Track Review: Operation Lightfoot feat. Sophia Ben-Yousef- Chains

TRACK REVIEW:

 

Operation Lightfoot feat. Sophia Ben-Yousef

  

Chains

9.6/10.0

 

Chains is available at:

https://soundcloud.com/sophiamusicuk/chains

RELEASED: September, 2015

GENRES: Soul; Alternative

ORIGIN:

Liverpool, U.K.

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WHEN it comes to today’s assessment I am going to be looking…

at collaborations and the solo market.  The music industry has a bad case of compartmentalisation and keeping to one’s self.  When it comes solo artists there are few that actually take the opportunity to collaborate with others.  One of the greatest joys and effects music can offer is when two (perhaps disparate) artists come together and form something new and unexpected.  If you look through history, it is littered with stunning collaboration and offerings.  Whether it is a simple duet or a full-on assault, it can yield some phenomenal results.  Acts such as Gorrilaz and Massive Attack bring in vocalists to their unique blends and produce stunning efforts.  Sometimes taking a very original and particular voice and adding it to your sonic blends- whether it is electronic and Hip-Hop or Trip-Hop- it can really get inside your head.   I do love the solo market but feel there needs to be more connection and reaching out.  With social media the unstoppable juggernaut it is, few people actually take time to really connect with others.  I am not sure if there is a music website out there that hooks musicians up, but there should be.  Somewhere where an artist can search for composers and collaborators and work together online- or at the very least converse and discuss ideas.  It seems like a no-brainer really as there are so many great acts out there who could benefit from a collaborative fusion.  It is not just beneficial to solo acts as duos and bands would see some great results.  It essentially opens and broadens someone’s sound and means they get to step away from their comfort zone.  If anything you get to meet another artist and perhaps begin a great and prosperous working relationship.  I mention this because my featured track joins together Operation Lightfoot and Sophia Ben-Yousef.  The former is a Luke Moore’s brainchild.  He is a composer who writes for T.V. and film and works with a wide range of musicians and artists.  Like The Cinematic Orchestra, Moore creates a range of beautiful and atmospheric compositions; bringing different singers into the fold to create songs filled with wonder and passion.  Sophia Ben-Yousef is an artist I am familiar with.  The gorgeous Liverpool songwriter is one of the country’s most impressive young songwriters and has a superb reputation already.  One of the most impressive and agile songwriters I have met, she boasts a truly captivating voice that makes everything she touches sound completely essential and seductive.  I am not sure how Moore and Ben-Yousef came to work together but I am glad they did.  Reviewers are noting the natural chemistry between them and I hope their debut collaboration leads to many more joint efforts.  The duo may seem quite different on paper, yet when joined in song, they seem completely intuitive and perfect.  Moore’s cinematic and skillful arrangement/production is a perfect mate for Ben-Yousef’s soulful and adaptable vocals.  Before I continue on my point, let me introduce the two artists:

“Collaboration is perhaps the best way to learn, develop and produce something that is greater than the sum of its parts. It is central to Operation Lightfoot, which features some of the most outstanding musical talent from across the UK, each co-writing and recording a track and working on a video that will feature on a finished album of music and short films.” 

“Sophia Ben-Yousef is fast becoming a crown jewel on the Merseyside gigging circuit and her latest offering ‘I’m Yours’ showcases the songstress at her finest.

Sophia Ben-Yousef has firmly established herself as one of the North West’s breakthrough artists and has already been hotly tipped by critics and industry figures alike. Performing with many established artists, such as KOF, JP Cooper, Matthew Perryman Jones, Bill Ryder Jones and MOBO award winners Esco Williams and Jahaziel. This summer she performed on the ‘its liverpool’ stage at Liverpool International Music Festival and is just back from her London performance at Kensington Roof Gardens and Proud Camden. Sophia has regular airplay and live sessions on BBC Introducing Merseyside and BBC Radio Lancashire, and a variety of radio stations in Europe and the US.

Sophia’s song ‘ I’m Yours’ listed in the Top 30 Tracks in Merseyside 2014.”

The solo market is seeing a lot of promising artists come through and it is a pretty saturated sector.  When choosing great new acts and those to pay attention to, you have to look to those who are willing to push their sound and expand.  Ben-Yousef is a young artist who has already established herself as one of our most special talents.  She is showing how willing she is to collaborate with other acts and add new dimensions to her rich and stunning voice.  I am impressed with solo artists that do not sit still and are very mobile.  Ben-Yousef is hungry with regards music and determined to work with a range of people and ensure she keeps busy and focused.  Operation Lightfoot is a fantastic outfit that has produced some incredible evocative and wonderful music.  Being a fan of the likes of The Cinematic Orchestra and artists that draw in multiple voices and musicians, I hope Chains motivates more similar collaborations and projects.  With the solo market getting full and highly competitive those who stand out are going to obtain the biggest rewards and respect.  Garnering a heady steam and some very effusive reviews, Chains is a song that boasts Ben-Yousef’s incredible vocals and songwriting talent with Moore’s songwriting and compositional skills.  For those unfamiliar with either artist, I would advise you to start here and work outwards.  I know there is a lot of demand for the two to work together once more; let’s hope this happens as Chains suggests two artists who have a natural bond and understand one another wholly.

When looking at Chains I guess we have to see how it fits in with Moore and Ben-Yousef’s previous work.  Operation Lightfoot is a project that is drawing in a wide array of artists into a to-be-released album.  Whether featuring on film or T.V., Operation Lightfoot looks to create a wide array of different musical experiences.  In that sense there is consistency to be found in Chains.  The song boasts a typically confident and impressive composition from Moore.  Differing from some of his other joint ventures, Chains stands as one of the most impressive hook-ups.  The production values are exceptional and the composition is varied and highly atmospheric.  This allows Ben-Yousef to let her voice soar and do its work.

In that regard Chains has common ground with previous work from the young Liverpool star.  A couple of months ago she released the track Heartbeat.  Soulful and pulsating, the track looks at our heroine losing her mind and control.  A certain song plays and the light goes down as a hero is making her heart beat strong.  In the grips of an urgent and insistent passion, there are racing piano notes and a great static beat.  It is an unpredictable composition that moves and twists to create a great weight of drama and nuance.  Filled with energy and lust, it is a song that boasts an addictive chorus and wonderful central turn.

  All I Need was released last year and was one of Ben-Yousef’s most emotive and tender tracks.  Beginning with a delicate and serene piano coda; it is a breathy and romantic song.  A soulful and beautiful track, it sees our heroine repeat the song’s title as a dizzying mantra to love.  In the midst of an intoxicating love, it is another track that sees our heroine buckle under the weight of desire.  So much beauty is instilled in the vocals it means the lyrics and sentiments stand out and are hugely meaningful.

    Chains represents a step forward for both acts.  In terms of Moore’s work he seems to have found a natural channel for his terrific work.  The most natural and stunning collaboration he has created, you cannot deny how wonderfully suited the two are.  For Ben-Yousef, she sounds as confident and meaningful as ever.  Heartbeat was a definite step forward and showed the young star filled with passion and panache.  Backed by a wonderful production and some terrific lyrics, her voice was at its peak and power.  On Chains she sounds completely in awe and entranced in the music and has produced one of her finest vocal performances.  Growing in confidence and quality with each release it not only shows a great evolution but means any future E.P.s or albums will be terrific.  I am not sure whether an E.P. is in the pipeline but I am impressed by Ben-Yousef’s progression and growth this last year.  Coming into her own as a singer and writer, you can really hear how much music means to her and how much she wants to inspire and touch people.  Chains is a terrific one-off that should not be left there: Let’s hope Moore and Ben-Yousef work together again and create something else.  The two are bedfellows who make one another’s music that much better.

