Leaves Left- the guys mixed gentle rhythms with gorgeous rhymes; lusciousness and beauty- tracks that crept and swelled; bubbled and overcame.  With the music industry being what it is- bands and artists can collapse and call time- out of it comes Bee Meru. Employing similar atmospherics and mood-shift; hugely evocative and emotive tracks- it is great to have him on the scene.  With the hole Saturday Sun has left, few artists have stepped into the breach- and continued their magic.  Bee Meru’s mini-album A Handshake with Who sees Merrick step out in the music world; bring his voice to the party- and capture new hearts.  It would be good to see Bee Meru more widely represented (in time).  Having a SoundCloud account- for the music- and Facebook (for the social side of things) a Twitter account would be wise: it would allow more fans and acts to connect; reach a wider audience.  When it comes to music-sharing and recognition; getting people connected and listening- Twitter is a much more effective and simple tool; something the young artist should consider.  That said- and when music videos start to come- a YouTube account would be good; maybe BandCamp too.  In the social media age, it is important to get your material (and name) as far and wide as possible- the first months/steps are all-important.  Some more Facebook photos would be good to: see the man behind the music; a few studio shots or live captures- just fill in gaps and reveal a bit more.  Merrick is in his initial phases; putting Bee Meru’s most together- I’m sure this will all come in time.  What is important- and what is being displayed now- is the music itself.  Stepping aside from his peers/market expectations, Bee Meru is an outfit with a distinct and striking voice: the music captures Saturday Sun’s hallmarks; adds Merrick’s distinct words and ideas- the resultant seduction has resulted in a terrific creation.  A Handshake with Who is a mini-album/E.P. filled with atmosphere and grip; passion and spirit- the songs are not predictable or sound-alike; they change course and projection.  One of Merrick’s talents- when he was a member of Saturday Sun- was his distinct guitar sounds.  On A Handshake’ they are put to the fore: stunning and variegated; scenic and passionate, he is one of the most stand-out strings-men on the block.  He is showing what the male singer-songwriter can achieve; go beyond boundary walls- and rival the best (the female representatives) are showcasing.

To get a sense of (some of the) potential of Bee Meru, it is worth mentioning Saturday Sun- and the legacy they have left.  Having been featured in The Guardian- part of their Band of the Day featured- last year; they highlighted the spine-tinging vocals (by Alex Headley); the shimmering and shivering guitars; the nature-referencing lyrics and scenes.  What the band did- and the main reference point for critics was- their fusion of The Bends-era Radiohead; Jeff Buckley (the vocals especially) and ‘90s-based bands.  Saturday Sun had that great evocative sound; when music was at its peak: sometimes downbeat and reflective, the music was never dull.  Compelling and emotional; grand and compulsive- few listeners could ignore its assault.  Out of the dissolvent (of the band), Merrick has kept a flame alive- his voice has its own stunning appeal; the instrumentation remains stirring; the songs equally potent and wondrous.  For Saturday Sun fans; this should be a natural move/discovery- you will find some familiar and pleasing similarities.  Anyone new (to Bee Meru) should judge it on its own merits; jump in with fresh ears- and let it do its work.  Whilst there are shades of Radiohead, Jeff Buckley and ‘90s music to the songs; what you get is something both modern-sounding and personal- songs that means a lot to Merrick; are defined by his stunning vision.  With Merrick’s voice recalling a little bit David Bowie; parts Nick Drake, it may be wise (to check out those) acts.  In terms of Bowie albums- that can be compared with Bee Meru- it is worth seeking-out The Rise and Fall of Ziggy Stardust and the Spiders from Mars.  That album- whilst the songs’ style may vary from Bee Meru- showed grand-sweeping ambitions; individualised and unique vocal delivery; a far-reaching sense of musical ambition- Bowie mixed Glam-Rock with Pop; strings and hooks; cinematic and apocalyptic.  Bee Meru has a similar sense of adventurousness and innovative spirit: across songs, Classical shades fuse with Pop hooks; Rock drive spars with twisted undertones- running a gamut of emotions and sights.  On a contrary note, one would do well to investigate Nick Drake’s Five Leaves Left: an album that possess distinct melancholy and glorious strings; stately compositions and that rich voice- with one ear to the grave; another to the sun.  As I explained before- when it comes to making comparisons- Bee Maru should be judged on merit alone; use these references as a guidance/jumping-off point.  Combining ‘60s/’70s heritage with current ambitions, A Handshake with Who is an E.P./mini-album packed with power and quality; covering such a wide spectrum- in terms of instrumentations, emotions and ideas- it will appeal to a wide range.  With Pink Floyd influences- a combination of Wish You Were Here’s sweeping epics; Dark Side of the Moon’s odd beauty- and you have a stunning record; from a very promising artist.

