This Week's Albums: October 29th, 2015

This Week’s Albums

October 29^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 at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); 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; 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 to highlight some fantastic albums- maybe some you have forgotten about.

The Old:  MC5- Kick Out the Jams (1969)

 

9.5/10

The Protopunk band arrived on the scene with a defining statement: Kick Out the Jams was an album that not only saw the ‘60s off in style (it was released in 1969); it remains one of music’s most influential albums- inspiring the likes of Rage Against the Machine along the way.  Kick Out the Jams is a live album filled with vivacious energy and insatiable power.  Some critics- upon the release of the album- felt it to be unfocused and sprawling; it showed just how phenomenal the Detroit band were- it stands as one of music’s most astonishing statements-of-intent.  The title track is one of the most urgent and memorable tracks of the 1960s: Having been covered by the likes of The Presidents of the United States of America and Jeff Buckley- it is one of those songs that transfixes and hypntoises.  With Come Together, Borderline and I Want You Right Now providing more sexuality, power and delirium than most bands can deliver in a career- few can refute the album’s effect.  Motor City is Burning is one of the album’s most calm- well, in an MC5 sense- moments that shows Blues heart and grit.  You cannot understate the importance of this album: Within a few minutes, you can hear how many bands have been inspired by its guys and glory.  It is a live album that is unsurpassed and unparalleled: Long may its reign continue!

DOWNLOAD: Kick Out the Jams; Borderline; I Want You Right Now

STAND-OUT TRACK: Kick Out the Jams

[youtube https://www.youtube.com/watch?v=yvJGQ_piwI0&w=420&h=315]

The New: Beach Slang- The Things We Do to Find People Who Feel Like Us (Released tomorrow)

 

8.0/10

Being a new convert to Beach Slang- they have just releases their debut album, so you could hardly blame me- The Things We Do to Find People Who Feel Like Us is ten tracks of against-the-odds, last-chance-saloon fight and hope.  The Philadelphia band aim for the heart and soul: Within a few bars you are helpless to resists its seductive lure.  Front-man James Alex is a man in a boy’s body:  A soul that might have lost its hope; an inner fight that wants to hold on to infantile potentials- the importance of never truly growing up.  The album is a rally cry against growing up: Hold onto that child-like spark; never escaping that feeling.  Bad Art & Weirdo ideas is the album’s most urgent and insistent moment.  Although it is hard to distinguish some of the tracks- the band have an open A-chord motif they ride hard- but that is not a criticism.  If you feel like an outsider; want to discover music that kicks against the swathes of manufactured and sterile bands- this is the album (and band) for you.  Fans of The Replacements and The Psychedelic Furs will appreciate James Alex’s smoked-ravaged and masculine burr.  If determined and head-spinning numbers like Young and Alive don’t dig to the depths of your psyche- you may need to reevaluate your life.  Whilst not 2015’s best album; it does stand as one of the year’s finest debut albums- expect to hear a lot more from Beach Slang.

DOWNLOAD: Bad Art & Weirdo Ideas; Too Late To Die Young; Young and Alive

STAND-OUT TRACK: Bad Art & Weirdo Ideas

[soundcloud url="https://api.soundcloud.com/tracks/217794563" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The Influencer:  Lauryn Hill- The Miseducation of Lauryn Hill (1998)

10/10

The ‘90s had its fair share of phenomenal albums- more so than any other decade- yet few that remains as important and influential.  Hill’s views on family and female point-of-view life impressed and amazed critics.  The album is not only a vocal extravaganza: Hill’s deep faith resonated through her soulfulness and passion; she seamlessly blends the secular and universal- ensuring her messages and delivery leaves no mind undernourished and untouched.  Hill manages to mix the savage and serene: Her gender-bending sees her deliver with force but remained impassioned; ensuring the emotional and sonic balance is just right.  An epoch-making record- that brought Neo-Soul to the commercial forefront and inspired a wealth of contemporaries- Hill crosses genres and themes; sounding completely intoxicating no matter what she was addressing.  Her songs tackled the sex game from different perspectives- Doo Wop (That Thing)- to confronting her band-mates succumbing to the excesses and cheapness of commercial success (Lost Ones).  Although there are some stand-out collaborations- drawing the likes of D’Angelo and Mary J. Blige into the fold- it is Hill herself that stands out.  With no pretense or insincerity; the album entered at number one on the Billboard 200- selling 422,624 copies in its first week.  The album's chart debut broke the record for first-week sales by a female artist.  It topped the Billboard 200 for a second consecutive week, during which it sold 265,000 copies.   In the United States, the album sold one million copies in less than a month and 2.4 million copies by December.   It spent 81 weeks on the Billboard 200; topped the Billboard Year-End Top R&B/Hip-Hop Albums chart.  An album every human being should own.

DOWNLOAD: Lost Ones; Doo Wop (That Thing); Every Ghetto, Every City

STAND-OUT TRACK: Doo Wop (That Thing)

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

The ‘Other One’: Pavement- Crooked Rain, Crooked Rain (1994)

9.5/10

What is it with the year 1994?  If the likes of Grace and Parklife are not enough for you: Superunknown, Dummy and Definitely Maybe came along- and Crooked Rain, Crooked Rain.  The U.S. band followed Slanted and Enchanted- regarded as one of the ‘90s most seminal albums- with something more accessible.  Whereas S.A.E. is a dense, layered and mysterious; Crooked Rain, Crooked Rain is more direct and immediate.  Range Life is a sun-hitting Country-Rock gem; Stop Breathin’ is heartbreaking and tender; Unfair is wracked and tormented- the band never misses a beat or loses their identity throughout.  One of the '90s best underground records, it is not just the genre-fuse and reaches that impresses: it is the focus on the everyday and banal that makes the album so magical.  Whilst most Californian-made albums look at the sun and dreams: Crooked Rain, Crooked Rain turns the spotlight onto fake oil-burning lamps (Elevate Me Later) and kids-on-skateboards (Range Life).  The quirky melodies and distinct lyrics only tell some of the story.  In a year that saw some of music’s finest albums created- add The Holy Bible and Ill Communication to the list- Pavement’s sophomore release damned-near stole the top honours.  If you have not heard Pavement- one of the most consistent bands who have ever been spawened- ensure you discover their astonishing music.  Crooked Rain, Crooked Rain is perfect for lazy days and uninspired moments; times when you need to smile and be uplifted; when you want to hear music at its very finest.

DOWNLOAD: Elevate Me Later; Cut Your Hair; 5-4=Unity

STAND-OUT TRACK: Cut Your Hair

[youtube https://www.youtube.com/watch?v=lMWQ0Cz5hHY&w=420&h=315]

The Single Voice: From the Initiative... to the Charity

The Single Voice:

 

From the Initiative... to the Charity.

How it Began…

 

Over the past few months, I have been particularly devout, with regards ‘helping others’: feeling I am not doing enough to be a ‘better person’.  I enjoy my semi-regular half-marathons: I am taking on my 4^th- for The British Heart Foundation- on Saturday; I like to spend the weekends doing ‘good deeds’/helping out; I have launched a few charity/social  media campaigns- it makes me feel more useful as a person.  One of the things that is getting me down is the unfairness of life.  A few people I know have recently been diagnosed with cancer; others are struggling to fulfill their dream as a musician; others are suffering horrible illness.  I guess you can say that it’s part of life: with so many people on the planet, not everyone can live happily/healthily.  As glib and unhelpful- advice/words like that are- it is still unacceptable in 2015 that so many people go unnoticed: so many blights blot the world’s landscape.  I am a man who is not just committed to supporting certain charities: I am passionate about various causes.  In addition to supporting equal pay/rights for women, I am passionate about animal welfare: I am dedicated to supporting the eradication of racism, homophobia and inequality- gun violence and social deprivation are not exactly twin barrels of laughs!  There seems to be a great deal of people unconcerned with ‘making a change’- at least doing very minimal motions.  When it comes to supporting causes; donating a bit of money here and there- I know exactly of my contacts on social media will ‘step up’- most will not bother.  I know we all have budgets- I earn less than most people I know- and it seems disheartening so few are motivated to do more.  I feel- as a person- that I can do a bit more: dedicate more of my free time to volunteer/get involved with campaigns and protests.  Across the world, there are some great annual charity campaigns.  Red Nose Day (Comic Relief) is looming large; Stand Up for Shelter and Children in Need do their part- they are hugely important events.  In so much as those events tend to focus for the most part of children who are the minority of the population; they seem to capture the imagination at specific times- namely when they are televised.  For the remainder of the year, momentum tends to be lost.  Social media have tried to ‘buck the trend’.  The dreaded/loved/cold Ice Bucket Challenge was a worldwide success last year, yet seems to have petered to a standstill: I hope people are still donating to fight A.L.S.  I have always thought- in order to perpetually unite the ranks on social media/general public- something a little longer-lasting needs to take place.  This brings me down to my point…

[youtube https://www.youtube.com/watch?v=TR2HPSjcJ7I&w=420&h=315]

The Single Voice

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

How it Raises Money

 

The campaign is designed to bring together YouTube, Google, Apple and Microsoft: some of the most influential and important companies on the planet.  I will go into more depth below but the way the user raises funds is through YouTube ‘views’: every time someone views a video you have uploaded; 10p is donated to your chosen charity.  YouTube is the ‘hosting site’: it is their website that is the basis of the campaign.  Google will be the ones who are donating the money.  Each user/member- who chooses to take part- will register on the main site (see below) and through advertising and increased search results, Google will gain revenue- which in turn will be donated into The Single Voice.  Companies like Google and Apple generate enormous profits each year; they do great work but have a lot of profit coming in.  Finding a legal and non-invasive way for them to generate more funds- by advertising and getting more ‘business’- would allow them to channel this money into the campaign.

The Main Site

The initiative will have a homepage: which will be where each person goes to register.  The campaign will be shared and spread to social media, but at the first point of contact, each person would start here.  Like Facebook and Twitter, registration is painless and quick: and a great way to connect with other users and like-minded people.  The homepage will be well-designed and eye-catching.  The top half will have various links: A-Z of Charities; Contact Details; Discussion Board; Events/Fundraisers; Latest Members; Links; Generated Profit so far.  The bottom half will be fun and interactive.  Figures from music, film, T.V. and comedy past and present interacting with one another- they will be animated.

[youtube https://www.youtube.com/watch?v=rwcuuMN4QDA&w=560&h=315]

Registration

 

Each person will be asked to register simple details: name, D.O.B., location; campaigns; total raised and several others.  It will work a little like Facebook, where there is a profile page: it will be a simple process and contain plenty of information- although nothing too personal or revealing.  From the registration page, there are links to social media- where you can easily promote your page/share your success.  When all the personal details/key details are entered, then comes the ‘fun part’.  The Single Voice has the option of 8 different YouTube-based ‘initiatives’/ideas.  Each new member is allowed to ‘sign-up’/choose five of the eight options.  For each initiative you will be selecting a different charity- I will go into more depth later.  On the profile page will be your list of ‘initiatives’.  By each of your selections will be the total money you have raised; how many times your idea/entry has been shared- and how many times you have shared it.  This charity campaign will run for a year- from its launch date- and your selected charities will get donations each month- at the end of each month; however much you have raised will be donated to them.

The Initiatives

 

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

Top-10 Songs

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

[youtube https://www.youtube.com/watch?v=lPJ0g8Sa98M&w=560&h=315]

New Music

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

Music Videos

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

Top 10…

The broadest option, this covers a multitude of music.  On this option there is a drop-down list: giving you a selection of options.  Includes is Decades- best music from ‘50s, ‘60s- all way to modern-day; Voices; Cover Versions; Guitar Riffs- up to 10 different selections.

Comedy

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

Drama/film

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

[youtube https://www.youtube.com/watch?v=7WJ6LNYVYj8&w=560&h=315]

Originals

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

Commercials/Misc.

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

Beyond Social Media

Of course, the point of the campaign is not to share music/film- just for the sake of it.  The idea is to raise money and awareness of causes and charities.  On the home page, you get a chance to share your ideas and videos- and raise money each time they get a ‘view.  When you select a charity- for each entry- there is an information button: this gives you huge information and links.  If you select Diabetes U.K., then you get to find out about the charity.  There are links to their website; how to get involved in the community; how to spot the signs of diabetes; ways to further becoming involved with the charity- runs, fundraisers, volunteering etc.  This will be the case for every charity.  It means that, not only does the user get to learn more about their chosen charities and causes; other people do too.  On the site’s main page, there is an A-Z of Charities: a full list of all charities; information, links and videos for each.

In addition engaging people more with charities and causes; there is a hope it will lead to more community involvement.  There is a chance to ‘represent’/choose to support women’s rights, stamp out gun violence, support local communities and boroughs- causes not usually represented by the big fundraisers.  In addition to giving information about each, there are ways for you to get involved: get out onto the street and make a difference.  Raising money will be a huge and important part of the idea, but it is hoped that the government will take note- issues and campaigns will be highlighted; a chance to change law- change people’s lives and initiate social change.

Not only does one get to learn more about charities and causes- the main objective of the campaign- there is a secondary bonus’.  Each time you compile a list; there is a chance to benefit others.  Say you have selected Top 10 Songs.  After you have selected each track, there will be a link on each video/selection.  Song and album information is provided; links to other similar acts; ways to record your own music/become a musician.  In terms of new music, there is a chance to help new musicians- links to campaigns; ways to share their music and causes; find great new acts; support local venues and festivals- ways to bring about equality and change for musicians.  The same goes for film and music videos: ways to become a director/actor; local schools and campaigns; links to similar films/videos; local schemes; ways to support other charities and causes etc.

All of this video-selecting and information-finding is designed to be quick to share/promote.  With a click of the button you can share you entries/profile to social media; encouraging friends to get involved- taking this thing viral.  It is A fun, quick, and educational scheme; with the potential to raise a lot of money very fast.

If I was doing the ‘comedy option’, these three videos would be first up: when I was feeling very down recently they helped me hugely- and dehydrated me in the process- and all from the same T.V. show

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

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

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

[youtube https://www.youtube.com/watch?v=p8jdyIcHDJw&w=420&h=315]

Ambassadors

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

Going Forward

At the moment there is the idea and determination: without contracts being signed; sites being designed- the big guns being involved.  Of course it is not going to be as simple as it should be- celebrities and huge companies are as apathetic as they come- so will take a lot of effort and campaigning.  The point of this blog/the early stages is to gauge opinion: would people take part?  Would it interest people?  Could this work?  For each entry people select from the list you have to donate a small sum yourself- rather than relying on others- but this should not put people off- it is a chance to engage and unite social media; represent all charities; try to make some genuine change.  The rest of this year- in terms of this campaign- will be to get people talking; get names involved- contact YouTube and Google- and get them saying ‘yes’.  I want to launch this within a year- it sounds a long way off but will take a lot of work.  Above all, it will rely on people getting involved: I want it to be a lot bigger than the Ice Bucket Challenge.  It is a golden opportunity to raise millions and more for a lot of causes; raise awareness of various issues- get people involved- on the street; in the community etc.

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

_________________________________________________

Taking it Further: Making the Charity Work

 

The words above were how The Single Voice began: That initiative that was largely a one-off.  It seems to me that things need to go further: Take that idea and make it into a fully-fledged charity- something that can raise money and awareness.  I shall get into points concerning the big tech. boys; the way the charity works- three or four different prongs- and how it will all get kicked-off.  For now, it is worth breaking it down, point by point.

The Website

 

Home page-

 www.thesinglevoice.com

The bottom half would be interactive and animated: music figures would interact in a variety of locations: from Abbey Road to Reading Festival; to a recording studio and around London.  There would be music and video player that can be accessed- linked to YouTube, SoundCloud etc. - and the locations would be around the world.  The entire homepage is designed like a vinyl and has a record design; the front would be the animated figures and site name- the back would be the options and information; opening like a vinyl sleeve.

Menu/’Track-Listing’

There would be eleven different options; each would expand/open like a song.  The options/’tracks’ are as follows:

[youtube https://www.youtube.com/watch?v=sm7bkc1REUI&w=560&h=315]

SIDE ONE:

1. Track One: Register

The user would sign-up-like a social media site- and be able to have full access to the site.

2. Track Two: About/Contact; Guided Tour
3. Track Three: A-Z of Charities and How You Can Support Them

A list of every charity around the world- from local causes to international names- that you can raise money for

4. Track Four: Social Media

A bespoke social media site that the emphasis on charity and music: the connection between the two and engaging users to become more involved in the community.

5. Track Five: Creative Zone

This would pull together everything within Psychoacoustics: https://musicmusingsandsuch.wordpress.com/2014/12/14/psychoacoustics-a-one-stop-music-venture/

This will be expanded, too.  Not only will there be a spoke music zone; there will be a similar ‘creative one’ for directors- film, T.V. and music video- and actors; in addition, there would be one for comedians, comedy writers and YouTube stars

6. Track Six: This Year’s Initiative

The Single Voice initiative detailed at the top of this post.  This would launch the charity

[youtube https://www.youtube.com/watch?v=muAt4evb7Sk&w=560&h=315]

SIDE TWO:

7. Track Seven: Local; Sites, Music and Points of Interest.

It would allow you to programme your town/city.  If you lived in London for instance, you would be able to find all charities in your area; the music sites and venues- in addition to points of interest.  It would work with Google to create a bespoke search engine that would allow the user to be productive and engaged in the community.

8. Track Eight: Connected: Tools for Musicians, Fans, Lovers and Labels; Writers to Charities and Organisations

This is a list of contacts and websites; connections and tools that allow charities to connect with musicians and the public; creatives to link-up with the right people- essentially, a LinkedIn-style site.

9. Track Nine: Listening Zone: Video and Media Player

Here, we have a huge library of music and video.  Bonding with YouTube, there is a defined and organised library of music, film and T.V.: One that is broken-down into sections and genres; decades and time periods- allowing listeners to discover new music and film.

10. Track Ten: Psychoacoustics

This is the bespoke shopping site- working with the likes of Apple, Amazon and Samsung- that would not only sell music, D.V.D.s and vinyl; it would sell apps. And subscriptions; instruments and tickets- all under the one site.

11. Track Eleven: Search/Archives

This allows the user to search through the music; film, T.V. archives: discover lost gems and album covers; information and interviews etc.

[youtube https://www.youtube.com/watch?v=-yNDIaV4myM&w=560&h=315]

The Front Line

 

The Single Voice is a charity that raises money through music and entertainment: Working with giants of technology and social media; the aim is to unite music, charity and the global population- raising millions (and billions) within the first few years.   We have the central website; there would be an H.Q. - it would start as a modest London base; growing to larger premises as it becomes more successful.  There are so many great charities and local causes out there; a lot of illnesses and social issues that have not been cured; businesses making huge profits and technology and social media growing- they seem separated and disconnected.

Fundraising

There are so many great charities and people raising money every day.  Through social media and life, we see posts of people competing events: Running, walking and enduring for charity; doing something amazing.  One of the issues is that social media relies on sharing- in order to increase fundraising and awareness- a lot of time people can’t afford to donate a lot.  By engaging big businesses- see below- and utiilsing music and the creative arts; it allows for bigger fundraising; tying charities and people together- from all around the world.  The website lists all charities in the world; those that are both local and international.  The charity aims to proffer and promote all charities; put them under one umbrella- unite social media and posts to ensure that greater awareness is raised.  When users sign to the charity- and create an account- they can download music and support artists; discover great music and help musicians- earning points and rewards as they go along.  When they reach certain targets, they can cash-in these points; donate them to causes- the ability to raise thousands of pounds in a very short space.   It is not just reserved to charities and causes, either.  There is an opportunity to raise funds and money for bands and artists.  The artists themselves cannot raise funds; yet others can donate to bands and their recordings; filmmakers and projects- tying-in the likes of Pledge Music and Kickstarter.

[youtube https://www.youtube.com/watch?v=0yXQ7EXZExw&w=560&h=315]

Creativity

 

The charity/fundraising elements will all come together in more detail- as the charity is set-up and developed; the full details and plans will be explained- but there is another element to the charity.  Through the bespoke tools and links, it encourages users and people to take up and create music; become engaged in filmmaking and television- this is where the likes of Microsoft, Samsung and Apple will come into the fold.  The companies would not only assist with designing the bespoke tools and sites; they would gain revenue and profit: In turn, they would be funding some of the world’s most innovative and well-designed music/creative tools.

Social Engagement

 

It is not good enough to sit behind a computer screen and just click away.  The idea of the charity is for it to be a part-time thing: Checking -in and not dedicating too much time to it.  Because the charity encourages social engagement and connection, it is hoped the users get out into the community: Supporting those in need and making a difference.  Whereas social media relies heavily on too much Internet time; The Single Voice aims to get people out and making a difference: Setting up schemes and businesses; forming charities and supporting the vulnerable.

Awareness and Connection

 

One of The Single Voice’s assets is the way it connects people around the world.  The charity looks at the user and tailors it around them.  If you suffer from an illness or disease, it not only puts you in touch with those who can help- giving information and advice; making sure the social media side of things gets people connected.  Every day we hear of new ills and issues- from gun violence to discrimination against transgenderism; animal cruelty and natural disasters- yet we feel helpless.  The charity puts these issues at the forefront: It mobilises people to tackle the issues; gets people working to fight discrimination- raise money and support quick, so we can stamp out these inequities and problems.  Issues like mental illness or still stigmatised; homelessness and social poverty is rife.  The charity aims to put them into the spotlight: Change ways of thinking and help bring about progression and discussion.

[youtube https://www.youtube.com/watch?v=Jjmn7qAjco8&w=560&h=315]

The Realities/How Big Businesses Can Help

 

The biggest tech and business giants make enormous profits.  Every second it is estimated Samsung makes $6,000 revenue.  The likes of Google and Apple are not far off.  Of course this is earned and deserved to an extent- they provide services we all need and use- yet think about how much they earn a year?  I have seen reports where some of those companies are unsure what to do: They have so much money but nowhere to put it.  Whilst they are developing multi-million dollar headquarters and facilities; it seems there is a lot of money that could be better used- a tiny amount of their yearly profit.  This is why The Single Voice is so important to me.  It is not a Robin Hood Effect- taking from rich and giving to the poor- as each company will be earning extra revenue/partnering with the charity: It is taking a tiny percentage of their revenue; giving it to some wonderful causes/charities- helping to fit big issues and social ills.  With such extravagant and unfathomable profits pouring in; there needs to be a better and fairer balance: Ensuring the organisations are charity-conscious as they can be.  I am not suggesting they hand over, say 1%, of their profits a year: They are getting increased advertising and business; they will see their custom rise- it is a win-win, give-and-take situation.  As it stands, the charity that is an idea and a seed: It needs the investing waters of businesses to get it off the line- and to nourish and help it grow.  Without them it will take a long time to happen: It is advantageous a working bond is created as soon as possible.  There is no real downside to either: The big companies- such as Apple and Microsoft- rarely work closely together; there is a sense of rivalry and competiveness- this is a way of bringing them together- without denting their business profits and market edges.

The Bottom Line

 

This is a charity I feel needs to happen: With every passing day there seems to be bigger gaps- between people and countries- big topics that are being hidden- too many people suffering silently.  Money-raising is only part of the solution: Awareness and social activation needs to occur; governments and bodies need to be on board- it will take time to happen.  The first step is seeing what people think; getting it going- getting those big names on board.  There is more and more music created each day; most people on the planet love/have an opinion on music- using this to make money and help people seems icily logical and sensible.  There is a lot of big business profits coming out; a lot of compartmentalisation and social disconnectedness: Unifying and remedying this would counteract these points.  I am in the process of mailing companies- the likes of Samsung, Google, Apple etc.- and some big names- I hope the likes of Emilia Clarke, Jameela Jamil and Stephen Fry will back the charity- to get this thing going.  Whilst there are a lot of words here (even for me!) the facts are this: Music and the arts is an easy and fun way of fundraising; we all need a little help and awareness; too many people are suffering needlessly- we all want this to change.  The Single Voice is not so much its own charity- raising for one specific cause- but a way of housing and promoting every charity there is- whilst encouraging creativity and social interaction; tackling issues our government are not.  In a way, it is a political party we can all get on board with: No false promises and crooked smiles- just a charity we can all support.

[youtube https://www.youtube.com/watch?v=Hw0pGCoXS0g&w=560&h=315]

It would be good to know thoughts; whether people would get involved and support it- share and spread the word.  Regardless of how long it takes to get businesses on board; this will happen- it may take a while for it to fully fly and succeed.  The initial ideas, steps and components are in place: Now it is the time to take a big step- and appeal to the giants of the business/technology world.  My words cannot really fully explain and great it could be; how in-depth and all-inclusive it could be- nor the depth of my excitement and hopes.  With that said, let me know…

WHAT you think.

Track Review: The Holcombe Family String Band- Hard Times

TRACK REVIEW:

 

The Holcombe Family String Band

 

Hard Times

9.4/10.0

Hard Times is available at:

https://soundcloud.com/holcombefamilystringband/hard-times

RELEASED: September, 2015

GENRES: Ragtime; Hokum; ‘Vampire-Jazz’

ORIGIN:

Leeds, U.K.

Written by C.D. Wallum Artwork by Frank Garland © The Holcombe Family String Band. All rights reserved.

The album Ragtime! Hokum! Western Swing! is available from 4^th December, 2015

TRACK LISTING:

Hard Times- 9.4

The Great Fire of Armley- 9.2

You Really Done Me Wrong- 9.2

River, Black River- 9.3

Oh Celestine! - 9.4

Rag Mama Rag- 9.4

The Captain- 9.4

Yo’ Hair’s Too Long- 9.5

You’re My Woman Now- 9.3

DOWNLOAD:

Hard Times; Oh Celestine! The Captain; Yo’ Hair’s Too Long

STAND-OUT TRACK:

Yo’ Hair’s Too Long

LABEL:

Gin House Records

Pre-order the album at:

https://theholcombefamilystringband.bandcamp.com/album/ragtime-hokum-western-swing

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ANOTHER weekend and another chance to concentrate…

not only on great music- but pursue ambitions and dreams.  In addition to me spiraling some rather tumescent words; there is a band ahead of me: One that makes some old-time and vintage sounds; something unexpected and original- that bucks the trends and familiarities of the music scene.  Before I get to my featured act- and look at unexpected genres; Yorkshire music and the need for the quirky- I am looking at dreams and ambitions- something that is filling my mind this weekend.  As work and the necessities of life become more unfulfilling and infuriating: My brain is looking at something more fulfilling and meaningful; a goal and aim that helps people and makes a real different- through the power and universality of music.  It seems music is the one thing we all have in common: No matter what your mood or state of mind; it has that mesmeric and uplifting effect- able to transcend any situation and do something rather wonderful.  I have been thinking a lot (with regards harnessing its power) and applying it to a charity scenario: Raising money through music downloads; the money and revenue will go to charities and causes- and a lot more besides.  The details are a lot more picturesque and intricate- and something my featured act will not want to steal their focus- but too few people are really chasing passions.  There is a lot of boredom and limits about; too many are just going through motions- living a mundane and everyday life.  There are too few colourful and interesting people; those that really capture the eye and imagination.  When it comes to music, there are still too many grey and insipid musicians- we always look for something enlivening and unique.  When it comes to Leeds’ The Holcombe Family String Band, you could never accuse them of being mundane and one-dimensional: They are a band that is designed to get crowds smiling and dancing: Their music is not niche and divisive- the fun and frivolity is hard to ignore and dislike.  A lot of musicians tend to play things too safe: Often they will copycat others or simply play market that fills market trends- without looking at quality and distinction.  The Holcombe Family String Band have been going a while; making some of the U.K.’s most special and fascinating music- let’s hope they will ascend to the mainstream in years to come.  There is always a risk when making music that is considered ‘quirky’: Not quite every-day; that which dares to harken to the past- tie some under-appreciated genres together- and create something unexpected.  That word ‘unexpected’ is good when you get the recipe right: Ensure the music unites and compels the audience; does not just confine itself to small clans- the Holcombe’ boys have got the balance just right.  Before I continue on my points, let’s have a look at Leeds’ Ragtime fellas:

“The Holcombe Family String Band are a Leeds based band influenced by the ragtime, hot jazz, hokum and western swing of the 1920s and 30s. Following prestigious supports, opening for the likes of CW Stoneking, Sheesham & Lotus & Son, Curtis Eller's American Circus, Simone Felice, The Dad Horse Experience and The Stray Birds, numerous festival appearances and plays on BBC Radio 6 Music and BBC Introducing, The Holcombe Family String Band have won over fans of traditional and early roots music, taking something steeped in the past and highlighting the perpetual relevance of a music often thought of as primitive or archaic.”

Even when music looks to the past, there is still a modern edge: Few bands and acts have an old-fashioned and vintage sound- something that is unashamedly bygone and days-past.  We have a lot of great Electro.-Swing bands- that infuse ‘30s and ‘40s elements into the music- but make sure the outer layer is vibrantly modern.  Few actually go as far to negate the trappings and comforts of modern-day music.  Perhaps there is an issue with fashion-ability and ‘coolness’: Maybe Ragtime/’Hot-Jazz’ music is not the most marketable sound; it is a brave sound to champion- it takes a while to convert those uninitiated and unfamiliar.  I get to review a lot of Rock and Alternative sounds; acts that can easily fit into the mainstream- music that is not that strange or particular.  Over the course of my years, there have been few musicians (that have come to me) that I could truly label ‘unique’- in the sense they cannot be compared to many other artists out there.  Bands and artists can be original; they can mark themselves as ground-breaking- the music they play always have similar-sounding competitors.  When it comes to The Holcombe Family String Band, how many other artists come to mind?  Maybe there are a few here and there; some local acts that plays the same sort of sound- but not exactly swarms of them, right?  When artists start their music careers, they are enforced by their musical upbringing and current favourites: Blending their heritage and youth (the acts that inspired them) with their current heroes- whilst adding some individual personality and direction.  We hear a lot of Pop and Rock acts because music has always spawned these artists/genres: They are the most bankable and favoured; the sounds that get festival crowds fevered and excited.  Artists like The Holcombe Family String Band perhaps have a smaller audience- at the moment at least- and you imagine local crowds in town halls- rather than teaming whores and sweaty gig-goers.  Crowd numbers and following-the-flock mentality does not equate to superiority and longevity: The best new music coming through rebels against the ‘popular’ and media-approved sounds.  If we have learned anything from the week’s music- with Joanna Newsome releasing another intoxicating album- the quirky and magical will always buckle the knees.  Divers is an enraptured and idiosyncratic thing: An album that is an easy listen yet filled with depth and wonder; demanding and beautiful- music that comes along once every few years.  Newsom will get tongues wagging and top ‘end-of-year’ polls: Divers will surely be one of 2015’s most enduring- an album that will not easily be topped.  The Holcombe Family String Band have a similar mix of complexity and beauty; music that should be unpicked- with an outer sheen of beguilement and oddity.  In a straight-laced and sociable music world, I love discovering people who will never be in the middle of a party floor (holding court and being the centre of attention) but are the most interesting and fascinating.  It is the Leeds’ bands non-conformist and personal directions that will see them gain a huge fan base.  Leeds is among the U.K.’s most impressive and fertile music neighbourhoods: From stunning Rock bands to great Pop artists, you cannot fault the ambition, quality and nuance emanating from that wonderful county.  What Yorkshire does well- and Leeds especially- is reviving ‘older’ and oft-forgotten genres.  There are great Electro.-Swing revivalists (Little Violet) to Barbershop and Doo-Wop bands: There are terrific and colourful avenues; some unexpected gems to be discovered- leading an example the rest of the country should follow.

Hard Times is not my first exposure to the glistening band.  Last year the guys released The La La Bird: A five-track E.P. that was one of their earliest cuts.  It not only gave the world a chance to see what they could do: The E.P. contained a lot of rich and memorable material.  The title track opens with a swooning and suave string-picked introduction: You are compelled to tap your feet and click along.  It is a rhythmic and cool-edged beginning that sees images of Devil-dancing and death- there are Country vibes and some terrific vocals.  Our hero is lost in the sleet and snow: He is struggling to move and facing the lure of the abyss.  The lyrics are delivered with gusto and passion: The combinations of string and voice make it a powerful and stunning opening gambit.  Minute Rag is a more juddering and racing start.  Thigh-slapping and merry, it is a song that spirals and dizzies: One of the band’s most uplifting songs, it is a short and memorable blast.  Ten of Spades looks at “good old-fashioned morphine” and company; modesty and whiskey: So many great images and scenes are projected; it is a softer and gentler affair.  Although the vocal and instrumentation begins quite refrained; it has a strong and building undercurrent: The lyrics look at substance abuse- tackling a harder issue- without cheapening it.  Memphis Flu’s scratchy and scurrying beginning gets the mood back into upbeat: Although the lyrics deal with a deadly flu virus; there is that abiding air of dance and rouse- the ecstatic strings and persistent beat keeps the song light and breezy.  Four Heathens ends the E.P. with a more graceful and grand sound: The introduction strings- quivering and trembling- put you in mind of a funereal scene.  The heavy drums and haunting atmosphere keeps building and mutating.  A stunning and captivating opening; you wonder what will come and how the song will develop.  The instrumental track allows you to picture and imagine: It’s scenic and potent strings are evocative and vivid- meaning you can picture your own song and what will occur.  A stunning end to the E.P., it wrapped up a tight and focused effort from the band.

Since last year, the band has developed their sound- not just in terms of song numbers and ambitions- but in terms of themes and subjects.  The production values are stronger and the songwriting follows that rule.  Generally-speaking, the sound has not developed too much- it has not needed to- and they stick with their well-defined blend of Ragtime, Jazz and Hokum- giving you a taste of the U.S. with a British core.  I was excited to delve into Ragtime! Hokum! Western Swing! and see what it’s all about.  Hard Times is its lead-off track and a taste of what is to come- it is one of The Holcombe Family String Band’s most instantaneous and stunning numbers.

The introduction’s opening seconds are very busy indeed.  In addition to a swan-like brass utterance, you get a heady beat and gliding, romantic strings: Fused into a enraptured bond, it kicks the track off with a sense of determination and purpose- one of the album’s most striking and memorable openers.  Bonding together, the instruments remain dignified and tight; making sure they do not become undisciplined and wayward; the opening moments build up the atmosphere- it retains The Holcombe Family String Band’s decorum and fun; that balance of merriment and restraint.  The opening words leave little room for ambiguity and misinterpretation: With his love in hand, our man seems in safe and content mood.  With the breeze and peacefulness in the air, he is going down to Lonesome River.  Hard times will come and plague (our lead) yet he has a strength and wisdom: Whatever happens, he will face it head-on; tackle it and deal with things- at the moment, he is basking in the serenity and calm of the surroundings.  You can picture the dapper lead walk to the river- probably bedecked in a jaunty hat and striped clothing; a nifty pair of shoes- and his sweetheart in tow (again, with some vintage and colourful clothing).  At every stage, Hard Times gives you projections of the past and its simplicity: You could not really imagine the song being set in a modern-day setting; everything seems very innocent and chased.  A lot of modern numbers- when it comes to love and its simplicity- puts you in modern streets and climbs; you always get a sense of modernity- when it comes to this number, your mind goes back to the ‘30s and ‘40s.  Imagining the song in black-and-white, you cannot help but drift inside the story- see things unravel and develop.  Our man looks at his girl- you start to imagine what she looks like and how she talks- as she dances; feather-light and serenely.  With heart very much on sleeve, that overt passion and profession is a rarity in modern-day music- without cynicism or anxiety, you are left with a song that resonates with purity and devotion.  Backing our hero’s voice; the band come together with one of their most defined and understated compositions.  Whilst the strings and percussion back the story perfectly, they allow vocals to stand up-front- as “my little goose” is assessed and watched; that passion pour from the microphone.  In a catalogue that contains its share of mortality and troubles, it is good to see the band present something free from strife and disorder: A song that brims with affection and togetherness- a duo that seem ready-made for one another.  Being the opener of Ragtime! Hokum! Western Swing! it is vital Hard Times delivers an instant punch: Gets the listener hooked and interested; ensures the album starts with conviction.  Our lead attests he must “have done something right”: you feel he has struggled so long; never had the best of luck- his time has come and things are on the up.  In the midst of the effusive and hopeful lyrics; we are treated to extended musical interludes: The band getting a chance to spread their wings and explode with colour.  Whilst other songs (on the album) are most upbeat and springing; here we get a more luxuriant and soothing parable- a composition that appropriately supports the central theme.  At their most together and stunning, the boys let their instruments do the talking: Switching between shivering and triumphant, the composition is a beautiful thing.  Up to the 1:30 mark, the composition changes course and direction.  The strings and percussion rise and fall; they combine and separate- creating something quite wonderful.  A lot of modern tracks ignore the importance of the music: ensure the composition is as strong as the lyrics/vocals- here it is more than a match.  You get a mix of New Orleans and the Deep South; touches of seaside Britain and 1940s dance halls- coming together in that rhapsody of strings, brass and percussion.  When our man comes back to the microphone, he is in pontificating and introspective mood.  Knowing things will not always work out- he is pragmatic among the throws of passion and safety- there will be tough times ahead.  Money comes and “money goes”, yet things will work themselves out- so long as he has his girl.  Whoever the heroine is, she has had quite an effect: I cannot help but picture what she looks like- the long, flowing hair; the cute smile and red heels- and how she evokes and moves.  Through the rain and storms, (the duo) have one another; they can weather things together- no matter what harshness comes their way.  It is a song that ends with a redemptive and high note: You feel our hero will be okay and satisfied; able to tackle anything that comes his way- leaving the listener in a good mood.

The album’s lead-off track; Hard Times is one of the most hopeful moments from Ragtime! Hokum! Western Swing!  Ensuring they kick the album off with a stunning cut, we get all the dependable ‘Holcombe’ hallmarks: The charming and off-beat swagger; the vivid and beautiful stories; those unique and comparable vocals- topped with a united and stunning band performance.  With its polished and gleaming production- that still allows for some rawness and simplicity to be heard- the track explodes with clarity and light; it resonates with its innocence and hopefulness.  Whilst Ragtime! Hokum! Western Swing! has some dark and addictive songs- where substance abuse and the Devil come to play- we begin with a chaste and love-drunk song: One where we can all relate and support; imagine the scenes unfold.  Each band member is at their peak here.  From the passionate and spirited vocals- you cannot think of any other singer when they are sung- and the terrific musicianship: The Holcombe Family String Band are compelling and incredible throughout.  A song not just for lovers of their genres- the Hokum and Ragtime devotees- it is wide-ranging and open to be enjoyed by everyone: It is not a song that pushes people away; it draws them in- a track that could easily be a mainstream success.  With modern-day acts like George Ezra giving a unique world view- a young man in a mature man’s shoes- it seems natural Hard Times would sit alongside Ezra’s insights: You could imagine Hard Times sitting inside Wanted on Voyage (Ezra’s debut album).

Ragtime! Hokum! Western Swing! Is unleashed in a matter of weeks and will be a chance for the Leeds-based boys to do some shouting: Their album is a stunning and jam-packed beauty (a mini-review below) that will see them gain new fans and footings.  They have a dedicated and loyal fan-base, yet deserve a lot bigger crowds: at the core, the band’s music is designed to cheer and provide merriment- it has depth and intelligence; fascinating characters and stories.  Few bands deliver music that has so much charm and distinction; a wealth of passion and energy- masses of quality, nuance and memorability.  Make sure you check-out their new album: Hard Times is a small window into its potential glory; the nature of its business- just what sort of musical beast they have created.  Music provides all kinds of variation and surprise; artists that do not play by rules and regulations- push the envelope and deliver something that defies the odds.  Perhaps The Holcombe Family String band will not be headlining Glastonbury in years to come; they do have a huge potential for international trade- reach foreign audiences and new lands.  At the moment they are performing a lot throughout Yorkshire: Most of their gigs are local and home-based; perhaps that will change in 2016.  Never judge music on its looks or reputation; those that have come before or expectations: Listen to and judge it upon its merits; how it makes you feel- how much you want to keep listening and investigate.  I assess a lot of acts that are quite impressive at first: When it comes to time and consideration, I get slightly lukewarm and ambivalent- few acts really compel me to come back and take a closer look.  A lot of music is quite personal and love-based: Looking at break-up and those kind of ideas; musicians that are more fictionalised and inventive always compel me more- their music seems less draining and introspective.  The Holcombe Family String Band- across the course of their latest album- conspire tales of curious figures and odd scenes; dizzying passions and offbeat heroines.  There are plenty of moments of romantic lust and personal heartache: The band ensures that modern/traditional themes marry with the unfamiliar and vintage- they blend together seamlessly and wonderfully.  What strikes me (about the band) is their energy and commitment: Every song and moment is delivered with endless enthusiasm and passion; a complete dedication to getting through to the audience- as a result, you are sucked into their world and stories; captivated by their smiles and kick.  The instrumentation and compositions remind you of seaside resorts of odd American bars- you imagine a good-time boys band whipping up a boozy crowd- and their vocals are very much their own.  That originality and flair mixes with dexterity and invention: No two songs sound alike; with each track there is a new ambition and sense of adventure.  The Holcombe Family String Band will be future-faces of the music media press: There are only so many po-faced Rock bands you can stomach before a revolt needs to ensue.  Yorkshire and Leeds are a mother-daughter (or father-son) combination that is leading a prestigious and forceful musical charge: This country is the most fervent and forward-thinking in the U.K.  It is because Yorkshire musicians- those that play genres and styles not overly-familiar- look to history and past sounds; polish and renew the older; go for originality and unexpectedness.  With their Ragtime and ‘Vampire-Jazz’ fusions; a dollop of merriment and rabble-rousing- with a suitable infusion of tenderness and compassion- you have a band/music that hits all the senses and ticks all the boxes- one of our most promising young acts.  Music needs a bit of a sort-out and shake-up: Get out of this complacency and embrace musicians that want to be different and better- not simply do what the media expect; play things safe and lack creative acumen.   Hard Times is a stunning cut- and one of the album’s less rousing moments- from an album that is spilling-over with originality and history; plenty of modern gleam and the sound of music with a purpose.  Ragtime! Hokum! Western Swing! Is as stunning and exclamative as the title suggests: A snapshot into the minds and souls of some rather offbeat and charming folk.  If you have not got into their spirit camp: Embraced and dived-into the music they summon; ensure you rectify this.  This year has seen them plan and record; conspire and plot: 2016 will see this all come to fruition; a chance for them to hit the road- take their music to new parts of the world.  Their album is out in six weeks and should be sought by all- you will not hear another album like it.