Our heroine arrives to the microphone with one of her most sensual and smoky vocals.  Whereas previous outings have seen Ben-Yousef upbeat and filled with youthful energy and vitality; here we get something both mature and hugely evocative.  A strangely sexual and alluring husk to her voice, Chains is given a majestic and chocolate-rich beginning.  You start to tease images as our heroine looks at beginning souls and the need for emancipation.  “The way they hold themselves” and “bound by your chains” are early lyrics that could refer to a direct slavery and entrapment or an emotional prison that (the song’s subjects) find themselves in.  With Ben-Yousef entranced in the song, we hear the “old and young” are equal in their enslavement and capture.  Unable to shake that sense of foreboding and drama, you notice the supportive and evocative acoustic guitar play in the background.  Allowing our heroine’s voice to stand firm and buckle the listener, it is a perfect supportive sound that adds weight and tension to the track.  Sparse and haunting, you get caught in that smoky and inviting voice.  Imagining our heroine with her eyes closed in a dimly-lit room; I imagine her lost in dreams and the imagery of the song.  Some softly-spoken “twisted words” are sentiments that get the imagination working and conspiring.  As soon as you think the song will become softer and more whispered, it suddenly sparks into life.  There is an acoustic guitar slam that leads to impassioned strings as Ben-Yousef lets her voice rise and swell.  After the taunt and cruelty of the previous lines, there is a redemptiveness and hope.  Our heroine implores her subject to break the chains and escape their confines.  Whether she is looking at someone caught in an unpleasant situation and suffering heartache, there is that determination to set them free.  Advising to “break these chains/leave your game” it is both cryptic and fascinating.  You wonder what the chains refer to and what the game ascribed is.  Radiating with such a fire and ignition, that Flamenco-style acoustic guitar is a propulsive and energised heartbeat that gives the song such vitality and punch.  Our heroine’s voice is deliciously soulful and beautiful.  Such a rich and mature voice that says so much with very few words.  Few young singers have such a gorgeous and powerful voice that can make every word sound get inside your head.  As the song races and rushes, you keep imagining what is being referred to.  Maybe a harsh relationship is being told and the metaphorical chains that can result.  Perhaps the female party is unhappy and unwilling to run; in need of divorce and separation, you can hear that tension in the song.  Perhaps our heroine is speaking of herself and the need to get away from something making her unhappy and scared.  Our heroine claims that open cells wait as fate has blended with hurt and pain.  Imploring her subject to “hold strong your heart” it becomes clearer as to what is behind Chains’ mystery.  There is a definite personal struggle occurring and a situation that is creating heartache and tears.  As the song’s story progresses, so too does the composition.  After the initial acoustic guitars- that unite Flamenco and Arabic sounds together- yearning and orchestral strings come in.  Creating grandeur and building atmosphere, Operation Lightfoot ensures the backing perfectly support’s Ben-Yousef’s intoxicating and near-whispered voice.  Whilst the strings swoon and rhapsodise in the background, our heroine continues her inspirational plight.  Like a warrior princess leading her troops into battle there is a wisdom and maturity to the words.  There is that choice between light and dark; deciding what path you follow and how your situation unfolds.  Lyrics that seem personal yet can be a general inspirational message to those trapped and heartbroken; Chains grows and expands as the seconds progress.  By the time the chorus comes back around, you find yourself singing along and caught in the passionate performance.  As our heroine unleashes a wordless vocal of beauty and head-swimming confusion (there is deliriousness to the sound) the composure mixes in Electronic music elements to the Classical-cum-Soul sound.  Mutating and always working, the colour, contours and detail in the composition is hugely impressive.  The emotion and drama never relents and Operation Lightfoot and Sophia Ben-Yousef ensure their writing and composition never relents or is anything less than exceptional.  Aching and heavenly, Ben-Yousef’s vocals and entwined and multi-tracked to create something hypnotising and evocative.  Augmenting that sense of drama and tension, that vocal beauty is multiplied here.  After a sojourn of vocal layers our heroine’s voice becomes more echoed and ghosted.  At its most pin-point and haunting, that instant switch catches you by surprise.  Hooked into the stillness and reimagined chorus, our heroine is at her most direct and stunning.  Hugely sensual and gorgeous, the vocal contains fortitude and urgent meaning.  The casual listener may notice the vocal itself but those who listen will note the subtle compositional touches that proceed this moment.  Such consideration and attention to detail is paid to ensure Chains is always compelling and unpredictable.  Towards the final moments, that acoustic guitar comes back in as the chorus showcases multi-tracked vocals and huge drama.  Not resting on its laurels that compositional mobility and agility continues in the final seconds.  Following the dizzying strings and beats we get a piano coda that is imbued with delicate passion and a sensitive heart.  A fittingly stunning end to the track and you have a triumphant moment in music.

It is worth congratulating each party who very much sound perfect together.  A natural musical relationship, on paper you would not imagine Luke Moore and Sophia Ben-Yousef to come together.  Although residents of Liverpool they have different background and careers, so their commingling is impressive indeed.  I am not sure why I am skeptical as the musical results speak for themselves.  Operation Lightfoot is that unstoppable force that brings the best out of singers and musicians.  Showcasing one of the most interchangeable and stunning compositions I have heard this year, Chains is always moving and dramatic.  Reviewers have noted that ‘atmosphere’ that comes through and it is the most apt word.  Befitting of a song that deals with emotional struggles and torment, the composition would need to be sincere and prescriptive.  Neither autonomous not too reliant on the vocal strength we get a sound that could stand on its own feet.  I know Moore composes for film and T.V. and you can hear that here.  The notes and drama of the score could easily back a dramatic film moment or a tense T.V. drama.  Showcasing himself as one of our brightest and most multi-talented composers and writers, that compositions helps make Chains such a wondrous and brilliant track.  Knowing how strong a writer and singer Ben-Yousef is, I was not expecting such a gem from her.  Not in a short-sighted way but she seems at home and in her element here.  Songs like Heartbeat seem very personal to her and that passion and lustful vocal is matched by energised and effusive compositional sounds.  Here she sounds like a different woman and completely reinvented.  Such a maturity and sexual vibe comes through in the vocal it is hard not to be seduced by the breathy and smoky tones.  The lyrics leave you wondering and have obliqueness to them.  They could be personal and particular or could be words of support to a friend.  We can all relate to that sense of confinement and struggle and Chains is a song for those in need of freedom and escape.  When combined in song, the individual talents of Ben-Yousef and Moore sound even more startling and purposeful than they do isolated.  I know Ben-Yousef will pursue her solo career whilst Moore will be finding nee paragons with which to buddy-up with.  I hope our duo come together again next year and create another beauty like this.  Such songwriting quality and strength should not be left to the archives and stand as a do-you-remember-when-you-heard-Chains recollection.  I hope the two mega-talented stars have a chat and make a date for 2016…