One thing I would say about Paraphrasing Prophecies- and the vocals across A Handshake with Who- is that sometimes clarity and concision get lost.  Because of Merrick’s dusky and distinct vocal style, some of the lyrics do get lost and buried.  It is perhaps a minor qualm- and one that can be applied to a lot of acts coming through- yet the song’s instantaneous drama and wonder floods any concerns at all.  The early words looking at paraphrasing and “(All) prophecies new-born…” the song’s intriguing and compelling title is investigated and highlighted- there is an instance and urgency to the early words.  After an acoustic guitar-led introduction, the song gets underway quickly and efficiently: no needless build-up and wandering; the E.P./mini-album begins its pioneering within a few seconds.  Merrick’s voice tows the line between grave and optimistic: there is a sense of romance and calm to his tones; that husky/dusky quality gives the words gravitas- each utterance is delivered with conviction and passion.  The composition begins to build and climb- strings are introduced and the backdrop becomes moodier and duskier- and our hero sounds pained and reflective.  After the embryonic acoustic/calm scent, the composition becomes rushing and spiced; aching and spiraling.  The percussion starts to punch and pervade; the song becomes more electric and enflamed.  Mutating into something animalistic and invigorated, electric strings bubble and burble: sounding contorted and sexualised, the song changes course again- becoming more dramatic and gripping with each passing moment.  Having built off a few, cautionary words- the song now becomes something orchestral and grand; eliciting a range of images and thoughts.  As the guitars twinkle and yawn, the strings vibrate and shiver- the combination creates an ecstatic and exhilarating whole.  Whereas the listener (is at the early stages) invested in the vocal and its plight; now you become lifted by that composition- something that speaks a volume of words with few notes.  Strangely moving, the strings carry you away; there is plenty of energy and movement- it is hard not to be swept along.  Merrick’s voice quivers and tremors with meaning and desire: compelled by the heightening backdrop, he seems at his most intense and focused.  That insatiable and spirit-raising coda keeps coming round for more- few artists spend so much consideration when it comes to atmosphere.  Our hero seems to be entranced and intoxicated: his voice seems haunted and tormented; paradoxically hopeful and seeking.  Once more the composition mutates and changes: past the half-way marker, it becomes sparser and more relaxed.  Blues-infused and calming- strangely reminding me of Dire Straits to an extent- a spectral and gorgeous backing vocal comes into the fray; adding to that sense of chill and emotion.  I have mentioned Pink Floyd before- and so have other reviewers- when assessing Bee Meru.  In the most genuine/complimentary way, Merrick laces his compositions with Floyd-esque theatrics.  In the same way Dark Side of the Moon brims with peculiar sounds and off-kilter notes; fractured emotion and gorgeous melody- so too does Paraphrasing Prophecies.  The backdrop is at no times secondary: it always creates its own drama and story; grabbing the listener and eliciting such a sense of ambition.  Never disingenuous or muted, the strings (and percussion) continues its course; the guitar lines mix sensual and woozy; the backing vocal Siren-esque and tender.  Towards the final moments, you get the biggest hit of the song: given what has come before, the track starts to level-out and fade- you start to take it all in; look back and reflect; the song’s nuance and potency hits the mark.