Ragtime! Hokum! Western Swing! Is an album that hits its stride from the very off.  From Hard Times’ dazzling colours, we come to The Great Fire of Armley.  A fire is in the sky; the scene is set and the Ragtime band plays “every Monday night”.  Whilst the fire burns- and our hero hopes his friends are alright- the band play around him.  The track is mostly light and gentle: The brass stands out and provides a real sense of power and emotion.   Taking you into the song- and giving you a clear sense of what is happening- it is a catchy and addictive track.  Designed for sing-along and audience participation- the chorus is particularly memorable- it sees the band at the peak of their powers.  You Really Done Me Wrong has a rather quirky and unique opening: You have to hear it to get a sense of what I mean!  After the ear-catching opening, we hear about a heroine: She has a fever and is causing our man some troubles.  Backed by his band-mates- who chorus in and support the plight- the heroine has (done our hero) wrong- that strain and heartache comes through.  Whilst the strings sway and pick their way through the lines, the drama increases.  River, Black River opens with more swoon and passion: It has a riparian and autumnal feel to it- more graceful and seductive than previous numbers.  When the vocal comes in; it is quite romantic and seductive.  Our man does not want to remain at the river: Asking to be put to the docks; tossed onto the rocks- he does not want to stay here.  Where the lilies grow- and with his body succumbing to mortality- it is another evocative and image-heavy song.  Lonely and haunted, the song sees our hero pour out his heart- supported by a gentle yet potent composition.  One of the album’s better moments; River, Black River is a confessional and broken-hearted thing: Our man has a resolve and determination; yet his body and mind seem weary and submissive.  Oh Celestine! begins with a soft and catchy beginning: Swooping and swooning in, the song grabs you from the off.  The song’s heroine is quite an intoxicating and beguiling thing: Capturing the hero’s heart, we get images and ideas of the central figure- someone who causes electricity and passion.  The song starts to accelerate and pick-up: The band joins the vocals; the composition gets more frantic and pressing- one of the album’s most energised and toe-tapping statements.  Another catchy and stunning cut; it is one of the album’s highlights.

Once I Was a Navy Man starts with some gentility and refrain.  Another of the slow-building numbers, the vocal is lower down the mix: Sounding almost echoed at times, it crackles with vintage beauty and potential.  Having been at sea for so many weeks, the crew is caught by surprise: A storm capsises the boat; the hero is stricken and in peril- the only soul “left alive”.  With its sleepiness and slow-moving vibe, it is a chance to reflect and stop: You get an opportunity to dive into the lyrics and images; immerse yourself in the song.  Rag Mama Rag clicks its heels and gets to the race rather impressively.  Starting with aching strings and a real sense of motivation, the vocal arrives on the scene- a song that introduces the Devil back in.  The lyrics are some of the album’s best: Looking at young whip-crackers and skin, bones and rocks- there is always a lingering threat and danger throughout.  The group chorusing is one of the song’s defining aspects: When they join in voice, you get the biggest sense of potency and urgency- this is true in the case of Rag Mama Rag.  The Captain is one of the most instantaneous and fast-talking numbers.  The speedy string and rushed vocals get the energy levels for.  Not wanting to work “for a wage no more”, our hero does not want to break his back- fed up with the rigours and harshness of the sea life.  Keeping us in the realms of the ocean and sea-faring ways; the band’s nautical imagination runs riot- giving us a spellbinding and dizzying array of characters and story.  After a short and memorable track; Yo’ Hair’s Too Long rocks up.  It has a similar compositional feel- when compared with the rest of the tracks- yet its lyrics differ slightly.  Our man has got into a fight: Having been concussed, the nurse says he will make it- there is a cute seduction that begins.  Trying to pick her up; the nurse does not favour the long-haired hero- get it cut and we can talk!  The band’s most humorous and charming numbers, you are always rooting for the befallen lead- hoping he will win the girl.  Getting his hair cut short; he hopes her mind is changed: When it comes to it, things have not changed.  Seemly unchanged and rather picky; she rejects him again- the band’s boys join the fray- and pushes him away.  By the end of the track you feel sorry for the lead- but leave with a smile on your face.  You’re My Woman seems more redemptive and hopeful- given how the penultimate track fared.  Beginning with a stately and dignified string opening, the song is one of the most Jazz-influenced tracks on the album.  Those brass elements define the track; give it its sense of momentum and movement- backing up the lead vocal with aplomb.  With a “taste for whiskey” and wine, our hero has not a penny to his name- that said, he is doing “fine”.  Letting the world “go to Hell”; the rivers dry, there is a matter-of-fact attitude to things- not really a care in the world.  Ending the track with its alcohol-inspired motifs; you are left with a closer that is befitting of the album- that mix of optimism and haunt; the stunning instruments and terrific vocals.

The band have developed since their E.P. days: The album here spreads their sound and shows them at full attack- each number resonates and hits the mark.  Perhaps it will not convert all music-lovers, yet has enough energy, quality and potential to sway a lot of minds- it will certainty please existing fans.  For those looking for something unique and special: Music that does not truck to market forces and tick corporate boxes- giving you something old-time and modern combined- then allow the Leeds band to do their work- and provide something genuinely different and special.  If you want to find a band that do not play by rules- and are too cool for school- then seek-out these chaps and…

MAKE your day brighter.

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Follow The Holcombe Family String Band:

 

Official:

http://www.holcombefamilystringband.com/

Facebook:

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

Twitter:

https://twitter.com/HolcombeFamily

____________________________________________

Music:

https://soundcloud.com/holcombefamilystringband

___________________________________________

Videos:

https://www.youtube.com/channel/UCY3YfQXt8frOfAGGR1A6Z5A

______________________________________________

Gigs:

http://www.holcombefamilystringband.com/tour/4589823280

Track Review: Manda- Criminals

TRACK REVIEW:

 

Manda

 

Criminals

9.1/10.0

Criminals is available at:

https://www.youtube.com/watch?v=fns0veohx58

RELEASED: 21^st January, 2014

GENRES: Pop; Soul

ORIGIN:

Los Angeles, U.S.A.

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THIS is the second consecutive review…

looking at year-old music.  After yesterday’s study of Yearbook- a Hampshire-born Alternative band- I am now across the pond looking at Manda- a Swedish-born, L.A.-based artist.  Manda certainly stands out from the crowd: stunningly beautiful; the blonde hair and tattoos catch the eye; she is arresting and captivating- it is the music and voice that truly drops jaws.  There is a lot of emphasis on how musicians are presented and look- particularly for female artists- and as a result, there is this need to prove themselves.  I shall introduce Manda shortly, but for now, a few subjects/topics come to mind: European and U.S. music; reality T.V. shows and female solo artists.  A lot of my recent reviews have been around U.K.-based acts: It is nice to be able to travel somewhere foreign; study an artist that has quite an interesting background.  Although Manda is based in L.A.; she was born in Sweden: A nation that in itself is producing some tremendous music.  In addition to acts like Swedish House Mafia, The Cardigans and The Hives; we have Lykke Li, First Aid Kit and Robyn.  It is clear Sweden is no musical slouch: Some of the world’s most diverse and interesting artists come from here; some terrific acts are putting the country firmly on the musical map- rivalling the likes of the U.K. and U.S.  One thing that grabs me about Swedish music is the Pop and Electronic acts.  I have reviewed artists such as Say Lou Lou- an Electro.-Pop act from Sweden- who make majestic and seductive music.  Whilst the U.K. makes some great Pop music; Sweden seems to do it better- it is more nuanced and original; wide-ranging and colourful.  Maybe it is the environment and landscape of the nation; the personality of the people and their way of life- something most account for the terrific consistency and brilliance of their music.  Whatever it is, 2015 has seen some of its finest acts stamp out some wonderful music: Make impressions on the scene and promise great things for the year ahead.  In addition to great Swedish music, I am looking at L.A. - where Manda is based- and the artists coming out of the city.  California and L.A. are showcasing some scintillating and world-beating musicians: From Alterative/Rock bands and insatiable solo artists, it is one hell of a breeding ground.

There is a lot of community and competitiveness in L.A.; a range of different genes and claves- a vibrant and bustling city that is conducive to musical ambitions and wondrous sounds.   A lot of British media tends to focus too wholly on homegrown sounds; negating the flow and explosion of talent emanating from L.A. - we should all be more aware of what is happening here.  My featured act calls L.A. her home; is vibing from the city’s cultures and neighbourhoods; the inspiration it provides.  Manda was a finalist on Sweden’s X Factor in 2012, and since then, has been concentrating on a range of music/projects.  In addition to being a musician, Manda has a passion for fashion- as you can probably tell from looking at her.  On her blog/official website, Manda documents L.A. life and the everyday life of the city- the vibrancy and colour; bringing readers into her world.  I am not a big fan of reality T.V. shows- especially those that are music-based- and most of the winners and contestants lack originality; do not make great or interesting music- they do not last long and stay in the public consciousness.  Whether you subscribe to the view these shows foster and find the best new talent- I certainly can never accept this being a music purist- but there are some great artists that come out of the process.  Perhaps not the case in the U.K.; Sweden’s 2012 rostra has produced Manda: A genuinely fascinating artist that has a great sense of independence and style; a future star-in-the-making.  There are a lot of great female artists coming through, yet Manda seems to distinguish herself from the crowds: She does not instantly remind you of anyone else; the way she projects herself and her image are very much hers.  Predominantly she has cut her teeth tackling other artists’ songs: Making them her own and giving them a new and stunning spin.  Knowing there is going to be a future release and new music, I was compelled to check out the Swedish star; one of the most promising female solo artists in the world- someone who wants to make a big impact in music.  L.A. is producing a lot of great solo artists from all genres and avenues: It will be a challenge for Manda to rise above the fray; with her natural ability and strengths, she will certainly get there- someone I am keen to see perform in London.  It is not just her interpretive skills that wow me: The way her voice grips you and gets straight to the heart; the passion and energy infused into each track- few artists have such a natural affinity and ability.  Manda has a great songwriting and original talent too: Criminals shows just what she can come up with; I am sure this year (and 2016) will see the young Swede rising through the ranks and producing some new original music- showing the world just what she is capable of.  That beguiling and unique beauty is reflected in her voice and words; she has a compassion and connection with her fans- an unquenchable and endless passion for music.  In the City of Angels, music is seeing its fair share of divine artists: Would you bet against Manda going onto claim long-term success and adulation?  With few British faces familiar with her work, it is about time more here rectified this.

With Criminals being released last year; having performed cover versions and other tracks- the future will see Manda drop new sounds.  At the moment, we should judge her on Criminals and what is to come.   Previous singles such as Love-A-Holic (released shortly after Criminals) and Sweetest Heartbreak (a 2013 release) shows different side to Manda.  Although Criminals is her strongest cut; Sweetest Heartbreak is a stunning track that is upbeat and pumped-up.  Wrapped in a dizzy array of electronics and beats, it's a track that compels listeners to stomp their feet and sing along.  Letting her voice pervade and soar, it is filled with energy and passion- showing Manda's full vocal and songwriting range.  Love-A-Holic is more romantic and calmed: It is a cool and flowing track that has an infectious vocal and catchy chorus.  Perhaps more 'traditional' Pop moments- compared with Criminals sound- they see the artist showing how varied and talented she can be.  Manda has collaborated with other artists and proved a hugely versatile and adaptable artist: Her voice perfectly fits with hard and gritty tracks; those that are more serene.  It would be good to see Manda open a SoundCloud account- there may be one but cannot find it- that puts all her music/collaborations/covers in one place (at the moment they are on iTunes).  She has released some great singles and I believe preparing an album- although I might be wrong- so it is likely we will see these songs sit alongside one another perhaps?  What is certainly is the stunning Swede has a terrific songwriting mobility that sees her move between scenes and stories; tackle a host of topics with aplomb and full conviction.

It will be exciting to see what 2016 holds for the Swedish artist: Whether her new ambitions revolve around a full album or an E.P.; if some new singles will be released- the odd cover version too.  The past year has seen her recruit new followers and fans; spend time writing and performing in L.A. - plan her next moves and introduce her music to the wider world.  At the moment, few of us in the U.K. know about her sound: The majority of her fan-base is split between the U.S. and Sweden; more people here should be aware.  That will all change very soon, but for now, Criminals is a confident and stylish slice that fully exploits and showcases her voice; the urgency and commitment put into the music- the effect it has on the listener.  If it comes to comparing Manda will anyone else- drawing in other singers to the fold- there is a U.S. vibe to the vocals.  Sounding like it could easily settle alongside the best of the mainstream, there is plenty of soul and beauty to be found.  That said, no one name springs instantly to mind; Manda ensures that her unique and particular sound remains intact; there are little shades of U.S. Pop acts- nothing that is too obvious and counterfeit.  The music itself is quite populist and universal; again, there are little shades and slights that her peers do not possess- a perfect mix of ubiquity and individuality.

Criminals begins its defense with some tender and rousing piano.  Sounding romantic and insistent- with a gorgeous sense of serenity- it is a great way to beckon the track in.  Our heroine is putting up a front and investigating events- as the initial words come pouring out.  Making sure her voice remains firm and in-control, there are memories and questions of a drunken night: It seems her and (an unnamed man) had a regrettable encounter.  Whatever the situation- and however the coming-together occurred- it seems the heroine does “not regret it”- it is a rather unexpected sentiment, and something that intrigues and compels early-on.  That beautiful and strong piano line keeps flowing and pushing the song forward; the vocal is determined and imbued with soulful touches- maybe the drunken encounter was a fight the two had.  Whoever the hero is, it seems he is worth the fight and any stress: It seems people do not get their love; the reason they are together- they are being persecuted and judged unfairly; having to justify and explain themselves.  The early phases are definitely Pop-orientated and mainstream-sounding: Fans of current U.S. idols and singers will find some familiarities; those looking to dip their toes into the genre will find something accessible and impressive- a song and sound that is far sturdier and more fascinating than the majority of Pop songs.  Their love and relationship is instinctive and right; the people they are surrounded by are judging them like criminals- you start to wonder the history of the duo; what they have been through and the clashes they have faced.  It is clear the two have fiery and explosive personalities: There have been some blow-ups and explosions; some ill-tempered moments for sure- perhaps the odd break-up and flair-up.  The video for the song sees the pair frolicking and engaged in romantic surprise: It is all chaste and very touching; playful and happy- defining and italicising their innocence and togetherness; how made-for-one-another they are.  There are plenty of songs that look at taboo love and recriminations: The Pop market sees many examples present colour-by-numbers tales of we-shall-not-be-discouraged-in-our-love sentiments; they usually are over-dramatised and over-emotive- clichés flying all over the place.  Manda ensures her tale does not suffer such shortcomings: That controlled and stunning voice ensures the words and feelings hit the mark; the composition is sparse and gentle- you are forced to listen to the words and how much they mean (to Manda).  It is “incredible how low they’d go/just to shake us” our heroine tells: So-called ‘friends’ and communities tearing them apart and pouring poison.

Maybe the hero has a shadier or less appealing side; something a little unusual and distinct- someone who is not ordinary and they can’t handle that.  Were he just your average dull-as-dishwater guy; someone that was like everyone else- then the love would be solid; nobody would have an issue.  You feel the guy has a passion inside and is like our heroine: Someone that stands from the crowd and lives life differently; occasionally lets emotions come to the surface- at the end of it, a person that is dependable and romantic.  Ensuring the words remain simple and effective, you not only imagine and sympathise with the words; you have a song that so many people can relate to- how many of us have been in that same predicament?  That combination of illicit love and discouragement is something ubiquitous and universal: Manda has been through the emotions and survived and carried on- damned what anything thinks or says.  With that said, there is still emotion and some heartache: That desire to be accepted and people to be supportive- rather than see the bad in everyone.  By the time the chorus comes back around- and that lack of regret; the fight that was worth it- you have more insight and puzzle pieces.  The people- whether family or friends- were dumb to try and break them; foolhardy to stand in the way- they are being taken-down and scolded.  The passion and love the two has will overcome all the hurdles- it does not matter what anyone else says or does.  The song never really lets its temper flair until the 2:00 mark.  By the time the chorus comes to its end (second time around) you can hear an augmentation and gear change: The vocal gets more insistent and pressing.  Most Pop artists would needlessly through Dub-Step beats or huge electronics into the track- to express the heartache and desire- and muddle the song.  By doing that, it makes it too bracing and overpowering; it distills the messages and core.  Manda’s voice and songbook is in focus and will not be outshone.  The heroine will not “ask for permission” for the way she feels; there seems to be that suppression and need to rebel- people who keep on try to cause ruction and fracture.  A modern love-against-the-odds tale, it seems timeless in its definitions- it has shades of Romeo and Juliet and classic love stories- and everyone roots for a happy ending (for our pair).  At every stage of the song, you are sucked into that vocal performance which is always emotive and stunning- blending a distinct mix of Soul-cum-Pop; plenty of heart and grit.  The lovers are under “lock and key” and trying to break out of the prison- that need to run away and emancipate themselves.  In the final seconds our heroine makes her point known: she keeps asking questions about innocence and justice; why she is being treated this way- that anger and need to be understood.  It is evident the central lovers have had a chequered path and a hard road: By the song’s end, you wonder whether they will be okay; if they will ever manage to be accepted and be happy- or constantly have to fight and explain themselves.

It is rare to find a new Pop artist- for me at least- that has so much potential.  Criminals is a song that deals with some common themes and tried ideas- staying in a relationship people do not approve- but Manda presents something fresh and stunning; gives the theme new life and energy.  When reviewing Rock and Alternative bands, I find myself become a little repetitive- the vocabulary and adjectives do not vary much- but with Manda new ideas, words and phrases zing to mind; her music provokes clear imagery and some rather vivid possibilities.  Great music should do this: Make the listener think beyond the lyrics.  With terrific production and a fantastic composition, Criminals really comes to life: It is a song that remains interesting throughout; rarely does it remind you too fully on anyone else- that said, there are some nice evocations of existing U.S. acts.   With Manda’s strong, passionate and soulful voice reigning; you get a track that is strong enough to please Pop-lovers- in addition to recruiting new fans and those who bridle at the genre.  Maybe not quite strong enough to completely reinvent Pop; Criminals is a stunning and honest song that does not hide or shrink: It screams its intentions and has such a huge amount of force and nuance.  I have been playing the song over and finding new treasures and possibilities- it all bodes well for future releases.  If the Swedish star is planning an E.P., it would be good to see some Criminals-esque tracks- that look at forbidden love and battle-against-the-odds.  I know Manda has a full and vibrant palette; her writing and ambition could see her tackling all manner of topics- she is not an artist contented to just stick with love/relationships.  If you are new to Manda and her music; take a dive and discover an artist that will be more synonymous in 2016- and brighten a rather too-close-to-Monday afternoon.

Having assessed a lot of bands and male artists lately, I am pleased to have the chance to review and study a great solo artist: Someone who has a clear desire to succeed and develop; an artist that is writing new material and planning a fresh assault.  Her online portfolio is expanding and her fan numbers if increasing: With each passing week, she is recruiting new followers and attention.  Criminals was released nearly two years ago, yet it shows how effective and impressive Manda can be: A song that is both instant and memorable; it takes a few listens to really get to the bottom of it- that central voice is certainly one of the most immediate you will witness.  Before I round up, I want to return to my earlier points regarding international music and female artists; talent shows and the state of music.  One of the most important parts of music is encouraging and promoting great solo artists.  That side of things is suffering a little lack of fortune and quality: The mainstream especially has few genuinely great solo musicians.  Aside from the established and well-known solo acts, the newer examples coming through are quite uncertain and patchy.  New music is perhaps more reliable when it comes to quality and distinction: The female artists are especially stand-out and formidable.  Whereas the chaps still tend to stick with the acoustic-guitar-and-heartache parables; the girls are more endeavouring and explorative: Not just confining themselves to something singular and predictable.  Manda is a Soul/Pop voice that is going to develop and flourish.  Her itinerant and prolific posts- on her official website- show an agile and curious young woman; someone who wants to see the world and experience all it holds- this will come through in her music and musical ambitions.  Her eye-catching tattoos and colourful and stunning fashion sense shows an artist that could never be boring: Manda has a distinct flair and spark; something that should/could not be extinguished.  Having reviewed the likes of ADI- a similar artist when it comes to looks and style- and you can tell whether an artist will make it or fall.  The solo scene (in the underground) is promising some tantilising and glistening talent.  I have had my head in British music recently and have neglected the joys of U.S. music.  Manda’s Swedish heritage and personality comes out in the music; L.A. has inspired and compelled the young heroine- the difference and diversity of the city has propelled and captivated Manda.  I am always going to loathe and be against talent shows that deal with music: Most of the contestants in this country want fame and money; you do not need to go on a talent show to make it in music- it is an easy route and rather cheapens what other musicians are going through.  This is not the case for Manda who does not want the trappings and cheapness of fame: She is dedicated to music alone and making sure people hear her voice and love.  Three years from her finalist slot on ‘X Factor, she is now embarking on a new material and projects; next year will be a hallmark one for her: A chance for the music world to witness her in full flight; see how that voice and ambition translates in the studio.  Being familiar with her cover material and Criminals- and the way she can own any song she takes on- I am excited and pumped for her.  Taking all my points into consideration; the dominance of the band market still- it is always vital to make sure great solo artist get a platform and a chance to shine.  Music is such a tough and challenging industry; something that demands full-time commitment and dedication- it means a lot of sacrifice and due diligence.  Manda is not an artist that simply puts the music out there and expects it to grow and succeed.  Keeping busy with fashion and blogging; all avenues of lifestyle commentary and business.  A curious and intelligent mind; Manda is sure to see her curiosity and dedication pay off- the next year will be very important indeed.  Criminals may just be a window into her music and talent; a brief snatch of what is to come- it certainly shows what she is about; just how much ammunition she has at her disposal.  If you are looking about for a solo artist that has a clear desire for big-time success, then keep your eyes on the multi-coloured and vivacious Manda.  I am excited to see how far she can go and whether an E.P./album is going to be dropped soon- I am sure we will be told more in due course.  For now, I am going to say goodbye to L.A. and Sweden- the great music and beautiful views they provide- and see what is coming next.  I am encouraged to think music could grow and surprise next year: There are so many promising and exceptional artists coming through, it is going to be really exciting to see that unfold.  For a Sunday that is dangerously close to Monday; the final hours of work freedom- we all need some escape and something to get lost in.  With that in mind, have a listen to Manda at her best.  Someone we will all be hearing more from…

AS the new year gets ever-close.

[youtube https://www.youtube.com/watch?v=fns0veohx58&w=560&h=315]

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Follow Manda:

 

Official:

http://mandaofficial.com/

Facebook:

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

Twitter:

https://twitter.com/mandamalina

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Videos:

https://www.youtube.com/channel/UCqTc9qpof_SEVagnt3o1TRA

Track Review: Yearbook- Old Bones

TRACK REVIEW:

 

Yearbook

 

Old Bones

9.4/10.0

Old Bones is available at:

https://soundcloud.com/yearbook-1/old-bones?in=yearbook-1/sets/old-bones

RELEASED: 2014

GENRES: Alternative-Rock

ORIGIN:

Hampshire, U.K.

The E.P. Old Bones is available from:

https://soundcloud.com/yearbook-1/sets/old-bones

TRACK LISTING:

Old Bones- 9.4

Ropes- 9.4

We Are Strangers- 9.3

Classic Literature- 9.4

Time Management- 9.3

Sinker- 9.3

DOWNLOAD:

                Old Bones; Rope; Classic Literature

STAND-OUT TRACK:

Old Bones

RELEASED:

March 5^th, 2014

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I am a bit late to this particular party…

but plan to make up for lost time.  Yearbook are a band that have been making moves and music for a while now: One of the south’s finest up-and-coming acts; they have gained the ear of critics and fans- being hailed as a band to watch.  In November the boys play Boileroom: Supporting Black Peaks; it is a gig I will try and check-out- see the band in the flesh, do their thing.  Before I get to review them- and Old Bones’ self-titled track- I am back looking at the band market; young bands in the south- critical expectations and the coming year.  When it comes to all-male bands, the sounds they play- with the exception of the minority- tend to play with the harder end of the spectrum.  Over the course of this year, I have seen some great bands come through; a lot of memorable and sparkling brands- the boys have been making some interesting sounds throughout 2015.  This year has seen everyone from Blur and Panda Bear make some stunning albums; some of my favouite new bands- Allusondrugs and Los (and the) Deadlines- come up with some great material.  I have oft-derided the band market- in the mainstream largely- for being a little samey and limited- lacking necessary originality and surprise; that spark that captures the imagination.  The best albums/moments of this year- and with the Mercury’ nominees announced- have been created by solo artists (and some great duos): The band dollar has been a little fluctuating and stagnant.  If you look at the Mercury Prize nominees, you get a lot of solo/duo nods- from Gaz Coombes to Florence’; Slaves to Ghostpoet- with only a few band examples.  I think Wolf Alice will steal the prize on the night- would be good to see Coombes or Florence’ get the award- but my point remains this: Our mainstream solo acts are starting to gather a lot of the attention and press inches.  The lone stars have to work harder and seem more motivated: As a result, their music is more innovative and cross-pollinating; genre-splicing and bold.  If you look beneath the mainstream gleam and N.M.E.-recommended examples, how many truly great bands can you name (that are original and stick in the mind)?  For my money, it is the new/underground acts that are most impressive: Those playing the small music venues and are as-yet unsigned seem to be providing some excitement- I have reviewed a lot of wonderful and variegated bands.  From New York and L.A. riff-kings to Australian mixology mistresses, there is a wealth of wonderful groups out there- the competition is stiff and rife.  Living just outside of London, I am naturally curious of local bands: Which are worth investigating and hailing; which should be discarded- those that are a little undeveloped but have potential.  With 2016 almost upon us, there are eyes scanning the musical horizons: Which acts are going to be recommended and proclaimed?  Which will be under-the-radar secrets?  The Hampshire-via-Surrey collective Yearbook are a band that have caused me some excitement: publications like Kerrang! have extolled the virtues of their ear-seducing sounds; the attention and detail they put into their music- the sheer range and quality of their music.  The boys are keeping some cards to their chest- their social media biographies are sparse; letting the music fill the gaps- but before I carry on, they consist:

Andrew Ian Halloway- Lead Vocals/Guitar Hamish Dickinson- Percussion Thomas Brooker- Lead Guitar/Backing Vocals Louis Martin- Bass

The kinship and tightness of the quartet is evident in their music: Each song showcases the boys’ understanding and intuition; the consideration and hard work they put into their agenda- without the music sounding over-rehearsed and sterile.  Last year, the band released their E.P. Old Bones: the reviews came in highlighted the raw vocals and guitar wizardry of Halloway; the interplay and guidance of Martin (bass) and Brooker (lead guitar; backing vocal)- the backbone and rudder of Dickinson.  Some reviews have been a little nose-thumbing and under-appreciative: some blogs have looked at a lack of inventiveness and an effects-heavy reliance; one or two underwhelming tracks- those that truly listen have picked up on the E.P.’s merits and strengths.  Old Bones is not a record you can say lacks originality and focus; it is bristling with bends and left-turns; Progressive-Rock drama and literary references.  With shades of (and for fans of) Lower Than Atlantis and Straight Lines, the inventive quartet created something for the modern age: Songs that stun you on a first listen; reveal new beauties and nuance further down the line- songs that are made for gigs and touring.  The boys were compelled by the touring regime and mixed fortunes on their travels: The songs are born out of frustrations and tireless work; the passion that goes into making music.  Before I review the music- and raise another little point- it is note-worthy mentioning the attention the boys put into the music.  In addition to the intelligent and varied lyrics- which range from historic name-dropping to fist-aloft statements of intent- the actually make-up of the music is fascinating.  When it came to recording the E.P., the lads filmed some ‘making of’ vignettes: Showing just how each instrument/component fits in, it was great to see a band letting the listener into the creative process- The Dead Weather recently did something similar; de-compartmentalising their creative process and giving inspiration to young up-and-coming musicians.  I think a lot of critics and press tend to assume bands have it very easy: They swan around and record a few songs; drop them into the ether- expect recognition and fame to fall at their feet.  The reality couldn’t be further from the truth: From relentless touring and mixed-blessing crowds; the huge financial burdens and stresses- following a passion of music could age and deter the best of them.  For that reason, we should celebrate those that put the graft in- not just to their work-rate but the music itself.  Although Yearbook are still in their infantile stages, they are a band that have a clear future.  Although their music is perhaps more durable in small venues and on the too-cool-for-school radio stations, they certainly have mainstream appeal: Their songs are varied and open enough to draw in all sorts of music-lovers and fans; it does not exclude anyone.  In addition to a November Boileroom gig, I am sure the four-piece have ambitions for the next year: It would be good to see a new E.P. or albums- perhaps a single dropped in there- and many eyes will be trained their way.

Although Old Bones compels some archaeological digging and investigation- shall stop with the bone-related analogies- their first real release was All Squares and Circles.  Unveiled back in 2010, the five-track release is an ambitious and fully-formed debut effort.  Have Patience starts with a pitter-patter percussive slam; some funky and hypnotic bass- emotive and dramatic vocals.  The vocals are insistent and urgent, yet are not over-emotive and false.  Wanting to “medicate myself from you” there is clear anxiety and a need for disentanglement.  Staying up “way too late” our hero has his share of scars and regrets: That desire to be free from a shackle; having been played and let down too many times.  The entire band is focused and exceptional throughout- the composition snakes and progresses as the song goes on- and the composition has so much depth and detail.  Unthink is more slow-building and evocative- not the instant attack of its predecessor.  Wanting to “adjust to your smile” again we are under the wheels or a dilemma.  The weapons-grade body- the song’s femme fatale possesses- is causing anxiety and anger; our front-man lets his voice climb and emote freely.  Another concentrated and disciplined track, it is that band unity that defines the mood.  The guitar enflames and stabs when needed; the percussion is relentlessly purging and searching.  It is perhaps the bass parts that provide most fascinating: Elastic and dirty; snaking and melodic- so much colour and range is explored throughout the song.  The title track is perhaps the E.P.’s most immediate and compelling cut: A song that begins with some personal doubts and matter-of-fact lyrics- it soon explodes into a demonic and animalistic beast.  The vocal screams and exorcises; the song becomes a stabbed and bleeding thing- stumbling and staggering with fury.  That quiet-loud dynamic keeps things unpredictable and exciting: It is a song designed for the sweating crowds; a mosh pit favourite that is designed to get bodies slamming against one another.  Fingertips In juxtaposes the previous number: A softer and more emotive start, the composition stutters and judders along; the vocal runs a gamut of emotions- an harsh break-up is being surveyed and ripped open.  Echoed vocals and a hugely exhilarating team performance keep the E.P. at its peak of desire and ambitious- that raw Punk edge blends perfectly with more melodic and introverted calm.  3’s and 6’s marries a dizzying introduction with an anthemic sound.  The track’s initial moments largely consist of wordless vocals and electioneering sonics- leading to the E.P.’s most memorable lyrics.  Slugs and snails (and puppy-dog tails) are “what little boys are made of”- girls are made of stronger stuff.  The reverse-sexism-cum-nursery-rhyme-cuteness is reintroduced and spun: A mantra that becomes more inflammatory and raging with each presentation.  Delicious strings; hissing percussion and rhythmic (and authoritative) bass give the song a richness and nuance.  Xylophones and child-like chimes sit with unadulterated passion and fervor-resulting in a perfect swansong.  A terrific initial E.P., the boys have since gained new confidence and quality: Old Bones sounds more varied and experimental; more wide-ranging and compelling.  That said; you cannot ignore the effects and wonders of All Squares and Circles.  Even in the earliest days, the band sound completely assured and vital: You can tell how much each song means; how much passion and attention goes into every moment.  Over four years, the quartet keep their core sound and themes in tact; they expand and augment their qualities in Old Bones- a natural progression that saw them galvanise and come up with their best set to date.

I shall examine its maternal origins later, but I wanted to concentrate on the E.P.’s golden child: The stunning and entrancing sounds of Old Bones.  The initial electronic distortion and discombobulation that opens the track puts me in mind of Progressive-Rock- a little bit of Radiohead’s Karma Police (the final moments of that song).  Building gradually, you lean into the speakers and wonder what is coming next; the song’s early tease and mystery is enticing and ear-grabbing- before jumping into a self-help/Spoken Word parable.  A predictably un-emotive and robotic sound- not sure who provided the vocal, yet it nails the inhuman sounds of self-help tapes- the voice speaks of lows and self-doubts; fears and clarities- at the sapling stages, echoes of Pink Floyd come out (not sure if they were on the band’s mind when writing the song).  Right away, you are studying this list of fears and doubts; the guidance and motivational quotes- before that anodyne voice is drowned-out but a band ready to kick out the jams.  The percussion leads the army into war: The composition is a canine attack that transposes the initial segment’s calm and composure- the composition has embers of ‘Britpop’ anthems and more current Alternative Rock.  Having had your head inside a self-help-style verse, you now have your senses re-organised and spiked- the urgency and primitive pummeling washes away the early faux-sentiments.  The guitars, bass and drums are strong and forceful from the off- this track is one that is highlighted in reviews for the E.P.- and once more demonstrates Yearbook’s unity and performance talent.  Evoking memories of ‘90s glories- there are even little touches of Grunge thrown into the mix- the boys are very much stepping up to the plate.  The bass notes mingling dirty and concrete with some genuine emotional resonance and colour- it works well with the guitar and drum to whip up a storm of sounds.  Initial lines see our hero in apologetic mood: Sorry for the “way I’m always leaving”, it is almost a confessional sermon- a regretful and earnest plea to his girl.  Whatever the reason for his flight-or-flight instincts, there is no instant explanation: Only the revelation that the absence means an “empty space in your bed”.  A lot of bands are not quite as sensitive and honest in similarly-themed songs- maybe in an ironic way; the girls are a little more compassionate- so it is refreshing to hear Old Bones raise some new qualities- and create something tremulous and soul-bearing.  It is hard to overlook the electricity and tormented nature of the vocals: High-octane and genuine, you feel empathy and sympathy for our lead (strangely, perhaps).  Initial abandonment seems to be the result of travel or touring- perhaps a musician’s insight into real life- and the distance between the two is justified by pillow talk and electricity.  If the lovers are separated by continents and oceans, their feelings and passions transcend the loneliness of their predicaments- you can hear that desire and passion in the vocal clearly (the composition is a lustful and impassioned outpouring).  I get little glimpses of Manic Street Preachers when the vocal reaches fever-pitch- the compositional and instrumentation has little shades of their Everything Must Go work.  A lot of bands include lyrics on their website if the song suffers clarity issues- shoddy mixing or poor production- yet Yearbook’s tones and notes are clear and crisp- whilst sounding almost like a live recording.  It is astonishing to see the amount of detail (a word I use a lot) and diversions in the composition.  Fuzzed-out guitar sits with twanging and hungry bass; riffled and militaristic drums cut through the mist- it is such an evolving and interchangeable beast.  Ensuring the song never becomes boring or tired, the boys ensure there are no weak or ineffective moments.  After the initial honesty and affection- marked by a distinct tonal shift in the composition- things become more recriminating and soured.  Whether enforced by arguments and disenchantment, the vocals are more spiked and dark.  If our man is following passion and sacrificing self; it seems his beau is suffering petulance and immaturity- maybe not being as accommodating and understanding as she should.  Having stopped taking her pills- as they’re “making you ill”- things are unraveling and disintegrating.  There is a been-there-seen-it fatigue in the lyrics- it seems this act has been tried a few times; a relationship that has seen its share of fall-out- and a weariness in the vocals.  Perhaps the intercontinental drift and musical itinerary is a dream; the reality is an anchor and fallback- there is a sense of resignation and limitation throughout.  The sexual passions do not burn and explode: The relationship is perfunctory and unspectacular; they are one another’s fallback plan.  Whilst our man is mired in anger and dissatisfaction, his spiraling sweetheart is a fiery and troubled mind- someone who’s silver spoon is tarnishing and copper-coloured.  The twin lead and compositional strengths- at every stage the band’s instruments create their own weight and shades- give the track a real power and urgency.  The song is a constantly-shifting animal- from the quirky start to the softer verse; the more-bitter sentiments are unfolding.  I was exhilarated by the how-many-arms-does-that-due-have?! drumming work; bowled-over by the addled and intoxicated guitar buzz; positively stunned by the buzz and command of the bass.  Each player supports one another- the drum compels and drives the bass; the bass inspires the guitar; the vocal vibes from this linkage- and it results in a song that never relents its grandeur and unexpectedness.  Past the half-way point, the compositional has done its work; the story carries on- hitting its most mordant and submissive point.  It is said- and referencing the song’s title- we are just “old bones/Waiting to decompose”- an image and sentiment that provokes some rather bleak and stark images.  Perhaps having seen the flame of dreams snuffed-out, our hero is resigned to his fate- perhaps ‘real life’ and the day-to-day is all we can rely on.  Even when the words become defeatist and ho-hum, the composition remains burnishing and inventive.  Contrasting the central themes/mood, the instrumentation ensures there is plenty of energy and endeavor- no shortage of colour and light.  After the haunting proclamations- old bones and decomposition- the boys ensure Old Bones ends with a little swagger and wiggle.  The guitar’s leather-clad cocksure cool combines with guiding and white-hot percussion drive- throw in some valiant and stand-out bass notes- give the song memorable dying embers.  Ensuring we end with a bang, Old Bones completes its campaign- and compels you to come back for more; a song that makes you go back in- its nuances and complexities beg for fond investigation and repeated study.

With Halloway, Brooker, Dickinson and Martin completely united and exceptional, it is hard to find any fault of weak moment.  Old Bones is brilliantly produced and mixed- ensuring nothing is watered-down or mixed-down- and the song has so much to recommend.  The lead vocals are instilled with so much conviction and passion throughout: whether protesting for common ground or spitting with venom, they are compelling and stunning.  Never sounding too much or too little, you get a perfect blend of technique, passion; power and nuance- with each play you spot little details in the vocal.  The percussion is something that is octopus-like and avalanching: Whipping-up so much hardness and masculinity, you get ample amounts of technique and composure- Dickinson (on percussion) blends perfectly with Halloway throughout.  The guitar work of Halloway and Brooker is impressive and strong, yet does not stand out as much as the drums and bass.  An exceptional amount of emotion and rhythm; intelligence and style is elicited in the bass parts.  Martin not only shows his mastery of the instrument; he combines wonderfully and keep the song level and disciplined at every stage- ensuring it never runs away and loses its focus.  The entire band ensure Old Bones’ title track sticks in the mind: It is hardly surprising it is a standout from the E.P.; a song that shows the Hampshire band at their very best.

Old Bones- the song and E.P. - reflects a band who put their hardest efforts and passions into the music.  Having toured and toiled relentless- I am sure their gig schedule still has the odd ‘challenging’ date- it would be good to see them sojourn to the studio; capitalise on that raw and nuanced gem- produce a sophomore E.P. that cements their reputation and fantastic songwriting.  The Yearbook structure does not rely on the front-man or one facet: Each component is vital- from the music to the lyrics- and the there are no egos at play.  Each player has full respect for each other; the songs are as a result of shared appreciation and understanding- few bands have such a tight and compelling sound.  Before I give a ‘mini-review’ of the E.P; I am going to sum up my points- relating to the band and music itself.  The mainstream is putting a lot of attention towards/currency in the solo acts: It would nice to see some genuinely scintillating and long-lasting bands emerge and prosper- in addition to the ones we have at the moment.  From Royal Blood to Deerhunter, we have some wonderfully original and merit-worthy bands around- those that are immune to the worst instincts of critical pens.  I am exciting about the underground music scene: Being connected with various venues and record labels, I get to see so many great acts emerge and seduce- those that could be festival favourites in years to come.  Yearbook are a band with no shortage of ammunition and confidence: Their songs do not suffer fatigue and lack of ideas- they uncover new insights over time; showcase a rare songwriting talent.  Old Bones is an E.P. that drops with dedication and love: The sheer joy and importance of making music; the hard and sweaty riffs; the sweet and ear-catching bass- topped with primal vocals and some heart-pounding percussive support.  If you have not encountered the innovative young band, make sure you follow their progress; see them at Boileroom in November- Old Bones is a testament of their abilities and acumen; a sign of things to come.  With that in mind- and seeing how the band’s year will pan out- there are some expectant ears and excited fans.  Whether they craft another E.P.; decide to expand over the course of an album- or dedicated themselves to some solid touring- there is certainly a fan-base out there.

Ropes is Old Bones’ second track: Following from the title track, we get something that is instant and insistent.  The track fires from the blocks and shows a consistency and intrigue throughout.  The band is tight and compelling as always; the lyrics look at break-down and holding on.  You can feel the hopelessness and strain in every lyric.  The band brings in biblical imagery and clever wordplay to score a song that sees two lovers going through the motions.  The walks between the bed and wardrobe are marathon-like; the heart and soul are empty and exsanguinated- pure silence where once there was energy and love.  Showing how deft and ingenious their lyrics can be; Ropes is one of the E.P.’s most stunning set of lyrics- some of Old Bones’ most haunting and unsettling lines.  There are funereal scenes and we-gave-it-our-best-shot haunt- by the end, you are emotionally rung and exhausted.

We Are Strangers boasts the E.P.’s most insistent and hard-hitting composition.  The drums are animal-like and rollicking; the boys are having fun on this one- you can hear how dedicated they are to the material.  One of the E.P.’s standout moments, the lyrics look (once more) at relationship imbalance and doubts.  Our lead is plagued by doubts and expectations: He has lost his dreams and is a shell of what he was; his lover is his secret- some self-pity and realism comes into play.  Never sounding too precious and false, the lyrics and vocals are delivered with conviction and reverence.  The song is perhaps not the E.P.’s finest moment; it does however affirm the band as a force to be reckoned with- another track that is designed to ignite and get the crowds singing along with pride.

Classic Literature is a symphony of pained vocals and Progressive-Rock riffs: sky-scarping and epic, the song starts with an immense bang.  Showcasing some primo screamed vocals, you cannot deny the importance and emotion at play- how much anger and resentment there is.  Whoever the heroine is- whether she is the same figure across all the tracks- she is certainly someone that causes pain (bit of a bitch by the sounds of things).  Our lead is in the eye of a hurricane; fighting demons and inner-turmoil, he lets his anger and vitriol spew with abandon.  Whereas the song’s first half investigates fall-out and resentments; a few clichés here and there- heart being kept in a box; being tied up in knots- the second half is a different affair.  Time is reset and the relation starts a-new.  Walking to Hardcore territory, the vocal delivery is at its most insistent and pained.  The final refrain- “I am Napoleon/I’m changing the rules on you”- is intriguing and fascinating.  The band likes to weave historical and religious imagery into things- perhaps our man has a Napoleon complex himself?- but the imagery here is fantastic and evocative.