When music becomes stale and predictable- which it often can these days- it is always refreshing to come across a fantastic moment that makes you rethink and reevaluate the craft.  I have followed the solo scene for a while and often have to pick-and-choose who I follow and who will keep producing fantastic songs.  A lot of solo acts seem to flounder down the line and produce one or two great moments- before disintegrating or giving diminished returns.  You cannot include Operation Lightfoot and Sophia Ben-Yousef in that statement.  Operation Lightfoot is a militaristic charge that is recruiting some of our bravest and most stunning artists.  Whether an album is forthcoming it will be great to see how Chains features.  That said, we could see the song score a T.V. or film scene as it has such a filmic feel to it.  Both serene and gentle but coded with a clear drama and weight, it is a song that could very easily go where it damn well pleases.  Sophia Ben-Yousef is a hugely confident woman with a stunning voice.  One of our best new artists, I have always had high hopes for her.  Knowing her music pretty well- and the fact she is studying at the moment- it will be interesting to see what 2016 holds in store.  I could well see her collaborating with other artists (maybe Operation Lightfoot?) again and coming up with some more gems.  Her voice is so adaptable and wide-ranging she could lend her tones to a Hip-Hop beat or anthemic Dance workout.  Maybe a dizzying Pop foray or introspective Soul hook-up?  Who know, eh?  What I do know is the Liverpool native has many years ahead of her in music and will be bringing new material to our ears in time.  Few solo artists have that triple-threat we weaponry of compositions, lyrics and voice that means each element is considered carefully.  Ben-Yousef is a skilled musician who understands the importance of composition and making sure it packs as much emotion and resonance as possible.  A terrific singer and wonderful talent, she shows a mature pen and has a very open heart.  Making her words universal and simple there is an underlying complexity and intelligence to her words that make her songs nuanced and hugely compelling.  Operation Lightfoot’s Luke Moore is one of this country’s most unique talents and someone keen to bring as many musicians and voices together.  Make sure you keep your eyes trained his way as there will be more exciting collaborations anon.  I love what he is doing and his particular vision- getting an artist to sing and co-write a song- and it is something more musicians should be doing.  Chains is the ironic sound of two artists unimpeded and free.  It is a song that is soft and welcoming yet beats with a very exciting and urgent heart.  You find yourself revisiting the song and trying to get to grips with various details and elements.  The lyrics implore fond investigation and the composition is one of the most impressive I have heard for a while.  Riding in the foreground is that typically assured and beautiful vocal from Ben-Yousef which, tied to all the other ingredients, results in something truly wonderful.  I hope there is a music website that exists where musicians can join together and create songs.  If there is not I shall get on it, as I worry too few Operation Lightfoot-Sophia Ben-Yousef songs and partnerships are happening.  What has been proven here is just what can come from pushing your boundaries and reaching out to fellow musicians.  There is a worrying dip in quality when it comes to solo acts and I fear too many are becoming complacent and not understanding the need to provide variation and range in their music.  It is left for me to predict the future of Moore and Ben-Yousef.  I feel the former will be kept busy with his collaborations and I cannot wait to hear what comes from it.  If there is an album afoot, it is going to be one to add to the collection for sure!  It would be good to see an interactive and official website for Operation Lightfoot (apologies if there is one already) and it will attract many musicians and writers in.  One of our most varied and impressive composers and writers, he is one of the U.K.’s few truly all-inclusive and ambitious talents.  Ben-Yousef is balancing a busy university life with her musical ambitions and I hope she finds a happy medium.  I love hearing her songs and she seems to be at her productive best.  Whether in a relationship or heartbroken, she seems to be able to tap into a rich vein and really speak to listeners directly.  Always complete with a smile and a soulful infectiousness, the Liverpudlian is someone we should all be keeping our eyes on.  Stunning to the eye and even more mesmeric when letting her voice reign, Chains sees Ben-Yousef at her very peak.  I cannot wait to see what the next year has in store for her.  Make sure you check out this wonderful collaboration and two disparate musicians coming together to create something truly special.  In a time where there is unpredictable returns and an inconsistency, you can always be sure Operation Lightfoot and Sophia Ben-Yousef will bring the good every time.  Sit back, relax and let Chains do its work.   A song that will motivate and compel both artists…

TO keep making wonderful music for years to come.

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Follow Operation Lightfoot:

 

Facebook:

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

Twitter:

https://twitter.com/oplightfoot

 ____________________________________

Follow Sophia Ben-Yousef:

 

Facebook:

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

Twitter:

https://twitter.com/SophiaMusicUK

SoundCloud:

https://soundcloud.com/sophiamusicuk

Track Review: Jo Kelsey and Niels Bakx- Waiting for Rain (Live at The Park Studios)

TRACK REVIEW:

 

Jo Kelsey and Niels Bakx

 

Waiting for Rain

(Live at The Park Studios)

9.3/10.0

Waiting for Rain (Live at The Park Studios) is available at:

https://www.youtube.com/watch?v=4SufjtE9qEk&feature=youtu.be

RELEASED: 8^th November, 2015

GENRES: Acoustic; Blues-Rock

ORIGIN:

London, U.K.

The E.P. Growing Up is available shortly

____________________________________

THIS week is certainly showing just how diverse music can really be…

Yesterday saw me assessing a legendary U.S. producer and Jazz artist before going onto a young British songwriter.  Today I get to tackle two artists who I am very familiar with.  I know Niels Bakx as a member of London band Los and the Deadlines.  Having reviewed the band a number of times, I am familiar with his guitar chops and songwriting prowess.  The music Niels plays with Jo is quite different from his Los’ work and is among the most refreshing and impressive I have heard.  Before I introduce the duo to you I wanted to talk about London duos and the challenge of new music.  It may seem like an odd subject to raise but London duos are cropping up thick and fast.  From the likes of Ivy & Gold and Them and Us through to Gypsyfingers and Greenfield and Conder, there is a superb mix available.  The duos I have mentioned are all boy-girl duos and there is a great mix of music among them.   I am not sure what it is but I find that the boy-girl duos are much more natural and assured.  When documenting love and relations, their music has that extra relevance and conviction.  It raises an interesting point, but I love the range of duos coming through the capital at the moment.  I know Niels runs a live music night in London, so he has plenty of duo choices should he need them.  The reason I raise the issue of duos is because it is that balance between the solo artist and the band.  Being a solo artist is a hard job to carry whereas the band market is quite saturated and demanding.  The duos fascinate me because it gives the world a chance to see how two people interact and work with one another.  In bands there is usually the frontman/woman and the other musicians are in the background.  The duo formation is music’s purest and most interesting formation because you get something both personal and collaborative at the same time.  London seems to be showcasing some of the U.K.’s finest duos, ranging from Electro.-Trance and Pop through to Folk and Rock.  Before I continue with my points let’s introduce Jo Kelsey and Niels Bakx:

“Jo Kelsey and Niels Bakx have been playing music together since 2011 and started writing songs as a duo in 2013. Their sound is a modern mixture of acoustic blues-rock with folk and psychedelic influences. Lyrics that deal with social commentary as well as exploring the darker side of the human mind float over hypnotic guitar parts that draw you into a different world."

Birmingham-born Jo Kelsey started making music at a young age, playing piano and singing. With inspirations ranging from Etta James to Led Zeppelin and her classical training Jo creates a unique blend of soulful vocals, operatic outbursts and rock attitude.

After moving to London to pursue her passion for music further Jo worked with a wide range of artists and projects. She also sang on many vocal sessions and took every opportunity to play and perform.

After a couple of years in London Jo increasingly felt the need to get her own original music out there. This led her to start ambitious rock/metal band Kelsea. With Kelsea she brought together her varied music tastes to create a unique hard-rock sound that incorporated acoustic guitar and a soulful backing vocal section as main features. The band eventually split, but their sound can still be heard on a demo called ‘The Hidden Tapes’ (available on Soundcloud).

In 2013 Jo recorded an EP with acoustic arrangements of some of the Kelsea songs. This EP, titled ‘Matchbox’, was released at the start of 2014 and is available on Bandcamp.

Not willing to back down from creating her own music Jo continued working with former Kelsea acoustic guitarist Niels Bakx. Together they went down the path The Beatles once walked in Germany, playing regular residencies in pubs and bars across London, honing their performance and writing skills playing old and new cover repertoire. Behind the scenes they started writing new material, opting for a new, more acoustic based direction. The result is a mixture of blues, rock and folk that gives a respectful nod to Jo and Niels’ influences whilst also incorporating a more modern sound.

In the spring of 2014 they went into the studio to record their first 5-track EP ‘Lie To Me’ with producer Jay Stapley (Roger Waters, Mike Oldfield), the EP was mastered by Pink Floyd’s twice Grammy nominated engineer Andy Jackson. Jo and Niels were joined by Rotem Haguel and Jamie Murray on bass and drums respectively to complete the band. First single ‘We All Fall Down’ was released on October 16th followed by the EP on November 5th.