Before congratulations and recommendations are ladled, it is worth looking at the lyrics- at times they do get overwhelmed and lost.  Merrick has a tremendous voice; is one of the most impressive lyricists on the scene- some of his potency does get watered-down and negated.  Putting the vocals higher up (the mix) would result in great decipherability and clarity: the words would become more focused and intelligible.  That said, the track is always going to compel as a whole: which is very much the case with Paraphrasing Prophecies.  The lyrics/vocal mix is a minor detraction: when you judge the song as an entity, it doesn’t really become an issue- only problematic when trying to interpret and extrapolate the meaning before the song.  What you come away with- and what is most obvious- are the song’s natural qualities.  Starting with the vocal itself: in spite of some words being missed; what I get is that sense of occasion and emotion.  Merrick is not a singer that has to fake and force anything: his tones are completely authoritative and natural.  Reviewers have noted the comparisons with David Bowie and Nick Drake- this would do him a disservice.  I have always found Bowie an acquired taste- limited in some aspects; not capable of truly haunting- and Drake too particular (no singer will ever come close to Drake’s sound).  Merrick infuses the slightest hint of both; he is very much his own artist.  Feather-light (and alternatively) filled with the world’s weight- it is a rich and varied weapon.  What Merrick does fantastically is to create weight of emotion, without ululation and over-emoting- which is what a lot of modern-day singers do.  Paraphrasing Prophecies is one (of A Handshake with Who’s) most orchestrated and composition-heavy tracks.  Whereas other tracks (across the record) are more bare and simplistic, the opener is heady and multifarious.  Allan ‘Ghengi’ Varnfield’s drum work is one (of the track’s) stand-outs: teasing and light at one moment; emphatic and steamrolling the next- he shows himself to be a stunning sticks-man.  Seamlessly keeping the song tight and flowing, the percussion ensures everything remains controlled and focused- no mean feat given the song’s ambition and sonic endeavours.  Alec ‘Rover 2k’ Harrison (love the nickname!) provides supple and passionate bass notes.  Like Varnfield, Harrison provides plenty of power and urgency; he offers plenty of texture and personality.  Harrison (like all good bass players) understands his role: he fits well with the other players; knows when to step back (and when to be right in the mix) - perfectly drives and augments the song.  Jack ‘Harmodessey’ Cullimore provides the song’s strings- and the song’s emotional heartbeat.  Being a progressive and inter-changeable song- in terms of the composition and energy- Cullimore perfectly sound-tracks (the hardest-hitting moments).  Emotional and graceful; sorrowful and shivering, his strings create plenty of beauty and amazement- at times you are overwhelmed by how affective (his performance) is.  Final kudos must go to Anna ‘Anaine Banome’ Merrick- the echoed, ethereal backing voice.  Whilst Merrick, (Billy) is the pained and troubled lead voice, Merrick (Anna) offers a counterpoint of light and hope- something that lifts the mood and perfectly sits in the mix.  The entire ‘band’ comes together superbly; there is such an intuition and closeness- each member understands the role (of the others).  Completed with a lush and polished production sound, Paraphrasing Prophesies is a dramatic and layered song: one that never loses its sense of beauty and force; that endless sense of invention and potency.  A perfect introduction to Bee Meru- and A Handshake with Who- the track is one of this year’s most affecting.