Time Management is the E.P.’s penultimate number- quite a little beauty at that!  I have seen a couple of reviews that have noted it is bordering on filler- tosh and bollocks.  From its calm and riparian introduction- replete with tripping percussion- it is one of the band’s most accessible and memorable numbers.  Highlighting their most curious and noteworthy set of lyrics- “There must be more to us than the things we can’t escape” is perhaps the E.P.’s defining statement- the boys notch up the offensive.  Although not straying far from the shores of broken love and personal hollowness, they present their ‘comfort zone’ with new light.  Multi-tracked and duel vocals add potency and layers; the composition is one of the most fertile and detailed- changing pace and conjecture at will.  Our lead is caught between two minds really.  He is not sure he needs her (the girl) and is positively apathetic at times.  That said, there is a yearning and need that bubbles under the surface.  These emotional contradictions and murky agendas show a man whose heart is undecided- one of the E.P.’s most interesting manifestations.  Consistently dramatic and driving, the song end beautiful- you think it has stopped it has died but comes back for one final dive (like Carrie rising from the water).

A lot of bands- when it comes to E.P.s- do not realise your final number needs to be one of your best.  The golden rules of track listings are: Put one of your ‘top three’ songs up-top; make sure the middle is strong enough to sustain interest- end with one of your best cuts (ideally finish with your finest number).  I see too many E.P.s that violate these rules; end with a damp and forgettable track- puts their best numbers too far up the mix.  Whereas Yearbook begins with one of their finest jams- in the top three for sure- they ensure they wrap things up with a sizzler.  Already Heard- an online music blog- labelled Sinker thus:  “…less an echo of Brand New circa 2006 than a second-rate copy à la tribute band. Vocal mannerisms, song structure and instrumental arrangement all mirror Lacey and cohorts to an almost laughable degree, but much like B-movies borrow the conventions of blockbuster cinema and vulgarize them, it doesn’t inherently make it a bad track.”  Aside from the grammar errors and off-topic tangents, I would disagree with their conclusions and assumptions.  The band might want to send the review a package of dog mess in the post, but Sinker does not sink- it swims sublimely.  The lyrics show paranoia and fear.  Our lead’s heroine seems infatuated and obsessed with her man; there is a slightly unnerving edge to things.  The guitars, bass and drums really come into their own here.  The guitar work is riffled and exhilarating throughout; the drumming varied and mutational- matching and mirroring the lyrical/vocal needs.  The bass does not sit back and simply play away: It creates its own gravity and personality- the best bass work across the album, perhaps.  When the vocal rises and reaches boiling point- when our hero feels his head is taken-over; his bed too claustrophobic- that is when you realise the words are not hollow and forced.  The pained and defeated vocals show a man pummeled by attrition: His life is being controlled by an unwanted woman; someone who cannot take ‘no’ for an answer.  As visceral and overt as anything across the E.P. it ensures Old Bones ends on a high- Already Heard need to clean the wax out of their ears!

I am a year late to the Yearbook party; I have enjoyed dipping into their divine E.P. - I will make sure I review them when they come to Boileroom.  I would not say my time keeping is completely without fortune: It gives new listeners and fans a chance to seek-out a wonderful young band- one whose best days are still ahead.  Old Bones fizzes and entices from first to last; containing so much passion and range, there is something for everyone.  Above all, the lads showcase themselves as one of the scene’s most potential-filled bands- one who will be playing the high-profile festivals in years to come.  Whilst they decide what moves they make next, I would advise they put pen to paper- it would be great to hear another E.P.  In a scene that promises few genuinely great bands, make sure Yearbook are part of your rotation.  With that being said, think it is time…

TO give the E.P. another spin!

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Follow Yearbook:

 

Official:

http://yespleaseyearbook.com/

Facebook:

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

Twitter:

https://twitter.com/yearbookband#_=_

Instagram:

https://instagram.com/yearbookband/

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Music:

https://soundcloud.com/yearbook-1

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Videos:

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

Track Review: Bird- Thrill Me

TRACK REVIEW:

 

Bird

 

Thrill Me

9.5/10.0

Thrill Me is available at:

https://www.youtube.com/watch?v=t0XbjRhYh-c

RELEASED: 27^th July, 2015

GENRES: Alternative-Pop

ORIGIN:

London

The album Figments of Our Imagination is available from:

https://itunes.apple.com/us/album/figments-of-our-imagination/id1031912874

TRACK LISTING:

Girl Can’t Decide- 9.4

Thrill Me- 9.5

The Dare- 9.5

Stereotype- 9.3

Hypntoise- 9.3

Small Town- 9.4

Lucky- 9.3

Love Love Love- 9.3

Drink Drink Drink- 9.3

Think So- 9.4

DOWNLOAD:

Girl Can’t Decide; Thrill Me; The Dare; Think So

STAND-OUT TRACK:

Thrill Me

RELEASED:

September 18^th, 2015

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AFTER a week reviewing the boys- and my D.J. set next week featuring male-dominated sounds- it…

is great to be back with the girls: Starting with one of our best and most undervalued solo acts.  Despite having a common moniker, Bird is anything but: Her Alternative-Pop musings infuse raw emotion and sparkling wordplay; some real emotion and vibrant sounds- all melted together in a head-rushing boiling pot.  There is always some fear and hesitation when reviewing a new solo act.  I have said it before and will say it again: The solo realm is one of the most uncertain and patchy there is- not really producing as much quality as it should.  With the Mercury Prize nominees revealed- and it being composed of a lot of great bands- it makes you wonder about the solo market; just how dependable it is- how many truly wonderful artists there are out there.  One of the biggest issues- when it comes to ratiolising this slight- is the media dominance of band promotion.  Their sights are always trained to the bands coming through- maybe overlooking the solo acts- as the band market pulls in the most money.  Although there are some great groups out there, it would be unfair to say most solo work out there is lackluster and inferior: Bird proves what can happen when you really listen; give the listeners what they want- take them to a very special place.  I shall come to her soon; but for now, I am interested in the female solo sector: What sounds are coming through; expectations for 2016; the balance of power in the music industry.  On that first point- and when we look at the girls of new music- there is a dazzling array of ideas if scintillating.  There are a great number of Electro.-Pop artists- each providing their own insight into the genre- and seducing listeners with ease.  Just in London alone there are so many great Electro. acts: From NINA to Ivy & Gold- two acts I have reviewed before- they cover a wide spectrum; if you open your eyes and minds, you can discover so much.  What I find with male acts- as opposed to their female counterparts- is the limitations and realities.  There are a lot of great Folk/Pop acts (male) but there are fewer that really spread their wings- fuse genres and cover a wide variety of sounds.  Whilst the men are better at Rock-orientated sounds, their portfolio is not as gleaming and ambitious as the girls- who showcase a nimbleness and adaptability that is inspiring a lot of new acts.  The girls are masters of Soul and Pop; they are effortless and timeless when blending their voices into electronic compositions- I am probably not doing them a great justice.  My point is, the solo market should not feel deflated and overlooked: New musicians are showing just how good they are; in time they will rise to the mainstream- claim glory and give the industry a good kick.  The next year is looking rather positive: What I have heard this year has been the finest for a while; there have been so many great acts coming through the ranks- possible headliners for next year’s festivals.  What has been apparent- that was missing over the last few years- is the songwriting talent and the compositional ambition.  From reviewing a whole host of acts- from around the world and across the genres- is the quality and urgency that comes out.  In past years there has been a lot of vague and disposable music: This year so many long-lasting and wondrous artists have come through.  Chocolate-scented Soul lamentations have nestled alongside rampant and primal Rock gems; effervescent and crowd-uniting Pop and heart-melting Folk stylings- 2015 has rather spoiled us.  So what of next year?  Bird is one artist that could well be a key player in the market- a regular of the radio playlists and a festival darling.  Already garnering hot reviews- from the national newspapers, underground blogs and…well, me- you have an army of media lovers behind her.  The press have compared (Bird) with Ellie Goulding and Sia; the cream of the modern Pop crop- that would do her a disservice.  I guess we need to levy comparisons to give the listener- sometimes untrained and ingénue- a guidance and starting-point- I feel Bird have advantages of her gilded peers.  Her instrumentation and nuanced compositions- a noteworthy and regular review standout- is something that behold; the vocals surpass cliché and easy comparison- such a seamless mix of sweet and impassioned; strong determination and some fragile edges.  Janie Price- the woman behind the bird- is one of the most intuitive and accomplished musicians around at the moments: Her music is lauded for its inventiveness and fusions; how she mixes old and new- music you cannot quite put your finger on.  Not conventional as Pop; not as honed as Electronica; not quite Alternative- some wonderful and beautiful sub-breed that is wowing audiences with its multifarious plumage and glistening teeth; its incredible speed and immense ability (quite an odd freak of a hybrid there!).  Figments of Our Imagination is Bird’s daring and brilliant new L.P.: Just looking at the track-listing wets the appetites.  From Drink Drink Drink to Love Love Love and Lucky- almost a story and romantic entanglement in itself- you get a little window into its tales and torments; its humour and passions- just what is in store.  I shall investigate the album some more- towards the end of the review- but it seems Bird is wowing and buckling critical knees- and rightfully so!

Before I look at Thrill Me- and pick-apart Figments of Our Imagination- I am going to look back: See how far the young songwriter has come; how her modern work stacks up against older tracks- and what developments have occurred.

   Girl and a Cello arrived (six years ago now- following her debut album).  It all begins with the instrument in question: Building from sparse and classical foundations, the mini-L.P. runs a gamut of avenues and moments- never resting with one sound or way of thinking.  Songs like Bad Connection are more funked-up and dancey: Price showing how varied and stretching she can be- whilst keeping her core sound set and firm.  Some Boys’ tongue-in-cheek sexuality- a play on The Smiths’ Some Girls Are Bigger Than Others perhaps? - sees the young artist playing with seediness and seductiveness.  Elsewhere, 18 looks at flashbacks and youthful desires; High Price looks at more staunch and harder issues- perhaps the album’s most angry and serious moment.  The collection sees Bird tackle Pixies’ Debaser- turning its demented and animalistic yowls into something more composed- and gives it a breath of fresh air.  The entire collection shows how Bird can keep a central and distinct sound firm: Mixing in harder edges and different genres; she manages to captivate the listener with her incredible voice and undeniable commitment.

   Some Boys E.P. arrived next- and was a step up from her previous work.  Released in 2009 too, its Some Boys/20 Days combination (there was an alternative version of Some Boys too).  Skipping and dancing; the title track is joined by Bird’s vocals- transposing and reinterpreting The Smiths’ classic.  Beautifully suited to her voice, our heroine gives the song a new lease of life- making it sound fresh and her own.  Backed by a sparse spiraling string- some basic percussive beat- it is just the voice and words: Bird is in control and completely intoxicating here.  20 Day is just as affecting and memorable: The young artist is urgent and commanding; confident and spellbinding- ensuing punch and panache is packed into a short space of time.  A natural bedmate to her existing work, Some Boys E.P. provided a step forward in terms of confidence and authority: Never had she sounded as meaningful and blissful.  Whether it is a single, E.P. or an album; Bird shows just how strong she is; how adaptable and diverse, too.

  The Dare is one of Bird’s more recent cuts- it dates back to earlier this year.  The track mixes some fuzz and static with a strumming and tender acoustic guitar strum.  Bird’s vocals come into the fray quickly.  Words speaking of playing the game and being the same; on the edge of a concrete ledge- it all puts vivid images in the mind.  Although someone is calling out, our heroine is on the edge- and looking down.  Perhaps she is daring someone- that she can survive or go right to the edge- and that tense and unpredictability is echoed in the composition.  The vocals begin punctuated and carefully deployed; as the song develops- along with the composition- they accelerate and rush: The track gets more frantic and fast-paced; taking the listener along with it.  It is hard to compare the song with another- or any other artist freely- as it has a unique and impressive skin.  It dips and climbs; stops and starts: That momentum and unpredictable energy is what makes it so gripping.  The refrain (that begins) “Is it nearly over?’ is repeated like a mantra: A haunting and intriguing deceleration that produces all sorts of emotions and possibilities.  An impressive and hugely memorable track, Bird much she progressed and how confident she sounds.   In 2015, the London artist has not rested or taken time for a breather: with a brand-new album, she is back in force and at her very peak.  Drawing in all her existing strands; introducing new topics and storylines- such a mesmeric and unstoppable force.  I guess touring will come- before Christmas- and new listeners and reviews are discovering Bird’s talent.

Thrill Me is a track I have been looking at closely.  The sophomore track from her album, it is a quintessential Bird composition: It can be no other artists around; something inimitably hers.  Racing out of the blocks, the song has trippy and hurrying beginnings: The combination of electronic pulses and exhilarated percussive beats creates an instant start- the listener is hooked from the very off.  In a way, the initial moments remind me of ‘80s New-Wave/Synth.-Pop (in a good way): Bird has always mingled older sounds and new; here you get evocations of ‘80s blitz and modern-day Pop in one little package.  Caught in the primal beats and swelling atmosphere, you wonder what the vocal will recall; how the lyrics will develop- what will come first.  The initial sentiments see a heroine prescribed: She “ties her hair back”; you get a very gentle and simple image to start things off- your mind races to imagine the looks/idiosyncrasies of the song’s central figure.  Tearing the pages out- “Some things she has seen”- there is some ambiguity in there; just what is being referred to?  Maybe a magazine page- images of beautiful women or odd scenes- or pages from a book/diary- a personal outburst or low state of affairs.  Like all great songs, the early moments tease and compel you to think: After that desirous and stunning introduction; the song’s early sentiments create a maze of myriad possibilities.  Whatever is being torn and referenced; he is “staring back”- maybe a lost lover or heartbreaking anti-hero?  I get ideals of a lover that has broken her heart: Someone that was untrustworthy and a no-good liar; perhaps having cheated and betrayed (our heroine).  Throughout the lyrical outpouring, you are caught by the vocals and composition.  Bird’s voice is firm and impassioned- containing some gentility among the power- and it is allowed to fly and pervade with clarity.  Backed by superb and clear production values, Thrill Me’s vocals are allowed to reign in the mix: Not fettered and overwhelmed by the composition; nor blended low in the mix- every word and note is crisp and vibrant.  That said, the composition does not get second billing: The punchy beats and buzzing electronics- there are little see-saw strings that cut in occasionally- are as clear and impressive.  My ideas of heartbreak and anger might be short-sighted.  It is said (the hero/man) is everything she needs; someone that compels song and outpouring- maybe someone who is causing some swoon and attraction.  That initial paper-ripping was out of lust and girlish desire: Given the song’s title; that interpretation makes a little more sense.  After some relatively composed and tender beginnings, the chorus bursts into life: That voice rushes and augments- with a little bit of Sia and Kylie Minogue in places- with passion and huge force.  A mix of powerful Pop and delicate Synth.-Pop it is a marriage of delicate and striking: The chorus ranks among one of Bird’s best; something that is instantaneous and catchy.  The heroine- whether it is Bird herself- is waiting to be thrilled; wanting to go dancing through the night, that romantic longing radiates and explodes.  Sure that things will go right; this feeling is the real thing- you are invested in her fantasy and plight; that beguiled and swimming affection.  The persistency and urgency never relents: The composition keeps building and rushing; the whole mood and blend is designed to get voices singing and smiles created- a sunshine-bringing slice of song.  Not your average/traditional song- that deals with heartache and personal anxieties- there is some positivity and redemptiveness at the surface- something that eschews modern values; brings something much more inspirational into music.  That wave and swell of compositional elements- the high-pitched electronics and lower sounds; the spiking beats and slams- are stunning.  Blended with a rousing and soul-bearing vocal, the song really hits its stride.  As it progresses, we learn the heroine is incomplete and lying to herself: Tears are pouring and this fantasy is causing some noxious effects.  The lack of reality and clinging to dreams is causing her to lose her senses and mind; that desire to be thrilled and seduced will never be- you cannot shake off that feeling of loss and sadness.  The man in the magazine seems to be an ideal suitor: Whether escaping her own life and demons, she is clinging to something fake and fantastical- a topic and theme that will resonate with many.  In modern society, a great deal of people are obsessed with magazine images and fantasy; false ideals and something they can never obtain- few songs deal with this issue with such conviction and economy.  Bird’s voice ensures every word and line sticks directly in the mind: Never overwrought and overly-emotive, it is pure and direct- breaking through the beats to leave its mark.  Once more, that composition swings back in: The second time, you are singing along and the feet are tapping.  The girl with the ordinary life wants the fairytale love: You always want it to work out knowing it never will.  In the final minute, the composition starts to take the spotlight.  After the second chorus, the electronics and beats mutates and bend; there are little parables that come and go- emotions and feelings represented in sonic waves; you get a real sense of progression and development.  In the early stages, it was the vocals and lyrics that told the story: Here, the composition takes charge and provokes images and possibilities- each listener will have their own interpretation of events.  Scuttling and syncopated; primal and eventful, the beats race and rush- adding to that air of dissatisfaction and heartache; the fear and loss.  The chorus comes back in and completes Thrill Me.  By the final moments, you have a complete picture in mind: That tearful and dejected heroine; wanting the magazine man to come and save her- she does not want to be caught in a life that seems boring and hopeless.  There is a mix of juvenile and youthful innocence and adulthood woes: The central figure has fairytale desires yet is caught in a miasma of strife and personal crisis- maybe fantasising is a way to escape the disturbing aspects of her life (or maybe I am just overreaching).

What impresses me about Thrill Me is its mesmeric and unending pace and potency.  From that intricate and nuanced beginning, the song grows and evolves into something stunning.  Bird’s voice is commanding and dramatic in every moment: Mixing cooing and tender utterances with anxious power and pace, you are always invested and fascinated by the voice.  Most modern songs are synonymous with one aspect (or maybe two): Here the words, music and vocals have equal weight.  The lyrics will relate to anyone that has ever thought about escaping into a fantasy: We all dream of a better life and better love; something we cannot have but desperately need.  Not just confined to the girls/young women, it is a subject that every listener can understand and appreciate.  Presented with an original spin and unique edge; Bird ensures her lyrics are not clichés and stereotypes- she has always proved herself to be a fertile and mature songwriter.  It is that maturity and intelligence that levitates the song above the pulpit of predictability and her peers.  With a composition that says so much- without speaking a word- and you have a complete package.  I was compelled to repeat the song and witness that chorus again: Get inside the lyrics and dig for new meaning; seek that voice out and fall for its charms and romance.  With stunning and peerless production values- few songs resonate as clearly as this- and Thrill Me completely wins you over.  Whilst a lot of modern songs are stymied by their lack of clarity and intensity; here you get a song that bursts with colour, passion and drama- it reveals new light and beauty upon each new spin.  One of the album’s finest moments- the very best to my mind- and you see where Bird is now: One of our very best artists seems to be at her very peak.

Bird is showing how far she can really go: Her album is resonated with critics and fans; so many new people are flocking to her shores- something about the music just overpowers and wins your mind.  Whether it is the musicianship and compositional adaptability; the refusal to be tied-down and honed-in- the bold and confident music; who knows?  What I can say is that we have a terrific young songwriter in our midst: Someone who deftly dodges the pitfalls of some solo acts- the tepid songbook and rather aimless ambitions- because she has a natural talent and a great set of songs.  Janie Price has been making music for a while now- and has released her fair share of records and singles- but this is her finest moment: Figments of Our Imagination is the summation and combination of her past glories; her modern ideas and future possibilities- woven together into an eye-catching and breath-taking tapestry.  With a stunning musical talent and a distinct pedigree, the future is very bright for Bird- make sure you follow her closely.  I started my review looking at female artists and the potential for 2016- and shall end summing-up Figments’- and it is apt to return to its feet.  I have had my fill and share of the unworthy and senseless solo musicians: The John Lewis advert-scoring cover songstresses (who all sound exactly the same: robotic and utterly unpleasant); the Folk/Pop singers who strum and annoy (like a poor man’s Ed Sheeran, if you can stomach that) - the singers with an army of songwriters and an armada of producers.  Music deserves talented and multi-skilled people; musicians that go the extra mile and try and subvert expectation- humans that want to do something different and bold.  With so few about, we should herald and embrace those that rebel (if that is the appropriate word?) and make an impact.  You feel Bird’s best days are still ahead of her: The new album is a wonderful work- something that is being acknowledged by all- yet she has so much more to give.  More heartache and personal insight; more magic and music wizardry- simplicity and passion beauty and power.  How she channels and disciplines her potential is in her hands: Her fan-base is rising and the demand going with it; the songwriting gets stronger and more assured with every passing release.  As 2015 move on towards its end, the following year is in the womb and unready for the world- when it does arrive; all bets will be on- which musicians are the ‘ones to watch’- who will be dominating attention and producing the year’s best work.  Bird is among a series of female songwriters that are starting to gain mass appeal: Get inside the column inches and make their voices heard- stand out from their peers and fellow songwriters.  I am sure she will be performing around the U.K. - with the distinct possibility of international performance- and taking the time to take Figments of Our Imagination to the eager crowds.  If you have not heard of the London-based musician; investigated an incredible and fascinating talent- make sure you remedy this at the earliest convenience.  Few artists come around that are as special and filled with potential- for that reason, pick up Bird’s stunning album.

Figments of Our Imagination is a packed with gems and glistening tunes.  Girl Can’t Decide begins with a beautiful introduction: Swooning strings and pattering beats blend with bubbling electronics to create something seductive and beguiling.  A “high-class seduction” is underway: Our heroine is caught in complications and bad situations.  Unsure of her mind and instincts, there is a need to figure things out.  The vocal and chorus is entranced and beautiful: The composition sways and glistens in the background; the vocal is breathless and gorgeous.  A song that deals with real-life qualms and confusion, it will speak to the listener with its reality and meanings.  A terrific lead song, it gets the album off to a terrific start.  The Dare- a song I have looked at and summarised- completes a wonderful 1-2-3.  After the thrill-rides of Girl Can’t Decide and Thrill Me; The Dare is a darker and more introverted piece: One that looks at tense dares and concrete ledges.  The composition is one of the most primal and hard-hitting on the L.P.; Bellicose percussion and ecstatic electronics create a template of fear and uncertainty.  Stereotype begins with a gentle and skipping beat: Tender piano and a light vocal sees our heroine living as a stereotype- living life just like everyone else.  The vocal skips and swoons- like the composition but more graceful even- to create something both catchy and romantic.  Wanting more from life, our heroine seems stuck in a rut; perhaps tired of living in a mould- that desire to break free and experience more.  The chorus is another wonder: Both bold and big, it is memorable and sing-along.  Perhaps the album’s first insight into Bird’s classical talents- there is more emphasis on cello and strings here- it adds beauty and refinement to the track.  After the rawness and vibrancy of The Dare; here there is a more gentle and tender affair.  Hypnotise is the album’s most insistent beginning: That introduction is a dizzying and charming sound; the vocal quickly steps in- and leads the way.  Perhaps one of the album’s less immediate cuts, it is a song that benefits from fonder investigated- it may take a few listens to really get its full force and potential.  Brimming with love and desire; Bird lets her voice reach and glide- the production here allows all the components to blend seamlessly; create something of-the-moment and classic; a song that will be a sure-fire live favourite.  Small Town has a slightly quirky and offbeat start.  From the get-go it is a rather odd and fascinating song: It differs from everything that has come before.  Multi-tracked vocals and syncopated percussion joins lyrics that look at escape and the need to run- see the wider world and go somewhere more fulfilling.  Able to relate to the song’s messages, it is a particular favourite: A track that sees Bird at her most compelling and meaningful; let’s hope she has found satisfaction and a bigger town- somewhere that suits her a lot more.  Lucky is a song that has a sweeping and piano-led introduction; a particularly stand-out beat- a song that looks at fears and superstitions; intrigue and mystery.  One of the album’s most complete and memorable tracks, I was caught by that composition: There are Trip-Hop and Classical elements; a real fusion of sounds and sensations- it rises and falls; glides and runs.  One of the best compositions I have heard for a while, it perhaps steals attention from the vocals and lyrics (not in a bad way) and has a life of its own.  Love Love Love is a sparse and immediate track.  Our heroine is following time and wanting to be a led to a better life:  Wanting to grow and find certainty, it is a paen and plea to its guidance and mystery.  The composition remains fairly light and unobtrusive as Bird lets her thoughts and emotions to do the talking: it is a very of-the-moment and current sound; one that could rank among the mainstream’s very best.  Drink Drink Drink is not as drunkening as its title suggests.  More haunting and ethereal than earlier numbers, Bird is determined and angry here.  Calculations and lies are afoot: Our heroine wonders what will happen is she is drunk dry.  A provocative and memorable image, there are big emotions and pains at heart.  Gentle swaying and stumbling- the start of the intoxicated downfall- the drink metaphors are used to look at loss and leaving things behind; complications and troubles at heart.  Again, the chorus is a big and quotable thing: It is another song that will have crowds singing and compel voices to join together.  Think So ends the album with some scratchy and distorted beginnings; hand-claps and acoustic rush- the vocal is light and breezy; the mood more upbeat.  One of the album’s more optimistic and upbeat songs; you are captivated by the wordless vocals and acoustic strings.

Across the ten tracks, you get ten sides of Bird: From fear and escape to yearning and dare-devil behavior, you are treated to some fantastic songs and wonderful moments.  Never stagnated and one-sided, the album bursts with life and colours; range and possibility, it is an album that keeps you coming back- you cannot take it all in on the first listen.  Perhaps Bird’s finest record, it should listened to by as many people as possible- an artist that deserves a lot more attention and fans.  With few weak moments and unwavering and unimpeachable confidence, the string songwriting and stunning vocals are only met by detailed and varied compositions- Figments of Our Imagination is an album for those who love true music; want songs to capture their imagination and make them think.  This year has been a good one for Bird; make sure you check Figments of Our Imagination out and…

LOOK out for what is to come.

[youtube https://www.youtube.com/watch?v=t0XbjRhYh-c&w=560&h=315]

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Track Review: Gelato- Grey for Good

TRACK REVIEW:

 

Gelato

 

Grey for Good

9.4/10.0

Grey for Good is available at:

https://www.youtube.com/watch?v=XYX6MLZ1wqw

RELEASED: 30 September, 2015

GENRES: Rock; Grunge

ORIGIN:

London, U.K.

_________________________

FROM the reviewing streets of Brooklyn- following my review of Yellow Shoots- it...

is back to London: once again at the feet of a stunning and exciting young band.  Before I introduce them to you, it brings me to the topics of London/U.K. bands and heavier sounds- the perils and hazards one can face.  It is hard trying to keep a track of all the bands coming through at the moment: those that are great and worthy; those mediocre and in need of patience- those that just suck a big ol’ hairy one. Over the years I have been doing this blog, I have witnessed some fantastic groups- with few average ones in the pack- and loved all they have had to offer.  When it comes to the public buck, the band market is still the most lucrative and money-spinning: pound-for-pound the band sector is the most popular and sought-after.  It is not hard to see why I guess: historically, bands have always produced the best albums and moments; today that is probably the case- although the solo market is making grounds.  It is just that strength-in-numbers ability: You have more members and more options; the ability to share the creative workload- radio stations and festivals seem to gravitate towards bands too (as opposed to solo acts and duos).  Although there is a big market out there, it is not good enough- with regards new acts coming through- to just be lazy and phone it in- you have to earn your place at the table.  I hear too many groups that replicate others; sling together something generic and formulaic- expecting the public to salivate and cling to their bosoms.  The best bands are those that go the extra mile: project something with grit and heart; resonance and lashings of memorability- something that digs right into the soul.  When it comes to my tastes, I love a band that can rock hard: Produce great anthems and meaty riffs; plenty of on-point messages and strong vocals.  London is showing how it should be done- as are Yorkshire and Manchester- with a real revival happening: in the past, the capital has faltered slightly; it is coming back strong- some wonderful bands are playing around London.  Being in contact with a fair few of them, it is a really exciting time in music.  Britain is tussling with U.S. to see who can produce the best music has to offer- it is hard to see who is winning the race.  Gelato are a band that are fairly new and fresh: They have produced a couple of cuts and are looking to launch an E.P. - the initial signs are all promising and positive.  Having reviewed their track Room Service, I am back with them once more.  What impresses me about the boys is their rugged and raw sound: they cross elements of Nirvana and Grunge; little bit Foo Fighters and Queens of the Stone Age- U.S.-led and going for the upper end of the quality meter.  When the vocals persists and endeavor, hints of Kurt Cobain are there; when the guitars and percussion dance with bass- and get the mosh-o-meter at its peak- there are definite Foo-cum-Queens shades- without ever straying too close to their paths.  It is not just the sound and style that stuns me: the way the boys perform shows how tight-knit they are; how passionate they are about things.  Having toured with the likes of Echo Boom Generation- another London-based powerhouse- they have enthralled the live crowds; garnered a great reputation- this has parlayed into their studio-based efforts.  There are a lot of twenty-something Rock bands out there; it is a tough market to crack- the trio are well on their way to achieving stardom.  Before I raise a new point, let me introduce you to them:

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

With the scene filling with some energetic and anthem-penning bands, it is vital the songs make the biggest impression.  On their latest cut- which I shall get to shortly- the guys are at their most impressive and memorable.  Their songwriting is original and stunning- their lyric perspective and phrasing has few equals- whilst the playing is at its most primal and nuanced.  Few bands manage to create songs that are pummeling and intelligent; appeal to all genre-loving fans- they create songs that are designed to get the late-night venue-goers singing aloud.  It has been a year-and-a-half since Gelato unveiled their debut E.P.: their next moves are going to be very interesting; see how their next E.P. will compare- and whether there are any big changes.  Given what has come before- and how it was received- there is no need to tinker with the music too much- the instinct and quality the band has is exceptional.  I have oft-mentioned the popularity and influence the mainstream gods are having- your Royal Blood and Foo Fighters- which is inspiring a lot of young bands to write and perform.  Grey for Good is the London band’s attempt to forge some serious headway: make their voices heard and register their campaign with style- after a single listen you certainly are compelled to investigate them further.  With that live ability and flair, they translate this into focused and nuanced studio cuts- Grey for Good is as good a song you will hear from a Rock band this year.

When looking at Gelato’s current offering- and how they have evolved as a band- it is worth looking back.  With a new E.P. coming soon, the boys have a full head of steam- clearly ready to drop something quite impressive and fresh.  When Gelato’s self-titled E.P. was dropped, I was stunned by the confidence and range of sounds.  Although they are a Rock/Alternative band- a lot of their peers are quite narrow and stringent with their experimentation- the boys showed how effective diversity and adventurousness could be.  Get My Way begins with some Queens of the Stone Age buzz- imagine their work across Era Vulgaris; bits of Eagles of Death Metal too- and you get an idea of the ambition.  Although our hero’s vocal has a smattering of Josh Homme’s cool-cum-razor attack, the band retains a very British sensibility.  Not allowing their music to sound too similar to anything else; they cheekily nod to Queens’- have a play with their formula; the wordless coos and Desert-Rock swagger- and adapt it for their means.  The lyrics and story are very much their own: The suffocation and anxieties that resonate come from a very person place; it is not cribbed from anyone else.  Room Service (their biggest hit to date) has a similarly Grunge-laden/Q.O.T.S.A. introductory blast- it crawls and licks; sweats and winds.  What strikes me about the song is the band’s tightness and authority.  When portraying something U.S.-inspired and anthem-grabbing- the song again has some sneaks of Queens’; bit of Foo Fighters- bands usually replicate and lazily rehash.  Here, the band injects some idiosyncrasies and distinct vibrancy: there is a composition that has come from their jam sessions; their own ingredients are tossed into the pot.  It is nice to hear some familiarity in music- a little nod to your current heroes and favourites- whilst ensuring your music has its own D.N.A.  Gelato ends with Ruffians: Perhaps the E.P.’s most insistent and energised number; it has some Grunge elements to it.  The guys marry that ‘90s sound with something of-the-moment; Alternative and Indie shades tease alongside Queens’-esque sensations.  A number that twists and dances throughout- it is the E.P.’s most addictive and head-spinning numbers- it ends on a natural high.  The three-track collection is focused and economical; it provides plenty of bang and nuance- leaving you wanting more; it keeps you coming back.

Grey for Good is a step forward for the band: here they sound more distinct and original; they keep the elements of U.S. legends- but their latest track has more confidence and sense of identity.  Retaining their debut swagger, cool; charm, catchy songwriting- there is a little more discipline and danger.  Sounding more authoritative and stunning than ever; here the London band stamp their claim on the market- marking themselves out as one of our most impressive and potential-laden acts.  A sample of their upcoming work, it makes you wonder what (the E.P.) will contain: If they stick with the sound/dynamic of its lead-off track; mix in some of their debut sound- or pull off something brand-new and fresh.

     Grey for Good is the boys’ latest cut and- if initial reviews and outpouring is to be believed- it is one of their finest and most fully-formed efforts.  Beginning with a spirited and springing riff- one that bounces and kicks- the introductory moments certainly set the stage: The riffs fizz and strike; the percussion remains light and persistent- the bass keeps everything composed and balanced.  Before the vocal kicks in, the composition steps up a notch: Reminding me of debut-album Rage Against the Machine- and the expansive and colourful palette guitarist Tom Morello unleashed- you get a flair of U.S.-‘90s-Rap-Metal.  Sounding less indebted to the likes of Queens of the Stone Age and Foo Fighters; the track begins with a different ambition: It has a smattering of familiarity; yet has a uniquely Gelato flavor; a British sound- something that was not overly-evident on their debut E.P.  Like all Gelato songs, there is urgency and passion from the outset- no time to build-up and tease; straight in with the meaty hooks and menace.  Before the 0:30 mark; the percussion comes more into the fray: Bursting and swaggering, the entire band combine with force- ensuring the maximum amount of intrigue and mouth-watering is created.  Although there are some nods to U.S. giants- some Nirvana shades and still a lingering of Queens’- there seems to be a new side to the band’s side- they have gained confidence and developed their style slightly; never compromising their ethics and core sound.  Grey for Good never relents its sense of mystique and vivacity; the composition keeps swinging and campaigning- keeping that catchy and insatiable energy high and prescient.  Perhaps the vocal is mixed a little too low-down- and it can be hard to pick out a few of the lyrics; lines have gaps, making it hard to piece it together clearly- but the emphasis is on the overall mood and sound.  To mind, and the one word that stands out from the song, is “procrastinate”- something that seems to direct link to the song’s title.  You get images of a premature grey: Someone that is wasting his time and whiling away his dreams; hesitating and holding back- there is that ever-present danger and death.  The song’s video- that sees an elderly man and his young compatriot watching videos on a laptop; drinking whiskey and laughing- juxtaposes the song’s true nature.  Whilst the video sees an old man living it up; showing a youthful recklessness and rebellion- the song’s central figure seems to a transposition.  The vocal constantly pokes and prods its hero; the determination and passion breaks through the composition- always striking the ear and impressing with its determined spirit.

It is probably worth digging into the lyrics- must confess I asked the band for a lyrics sheet; give me a chance to investigate them- and see what the song is really about.  “Nasty scene in the underground/guys walks in and bumps his head/forgot you’re not allowed to stare” are the first offerings: They are oblique and mysterious; distant and bounteous- any spin can be provided on this.  To me, I think of the music industry in general; the bustle and cut-throat double-cross and deceit.  That need to get ahead and being let down: Bands and acts that suffer if they are ambitious; prosper if they conform to set ideologies.  Perhaps I am way off- and the lyrics hold openness for all to decipher- but you could be looking at a more general scenario.  When the lines “Sitting in the corner/he’s working on that air of innocence/remember nobody said it was fair”.  I am not sure why, but my mind keeps playing on that idea: The music business and the struggle for appeal and real estate; the lyrics are both original and intelligent- they say so much with very few syllables; make you think and imagine.  As the song develops- and the chorus comes in- there are more life/romantic notions: “Save yourself some brain/Don’t want to cross the line/you & I the same”.  It is hard to pull away from musical realms; although you could find some space thinking about relationships and their dynamics.  The lines look at overthinking and dumbing-down; mortality and staying young- again; that swirl of ambiguity and economy.  Later lyrics look at being trapped “inside the lens, we helped create” and feeling a bore.  There is just metaphor and miscomprehension; that numbness and dumb feeling- perhaps a symptom of youth or that feeling of becoming old too soon.  Throughout the song I am split between age and music: The struggle to stay sensible and focused; young and in your prime- maybe just that need to stand out and be individual.  Whatever the true meaning- by the end of the song our hero has submitted; is dead- you feel like the battle is lost; there is not point to hoping.  It is good to know the lyrics- and hope the band put them across social media- as it allowed me to give my own take on things- although the boys will be grinning slyly; knowing I am way off the mark.  That is the great thing about Grey for Good: It is a song whose composition is straight and defined; the lyrics juxtapose and allow everyone to adapt them for their own means.

What is great about Grey for Good is that combination of band parts: The composition itself inspires the feet to kick and move; the arms to raise themselves aloft- it is a track that is destined for the large crowds and eager gig-goers.  As you get caught up in the wave of strings and percussion, you are always drawn in a few directions.  That Nirvana influence is there but not necessarily too heavy- as with Queens of the Stone Age remnants- but you can’t fault the band’s expertise and intuition.  Throughout the track, they are completely sure of their lyrics and direction; they never sound nervous or unsure- a band brimming with assuredness and grit; a real unstoppable energy.  As I said before, the song never lets go of its rush and vibrancy.  Perhaps the ambiguity and slight decipherability issue gives the song an open-for-interpretation beauty: Each listen can extrapolate as they feel; paint their own conclusions- and imagine they own truth.   To me, there is that necessity to get up and start living life; to stop sitting around and waiting for things to happen- being stuck in a rut and skipping the benefits of youth.

In the current scene there is a lack of music depth and intelligence- when it comes to a lot of Rock and Alternative bands.  Gelato have always shown a side of sophistication.  A lot of contemporaries tend to just go for standard themes and lowest-common-denominator levels- focusing on love and its ills; the perils of heartache- whereas the London band dig deeper and come up with something dramatic and scenic- focusing on characters and uncommon issues.  Grey for Good is not as shiny and over-polished as a lot of contemporary Rock- and even Nirvana’s Nevermind was too glossy- which makes the core messages and sound more authentic and murky; a little dirty and ragged.  I have hinted at some intelligibility qualms- and that may just be down to the mixing; perhaps a deliberate distortion- but that does not detract from the song’s anthemic and fist-aloft appeal; the way it gets inside the head and provokes fascination and imagery.  Drew, Phil and Ben are a trio that is completely in-step and tight: The performances here show no weakness and lack of discipline.  With their soul being back in the ‘90s- when their idols began their careers- there is a modern aesthetic and sound too- it could easily slot into any festival bill and underground radio rotation.  Grey for Good is a good indication to the forthcoming E.P.: It would be good to see the boys expand and try something softer perhaps; broaden their sonic range and maybe take the mood down a little.  I love their latest cut because it keeps the spirits up and prompts the listener to use their imagination and get lost inside the song.  There are too many flimsy and simplistic songs floating about music; few bands that try anything different and unexpected.  Gelato always bring the goods, and they have done again here- producing their most urgent and immediate tracks to date.  Everything they produce is designed for the masses- it does not alientate the audience- and has plenty of punch and fun to suit any tastes.

The Gelato boys have once more produced a razor-sharp and bristling track: It is alive with danger and energy; catchy strings and primal percussion; dramatic vocals and cutting lyrics.  Few bands around manage to tick all boxes and attack on all fronts- for that reason; the boys should be very proud.  Of course, this is a good sign with regards their E.P. - it is likely to be even stronger than its predecessor.  I am very excited about some of the bands coming out of London: we have a lot of wealthy and healthy home-grown talent- those that could ascend to the mainstream and give it a much-needed injection of quality.  As 2015 draws into its winter moments, it is tempting to look back and reflect on the best music that has come- see what 2016 might produce.  From speaking with Drew- the band’s leader-in-chief- the band is jazzed about the future.  They have toured the U.K. and Europe; a young band who have achieved an awful lot- with a lot more great things to come.  Their sounds- that marry ‘90s Grunge and U.S. stadium Rock- is primed for a slot at Reading and Leeds; you could well see them at big festivals very shortly.  I hope they come and play Boileroom very soon- a great venue very close to me- and bring their brand of awesome-ness to the fans here.  Grey for Good is an indication of their hunger and desire: they are a trio that wants to remain for many years; inspire and join with others- take their music as far as they can.  The band market is a packed and busy one: there are so many competition; few ever make it all the way; get to rub shoulders with their idols.  It would be easy to say that Gelato have it in the bag; they are sure-thing successors and kings- they are just starting out so that may be incongruous.  What I can say is they have all the ammunition and potential: with each new release their confidence and quality expands; they notch up another gear.  Before concluding, let’s consider what the mainstream is offering; how many truly unique bands there are- that grab you upon first listen; compel you to dig further.  I have reviewed some terrific acts this year- that I keep coming back to and really stick in the mind- but I am looking at the mainstream at the moment.  It is true, there are fewer bands here- as it is the peak of music success- but the ‘best’ out there aren’t really as stunning as you’d imagine.  The acts that fly under the radar have made the biggest impressions; those that have been hotly-anticipated and bigged-up have not really lived up to the hype.  With that in mind, it means there is potential for some new and underground acts to claim their places.  Gelato are happy enough making music and seeing how things go: enticing the crowds and seeing where their travels take them- taking one step at a time.  Their success last year has motivated and propelled them to keep creating and working- with every new step they reveal fresh layers and something enticing.  If you have a chance to see them live, do not miss the chance- and witness one of our best young bands in their element.  As I plan the next reviews and scan around the musical landscape, it has been an exciting and fun last few weeks- I am really impressed by the quality of music coming out.  We all need sounds that lift us and dig deep inside the brain: raise the mood and do something primal and elemental.  Gelato have the fuel and songbook to produce a near-future: They are a band that could easily entrance across ten or eleven tracks; really do something wonderful- let’s hope 2016 affords them the opportunity to do this.  If you are lost for some great new bands; are hankering for an instantaneous and epic song; music that puts you in a better place- then look no further than Grey for Good.  Sit back, buckle in and discover something…

PRIMED for the major leagues.

[youtube https://www.youtube.com/watch?v=XYX6MLZ1wqw&w=560&h=315]

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Follow Gelato:

 

Facebook:

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

Twitter:

https://twitter.com/GELATOMusicYeah

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Music:

http://gelatomusic.bandcamp.com/releases

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Videos:

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

Boileroom: Getting the Community Involved

Boileroom:

Getting the Community Involved

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Whilst the town of Guildford- where Boileroom is based- is becoming less accessible and a little more self-parodying; it is pushing people to other locations.  With a new Waitrose store being built, it seems a rather unwise choice: if you are going to build a supermarket make it affordable (Lidl or Aldi for example); rent prices will rise (given the fact the new store is open); traffic will increase (on a road that is always busy and bottle-necked); it is becoming more middle-class and expensive- the less well-off population are having to relocate and downgrade.  Whilst town planning and redevelopment schemes are starting to overly-gentrify Guildford; Boileroom is drawing more people in- trying to be more inclusive and unifying.  A little slice of London seemingly- it is a venue that would not seem out-of-place on Camden High Street; wedged into Dalston maybe- the venue keeps growing and expanding.