Expect a raw, acoustic blues sound with the energy of a rock-band and the occasional psychedelic moments. Lyrical themes that deal with the darker parts of your mind as well as some social commentary on modern life. Songs that seek to combine the intimacy of folk and singer-songwriter music with the energy and groove of blues-rock.”

From reviewing so many acts I know how tough the music industry can really be.  I know people who have set up labels and venues; those that are starting out and some who are already established.  When entering music it is always a challenge and gamble as to whether an act will survive and how easy their careers will be.  I am always heartbroken seeing great musicians struggle but I guess that is the issue with modern music.  There are so many new musicians coming through, the challenge of defining yourself above your peers is certainly tricky.  You need determination and a unique sound in addition to some good contacts and a hard work ethic.  When it comes to Jo Kesley and Niels Bakx the duo have a lot of advantages already.  Niels is part of the stunning London band Los and the Deadlines, whilst Jo has released E.P.s already.  Both reside in the capital and have a tireless and committed passion to music.  Being experienced and skilled musicians, the duo blend together superbly.  It is not just their intuition and talents that make the music so special.  The connection and interplay are exceptional, which translates into their music.  With Jo up front on vocals and Niels on guitar, the Blues-Rock/Folk stylings showcase Niels’ guitar talents and Jo’s stunning vocals.  Jo’s gorgeous and multifarious voice- in addition to her unique and dark lyrical undertones- is a perfect suitor to Niels’ exceptional guitar work.  The E.P. Growing Up should be snapped up and investigated as it shows the duo at the peak of their powers.  Both studied and exceptional musicians, the way they combine and the range of subjects they cover distinguishes them from other duos out there.  That is quite important in the modern music scene.  You would be hard-pushed to hear any other act similar, so for that reason, it is well worth spending some time with Growing Up.

Having been familiar with the duo’s work for a while it is worth looking back and see how far they have come.  It is worth investigating Matchbox and Lie to Me.  Matchbox was released in March 2014 and was one of the first releases to feature the duo.  Free is a lead-off song with twanging and loose acoustic strings.  Reminding me of Led Zeppelin III’s best moments, the introduction leads to a busy and fast vocal from Jo.  With some superb backing vocals, the song looks at terrified themes and anxieties.  Lyrics such as “Scream, I’m falling, Hide, can’t catch me/I’m running out of air/Can’t scratch the surface/Can’t find the purpose” put the listener into the song and the urgency with which the lyrics are delivered is gripping.  Niels’ stop-start/quiet-loud guitar dynamics perfectly support the foreground.  Jo’s voice is filled with urgency and desperation, and juxtaposed against the Soul-like backing, creates a song filled with drama and tension.

The title track sees Jo on piano and boasts an emotive and passion vocal.  Words such as “These empty streets, never stop to question/How long we sleep, cos we’re never awake/You watched me leave, never stop to listen/Last time your words, scream tears on my face” look at relations and personal heartaches; backed by a wonderfully sincere and beautiful vocal.  This track is more of a Jo Kesley solo effort- Niels is producing but the focus is on Jo- and it shows just how fervent and talented she is.

   Monkee Feet is one of the more collaborative musical endeavours and has another rich and acoustic-led introduction.  When arriving at the microphone, the words again are quite tormented and anxious.  Boasting one of the E.P.’s most captivating vocal performances, the duo combine superbly.  Niels puts in one of his best performances with strings that rush and race- with a Flamenco sound at times- and the song benefits from quite a live-sounding and sparse feel.

   Lie to Me arrived at the end of last year and saw Jo and Niels joined by Rotem Haguel (Niels’ Los and the Deadlines cohort) and Jamie Murray.  The E.P. showcases five tracks of beauty and passion and this is kicked off with Bureaucracy.  Sounding harder and heavier than their previous E.P., it is a very Zeppelin-esque introduction that crunches and presses.  Jo puts her voice into Soul and Swing territory and is smokier and more sensual than before.  Letting her tones sound less rushed, she elongates and teases words.  Packing that punch and clout of the predecessor, the song sees Jo at her more determined and scintillating.  Niels and Rotem are a natural combination and provide some fantastic guitar and percussion support.  More Rock-tinged than Matchbox; Lie to Me is a great lead-off.

We All Fall Down sees teasing and delicate strings welcome the song in.  Again showing how much they have developed, the song sounds more insistent, urgent and nuanced than previous work.  Jo offers another entrancing and gorgeous vocal and memorable lyric.  The combinations of guitar, vocal and percussion is wonderful and the entire song brims with confidence and astuteness.  One of the E.P.’s most catchy and exceptional moments, it shows just how tight the music really is.

    I Won’t Go is a gentle and pastoral song that shows a softer and more sensitive side.  Jo’s voice aches and yearns as she looks in romantic territory.  Tired of running and hiding she is looking for peace and contentment.  The guitar is supportive and emotive but never encroaches on the vocal in any way.  You always are drawn into that beautiful and central voice that is awash with passion and beauty.  A fitting finale it shows a great step for Jo and Niels.  Matchbox put more focus on Jo in some songs; here the proceedings seem more collaborative and united.  Niels comes more into his own as a guitarist and that Zeppelin-esque sound really works well.  Jo sounds more rounded as a lyricists and vocalist and she seems more confident and comfortable here.

   Down to the River (from Growing Up) is another step forward for Jo and Niels.  With every release their sound more assured and accomplished and their latest E.P. is their finest.  Down to the River sees the duo unite perfectly to create a song that stays in the mind long after it has finished.  Whereas previous releases have been studio-created, the live-set atmosphere brings richness and atmosphere to the performances.  It is great seeing the music being performed and the emotions that go into it.  Stepping up a gear the music sounds even more assured and committed than on earlier releases.  The natural rate of progressions means the duo will not only be making music for years to come; it will draw in new fans and keep existing ones excited and satisfied.

    Waiting for Rain begins with a gorgeous and melodic acoustic guitar parable that manages to provoke imaginative and descriptive scenes.  Your mind gets lost in the tranquility and grace of the strings; it gives the song an instant sense of occasion and makes the song dramatic and beautiful from the earliest moments.  Leading in Jo’s vocal, Niels’ guitar is tear-stained and stoic; able to create a hypnotic rhythm that ensures every listener is going to be affected and seduced.  When Jo’s vocal begins her rich and emotional tones come straight to the fore.  “Teardrops fall to the ground” it is said, the emotion and sadness coming through in that vocal.  It seems like the song comes from a personal place as it sees a young woman not wanting to reveal too much or have people see her vulnerable side.  Maybe over-interpreting the song, but it looks as though our heroine has been going through a hard time and wants to hide away.  Maybe waiting for the rain to wash dark elements and doubting voices away, there are definite scars and raw emotions on the line.  The vocal begins very reverently and composed; at each stage the words are carefully projected and delineated with the utmost attention to detail and emotional resonance.  The guitar acts as a comforting hand on the shoulder and never becomes too rushed or overly-pressing.  Adding to the mood and creating something tender and serene, Niels lets his strings blend with Jo to create a song filled with beauty.  We get one of Jo’s most immediate and impressive vocal performances and see is completely committed to the subject matter.  When hearing her sing, you get images of Blues and Jazz greats like Billie Holiday who could make tormented and pained words sound ethereal and unforgettable.  Jo’s tones sound like no other and it is that originality and classic quality that makes the words stand out.  I have mentioned Led Zeppelin before and it is quite apt here.  The strings have that acoustic inventiveness of Led Zeppelin III and it when combined with percussion, you get some familiar blends.  I know Niels is a fan of the band and brings that influence in without ever compromising his unique talent and identity.  The gentleness and peace of percussion creates a heady blend that gives the vocal an extra layer.  With Indian/Asian-sounding vibes, the duo is supported by Rotem Haguel (bass) and Jamie Murray (percussion).  Also included is Leslie Phillips on backing vocals and together there is a fantastic and multicoloured sound coming through.  Jo remains firm and concentrated throughout as she looks at hard scenes and inner-reflection.  After the mid-way point the song steps up a gear and accelerates.  The guitar goes into a Flamenco fan and rushes with colour and passion.  It stops and starts creating tension and unexpectedness.  The percussion patters and rushes too, and when combined with a guiding and melodic bass, you get a bursting and exciting composition.  The composition itself not only augments the lyrics and vocal but creates an urgency that gives the song a much-needed rush of blood.  Jo elongates her voice and the word “I” is stretched and contorted like a pained mantra.  It is at this moment where the most wracked and affected delivery comes in.  Our heroine seems captivated by the mood and lets her voice wail and pervade without ever sounding forced or jarring.  It is that blend of beauty and emotion that makes her voice so impressive and nuanced.  Letting the wordlessness continue for a little, the song conjures images of rainfall and weather-battered pain.  The ‘band’ combines tightly to keep the momentum firm and manage to create a composition rich with life, story and suppleness.  That live environment makes the song sound quite bare and raw which definitely is fitting of the subject.  The words and utterances are not processed or polished and it means the lyrics really stand out.  Our heroine seems to be lonely and looking for salvation in a sense.  The song is a testament of a young woman who has seen better days and is seeking something better and fulfilling.  Ensuring the lyrics offer some redemption and hope you are always campaigning for our heroine and never feel a lack of sympathy.   By the closing moments that chorus is reintroduced and emphasised.  Our heroine is waiting for the rain to “wash you away again” and you wonder who is being documented.  Perhaps a former lover or old friend, it seems there is some history and a need for closure.  Always feeling heartbroken and anxious, you begin to wonder what events have unfolded and the history behind the song.  Waiting for Rain is another exceptional song from Jo Kesley and Niels Bakx.