Having followed Saturday Sun- and been entranced by their music and way of working- Merrick contacted me; explained he has a new release out- wondering whether it could be featured.  I was expected some Saturday Sun-esque music; something that did not stray too far from their mould- I was pleasantly surprised.  Bee Meru- a great and catchy name- is an act to watch very closely.  A Handshake with Who is a six-track collection boasting fascinating stories, swelling compositions- subtle and effective guitar work to boot.  A Maya Calling sees Alex Hedley (his old bandmate from Saturday Sun) take on vocal duties: backed by echoing and haunting strings, the song is a beautiful and thought-provoking thing.  Shimmering and lustful; haunting and touching- it put me in mind of Kid A-era Radiohead- the song is stunning.  With the vocals yearning and firm; the acoustic guitars pastoral and simple; the emotive backdrop ever-urgent and pressing- it comes together superbly.  You are caught into that voice: it is quite tired and wracked; there is emotion and insistency- augmented by that symphonic backing, and the track envelops and flourishes; spreads its wings and encapsulates.  When I Was a Hedge is a more playful and delicate thing: with its introduction mixing Nick Drake (Five Leaves Left-era) with Folk stands, it is a gorgeous beginning.  Tripping and flowing; riparian and calming, the strings ache and echo; the guitar trickles and rushes- you transport yourself to somewhere safer and more ensconced.  Whipping-up images of sun and the river; the tranquility of nature- the listener is giving a chance to dream and imagine; witness something genuinely special.  Pass on Through begins with a clatter and upbeat march: the percussion smatters and jumps; the introduction mutates and grows- our hero comes to the microphone.  Merrick’s voice is up top- as it is throughout the record- and has a Bowie-esque croak and whisper: both natural and world-worn, it perfectly represents the (song’s lyrics).  Giant, in This Life is a serene and emotive affair.  One of the E.P./mini-album’s sparsest tracks- it contains no strings or keys- it mixes Pink Moon-Nick Drake with honest and open lyrics: that sense of emotion and vulnerability is never far from the surface; the song reveals its intimacies and honesty over repeated listens; shows something new (you may have missed upon an initial listen).  Post Bop sees Headley back into the fold: leading the vocal charge, he conspires with Merrick’s guitar- old bandmates back together; combining on one of the record’s most stunning tracks.  A perfect bookmark- that matches the opener’s ambition and quality-level- the track builds and builds; becomes more pressing and urgent.  Pink Floyd comparisons come to mind: mixing their Dark Side of the Moon experimentation/ghostliness (with some Wish You Were Here texture and imagination).  Soulful and tight- the composition and instrumentation is seamless and perfect- the song relies of wordless vocals (Headley lets his ethereal howl flow through the notes).  The track builds up to the heavens; gets more intense and loud- such an evocative and scintillating piece.  Tying together old Folk masters- the likes of Nick Drake and Neil Young- with ‘70s Psychedelic and Avant-Garde music; A Handshake with Who is a complex and masterful E.P.- something few other artists could produce; a product of a singular mind.  A perfect record for a new listener- those not attuned to Saturday’s Sun’s legacy- and fans of Merrick’s past life; there is enough for everyone.  Cleverley lacing in older sounds will unite older generations; the modern production and sound will draw in the young- the E.P./mini-album has a crossover appeal and ability to unite- it does not confine its appeal and campaign.  Before I conclude, it is worth going back to my initial point: that which concerns the male singer-songwriter core.  I have grown a little tired of the placid and boring male songwriters: those that sound bereft and uninspired; strum their guitar and offer little personality- they do not experiment with sound and genres; little regard to atmosphere and innovation.  Billy Merrick was always a skilled songwriter- Saturday Sun’s back catalogue can attest to this- and on his own (backed with a few choice musicians) he has produced something impressive- a sense of ambition few of his peers possess.  Since the early offerings from James Blake- and his stunning voice-and-electronics combination- I have been crying out for a new voice; someone with that quality and sense of accomplishment.  Bee Meru has a skillset not often found (in today’s music): that consideration for compositional atmosphere and nuance; the focus on stunning vocals and lyrics- the complete music package.  Differing from the bland-as-you-like modernity, Bee Meru is a name to watch; an artist with plenty more to come (let’s hope at least).  With A Handshake with Who in circulation- and it beginning to grab reviews and attentions- it is my hope others will follow suit- and come up with something distinctly unique.  With the (male) singer-songwriter genre being in stagnation, Bee Meru could act as guidance; give impetus to the new breed.  His music and ambition could well be a…

SIGN of things to come.