I published a piece earlier in the year regarding the venue’s growth and popularity- https://musicmusingsandsuch.wordpress.com/2015/07/22/feature-inspiring-new-music-the-rise-of-boileroom/- and expounded its virtues and potential.  Having battled financial issues and fighting to get their name recognised; Boileroom has established itself as one of the U.K.’s most prominent and distinct music venues.  The trouble is- and the reason for writing this, I guess- is the fact it (Boileroom) does not quite get the full recognition it warrants- in spite of their growing calendar and augmented ambitions.  Boileroom has an army of Facebook fans- numbering into the tens of thousands- yet there is social media flaccidity and inertia- comparatively few share posts and promotes the venue.  Having just celebrated their 9^th birthday- some big names have played recently; there are big events ahead- it seems a bit of a shame.  For one thing, the music agenda is looking exciting: Boileroom have just hosted Darwin Deez; they have Hooton Tennis Club and Duke Special playing next week- plenty more before this year is through.  With Hallowe’en and Christmas coming up; I am sure the venue has some plans- with regards a party or events for the community- and ideas in mind.  It is not just the music that Boileroom focuses on: Social mobility and political discussions sit with vintage fairs and craft/art events; aimed all ages and people.

There are few music venues in Surrey- in the U.K. for that matter- that has such a wide-ranging ternary: Actively encourages the community to get involved and take part; is so busy and passionate.  With Guildford having so few opportunities and places that promote social activation and craft; arts and charity events- in addition to yoga classes and comedy nights- Boileroom is a one-stop portal for all your music, creative (and social-political) needs.  The staff and public have a great bond; the staff has a great passion for change and involvement- every political discussion and meeting is designed to get people involved; make them think.  It is this determination and spirit that deserves reward: I guess being outside of London- with regards media attention and social media ranks- it is harder to gain true recognition.  The staff and patrons have a great relationship and are happy with how things are going- it will get better and more prosperous for the charming venue.

Let us hope the rest of this year- and the coming year- remains successful and bright for Boileroom.  There are some great new initiatives and schemes being piloted.  One such scheme is Surrey Soup:

Based at The Boileroom music and arts venue in Guildford, Surrey Soup is a volunteer effort and exercise in community, food, creativity and good times. We are creating new opportunities and lasting cultural exchange with our locality.

So what is Surrey SOUP? Surrey SOUP is a community-focused and led creative, grassroots crowd-funding project. Ever had an idea, project, or start-up that will benefit the community? Have you struggled to get funding or get the project started? This is the place for you!

At each meeting: 3 applicants will be chosen to present to the audience for five minutes – with three slides – who they are, a picture of the problem, and a picture of the solution. Each presenter can also answer 4 questions from the audience. Each audience member then casts a vote for their favourite project. The one with the most votes wins the cash. And of course everyone gets a bowl of soup and bread – Everyone is a winner!

Our first dinner will be on Thursday 21st January 2016 – come one come all! You’re welcome to submit a proposal, come along and vote on what approved proposals you think would benefit the locality best; if you’re creative showcase some of your art (be it music, paintings, sculpture), or bring along a dish to share.”

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

Perhaps it is the lack of like-minded venues- or the need to fill a gap in the community- but Boileroom is insinuating itself more into the local community; expanding its portfolio- broadening its conscientiousness and inventiveness.  Surrey Soup takes a U.S.-born idea and brings it to a British audience- something I have not heard done here before- and encourages local creatives/business-pitchers to have a platform- a voice that may have otherwise been lacking.   London is on everyone’s radar- when it comes to music, venues and attention- so it seems Surrey is a little overlooked- there are some great and worthy venues out here.  Demonstrating they are not just about the music- the bands and act they house are among the finest in the country- Boileroom are determined to grow and prosper; get everyone involved and motivated.  With so few music venues as ambitious- and few outside of London gaining much attention- share the love and keep your eyes on these guys- spread the word via social media (and those that would benefit from their events and schemes).  They have had a bumper year; let’s hope 2016 is even better- they deserve a lot of...

Success and support.

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Follow Boileroom:

Official:

http://www.theboileroom.net/

Facebook:

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

Twitter:

https://twitter.com/BOILEROOM

Instagram:

https://instagram.com/boileroom/

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Vote for Boileroom in N.M.E.'s 'Britain's Best Small Venue':

http://www.nme.com/smallvenues

Track Review: Yellow Shoots- Tame You

TRACK REVIEW:

 

Yellow Shoots

  

Tame You

 

9.3/10.0

   Tame You is available at:

https://soundcloud.com/yellowshoots/tame-you

RELEASED: June, 2015

GENRES: R ‘n’ B; Alternative

ORIGIN:

Brooklyn, U.S.A.

Produced by Yellow Shoots Co-written by John Hamilton Mixed by Jon Buscema Mastered by Michael White

Art Direction: Troy Kreiner Photography: Kevin Burzynsk

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THIS is going to be a busy week ahead…

With the business of work- minor and pointless as it is- in-between there are going to be a lot of different sounds coming my way.  Some interview subjects are making final touches- a few lovely and talented ladies- before the band Gelato (Friday); Bird (Saturday)- finishing with Pop/Soul artist Manda (on Sunday).  Those reviews take me around the U.K. and the globe.  For now, I am back in the U.S., which raises a few interesting points: including U.S. music; the way we come to hear it- in addition to R ‘n’ B and Alternative blends.  I love British music- well most of it anyway- but it is always nice to hear something international and unfamiliar- get to grips with something new and fresh.  It is rare to really encounter music outside the U.K.: for us here, we have to rely on social media and word-of-mouth- unless the mainstream media point us in that direction.  We tend to all have our own tastes and particular music leanings: we revisited older music and tend to not stray too far from what is comforting.  If you are in the music business: either a music-lover or musician, you have a better advantage- naturally you come into contact with more bands/acts.  Most of my exposure to U.S. music comes from social media: I will be recommended an act or else I find a ‘friend of a friend’- it always seems like I stumble upon the music by accident.  I guess that how it is- you discover great stuff without intention- but it is always great unearthing something wonderful.  With regards American music, I am always keeping my ears trained and ready- seeing what is out there.  Of course, it is hard to assess and monitor all American acts- a lot will slip through the net.  When it comes to the location and providence of U.S. sounds, I look towards L.A. and New York- two vibrant centres for great music; bustling areas that are producing some of music’s very best.  Having encapsulated myself within L.A. recently- a few great musicians took my attention and stunned me- it is great to be back in New York- and a familiar spot for me.  After reviewing The Falling Birds- also based out of Brooklyn- I was compelled to seek some of their neighbours; just what the borough could provide- and how different the music is.  The Falling Birds are a hard and heavy act: their music is leather-clad and cool; their Rock music swaggering and attitude-laden- with plenty of melody, intelligence and wit.  On the other hand, my featured act has a different sound: the R ‘n’ B-cum-Alternative mesh is a smoother and more emotive thing- sensual and urgent; head-spinning and intoxicating.  It seems Brooklyn is one of the U.S.’s most prosperous and productive areas: the musicians here are inspired by their contemporaries and streets; the rich variety of sounds (coming out of Brooklyn) - there is something rather special occurring here.  Before I raise a couple of new points, let me introduce Yellow Shoots:

“Greg Matthews is a New York-based singer/producer popularly known as “Yellow Shoots”. Prior to becoming a solo artist, Matthews was the lead guitarist for GoGo Morrow and Ryan Toby of “City High”, playing on big stages such as Jay-Z’s “Budweiser: Made in America”.

After moving from Philadelphia to Brooklyn in 2014, “Yellow Shoots” was born. He released his debut single “Pieces” in October 2014. His music demonstrates infectious melodies and a natural combination of electronic, rnb and ambient rock influences.”

It is strange how fortuitous and happenstance music can be: without knowing it you get to witness something rather special and wondrous- having been a stranger to it the day before.  Social media probably needs something more organised and structured: there are a great many acts out there- worthy of attention and a lot of love- but they tend to slip through the net.  With the proliferation and swell of the music industry- owing to the fact there are dozens of new acts coming through by the day- how best to control/mediate this?  Well, when it comes to my music tastes, I tend to stick with familiar artists: their fellow favourites and acts usually proffer great rewards.  I love acts like Issimo- a British duo that play a variety of sounds- and they have a great spread of likes/choice musicians.  From there, I have been able to dig-out new review subjects and great music- it does seem unwieldy, mind.  It may be easy to monitor British music, but when it comes to American gems; it is a harder task- you just have to take it a step at a time I guess.  A lot of my recent reviews- and those coming up- concern Rock bands and British acts- with a bit of Folk and Pop thrown in there.  I do not get a chance to review an artist that fuses R ‘n’ B with Alternative measures- something Yellow Shoots has perfected.  With Tame You- released a few months ago now- there is that perfect hybrid of the genres; the crackling emotion and stunning beats- all tied into a colourful and dizzying cocktail.  There is still a proliferation of Rock and Indie acts out there, so it is great to stumble-upon something that breaks from those sounds- providing something more seductive and stylish.  Yellow Shoot’ central figure has amassed a number of social media fans; his stock is rising- I think 2016 will be an interesting year for sure.  With a series of songs under his belt, it would be great to hear a new album: something that expands his sound and material; showcases just what he is capable of- a fascinating and detailed investigation into his psyche and romantic life.

Tame You is not Yellow Shoots’ newest moment- Soul Find Me (featuring Faja) is fresher- yet it is a great middle point- we can see how the music has developed and changed; whether the newest moment is better/less striking.  Hold Me Down starts with direct and urgent vocals: fusing with tight beats, our hero is caught in a deep love- planets align and he is caught in a rather wonderful trance.  The vocal is both emotive and soulful- employing some great shades of past masters- whilst the composition is constantly moving and strong; it is passionate and detailed.  Backwards-sampling and scratches mutate to lashing percussion and cosmic electronics- meshed together and put through the blender.  The various threads and sounds mix together perfectly; there are no loose or out-of-place moments- it all sounds vital and stunning.  It is a song to get lost in and transport the mind; let it just drift you away- alternately, it could score a club dancefloor; such is its swagger and sexiness.  There are definite hints of classic/’90s R ‘n’ B wrapped inside modern-day Electronic music- the resultant genetic offspring is something quite beautiful.  Released ten months ago, Hold Me Down is the sound of a young man with a clear direction and sense of confidence- you can hear it all formed and complete here.

Pieces predates Hold Me Down and was one of Yellow Shoots’ earliest cuts.  It is bubbling and groaning; wandering and busy- a composition that has sparse beats and clicks; it relies on its evocative and atmospheric textures- the central vocal leads the way.  Sound rich and impassioned, it sees the hero pleading with his love; wanting her to prove (her) love- showing that she cares and feels for him.  That chocolate and velvety voice drips with emotion and intention; the composition twinkles, trips and shudders- the entire track promotes vivid imagery and dreaming.  Each listener will imagine their own course of events; how the story unfolds- ultimately how things resolve themselves.  Perhaps not quite as memorable as Hold Me Down; it is a valiant and impressive effort- one that could naturally stands alongside Hold Me Down.  Over the course of a couple of songs, there is a consistency and sense of improvement: Yellow Shoots demonstrates what a feel he has for his genre choices (R ‘n’ B and Electronica) and is consistently impressive.

  Soul Find Me is one of the newest examples from the Brooklyn maestro: featuring the sublime talents of Faja, it shows the collaborative spirit- how Yellow Shoots can work with a fellow artist.  For this track, there is no compromising or lack of integrity: that central and personal sound is all intact; you get a sumptuous voice added to the mix.  From its sensual and delicious opening- that is as sweaty and tongue-licking in its sexiness- our hero starts on the mic.  Again, the composition is fairly bare and minimalist- the spotlight is placed on the vocal and lyrics.  The entrancing beat augments the voice, as Yellow Shoots is laying his heart on the line- paying tribute to an addictive love.  With a Rap and Urban edge to proceedings, the song benefits from that collaboration and fusion- the gender role-reversal makes the song so fascinating.  Given the male-male vocal coming-together, it differs from a lot of similar songs.  When speaking of love and passion, you would normally have a boy-girl pairing; the female rapper or artist acting as the song’s subject- and sharing vocal duties with the lead.  Here, Yellow Shoots kicks the song off; Faja provides a slick and detailed break-down; the lyrics investigate love and soul-bearing- the importance of giving your all.  The track is a glimpse into future Yellow Shoots release: if an album or E.P. were to appear, we could see collaborations on there.  Brooklyn has a lot of great male and female acts; there are endless possibilities and song options- Soul Find Me is one of the best things Yellow Shoots has produced.

   Tame You is an equal to Soul Find Me and displays the same degree of quality, detail and nuance- showing a natural progression and development.  A new E.P. is being mooted- somewhere around autumn/winter- so I hope those rumours are true.  It would be natural to see the aforementioned songs included; maybe a new cut will see the light of day.  If it is a four-track E.P., one hopes we hear Tame You, Soul Find Me, Pieces and Hold Me Down- it would be a seamless and hugely impressive collection.  I am not sure what is in the young artist’s mind, but only time will tell- I am looking forward to seeing what is to come.

The initial seconds see dark and echoed beats working in the background.  Reminding me of the Trip/Hip-Hop explorations of ‘90s acts- the likes of Portishead and Massive Attack- there is huge early promise.  Nothing explodes out the gates and makes its way to the surface straight off- there is a slow build and a lot of tenderness to begin.  Although the beats and electronics are quite forceful and powerful, there is plenty of smoothness and laid-back chill.  Crackles and snaps marry with flowing and static; chilled vibes and lust sit alongside one another.  Before our hero takes to the centre, there is a brief glimpse of swelling and vibrating electronics: another little kick-up that paints a lot of images and emotions; the introduction is something that slowly builds and develops.  When the vocal does come, it is imbued with beauty and resonance- as smooth and emotive as any Yellow Shoots has produced.  His sweetheart’s lips; the tangle of their arms- the initial lines are bathed in passion and sexuality.  You get an initial sense of the song’s title: that fiery and sensual lover; perhaps needing to temporise things- maybe calm it all down a little.  If there is any reticence of hesitation, it is not apparent in the vocal itself- it is rife with desire.  The “red skies come crashing down”; the heavens and skies are flashing by- there is something tremulous and uncertain ahead.  Using them as metaphors for passion and love- although the imagery projected is more powerful than any clichés most writers use- the composition matches the mood- cascading and striking; stirring and rousing.  It makes you wonder what his sweetheart is like: someone that is in need of taming, there is that animalistic and undomesticated viewpoint.  Maybe too provocative and wild; a party-dweller with some loose morals- or someone who just needs to surrender to a sage and true love.  Whatever the scenario, you cannot help but to picture the heroine: what she looks like and how she moves; how she speaks and how she works- and how our hero tries to discipline and control.  It is that lead vocal that steals most of the honours; instilled with such a weight and potency, it is hard not to be drawn it- such a sensuous, sweet and smooth thing; yet rife with vibrant lust and possibilities.  As the song progresses, there is talk of submitting to a fate; surrender to this reality- lose the fear and “lose your mind”.  Without going into too much detail- what is unveiling and the turn of events- you get a lot of mystique and openness.  Every love song has its own way of conveying the relationships and turn of events; Yellow Shoots goes beyond the worst trappings of the songwriter- hyperbole and endless cliché; too many vague sentiments- instead offering a blend of reality and the surreal.  That sweet and rich voice guides us through a dramatic and plot-twisting love story: our hero has that desire for his girl but at the same time, things seem quick untamed and spiraling.  When the chorus comes back around, those lyrics and hard beats seem more relevant and important- as the song has unfolded, you get a better sense of the players and scenes; the layers start to unravel.  As his love goes “deep inside”, you are never far from the sweat and tease.  Before the track comes to its end, a diving and vibrating electronic parable blends with a punchy beat- as the fire starts to fade, you wonder how things worked out.

   Tame You was written with John Hamilton and benefits from a terrific production: it is clear and crisp; allowing each beat and note to really shine and impress- without being too plastic and over-produced.  When it comes to the song itself, it is a brilliant offering from the Brooklyn resident.  With comparisons to his early work, it is a step forward- one of his most inventive and bold tracks.  The composition has familiar threads- that mix of sparse and heavy- but the vocal and subject matter has developed somewhat.  Here, Yellow Shoots’ voice is at its most impressive and desirous: a potent and stunning weapon, it brims with emotion and passion; that huge amount of conviction and shiver.  Both sweet and sensual, it is ultimately a very striking and powerful tool- putting me in mind of legends of Soul and R ‘n’ B.  The lyrics look at a rather fascinating and uneven love; a burning and dangerous bond- a heroine that inspires all sorts of ideas and images.  The lyrics are economical, yet they manage to summon images of the heavens and fire; sweaty passion and a lack of control- with our lead offering heart, soul and submission.  Lesser writers would plague a song with words and lines; make it too cluttered and busy- the gift of Tame You is its nakedness and simplicity.  It is a song that could easily slide in alongside the modern R ‘n’ B tracks but it seems like it deserves more- a chance to get into the mainstream and inspire lots of artists.  Yellow Shoots has a lot of local approval, yet his name is not synonymous everywhere.  With such a strong offering and consistency, let’s hope that reward is forthcoming- few acts are as instantaneous as this.

It has been a busy week for me: one where I have traversed a wide array of music and sounds- some terrific artists have come to mind.  Yellow Shoots is an act that fits into a busy and packed scene: with so many contemporaries vying for market space, does he separate himself from the crowd?  The Brooklyn musician has an edge and distinction that elevates him above the majority of his peers: with a huge confidence and expertise, his music strikes directly to the heart.  Tame Me is a standout track that is definitely a thing of rare beauty: a song that defines some thorough investigation and detailed deconstruction.  Before I end, I am looking to discover more U.S. music and different styles- broaden my horizons and really see what is out there.  I am enamoured of my home music and the best Britain has to offer: every once in a while it is great to travel further afield; find some terrific international acts.  Yellow Shoots marks himself to be one of the more agile and inventive artists on the block: it will be fascinating to see how he progresses in the next year.  Having grown in ability and quality- his songs get better as time goes on- he is really coming into his own; showing just how fertile and imaginative his compositions are- someone that has a definite future.  I have mentioned about a possible album; a way for the young talent to expand and spread his wings- that will be an interesting proposition.  Of course money is a big evil when it comes to music- we never have enough and it is not free to produce an album- so I hope there is some finance and impetus available.  In that same manner, it would be nice to see Yellow Shoots come to London- there are a lot of new clubs and venues sprouting up- and there is a definite audience awaiting.  The seasons are closing in and the nights are getting harsher: music seems to be a balm and panacea that can ease the nerves and darkness- give us something to reflect on and feel happy about.  There does not seem to be too much energy and variation in a lot of music; certain acts are too stilted and flat- when a genuinely exciting act does come along, we should make sure they are promoted and heralded.  If you have not encountered Yellow Shoots, make sure you take the time to discover what he is about- and see what Brooklyn’s music scene is producing.  That borough seems to be teeming with eligible and vivacious musicians: your hard-striking Rock gods and tender Pop princesses; the soulful artists and the Electronica-based voyeurs- all mingling within a few blocks of one another.  London has a similar vibe, and as a result, it produces music that is cosmopolitan and diverse- there is so much treasure to be discovered.  I am compelled to delve back into Tame You and its insistent and glowing rush; its depths and contours- the way it transfixes and swims in the memory.  Make sure you take a listen and follow a great young artist- and see just where his music takes him.  You can take a trip to Brooklyn and experience something nuanced and compelling…

WITHOUT leaving your seat.

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________________________________________________

Follow Yellow Shoots:

 

Official:

http://www.yellowshoots.com/

Facebook:

https://www.facebook.com/yellowshoots

Twitter:

https://twitter.com/Yellowshoots

Instagram:

https://instagram.com/yellowshoots/

 _____________________________________

Music:

https://soundcloud.com/yellowshoots

This Week's Albums: October 10th, 2015

This Week’s Albums

 

October 10^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 at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); 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; 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 have forgotten about.

The Old: The Beach Boys- All Summer Long (1964)

 

8.5/10

The legendary U.S. group began their careers in the early-‘60s: their first few albums were met with muted acclaim and mixed reviews.  1964’s All Summer Long was the album that saw their ambition and sunshine sound coalesce- it is an album tight and short; packing tonnes of smile and stunning moments.  Whereas The Beach Boys’ surveyance of girls, sun and sand was still intact, this album saw dissipation- the band were more emotional and mature here.  I Get Around is an insatiable and phenomenal opener; Wendy is a sad and reflective track: it sees the boys at their heartbreaking best.  Girls on the Beach is swooning and delirious: boasting some of the band’s most spine-tingling harmonising.   The album’s second half sees some filler and disposability come into things- Do You Remember? and Our Favourite Recording Sessions lack necessary quality and durability- but that does not detract from a wonderful album.  Bidding farewell to their hot rod/beaches/summer-time girls haven; it is an immaculate farewell- one that should be revisited time again.

DOWNLOAD: I Get Around; All Summer Long; Girls on the Beach

STAND-OUT TRACK: I Get Around

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

The New: Deerhunter- Fading Frontier (Released on October 16^th, 2015)

 

8.5/10

You would be hard-pressed to pinpoint too many great bands from Georgia, U.S. - besides R.E.M. of course.  Deerhunter have forgone their darker and introspective days- where Garage-Rock clatter and dreaminess sat hand-in-hand.  On their seventh album there are sunnier and more positive songs: the album is more focused on melody and texture; they have taken a left-turn and embraced a new way of working.  The results are surprisingly consistent.  The funky and psychedelic Snakeskin shows how natural the band sound: it is a foot-tapping and addictive slice that highlights what a skillful and compelling lead Bradford Cox is.  Breaker is another gem from the album: Cox’s enemies are trying to kill him (there is a morose undertone) yet the song itself is uplifting and somehow comforting- one of the album’s strongest set of lyrics.  Whilst not all tracks hit the heights of Breaker and Snakeskin, it is an album sure to please existing fans and draw in fresh followers.  Inventive, crisp and bold: a renewed band with a stunning sound- make sure you grab their L.P. on Friday.

DOWNLOAD: Living My Life; Breaker; Snakeskin

STAND-OUT TRACK: Snakeskin

[youtube https://www.youtube.com/watch?v=CG6jk5Q90DA&w=560&h=315]

The Influencer: Basement Jaxx- Remedy (1999)

9/10

It may not seem influential to many, yet Remedy was an album that shook-up the ‘90s Dance scene- it was in danger of stagnating and fading by the end of the decade.  Most acts lacked variety and invention; they took few chances and leaps- Basement Jaxx approached like a red-hot ball of fire.  Abound with colour, genre-fusion and thrill-ride; Remedy is an aptly-named record: one that inspired legions of Dance acts in its wake.  Brixton’s Felix Buxton and Simon Ratcliffe- nerdy and intellectual- created something universal, world-trotting and kaleidoscopic.  Rendez-Vous’ vocoderised Disco-cum-Salsa allure was a perfect opener; Bingo Bango rides horns and is an ecstatic jive: one that compels you to surrender to its power.  Red Alert is the standout: a banger of a tune that was one of the ‘90s most impressive anthems.  Across the fifteen tracks, the excitement and fascination does not relent: there are new offerings and strange scenes; wonderful dances and heartfelt avenues.  Durable and timeless; wildly inventive and fantastical: with its expert Deep House grooves and blissful sampling, it was an unexpected arrival- few Dance/Electronica albums have matched its giddiness: for that reason, it remains a hugely influential creation.

DOWNLOAD: Rendez-Vous; Red Alert; Bingo Bango

STAND-OUT TRACK: Red Alert

[youtube https://www.youtube.com/watch?v=SJyhZ-3Z8A8&w=420&h=315]

The ‘Other One’: Nick Cave and the Bad Seeds- The Boatman’s Call (1997)

 

9.5/10

Few albums have touched the heights of The Boatman’s Call- it remains Nick Cave and the Bad Seeds’ finest moment.  Highlighting Cave’s paradoxical mindset; his doubts about faith and love- it is a bold and stunning introspection; a gospel of haunted insights and affecting textures.  Into My Arms sees Cave doubting an “interventionist God”: a song that charts a heartbreaking split; pleaded with God not to touch his love- wanting The Almighty to direct her into (his) arms.  The album is raw, soul-bearing and exorcising: the author is at his most confessional and essential- few albums capture so much soul and pain.  Black Hair is a masterpiece of devotion and passion; Far from Me sees Cave pays tribute to “my mad little lover”; stuck in “a world where everybody fucks everybody else over”.  Brompton Oratory quotes Luke 24 and is one of the album’s most religious and spiritual tracks.  (Are You) The One That I’ve Been Waiting For looks at a doomed love- speculated to be about his former love, PJ Harvey- and sees Cave reflect on personal relations and failures.  I could go on and on: get the album and experience the majesty first-hand.

DOWNLOAD: Into My Arms; (Are You) The One That I’ve Been Waiting For; Black Hair

STAND-OUT TRACK: Into My Arms

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

Track Review: City of Lights- Here, Alive

TRACK REVIEW:

 

City of Lights

 

Here, Alive

9.1/10.0

Here, Alive is available at:

https://www.youtube.com/watch?v=I4Ilxxt8tdc

RELEASED: 1^st Janurary, 2015

GENRES: Acoustic-Rock

ORIGIN:

Yorkshire, U.K.

_______________________________________

AT this very moment- as opposed to any other time in my life- I am getting...

very excited about music- and planning some very big endeavours.  I am looking to set up a music charity/business that really is all-encompassing and ambitious- so much so it will be a few years off.  I understand how much great music there is; how many fantastic artists are undiscovered and untapped- how much past glory is going unnoticed/underplayed.  In the same respect, there are a lot of people suffering illness and heartache: from mental illness to physical abuse; music seems a way of channeling depression and pain- balming wounds that are deep and painful.  In addition, there is a lot of big-business money out there: organisations like Google and Microsoft who are spewing cash like it’s going out of fashion- not sure where they can put it.  There is so much imbalance and inequality: so many people suffering silently; too much gluttony out there- music’s power and influence going under-the-radar.  I am hoping to invent a site/charity that unites people and music: helps harness and augment its huge power and effect- help those in need and really make a huge difference.  Aside from the music-helping-the-public-through-tough-times, there are a lot of musicians that need exposure, money and support- some great acts that deserve a lot more.  I come across a load of terrific acts- there are so many more that struggle to gain fans- and it seems such a shame.  My featured artist are creating some buzz and excitement: one of the U.K.’s best up-and-coming acts, there not only create original and embracing sounds- their music has the power to make some change; alter people’s perspectives and lives; inspire others to take up the art-form.  I have said it quite a few times before- and am not loatyhed to repeat myself- but there are a lot of bands out there.  In every town and city, there is a multitude of variety and quality; sounds that differ- every band have the same intention.  In addition to making their mark, they want their music to stand out; really differ from what is around already- pull that rareist of tricks off.  In the mainstream- and another point I have labored to the point of torture- is that apparent lack of variation and surprise.  There are some great bands bustling in the undergrowth, but by and large, there are a lot of rather uninspired acts.  When it comes to the north- Yorkshire in particular to my mind- there are some terrific bands coming out.  The likes of Allusondrugs and Issimo have always been in my sights; lovelies like Crybabycry too- the county has a huge amount of choice.  City of Lights are a new name to my radar- having been recommended by a good friend and fellow musician- and it is great to hear their stuff.  Whilst embracing some semblance of other acts- there is a nice mixture of bygone Rock giants and a contemporary sprinkling- their overall sound and sensation is original and very much theirs- something the mainstream should well embrace given time.  Before I continue on another point, let me introduce the band to you:

Matt Dunwell - Guitar & Vocals Ash Howey - Bass Guitar Alex Humphreys - Lead Guitar Ben Freer – Drums

“Although City Of Lights are based in Leeds, the original seeds of the band were formed in Paris in April 2011, when Matt Dunwell (acoustic Guitar & Lead Vocals), inspired by the ever-present swirl of possibility floating throughout the French capital, decided to form a band. Collaborating with long-time song-writing conspirator Sean Howey (Ex Drums & Backing Vocals), the two formed City of Lights in the aim to create their own brand of honest rock-pop that would ignite and engage. When the duo pulled in Sean’s brother Ashley to play bass and handle backing vocals, the enterprising crew undertook over a year’s worth of rigorous rehearsals and shows throughout the UK to help shape their sound. In order to further complete the line-up, they drafted lead guitarist Alex Humphreys into the fold to become a 4 piece. With the departure of Sean and the introduction of Ben Freer to the drums in May '14, City of Lights are a band that have fine-tuned their sound to remarkable proportions and are prised for laudable notoriety.

Meshing the song-writing aptitude of Biffy Clyro with the melodic mastery of UK big guns Snow Patrol and the heart and drive of Thrice, City Of Lights adeptly glide along the tight-rope of having an accessible sound with true longevity. After an initial series of successful shows, the band quickly assembled an army of fans, and word spread fast about the crafty Yorkshire tunesmiths.

Evidently, appearances at Reading & Leeds Festival '13, various O2 Academy's and UK and European tours have proven to the masses that the alt-rockers have truly created a sound that will quench the thirst of fans needing something solid, fresh, and inspiring from the rock genre.”

Next week I am focusing on the girls of music- an interview with a London-based singer; two reviews of two very different solo acts- but this weekend is reserved for the chaps.  I am often skeptical when it comes to bands in general at the moment- less so the underground/unsigned variety- because I hear a lot of replication and banality.  For every promising chorus you get an aimless and generic riff; a flat and un-emotive vocal- it just lacks that necessary kick and sense of ambition.  I know music is a hard chestnut to crack but there is so much potential out there: play with the sounds and be adventurous; try something new and exciting- without compromising your integrity and musical ethics.  Rock and Alternative bands get caught in limitations and boundaries: the assumption is they need to be rigid and overly-disciplined- if they were too freewheelin’ and genre-splicing it would leave them vulnerable to derision and a lack of respect.  City of Lights are not your average Rock band: they employ classic and modern seams; thread together something very personal and passionate- songs that have resonated with a large audience.  Their appeal is not just confined to the Yorkshire area: from London upwards, their fan-base is expanding and multiplying.  It is not hard to see why the boys have earned such a hefty following.  Their influences are varied- something I will touch on below- and names that can be app;lied to their sound.  They do not just do anthemic and stadium-sized choruses: the tenderness and emotions come through; there are big and upbeat moments- they ensure they tick all the boxes.  Reviewers have noted (how the band) seem to fill all the prospective checks: their music is not cynically designed or calculated; their natural intuitions and talent is all-encompassing and without prejudice- good enough to unite the hardened Rock clans and lovers of a softer kind of sound.  The guys have quite a future ahead and it cannot be long until an E.P./album is dropped: they have the momentum and potential to craft something quite sensational.  As 2015 draws to a close- and the nights and days get colder and darker- the band have signed-off in style- they are on the lips of many-a music-lover.  With the scene showcasing so many new bands- and there is quite a spread of genres and options- the Leeds boys marry Alternative and Indie options with some U.S. Rock gods- it comes together with a natural and graceful manner.

The boys have not been idle or aimless since their formation.  I have mooted the possibility of a future album, but the boys have already unveiled a couple- Live and Learn was released in March of last year.  Being D.I.Y. and self-funded, the album is a labour love- you can hear the time and passion that has gone into it.  Make sure you check it on iTunes and download it: it is an L.P. that has no filler or weak moments; it has a perfect blend and balance of emotions and ideas.  The band underwent band change and rotation during 2014: their path and plight has not been easy or care-free.  There are no anxieties and fears throughout Live and Learn: the album is a sparkler from the start to finish.  Live and Learn’s title track has a soft and yearning introductory vocal: telling of a fragile world; one where we all live and learn- it erupts into life and goes through the gears.  The composition is tight and taut; the performances are solid and stunning- the track chugs and propels.  The musicianship throughout is inventive and impressive: little bass runs and drum fills; details and avenues- all contributing to a rich and deep sound.  The entire album has a consistency and distinct sense of personality: each song tells a different tale; comes from a very personal perspective- shows just what strong songwriters the boys are.

The band’s debut album arrived in the form of Season’s Change: a ten-track record that saw them explode right out of the blocks.  From the very first tracks- Was it All Worth It? and Did I Stutter- the band are alive and alert- making sure their album does not suffer from early nerves.  Completely formed and alive, the songs jump right out of the speakers- grab the listener and ensure they are hooked-in and attentive.  It is a tight and economical album that does not linger too long nor fade too quickly- its nuances mean you keep coming back to experience new moments.  Like Live and Learn; Season’s Change has a great range of emotions and thoughts: they are skillful and stunning when talking about love and life’s struggles; effortless when rising to the heavens- the compositions here are vibrant and impassioned.  Both albums have a rich variation and consistently brilliant performances: with each release the group increases in confidence and direction- becoming more assured with each passing moment.

With both albums, the boys come across original and very much fully-formed: there are elements of other bands and artist that present themselves.  The two biggest stand-outs are Kings of Leon and Biffy Clyro.  Both acts have stadium-sized songs and a stunning collection of songs.  City of Lights mix three angular and emotive sounds of Biffy’- especially the sound that was rife on Opposites- the well-crafted songs and fusion of beauty and hard emotion.  When Biffy Clyro released Opposites, critics noticed how it brought in ‘70s Rock elements; that tying-together of mainstream Pop sounds and Progressive-Rock ambitions.  City of Lights have a similar ear for dichotomous and anthemic moments: there is bombast and crowd-uniting songs; plenty of tenderness and inward questioning- songs that are hugely ambitious and multifarious.  Kings of Leon are more bombastic and Blues-Rock inspired: grittier and more hard-hitting than Biffy’, perhaps.  The U.S. legends have produced some stunning albums and classic tracks- defined by their epic choruses and stunning band performances.  City of Lights have a U.S. feel to their music- you can hear the grizzle of the Deep South and the street-pounding riffs of New York and L.A.- which blends seamlessly with their U.K. voice.  Across their two albums, there is plenty of original voice and distinct ambition, yet a nod to their idols and heroes- all distilled in a heady and captivating blend.  If you have not checked out Season’s Change and Live and Learn, then make sure you investigate them- get onto iTunes and discover just how great the band are.  In terms of development, there is a leap from album-to-album: their sophomore release sounds more rounded and confident; more wide-ranging and varied- building on early promise and expanding their craft and sights.  I know the boys fund their own albums and creations, so might be remiss to leap into another album- given the real costs and effort that goes into it.  If they are released a new album next year, I am sure it will be a development from their previous two: keep that sense of pace and distinction alive; offer some new insights and stories for the listener.

When it comes to Here, Alive, there is much to recommend.  The introduction is one of their most immediate and hard-hitting: pummeling out the blocks, it is an attacking and pulsating slam- one that gets the senses primed and the tongue salivating.  Not just your predictable beat and attack, it is a springing and jiving thing; working with a luscious and emotive guitar line- it is a full-bodied and lusting beginning.  Making sure that energy and promise does not fade, the band keep things focused and tight.  The sharp and economical introduction ensures there is no wasted notes and aimless solos- just an exhilarating and energetic swagger.  Reminding me of Foo Fighters and Kings of Leon it fuses U.S. Alternative with something very British and historic- elements of ‘70s Progressive-Rock thrown into the balance.  Before a word is uttered, you are fixated by this bold and brash moment: something that does not define the song; instead it leads you in- makes you wonder what is to come.  After some lighter strings and fine details- the introduction does not simply die down; it beautifully transitions into the vocal- the band is ready to go.  Our hero does not mind if he gets out of here (wherever that may be) alive: there seems to be a lot of fear and uncertainty- although the vocal shows no signs of weakness and trepidation.  The lead can find his way; get out of the situation and make his way to safety- your speculative mind starts to conspire and picture.  Perhaps a life situation- feeling tied-down and trapped; maybe a love scenario- there seems to be a been-there-seen-it-escaped-that mentality- one that seems almost routine.  If the vocals and lyrics suggest calm and casual danger, the composition does not share those feelings- it remains primitive and wired in its jagged support.  Contrasting the smooth and emphatic vocal (it has soulful touches and a great sense of drama) the band presents something forceful and hard- although it does not encroach too strongly nor put too much acid into the mix.  It is hard to really dig into true meanings and decipher the mystery: there seems to be a love-against-the-odds story unfolding; our hero and his girl trying to get away from things- make their way from a bad situation.  In the early stages, that composition-and-vocal combination puts you in mind of Alternative and U.S. Rock bands- it has a Californian feel; something that could easily slide into the mainstream roster.  Perhaps it is my ears, yet the band summons something between Foo Fighters and Biffy Clyro: the composition is uplifting and ecstatic; it is fast and primitive- plenty of calmer underpinnings and more casual moments.  Having been buoyed and propelled by that introduction; compelled by the early words and vocal strength- the band keeps you guessing and fascinated.  Now that “I’ve made it out of here alive”- so the hero and front-man accounts- he is pressing on and looking ahead.  Those words of death and narrow escape add urgency and momentum to the track: that central force and villain (whether a person or a state of affairs) remains anonymous and pressing- the past is definitely out of sight.  It seems the past is an unwelcome thing; days and months that caused stress and heartache- now is a better and more prosperous time.  It seems clear a love and romance is being ascribed: our lead seems suitably infatuated and appreciative- this girl has saved him from a black fate it seems.  That love-as-a-new-beginning metaphor is played well and effectively: the lyrics have been done before- the same sort of tale and projection- yet City of Lights give their own spin and fresh perspective- ensuring they do not succumb to cliché and predictability.  The duo is far from home: away from the crowds and voices, they are in strange territory- nobody knows who they are.  You get a real feel of journey and transition throughout the song- in no small part because of that intoxicating and persistent composition- and the hero is keen to run from the bad days.  Whether he knows where he is going- I think there is that necessity to just flee the misery and suffocation- there is determination and some hope.  Here, Alive never relents its rushing and determined plight: the percussion keeps smashing and driving; the bass and guitars weave something anxious and punishing- the vocal remains enflamed and lascivious.  On that front, the vocal does not put you in mind of Foo Fighters, Kings of Leon and their ilk- it is very much a unique and stand-alone sound; you would not easily imagine another singer (with regards its origin and feel).  Making sure words resonate and succeed, the vocal is not too rushed or indecipherable- it allows the lines and sentiments to breathe.  Waiting for the “sun to come up” the fleeing lovers are in the uncertainty of the city: among the unfamiliar faces and strange places, they are seeking daylight and clarity.  To underpin this- and at that moment of the song- the band break into soloing territory.  The vocal relents to allow the composition to develop and flourish: you get myriad scenes and ideas; a great and tight jam- that adds a weight of drama and occasion to proceedings.  That composition break keeps stretching and mutating: twisting and snaking; racing and exciting- you are caught in its trance and uncompromising power.  Having absorbed the story so far- where you feel the sweethearts have their backs against the wall- the composition provides chance to reflect and breathe.  Perhaps adding to that uncertainty and dangerous element, you can imagine your own turn of events- just where they are headed and how they are faring.  To my mind, I see them hovelled in a doorway; against the suppression and tyranny of the elements, they are in each other’s arms- seeking a salvation and chance for redemption.  What they have come from- a community and people they couldn’t stand; a town that was harsh and foreign- they are gambling and throwing caution to the wind.  With some wordless chorusing- the band unison in voice- there is that semblance of defiance and strength.  Not one to be defeated and defined, our hero is away from home; not sure what is coming next- determined to find his way to safety.  The final moments see the song conclude and end: you are not sure whether there is a safe resolution- whether the lovers made it to a better place; found somewhere more tranquil and pleasant.

A natural development and step forward from their earliest work, City of Lights have produced something both traditional and original- a song that can only be theirs yet instilled with flecks of others acts.  Whilst they wear their influences on their sleeves, they do not just sling together a Foo-Leon-Clyro thing; assume the public will buy it- take a cheap and easy way out.  Instead, they borrow little shades and colours of each; the emotions and stadium-filling grandeur- and reinvent it for their own justifications.  Alive, Here is as a staunch and intriguing as its title: the deathly tangle and swimming-against-the-tide struggle never abates and relents.  Although the song’s ideas have been explored before- escaping a harsh world with a love; migrating to a safer place- City of Lights ensure they document something free of formulaic riffs and tossed-off lyrics.  Everything is kept sharp and economical; their energy and tightness is infectious and impressive- a band that have a clear intuition and sense of role.  Each player backs the others; the vocal supports the composition- everything is entwined and natural.  The production values are quite polished- not in a bad way though- which means the song has a contemporary shine and a made-for-radio sound- something that could well see the boys progress to the mainstream soon.  Matt Dunwell’s lead vocal presents the song with the utmost consideration for emotion and meaning: he does not over-emote or sound insincere; his voice sounds completely dedicated to the material at hand- portraying the subjects/words with consideration and intelligence.  A powerful and agile singer, he is compelling and heightened throughout: capable of coming down low and emoting; sky-scarping and dramatic when the mood calls.  Combining with Alex Humphrey’s guitar, the two whip-up a huge amount of potency and avalanche: ensure the song has grit and persistence from the first to last notes.  Humphreys himself ensures he makes his voice heard: his guitar remains sharp and impressive throughout; weaving plenty of colour and nuance into the track, he marks himself as one of the scene’s most impressive axe-wielders.  Ash Howey lets his bass guide and glide: it has rhythm and melody; it has strength and snaking sting- driving the song forward whilst presenting its own authority and charm.  Usually in songs- especially big, sweeping dramas- the bass does not get a great opportunity to shine- the guitars and percussion usually take care of that.  Here, there is democracy and equality: that bass can be heard making its mark; shaping its own direction- adding a huge amount to Alive, Here.  Ben Freer showcases his strong and pummeling percussive chops: making sure the track always remains gripping and dramatic; he displays a huge amount of technique and strength.  Acting as the band/song’s aching heart, the drums are hugely important and central- at times they almost take the limelight; perfectly sparring with the lead vocal.  Not only blending with his bandmates, what you get is a player with a big future- another musician with a superb skill and identity.  Together the band unleashes one of their most instant and compelling songs: something that could score festival sets and stadium evenings- a song that will mark itself as a live favourite.  Uniting their past work with future potential, City of Lights sounds completely bracing and brilliant throughout- something few of their contemporaries achieve.