A fascinating glimpse into Growing Up and you hear a musical evolution and a mature song.  Jo has come into her own as a singer and writer and sounds at her most stunning here.  Filled with soul and beauty, you cannot help but to be drawn into her voice.  Her lyrics look at personal pains but have a universality to them which means listeners can relate and appreciate.  Niels unleashes one of his most innovative and impactful guitar codas.  Adding so much colour, weight and conviction to the song, it is a wonderful combination that gives the song such a degree of nuance and impression.  After hearing the song several times, little details and threads reveal themselves.  The duo’s band members and support add to proceedings wonderfully and make the song such a full and captivating experience.  I found myself trying to pick the lyrics apart and drill down to the core.  I guess there will be some mystique and hidden truths but it is one of those tracks that begs for a critical ear to really get inside the words.  Whatever your take-away from the track and you will agree it is one of the best songs from the London-based twosome.  When Growing Up is revealed to the music-buying public ensures you get hold of a copy and see the videos on YouTube.  There will be new ones released gradually to give the public a full insight into the making of the E.P.  What Waiting for Rain shows is how superb and seamless the music is and what is can offer.  One of the most evocative numbers I have heard for a long time, make sure you do not let the song pass you by.

According to Niels:

"We'll be releasing the rest of the videos roughly a video a month over the next few months followed by the release of the E.P. on Bandcamp (with an exclusive video version of Growing Up only available with the E.P.)".

It is always great to hear a talented come through that offers originality and a real sense of purpose to music.  Being familiar with Jo and Niels, I know how much music means to them and this comes through in Waiting for Rain.  Having released Down to the River already, there will be more videos released soon from Growing Up.  With every song the duos combines seamlessly and leave huge impressions in your mind.  The musicianship and serenity across Waiting for Rain is a fantastic and beautiful thing.  Jo’s voice glides and hovers through the notes creating something quite magical.  Combining the Blues-Rock of Led Zeppelin and the Folk sparkle of Fleetwood Mac and you have an act that is going to be in huge demand.  At the moment Jo is travelling Asia and I hope to catch up with her very soon.  With Niels taking care of the music side of things, the duo has a busy and hectic time ahead.  This is good however, because they make music that deserves wide exposure and fond ears.  There are so many new acts coming through and a lot of them just fall flat and rarely stick in the memory.  Before wrapping things up, it is worth returning to the subjects of duos and music’s challenges.  Without knowing it you come across a lot of great acts that are doing something very different and special.  I have mentioned duos and the variation you get in London and Jo Kelsey and Niels Bakx are among the very best.  The capital seems to be shining at the moment and is seeing a real revival and surge.  Last year I was worried about the lack of innovation and great music coming from the capital- Yorkshire and the north were producing more of music’s best.  This year there has been a shift back down to London and so many terrific musicians are proffering their intentions.  It is the duo market that is intriguing me most and you get a great alternative to bands and solo acts.  The duo bond is a perfect balance between the widespread and often impersonal band sounds and the individuality and loneliness of the solo life.  There is a great comfort and companionship (with duos) and a lot of music-lovers are relating to this.  I know a lot of great musicians are feeling the pinch and strain of the modern market, but it is worth hanging in and just focusing on the music.  There is a lot of financial pressure which can lead many to question their passion and purpose.  Musicians do their best work when they block out the outside forces and put their minds into the music.  With Jo and Niels you get artists who are determined to succeed and play for years; the lack of anxiety and stress comes through in the music.  Growing Up is a live-recorded E.P. that sees the duo demonstrated their talents and passion- supported by a group of fantastic musicians.  It is only left for me to look at their future and what 2016 will bring.  Jo and Niels have been performing together for a while and made some stunning music.  This year has seen their finest collaborations and a real insight into the coming year.  Knowing Niels has Live at TJ’s to focus on (https://www.facebook.com/liveattjs/?fref=ts); Jo will be busy planning new music and things.  It would be great to see the duo release an album and bring together their talents into something full-length.  Niels' bandmates make heavy and classic-sounding Blues-Rock and it would be great to hear an album with some of that thrown in.  Jo is a master of Acoustic and Folk blends and that stunning voice can make anything something intoxicating and sensuous.  The duo has such a connection and wide talent they could create something quite wonderful.  It is the passion and determination the two put into their music that really comes across and resonates.  I think 2016 will see them touring a lot and taking their music to new audiences.  Both have busy work schedules and I am sure new sounds will be forthcoming.  If you have not experienced the musical unison of Jo Kelsey and Niels Bakx I suggest you go back and hear their earliest work.  From there, come forward and work to the present-day offerings.  It gives a complete picture of a musical force with a lot more to say.  Growing Up is a snapshot into two incredible artists that are going to be names to watch.  Making music that sounds effortless yet filled with details is a hard trick to pull off, but they manage to do it.  If you are looking for an act that can beat away the blues and inspire the mind, then check out Jo Kelsey and Niels Bakx.  When they are together and playing they create…

ONE truly special sound.

[youtube https://www.youtube.com/watch?v=4SufjtE9qEk&w=560&h=315]

_________________________________________________________

Follow Niels Bakx:

 

Official:

http://www.nielsbakx.com/

Facebook:

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

Twitter:

https://twitter.com/NielsBakx

__________________________________________________

Follow Jo Kelsey:

 

Official:

http://xoxjojoxox.wix.com/jokelseymusic

Facebook:

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

Twitter:

https://twitter.com/kelseaband

_______________________________

Music:

http://jokelseymusic.bandcamp.com/

Track Review: Billie Marten- Bird

TRACK REVIEW:

 

Billie Marten

 

Bird

9.8/10.0

Bird is available at:

https://www.youtube.com/watch?v=smX6xCPDbrE

RELEASED: 13^th October, 2015

GENRES: Pop; Folk

ORIGIN:

Yorkshire, U.K.