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____________________________________________________

Follow Bee Maru:

 

Official:

http://resonancereload.tumblr.com/

Facebook:

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

 ____________________________________________

Music:

https://soundcloud.com/bee-meru

This Week's Albums: August 28th, 2015

This Week’s Albums

 

August 28^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: The Rolling Stones- Sticky Fingers (1969)

9.5/10

Having turned-in Let It Bleed (in 1969) - the band’s most accomplished album up until that point- Sticky Fingers exceeded expectations.  Packed with punch and panache, the album tangled fury and anger- cuts like Bitch and Dead Flowers harked back to their early days- whereas Brown Sugar and Wild Horses rank as two (of the band’s best songs) to that point.  Filled with sex and raunchiness; attitude and confidence, the album saw the band at their peak- their creative levels firing on all cylinders.  Tangling Blues, Soul and Hard-Rock, the album enflamed and overwhelmed critics.  Jagger’s voice is at its most electrifying and rampant: tracks like Can’t You Hear Me Knocking bristle with energy and attitude; the Richards-led guitar groove is infectious.  With congas, brass and guitars entangled in a clatter of epic proportions, it is a stand-out riot.  The Rolling Stones showed a softer side (on numbers like Wild Horses); cranked the sweat levels up to 11- the emotional balance was perfectly-realised.  The band was in the middle of a creative hot-streak: they would follow Sticky Fingers with Exile on Main St. - argued as their very finest album.  For those looking for reminders at how good ‘60s music could be, check out a true masterpiece- one that has seldom been topped.

[youtube https://www.youtube.com/watch?v=_ZK8R5OMkYM&w=560&h=315]

The New: Royal Headache- High (2015)

 

9/10

For the second week running (the best release) of the week is both Australian-bred and utterly fantastic.  Whereas Totally Mild (last week’s pick) mixed Electro.-Pop sounds with emotive lyrics and stunning vocals; Royal Headache are a different bag- they portray classic Punk sounds, wrapped around the unique vocals of front-man Shogun.  Back in 2011- when the Sydney band released their debut album- the band hit a crisis; their internal struggle and upheaval led to a break-up.  Back in the fold, the guys sound focused and compelling.  Their instrumentation is feverish and nervy; completely intoxicating and urgent- perfectly balanced by Shogun’s fiery and nuanced voice.  Another World boasts meaty hooks and plenty of Punk hammer; Carolina fused teary-Soul with heart-on-sleeve lyrics.  The band have clearly reconciled; peace is back in the camp: they sound tighter and more passionate (than their debut); working with one another, rather than against.  Not contented to be labelled a Hardcore or Punk band, the Australians offer plenty of breeze, soulfulness and romance- a heady brew that is hard to ignore.  In a week where the likes of The Strypes have disappointed- investigate a band that live up to the hype.

[youtube https://www.youtube.com/watch?v=ZPAsv_NewU4&w=560&h=315]

The Influencer: Public Enemy- It Takes a Nation of Millions to Hold Us Back (1988)

 

9.5/10

Last week I reviewed Maxinquaye (by Trip-Hop maestro Tricky).  Its key song (the peerless Black Steel) was a cover of Black Steel in the Hour of Chaos- one of It Takes’ standout moments.  One of the most influential Rap albums of all-time, its political messages (and social commentary) compelled a generation of Rap wannabes- bands like Beastie Boys and Jurassic 5 have sampled (Public Enemy’s) music.  Revolution-mixology and smack-down beats sparred with socially-aware lyrics; sample-crammed moments and a staggering sense of grandeur.  Chuck D. (the band’s leader) looks at white supremacy and race issues; self-empowerment (for black artists) and musical exploitation.  With Chuck D.’s boundless vocabulary and dazzling rhetoric, the songs not only stood out alone- their messages inspired legions of listeners (who felt oppressed and discriminated against).  Throw in Flavour Flav’s machine gun-frenzied jokes and what remains is an album truly representative of its time.  Other Hip-Hop acts have attempted to match It Takes a Nation of Millions to Hold Us Back- it has never been equaled.  Not just for lovers of the genres, its diversity and intelligent will appeal to all music-lovers; few have an excuse (to pass this album) by.