Here, Alive is a song that not only defines the band- and is an apt shout-out to the music industry- but a sign of where they could head.  Not your average and predictable number; the song is catchy and nuanced; it has a cracking vocal and brilliant band performance- a track that compels you to repeat until exhausted.  It would be great to see where the band head next- whether there is an album due in 2016.  The music industry is an expensive and demanding thing: the process of recording an album (or E.P.) is quite a difficult thing- the boys should consider it, mind.  With their fan numbers growing- and that demand rising by the week- there is a market and audience waiting for them.  With Kickstarter providing a good option, it would be worth getting their head down- seeing just what they can come up with next year.  Having already rocked and seduced Reading and Leeds in 2013, the guys have grown in confidence and ambition- surely a good time to get those creative juices onto record?  Perhaps they are a step ahead- and really training their mind that way- but I know a lot of people cannot wait for that day (an album drops).  In a world of ropey bands and some forgettable examples, it is great to hear a young group that has legs: they have longevity appeal and a real sense of where they want to head.  It is true there are bands that play similar sounds- they have one or two close peers to watch out for- but that is no trouble- they are distinct and passionate enough to share market space with the best of them.  I am going to conclude by looking at the band/music market in general- wrapping up with a word on Yorkshire music.  A lot of our perceptions and judgments about the music world stem from the mainstream: in terms of sounds and tastes, the media focuses heavily here.  There is a busy and huge underground market; yet critical minds pull us to the already-established and legendary acts- the new releases from people we are familiar with already.  With so much focus being set here, new bands are looking at reviews and charts; the festival line-ups and harking to their record collection- maybe trying to find a magic formula.  There is no shame in being inspired by bands and acts; bringing some of their sound into the fray- so long as the overall impression has some original touches.  The trouble is, the new and fresh bands should be looking more at themselves.  Whilst a lot of music- from new bands and upcoming acts- can be generic and familiar, the lyrics and vocals should really not sound like anyone else.  I find too many acts that mimic others and sound like a knock-off: if you show too much fear and a lack of imagination, you are not going to last long.  City of Lights have a love of Biffy Clyro and Coldplay; they like Kings of Leon- their backing and music has a lot touch of each.  When it comes to the overall sound- the vocals and lyrics particularly- they ensure they do not hang onto coattails.  The riffs and choruses are familiar yet imbued with a hefty weight of their own; the vocal are hard to compare with anyone else- the band is making leaps to separate themselves from the pack.  When it comes to remaining in the public focus, it is vital to get this right- and ensures you are your own band; do not simply repeat another band’s sound.  In anything, it would be nice to see the boys really spread their wings: with their love of hard-cum-acoustic mixes, they have the potential to paint a rather broad spectrum of songs.  They seem effortless when it comes to the arena-focused songs- those big and epic numbers- but are adept at taking the mood down when called for- and proving they have plenty of heart and soul.  I have hopes and high expectations for the band: the signs are all good and they have a real flair and adventure.  I am sure they have plans and ideas for the next year, so keep your eyes locked in their direction.  Yorkshire is showing how good their musicians really are: a county that always brings the good; it seems like there’s an inexhaustible army of indefatigable and brilliant musicians- there must be something in the air!  Until now, the City of Lights boys have been confined to Yorkshire and the north: it can only be a matter of time before they make their way across the globe.  Having been formed in Paris- as their name suggests- it would be good to see them play France; maybe take a few dates in Europe- head across to the U.S.  This all depends on finance and demand- it is an expensive business gigging across the globe- but who’s to say it will not happen?  With their members primed and eager; their songs stunning and popular, I predict a prosperous next few years- that will see the collective taking their brand around the world.   For the moment, we have Here, Alive and all it offers: a song that sets out their stall and what potential they have- make sure you keep offering support and spread their music around.  I am pleased to discover a band that have genuine direction and passion- there are too many that lack that necessary spark and sense of life- so City of Lights should be respected and applauded.  Find yourself some time, sit back and embrace a band that differs from the run-of-the-mill examples out there.  Here, Alive is a song that rings with truth and resonance: it is a track that digs deep and hits all the emotional marks- a song that can beat away the autumn blues.  With 2015 providing so few genuine band wonders, it is great to witness City of Lights…

A group who will be around for years to come.

[youtube https://www.youtube.com/watch?v=I4Ilxxt8tdc&w=560&h=315]

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Follow City of Lights:

 

Official:

http://www.cityoflightsofficial.co.uk/

Facebook:

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

Twitter:

https://twitter.com/Cityoflightsuk

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Music:

https://soundcloud.com/cityoflights-official

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Videos:

https://www.youtube.com/user/cityoflights2011

This Week's Albums: October 4th, 2015

This Week’s Albums

  

October 4th, 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 at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); 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; 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 have forgotten about.

The Old: Buzzcocks- Singles Going Steady (1979)

 

9.5/10

Intended as the band’s introduction to the U.S. market, Singles Going Steady sees the English Punk band present their most accomplished album- it was not released in the U.K. until 1981; after the band had split up.  Featuring their most famous track (Ever Fallen in Love (With Someone You Shouldn’t’ve) it was the band’s most complete album.  There is sly and wonderful humour to be found- especially on Orgasm Addict’s tales of a lascivious sex freak.  I Don’t Mind sees the band ratchet the offensive and create one of their most urgent and frantic songs.  Harmony in my Head’s barked lyrics look at social inequities and neon signs: our hero is caught in the clatter of shoppers; he is long in the tooth- rallying against the world.  Everybody’s Happy Nowadays’- the album’s second-most famous track- sports simple and repeated lyrics (love as an illusion; our hero feeling tired of being sad).  Maybe the album’s most memorable chorus, it is a mantra for the disaffected dreamer- that feeling of disillusionment is tangible.  Across the L.P. the band are tight and peerless: mixing humour with asocial (although there is a great social element) commentary; Singles Going Steady stands the test of time- it has inspired the like of Nirvana no less.  One of Punk-Rock’s finest statements.

DOWNLOAD: Ever Fallen in Love (With Someone You Shouldn’t’ve); Everybody’s Happy Nowadays; Harmony in my Head

STAND-OUT TRACK: Ever Fallen in Love (With Someone You Shouldn’t’ve)

[youtube https://www.youtube.com/watch?v=51OB2YoC4sg&w=420&h=315]

The New: John Grant- Grey Tickles, Black Pressure (Released October 9^th, 2015)

 

9/10

A lot of people may be unfamiliar with John Grant: the former Czars front-man has released an album critics are buzzing about.  The 47-year-old is synonymous with his candour and honesty: the way he uses humour to diffuse and sanitise potentially hard subjects- his latest release is no exception.  Ensconced in Iceland, Grant recently received a diagnosis of H.I.V.: a crippling blow he addresses right from the offset- an impressive and brave move.  Whilst there are dark hues and disturbing avenues- especially on Down Here’s we-all-die-in-the-end realisations- Grey Tickles, Black Pressure is a largely affirmative and fascinating study.  The Tracey Thorn-duetting Disappointing sees him listing his favouite things; Guest How I Know exorcises a broken love; the title track is a grand and emotional (piano-led) gem.  Most artists would wrap serious illness and heartache in morbidity and anger: Grant ensures his songs tease absurd and thoughtful; never bring the listener down- instead offer something redemptive and astonishing.  One of 2015’s finest albums, John Grant is a name you should familiarize yourself with: fall in love with a remarkable album from a truly wonderful artist.

DOWNLOAD: Grey Tickles, Black Pressure; Guess How I Know; Disappointing

STAND-OUT TRACK: Disappointing

[youtube https://www.youtube.com/watch?v=U2Ig4sMURdc&w=560&h=315]

The Influencer: The Jesus and Mary Chain- Psycho Candy (1985)

9/10

Not a sweet shop I’d ever frequent; Psycho Candy is nevertheless one of music’s landmark albums.  The combination of guitar feedback and Pop-based structures foretold and welcomed-in the Shoegaze genre- inspiring the likes of Primal Scream in the bargain.  The Scottish innovators may not have intended to create a genre, but they did just that: it is hard to ignore the album’s grandeur and accomplishment.  Just Like Honey is a haunting and beautiful number: both Pop in sensibility and somehow not; it is a beguiling and entranced track- where our lead (asks his heroine) to use him like a plastic toy.  Never Understand is a rollicking and cascading number: it is a demented and feedback-heavy beast; finally succumbing to its own weight- the final moments are a miasma of distorted vocals and feedback.  Whilst the percussion work (from Bobby Gillespie) is a little robotic- it perfectly matches the mood in fact- the songs do not stray far beyond sex, drugs and dissatisfaction- the surly and somnambulistic delivery makes everything sound essential and vital.  N.M.E. described the album as “a great citadel of beauty whose wall of noise, once scaled, offers access to endless vistas of melody and emotion”- that just about covers it!

DOWNLOAD: Just Like Honey; Never Understand; You Trip Me Up

STAND-OUT TRACK: Just Like Honey

[youtube https://www.youtube.com/watch?v=470HnRobKLc&w=420&h=315]

The ‘Other One’: Arrested Development:  3 Years, 5 Months and 2 Days in the Life Of… (1992)

 

8.5/10

The band’s debut (and essentially their greatest hits album) 3 Years, 5 Months and 2 Days in the Life Of… refers to how long it took the U.S. Hip-Hop group to secure a record deal.  During the early ‘90s (the album was released in 1992) there was a feeling Hip-Hop was going into new territory: Arrested Development’s positive messages and religious oeuvres seemed like a tide turning.  The revolution never happened, yet the album did impress critics upon its release.  Fusing African rhythms, laid-back grooves and melodic R ‘n’ B, it is a fine album.  Inspiring the likes of Outkast and Nappy Roots you cannot ignore the songs: Tennessee (which shows lead voice Speech to examine the issues of the south) is the band’s defining anthem.  Mr. Wendal looks at the homeless life: the plight and struggles they face; give money regardless of your status.  People Everyday- a twist on Sly & the Family Stone’s Everyday People- is the album’s highlight.  Whilst not as cutting as their peers and contemporaries, Arrested Development crafted an album with pure optimism and unity pleas: not a bad thing given music’s tendency to introvert and campaign for the opposition.  A hugely evocative and moment-defining release; 3 Years, 5 Months and 2 Days in the Life Of… is an album to drift away to- in a time when music was simpler and much more compelling.

DOWNLOAD: People Everyday; Mr. Wendal; Tennessee

STAND-OUT TRACK: People Everyday

[youtube https://www.youtube.com/watch?v=cGusP7aCCYc&w=420&h=315]

Track Review: Issimo- Coldest Queen

TRACK REVIEW:

 

Issimo

 

Coldest Queen

9.6/10.0

Coldest Queen is available at:

https://soundcloud.com/issimomusic/coldest-queen

RELEASED: 2^nd September, 2015

GENRES: Pop; Alternative; Folk; Swing

ORIGIN:

Yorkshire, U.K.

The E.P. The Coldest Queen is available from:

https://itunes.apple.com/gb/album/the-coldest-queen-ep/id1032136232

RELEASED:

26^th September, 2015

TRACK LISTING:

Coldest Queen

Like You Do

Money

Get You Excited Does He?

If You Know How

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WHEN it comes to assessing Issimo...

it is hard to know how to charcaterise them.  It is near-impossible to define and label them: the duo has such a reverent and fascinating style of music; they flirt with genres and decades- melting it all in a delicious pan of bubbling musical bliss.  Before I investigate the Yorkshire-based two-some some more, a few points are to be raised: that which concerns duos and their variability; the unsigned acts in the U.K.; the importance of music diversity.  When it comes to duos in the U.K., we have a fair smattering of available varieties: from your Electro.-Pop champions and Folk-Pop purveyors; across your Hard-Rock hitters and Alternative flavours.  A lot of attention has surrounded Rock/Alternative duos this year.  Given the success of the likes of Royal Blood, a few like-minded duos are coming through.  In the north you have acolytes Knuckle and Huxtable (Scotland): two duos that play that similar sound; the fierce and hook-laden magic.  The hirsute duos do a good job of summoning-up that Royal Blood swagger and confidence- two headline acts of the future.  I see a lot of Hard-Rock/Alternative duos come out of the north: in the south (and Brighton, where Royal Blood hail) there are fewer examples; in London there aren’t quite as many of these duos- the capital and south house differently-minded two-somes.  What London does well is house Electro.-Pop and Folk duos.  Having been exposed to Ivy & Gold (Electrro.-Pop) and Gypsyfingers (Folk/Alternative) you get a different experience and sound- no less impressive and stunning than their northern contemporaries.  London has quite a mix of duos: I have reviewed Them & Us (Dub-Step-cum-Electronic) and Greenfield and Conder (Pop/Soul) - a lot of variety and diversity can be sought.  Elsewhere, you get some Sunshine-Pop and Indie duos; depending on your tastes, there is something for you.  What I find with most duos is their particular sound: they have a very defined and particular style.  Not to say they are rigid, yet they are not as experimental and wide-ranging as fellow bands and solo acts.  With any musician it is important to have consistency and personality- so you come across as original and personable- but it is vital to have some elasticity and adventure- otherwise it is easy to stagnate and stall.  The aforementioned duos work well within their remit and borders; they have enough vitality and talent- without the need to cross-pollinate and fuse genres.  I always love when a duo goes that bit further: they retain a distinct sound, yet understand the importance of surprise and freshness.  Issimo are a duo that makes these wishes a necessity: their back catalogue shows them switch genres and styles; they are as comfortable turning-in ’40s-influenced Swing as they are modern-day Pop.  A tight-knit and passionate duo; let me introduce them to you:

“Unique songwriter duo Marc Otway and Abi Uttley, backed by the ISSIMITES make up the funky pop band ISSIMO. Branded as Yorkshires answer to "The Scissor Sisters" they take their influences from an eclectic range of genres, reggae, ska and even latin, and write thematic pop songs, that are lyrically driven and rhythmically charged. They will start an iTunes Pre-order Tour from 1st September for their Debut EP "The Coldest Queen". The music video/short film, fan funded via Kickstarter, by the same name will also be on VEVO from the 2nd Sep.

In their short history ISSIMO have already brought their infectious vibes to Latitude Festival, Cornbury Festival, Beatherder festival and Bingley Music Live to name just a few. 

Debut E.P "The Coldest Queen" is set to be released 26th September; it includes their debut single "If You Know How”.

What I love about Issimo is their optimism and upbeat: few of their tracks are introspectively sad and emotive.  They are such a colourful and hypnotic act, it is impossible not to adore them- their latest work is no exception.  Uttley and Otway are a duo that has a unique connection and friendship: their songwriting and simpatico is scintillating; their songwriting is assured and quirky; dramatic and catchy- they are masters of big hooks and bold choruses; stunning vocals and exceptional musicianship.  A lot of duos tend to focus too wholly on vocals or composition- one side of things is either undeveloped or lacking.  The Hard-Rock/Alternative acts go for power and pace- whilst their lyrics may be simplistic and the vocals too defined- whereas the Electro.-Pop/Folk acts tend to negate compositional complexity.  The lovelies of Yorkshire’s Issimo have all corners covered: their compositions are expert and nuanced; the vocals always compelling and ear-catching- the lyrics are clever and humorous (they love to pen a witty tale!).  Issimo are unsigned and free-spirited at the moment: they are a duo that deserves a label endorsement; a P.R. company behind them.  Knowing quite a few down south, it seems logical Issimo should be on their radar- hopefully time will change this.  Few acts work harder than Issimo: their consistent quality and wonderful personalities seduce and captivate crowds; their latest offerings are among their very best.  They are self-sufficient and hard-working, yet they deserve a record label/company backing: it would help fund and aid their music; get their name spread wider across the U.K. - take the duo overseas.  With an ear for American-sounding music- they have Country tinges and Americana shades- they seem likely to play the U.S. - I could well see them in Tennessee, New York and L.A.; taking their brand across the land.  I am sure 2016 will see them transcend to the sights of P.R. companies afar; get them involved in some rather exciting projects- see them get the rewards they deserve.  All of this aside, it brings us neatly- if not quite succinctly- to the current-days Issimo.  A few months ago, they started a Kickstarter campaign: to get their E.P. The Coldest Queen funded.  That E.P. is available to buy (on iTunes) and was accompanied by a promotional video- funded by their fans via the campaign.  The Coldest Queen short film featured a full cast and great production values; an elaborate plot and some wonderful scenes- sort of Game of Thrones mixed with a historical epic.  The E.P.’s lead-off single (and closing track) If You Know How has been released; I have been struck by the E.P. title track- one of the duo’s most memorable and mesmeric numbers.

Before coming to their current music- and reviewing Coldest Queen- I am motivated to look back; see how the duo has changed and whether they have altered their sound that much.

   Carpe Diem is one of the duo’s earliest numbers (and does not feature on their new E.P.); it shows how strong they were from the start- and how confident everything sounds.  A springing and upbeat introduction leads to Otway’s lead vocal.  There are Reggae and Ska elements to the song; it has a summer-time vibe and a real swing- Uttley comes in to provide backing and support.  The lyrics look at life and its realities; returning to a “clean slate”.  The production is crisp and clean to allow the notes and instruments to resonate and impress.  From start to end the song keeps kicking and moving: that endless sense of movement makes it such a wonderful track.  With little Jazz elements and Pop undertones it is such a wealthy and fertile track- one that keeps you coming back.  The infectious byplay between Uttley and Otway brings a smile to your face.  Swaying and parping trumpet notes give the song a sizzling grandeur and smile- few modern acts have produced anything like this.  Charming and filled with joy, it is a song that implores upbeat and resolve- ensure whatever life throws at you; you get back on your feet and face it.  A track that means a lot to the duo, it is a fan favourite and a great track to hear live- showing how strong the two were in their earliest days.

   Pretty Simple is another non-E.P. track and early cut: like Carpe Diem it has Reggae and Ska openings.  Otway takes the lead again and lets his soulful and stunning tones lead.  Uttley comes in with a beautiful and soothing vocal- acting as Otway’s partner and other half.  Our hero is adapting to what the girl wants; he is changing to make things simple or complex- the heroine does not like what is unfamiliar.  The new and fresh can be thrilling- as he says- yet our heroine is not impressed.  The boy is being too smart and cock-sure; it cuts no mustard with our heroine.  That need to simplify and be himself; that is the message that comes throw- back by rampant and effusive brass.  The connection between the two is stunning and intuitive: each knows their role and combines wonderfully; weaving their vocals inside one another- creating such a harmonious and catchy number.  Designed to get crowds single and feet tapping, it is a deliberately simple song- one that is quotable and memorable to the extreme.  With similar shades to Carpe Diem- the subject matter changes yet the composition has similarities- Issimo showed consistency and huge passion here.

    If You Know How was originally recorded a year ago; it features on the band’s The Coldest Queen- a chance for new fans to hear it.  I became aware of this song a year ago, and it is shows another great step for the band.  Keeping their core sound and styles firm, it sees Otway up front again- being propelled by a serene and stomping compositional blend.  His girl does not love him deeply enough; there is some doubt and hesitations- our man is seduced by her smile and twinkling eyes.  Uttley comes into the background to support the chorus; the composition remains tender and rushing- never impeded on the mood and encroaching too much.  A funky and addictive slice, Issimo demonstrate how catchy their music is- once more creating something that remains firmly in the brain.  Our heroine wants her man to read between the lines; sing a song “and take my hand”- come closer and surrender.  Those smiles and optimistic vibes reign throughout the track: the chorus is perhaps the most insatiable and additive they have ever penned.  If You Know How sits naturally on The Coldest Queen: with the exception of a couple of numbers, the E.P. culls songs from last year- they are sit alongside one another easily and comfortably.

   Like You Do is the E.P.’s lead track and shows Uttley taking the lead here: her smoky and smooth voice drips and pours honey over the opening moments.  Soul-infused and stunning, you get caught in her web.  The tone has some Jazz and Swing elements- sourcing its core from ‘30s and ‘40s musicians- to create something retro and modern at the same time.  Uttley does not need to fake her voice or adapt it: throughout, she keeps her unique and powerful voice her own- letting it swim and glide inside the composition.  Our heroine’s hero is casting a spell: whether it is the rhythm or the words (beating to the rhythm of his heart); it is causing effects and desire.  That passion and longing comes through in the track: again you get a very catchy and bold chorus; something sassy and vampish- the composition is intricate and clever; stepping and dancing alongside the vocal.  Acting as an aural character, you get the idea of the duo (Uttley and her man) dancing and swaying: you are drawn into the song and imagine what is taking place; two young lovers casting glances alongside a packed hall/ballroom- as the hero is centre stage and under the spotlight.

Because the new E.P. contains a mix of brand-new and older tracks, you might expect some dislocation and split: each track fuses perfectly and nothing seems out of place.  Coldest Queen shows a new side to the duo, yet is a natural step- it does not deviate too far and it is good to see Uttley take some lead vocals.  Whereas Otway dominated vocals on earlier cuts, the switch means the E.P. is balanced in that sense- you get different perspectives and a nice mixture of vocal sounds.  Whereas Otway has a soulful and Jazz-influenced sound, Uttley is more Pop and Soul-orientated: her power and sexiness defines the tracks she leads.  It is when the two combine you perhaps get the biggest hit: the duo have a clear affection and work wonderfully with each other; both the talented vocalists have their own style and shades- blending magnificently when the tracks call for it.  Issimo are expanding their sounds and diversifying with each new release.  Whereas their 2014 work had more Reggae and Ska touches, Coldest Queen suggests something a little different and darker- they keep the sunshine in there but show they can be effective when taking the mood down.  It means the duo have a lot of options in their future: they do not just stick with one idea and genre; they like to keep things unexpected and mobile- changing their themes and songs when needed.  The Coldest Queen is a unification of their past and current agendas: what you get is unilaterally brilliant songwriting and bold compositions; stunning and awe-struck vocals- songs that are catchy and compelling; music that begs you to keep coming back for more.

   Coldest Queen is their E.P.’s newest (full-length) cut: something fresh to many ears- a song I was keen to investigate.  The track begins with a trickling and dancing electronic underpinning: supported by swaggering and drunken brass- it is actually quite composed but has a merriment and sway to its movements- and you get a fantastic introduction.  Already you are projecting images and possibilities- based on the song’s title- and wondering what will come next.  The first words take you into the mystical and historical: our heroine is on the microphone and lets her voice survey the land and scenes.  The song’s heroine is instantly in the picture: surrounded by her eager-to-please servants, there is a heady and fantastical scene set- one you are sucked into and keen to explore more.  Uttley’s vocal is quite smooth and levelled at the first stage: letting her words clearly ring, there is power and resonance.  There are volatile winds and a storm brewing perhaps: right from a few lyrics, you get a vivid picture in your head; start to predict where our travels may take us.  In terms of vocal-and-composition sound, I get embers of Amy Winehouse and Adele: Uttley’s voice is Blues and Soul-infused; dripping with emotion and potency- and backed against those stunning horns and evocative undertow- you get something both classic and contemporary.  The servants are kneeling to the ground- the ground “that she made”- and there seems to be trouble and heartache imminent- you get a sense of danger and knife-edge here.  It is impossible not to be seduced and entranced by the track- the lead-off track on the E.P. - as it is both immediate and layered.  The composition has a nice and straight-ahead electronic (either piano or guitar) twinkle that adds some mystique and magic.  That brass work topples back and forth: the two in combination create a psychotropic and lush whole; something that goes straight to your brain.  With Uttley’s vocal commanding and holding court- the fantastic composition supporting her every step- you are powerless to resist.  Being Issimo, you get humour among the pathos and hardships: the servants are staying away from the stocks; keen not to be beheaded- the lines are delivered with a cheeky wink and smile.  This cold queen has eyes that “turn green”: when they do, her armies are summoned to cause damage and war- she is a pantomime villain and arch baddie; someone you do not want to double-cross.  As the song continues its plight, that brass wave carries everything along: our vocal heroine keeps her voice stunning and focused- ensuring each word and line is delivered with gusto.  The cold queen will reign supreme- “if you believe the bluff”- and has her kingdom at her feet.  The chorus is a typical slice of Issimo gold: simple and effective, it is a big and uplifting beauty- something that radiates and strikes; gets you singing along.  Past the 2:00 you get a musical breakdown: the vocal steps aside (briefly) and the instruments unleash a storm- adding more vividity and mystery to the fold.  At first it is those brass notes that compel and overwhelm- being at their most eager and anxious best- but the percussion starts to come into its own- keeping things tight and hard-hitting; eliciting quite a punch itself.   Few acts are as effective when it comes to penning a colourful composition: each Issimo number is packed with life and joy; stunning details and a great sense of joy.  I have mentioned the likes of Winehouse and Adele- in the most complimentary and true way- and you get hints of a Mark Ronson-produced jam: the production and composition is exceptional and mesmeric; the vocal is such a beautiful thing.  Whereas the duo usually looks at love and life’s realities; here they step out of a ‘comfort zone’: away from biography and reality, it is their first foray into science fiction and fantasy- they do not sound nervous or unnatural at all.  Brilliantly confident and scene-setting, the song’s lyrics are hugely effective.  Those cheeky brass notes- reminding me of Paul Simon’s You Can Call Me Al- are part-carnival-part-conga- one would imagine the queen brushing her cape over the town; twirling with malevolent glee- scaring the townsfolk with her imperious glare.  Being a fairly short song- it doesn’t even hit the three-minute mark- it packs a huge amount of wonder and nuance in.  Issimo have always been intuitive when it comes to economy: they do not let songs linger or needlessly wander; they get their message and vibe across neatly- simultaneously leaving you wanting a little more.  By the final embers of Coldest Queen- and that green-eyed and danger-laden chorus- you are hungry for a little extra- just see how the story progresses and ends.

   Coldest Queen is The Coldest Queen’s opening salvo and most urgent track: the E.P. is choked with wonderful moments; this is my absolute favourite.  It is a new and fresh song from the duo; one that will see the live crowds latching onto it- I can see it becoming a favourite of fans across the country.  With Otway turning in a fantastic and rich composition- there is so much atmosphere and detail throughout- and Uttley at her vocal peak, it is a remarkable track from the duo.  I have always loved Uttley’s voice- it can be sweet and sassy within the same syllable- but here she sounds utterly authoritative and sensual.  With a magisterial and grand delivery, it is no short-sight to say she has Amy Winehouse’s gifts- without replicating her voice.  Uttley is her own singer and artist, yet manages to steal focus with her incredible performance.  I was impressed by how Issimo have ventured into fantasy territory: it shows another dimension to their songwriting and proves how adaptable and varied they are- sounding completely natural wherever their songs take them.  An incredible and polished production allows the song to burnish and explode into life- it is perhaps the duo’s most impressive song to date.  With so many new acts petering-out after a few songs; Issimo seem to grow and become more wondrous.  In an E.P. that contains no weak or ineffective moments- everything is stunning and a joy to hear- Coldest Queen is the jewel in the crown- gleaming and dazzling for sure.  Perhaps that wobbly-legged brass stays in the mind; maybe the whiskey-soaked vocal and sensuousness- perhaps the story as a whole.  To me, everything comes together and balances: the composition drives the vocal; the vocal drives the players- everything slots together so comfortably.  When you have heard the song once, you go straight back in to pick out little asides and notes- each new play reveals something new and unexpected.  A triumphant cut from a consistently brilliant act.

Over the coming weeks- past the inconvenience of work- I will be reviewing and interviewing a range of different acts- predominantly female-led acts, it will be an interesting time.  Issimo have always been in my sights; they are one of my favourite duos- they fully warrant some high-profile attention and acclaim.  With each new song/release they grow in confidence and desire; they are one of this country’s most prosperous acts- make sure you watch them carefully.  The Coldest Queen- the E.P. and Kickstarter campaign- took a lot of promotion and determination.  Their fans and supporters came together to ensure they could record their music- the results speak for themselves.  Coldest Queen shows so much drama and storyline; a tremendous and tight performance- it is one of the Yorkshire duo’s most complete and nuanced numbers.  Perfect for any weather and situation, make sure you investigate it now- and pick-up The Coolest Queen E.P.  The E.P. not only shows the hard work and passion that has gone into things; it also represents how much support Issimo has- it cannot be long until labels and P.R. bods are in-tune and on-board.  It makes you wonder where they head next- after they have toured and promoted their E.P. - and what their feature moves might entail.  I have always seen Issimo producing a wonderful and deep L.P.: something that shows them on full attack; expands their music and proves just what they can achieve.  When spring and summer rolls back around, you can expect them to hit-up festivals and stages: get their warm and vivacious music to the masses; get the feet and arms waving in unison.  I started the review by looking at the nature of duos and how they compose themselves: there is a lot of diversity out there; few acts have such an accomplished sound as Issimo.  They are not musicians that wildly throw sounds together- in the hope they coalesce and make sense- but instead have such affection for music- they are keen to explore it in as much depth as possible.  The Coldest Queen demonstrates these points fully: that wit and love-gone-wrong humour mixes with history and queens; the catchy hooks and bold choruses are matched with brassy music and stunning courtship- everything fizzes, flows and explodes.  A thrill-ride from start to finish, you have to tip your hats to them- and wish them success for the future.  I guess a lot of eyes and ears are trained to London and their musicians- it is where the majority of P.R. companies and labels seem to be based.  Whether their telescope is trained to the north it is hard to say: it would be a shame to think the likes of Issimo are being overlooked.  I would recommend Issimo get in touch with brands like Mystic Sons- who I mentioned in my previous review; they take care of Nina Schofield- and see if they will listen.  That failing, there are ample others who would welcome the duo into their nest- Uttley and Otway are too good to be localised and confined to the north.  They have played in London and the south, yet I can see them going a look further- I mentioned the likes of the U.S.; they would be at home here.  Perhaps a bigger ill with solo acts there seems to be some form of limitation with duos: their music does not really exceed expectations and few are daring enough to really broaden their motifs.  Coming back to Royal Blood, their debut album was met with applause and celebration (rightfully so).  What I find lacking was that sonic range that could spell trouble for album two.  The likes of The White Stripes, Queens of the Stone Age- who the duo have taken hints from- succeeded because they are broad and emotional wide-ranging.  Tying in some acoustic numbers and softer elements, their albums are more compelling and interesting.  Royal Blood struck me as two one-dimensional and samey: the band had to stamp an identity, yet you wonder whether they could really stretch themselves- how long will the public embrace the same sound/songs on a second album?  I worry they may just repeat their debut- with only a few tweaks and new diversions- thus risking losing their appeal and momentum.  Perhaps it is just short-sighted nerves, yet duos (as do bands and solo acts) need to be more forward-thinking and agile- the consumer market demands new sounds and freshness.  Issimo never stay still and are always looking to showcase something brand-spanking and vibrant- few of their songs sound alike.  What separates them from the pack is their songwriting and vocal dynamics.  Otway is the chief composer and is one of the most talented musicians on the current scene.  Whether penning a guitar lick or a Jazz/Swing riot- via some tender piano lines and feet-kicking acoustic moments- he is masterful and accomplished.  Uttley takes on the vocal majority and has sexiness and sensuality; plenty of smoke and tenderness- powerful and enflamed when the moment calls.  The duo’s stunning lead, she possesses such a gorgeous and emotive voice: it allows Issimo to really spread their wings are write any song they please (knowing she can accommodate and nail it).  The lyrics and stories are the most fascinating facet: the duo can write witty two-handers; they do slice-of-life stories and observations- perfectly capable of old-fashioned love and poetic utterances.  It is these talents that will see them endure and succeed: they are still a new act and have already achieved so much- from award plaudits and festival dates to gaining armies of new fans.  The fact they have managed to draw in so many new faces that prove they are a duo to take seriously- ensure they are not cloistered and exclusive to the northern crowds.  The nights are drawing in and the days are getting colder and more unpredictable- we need something comforting and warming to soothe our souls.  Off the back of a successful charge, the Bradford two-some are going to make future plans and seeing where they go next.  They needn’t be nervous or uncertain, as they are an amazing and unique act- few come up to their lofty status.  If you have not encountered the duo make sure you make up for lost time: they have a wide array of past songs to check; keep your eyes peeled in their direction.  With so many musicians coming across too downbeat and limited, we need acts that buck the trend and bring life back to music.  With that in mind…

SEEK this Bradford duo out.

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Follow Issimo:

 

Official:

http://www.issimomusic.net/

Facebook:

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

Twitter:

https://twitter.com/ISSIMOMUSIC

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Music:

https://soundcloud.com/issimomusic

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Videos:

https://www.youtube.com/channel/UCS4vlVv1QKYB2qQC9s28wIA

Track Review: Nina Schofield- Come Down

TRACK REVIEW:

 

Nina Schofield

 

Come Down

9.5/10.0

Come Down is available at:

https://soundcloud.com/ninaschofield/come-down-nina-schofield-1

RELEASED: 6^th November, 2015

GENRES: Pop

ORIGIN:

London, U.K.

LABEL:

23rd Precinct/Notting Hill Music Publishing

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ONE of my favourite things about music reviewing is…

coming across great solo artists.  I love the band market; discovering some great duos and artists: for me, it is most satisfying discovering a solo star- someone taking steps into the music world on their own.  My featured artist is someone I have reviewed before- and featured on these pages a few times- and is on a great rise right now.  I shall mention Nina Schofield in a second, but for the moment I am compelled to speak about a few issues: the solo market today; the rise of the female Pop stars- and the future of British music.  On the first point there are some great solo acts about: from Electro.-Pop and Folk artists, there seems to be a great range coming through- perhaps there is a slight lack of overall quality.  What I find (with solo acts) is that there is a sameness and familiarity: especially when it comes to acoustic-led artists, there is not a lot of differentiation and distinction.  I may be over-simplifying; I just find that I have heard it all before- there is not a lot of surprise and awe happening.  On the mainstream, there are a few great solo acts; although they are harder to find.  Great acts like John Grant and Angel Haze are releasing great albums: aside from them, there is still a proliferation of bands dominating the scene.  When it comes to the Mercury Prize nomination coming out; you can bet it will be band-heavy: a few solo acts may appear, yet the groups will probably be near the top of the list.  In the underground/new music, there is saturation and overcrowding.  When trying to discover a great solo act, social media does help a little: finding someone that separates themselves from the pack; goes out their way to be different and fresh- that can be a hard task.  A lot of Folk, Pop and Electro.-Pop acts tend to sound too like a mainstream example; a lot of new artists struggle to really stamp their personality into the music- coming off as quite uninspired.  I have reviewed and interviewed acts that could be replicants: you would not be able to distinguish them from other artists; from their vocal sound to their lyrics, there is borderline plagiarism at work.  It is quite depressing but perhaps not too shocking: in a scene where musicians are crowding in; how easy it is to be truly original?  When it comes to Nina Schofield, I am pleased to announce there is originality and personality- it is hard to really compare her with anyone else.  I have followed her career since the earliest days: from performing in school halls and making her first moves, she has blossomed into a fine and stunning artist: a woman with a terrific ambition and voice; somebody that defines the ambitious and hungry musician- what can happen when you set your mind to things.  There are a lot of Pop artists that tie in Electronic themes: to my mind, that is the hardest genre(s) to get right and make original.  What I find with a lot of female solo acts (who play in this arena) is that their voice sounds the same- you cannot distinguish their tones from their countless peers.  Schofield has built her voice- inspired by her idols and current favourites- and very much has her own style and endeavor.  Inspired by great female acts; bands like Coldplay- she brings a little of each into her make-up.  Before I talk about Schofield- and bring in a couple of new points- let’s introduce our featured act:

“Imagine a touch of Ellie Goulding mixed with a sprinkling of Jessie Ware and you are well on your way to hearing the epic sounds of singer-songwriter Nina Schofield.

Classically trained and having successfully completed a Degree in Vocal Performance at the Academy of Contemporary Music Nina has done a great deal of professional work to widespread acclaim.

The release of her first album “Drifting” led to a nomination for Best Female Vocal at The Hollywood Music in Media Awards with her second single “Slow Down Soldier” charting at number 4 in the iTunes Singer/Songwriter charts.

Her featured vocal/co-write with successful trance act Aurosonic has seen radio support from the likes of Armin Van Buuren and ASOT.

No stranger to the stage, Nina, who is a proud ambassador for charity The Rose Road Association, has already performed at prestigious venues and events including The Paralympics Torch Lighting Ceremony at Stoke Mandeville Stadium, The Buxton Dome, Derby and The Montreux Jazz Festival as well as supporting artists like John Power (The La’s/Cast) and Polly Scattergood. Working with internationally renowned producers and writers such as Jud Friedman (Whitney Houston), Richard Niles (Kylie Minogue, Ray Charles), and Lloyd Perrin (Pixie Lott, Newton Faulkner) has helped sculpt Nina’s individual pop sound into something truly unique and the release of her new single ‘Come Down’ is sure to place her firmly on the map of pop’s rising stars.”

Schofield has worked hard to get her name out there: she is one of this country’s most promising solo acts- in no small part because of her stunning voice and phenomenal songwriting.  Working with award-winning producers and a great team, she has ensured her music shout its name- critics and fans are falling for her new sounds; desperate to investigate her thoroughly- and all the promise she offers.  I will get down to the business of reviewing- and looking at Schofield’s music- in a while; but for now, it seems like another issue is at foot: the plight of the solo scene and this year’s music.  I have loved some of this year’s solo acts; there have been some great moments and albums- the bands are still stealing the limelight.  I am not sure what is causing it; what you can ascribe it to- it might just be the limits imposed on artists.  When you are a solo act, you have to work harder; you have fewer members to make the music resonate- perhaps some limits with regards composition and range.  It is hard to say, yet there needs to be a shake-up of sorts: the underground acts are showing what is possible; there are some tremendous solo acts coming through- let’s hope they translate to the foreground.  Schofield seems like an artist that could make her way to the mainstream soon: start playing the large festival dates; get her songs on national radio- and really make a name for herself.  That voice has huge range and possibility; her writing is varied and consistently strong- her hunger and passion is undeniable.  With the mainstream filled with hit-and-miss sounds- and you have to dig hard to discover great acts- it is a relief to hear an artist that brings quality every single time- and is getting better with each new release.  It is sure to be a prosperous 2016 for Nina Schofield.

Before getting to Come Down- and what her current movements behold- it is worth looking back; seeing how she has developed- and progressed as an artist.  Over It Under It is a year old now, but saw Schofield in her element: a song that brims with confidence and a stunning vocal performances.  From the introductory moments, there is that Coldplay-esque sound: Pop and Alternative mix together; quite calmed to begin with- the song soon expands and blossoms.  The song’s composition stays tender and considerate: allow that vocal to shine and pervade, it is a track that drips with emotion and determination.  There are little shades of Ellie Goulding and Coldplay throughout; that soft and evocative piano line (that cuts through the atmosphere and elicits shivers) is supported by a whispered and hushed beginning.  There is quite a ‘U.S. feel’ to the song- I am reminded of Katy Perry and Pink at times; little shades of the current Pop crop- yet Schofield’s distinct projection and tones override this- the chorus is one of the most catchy and powerful she has ever penned.  Lost in confusion and doubt, the song sees our heroine strike against the odds: she battles her demons and heartache; passes through the darkness- and makes her way alone.  The lyrics have a familiar and individual contrast: they will speak to the young female sectors- and the heartbroken that can emphasise- whilst showing a superb way with words and expressions.  Schofield mixes in some electronic elements, but for the most part, the song has a Pop-cum-Alternative blend- one of the strongest songs she has ever put out.

    Colours’ title track was released last year (along with the E.P.) and follows a similar path to Over It Under It: the vocal projection and sound is similar; the introduction is very similar- both songs share E.P. space so it is not a surprise.  On this track, the lyrics are more redemptive and romantic: there is a soulfulness and deep sense of passion; that safety and security- the initial vocals are without anxiety and are beautiful to hear.  A very crystalline and pure thing, Colours mutates and starts to grow- the pace and energy begins to pick up.  That chorus sticks inside the brain naturally: it is upbeat and colour-filled; evocative and stunningly delivered- Schofield’s voice matches urgency and effusiveness to a spellbinding effect.  Taking little pieces of Electronica and sounds of the clubs- the beats and electronics bristle and tease in the undergrowth- it is another shining and spectral Pop attack.  Multi-tracked vocals augment that sense of wonder and purity: you are lost in the tide of light and life.  Every vocal note and utterance is delivered with a huge amount of panache and style: Schofield ensures she makes every word count; her control and authority is incredible.  Joyous and endlessly addictive, it shows the other side of Colours: the paen and pride; juxtaposing the rejection and sense of loss.  Within both songs, Schofield is strong and not to be trodden-on: there is no gloominess and woe-is-me; she is always independent and defiant- making the E.P. something that appeals to all ages, genders and music-lovers.

   Come Down is anything but: it shows Schofield employing and bringing in new sounds and styles- whilst keeping her true voice intact.  Whilst Colours is largely Pop-orientated and chorus-heavy; Come Down sees harder electronics and more cutting-edge force.  That is not to say her messages have become cynical and depressive: her style and personality are the same; instead you get a bit edgy and Electro.-Pop feel to things- a little bit of Future-Beats.  Breaking away from the Coldplay-by-Goulding stylisations, here we get something perhaps Ferreira and Rudimental-based- two acts that have been linked to Schofield.  Schofield has ensured she does not stagnate or repeat herself: her new single is rife with detail and stunning electronics; great bass notes and stunning production values- sure to please existing fans and draw in new support.  If she had released a similar-sounding single- that strayed too close to her previous work- it might not have drawn in too many new faces: as it stands, she has kept her integrity but shown bravery and innovation; taking in new influences and exploring new horizons.