The E.P. As Long As is available to pre-order at:

https://itunes.apple.com/gb/album/as-long-as-ep/id1036271735?app=itunes

TRACK LISTING:

Roots

Cursive

Bird

As Long As

____________________________________

I have just put down my electronic pen reviewing Dean Gant..

an Illinois-born musician who has worked with the likes of Outkast.  His debut album The Journey mixes Jazz, Soul and R&B into something mesmeric and genre-fusing.  A brilliant collection, it is great to hear an experienced producer and musician concentrate on musicianship and quality.  From a middle-aged black U.S. musician to a 16-year-old singer from Yorkshire is quite a shift in dynamic and focus.  I shall get to the arresting and stunning Billie Marten soon, but listening to her story compels me to introduce the topics of young songwriters, maturity and songwriting quality.  When I think of Pop and Folk music my mind always goes back to the past.  My favourite artists- from Jeff Buckley and Steely Dan; Fleetwood Mac and Bob Dylan- are very much of yesteryear.  I have been hunting for a modern-day paragon that could inspire my mind and add to my record collection.  Whilst there are some transitory and one-off gems to be found, that issue of longevity comes to the fore.  I find a lot of modern Pop music either too immature and woe-is-me or it lacks that necessary depth and musical affinity.  Folk music has always produced some awesome acts but I feel there are too few modern-day wonders.  I have a lot of time for the likes of Laura Marling but as she is ‘between albums’ I am looking for a second-in-command Folk singer who can soothe my heart.  I would be heard-pressed to name that many Pop, Folk and Soul acts that make me want to investigate them further.  There is some mature songwriting out there but it tends to be played by artists that have age and experience on their side.  Looking at Billie Marten amazes me somewhat.  Being a young and upcoming songwriter, public perceptions would assume a position of scepticism and cliché.  A lot of Marten’s contemporaries are mired in world of post-party arguments and teenage rebellion.  If you look at your One Direction fans, they would probably not take to Marten too well.  Whereas your One Direction songs have a very particular style and subject matter, Marten deals with more grown-up and inspired sides.  In a world where you have to go to the U.S. to find young singers with mature souls- perhaps the likes of Taylor Swift fall into the category- the Yorkshire based songsmith is one of our very finest young writers.  Not too much is revealed on social media, with regards Marten’s influences and biography.  Digging through an interview she conducted with Teen Vogue and you get some insight and layers.  At the time of the interview she was 15 and launching her E.P. Ribbon.  This year has seen that E.P. gain ground and support; the young talent has been gigging and preparing to release her latest cut, As Long As.  Looking at her Twitter account, you get a picture of a very intelligent girl with an exceptional taste in music.  From Jeff Buckley- who is my hero, and it means Marten is very much alright by me- and Fleetwood Mac (Rumours is one of the best albums I own) and you get a mature and cultured set of shoulders.  Reading interviews and you get someone entering the music world with a lot of dignity and pragmatism.  Marten began her music ascent covering songs on YouTube.  As she ascribed, her grandparents (who reside in France) would be sent videos due to the insistence of her parents.  Able to reinterpret and play with other artists, it motivated Marten to step into the limelight and indulge her own creative soul.  Ribbon is a four-track collection- and I will do a mini-review of that later- that was surprisingly accomplished and complete.  Her first real collection, it saw the young singer show incredible insight and ability.  Being a teenager should not cloud your judgements and expectations.  Too many media outlets fixate on tender years and teenage ideals.  Marten is very much a woman when it comes to music and her sound.  One listen to that outstanding and soul-buckling voice and you get embers of a young Buckley.  When I heard Jeff Buckley seduce crowds on Live at Sin-e (his live album that was recorded in New York in 1993) and you get reincarnated embers in Marten.  That same entrancing high and breathlessness radiates through the notes.  On the outside Marten is your average, if very beautiful, young woman who is a girl-next-door with an infectious smile.  After hearing her sing, you get images of classical Soul singers and Folk legends.  Touches of Buckley’s Grace-era transcendence- I could imagine Marten doing a mean version of Last Goodbye- and Rumours-era Fleetwood Mac come to mind.  Bits of Stevie Nicks and Marling show she has one ear on U.S. music and the other on current U.K. offerings.  Having immersed herself in music’s finest artists from a young age, this has been extrapolated and translated into something personal and hugely original.  As Long As’ cover is striking and beautiful to see.  The music contained within is equally affecting and wondrous.  I have long-reviewed Yorkshire music and from the likes of Issimo to Jen Armstrong, there is so much diversity and quality to be found.  Maybe it is the luscious and awe-inspiring views or friendly locals that make music such a natural thing.  Whatever is inspiring Marten, she should clear her calendar in 2016.  Being a teenager, she will have to decide whether she balances academic pursuits with music or dedicates her full attention to the craft.  On the evidence of her latest track, I would love to hear more from Marten.  She has a talent and voice that has left me speechless and is one of the most intelligent and fascinating musicians in the country.  That said, she is so young she could take time out and do music-part time.  Having already created two E.P.s, the Yorkshire musician deserves some time out and a break.  There is a lot of critical excitement and her social media ranks are buzzing with anticipation.  In a few days her new E.P. is dropped, and judging by her social media posts, Marten is excited and hungry for the future.  Bird is a fraction of her talent but demonstrates just what an immense talent she has.  In a Pop-cum-Folk world with too many effete and beige examples, Billie Marten has a voice, pen and grit that ensure she not only topples her peers- she ranks alongside some of the greats.  I have mentioned the likes of Buckley and Fleetwood Mac without hyperbole or insincerity.  I know Buckley’s music better than most living people and adore Fleetwood Mac.  In years to come I can see Marten performing to U.S. crowds and creating a Grace-esque masterpiece.  She has that natural lyricism and poetic soul which, when coupled with a haunting and gorgeous vocal, leaves the listener spellbound.

If you are new to Billie Marten, it may well be worth going back and starting from the beginning.  Both logical and revealing, it not only shows how she had developed but means you get a better sense of the young artist and what inspires her music.  Unaware reminds me of Pink Moon-Nick Drake.  That bouncing and haunting acoustic guitar sees that tremendous voice smokily declare.  “Pulling me in” with charm and seduction, Marten expands and builds the song into something hopeful.  With her mind clouded and covered in smoke, there are scenes of dislocation and break-up.  Whether inspired by fiction or a time in her life, her heart and soul are laid bare into a song of maturity and passion.  Whoever inspired the track has broken everything and caused some scars.  Bringing in some elements of Country and Folk, it is that husky and scintillating voice that gets inside the heart.

Ribbon builds from a riparian and racing acoustic motif that leads into a deliciously serene vocal.  Breathy and tender, our heroine walks a trail “leaving sparkling gold behind”.  Projecting so many vivid and fantastical images, Marten combines high-pitched beauty with emotional lows to create something naked and sparse.  In the midst of revelation and honesty, our heroine wants to belong and feel complete.  There is a sense of isolation and fitting-in the scene, as Marten is a nomad who likes to wander.  Drake’s lyrics come into play here, with Marten showing the same sort of beauty and poetry throughout.  Her delicate voice ensures listeners are seduced and transfixed with every note- perhaps the E.P.’s finest moment.

In for the Kill starts gently and seems to project the sound of the ocean (maybe I am over-reaching) with our heroine delivering one of her purist performances.  Fires and arguments rage and a love-gone-cold realisation is spoken of.  Whether addressing a particular subject or not, Marten makes La Roux’s song her own.  Stripping it back and reinventing it, the song takes on new relevance and meaning.  Down to its cold and naked bones, the emphasis is less on composition and more on voice.  That pure and mesmeric tone is beautifully supported by aching strings and plinking keys to create something shivering and spine-tingling.  You could imagine this song being a live favourite as it is sure to leave crowds speechless.  Having masterfully tackled Royal Blood’s Out of the Black, Marten shows how great she is as an interpreter.  Like Buckley, she can make any song she tackles sound her own and completely new.  Making rough-and-ready songs transcendent is a hard thing to achieve; she does it and sounds completely natural.  It is that singular and incredible voice that makes everything she approaches sound completely of-the-moment and essential.