[youtube https://www.youtube.com/watch?v=LK8sxngSWaU&w=420&h=315]

The ‘Other One’: En Vogue- Funky Divas (1992)

 

8.5/10

In an age where girl bands boasted credibility, influence and mesmirising tracks- as opposed to today’s severe draught and questionable examples- En Vogue stood at the top of the genre.  The girls’ insatiable harmonies define the album: each number is elevated to spiritual levels; when combined in voice they elicit a heavenly high.  My Lovin’ (You’re Never Gonna Get It) stands as their finest hour: a rampant and f***-you anthem of sass and independence.  Free Your Mind- in addition to brimming with Rock-hard attitude and swagger- addresses the issue of race and discrimination- in the song, our heroine cannot go anywhere without being watched and judged.  A call against narrow-minded judgement and bigotry, it is a stunning cut.  Whilst the album sags towards the end- it is a top-loaded L.P. - there is enough ammunition to please existing fans (and new listeners).  One listen to tracks like My Lovin’; recollections and nostalgia flows; those choruses lodge in the head- you are powerless to resists their allure.  One of the finest girl groups ever- who would go on to inspire a host of upcoming bands- Funky Divas is an essential cut; guaranteed to lift the spirit- and get the voice singing loud and proud.

[youtube https://www.youtube.com/watch?v=AvTStt2WPTw&w=560&h=315]

Interview: Hannah Dorman

Interview:

  

Hannah Dorman

IT has been wonderful watching great artists develop and mature….

and really start to spread their wings.  In this country, there are a lot of great young acts breaking through; offering terrific sounds- and taking the scene by storm.  When it comes to (the young) female acts, there is a high degree of richness and variation: from electronic sounds and genre-spicing; solid Pop and Rock; terrific Soul sounds- it is hard to ignore the quality of material (coming through).  I have known about Hannah Dorman for a while now: her music fuses Country and Rock; sounds of the U.S. - Kelly Clarkson; The Pretty Reckless and the U.K. - the likes of KT Tunstall count as influences.  Having caught the attention of radio stations, producers and venues- picking up blog kudos and effusive reviews along the way- Dorman ranks as one of the most promising young talents on the scene.  Country-Rock is not often attempted (by young U.K. talent); it a shame more do not attempt it- as Dorman has shown, it can lead to some tremendous results.  Mature and emotive, catchy and addictive; Dorman matches heady rhythms with nuanced lyrics- that combustible talent is catching ears and hearts.  Take Control- the next single from the young singer- is released on October 16^th.  Launching the single at World’s End, Finsbury Park (the official release venue), it will be an exciting event: one sure to attract new fans and support; lead to lucrative gigs and some extended airplay- Dorman is already accruing some impressive patronage.  With all that has happened this year- gigs and Take Control afoot; radio play and new music- I was keen to catch up; see what the future holds- and what has been the best memories (from 2015 so far)...

Hi Hannah.  How has your week been?  What have you been getting up to? 

Hi, Sam, good thanks!  Very busy as always, but that’s the way I like it to be!  I’ve been working towards the single release.

Your new song Take Control is coming up for release.  What can you tell us about its inspiration and contents? 

I wrote the song about a big decision a friend made; saying they don’t need to rush into anything, and how they need to ‘take control’ of the situation- and think about what they’re doing.  The chorus is basically saying ‘you think I’m okay with this but I’m actually not’.  But as always, the song can be interpreted in multiple ways!

Having heard the track, it is a great fusion of Country and Rock; confident and dramatic.  Do you think that- mixing genres and emotions together- leads to better (and more memorable) music? 

If I’m honest I just write and whatever comes out comes out!  I was told my voice has country elements to it, and the band really bring the rock.  It’s nice to have something slightly different that makes people sit up and listen; even if it’s not the brief I set out with (as there’s generally no brief!).