There is a lot of excitement surrounding Come Down: a song that sees Schofield right back in the limelight; showing a huge amount of assurance and inspiration.  Clash Magazine have premiered the track: it has picked up some positive reviews and resonated with the music press.  Right from the first seconds this is no ordinary Nina Schofield track: comparisons have been levied to Sky Ferreira.  There is a little bit of Chvrches in there too; some incredible evocations and familiarities- whist very much sounding natural and unforced.  The early moments see bubbling electronics and some seductive bass and beats- a great combination that wouldn’t sound out of place on an FKA twigs release.  It is such an of-the-moment and modern sound; an introduction that seems to sum-up and define 2015- the introduction puts the listener on their toes; draws them in and creates a whirlwind of fascination.  When Schofield arrives at the microphone, her soul seems exhausted and in need of energy- needing another hit to get her through.  Whether addressing a lover or friend, there seems to be some tension and anxiety- her subject is bringing her down; that need to get away and find some space.  Schofield keeps her positivity and natural sunshine brimming: she is on all all-time high; at the peak of her creative happiness, she will not let anyone knock her down- too many people forcing negativity and doubts.  The early words could speak as a message to the music world and critics: those that doubt Schofield and her dreams; anyone that is cynical and unsupportive is being talked-to and investigated- why would you want to knock someone when they are at their happiest and most fulfilled?  On the other hand- and perhaps a more likely explanation of events- we are looking at personal relationships and love.  Maybe her subject is weighing her down and not showing enough respect: Schofield’s pure and gorgeous vocal cuts through the atmosphere- sending a clear message across the horizon.  Evocative and tender, it is a nice balance against the early jaggedness- the song blooms and swings; there is a great sense of movement and time elapse; the composition does not merely sit still and remain passive.  On previous releases, Schofield has started breathless and in awe; she explodes and expands in the choruses- bringing the song along a typical and assured tangent.  Here, there is a slightly different tactical approach.  After that instant and stunning introduction the vocal does begin serenely and dreamily: before long, Schofield increases her pace (her words are almost Rap-like at times); increasing that sense of insistency and determination- catching the listener by surprise.  Letting her beauty and expressive voice lead the charge, she is backed by scuffling and compacted beats- which augments the foreground and injects a note of danger and fight.  Our heroine does not want to become entangled with those who are pessimistic and unsupportive: she fears her allegiance (to her subject(s) is going to bring her down; she does not want to surrender this high.  Schofield is spinning “out of your control”; on a different sphere (to her subject) - making her own way and moving on.  At this stage- and thinking about the song so far- the lyrics are designed to resonate with the mass audience.  There is a distinct motivation to the song- having been inspired by real-life events and struggles with others- yet the sentiments can be extrapolated by all.  We have all been in a similar situation: whether it is a partner or friend; a town or community- that sense of being held back and knocked-down is easy to identify with.  Come Down is an anthem that is reserved for all: a song that can ignite and unite the dance-floors; get feet and voices blended in a throng of song.  As the chorus slams and rises- and Schofield is at the peak of her powers- the composition comes back to take charge.  Whilst the bass and beats rumble and clatter- never aimless or erring into Dub-Step territory- there is a sharp and kaleidoscopic parabond (your mind is pulled into the trance of electronics).  Sampled and processed vocal snatches tangle with the bubbling bursts and static pound- creating something dizzying and intoxicating.  You can never predict where Come Down will go next: by the 2:00 marker, so much ground has been covered; the sonics and vocals never let up or desist- it is a song that demands attention without a moment’s breath.  After the little explosions of composition, Schofield comes back into the centre.  Having shaken away some negative people; tried to move past the bad.  As the song progresses, perhaps there is a person responsible for the happiness and good mood.  My mind speculated a lover or friend was causing heartache and annoyance: as Come Down progresses, my thoughts turn.  Schofield is at a high place; she is swimming in the joy of this feeling- is it success/music or love creating this?  It is a song that has mystery and obliqueness: each listener might have a different perspective; have their own version of events.  Schofield is a strong soul that wants to be fixed to this feeling- and not let it go by- and is throwing the shackles from negative spirits.  The track catches you by surprised with little vocal bursts- when the word “woah” is delivered by the chorus it is sharp and ecstatic- and its sheer energy.  Ecstasy and delirium seem to be the common themes: Schofield is one of the most positive and resilient songwriters; even when people are holding her back, she manages to find strength and light at the end of the tunnel.  Here she is hovering above the world; she is lost in the clouds- at her most comfortable and ambitious.  It is not just the sentiments, determination and etherealness that grip your attention: the composition is restless and constantly contorting- it is such a detailed and deep thing, you rewind the song to revisit snippets of beats and electronics.  Before the 4:00 mark- and the song starts to reach its close- there is some tempering and evaluation.  The scuffing and skittled beats vibrate and buzz; the bass line underpins the movement- the variegated electronic twists tie everything together.  With her sights set, Schofield unleashes one more charge: the song ramps up and reaches its absolute peak- beginning with some sped-up and mutated vocals.  Schofield is the master of hooks and huge choruses: whilst not using the song’s title as a chorus centre-point; instead it is that vocal-and-lyrics blend that hits the mark.  With her words reloaded and ready- spiraling out of her subject’s control; pushing away the doubters- you get that squirreled and accelerated vocal exclamation- cemented into the heavy and determined beat.  It is a track that gets more addictive and compelling as it unwinds: by the final notes you are not done digging and listening- and yearn for it to keep going.  Schofield and her production team have ensured the song ends sharply and economically: it allows her to spread her wings but does not overstay its welcome- that combination of nuance and tease is a wonderful thing.

   Come Down is a song that has a summer vibe and a real sense of energy- you can tell Schofield was sun-drenched and serotonin-filled when writing it.  Whether her inspiration- and the people/person mentioned in the song- is a friend or group of people, her lyrics ring true and hard.  Whilst its core is optimistic and determined, you always get that sense of internal struggle and weight: although she is looking to the heavens, there are things and people waiting to try and put her down.  If there are any fears or doubts, they are not evident in the song: every moment is defined by a huge amount of force and passion.  Schofield has never sounded as focused and determined as she does here: it is a song that seems to be where she it at; she is on a creative hot-streak and in love with music- her admiration and happiness is put to tape with stunning accomplishment.  Schofield has stepped aside from her Colours-era workj a little: her latest single is not a totally departure; it does invest some new influences and genres into the boiling pot.  Retaining some Pop sensibilities and motifs, we get harder edges and a more primal core- the electronics are more complex and emotive; the production values have shifted slightly.  What you get is a natural step and a great degree of consistency- it bodes incredibly well for a future E.P./album.  Schofield seems to be at her most inspired and happy: with her heart and mind this assured, how long before future music?  I know she has had struggles and anxieties- nothing foreign to musicians; she has channeled it into her songs- and has risen above these negativities.  What Come Down shows is how a positive outlook and pen can lead to some wonderful results.  Too many musicians are insulated and shallow- always looking at a half-empty glass; never projecting any energy or optimism.  There is a lot of upbeat and delirious Pop/Electro. tracks/acts out there; a lot of them get bogged-down in clichéd lyrics and fake vocalisations.  Schofield is an artist that surpasses her peers and has a sharp and intelligent pen- never succumbing to anything ordinary or tried.  Each track she produces sticks inside the head; it demands repeated listens- the sheer rush and energy draws you back in, helpless to resist.  Come Down is already enlivening social media- it is not officially released until November- yet Schofield seems to be at her most comfortable and committed- and gaining appropriate rewards and attention.

I am always startled by Schofield’s talent and music: with every new track, you get something different and developed- an artist that keeps on growing and improving; showing so much confidence and assurance.  Since her Colours days- more-or-less when I started to fall for her music- she has built on that incredible sound: she has developed a nice edge and grittiness; employed addictive bass and stunning Electro.-Pop sounds- fleshed-out and augmented her core sounds.  With this newly-honed sharpness and edge, you get an artist that is showing no fear: few other artists have such a determination to succeed and inspire- Come Down is the sound of a young woman who has no thoughts of slowing or quitting.  Schofield has joined forces with Mystic Sons- and the lovely people there- and is gaining huge momentum.  Schofield has the energy, talent and sound of Ellie Goulding and Sky Ferreira; the musicality and expertise of Coldplay- the way she can fuse genres and emotions seamlessly- and the vocal chills and cinematic flair of Lana Del Rey.  People like me (those that review music) need to compare artists with others- to make them more accessible to the public- yet Schofield does not cling to anyone- she simply employs little pieces of certain acts.  Her words and stories are her very own- and her experiences of love and life- whilst her compositions are alive with fizz and excitement; serene and sensuous undertones- few modern acts can match her sense of colour and innovation.  I guess we compare acts to see how good they really are- if they get compares to X, Y and Z they must be as good?- so Schofield should be proud- she is more than a match for the mainstream’s finest.   I am glad she is getting some London patronage and representation; she is getting her name heard in Mortimer Street- it is only the start of things to come.  I look at solo acts and wonder really: which ones will make it to the mainstream- who will fall and fail?  Schofield loves the flavours and scenes of the touring life- seeing new people and taking her music throughout the U.K. - so she seems dead-set to be an international fixture.  There are some great U.S. and Australian acts- that play similar music- so there are venues and crowds that would love her- that much I could guarantee.  London is a city that is more than hospitable: there are so many venues and clubs she has yet to conquer- this is the start of something great.  To get a foothold; to really make a name in this town- one must keep the pace going and not let the quality meter drop.  Her latest single sees the young artist really hit a stride: her music will only become more intriguing and confident.  On that note, what does the next year have in store for Nina Schofield?  I would imagine an album would be next on her agenda- as opposed to an E.P. - yet I might be wrong.  I feel she has enough impetus and stories to fill an L.P.: show what she has learned and seen since Colours- although she may want to tour for a little first.  Colours was as vibrant and multifarious as its title: abound with style, emotion and confession there was plenty of dance and epic hooks- songs that lodged in your brain and would not relent.  That four-track cut was out last year; since then she has matured slightly; upped her ante- and really expanded her sights and palette.  I can see an album cover and title; I could imagine the track listing- Come Down would be a perfect lead-off track- and the range of sounds contained within.  What Schofield has in mind is her choice, yet there is a market and an eager audience: she has ears and eyes enamoured and set.  It is clear 2016 will be her most prosperous and busy year: a chance for her to mingle with her heroes and current idols- her hard work will be rewarded for sure.  Too many solo acts- in the mainstream too- seem to lose pace and focus as time elapses; maybe falter and show fatigue- I do not see this being the case with Schofield.  Her consistency and adaptability is what marks her out: when an album does come out (whether it is next year or later on) it will be a bold and impressive statement- nuance and quality by the bucket-load.  I shall leave with a note about London music: the scene that keeps on growing and producing.  The capital is fertile and nurturing some agile talent- from your Dub-Step hitters to sweet-smoke Pop princesses; down to your grizzled and whiskey-soaked Rock acts; throw in some Soul-cum-Folk hybrids.  The Pop market is one of the most crowded and closely-investigated: if you can rise above the fray here, you can pretty much make it all the way.  It is tempting to settle in London and spend your musical life playing the venues and the people- there is a whole world to see out there.  Schofield shows this in her songs: she is not somebody that is going to stay rooted in the U.K.: how long before she stars to tour across the U.S.?  If you have not heard Nina Schofield, go back and explore her earliest work; take a detour via Colours- and finish with Come Down.  If you want an artist (and a song for that matter) that sticks in the heart; really compels you to revisit and pick apart- then look no further.  As far from effete and simplistic as you get, the details and production details are fantastic: each note and vocal comes across richly and unimpeded- ensuring the listener gets an unbridled and natural listening experience.  The voice is rich and sweet; it has raw power and huge passion.  The music is busy and rousing; it switches course and perfectly matches the lyrics.  Those lyrics are universal and personal; they are quotable and thoughtful.  The woman at the centre of this is on a charge; she is growing by the year; she is simply…

NINA Schofield.

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Follow Nina Schofield:

 

Official:

http://ninaschofield.com/

Facebook:

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Twitter:

https://twitter.com/nina_schofield

Instagram:

https://instagram.com/nina_schofield

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Videos:

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Track Review: Ethan Ash- Face to Face (Taken from his Live at Hunter Club' E.P.)

TRACK REVIEW:

 

Ethan Ash

 

Face to Face

9.1/10.0

Face to Face (original E.P. version) is available at:

https://www.youtube.com/watch?v=NEuH-eQAnKo

RELEASED: 2^nd October, 2015

GENRES: Folk; Alternative; Soul-Pop

ORIGIN:

Newcastle, U.K.

The E.P. Live at Hunter Club Bar & Venue is available from Friday 2^nd October at:

http://www.musicglue.com/ethanash/shop/

TRACK LISTING:

Face to Face- 9.1

Long Drive Home- 9.0

Chasing Your Love- 9.1

Don’t Regret Me- 9.1

Boy Like Me- 9.0

DOWNLOAD:

Face to Face; Chasing Your Love; Don’t Regret Me

STANDOUT TRACK:

Face to Face

E.P. ‘Live At The Hunter Club’ released 2nd October 2015. Recorded in front of a live audience at Hunter Club in August 2015. Ethan Ash - Vocals and guitar All songs written by Ethan Ash except ‘Don’t Regret Me’ which was co-written with Amy Wadge. Recorded, mixed and mastered by Steve Long, Hunter Club Recording Studio.

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IT has been hard maintaining a satisfying balance…

when you mix work with passion.  Returning to the world of work, it has been good having something to keep me focused- or at least get me a bit of money.  Before this, I spent a lot of time reviewing and writing: that has been reduced and leveled-out somewhat.  It has been a bit disheartening (reviewing acts) at the moment: a lot of bands and acts have not been sharing the reviews; some only to Twitter (and not Facebook) - meaning few people see it; it seems like a waste of time.  I appreciate musicians are busy, yet it takes a few seconds to share a review; you need not even write accompanying comments- it baffles me musicians fail to uphold their end of the deal.  Were the review to come from a ‘reputable’ or mainstream source; I am sure they would not ignore it- perhaps it is just me having a moan.  My point is, I love discovering new music: being alerted to great acts and artists; if others do not get to know about it- and my effusive words are seen by a small number of faces- then it seems like an unwise marketing strategy.  When it comes to today’s artist- hoping that there is some love-spreading after the review- he deserves some wider acclaim.  Before I go into more depth- and bucking a trend for me- let’s hear more about Ethan Ash:

“Singer songwriter Ethan Ash is regarded as an exceptional guitarist, on acoustic or electric guitar, a fine vocalist and terrific live performer. His soul-infused folk pop style, strong song writing, increasing reputation on the live circuit and many festival appearances have seen his stature as an artist grow, evidenced by an ever-increasing fan base, and international and UK national radio play, including CBC Canada and Radio1, and several television appearances.

Born in the north east of England Ethan has spent the large part of his life living in Cambridge. He began studying music and playing guitar at age six years and has been passionate about music ever since. He played his first solo gig age 12 and went on to perform solo and front a teenage band which played all over the UK but after studying music at university he decided to pursue a solo career.

One of Ethan’s songs was chosen to feature as an iTunes Single of the Week.

Solo gigs and festivals played include…

Bestival, Cambridge Folk Festival, Camp Bestival, Wilderness, Latitude, main stage at The Secret Garden Party, Y Not Festival, MK International Festival, Cambridge Corn Exchange, and several O2 Academies and Music Week, ASCAP and IMC showcases in London. Headline shows include The Stables (Milton Keynes), The Glee Club (Birmingham), The High Barn (Essex), CB2 (Cambridge)

Ethan supported Ed Sheeran on one of his sell-out UK tours. Other artists he has supported include Passenger, Seth Lakeman, Nick Harper, Foy Vance, John Bramwell (I Am Kloot), Jamie Woon, Amy Wadge, and he was guest artist on Janet Devlins’s O2 Academy tour.

Ethan co-writes with other artists/songwriters including award winning songwriter, and Ed Sheeran co-writer, Amy Wadge. His new E.P., Face To Face’, was released on 16th March 2015. Tracks mixed by Grammy award winner Simon Goggerly (U2, Paloma Faith, Gwen Stefani) and mastered by award winning engineer Mandy Parnell (Bjork, Faithless, Franz Ferdinand)”

It is not often I get to investigate a solo act- especially the guys.  When it comes to the sole acts; the lone artists that go out into the world- the most impressive and impassioned are the girls.  I am not sure what it is- and it’s not reverse-sexism- I just find them more impressive.  If anything, my impressions of the solo scene are enforced by the mainstream acts: the artists in the public fore; those we are all familiar with.  My featured act has supported Ed Sheeran- to be fair, an artist I do not like at all- yet that is just my point: I assume every male singer will sound like him; it will all be that same sound.  What I find; when digging through new music’s best, is something quite different: there is a great deal of range and surprise; some terrific artists out there- you just need to dig quite deep.  I still think the girls have the edge in all departments: when it comes to their diversity and mobility; the effect they have- they are taking the honours.  I am not sure what is behind this trend; whether the girls are more ambitious or wide-ranging- there seems to be an imbalance on the scene.  For that reason, it is always great hearing a tremendous male artist: someone who has that flair and voice; an exceptional songwriter and example- there are not too many out there at the moment.  Ash is one of music’s most impressive songwriters and talents: having garnered critical praise and support; he is still ‘under the radar’- deserving of more respect and acclaim.  The solo sector is quite a mixed thing: the quality does seem to be unpredictable; there are too many stale and uninspired artists- which put off a lot of listeners.  Too many solo acts (particularly the guys) are just acoustic guitar and no talent; a rather insipid and aimless musician.  Ash certainly breaks away from this fate: having played from a young age- picking up the guitar as a child- he has played in bands; released a number of E.P.s- supported some terrific musicians.  His latest E.P.- a live outing recorded at a Bury St Edmunds- shows what natural performer he is: in his element and completely at ease; the crowd are sucked into his magical world- the simplicity and effectiveness of his music; the beauty of his words.  I am glad I have been introduced to Ethan Ash- by his management company and representative- but feel like Christopher Columbus: discovering something (America) after countless others have before him.  Before I get down to reviewing Ash (and his new E.P.) I am reminded of the northern towns; the live E.P. realm.  Ash hails from Newcastle: a location that has produced some terrific musicians; some of the music world’s most enduring acts.  The likes of Prefab Sprout, Brian Johnson (AC/DC’s lead) and Sting hail from Newcastle- as do The Lighthouse Family; that is a different story!  Having reviewed a lot of northern acts- mainly from Yorkshire and Manchester- it is great to be back in Newcastle- the band Kobadelta may have been my last Newcastle review (apologies if I have reviewed any others in-between).  I am not sure whether geography and location has an effect on music- and defines just what it will sound like- but there is something in it: London music tends to be more harried and busy (reflecting the pace of the city perhaps); Manchester and Liverpool reflect their rich musical heritage (and often nod to classic home acts) - Newcastle combine the two facets.  Borrowing that northern magic- and the spirits of legendary bands past- there is a sense of urgency and pace; often balanced with something more romantic and nuanced.  Ash is an artist that has grown up on some wonderful sounds; married them to modern and chart-friendly vibes- topped-off with his unique blend and artistry.  His songwriting ability is second-to-none; the way he crafts images and words- more adept and skilled than the majority of his peers.  It seems only right that his latest E.P. was a live recording: he sounds natural in that element; great to hear the crowd experience the songs direct- the combination is beautiful.  You do not hear many artists (newer ones anyway) produce live recordings: not sure why; perhaps there is too much focus on original material.  Some of my favouite musical moments have been live recordings- from Jeff Buckley’s transcendent Live at Sin-e to Nirvana’s MTV Unplugged in New York- you can learn so much; experience an artist in a new light.  In those two cases, there was fresh revelation and insight.  Buckley was at the start of his career- recorded before he was signed; went on to record Grace- and shows how gorgeous his music could be.  Armed with an electric guitar and microphone, he seduced and entranced the New York coffee house- a tantilising glimpse into what was to come.  By contrast, Nirvana produced something similarly beautiful- although this album was recorded at the end of their careers; shortly before Cobain’s death.  That album stripped Nirvana right down; gave the back catalogue an intimacy and new perspective.  Ethan Ash sort of fits in the middle- when it comes to his progress and stage of music- and gives his songs a warmth and delicacy; a real charm and sense of emotion- naked and pure; powerful and primal.

It is hard to compare Ash with many other artists: he has such a unique and characterful voice; one enforced by his own passion and identity- he does not simply replicate others; hangs onto shadows and contemporaries.  Having toured with peers like Ed Sheeran, he retains some of that modern Folk-cum-Pop sound: he can sound contemporary and classic; loose and relaxed- engaging and urgent.  Whilst I am not a fan of Sheeran- and find his music lacking in that original bite and sense of diversity- he does have a loveable and winnable personality- that sense of optimism and smile comes out in his music.  Ash has purposely ensured his voice and music is his own: not beholden to anyone; a young man with a clear idea of who he wants to be.  For that reason, the songs really separate themselves (from the mainstream predictability); that passion and talent radiates through- compelling fans and listeners.  If you want a good assessment of Ash; how he has progressed and whether he has developed a lot- it is worth looking back; checking his older sounds out- and how his new material stacks up.

If one goes back to Playing by Numbers (the E.P. released in 2012) there is a gradual build- before a vocal explosion.  Our hero looks at his love and sweetheart on I Like: how she whispers and seduces; the way she moves and tantilises.  Ash ensures his words and sentiments are not clichéd and over-sued: the way he projects his thoughts and desires sets him aside from the crowd.  Boasting a quasi-orchestral sweep; a real sense of drama- it is a passionate and gripping number.  Wouldn’t Get Through is more sprite and nibble: the vocal springs and jumps- sounding a bit like a Soul legend, strangely.  Letting his lush and smooth side come through, there is directionless and loss (in the words); that need to find his girl- find something that will complete him.  The song looks at wanting to get words off his chest: saying words that mean more in the flesh; wouldn’t mean much on paper.  An addictive and catchy numbers, it shows the range and breadth of Ash’s songwriting ability and vocal prowess.  No Love in That Bed demonstrates how soft and seducing his voice is: tender and finger-picked, the song looks at the proclivities and cheapness of modern-day love- as the heroine picks up cheap dates and thrills.  Trying to find completeness and fulfillment; the song takes us inside the mind of a sordid day- as it descends into a seedy night.

  Haven’t Got There was released a couple of years back.  The song sees the young talent traverse more into Blues and Soul.  The song has that distinct and strong vocal performance- sounding more confident and assured here.  Like a young Jeff Buckley, the song shows Ash in rich form: he lets his voice kick and campaign; promoted by a springing and sensuous guitar sound- when combined it creates something quite scintillating.  With some soothing and rich female backing vocals, it is one of the singer’s most powerful numbers.  Since the earlier work- and the 2012/2013 period- Ash has grown as a songwriter and performer.  In the sapling years, his voice and songs has Ed Sheeran tones- perhaps clinging too closely to that sound.  Perhaps lacking that killer blow and completeness; the songs has their charms and power- yet seem to hold Ash back a little.  Demonstrating himself as a terrific songwriter and guitarist, the work shone and radiated- whilst not completely overwhelming and distinguishing.  The best modern songwriters betray a debt to nobody; they do not remind you of anyone else- which is what Ash developed into.  Over the last couple of years, he has brought in new styles and genres- more Blues, Soul and Pop elements- to make his music more full, spectral and stunning- showcasing his full range and ability.  Not relying on the acoustic-guitar-and-love-song model- that has been tried, tested and flogged to death- he has blossomed into a more mature and intelligent writer.  His music contains the cores and hallmarks- love’s separation and personal doubts; personal strength and longing- but does so with a sense of individuality and personality.  Increasing his proficiency and wonder by the release; Ash gets stronger and more assured- it is a very promising song for the future.  His current work- live album that has developed from his Face to Face E.P. and earlier work - sees the young man at his peak: coming across as more confident and timeless; Ash is now a definitive and essential solo artist- someone every listener should fall for.

    Face to Face is my favourite song of Ethan Ash: the title track from his latest E.P.  I was keen to see how it translated into the live arena; what Ash would do differently- and whether it would be a faithful rendition.  The track boasts a most sumptuous and delicate introduction: Ash’s guitar playing is romantic and gorgeous; flowing and seducing- a most beautiful and calming beginning.  Reminding me of Nick Drake- and the magic he could weave with his guitar- for the new listener, you are not sure what to expect.  After the trickling waterfall; the dancing and twinkling strings- our hero comes to the microphone.  Ash keeps his voice impassioned and soulful- never getting out the traps with too much energy and emotion- letting his words do their work.  Early thoughts look at romance and longing; that need to be with (his) sweetheart- and find satisfaction.  Our man has been waiting to- with his girl one presumes- “talk to you”; let his words come out- get something important off his chest.  Without revealing too much insight and secrecy, the initial thoughts are quite compelling and simple- letting the listener imagine and conspire (as to what is unfolded).  It seems there has been some dislocation and upheaval; maybe an argument has ended- and the two lovers are split and balkanised.  Our hero does not want things to end; he is determined to keep the flame alive- broker reconciliation and get things back on track.  In this live setting- compared to the E.P. version- Ash’s voice sounds even more wounded and desperate: that desire and tremulous need echoes strongly.  The “little situation”- what has happened between the two lovers- is underplayed to some extent- maybe the hero is shirking his share of the blame; maybe things have gotten out of hand.  When love songs are written- that look at similar themes and storylines- the author never takes much of the blame- it always seems to be the fault of the other party.  To an extent, Ash is owning-up and taking his lumps; he just wants things to return to normal- that ache and honesty in the vocal is hard to ignore.  On that front, the vocal never deviates from that determined and soothing soulfulness- eliciting so much raw passion and pride with every note.  I have mentioned Jeff Buckley’s ‘Sin-e performances: the way he bends notes and keeps the audience enthralled; making sure his voice cuts right through the air- you can hear this happening here.  Ash has clearly studied Buckley- whether consciously or not- and translates some of his early-‘90s majesty and accomplishment- showing himself to be a stunning and soul-seeking voice of this generation.  It would be easy to walk away; cut the ties would be the simplest things: his girl seems to want a way back in- they need to be face to face.  That stridulating and crooning guitar creates atmosphere and force; summoning up plenty of possibility.  The hero asks questions of his girl: would she ignore his calls?  Would she just pass him by?  What would see do were they to meet again?  There is that anxiety and fear; the uncertainty for the future- they need to fight to make things right.  Perhaps they are in two different camps; their minds in different places- it is hard to ignore all they have shared and been through; they should not let that die.  Repeating the song’s central mantra- how it is easy just to “walk away”- Ash tried to keep his emotions in-check; there is that possibility he might crack- and let the force of his confessions come wailing out.  By keeping everything tight and focused; not letting his heart overtake his mind- it means the song always has that intrigue and mystery; the sense of what-if and suspense.  As it progresses to its final beat, you wonder what will become of the duo: will they ever rekindle their passion and deep love?  By the final moments, that voice is at its more alert and determined: getting that message across, it weaves and entices- sending a clear message across the land (hoping it hits its target).  Question marks are hanging and unanswered; you speculate as to the next steps- things may be beyond repair.  As Ash ends the track, the crowd loves his performance; they are scintillated by the performance- our hero turns the track inside out; gives it new life and meaning here.  It would be easy to say that Face to Face- and the rest of the E.P. - performed live is just a means of getting money and new fans.  Some artists release live albums; few really put much effort into them- they seem like a stop-gap and afterthought.  Ash ensures the songs are reworked yet kept consistent and recongnisable- exciting existing fans and bringing in new ones.  With the crowd sitting back in reverend mode- and not making a sound or motion- it allows the track to really show its heart and soul.  One of the U.K.’s most promising up-and-coming singers, Ash proves why he is such a popular artist- and is deserving of a lot more acclaim and attention.

As a new Ethan Ash convert, I am coming in with fresh eyes- assessing an E.P. that nods to his past and present; is a perfect introduction for new fans.  The current market is obsessed with disposability and turnaround; the instancy of music- wanting artists to produce music constantly; not leave gaps between recordings.  There is a fixation with short-attention span: few reviewers and critics (listeners for that matter) have that much patience.  Ash is an artist that is in no hurry: his music is pulling a huge amount of fans in; striking them hard- his reputation is growing by the release.  Still somewhat under-appreciated- not quite at that mainstream level yet- it is surely only a matter of time.  Live at Hunter Club Bar & Venue shows just what the young artist can come up with: confident and memorable; emotive and passionate- the sound of a musician in his element.  Coming back to my original points- before I give a ‘mini-review’ of the E.P. - Ash is an act that burns and smokes (has to throw some dodgy wordplay in there!).  The north is showcasing some of music’s most exceptional artists: compares with the south, there is a lot more range and innovation; a great spectrum of genres and possibilities- although London maybe has the edge in terms of quality.  It is great to compartmentalise the U.K.: see what each region comes up with; how the music differs- the northern climbs are really fascinating.  Whereas Manchester and Liverpool is more band-heavy- compared with solo/duo music- Newcastle seems to be unveiling more solo gems- there are some great bands; they are overshadowed by the solo artists.  Ash has come a long way; crafted some spectacular E.P.s- growing with each new record; on a very promising trajectory.  A great deal of modern solo artists are slacking and falling: the mainstream scene is showing occasional promise; new music is throwing a lot more promise up- artists not conforming with market expectations; free to write and project from a more relaxed heart.  Ash has been noted because of his terrific lyrics: ideals that are personal and honest; they also speak to the wider audience.  A lot of newer artists cannot pen consistent lyrics: keep their formidable force and retain a sense of adventure, ambition and integrity.  From release to release, Ash produces deep and reflective lyrics; songs we can all relate to- music that is nuanced and highly charged.  That voice stands right in the middle: the stunning tones beautifully blend into the mix; the result is an exceptional and potent thing.  I hope he comes down to London; takes his music to the capital- there will be a lot of ears waiting for him.  With the music scene growing and flourishing (in London) there is that desire for a brave and assured artist- someone who can command a crowd; really get the punters in.  Ash already has a reputation and fan-base; there are many more unaware of his music- let’s hope that changes soon.  On that note, it would be good to see an album emerge: Ash has the ammunition and quality; he could stretch his music over ten or eleven tracks- really put his stamp out there.  Following his E.P.s and singles; it seems like an album would be the next step- something that could cement him as one of the U.K.’s best.

Across the E.P., the beauty and power does not relinquish its grasp.  When his E.P. Face to Face came out (back in the spring) it was met with fond applause and impassioned support- fans and new listeners paid tribute to its solidity and consistency; the depth of emotion and wonderful songwriting.  Live at Hunter Club’ sees that E.P. out in the open (with Long Drive Home and Don't Regret Me in there): performing to an intimate crowd and letting the music do its work.  Long Drive Home sounds sparse and intimate: right in the midst of the song, it sees the singer let his voice shine- looking at his love and his accompanied heart.  When driving and making that trek home, he is never alone- you can sense that insistency and devotion in his delivery.  Switching between wordless highs and soulful swathes, the energy and pace never drops- giving the song a sense of importance and urgency.  The guitar-playing abilities are right up front: adding so much momentum, mood and movement; the performance is stunning throughout.  Throughout the song, Ash never lets his voice slip or loosen: he sounds completely natural and at ease here; lost in the music, that warmth and purity comes out.  Reminding me of my favourite live album- Jeff Buckley’s Live at Sin-e- it is that mixture of familiarity and intimacy.  When Buckley recorded that live album- collected moments from several gigs at the New York coffee house- it predated his Grace work.  The songs on ‘Sin-e were being honed and experimented-with; tested and tried- not quite at their peak and final stage.  That is what made the record so wonderful: there was a sense of playfulness and improvisation; just going with the flow- what Ash displays here.  Being a new and fresh E.P., the songs are being changed and mutated; little details and nuances come to the plate- hearing them in a live setting gives the songs a natural backing; a raw and romantic vibe.

   Chasing Your Love proves all these points: one of Ash’s most impassioned tracks is given an airing before a devoted crowd.  Looking at chasing the heart (of his intended girl) there is history and a back story- when they used to play and chase one another.  Showcasing some youthfulness and child-like naivety, you can picture the young Ash and his girl- that innocence and sense of what-if.  Now there is that urge and need to obtain love and satisfaction- regressing to childhood days; wanting his girl to be his.  One of the E.P.’s shortest and most concise numbers, the guitar flecks are fast and spirited- reflecting the song’s endless sense of liveliness and the upbeat.  Not simply succumbing to the tendancy of his peers- letting himself wallow in his thought; present a by-the-numbers slush-ballad- the song has its head up high- a real determination to get what it wants.  Ash’s voice is enflamed and enriched; completely engaged in the moment- a stunning live performance here.  Being an assured and established star- with plenty more fans and lands to conquer- you might expect strings and supporting musicians to come into things; give the songs too much emotion and music- drown the lyrics in orchestral movements and needless over-production.  In this live setting, you get bare bones and a real atmosphere: Ash strips the song to its core; lets its meanings and feelings come off the page- get right into the minds of the listeners.

Don’t Regret Me slows things down- and gives a faithful comparison it’s the original recording- letting the crowd catch their breath.  Ash allows his soulful and stunning tones to come out: mixing elements of Stevie Wonder, Jeff Buckley and the current best; showing just what a range and emotional palette he possesses.  The track almost steals top honours- in terms of the standout of the E.P.- because of the range of emotions and themes throughout the track.  The guitar composition is simply a supportive aid: it gives the song its drive and movement; the real stars are the lyrics and the vocals.  Our man will write down a list- and “give it to you”- stating and declaring his love.  Asking the girl not to regret him- perhaps he has been remiss giving praise and affection- there is that need for safety and love.  Not wanting things to fade and dissipate; the song shows what an aching and tender heart he has- and what a sensational voice is at play.  That Stevie Wonder-esque Soul sound spills out- his high notes are crystal-like and heartbreaking- and does not sound forced or disingenuous.  You implore and support Ash; get caught in his plight and fight- hope he wins her heart.  Providing a nice sonic and emotional balance- between the high-rolling and feet-moving pace of earlier numbers- you get a window into his mind and soul.  Whereas other tracks have looked at love and break-up; pure affection and child innocence- here there is some honesty and mindfulness; taking his share of the blame.  Ash is in confessional mode; he is laying his thoughts on the line- a real fear and anxiety comes out.  Not just another love-them-and-leave-them guy, things are different here- bravery and real need for things to be better; regret of what has come before.

Boy Like Me is a perfect closer: one of the best acoustic performances I have heard for a while.  The guitar is the perfect backing and support aid: adding so many words and emotions, it perfectly aids the hero.  The words he has been saying; the words that come off his tongue- they are getting him into trouble.  Urging his girl to stay with him; he needs that particular girl- no other woman would stay with him.  The second part of his honesty fable, Ash is open and completely bare here: he knows his limitations and faults; he is desperate for his love to stay with him.  Letting his guitar twirl and conspire, you get lost in the drama of the song: all the images that are whipped-up; the pure force of that voice- all the possibilities and avenues.  Keeping things simple and traditional- Ash keeps his songwriting fairly straightforward and uncluttered- here is a man that specialisies in to-the-core song-craft- not overcrowding songs and straying off course; keeping his mind and attention to the task at hand.  Boy Like Me- and the E.P. as a whole- has quite a modern vibe; it could easily sit alongside the current scene’s finest- but offers that little bit more.

In a music world where solo acts- those that pick up an acoustic guitar at least- tend to lack individuality and unique direction; you get the same voice/lyrics/sound coming out the same way.  At some points I cannot tell artists apart: the vocal and tones are identical; their themes and stories samey and predictable; their compositions too simplistic and boring.  Ash has developed and grown as an artist- since his early days he has developed his personality and sound- and has really come into his own.  One of music’s weaknesses is the male singer-songwriter genre: few modern acts really take the breath away; make you want to stick with them.  Throughout the live E.P. you get a sense of what Ash is all about: he is a very distinguished and special singer; someone with a lot of heart and intelligence.   If you are a fan of his work, you will find much to love: he has not changed things drastically; increased the consistency and quality- improved his game and shaved away some rough edges.  It is that serene and pure soulfulness that shines brightest: when he is at his most ardent and impassioned, his voice flies and entrances- beating any other singer that comes within its path.  Imbued with so much entice and spectral haunt, you cannot deny its wonder.  The balance of love emotions and lyrics works well: there are not too many clichés or recycled ideas; the lyrics showcase a maturity and innovation- something lacking among his male peers.  Overall, Live at Hunter Club’ is an E.P. is one you need to get hold of.  You imagine you are sat in the crowd; you are alongside those who witnessed it in the flesh- the production allows you a front row seat to see the show.  What you get is an artist that is completely confident and determined to succeed; win the minds and hearts of his followers- show just what a unique and brilliant talent he is.  One of the best live releases I have heard for a while, it is has urged me to follow Ash; dive into his back catalogue- see just what he is capable of.  With regards his future, he will be in need beyond the U.K.: he could well translate to U.S. crowds; find success across Europe and Australia- he is a singer that has a big future.  What 2016 has in store is anyone’s guess- although Ash can be guaranteed of success and new interest- and I would not be surprised to see festivals, radio stations and nations line up- all eager to see the young man show what he’s made of.  With so many modern singer-songwriters showing little heart, courage and fascination; make sure you check out Ethan Ash…

ONE of this country’s most promising musicians.

____________________________________________________

Follow Ethan Ash:

 

Official:

http://www.ethanashmusic.com/bio

Facebook:

https://www.facebook.com/ethanashmusic

Twitter:

https://twitter.com/ethanashmusic

 ______________________________________________

Music:

https://soundcloud.com/ethanash

_____________________________________________________

Videos:

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

Videos:

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

This Week's Albums: September 29th, 2015

This Week’s Albums

 

September 29^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 at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); 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; 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 have forgotten about.

The Old: Tom Waits- Rain Dogs (1985)

 

9/10

One of the quintessential albums of the ‘80s; it stands out as one of Tom Waits’ finest creations- it followed the spectacular Swordfishtrombones.  Waits’ voice and persona- that he has cemented in earlier recordings- is that louche and poking songwriter: that whiskey-soaked burr wraps itself around 19 tracks of curiosity, beauty and weirdness.  It is hard to label Waits and Rain Dogs: the album cover so much ground; visits diverse and colourful  territory- it takes many listens to absorb everything; really get down to the album’s roots.  With Marc Ribot’s dominating and dangerous guitar adding bite and drama- the album saw Waits change his tactics.  Less honed and focused than Swordfishtrombones; Rain Dogs is nevertheless a triumph.  Regarded as one of the 1980s most cherished albums- the likes of Rolling Stone and Slant Magazine have placed it in their top 20 (of the ‘80s); you cannot deny its power.  Waits established himself as a surreal master on Swordfishtrombones- his wordplay and lyrics delved into some pretty far-out back alleys- which continues on Rain Dogs.  With more romance and musical innovation across the board, the album remains one of the ‘80s moments.  Whilst Waits would never quite match his 1983-’85 regency; Rain Dogs laid down a tremendous standard- one that not showed just what a tremendous songwriter Waits was.

DOWNLOAD: Singapore; Jockey Full of Bourbon; Gun Street Girl

STAND-OUT TRACK: Jockey Full on Bourbon

[youtube https://www.youtube.com/watch?v=m7LqgIefUNI&w=420&h=315]

The New: Eagles of Death Metal- Zipper Down (Released 2^nd October, 2015)

 

8.5/10

The band’s fourth album- and their first in seven years- Zipper Down does not sound like an over-perfected and inconsistent album (what one might expect if the entire record takes seven years to gestate).  With Josh Homme touring and promoting Queens of the Stone Age; Jesse Hughes looking at solo projects- it is impressive the album was made at all.  Clocking-in at just over 34-minutes; it is an L.P. that showcases typical Eagles of Death Metal hallmarks: the sleaze and tease; the humour and wit; the raw riffs and primal purr.  Silverlake (K.S.O.F.M.) boasts electrifying and sexy riffs; a scuzzy and leather jacket-wearing hook- something that showcases what exceptional song-crafters the duo is.  Lead-off single Complexity is a simple and scintillating jam: the vocal (from Hughes) proclaims “It’s so easy without complexity”.  Swaggered and confident; doubting and nervy- the song is one of the album’s highlights.  It shimmies and shakes; grooves and slithers- just what the band are all about.  Elsewhere, their cover of Duran Duran’s Save a Prayer is reinvented and reborn: fully exposing the lyrics and meaning- the one-night stand and all it beholds.  In Eagles’ hands, the song takes on a fuzzed-out and lip-licking quality- something that wouldn’t have seemed possible when Duran Duran recorded the original in 1982.  It is clear Eagles of Death Metal and back and loose as ever- good news indeed!

DOWNLOAD: Complexity; Silverlake (K.S.O.F.M); Save a Prayer

STAND-OUT TRACK: Complexity

[youtube https://www.youtube.com/watch?v=z_BXWy7_6ZM&w=560&h=315]

The Influencer: Mary J. Blige- What’s the 411? (1992)

9/10

In 1992, What’s the 411? lead to Mary J. Blige being crowned “Queen of Hip-Hop Soul”- by the way she mixed modern Hip-Hop and classic soul.  This is reflected in her voice, which expresses soulful and strong edges; cutting and sassy Hip-Hop elements.  Where (in previous releases) Blige focused on Soul and Pop motifs; here she borrows from Rap heavily- in no small part due to collaborators Sean "Puffy" Combs; R&B producers Dave Hall and DeVante Swing; Rap mogul Tony Dofat and rapper Grand Puba.  You Remind Me shows how effective and stunning Blige’s voices- a pure weapon of soulfulness.  Real Love marries a street-real beat with a huge vocal performance- as our heroine yearns for a new love; someone to satisfy her needs.  Elsewhere; Sweet Thing mixes Gospel into the agenda- earning Blige comparisons with Chaka Kahn.  In a time where the likes of En Vogue were splicing Gospel, Soul and Hip-Hop- creating stunning milestones like Funky Divas- What’s the 411? surpasses them all: not only setting a blueprint for ‘90s Hip-Hop; its sample-heavy sound compelled a range of artists.  Few albums remain as influential and inspirational: with such rich and vibrant fusions; stunning productions throughout- few albums remain as compelling and fascinating.

DOWNLOAD: Real Love; You Remind Me; Love No Limit

STAND-OUT TRACK: Real Love

[youtube https://www.youtube.com/watch?v=7ovf52H5ydg&w=420&h=315]

The ‘Other One’: The KLF- The White Room (1991)

 

9.5/10

I ‘rediscovered’ this album a few weeks back: when playing The KLF’s stunning track Justified and Ancient (featuring the late Tammy Wynette on vocals) my heart leapt.  One of the ‘90s essential anthems, take a listen to The White Room- one of Acid-House’s most essential cuts.  There is Justified and Ancient’s heavy beats and hypnotic chorus; those rebellious and authority-defying lyrics- masterfully presented by the British masters.  3 a.m. Eternal (Live at the S.S.L.) and Last Train to Trancentral (L.P. mix) complete the album’s ‘holy trinity’- yet there is plenty of invention and majesty to discover.  Released in 1991, the album not only evokes images from a golden age in music- it remains well-aged and contemporary.  The songs and beats translate; the sonic innovations still sound fresh and alive- the songs compel the listener to swing their head; move their feet in a frenzy of submission.  The KLF disbanded in 1992- a shock that reverberated around the music world- yet their masterpiece shows that imagination and silliness; the stunning grasp and confidence.  The White Room is a creation to unwind to; get lost inside; let its dreams and realities shock and seduce- a work that is designed to

DOWNLOAD: 3 a.m. Eternal (Live at the S.S.L.); Last Train to Trancentral (L.P. mix); Justified and Ancient

STAND-OUT TRACK: Justified and Ancient

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

This Week's Albums: September 22nd, 2015

This Week’s Albums

 

September 22^nd, 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 at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); 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; 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 have forgotten about.