Since Ribbon, Marten released Heavy Weather back in April.  The song continues Ribbon’s themes and sound but sees the young songwriter grow in confidence and concision.  The opening verse matches Nick Drake in terms of its my-God-how-did-she-think-of-that wonder- “When the sun rises silver/If it rises at all/Meet me there across the water/And we’ll start an endless storm”.  It is the sort of wording you’d expect Dylan to write let alone a teenager.  Such an intelligent and original take, you are breathless from the start.  It is that voice that reigns with majesty; ensuring every scene and lyric is given the utmost sense of occasion and purpose.  Caught up in the English weather and thunderstorms, there is that battle-against-the-odds mentality as Marten and her sweetheart will not retreat or be defeated.  It may be stormy but they have one another and are wrapped up in another.

Marten has grown and developed in a short space of time, and with each new release her lyrics get stronger and more compelling.  As Long As is another step forward and shows a young woman with a fertile and stunning musical mind.  Her compositions have developed and grown whilst her voice seems more rounded and unique.  From the start those gorgeous tones were her own; as of now, you can hear that growth and evolution.  The songwriting is at its peak and that passion is indefatigable.  Ensuring listeners will be asking for more, As Long As is a stunning achievement.

Bird begins with a little crackle and intrigue before a hearty and emphatic piano introduction creates a stunning blend of beauty and composure.  The opening verse sees Marten softly and gentle let her voice pull the listener in.  “She’s underwater again/Somebody’s daughter, a friend/In the night in the dark in the cold/As she walks far away” are the opening lines, which fuel vivid images and something quite haunted.  Drawing together some of Ribbon’s sounds into Bird, you get a crystalline and exceptionally beautiful song.  The vocal stands out once more and is allowed absolute clarity and free expression.  The production values mean Marten is unfettered and unimpeded; meaning her stunning pin-sharp voice goes directly into the brain.  So powerful and entrancing, you are mesmerised (a word I shall be using a lot) and those haunting images keep coming.  Whether speaking in a first-person sense- and recalling a low or dark time- or looking outward, the song’s heroine is ill-fated and lonely.  The mild water seems almost inviting as the song’s centre seems at the end of hope.  Whether using water as a metaphor for pressure and words, you get a tangible sense of mortality and hopelessness.  Marten lets her voice rise to a bird-like song as she takes us into the song’s unhappily beating heart.  There is some cryptic and oblique aspects to the lyrics.  When I heard the words “Hope is a distance unreached/Ink on her skin incomplete” I was instantly thinking of songwriting and music.  Perhaps an aim of fulfilment and obtainment, I was looking at those aspects.  After a few seconds, my mind came back to mortality and hope- the cessation of both perhaps.  The song has a multi-dimensional appeal that means the lyrics alone will put your mind in two different places.  You can imagine a heroine nearing water and the end of hope.  She might be alone and unaware of protesting and saviour voices.  Maybe she feels like she cannot go on for whatever reason.  On the other hand, there is the possibility that Marten is speaking about her own feelings and times where she has felt low and hopeless.  Whether aiming for musical completion or suffering personal heartache, that vocal does not break or crack.  Pure and child-like in its beauty, Marten ensures that enough honesty, sensitive and emotion comes through in the performance- you could never accuse her of being anodyne or unemotional.  There are few singers that possess such a beauty and cherub-like voice that makes everything around you disappear.  As you hear Bird you hear nothing else; the rest of the world stops spinning as you are drawn into that staggering voice.  Such a brave song, you admire the honesty and earnestness of the lyrics.  A lot of young songwriters cloud their emotions or cover them up.  Here we see Marten expose her feelings and put out a song that is unashamedly raw and confessional.  Perhaps the song’s true meanings are known only to our heroine, yet that is the purpose of the song: Each listener can extract their own truths and create their own interpretation.  When Marten sings “Where does her start go from here/Lost in the grip” that tangible sense of loss and hopelessness comes back again.  Channelling some of Nick Drake’s debut-album work into her own creation, Marten sounds completely true and dedicated to the song.  It seems as though it (Bird) holds a particular relevance to her.  Whether scorned or burned by a guy or subjected to a river of disappointment, you cannot escape that suffocation.  In the final moments, the vocal seemingly becomes more pressing and beautiful.  With a piano backing, our heroine is at her most affecting and gravely.  It is not to say the song is morbid or suicidal.  There is ample beauty and honesty and that is what makes it such a terrific thing.  Most artists cannot pull off such a feat and fewer who are of Marten’s age.  With such an exceptional set of lyrics and maturity, you are never anything less than amazed by Bird.  Images and scenes flow as that voice-and-piano combination create something both still and free-flight.  By the closing embers you are left helpless and heartbroken.  What of our heroine and the song’s lead?  Was her soul condemned to the waters or did her heart find hope in the dark?  It is those questions that are left that make you want to talk to Marten herself and ask if all worked out okay.  With a surprising amount of nuance to be found- you will need to play it a few times to get to the bottom of things- and you have a brilliant track from a tremendous young songwriter.

Perhaps not the most impressive review that Marten has received I hope at least I have done her justice.  Being fairly new to my ears I am staggered by her breadth of ability and talent.  She sounds as though she was born to do this and been performing for decades.  Few modern songwriters come onto the scene so fully-formed and confident.  It is that confidence and natural ability that makes Bird such an impressive creation.  The E.P. will expand upon this and see the young Yorkshire songwriter cover different subjects with that inimitable sound.  She has said (in interviews) that music means very little if it is not honest and meaningful.  You can tell how meaningful the words are to her.  This is not a song about partying or text-ing woes.  It is a testament from a young woman with a heavy heart and scared soul.  That fragility and vulnerability shows someone who can bear her soul and let the listener come into her world.  Not hiding behind facades and armour, Marten is a brave and sensitive artist who wants to inspire others.  On the evidence here, Marten is going to compel so many other songwriters to follow in her footsteps.  A tantalising glimpse into As Long As, it means few ears should ignore the forthcoming release.  Not an album solely built around tranquil and acoustic numbers, there is going to be plenty of passion and uplift.  Bird is one side of the Yorkshire heroine and one that should not be ignored.  One of the most ethereal and beautiful songs I have heard this decade; I cannot recommend and applaud (Marten) heartily enough.  One of the finest emerging talents this country currently houses.