With regards your influences and idols: which artists have been particularly important to you- with regards your musical upbringing? 

When I was little my late grandparents lived in Padstow, Cornwall (which was a 5-hour journey) and I would insist we’d play Anastasia, Shania Twain, Avril Lavigne (and other artists like them).  I’d sing the whole journey (even though at the time I wasn’t a very good singer).  These artists (as well as) others like Delta Goodrem, Alanis Morissette, No Doubt and Kelly Clarkson were played around the house when I was younger!

Take Control- and your back catalogue- is defined by its tight sound and stunning interplay.  It sounds like you and the band have a great chemistry.  How long have you guys known one another? 

Thank you!  I went to A.C.M. with this lineup- me Jack and Jon (bass and guitar) were in the same performance classes- so we were used to performing with one another, and they were already in a band with Kamil (drums) - so the dynamic works really well.  And we all get on, which definitely helps!

Can you give us a glimpse into 2016: any new music/E.P.s coming from you? 

I’m currently writing a lot, with intentions of more music in 2016… so watch this space!

I often ask musicians this question: what inspires your songwriting and creative process?  Do you have to be in a particular mood/mindset or do songs come from dreams/off-the-cuff moments? 

I generally have to be sad to write, but I’m trying to break out of that as I’m in a good place at the moment!   I’ll sit down with my guitar and usually I’ll get one hook, or one line- which I’ll work the rest of the song around.  I’ll have about 4 songs on the go at once as I’ll get bored of one idea and then move on to the next, and so on- then probably come out with 1 song and 3 unfinished ideas; I have so many voice memos on my phone of rubbish!

You are based in Surrey- and have London pretty close-by- where there are fewer music venues/opportunities?  Can you see yourself relocating/moving to a larger city in the coming years? 

Surrey is great.  I’ve lived in Surrey my whole life and it’s beautiful.   Regards to music I think there are a lot of opportunities here, if you look for them.  I went to A.C.M. which is the heart of so many talented musicians and contacts- I wouldn’t have had living somewhere else, but London can be quite saturated.  If my career moves me, then I’ll move with it, but for the moment I’m happy!

Your fans on social media seem to connect with your music.  How important has social media been with regards your music career? 

Social media has been 100% essential to me and my fans.  I launched a Kickstarter campaign for my last E.P.- and because of my fans and the relationship I have with them on social media- I was able to fund the recording of my last E.P.   I love keeping up-to-date on social media: whether it’s just a photo to say ‘hi’, or a funny video (that made my day), I think it’s a great way of the fans getting a glimpse of artist’s lives (which helps get to know them better).

Few of the female artists coming through play in the Country-Rock field.  What would you say to any female songwriters wanting to follow your example? 

Stick to your guns, write original music and keep plugging away!

You clearly have a tremendous passion for music and performing.  Take Control has just been featured as BBC Introducing (South)’s Track of the Day.  What have been your highlights from 2015? 

Yeah that was definitely a highlight!  Just the whole recording process and putting out a record.  When things go right, it’s amazing!  Don’t get me wrong, as any artist will know, 95% of the time things are going wrong; but what’s the fun if everything runs smoothly?  I love the journey of having a song and creating everything to go with it- the music, the imagery, the video- then seeing people’s reactions. Those are the highlights for me.

Modern music is defined by its financial pressures and stiff competition.  How have you managed to stay strong and focus- against the tide of tough competition? 

I look back to the 3-year-old singing in front of the T.V. to Top Of The Pops who would say ‘Mummy, I’m gonna be on that show one day’.  She didn’t have any doubts; and at the age of 3, something in me knew it was possible to make it onto the big screen...how can I let little Hannah down?

For those new to Hannah Dorman, can you tell us a secret (something you have never told another interviewer)? 

I’m a mean knitter!

Finally- and for being a good sport- you can select any song (and I’ll include it here) - why is it special to you? 

On the nostalgic theme... No Doubt ‘Don’t Speak’, because I sang it when I was 3! (Here’s the vid, I’m happy for you to feature it!!)