The Old: Tim Buckley- Goodbye and Hello (1967)

 

8.5/10

One of music’s most underrated voices; Tim Buckley was synonymous with his gymnastics and vocal dexterity.  Whilst his later work suffered fatigue and washed-out songs, his early work brims with invention and revolution.  Goodbye and Hello sees the U.S. master in fine voice: from the haunting poetry of No Man Can Find the War; Buckley sets out his stall.  Pleasant Street sees Buckley at his most elastic best: his voice has rarely sounded as gripping and seductive.  With its images of “Christian licorice clothes” and “concreted skies”, the song mixes oblique and direct; fantasy and the fantastical.  Though some critics derided its dated and ‘too nice’ image upon release, the album has gained retrospective acclaim.  Larry Beckett (who would conspire with Buckley throughout his career) helps to pen half the lyrics; a stunning band providing backing- the album spills-over with colour, emotion and possibilities.  The title track (almost hitting the nine-minute mark) is a multi-part adventure; Elizabethan musical touches and grand-standing horns all in the mix.  Once I Was sees Buckley go into Country territory: casting himself hunter and soldier; lover and hero- the song showcases some of the album’s most romantic offerings.  I have wondered why Tim Buckley inspires so few modern acts- it is a strange thing really.  Perhaps they should listen to Goodbye and Hello and change their thinking- an extraordinary record.

DOWNLOAD: Pleasant Street; Once I Was; Goodbye and Hello

STAND-OUT TRACK: Pleasant Street

[youtube https://www.youtube.com/watch?v=hz8EoMOVHBM&w=420&h=315]

The New: The Dead Weather- Dodge and Burn (Released 25^th September, 2015)

 

8.0/10

The Dead Weather’s third album sees them hitting their peak- following on from 2010’s hit-and-miss Sea of Cowards.  All the components are here: the bat s***-crazy riffs and Zeppelin-esque epics; the peculiar and delirious vocals- the fascinating stories and peculiar characters.  With its players having a busy schedule- Jack White and Alison Mosshart particularly so- the songs are the results of combined jam sessions- laid-down in Nashville over a year-and-a-half.  Lead-off track I Feel Love (Every Million Miles) is a rip-roaring blast/Immigrant Song retread- and although White’s drum work is not as fierce as it should be- Mosshart’s lead vocal makes up for it; it buzz-saws cut through the track.  On this L.P., The Dead Weather up the eccentricity: Three Dollar Hat is an eerie and demented murder-love-tale; boasting a peculiar and crazed vocal.  Open Up and Mile Markers see the band at their ferocious best: the former is a whacked and snarling Punk-Rock gem; the latter sees an odd tale of strange boys and girls; a twisted offering- one that sees each band member at their peak.  Whilst there are few mis-fires- the ballad Impossible Winner seems out of place; too distinct to fuse with its brothers- the album proves the band have grown in confidence and ability.  Let’s hope they get time to tour Dodge and Burn: Jack White seems incapable of slowing; Mosshart is becoming a more assured and unique vocalist; Jack Lawrence and Dean Fertita complete a tight and phenomenal band.

DOWNLOAD: I Feel Love (Every Million Miles); Three Dollar Hat; Mile Markers 

STAND-OUT TRACK: I Feel Love (Every Million Miles)

[youtube https://www.youtube.com/watch?v=98oMvKF-78Y&w=560&h=315]

The Influencer: Elvis Presley- Elvis Presley (1956)

10/10

This 28-minute album stands as one of Rock ‘n’ Roll’s most vital statements.  Presley was a relatively new name on the scene; he was not considered a vital artist- up until this point at least.  With Heartbreak Hotel gaining momentum and respect around this time- upon its initial release it was met with muted acclaim- Presley launched an audacious debut.  Representing every side to his artistry- Blues to Rock ‘n’ Roll; everything except Gospel- the album tackled recent tracks (from artists of the time) and gave them a new spin.  With that inimitable and distinct voice adding life, candor and energy to each number; it was no surprise the album reached the number 1 spot- the first Rock ‘n’ Roll album to do so.  Before the likes of The Beatles and The Rolling Stones existed, Presley transformed the music landscape- putting Rock ‘n’ Roll directly into public consciousness.  In 2003, it was ranked number 56 on Rolling Stone magazine's list of the 500 greatest albums of all time. Elvis Presley was also one of three Presley albums accoladed in the reference book 1001 Albums You Must Hear Before You Die, the others being Elvis Is Back! and From Elvis in Memphis.   It was certified Gold on November 1, 1966 and Platinum on August 8, 2011 by the Recording Industry Association of America.  Few debut albums have sounded as urgent and groundbreaking: in an age where most genres have been saturated and exhausted- it’s unlikely anything will touch Presley’s 1956 milestone.

DOWNLOAD: Blue Suede Shoes; Tutti Frutti; I’m Gonna Sit Right Down and Cry (Over You)

STAND-OUT TRACK: Blue Suede Shoes

[youtube https://www.youtube.com/watch?v=a8O8qdHeKl0&w=560&h=315]

The ‘Other One’: LCD Soundsystem- Sound of Silver (2007)

 

9.5/10

It has been a few years since James Murphy has released an LCD Soundsystem album (2010’s This is Happening was the last).  More emotive and focused than LCD Soundsystem (the band’s debut); demonstrated by the heartbreaking Someone Great- the lines "To tell the truth I saw it coming/The way you were breathing" are devastating in their honesty and beauty.  Get Innocuous! opens the album with furious beats and huge passion- a stunning Dance music number that demonstrates how skillful Murphy is.  North American Scum is political and socially-charged; charming and quirky- how North Americans are judged and perceived; propelled by a buzzing and cosmic jam.  All My Friends- with its New Order-sound and disordered thoughts- is a mid-life consideration in the middle of a packed and sweating dancefloor.  Murphy constantly amazes with his musical depth and innovation; he as skilled a beats-maker; exceptional wordsmith- effortless when mixing Punk and Dance; compelling when writing about love’s woes and New York-pathos (on New York, I Love You’ it appears the city is “bringing me down”).  The songs- and the album as a whole- are textured and supremely accomplished: it is not a Dance music-only collection; there is something for every music-lover.  The U.S. band have been in hiatus- or perhaps sequestered to record their next album- but let’s hope they return soon.  Sound of Silver was one of 2007’s finest albums- one of the best albums of the decade, in fact.  If you are new to the band, fear not: it is an accessible and endlessly rewarding treat for the ears, mind and body.

DOWNLOAD: Get Innocuous!; Someone Great; New York, I Love You but You’re Bringing Me Down

STAND-OUT TRACK: Someone Great

[youtube https://www.youtube.com/watch?v=bOHLeXxfNu0&w=420&h=315]

Track Review: Well Hung Heart- Throw It All Away

TRACK REVIEW:

 

Well Hung Heart

 

Throw It All Away

9.4/10.0

Throw It All Away is available at:

https://www.youtube.com/watch?v=85EfMRv2hes

RELEASED: 1^st June, 2015

GENRES: Alt-Rock; Punk-Blues; Garage-Rock; Proto-Punk

ORIGIN:

Orange, C.A. via New Orleans, L.A. + Devizes, U.K.

The E.P., Well Hung Heart is available from:

http://wellhungheart.bandcamp.com/album/well-hung-heart-ep-new

TRACK LISTING:

Throw It All Away- 9.4

Touch the Sky- 9.3

Play Me a Song- 9.3

Lights Out- 9.4

Killing Time- 9.4

DOWNLOAD:

Throw It All Away; Lights Out; Killing Time

STAND-OUT TRACK:

Throw It All Away

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WELL HUNG HEART (Self-Titled) E.P.

RELEASED SEPTEMBER 2015 to Digital Retailers and 500 Limited Edition Custom Tin Deluxe Packaging.

Released 01 September 2015

Lyrics and Melodies by GRETA VALENTI.

Vocals & Percussion by GRETA VALENTI.

Guitar & Bass by ROBIN DAVEY.

Drums by KEVIN CONROY.

Mixed & Mastered by WILL MOTT at 73 PRODUCTIONS.

Recorded by ROBIN DAVEY & WILL MOTT at GROW VISION STUDIOS in Orange, C.A.

Assistant Recording Engineering by BRANDON RAMIREZ.

(c) WELL HUNG HEART

www.wellhungheart.com

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FRESH from reviewing the always-mind-blowing-and-beautiful ADI...

I am crossing continents and oceans; across the genres- to a completely different proposition.  Before I reach my featured act, I have been thinking about the band market; the composition of bands- and those that will ascend to the mainstream.  At the moment, I am keeping an eye on the mainstream bands: those that are well-established and leading the way- seeing what they are coming up with.  This year has been defined by some underwhelming efforts; unexpected bands coming through- and stealing top honours.  I have banged-on about the merits and virtues of Royal Headache: Australia’s finest have nailed the short and concise Punk-Rock song; mixing heart and heartfelt vocals- plenty of gritty riffs and colourful compositions.  Nobody expected them to record a new album- since they split following their debut- and fewer expected such a unified and flawless album.  If you have not heard of the band, make sure you check them out- High is an album that should not pass by.  Away from the out-of-leftfield gems, the bigger boys have not fared wholly well: from the likes of The Libertines and The Vaccines; The Strypes and Mumford and Sons.  The Libertines had a world of expectation on their shoulders: critics were looking for an Up the Bracket sound-alike; something that harked-back to their young days- that same freewheelin’ spirit and under-produced chaos.  What we got (on their album Anthems for Doomed Youth) was something developed and matured: gone were the fireworks and scuzzy riffs; replaced by something more controlled and grown-up- perhaps you can’t relive the past; just have to accept the future.  The album has some classic ‘Libertines moments- about 4 or 5 solid efforts- but the rest is a little lackluster and distilled.  The Vaccines and The Styrpes are duo that had fairly impressive debuts: this year’s efforts have been somewhat underwhelming and stale; by their own standards really not up to the task.  Throw into the mix Mumford and Sons- to be fair all of their albums are gutless and completely banal- but they hardly reinvented the wheel- choosing to bore in a whole new way.  It seems the mainstream’s finest can’t always produce reliability and consistency; we have to look to lesser-known acts- and discover something different and new.  That is good, I guess: if the music industry were predictable and formulaic; then people would be turned-off- the pleasure comes from unearthing a terrific new band.  My concern is that the band market is starting to wane and crumble: the solo artists of the land are producing more innovative and spectacular music; again, the underground acts have to salvage respect.  I am thankful there are so many great under-the-radar bands; the new generation coming through- it leads me to believe there can be an overhaul and renewal; replace the old guard with some fresh and pioneering artists.  My featured artists are a transatlantic group; one of the most exciting groups out of the traps- that are renowned for their stunning live performances.  Before I raise a couple of new points- compositions of bands and the styles/sounds they make, let me introduce Well Hung Heart:

“Well Hung Heart is a part American, part English Alt-Rock Trio band residing in Southern California and founded by Greta Valenti and Robin Davey. Well Hung Heart’s reckless and raw live performances earned the band a reputation as well as numerous awards including the Best Live Band & Best Music Video OC Music Awards 2014. The rock trio has have spent their first couple years in existence focusing on touring and songwriting; self-releasing a series of sold out Limited Edition Albums and EPs and booking tours across the US, UK & Europe. Appearing at the prestigious venues such as London's O2 Academy, the Paradiso in Amsterdam and many festivals including SXSW 2015, Warped Tour, Rocklahoma, Center of the Universe Festival, Sturgis Buffalo Chip, Ink N’ Iron, Make Music Festival, Denton35, and more. Their high-energy performance and new rock sound, derving from a classic rock/blues foundation with a blistering edge and a front woman that the rock world has never seen, has earned them a diverse collection of shows ranging from Indie/Alternative to Hard Rock, playing alongside names as Linkin Park, Fitz & The Tantrums, ZZ Top, Motley Crue, Awolnation, Alice Cooper, Panic! at the Disco, Kongos, Grimes, Young The Giant,  Grouplove, The Pretty Reckless, Halestorm, Social Distortion, John Fogerty, and Mohave Lords (members from QOTSA, Eagles of Death Metal, Kyuss). Well Hung Heart are touring worldwide in spring/summer 2015 in support of their forthcoming self-titled EP and summer single releases.

Well Hung Heart’s rise has been completely self-propelled and boosted by their inventive audio-visual output via their YouTube Channel. The duo direct and produce their own award-winning music videos and TV Shows; including the award-winning web series “Made in 48”, in which two artists collaborate to create a new song and video in only 48 Hours.   (Photography by John Hampton & Aerovision.)”

Vocals, Keys, Percussion / Greta Valenti Guitar + Bass / Robin Davey Drums / Kevin Conroy

In terms of the most successful bands- when it comes to their sound and make-up- I find the all-male/all-female line-up creates limitations and issues.  Not only are your vocal tones and possibilities reigned-in, the sound can be somewhat hampered.  There are more all-male bands (than all-female); when groups mix gender- that is when the most exciting and varied music comes-about.  I am seeing more female-fronted bands come through- which is pleasing and adds diversity to the scene- which has been long-overdue.  The boys usually dominate bands and the band market: having the girls become more prominent is a very good thing.  A lot of critics and sceptics think female leads have limited vocal potential (when compared with their male counterparts) which is not entirely true.  Whilst most of Rock’s- and indeed music itself- biggest and most range-spanning voices are male; that is not to say the girls are lacking- they can cover ground and emotions the boys cannot.  In my opinion, so long as the voice is strong and impressive, it should not matter the gender- diversity is much-needed in music; breaking the rigid structures currently imposed.  Well Hung Heart not only has a boy-girl formation; their sounds are hard and heavy; they contain heart and composure- at its core is bags of riffs and plenty of rampancy.  Based out of California, the band is one of the most impressive in the U.S.: their unique songs and stunning performances are just the start of things; they dig that bit deeper- create music that steps-away from the mainstream acts.  Whilst the mainstream has some great acts- that are capable of seducing at every turn- Well Hung Heart are heading for the big leagues very soon.  Having supported some wonderful acts, the band’s self-titled E.P. is out there: initial reaction has been positive and impassioned.  It is always baffling seeing a great band like Well Hung Heart- who have produced a stunning E.P. - garner so few reviews and column inches.  Maybe the U.S. press has been busy and productive, yet scanning Google- there seems to be little press dedicated to the release.  The band have worked hard to get where they are- and have staved off the pitfalls of young bands (creative droughts and financial issues) - to establish themselves in the U.S.

If you want a complete picture of the band- where they come from and how they have progressed- you have to look back.  When the band’s debut album was released- 2013’s Young Enough to Know it All- there was plenty of spunk and gravitas- right from the off.  Devil was one of the album’s highlights: beginning with a sturdy and crunching riff- that put me in mind of Queens of the Stone Age- the song is a swaggering and Blues-Rock beauty.  The song looks at Devil imagery and trips to Hell: our heroine’s voice crackles with urgency; she is being driven to the fiery depths- whether speaking of a relationship or something more oblique- you can sense that pain and anger come through.  Inspired by Alison Mosshart- little flecks of her vocal style come through- the song swings and shakes its fists.  With a pummeling and insistent percussive slam; a twisting and head-spinning set of riffs- the song implores you to get on your feet; throw your arms in the air- it is a huge anthem for the festival masses.

   This is Not Love is a more gentle and building introduction: our heroine comes in alluringly and deceitful.  Speaking to her man/a friend she “will hurt you”- before taking it away.  Whatever is being felt (“This is not love”) it is causing a lot of anxiety and confusion.  When the chorus is delivered- that mantra that comes back again and again- you pick up English accentuation; northern vowels and a very charming Britishness- whether intentional or not.  Contained within a song that is a distinctly U.S. offering- shades of Blues-Rock bands like The Dead Weather and The Black Keys- there is that bond with the U.K.  The song builds on that repeated chorus; its central message is in focus: you cannot help but be sucked into that chant- wonder just what is behind it.  Whether the relationship has broken up; or the couple is going through the motions- it is an unnatural and breaking bond.  Valenti’s voice is more expansive on this number: from the teasing lows of the beginning it rises in the chorus- reaching an ecstatic scream towards the latter stages.  Remaining authoritative and compelling, the track never becomes repetitive or predictable- keeping the listener guessing until the very end.

With their debut album being so commanding and instant; Go Forth and Multiply- the follow-up album released April, 2014- carries on that quality control.  Big Plans is a racing and dizzying assault: beginning with a fast-paced riff, the song snaps and jumps into life.  Hooks are in skin- of the song’s focal figure- and twisted and distorted imagery is brought in.  Our heroine’s voice is at its most natural and assured- less reliance of Mosshart-esque delivery- whilst the song itself contains plenty of vividity and quotable lyrics.  Since the debut cut, the band’s confidence had grown; the music on their sophomore effort seems more rounded and nuanced- with more dimensions and sides.  Big Plans has a huge and arena-sized chorus; the music is less grizzled and raw- than on their debut- projecting a more Pop and Alt-Rock elements.

   Sweet is one of the most straight-to-the-gut tracks.  The introduction has some twanging and heavy strings- one of the most fascinating riffs the band has produced- whilst the lyrics look at hazy dreams and reality.  The song sees a guy walk away; perhaps leave for good- our heroine seems wracked and lost.  That passion and pain comes through in the vocal: never has Valenti sounded as fevered and compelling as on Sweet.  The composition ties in more radio-friendly lines with a druggy and dingy undertow- the combination works superbly.  Uplifting and hugely powerful, the song is a monster: the riffs build and ignite; the percussion and bass keep everything tight and focused.  So much detail is thrown into the track: some loose and rambling notes; pummeling beats and electrifying riffs- all seamless and natural; working away to elicit the biggest emotional reaction.  Go Forth and Multiply tops their debut album- which was pretty damn good and spectacular to begin- with no fault to the band.  Their debut showed how assured and fully-formed they were from the start: there are no fillers on the eleven-track L.P.; plenty of anthemic moments and huge numbers.  What the sophomore album did was to expand their sound: the sonic palette is richer and more vibrant; there are more Pop and Al-Rock sides; the songs are more wide-ranging.  Not that the band gave into market forces: if anything, their sophomore work goes against the mainstream expectations.  Their debut had a lot of sweaty and gritty riffs; more direct and gut-punching assaults.  Here, they have plenty of those; yet there are softer moments- songs that rely more on lyrical resonance as opposed to the primacy and hardness of the composition.

   Well Hung Heart ties the Blues-Rock smash with melodic considerations: the set of songs (on the E.P.) are the band’s finest.  The overall sound/lyrical themes have not changed-up too much- the guys did not need to up-sell or radicalise their music.  What you get is that additional confidence and assurance: with each new release the band sounds more solid and formed.  The songs are still loose and live-sounding, yet there are fewer nerves; every note sounds completely compelling and confident- not many bands can offer you that.  Their latest cut is abound with inspired tracks and wonderful performances- the band have hit their stride in terms of tightness- and everything sounds more authoritative and layered.  The songs are more nuanced and uncompromising; the music has that extra edge- something indefinable but definitely true.  This bodes well for the future- increasing and improving with age- so I would advise checking-out the entirety of the band’s work; but make sure Well Hung Heart is at the centre.

Throw It All Away begins with an insatiable clatter and rush.  Before you can speculate and imagine what is coming; the band unleashes a feverish and racing introduction- mixing ‘70s Glam and modern-day Blues-Rock.  The tight and compelling opening beckons-in our heroine: her early words are introspective and pained; looking at love and loss- there seems to be some anger and regret afoot.  Cryptic and mysterious- “A black hole/isn’t what it seems to be”- things have come to an end.  It seems her sweetheart has let her down; we are looking into the black hole of a dislocated love- something that has hit the rocks.  As the verse continues- and that composition continues to strike and viper-attack- that anger and annoyance begins to grow.  “I followed you somewhere in my mind/Oh lately, you’re such a waste of time” can leave no room for misinterpretation.  The vocal is impassioned and determined- with little flecks of Gwen Stefani, oddly enough- as the song becomes looser and more swaggering.  Although the composition is razor-sharp and disciplined; the riffs and percussion relax slightly; swing and jive- the bass keeps the song focused and directed.  As is typical with the band- and what we have seen on previous releases- is their attention to detail.  The sonic coda is not a lazy paint-by-number jam: there are clever little asides; a rich and nuanced centre- the performances throughout are stunning.  The focal point is our heroine, who is in the quagmire of a break-up; the lyrics seem to look at dissatisfaction- also that ability to hold onto a fantasy; keep an image alive.  As the next verse unfolds, the words are intriguing: “Chemicals/when we two combine/A power flows/through our body line”.  It seems like there is still a passion and power there; the two have a history and legacy: when they get-together, there is electricity and magic.  Maybe I am misreading or misinterpreting; it seems like there is a physicality and intensity: when things get beyond a molecular level; that is when the issues start to surface.  When it comes to trust and faith- and relying on her man- that is when things start to slip.   The lyrics have an obliqueness that could lend themselves to a different speculation.  Maybe a friendship is being assessed; perhaps something less tangible and human- a general feeling or sensation.  Keeping my mind within the realms of romance and break-down, you cannot deny the vocal commitment: our heroine’s performance is constantly electric and enflamed; her voice breaks through the composition- never coming across too raptured or insincere.  A lot of singers tend to be overwrought and over-dramatic; many plainer anodyne and generic- no such issues here.  The composition is such a details and snaking thing: from the hit-and-run smash, it mutates to a woozy and addled crawl- mixing elements of Garage, Desert-Rock and Blues-Rock.  The riffs are particularly colourful and intense: always keeping the tension high, they change shape and consistency.  Backed by that central vocal line- that becomes more seductive and breathless when looking at physical chemistry- and Throw It All Away keeps you guessing and alert.  The chorus is one of the most catchy the band have produced in their career.  Coming back to roost- the lyrics are economical and do not use too many different words- it becomes more gripping with every injection.  Upon the second introduction, the composition swirls and spins; guitar is delirious and intoxicated; the percussion hissing and dangerous- the bass mixes melody and rhythm; passion and intensity.  Before the song comes to its end- and the chorus is brought in for an encore- there are some intrigued words.  “Unpredictable/well it changed night to day/And now I know/well there’s no other way”- so much curiosity and emotional possibility can be extrapolated.  If we stick with romantic possibilities; it seems the game has been changed- the dynamic has shifted and there is no going back.  Whatever has caused the ruction; whoever is to blame- it seems the two can never rekindle what they once had.  Again, my mind is always looking elsewhere: the words are not clear-cut (they do not name a man or mention love) so you could consider friendships or other relationships.  The vocal elongates and rises; really capturing that sense of distress and confusion- and taking the listener in.  With the chorus being brought back in (twice in fact) the song ends its campaign; leaves it marks- ending with a mazzy and dramatic riff; some exceptional bass and percussive notes.

Having dug through the band’s annals; investigated their past work- Throw It All Away ranks as one of their key moments.  Combining their heavy and melodic sensibilities; tying-in all their preexisting threads- it is a song that sees them at their most confident and assured.  Since their debut-days, they have increased this confidence: the performance (here) seems completely intuitive and tight; never a moment of weakness or inattentiveness.  This leads to a rich and passionate song that has plenty of nuance and depth- not just your run-of-the-mill Garage slammer.  In the contemporary climate, similarly-themed bands (that play Garage and Blues-Rock) vary in quality- the very best of the breed stick in the mind.  Well Hung Heart are a band that get better and better: their entire E.P. is alive with inspiration and commitment; they are clearly having a lot of fun making music.  This ease and relax is reflected in the music, which does not sound stifled or forced: throughout Throw It All Away it is the sound of a band jamming with alacrity; in love with what they are doing.  The song does have that great live-sounding quality- the production does not polish the track; it gives it an edgy undertone- which means the listener is transported into the mix.  Greta Valenti shows herself to be one of the scene’s most assured and exciting vocalists.  Most singers tend to stick too closely to someone else- you can easily detect the influences- yet Valenti has her own style and voice.  Employing the hallmarks of great Punk and Garage singers- the rawness and power; some emotive and tender sides- everything comes to life throughout the track.  Robin Davey lets guitar and bass run a gamut of emotions: striking and ballistic; spiraled and cool-edged- his strings perfectly soundtrack our heroine’s plight.  Whilst the lyrics and vocals summon a huge amount of emotion and evocativeness; the guitar matches it note-for-note: the two works seamlessly with one another; supporting as they go.  Using his bass to lead and guide the song; keep everything in-check; there is a huge amount of melody and rhythm- it also augments and propels the vocals and drum work.  On that note, Kevin Conroy’s percussion is consistently assured and fantastic: creating such an atmosphere and sense of occasion, his sticks are ignited from start to finish.  Reminding me of Dave Grohl’s most complex and committed performances, we get plenty of primal power; some nice fills and asides- one of the most talented and powerful drummers on the scene.  The entire band is tight and together throughout: each player knows their role (and plays it superbly); they highlight and motivate each other- leading to a song that shows lesser bands how it should be done.  The stand-out track from Well Hung Heart; make sure you check this track out!

The Well Hung Heart clan are preparing for a U.S. tour: traveling around the country, they will be taking their E.P. to the masses.  As I write, they have just played California; they move to Texas today- exciting new faces and ears.  Throw It All Away is the centerpiece of a remarkable E.P.; one that bristles with inventiveness and life- I shall touch on the E.P. below.  Coming into the music world can be a lottery: there is no guarantee your music will resonate with the public; longevity is never a guarantee- regardless of the quality and ambition.  The Californian-based band has already stamped-out a reputation; are growing in stature- still to hit their absolute peak.  Their brand of music will never go out of fashion: the public will always crave something hard and heavy; music that is meaty and filled with riffs- that has intelligence and originality too.  The band does not remind you of anyone else; their personalities and directions override conceptions- their sounds are among the most fresh and fervent about.  The confidence with which they play; the exhilarating live performances: these are just a couple of sides to an incredible act.  I opened this review by looking at the band market; where they are based- and the mainstream in general.  I have been a little disheartened by 2015’s supposed ‘best’ albums: this year has seen some great releases for sure; the big players have left me a little cold- seemingly their best days are starting to disappear from the rear-view mirror.  It is the under-proffered acts like Royal Headache that are providing most excitement- it seems 2016 will see some potential big-hitters release some new material.  For now, we must look elsewhere; see what is happening in new music: here there are some incredible bands emerging; providing unique sounds and some memorable jams.  Well Hung Heart were new to me- having seen The Dutch Guy recommend them; had to investigate- and I am glad they are no longer strangers.  That is the issue with the masses of artists and social media: there are no real channels that can filter the good from the bad.  I often come across some great acts- and wonder why the hell they remained a mystery- only to find they are established flourishing.  This is the case with Well Hung Heart: a band that have been plying for a while; just wish I could have got in on the ground-level- and supported them from the off.  I guess you can’t be aware of every great act that comes about: you just have to follow the words of the best music reviewers; steal from some groovy Dutch divining rod- and keep your ear to the ground.  Regardless, Well Hung Heart are here, and well, it is not just the hearts that are hung- their music is among the most febrile and head-spinning around.  Gritty and ballsy enough to mix-it with the pedigree bands- I can see them schlepping on the road with Royal Blood.  With Throw It All Away wetting appetites and exciting fans; the band’s E.P. is seeing them in-demand.  I love that fact the band market is becoming less homogenised: it is not just all-male bands out there; a great deal of all-girl groups are showing their stripes- and mixed-gender balances like Well Hung Heart.  The dynamic works really well: with Valenti up-front; letting her powering and seductive voice own it- and the boys providing bass, guitar and percussive support- the blend is phenomenal.  London is coming back to the fore; the city is overtaking cities like Manchester and Leeds- housing the most diverse and prosperous musicians in the U.K.  In the U.S., I feel L.A. (and California) is overtaking New York and Nashville: there is that extra edge; that additional passion and direction- hard to put my finger on it.  I love American music: from the busy communities of California and New York; to the traditional highs of Seattle and Nashville; the lesser-known cities and regions- the nation is certainly on a hot streak right now.

The rest of the E.P. contains the same amount of verve and oomph: there is not a weak spot on the record to be found.  Touch the Sky is a head-banging and violent beginning: the song spares no time in getting underneath the skin.  There is a mixture of juvenile delinquency and rebellion; a little naivety and vulnerability- our heroine is singing into her best microphone; forgetting her relationship dramas.  The entire track never relents its fast pace and endeavours: the composition mutates and changes course- going from a straight-laced attack to something winding and contorted.  Images of our heroine- high and forgetting about her guy- she is the master of her destiny; fully in control of things- touching the sky through narcotics, alcohol, and music, it seems.  You picture the heroine losing herself inside various illicit things; there is some cockiness and wit- the lyrics are some of the band’s most interesting and quote-worthy.  An incredibly tight and passionate performance, the song is economical and memorable- it is exactly three minutes long and does not waste any moments or notes.  Full-bodied and blood-lusting, the vocal is charged and determined- you can practically smell the sweat bouncing off the microphone.  Less gritty and raw than previous numbers, it provides a perfect balance of their debut and sophomore work: those low-down and grumbling riffs; the more sky-scarping and multi-dimensional sounds.

   Play Me a Song starts with a teasing and catchy lick: the song begins with composure and calm.  Our heroine is looking at the wreckage of a relationship; how they fought and quarreled- if they had thought things through they could have grown.  Not surviving the fall-out you think everything is beyond repair- if a certain song were played; things would be okay.  Mixing in child-like and school-time images (a scrapbook filled with memories for example) you can sense that vulnerability and emotion- the vocal is tinged with tears and sadness throughout.  A potent and lustful vocal, the entire number is both radio-friendly and deeply personal.  You can imagine this touching and uniting crowds: there is universality to the words; the sentiments can be appreciated by everyone- it is likely to gain quite a following.

The E.P. started with a bracing swagger (Throw it All Away); then followed it with two ‘softer’ numbers- that took the mood down and projected beauty rather than concrete.  Lights Out returns to the opening-song projection: beginning with a racing and spinning riff, the band are on fire.  Back in the groove and alive, the song is a rampant and furious thing.  The vocal is Punk-edged and visceral; the song mixes sexual innuendo and innocence.  With every utterance and thought- our heroine on her knees in front of her man- that is that knowing wink.  Perhaps not as sexualised as intended, the lyrics have a wonderful edge to them- half your mind is in dirty and late-night rendez vous; the other half is somewhere more sanitary and clean.  At its heart, the song’s chorus takes a hold: wordless vocals/coos mingle with that subject title- elicited and repeated with aplomb, it is endlessly catchy.  It is a song that will spark-up the crowds and get them singing.  In addition to the catchy lyrics and chunky riffs, the song lasts 138 seconds: like older Punk songs- think of The Ramones for instance- it says all it needs in a short space.  Concise and tight, the track is one of the E.P.s best; one of the band’s best- a stunning gem.

The final number is no real slouch: Killing Time is the album’s most feral and hard-nailed track.  The gutsy and primal riff beckons in a vocal (that at the beginning) is quite tempered and controlled.  Our heroine has attack on her mind: a girl is in her thought; she will give her a piece of mind- put her in her place.  Political and social messages come into the song- the realities of living in the U.S. - a new era dawning- reminding me of Rage Against the Machine’s early works.  Certainly that innovative guitar work is comparable: the riffs swing between gut-punching to intergalactic; twisted to sensual- taking the song to strange new places.  The lead vocal is endlessly determined and urgent: our heroine is pulling the trigger and letting Hell reign.

The entire E.P. benefits from the unity of the band: each performance is close-knit and tight; each player supports the other.  An insatiable and layered E.P.; songs that mix emotion and heartache with acidity and double-cross; it is an E.P. for the times.  Showcasing the band’s most complete and assured set of numbers, there are no loose or weak moments.  Well Hung Heart is sure to recruit new fans; seduce and enthrall new support- and please their existing fan-base.  The production values allow the music to resonate truly- keeping it quite sparse and unfettered- whilst there is enough polish to allow each word and note to be understood.  What impressed me most is the consideration that goes into the E.P.  The track listing is spot-on; the running order is perfectly formed: it means the strongest tracks are not in a block; you get a nice balance- same goes with emotional and sonic contrast.  From sweet-leaf vibes to hard-arsed mixology, the E.P. is flowing with emotion and grit; plenty of sensitivity and heart- meaning it makes a conscious effort to reach the masses.  Showing just what California’s musicians can offer; Well Hung Heart is a brave testament from a band on the rise- with a big future mapped-out in front of them.  If you require music to deliver the coolness and swagger of Queens of the Stone Age; vocals that run the gamut of emotions; a band that are completely in-step and compelling- then make sure you check-out these guys.  With so many of the major players slipping-up; a lot of music mediocre and under-developed, bank on something…

THAT won’t let you down.

[youtube https://www.youtube.com/watch?v=85EfMRv2hes&w=560&h=315]

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Follow Well Hung Heart:

 

Official:

http://www.wellhungheart.com/

Facebook:

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

Twitter:

https://twitter.com/wellhungheart

Instagram:

https://instagram.com/wellhungheart/

Tumblr:

http://wellhungheart.tumblr.com/

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Music:

https://soundcloud.com/wellhungheart

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Videos:

https://www.youtube.com/channel/UCGVtNNvW-wjHKB1XevocM7w

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Gigs:

http://www.wellhungheart.com/

Track Review: ADI- Heaven

TRACK REVIEW:

 

ADI

 

PHOTO: Shir Rosenthal

Heaven

9.6/10.0

Heaven is available at:

https://soundcloud.com/adiulmansky/adi-heaven-1

RELEASED: August 2015

GENRES: Synth.-Pop; Future-Beats

ORIGIN:

Tel Aviv, Israel

Produced by Adi Ulmansky Mixed by Adi Ulmansky and Gil Lewis Mastered by HP Pic by Noa Flecker Graphic Design by Dafna Bloch

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BEFORE I return to the world of work…

PHOTO: Noa Flecker

I am feeling a bit nervous.  Not about work itself- although it always causes some anxiety to fit into a new role/team- but the world at large.  I am unsure what has compelled this; whether it general events and news- I am a little ill-at-ease.  Having a who’s-who of neurological quirks- from generalized anxiety disorder (a vague misnomer if ever there was one!) to clinical depression- and all that it brings- memory loss and mood swings; hallucinations and bad dreams.  I could go on and on- and bore/upset a few people- but I can apply my illness to a real-world situation: the effect music has on mental health.  I have always known and suspected music has curative components: properties that can help aid good mental health; ease and dissipate anxieties and stresses- help those with depression and other psychiatric ailments.  As I type this I am being serenaded by the by-gone sounds of Arrested Development (remember them?!) and their barnstorming quote-athon People Everyday.  Music has that rare and unfathomable magic: it can dig into any soul; reveal who we really are- transport our troubles someone paradise and calming.  Over the last few days, life has been getting on top of me: trying to find a flat-share; preparing for new work; having money troubles- it has been a lot of crap all at once.  On top of that, I am starting to doubt my own strengths and ‘purpose’- I see others succeeding and happy; what am I doing wrong?!  Emotionally-speaking, music can just raise the mood; it makes us smile: it may be a short-term panacea; maybe not a long-term solution.  It may all seem like a rather long-winded distraction, yet it brings me to my featured artist: one of my favourite people on the planet- and one of the hardest-working musicians around- Adi Ulmansky.  Going by ADI- that is her professional and musical handle- her personality and social media journals make me feel better; inspire me to try new things- I am not the only one.  On the subjects of anxieties and mental health; a lot of musicians are looking down the same barrel- the illnesses spur creative people more; music (and the arts) seem like a great outlet- somewhere they can express themselves free from pain.  ADI has had her share of doubts and heartaches; stress and heartache- the way she channels and defeats this; turns it something creative and wonderful is to be applauded.  Speaking with her- and seeing how she is doing- I know how hard the musician’s life can be.  There is always a degree of self-doubt and pressure; the troubles of balancing two rather different lifestyles- the regular life and that of a musician.  ADI has a huge amount of strength and spirit: rather than sequestering herself from the world- laying down her music and not engaging with her fans- she is one of the most all-encompassing and direct people I have known.  Fans love her music- and love her as a result- and are keen to express how much it helps them- ADI always warmly receives praise; encourages and speaks with the fans.  Few musicians reach out and connect; go the distance and make that bond- a special gift from a tremendous artist.  Before I continue my point with regards ADI- and mention female solo acts and music of Asia/Israel, let me introduce our featured act:

"All blustering, high octane electronic princess Adi Ulmansky, a Tel Aviv based singer, producer & rapper is setting out her stall for 2014 as one of the hottest talents with her soft seraphic vocals mixed with RnB infused cuts, electronica and rap, stated to “set a new standard for the electronic music world” by Jay-Z’s Life + Times blog.

Her debut solo mixtape (“Shit Just Got Real”, January 2013) and EP (“Hurricane Girl”, August 2013) received worldwide publications like Hypetrak, Mixmag, The Independent, i-D, VICE’s Noisey, NME, and The Guardian, as well as on the local Israeli press, TV & radio stations (including videos on MTV& local Channel 24 and singles in the playlist of Israel’s most popular radio station, Galgalatz). Her distinctive style was also spotted by fashion giants like Top Shop & ASOS and featured on campaigns of global brand names like Nike & American Express.

With her strong and colorful visual style and electrifying energies on stage, Adi is already booked forGlastonbury 2014 and will be touring Europe and North America this summer, with past appearances including CMJ Marathon (NYC), Reeperbahn festival (Hamburg), UK, Italy, Czech Republic, and all around Israel, as well as playing the opening acts for Disclosure, Blonde Redhead, Apparat and more.

Adi also featured on multiple BORGORE tracks like Someone Else’s, and is currently working on a new solo EP and other exciting new collaborations."

PHOTO: Noa Flecker

In addition to the collaborations and mix-tapes; the E.P.s and releases, ADI has been working on some new material- that will form the basis of her E.P. RAW.  After the success of Shit Just Got Real (her 2013 mix-tape) and Hurricane Girl E.P. (2013), the stage is set: one of the world’s premier music talents is gearing-up for the future.   See seems so at home recording- whether at home or in the studio- and is love with music and its possibilities.  Following her Twitter, Facebook and Instagram accounts- a bit full on perhaps?!- I know she is laying beats down; piecing-together ideas and songs- make sure you keep your eyes set her way.  When it comes to ADI she brings to mind two important subjects: the solo female artists and the music of Asia.  The Asian continent is not perhaps forefront and centre- when it comes to seeking-out great new music- yet it should not be overlooked.  Less well-traveled and documented than North America, Europe (and Australia to a lesser degree), Asia is developing some exceptional talent- from Chinese-born Electronic artists (Fifi Rong) to some great Indian solo acts (Antriksh Bali).  Being somewhat disconnected from western music, people have misconceptions when it comes to Asian acts- they expect them to play ‘traditional music’ (whatever you’d associate with their nation) as opposed to popular and well-heralded sounds.  As fervent and talented as any other continent, the likes of ADI are putting Asia back on the music map.  Being born in- and spending a lot of her happiest moments in- Tel Aviv, the Israeli star seems ay home here: the landscape and beauty inspires her mind; the communities, heritage and history compels her mind- a world away from the hustle-bustle of London, New York and L.A.  Not many of us are aware of Israeli music; what the nation’s artists sound like- ADI is flying the flag in that sense.  The country is producing some fantastic bands- including Tiny Fingers, Sun Taylor and Lucille- and is a vibrant and bustling musical landscape.  The country has some fantastically colourful and dreamy acts, none as effective as ADI: from her green hair and stunning beauty; her hypnotic beats and stunning electronic soundscapes- all framed by her warm and heart-breaking vocals.  In this country- and the U.S. for that matter- the female solo sector is quite diverse and busy (more so than compared with the guys).  There are a lot of great Eletronica acts; some terrific Pop singers- a whole wealth of rich and original material.  To my mind- and it may stir up a hornet’s nest of controversy- the girls are more talented than the guys.  When it comes to the solo acts, the girls have the edge and that extra intelligence: not just sticking with dull and formulaic Folk/Acoustic music; the tired Pop sounds- they have that additional spark and sense of innovation.  ADI is gaining a lot of attention from audiences around the world: from the U.S. to U.K.; across Asia and the globe, her music is resonating and capturing hearts.  Having followed her music; from her mix-tapes to her E.P.s- I cannot wait to hear her new material.  Dropped last month; Heaven is where ADI is now: a teasing glimpse into her thoughts; busy and tangling; beautiful and dangerous- so much emotion and possibilities with one a single song.  Letting her vocals take a back seat- very minimal vocal interjections; if Heaven is re-worked it could feature ADI’s vocals more prominently- it is a kaleidoscopic fusion of beat and electronics: letting the mood and projection grab the listener, it is a fantastical creation.

PHOTO: Noa Flecker

When we look at Heaven- and what ADI is creating at the moment- it is wise to look back; see how far she has developed- and whether her sound has changed at all.  In assessing Heaven’s loyalty and changes- whether it breaks from ADI’s past or carries it on- the tracks Chinatown, Voices and Save Me from Myself come to mind.  Recorded a year ago, Chinatown was hotly-received and met with effusive feedback.   We all have experienced a Chinatown; know the sights, smells and sensations- by day and night, there is a sense of heftiness and wonderful culture; evocative scents and fantastic people.  The bright lights, charming avenues and human masses are perfectly voiced within the track.  Whether referencing a particular Chinatown- or evoking something imagined and fictitious- the song has hallmarks of Heaven- in the sense it is instrumental-heavy and hugely atmospheric.  The track begins with tinny and magical electronics; teasing and tip-toeing beats- with a blend of Chinese music and modern Electronica.  Beat-claps and cosmic electronics conspire; quirky and head-spinning interjections: the entire composition is jammed with stunning details and wonderfully compelling avenues.  Robotic and moonlit; entrancing and dream-like, you get swept away- there are heavy and rushing elements; tight and menacing little vocals- all warped in a centrifuge of song.  Changing course and direction, the track gets more pressing and heady: stuttering and staggering; booming and bass-heavy.  Containing elements of Bjork’s most experimental highs; swathes of Kid A/Amnesiac-era Radiohead- when they were at their most daring and genius- ADI unveiled something truly game-changing.  With few vocal elements- our heroine remains composer rather than singer- helming a majestic ride.  The song compels the listener to imagine and drift; get inside the beats and notes- picture what is being presented.  I envisaged sensations of London; Chinatown by night; the neon-lit shops and restaurants: all the people rushing by; the nose-seducing smells and busy conversations- the traffic providing a static and emotive backdrop.  Since her earlier work- through mix-tapes and E.P.s- Chinatown is perhaps her most startling work (at this point): the peak of her creative and composing talents- laid bare for all to love.