[youtube https://www.youtube.com/watch?v=wngI29sl5aE&w=420&h=315]

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Take Control bristles with vigour and directness.   Beginning with a Rock-infused introduction, the mood starts to come down: Dorman steps into the spotlight.  Elongating and stretching her voice, the messages coming through loud and clear.  Backed by her band cohorts, our heroine has some clear advice: if you want to do it for yourself (and keep in control), then it is within your reach.  Motivational and uplifting, this (inspiring coda) is supported by a passionate and soulful vocal- Dorman sounds rich and filled with intent.  As the song progresses, some doubts creep in: whether (the subject) is trying their hardest; truly alright.  Letting her voice hit (crystalline highs) and soar upwards, you get a real sense of imagery and story: imagining someone lacking that extra self-confidence; demure and reserved somewhat.  Letting Dorman’s voice shine, the band provides ample support: the performance is consistently tight and strong.  Never encroaching into the mix, the boys ensure they drive the song forward (the percussion is particular noteworthy and punchy) – there is a clear bond and understanding (between the players).  Enraptured in her own tale, Dorman’s voice shine beautifully: switching between delicate swoon and belting highs; natural and genuine with each gear change.  When speaking of intentions- saying one thing yet doing another- there is a real longing in the vocal (as though Dorman has had her heart broken; been let down by someone).  Making sure notes and lines (stick in the mind) the track- and chorus especially- is a catchy and swaying affair- mixing U.S. Country sunshine with British Rock granite.  That summer-cum-rain juxtaposition blends superbly: at one moment you are smiling widely; the next rooting for our heroine.  The track has a great sense of rhythm, movement and dynamic: going down to a soften kiss; building up to a fevered chant.  Towards the latter stages, Dorman keeps her focus clear: that chorus is re-injected and repeated- its messages designed to resonate and affect.  As the band whip up the decibels (for one last round) you find yourself longing (to repeat the song) – it has a sense of brevity and tease (in spite of it being nearly 4 minutes long).  Closest in tone (to songs like Rent This Space) Dorman sounds comfortable and assured when powering and soaring- expanding on the promise of her previous E.P.  Take Control has oomph and panache; that killer touch and sweet touch- topped off with a tight-knit (band performance) and stunning lead vocal.  Keep the language and lyrics direct and simple (yet complete with originality, depth and wisdom), Dorman is a wise head on young shoulders: someone who knows how to win a smile with as few words as possible.  The song’s music video will be released soon: a great opportunity to see Dorman in the flesh; what images and scenes are conjured- from the evidence here; it will be arresting watch!

Words sourced from review of Take Control (Live Version):

https://musicmusingsandsuch.wordpress.com/2015/03/20/track-reviews-hannah-dorman-take-controlsave-the-day/

Take Control is released on October 16^th.

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Follow Hannah Dorman:

 

Official:

http://www.hannahdorman.com/

Facebook:

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

Twitter:

https://twitter.com/hannahdorman

YouTube:

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

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https://soundcloud.com/hannahdorman

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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.

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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]

[polldaddy poll=9043475]

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.

[soundcloud url="https://api.soundcloud.com/tracks/220412955" 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 Night Wolf:

 

Facebook:

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

Twitter:

https://twitter.com/ryanwilcox6

 ___________________________________________

Music:

https://soundcloud.com/nightwolfuk

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.

[soundcloud url="https://api.soundcloud.com/tracks/216586175" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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]

 ____________________________________________

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

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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

_____________________________________________________________

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?

[soundcloud url="https://api.soundcloud.com/tracks/202408078" 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 The Fontaines:

 

Official:

http://thatfontainesound.com/

Facebook:

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

Twitter:

https://twitter.com/TheFontaines

 ______________________________________________

Music:

https://soundcloud.com/thefontaines

__________________________________________________

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.

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Follow Melinda Ortner:

 

Official:

http://melindamusic.com/

Facebook:

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Twitter:

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Music:

https://soundcloud.com/melindaortner

 

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