   Voices continues Chinatown’s head-swimming glory.  From the opening notes, the composition dives and weaves; vocal traces are fed between the layers- before ADI comes to the mic.  Our heroine syncopates her voice; paces it for maximum effect- such a wonderful and emotional delivery.  Whereas most Future-Beats-based artists do not really consider the vocal too much- here it is tripped and riffled; it flows and rippled- never predictable at any stage.  ADI’s words look at taking things slow; imploring someone not to get big- maybe a relationship conversation or advice to a friend.  That chatter and vocal busy-ness sees ADI asking who she is and where she’s going- looking at herself and probing her own soul.  The beats get hard and stuttering; the composition echoes and jitters- an edgy and dramatic thing to behold.  She wants to stop feeling scared; reach out and support (the song’s focal point) - offer empathy and a shoulder.  Whether it talks of heartache or anxiety, ADI knows how they feel (the heroine/hero); she will always be there- and not shy away.  The vocal is often sweet and angelic; it has more lustful and breathy moments- beautifully combining with the potent beats and helter-skelter pace.  Never slowing or reflecting, the track remains driving and heady: water-drip samples and water flow electronics; stately piano inject and buzzing electronic swarm- colourful and wondrous, no surprise it gained such huge feedback.  Showing the inventiveness and raw talent- that runs through Chinatown and her earlier work- it saw the young artist growing in confidence and ambition.

Save Me from Myself has the ADI hallmarks: the echoed vocals and rushing electronics; some finger-snapping comes in- as ADI lets her smooth voice ease into the song.  Processed and machine-fed vocals (male) combine with female vocals; the composition grows hotter and more electric- there is that need to be saved and salvaged.  Our heroine is dealing with a lot of s***; she cannot deal with the weight; her head and heart are killing her- she wants someone to hold her; make sure everything will be alright.  That desperation and fear comes through strongly: the multiple vocals augment the anxiety and trepidation; the psychotropic beats dizzy and swirl- taking the listener into a vortex of passion and desire.  The composition is less full and busy than previous offerings: the emphasis is one the messages and vocals; making sure the core lines come through strongly.  That central message is hugely dramatic and stunning; you really root for our heroine- hope things will be okay- and are keen to see her happy and satisfied.

Across these three tracks- and the rest of the songs from Releases- ADI packed in so much flair, passion and intelligence- each song demands repeated listens and close investigation.  So much action, light, life and colour radiates through: the tracks glisten and darken; the beats and electronics tangle in a rhapsody of fire and water.  It is hard to put emotions into word; properly define the songs: they are so complex and multi-layered; they just demand you listen and get lost.  Heaven carries on from Chinatown and Voices- with less in common to her more vocal-orientated songs- and introduces a new palate and storyline.  Whereas those two tracks were unique and different beasts- that allowed the listener to speculate and picture images a-plenty- Heaven does exactly the same.  If anything, ADI has increased in confidence and desire; her latest track is a little lighter and less haunted- than perhaps Voices is.  Whether motivated by her happy relationship; the love of her home land- the results speak from themselves.  Not only is she inspired and at her peak; the composition is her most nuanced and entrancing- the finest creation she has presented (that does not feature vocals).  It is only a matter of time before new music is released; we see what other gems ADI is producing- if it will update her early sound or continue her more recent cuts.  It will be compelling to see whether the tracks (that will feature on the E.P.) are largely instrumental or if there are more vocal-focused efforts.  Heaven sees the young wonder throw her mind, body and soul into the machine; let her dreams and desires blend and converse- the end product is something deeply personal and yet open.  If it is a love letter to Tel Aviv, your mind pictures the geography; if love-focused, you go in that direction- the song can be interpreted different ways depending on your mindset.  ADI’s core sound has not altered much- as she was this innovative and original out of the box- yet the urgency and confidence has increased; I cannot wait to see what she comes up with next- neither can the general public.

With some introductory tease that puts me in mind of Kid A-Radiohead- and tracks like Treefingers- there is mis-step and stutter; an instant evocation of a busy sky- clouds rushing by and the sun rising.  As the electronics create a haze and sense of clicker and spark- you start to imagine all kinds of scenes and possibilities.  From early indications, there is the sound of a perfect town; somewhere idyllic and quiet- where you can just watch the people go by and not worry about a thing.  Adding-in some precise and urgent beats; the song starts to get heavier and more pressing- pulling the listener into the track; preparing them for what’s to come.  After the tender and evocative start, an echoed and processed vocal comes in- an electronic cry; sounding like an animal call it is hypnotic and strange.  I mentioned the touches of Kid A.  That groundbreaking album dabbled with intelligent technology; whereas contemporaries were splicing in club beats and sound collages- Trip-Hop and Electronica sampling/sounds were a commonplace during the late-‘90s-early-‘00s.  Radiohead did- as critics noted in reviews- not steal and forge (they were no carpetbaggers); they skillfully employed Aphex Twin-esque styles to create skiffling beats and chilly undertones- songs boasted elliptical promise and rich texture.  ADI is a Future-Beats/Pop artist in scene with a fair few purveyors- her vantage point is complete different; her experiences not the same.  Whereas Radiohead’s most groundbreaking work looked at alienation and the digital age- forgoing hooks and choruses for something less familiar- ADI presents the sound of the world being reborn.  Heaven is not an apocalyptic or life-drained song; it is not the sound of an artist unsure of her strengths and position.  Whilst a lot of contemporaries- who play similar sorts of music- lace their song with moody vocals and love-gone-wrong lyrics; ADI lets the music project and effuse- the listener can interpret how they see fit; everyone will have a different perspective.  Those distorted/squashed vocal sounds fuse inside something embracing and warm- that is how I perceived it, anyway.  The song is impressive because it does not foretell the world crumbling; humans becoming detached- as Radiohead’s Kid A does; and its title track is a particularly haunting song- but instead employs colour and sparkle; so much depth and texture.  Little vinyl cracks burst; fizzing electronics; claps and beats- the odd chime and odd little touch.  Charming and magical, a more static beat comes in: blending alongside a child-like and innocent electronic plink.  The images come thick-and-fast; the mind starts to spit images out: from ADI’s perspective, one could imagine Tel Aviv or Israel; somewhere homely and ideal- where you can bask in the splendor and comfort of the surroundings.  Although, knowing her, there could be ideals of music and love: having that passion and commitment, everything comes out in Heaven- the song spills-over with nuance, layers and definitions.  It takes multiple listens to fully grasp the intricacies and details- you find yourself going back to the start to take a fresh run at it- which is why the song is such a blinder.  When a lot of similar artists (during the late-‘90s-early-‘00s) were creating something harsh- sounding chrome and airless; cold and shivering- ADI makes sure warmth and love bursts forth.  An antidote and flip-side of a lot of modern Electro. acts- who haven’t got out of the habit of projecting their demons into their art- ADI bucks a trend; it is glistening and honest; impassioned and aching- you can feel that passion and obsessiveness in every note.  There are twists and turns a-plenty: the song does not stick with one sound/side; it mutates and develops.  Like a day progressing; it keeps pushing forward- to the moment the sun sets.

PHOTO: Shir Rosenthal

That commitment to the art never fades: you can hear the dedication and focus during every moment; you can feel that passion come through burning.  ADI has always been a master of textured and sensational soundscapes: whether it is Chinatown’s bustle and culture-fuse; Voices’ introspection and romantic implore- on each number, you take away something different.  I know Heaven (as it stands now) might be changed and altered- ADI said vocals may be added when it reaches E.P. stage.  Heaven shows the Israeli musician at her creative peak.  Among the cosmic beats and interstellar electronics; sequitur lines and sun-set romance.  There is some melancholy and reflection lurking beneath; at times the song sounds sparring and fighting- after a few listens you appreciate the true beauty and mysteries.  Intricate and delicate, ADI’s ear for composition and feel is stunning- Heaven is a mood piece that does not put you in a bad mood; it is a transcendent glimpse into a personal paradise- that welcomes each listener in.  Accessible and challenging; nervy and rushing, there are contradictions and mixed emotions- everything works wonderfully; it is music that demands attention and focus.  In a scene where the public’s attention-span demands instance pleasure and hooks- their minds often cannot focus for more than a few seconds- ADI creates something that appeals to genuine music-lovers.  If you do not want to dig down to Heaven’s core; are unconcerned with its true beauty- you may want to stick with chart music.  If you want to unravel something of rare beauty; a song that throws a gauntlet out to the world- then this is the song for you.  As a producer, ADI ensures the song is not too crowded and confused: every beat and thought is delineated and presented with consideration and care; the lines and elements seamlessly weave and flow.  You can hear how much of the artist is in the song: the song is a study into her mindset; you imagine her experimenting endlessly to get the sound just right- anything less would be a disappointment.  This perfectionism does not compromise ethics and naturalness: if anything, the track sounds uncomplicated and painless- just a natural step for ADI.  How the song will change (when it reaches the E.P.) is anyone’s guess; who knows what lyrics and vocals will be included?  As it stands, Heaven is a stunning assured cut- that sounds like a natural E.P. lead-off track- that is a perfect starting-place for new ADI fans.  If you need your mood improved; have grown tired of the predictable and stagnated bands; want something more compelling and extraordinary- then you should look no further.

I have nothing but love for ADI: one of my favourite artists around, I could not wait to review Heaven- upon its release, it was met with jubilant praise and impassioned adore.  Her past work; be it her mix-tapes or E.P.s look at love and heartache- romantic stress and introversion- in addition to personal introspection- connects with the audience.  With her loving personality and colourful locks; her adventurous music and huge ambition- she never puts the audience second; she does not distance them and fails to connect.  Her subject matter can be understood and appreciated; her honesty and openness is refreshing and relatable.  Being a young woman, she does not just speak and connect with her female audience: her fan-base is mixed and varied; ADI’s music crosses borders and boundaries- no surprise her popularity is on the rise.  Heaven is one of her greatest creations: whether it will feature frontline vocal (if it appears on RAW) I am not sure; as it is, the song is hugely exciting and mesmeric- it is not often I get so engrossed in a song with so few vocal notes.  So what of the future for the Israeli star?  ADI is updating her fans and keeping her social media feeds busy: photos of her recording and mixing; snaps of music-making and plans- she is certainty not resting and sitting back.  One of the most hard-working and ambitious musicians around, you can be sure of one thing: when her E.P. does arrive, it will be one of the most hotly-anticipated of the year.  With Heaven’s fusions and majesties igniting and seducing audiences, there is a huge demand and anticipation- make sure you are connected with ADI.  Before I wrap-up, it is worth returning to my initial thesis: that which concerns Asian music and the female sector; the anxieties and stresses of life- and how music can balm.  One of the most upcoming and promising musical climates; Asia is producing some terrific acts and musicians- Israel is particularly dominant and varied.  Idan Raichel and Geva Alon are rubbing shoulders with Aviv Gefan and Borgore (who ADI has collaborated with) are some of the nation’s most promising artists.  The solo realm is catered-for and impressive; there are some stunning bands and duets- few western eyes are trained towards Israel.  We get too caught-up in predictable and near-by music; do not really look across the continents- I fear we’re missing out on some truly wonderful music.  There are some great female artists coming out of Israel; mixing Pop and Future-Beats elements; heavier and harder influences- rivaling the best the U.K. and U.S. offer.  Whether it is the beautiful geography and wonderful communities (that is inspiring tremendous music) or the lack of saturation- the country is moving through the ranks.  Regardless of nationality; the female solo artists are producing music’s finest insights: overpowering their male colleagues, the girls are leading the way.  Not reverse-sexism or an over-exaggeration, they just seem more agile and creative; more assured and pioneering- ADI shows all these traits; making music that connects with so many hearts and minds.  A lot of us face heartaches and stresses; daily anxieties and doubts- and something to take away the pains.  Music is a universal and readily-available medicine; a wonderfully soul-raising therapy- something that can create smiles and happiness.  When listening to Heaven- and investigating ADI’s back catalogue- I am always put in a better place.  Whether it is her enlivening and direct sound- that rarely retreats or hides in the shadows- it demands attention and reaction- no listener is immune to its passion and insistency.  Anyone who is heartbroken and self-critical; losing hope or in need of something uplifting- somehow, her music adapts to those demands.  Being someone who is blighted and plagued with insecurities and unhappiness- one of the perils of being a music writer- music is a way to countermeasure to the pain.  Heavy and hard music (Alternative, Indie, Grunge etc.) makes me enlivened and stood-to-attention; softer and acoustic-led music makes me think and reflect; busy and multi-layered Electronic music creates energy and excitement.  ADI achieves all of this and goes that little bit further: digging deep into the heart and mind; taking the listener by the hand- letting them know it will all be okay.  When it is jagged and primal; when the beats and electronics are daredevil and speeding: they are not intended to scare and balkanise; instead, they are intended to rouse the spirits and spike the mind- taking the listener somewhere spectacular and wonderful.  Tel Aviv’s darling, beautiful daughter is entrenched in beats and mixing; masticating and writing- gestating new sounds and exciting tracks.  With newspaper interviews and fresh praise coming her way, the gorgeous young musician is starting to get her just-rewards.  Charming and vulnerable; strong and inspiring- she is one of music’s most special talents; someone we should all support.  The music is the most important thing: ADI’s coursing and variegated progeny is among music’s most beautiful and nuanced- few musicians offer so much range, emotion and pure passion.  Investigate Heaven and its aptly-titled promise; ensure you familiarise yourself with Miss. Ulmansky- and fall in love with a musician with an enormous future.  If she comes to London soon- one of her very-favourite cities- it would be great to see her perform; bring her wonder to the U.K.’s music hotbed.  It is only a matter of time before she is riding the festival waves; gracing the national music press (front covers) - and ruling the airwaves.  Until then, sit back and open your mind- allow your heart to submit to one of music’s…

PHOTO: Shir Rosenthal

MOST special human beings.

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Follow ADI:

 

PHOTO: Noa Flecker

Official:

http://adiulmansky.com/

Facebook:

https://www.facebook.com/AdiUlmanskyOfficial

Twitter:

https://twitter.com/adiulmansky

Instagram:

https://instagram.com/adiulmansky/

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Music:

https://soundcloud.com/adiulmansky

PHOTO: Noa Flecker

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Videos:

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

PHOTO: Noa Flecker

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Gigs:

http://adiulmansky.com/shows

 

Track Review: Josh Haynes- Masquerading Time

TRACK REVIEW:

 

Josh Haynes

 

Masquerading Time

9.6/10.0

Masquerading Time available at:

https://www.youtube.com/watch?v=A2-Us2RFZs8

RELEASED: 1^ST August, 2015

GENRES: Alternative/Folk

ORIGIN:

London, U.K.

The E.P. Life in Animation is available at:

https://itunes.apple.com/gb/album/life-in-animation-ep/id1024214930

TRACK LISTING:

Sintra- 9.5

Jim Beam- 9.5

Heathen- 9.5

Masquerading Time- 9.6

Note- 9.4

Little Spots- 9.5

DOWNLOAD:

Sintra; Jim Beam; Masquerading Time; Little Spots

STANDOUT TRACK:

Masquerading Time

Recorded and Mixed at Lounge Studios U.K. by Josh Haynes

IN this particular case, I have a few different…

subjects to bring up.  In addition to locations and conceptions, the idea of start-up musicians is in my thoughts- but for now, male solo artists are in my thoughts.  It has been a while since I have reviewed a male solo act- it has mainly been female solo acts or bands- so it is good to be back here again.  I have been somewhat put-off by the contemporary mainstream acts- the likes of Ed Sheeran and James Bay.  I know a lot of people like them- especially Ed Sheeran- but I find his (and their) music bland and predictable; no real nuance or sense of identity.  It has been a while since I’ve been excited about a male solo act; really struck by their passion and music; the way they do things- there seems to be a drought of sorts.  My featured act has plenty of ammunition to provide hope; make me feel somewhat hopeful- and be aware there are some great solo acts out there.  My attention has been focused towards the girls and their music; the bands and their flair- now I am back with the boys again.  The trouble with the male solo acts is there one-album longevity issue: a lot of acts come in with an impressive and promising debut; only to flounder and stutter- fall into a sophomore slump.  Over the last year, I can think of few make acts that have stuck in the imagination- most of the great music has been produced by bands and the female artists.  What I love about solo acts is the fact they have to do things themselves: there are few additional bodies and band members; they have to see to the day-to-day business and affairs.  Knowing a lot of solo acts (mainly female) I know how hard they work: so much effort has to be put in; a hell of a lot of graft and promotion- it seems to be a never-ending cavalcade of social media sharing and touring; reaching as many faces as possible.  Josh Haynes is one of many young, up-and-coming solo acts: he is working hard (doing bar work and various jobs) and really plugging.  Being based out of London, he is in the right place- although the competition is high.  I am in a very precarious position: being angry and depressed where I love- both in terms of property and the area of the country- I am desperate to get away; move to London- be in a place that is primed for the ambitious and creative; full of life and like-minded people.  I am not going to bag (and indeed name) the area I love; suffice it say, it is not set-up for certain people; every day is depressing and angering.  London is no angel and has its faults- busy and bustling; has its rough areas- yet there is a lot of misconception and prejudice.  Aside from the snide country-dwellers- who hate any place that has more than a few people in- there is a ‘tourist attitude’ to the capital- people who occasionally visit think they have London sussed; they have no idea what it is really like- and how magical it can be.  When it comes to music, London is a great place for the musician- the large cities do tend to be.  Knowing how productive and supportive the likes of Manchester and Liverpool are- and how many great musicians are working with each other- London is regaining credibility and stature.  At the moment, it is a hotbed of variegated and stunning music: some of the most enlivening and stunning musicians play here; it is definitely a vibrant and inspiring city.  Aside from my romantic and lustful profferings- I will be with you soon, London- my point relates directly to solo artists.  I know many people relocating to the capital: there are tonnes of great venues around; chances to busk and earn money- the flip-side is that there is some saturation.  With so many artists plying their trade, how do you really stand out?  Haynes is going about things the right way.  At the moment he runs Lounge Studios U.K. - where his new E.P. was recorded and mixed- and is dedicated to making music; and bringing it to the masses.  Haynes is- for now at least- an unknown quantity and under-the-radar commodity: without an official website (one will come in time) he does have a Twitter and Facebook account- and is building his name.  If you are new to Haynes, here is a bit about the young musician (taken from his artist account on Facebook):

“Josh is a Multi-Instrumentalist, Producer and Sound Engineer based in London, UK. He is currently studying for his BA in Creative Musicianship at the renowned Institute of Contemporary Music Performance.”

Having chatted with him online, he comes across as gracious and embracing: someone who wants his music to connect- and really give an insight into his personality.  When it comes to biography and idols; influences and story- the music will do most of the talking.  When Haynes does grow and becomes a big success- it will happen in the next few years- that will give him the opportunity to lay-out his music and biography; have a complete and full website- showcase all his songs and photos; press quotes and videos.  Before I get down to his music- and the beauty contained within his E.P. - Haynes is among an army of musicians taking their first steps.  Most music-lovers are unaware of the hardships and drawbacks facing the modern-day musician.  Before you get onto the music pages and into critics’ thoughts; before you get the gig call-ups and huge fan bases- there is an immense amount of leg-work to be completed.  Raising finance to record songs; promoting your music- working so you can fund your music in addition paying rent/surviving.  All of the city-life sweating; the making-ends-meet battles: for it all to matter, the music has to be on-point and different- go beyond what is already out there.  Circling to my earlier point- with regards the male solo acts- Haynes is a step above his peers.  There are some great solo acts out there, yet for the most part, the scene (with regards the boys particularly) is suffering from a lack of inspiration and originality- it all seems to be acoustic guitar-led love songs; uninspired rhymes and vocals; an eagerness to fit into moulds and market expectations.  Life in Animation sees the young star take his first leap; show the world what he can offer- the results speak for themselves.  The six-track E.P. sees the young artist spread his wing; show the full extent of his talent- it is one of the most immediate and fully-realised records I have encountered this year.  Few artists have such confidence and commitment; Haynes does not stick with a tedious and one-dimensional acoustic guitar blend- the instrumentation and compositions pack in a lot of emotions and power; really running a gamut of scenarios and moods.  With all that potential and early promise, how long before the festivals come a-calling?

If you are not familiar with Haynes’ style of music, then there are other artists that come to mind.  Being influenced by Adam Jones, Mike Einziger, Stephen Carpenter, Slash (Oxford commas needed); John Mayer, Andy McKee, Ben Howard, Chino Moreno, Samuel Beam- they are all good starting places.  Mayer and Howard come to mind.  The former’s album Continuum boasts great blends of Pop and Blues-Rock.  The album stripped things back; tied in Funk and Rock; it brims with maturity and contemporary- without coming across boring or stifled.  Haynes teases genres and sounds; has a Blues/Blues-Rock affection- and laces that into Folk and Alternative blends.  The songwriting (from Haynes) is impressively mature and focused; his lyrics and compositions are well-considered and grapple with a range of topics.  An exceptional musician and voice, he has some Mayer-esque tones- if you are a John Mayer fan; you will find much to enjoy within Life in Animation.  Ben Howard also comes to mind- when considering the music of Haynes.  I Forgot Where We Were (Howard’s sophomore album from last year) the album is more widescreen and electric- compared to his acoustic-heavy debut.  Howard grew tired of the album- and flogging it around the world- and changes his motives.  The Folk-based finger-picking is less prominent; what you get are orchestral instrumentations and goose pimples by the barrel.  Although Haynes’ E.P. has more Folk and acoustic moments- and less of the soundscapes and epic compositions- you can see comparisons between him and Howard.  Like Howard, Haynes emotes and gets the listener entranced; the songs (on Life in Animation) go deeper than you’d expect- exceeding radio-friendly running times and surpassing the made-for-supermarket-adverts breed of songwriters.  In a sea of samey and indeterminate singer/songwriters- who could be clones they sound so similar- Haynes is taking a rarified path.  Like Howard, his music betrays expectations and reaches a lot further- stands out from the clan.  If you are prone to either of these artists- or any of the acts listed above- Haynes will resonate and seduce.  Essentially, if you like your music unique and unexpected- and not like every other solo act out there- then you will find music to love; Life in Animation is a special one-off- let’s hope he keeps up his momentum and originality; dares to break away from the tired and predictable pack.

Before assessing Masquerading Time- and getting to grips with the E.P. - it is worth looking back; see Haynes’ past work.  A couple of years ago, Haynes recorded the song, Beer.  Mainly acoustic-based, it looks at life and the search for love- wanting to find someone special; without that instant need for long-term plans.  Looking at youthfulness and grabbing onto its vitality, Haynes’ voice is raw and scratched at times; augmenting that sense of passion and power- bringing the lyrics to life.  Elements of Sheeran may seep out- in some of the composition notes and lyrics- yet Haynes is a more impressive and potent singer; the production is more lo-fi and bare.  Allowing the words and notes to fully resonate, Beer is an early insight into his music- and what is to come.

A year later, Hero was unveiled.  Built around a solid and impassioned coda- watching his hero go; the paen and praise towards a special person- the song is another stripped-back and raw track.  Haynes’ voice is multi-tracked and at its peak: focused and committed, it mixes romance and strength.  The guitar playing is potent yet sparse- the strum and sound is consistent and supportive- whilst the voice is very much at the centre.  Mixing in debut album-era Ben Howard; touches of ‘60s and ‘70s Folk- Haynes sounds authoritative and compelling.

Since these tracks- that are available on his SoundCloud account- Haynes has kept the acoustic and Folk elements; expanded them and brought in new themes.  The diverse songwriting appears throughout Life in Animation: stepping away from predictable themes, the E.P. boasts a roster of characters and scenery; thoughts and insights.  In the past year, Haynes has added electronic elements; his confidence is higher now- his songs are more nuanced and tighter.  Immensely impressive early-on, he has grown in talent: his lyrics are more gripping and insightful; very much a unique and personal product.  With his voice fuller, richer and more assured there are no Ed Sheeran/modern singer comparisons- the music is very much Josh Haynes on his own.  The six tracks of Life in Animation sparkle with distinction and colour; there are terrific moments and wonderful highlights- not something you can say about many male singer-songwriters.  The important point to note is that originality: utilising acoustic and electric elements; changing themes and subjects; keeping the E.P. fresh and unpredictable- that is what wins out.  Few contemporaries understand this vital point: if you sound like everyone else; you will never gain longevity and critical attention.  Haynes has changed-up his sound; expanded it and made it more distinct- developed well since his earliest recordings.

Haynes plays every instrument except brass- both on Masquerading Time and on the other E.P. tracks- and his musicianship defines Masquerading Time’s opening moments.  A fuzzing and spiraling guitar fuzz- that puts me in mind of Kings of Leon’s Only by the Night work- laces in ‘90s ‘Britpop optimism with of-the-moment Alternative threads.  Woven together, it creates plenty of drama and intrigue.  When Haynes arrives at the mic., early words possess anxiety and cliff-top precipice: “…desperate and close”; there is that unnerving sense of suffocation and entrapment.  Comparing his situation in dark terms- “like a minefield at the road”- it seems romantic disentanglement and strain is afoot.  Backed by a female backing- who adds to the evocative mood- the vocal is focused and passionate; never becoming too heavy-handed or anxious.  Perhaps not completely forlorn and hopeless- at this stage Haynes has the confidence and sophomore sound of Ben Howard- as he faces his girl; eyes engulfed (in him) - “a velvet shade of blue”.  In the early phases, the track has a distinct energy and drive.  Weaving humour and pathos into hearts-on-the-line visions- our hero’s neck is cricked; like Jesus on the cross, Haynes is suffering a messianic ergonomic drama- there is a sense of wit and cuteness; some naivety and vulnerability.  As the words unfold, the story becomes clearer: with his love’s skin exposed; the two ion each other’s arms- our man wishes he learned to dance.  Befitting of the title- and appropriate in retrospect- your mind goes to the dancefloor; the two sweethearts locked in an embrace; awkward steps and hesitant dance.  Throughout the song, you are struck by the personality and uniqueness of the lyrics.  Not your clichéd she-said-we-said-I-went-she-left love story, there is a personal voice and real sense of reality.  You imagine yourself watching the events unfold; the boy rather nervous and unsure- you try and imagine what the girl looks like; the lesser-heard conversations of the crowd around them.  Being stuck in a cubicle- and smothered by the people around.  Maybe a high school dance; a special event- there is a feeling of youthfulness and younger-days to the song- there is a tangible feel of atmosphere; the lyrics paint vivid and colourful pictures.  Whilst the words barrel forth- Haynes accelerates his vocals at this point- the composition offers some neat little touches: subtle and effective guitar licks; a heavy slap of percussion.  Each of these elements adds to the central story: Haynes has a real flair for storytelling and compositional importance.  As the loves mask and dance through time/the night; the music masquerading time- the background comes into the spotlight.   The guitar becomes snarling and enraptured; the drums riffled and avalanche-heavy- replacing the sensitivity and poetry with something more primal and direct.  Building into a hypnotic riff-percussion duet- off the back of a wordless and rising vocal rush- Masquerading Time changes course; hits another gear- a hallmark of Haynes’ writing and musical ambitions.  The song has a familiar and traditional feel, yet is never predictable and ordinary- quite the opposite in fact.  The lyrics are unique and intelligent; the composition fertile and varied- the vocal(s) beautiful and powerful.  Between music interludes, the chorus comes in to add a rush of vocal magic: by this stage, you are invested in the song; aware of the chorus- and find yourself singing along; cast-under by the weight and addictiveness (and simplify) of the expressions.  In the final minute, there is that combination of compositional force and story development.  The guitar work has some many shades and ideas- recalling various axe-men from Mark Knopfler to Slash; Pete Townshend to Matthew Followill.  Whilst the vocal has completed its lion-share, the guitar leads the charge: never aimless or creatively bankrupt- how a lot of solo acts and bands can fill songs- Haynes remains dedicated and inventive.  The riffs are sparkling and exhilarating; emotive and scenic- keeping the story going and evoking new images and possibilities.  The final seconds emerge; the last notes emerge- and the song completes its campaign.

From the first to last- a point I will touch-upon when assessing the rest of the E.P. - Haynes is a master of all he surveys.  A one-man band, every instrument was played by him- making it a very personal track.  Band members and other musicians may have muted the song or not come up to the bar; perhaps there are financial reasons (why he takes all instruments on) - it just showcases what a talent Haynes has.  Few solo artists in this age- aside from obvious examples such as Prince- are as multi-talented and flexible.  As a producer, Haynes allows the song to breathe and engage; the words and notes are clear and polished- never over-produced or fake.  If the production were too polished, the music would come across retrenched and plastic.  Everything on Masquerading Time sounds vital and live-sounding; engaging and hugely impressive.  As a songwriter, Haynes shows he has a distinct voice: the lyrics mix familial (financial) issues and witty asides; nervous coming-together and common anxieties- all mixed into a bold and exciting track.  With a vocal performance- that reminds you of nobody else; has a huge weight of passion and clarity- that brings each sentiment to life; the listener is allowed access behind closed doors- into the author’s mind; transplanted directly into the song’s storyline.  You find yourself rooting the players; hoping everything works out okay- confident the sweethearts will end the night on a high.  Overall, Masquerading Time is a superb accomplishment: Life in Animation’s finest cut, it bodes well for future endeavor.  If Haynes keeps up his pace and commitment, there is no telling how far he can go- few young songwriters have such immediacy and ability; sound so authoritative and compelling this early-on.

Social media has a funny way of turning people onto great music- in a way conventional media does not- and I am thankful for that.  Josh Haynes is one of the best up-and-coming solo acts around; doing more than his male cohorts, his tracks range from romantic and scenic; slice-of-life moments and personal evocations.  It is not just the subject matter that impresses: the compositions have a very unique and innovative slant; the backing vocals- female-led; apologies as I do not know her name- are lustful and beautiful; the lead vocals are always urgent and deeply impressive.  Never outstaying its welcome, Life in Animation is as animated as its name/cover; it spills over with colour and tradition.  The E.P.’s cover depicts a black-and-white sketch of Haynes- a background of cream- that could come off a ‘60s Folk album.  It has charm and smile; it is minimalist and effective; it has plenty of intrigue- just like the music contained within.  Before I give the E.P. itself a ‘mini-review’, I will end how I started: mentioning the male solo realm; the importance of location- and the proclivities of the modern music scene.  I know I have named-and-shamed Ed Sheeran and James Bay- they are not that bad really; just not as good as they should be- and there are few modern idols.  There are plenty of great female acts- and the band market is producing some great examples- yet the male solo acts are somewhat lackluster and under-developed.  New music is doing most of the heavy lifting: the young and sapling acts are showing how it’s done- making the biggest waves and impressions.  Haynes is working tirelessly and is an innovative and business-minded musician: in addition to running his own studio, he is finding his music- and highlighting the benefits of self-sufficiency; proving you can make a success of it- if you have the right attitude and outlook.  It seems like the underground musicians can rise to the surface; replace the existing core- and revitalise the music scene.  We have a lot of great bands and solo acts, yet there is still a leaning towards the media-based darlings; the obvious Pop names- a lot of great talent are getting overlooked.  On that note, the future looks bright for music: with a lot of great bands nestling in the undergrowth; some genuinely great male artists coming through- and female artists dominating things- it looks rosy and bright.  It is not just the quality that impresses me but the variation: the music does not stick to Pop and Rock lines; there are lots of genre-splicing acts and ambitious musicians.  So where does Haynes fit into the agenda?  Well, on the basis of his Life in Animation, he will be a name to watch- expect to see him make his way to the waves of 6 Music and Absolute Radio; the pages of N.M.E. and music’s finest press.  London is producing some vibrant and eager musicians: not that it’s a fascinating point; the capital provides a financial base for artists.  The wages tend to be higher- compared with the rest of the U.K. - and the rents are affordable (there are expensive areas yet the gentrified parts are perfectly reasonably-priced).  Whereas other parts of the U.K. have low wages and high rents, London seems capable of striking a balance: leaving the musician with more disposable cash.  It is not just the extra money that ensures music can be made; the social scene and cosmopolitan population mean there are opportunities and available ears- there are plenty of great bars and venues to play.  With so many other acts; people migrating to the city- is it possible to stand out in London?  If you have the talent, the recognition will come- finding the most talented can be a hard task.  Aside from gig reputation and word-of-mouth, we rely on social media- or more accurately, the people who use it.  If music is not shared and promoted; it becomes a led balloon- and lots of great talent goes to waste.  Haynes need not worry.  He is working endlessly to fund his ambitions; his music is assured and emotive; personal and original.  Not many solo acts resonate in the mind, yet Haynes does: throughout his E.P. you are caught-up and spellbound; impressed by the details and talent.

Sintra begins the E.P. with a magisterial atmosphere.  Quivering strings unite with woozy electronics; the mood is dusky and dark-lit- a night-time stroll in an empty city.  Languid and evocative; uncertain and dreamy- it is a wonderfully dramatic and atmospheric projection.  Sintra is a town and a municipality in the Grande Lisboa subregion (Lisbon Region) of Portugal.  The town has arabesque estates and historic castles; primordial retreats and municipal buildings- all woven into a staggering and captivating landscape.  Located near to Lisbon, the town is a tourist haven; a gorgeous slice of Portugal; boasting mountains and beaches; rich and colourful history- Haynes certainly sums the town up.  With an aural swirl, you picture images and quiet scenes; dusty paths and sweeping views- magical and breath-taking by night; soul-calming and eye-opening by day.  Strings ache and vibrate; the electronics bubble and flow- the composition is busy and layered; stunningly accomplished and emotive.  Building the early moments, there are elements of Radiohead (during their Kid A experimental era); elements of Jazz and Blues; hazy soundscapes and snatches of Electro.-cum-Classic fusings.  Before long, the percussion kicks the song to life; notches up the offensive- everything becomes tighter, sharper and more pronounced.  The electronic guitar wails and wrestles; bonding with percussion; the track- which is a largely-instrumental number- mutates and evolves.  Little scratches and samples are laced; an aching vocal- that is wordless and ethereal.  With touches of Pink Floyd- parts of Dark Side of the Moon (The Great Gig in the Sky and Brain Damage especially) and Wish You Were Here- and the Oxford legends, it is an enthralling and wondrous combination.  Native vocal elements- that sound European and Arabic in its projection and sound- sit with insistent and sky-scarping percussion.  The track reaches the heavens; it pushes and presses- never releasing its grasp.  The vocal reaches a crystalline and impossible high- a glass-breaking pitch; it certainly leaves its mark.  A sensational and memorable opening- Sintra sets the scene and lays out intentions with a staggering amount of confidence.

  Jim Beam is a different affair from the very start.  More sprite and racing, the booming percussion works alongside righteous strings; that dance and run- the combination goes beyond expectations of Alternative and Folk music- and proves the opening track was no fluke or anomaly.  Whereas the opener was a heartfelt ode to a Portuguese paradise; hear you get vision of a Kentucky whiskey- and all the head-spinning; body-nourishing benefits it offers.  An elixir to some; a numbing agent to others- and to many more, a great-tasting drink- the composition tumbles and staggers; it reaches and grabs.  Our hero steps to the mic. and recalls “Another missed call”- who it is from we can only speculate (to this point).  With his stomach knotted, there are tangible nerves and palpable.  Whether a music opportunity; a call from his girlfriend- you get a sense of the importance and urgency.  Being swept along with the composition, Haynes’ voice is rich and emotive; deep and thoughtful.  A comforting knot; sites under a sycamore: early words and scenes are poetic and personal; original and imaginative- going beyond what you expect from the clan of wannabe singer-songwriters.  We get reference to cheap whiskey- the song’s title character- as our hero recalls a loved/missed figure; if they she (I am guessing it is a ‘she’) were in a parallel universe- she’d be here making fun of men in “cheap suits”.  Our man doesn’t want to ask what it is that “makes you cry”- there is mystery and intrigue in these words; your head is dizzied from the lyrical flow; the passion that is projected.  Uplifting and spirited, the song never drops its pace- only aided by a gorgeous and spectral female backing vocal.  From the flat by the shop- where the two first made love- it seems things have changed; maybe the relationship has broken down- the regret is evident.  Whereas your Sheeran would go for dope-smoking-D.V.D.-watching-late-night-chatting banality; Haynes is a more cultured and intelligent writer- ensuring the song goes beyond the ordinary; reaching transcendent levels.  Like Ben Howard- whose sophomore album was big on atmospheric compositions and huge anthems- here we get one of our own.  The guitars and percussion explode; the vocals weave and call-out- it is an instant and hugely memorable track.

After a blistering 1-2- where the listener has been exhausted and dehydrated- there is little time for resolve and relax.  Heathen' Early electronics jump and syncopate- whether guitar or computer-based- and stand out alone.  A bold and slinking start, there is sensuousness and smoothness- as our hero’s voice comes in.  Romance and loyalty are presented once more- with a composition that is barer and less pressing than previous numbers- as our man is leaving; not wanting to be forgotten.  Unable to stay here- and backed by female vocals; given a more realistic evocation of the song’s messages- his voice is cracked and whiskey-soaked; the troubadour is hitting the road- running from the situation.  A teasing Blues lick is unfurled: mixing Blues-Rock swagger (a comingling of Jack White and Pretzel Logic-era Steely Dan) it is another unpredictable and wonderful track.  Cleaner (with a better demeanor) than Charlie Sheen- a little Rap-influenced vocal trip; undertones of Sheeran’s vibe- Haynes remains determined and soul-baring.  Stepping into the spotlight- and ensuring the words are given strength and fire- the electric guitar snakes and funks.  Joining the fray we get some brass beauty: giving the song a Jazz-tinged edge, the emotion levels increase- our man is a heathen when he plays.  Reaching fever-pitch, Haynes’ voice is a rhapsody of fire and belief; a howling execration of loyalty and love- a rapturous howl.  Another superb song, the pace has been relentless and impassioned- leaving the listener breathless at every turn.

Bringing some relief into the mix, Haynes unveils something gentler on Note- and harks back to his earlier work.  Pastoral and finger-picking- you get hints of Nick Drake and Neil Young- the track is a calming and sun-seeking beauty.  After the infant moments; the serene and tender notes, the song starts to accelerate and speed-up- and beckon-in tales of a twisted town.  Subjects of families intertwine; inbred faces stand next to one another- a consequence of its time.  I am unsure which town is being referenced- whether fictional or based on rather unpleasant memories- yet Haynes’ voice is commanding and focused.  Regardless of the “path on which they lay”; unwise plans come to fruition- half of my mind was in a medieval colony; the other in a modern-day dwelling.  The wording and choicer and language (by Haynes) is such that it has historical edges; literature vibes- intelligent and quirky; it paints pictures and vivid possibilities.  Soldiers, beggars and sailors come to “surround us”- leading my mind to the shores of historical documentation- as the vocals rise and unite (between Haynes and his female cohort).  There is a storybook/fairy-tale blend- granted, with grittiness and heartache- that is charming and unexpected.  Queens overlook bridges; the townsfolk surround the hero- there is that sense of suffocation and dread.  Admits the bygone and historical testimonies, the composition remains modern and fierce (I think any Elizabethan pipes and sensations would tip the song into parody territory).  The electric guitar yowls and is razor-sharp; the percussion is guiding and potent- although less pummeling and primal than previous cuts.  Our hero unveils a song that is sincere and different- there is no sense of joke or oddity- and gives Life in Animation a new layer and shade.  There is almost a Grunge-like sensibility as the song reaches its peak: the guitar is animalistic and head-nodding; the vocals wracked and pained.  Experimental and progressive- bringing images of Pink Floyd to mind- the song comes down to land; resting with a more calming outro.  Gorgeous and pastoral, the closing strings bring the curtain down: it ends the story and beckons in the night- a perfect end to the E.P.’s most adventurous and interchangeable song.

Closing proceedings is Little Spots.  Given what has come before, you wonder how the song will begin.  Cosmic and vacuum-like, the opening electric notes give you some insight: with the urgency and drama of early songs- taking the E.P. back into heavier realms- it is another evocative and space-age opening.  Our hero is lost for words; unable to speak, it seems he is sick and tired- of this “constant moving around”.  Again there are Grunge-influenced undertones- the male-female vocal bonding reminds me of Pixies- settling with acoustic and Alternative skin.  The E.P.’s most insular and personal numbers- we are looking at Haynes and his fears as opposed to love and city-worship- it is a fitting swansong.  Whether geographical or dreamt; our hero has found a spot to stand his ground- there may be some stability and focus coming into proceedings.  Once tormented and angered; now there is some hope and comfort- a little spot he can call home.  As I listen to the song, I look at the E.P.’s cover- our hero with back against the wall; headphones around his neck- looking dreamily into camera (as an animated representation).  Little Spots seems like a man with his back against the wall; turning away from a sweetheart/girl- finding comfort in something different and new.  Here is another rich and multi-part composition.  There are horn blasts and piano notes; rolling percussion and wave-crash electric guitar.  In terms of the vocal, Haynes delivers Rap-like spits; tumbles his words out- as chills and spills come up his skull; the world seems “dull to me”.  Quotable and sing-along, it is likely to be a live favourite: something that will have crowds singing its mandates.  Our hero cannot waste his time (on his girl); he is moving on.  One of the most intelligent compositions, the percussion goes to a pitter-patter: each instrument adapts to the lyrics; never remains static and uninspired.  Letting electric guitar come up-front- as we witnessed on the previous track- it provides a chance to breathe and reflect.  As the song comes to an end, our hero reads between the lines; has his mind made up- and brings the E.P. to a thought-provoking and conclusive close.

I went into reviewing the E.P. - and my main feature, Masquerading Time, with zero expectations.  Having been brought to Haynes’ attention by a mutual Facebook friend (Melinda Ortner); I sat and thought:  maybe there will be a few good tracks; I will come away pleasantly surprised.  Having dived into Life in Animation I have come away several pounds lighter- having sweater with joy and disbelief.  My expectations and conceptions of the male solo arena is enforced by mainstream limitations- the you-know-who-artists that offer little beyond vanilla and beige banality.  I have been hearing some exceptional female-led solo work, yet little wonder from the guys- that is, until now.  Haynes amazed me from the first notes.  The E.P. is concise and tight- the track order and running times are perfect; each track is in the exact right place- and allows the young artist to really flourish.  Most E.P.s tend to falter and doze-off towards the final numbers: here there is a distinct consistency; no track even dips beneath the high standard of the opener.  From the beginning epic; through to the closer’s anger and travelogue ambitions- so much of the spectrum is laid-out.  Most young artists sound nervous in their early stages: Haynes is one of the most assured and confident artists around.  The production is exceptional and crisp throughout; the instrumentation is stunning and hugely powerful- all supporting that staggering and stand-out vocal.  I am not often left speechless after hearing an E.P./song, but Haynes is got bloody close.  New to my ears as recently as two days ago, I am not resolved to watch his career- a young talent with a definite future.  Critics and reviewers bemoan the swell of sound-alike and insipid solo acts- I am right in there with them to be fair- but with Haynes on the charge, there is cause for hope.  Having laid-out one of my favourite E.P.s of this year, I recommend everyone to seek it out; get on board and discover something…

GENUINGLY startling.

[youtube https://www.youtube.com/watch?v=A2-Us2RFZs8&w=560&h=315]

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Music:

https://itunes.apple.com/gb/artist/josh-haynes/id1024214932