I have only recently ‘discovered’ Billie Marten, but from the evidence laid out here, I will be following her with huge interest.  The blonde-haired teenage is not someone that will fade into any crowd of miss the eye completely.  Her music is some of the finest out there and showcases a dynamic and intelligent songwriter.  Having ensconced herself in the strings and dreams of her idols, you can hear her passion and ambition come through with endeavor.  Ribbon gave reviewers and listeners a chance to hear what the teenager was about.  That E.P. was greeted with great praise and fevered words of love.  It is no surprise the press are talking Marten up as one of the scene’s ‘ones-to-watch’.  The 16-year-old Folk artist makes sure she does not let her music stick with one sound or subject.  As she tells it, her music tries to marry Indie and Pop into a multi-faceted blend of song.  Where I have grown tired of a lot of mainstream’s Folk progeny; Marten is a breath of fresh air.  Make sure you snap-up As Long As because as long as you miss out on her music, you are doing yourself a wrong.  The focus on age and expectation should be singed and buried, you see.  Judge Marten on her music alone and you find a wonderful talent with many years ahead of her.  So much attention is paid, not only to the music itself, but E.P. images and design.  It ensures you are captivated by her photos and beauty but you remain and stay for that all-encompassing and all-inclusive music.  Her songs tackle love with maturity and a sharp pen.  Elements of a young Joni Mitchell and Bob Dylan come through in Bird.  Marten introduces metaphysical and meteorological rhapsody to describe love’s proclivities and uncertainty.  Twisting ideas and words to great effect, she goes beyond her contemporaries to provide music of the highest order.  Looking at storm-battered scenes and elicit kisses; tranquil scenes and fascinating characters and you have a scriber with a stunning imagination and intellect.   It only leaves me with a few points to raise.  First of all, make sure you buy As Long As when it is released and see what all the fuss is about.  The E.P. will showcase Marten as one of this country’s best talents.  I was talking about maturity and the state of music in the introduction, so shall bookend it here.  There are so many Pop acts and artists that are lewd or crude; they have so little maturity and lyrical quality you wonder why they bother.  The market will always have room for vague and disposable acts, so long as the money keeps coming in.  The young audience needs something better, and in Marten, we have someone who can assuage our bad market habits and create something inspiring.  In time she could go on to join her idols as she has that quality and passion.  I shall be sure to see her in concert soon and pay tribute to her wonderful music.  With my fingers practically numb- been one of those busy days- I hope you share the merits and music of Yorkshire’s Billie Marten.  Not often does someone come along that compels you to drop what you are doing and be seduced.  I will leave you with Billie Marten and Nick Drake.  In Teen Vogue, Marten mentioned how- when she was growing up and discovering music- Drake’s music spoke to her.  This girl becomes more perfect and appealing by the minute and has such a rare and phenomenal taste.  As a D.J. and writer I have played Nick Drake on two occasions.  Pink Moon is that final and mesmeric album.  A very brief and stunning record- it was recorded in a few hours with Drake on acoustic guitar (except for the title track’s piano).  Drake was barely able to move, due to the severity of his depression.  What you get is unaltered beauty and transcendence.  I love Five Leaves Left especially and with voice-and-string  genius like River Man and Way to Blue and you understand just what an incredible artist he was.  That poetic and wonderful lyrical style mixed with a voice full of gravitas and world-worn experience.  Marten is a wise young woman who has had an exceptional music upbringing.  Drawing in Drake’s poetry and honesty with Fleetwood Mac’s eclecticism and beauty- with some Buckley-esque sensuality and transcendence- and you have someone with an incredible future.  The grittier and harder sides to her music suggest someone who loves her Indie and band music.  I would not be surprised to go round her house and see The Rolling Stones, Led Zeppelin, Radiohead and Muse among her collection (she may correct me).  Excelsior to the Marten who is not thinking too far ahead, yet has that ambition and far-sighted grasp.  I would not be shocked to see her produce an album in 2016 as she is clearly inspired and motivated to write at the moment.  Whether she is in a relationship or been heartbroken, she deals with love and lust in a very intelligent and original way.  Whether school, studies, London and music will result in something full-length we can only hope.  Marten is about to see As Long As to the general public and she should prepare herself for a cataclysm of love and affection.  Being someone who (I’d like to think) has an much passion for music as anyone walking, I adore what Marten has produced.  Bird is a terrific song that is the centrepiece to a remarkably accomplished and nuanced collection of songs.  No bullsh** or hyperbole, this girl is the real deal.  If you do one think this week, go buy her music…

AND see one of our brightest artists do something truly spectacular.

[youtube https://www.youtube.com/watch?v=smX6xCPDbrE&w=560&h=315]

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Follow Billie Marten:

 

Official:

http://www.billiemarten.com/

Facebook:

https://www.facebook.com/billiemarten

Twitter:

https://twitter.com/billiemarten

Instagram:

https://instagram.com/billie_marten/

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Music:

https://soundcloud.com/billie-marten

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Videos:

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

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Gigs:

http://www.billiemarten.com/gigs/

Album Review: Sir Gant and the InVisible Force- The Journey

ALBUM REVIEW:

 

Sir Gant and the InVisible Force

 

The Journey

9.5/10.0

 

The Journey is available at:

https://itunes.apple.com/gb/album/the-journey/id422111037

RELEASED: 28^th February, 2011

GENRES: Jazz; Soul; R&B

ORIGIN:

Illinois, U.S.A.

TRACKLISTING:

I’m Gonna Miss You (Piano Prelude) - 9.4

Let Me See You Work It- 9.6

I’m Gonna Miss You (Departure) - 9.5

I’m Gonna Miss You- 9.4

Hangin’ With Q- 9.5

Les Bleu- 9.4

I’m Gonna Miss You (Inst. Reprise)- 9.4

The Journey- 9.5

On the Dance Floor- 9.6

So Much in Love- 9.5

Peace- 9.5

I’m Gonna Miss You (Vocal Reprise) - 9.4

DOWNLOAD:

Let Me See You Work It; Hanging With Q; The Journey; On the Dance Floor

STANDOUT TRACK:

On the Dance Floor

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IT is rare that a musical project comes along that allows me to...

feature on what makes music beautiful and pure.  A lot of bands and acts I have reviewed have stuck in the memory, yet few concentrate on musicianship and passion.  Before I introduce Sir Gant and the InVisible Force I wanted to talk about the purpose of music and the importance of musicianship.  In a modern climate where there are a lot of fake stars and worthless examples, we all need to embrace music that is deep and meaningful.  I look around the mainstream and see false and plastic Pop stars, each of whom does not appreciate music and making it resonate with people.  They are concerned with collecting dollars and filling out arenas.  It doesn’t matter whether their music is inspiring minds or nourishing souls as long as the money comes in and they get column inches.  Naming no names (we all know who) but there are so many nauseating and insincere bands and artists that are in music for the money and have a team of writers behind them.  The committee-led and manufactured ‘musicians’ are polluting the environment and sending out a bad message to the up-and-coming musicians.  Talent shows such as The X Factor are not helping issues and are promoting the wrong ideals and way of working.  I understand that there are people out there that listen to Pop and plastic music that has an army of writers and producers behind it.  People will want to see those preened and airbrushed artists in a venue near them.  The only reason this upsetting trend occurs is because there are few alternatives and artists campaigning against the blight.  Being a huge fan of Steely Dan, I am a person who appreciates musicianship and the vitality of a stunning composition.  My favoutrite track of all-time is Deacon Blues: A song that is lush and delicious; filled with gorgeous saxophone and nuance in spades.  Other ‘Dan tracks like Night by Night (from Pretzel Logic) and Hey Nineteen (from Gaucho) showcase how stunning leads Walter Becker and Donald Fagen are.  It is a shame Steely Dan are not as revered by my generation.  They still seem a niche and underground sort of act.  I love Jazz acts like Coltrane, but have a soft spot for Miles Davis.  Albums such as Birth of the Cool, Kind of Blue and Sketches of Spain showcase just how phenomenal Davis’ work could be.  Bitches Brew is an ecstatic and colourful swathe of horns and arrangements that whip-up a myriad wave of images.  Musicians that can say so much without singing (or saying few words) are the most powerful and impressive.  Too many genres like Jazz are still quite undervalued and reserved for lovers of the craft.  Some Pop artists try to instill Jazz elements into their music and ensure the genre gets appreciate, but for my money, more people should be into Jazz and discover what it has to offer.  There are a lot of modern artists that are capable of drawing-in young listeners with their stunning compositions.  People have stuffy and preconceived images of Jazz- and some consider it not to be that cool- which needs reevaluating somewhat.  Before I continue on my point, let me introduce Sir Gant and the InVisible Force:

“Dean Gant, known professionally as “Sir Gant” has been recognized for decades as a first rate Music Producer, Arranger, Keyboardist, and Composer. Now, with the release of his debut project on his own label, ELEGANT MEDIAWORKS; 2011 will see Sir Gant & The InVisible Force emerge as a powerful presence on today’s music scene.

Gant’s project, THE JOURNEY, is a musical anthology that celebrates the genius he has lent to many top selling artists over the span of his career. His co-production and arrangement of Anita Baker’s Rapture LP, sold over 8 million copies and garnered 2 Grammys, (including best R&B song, “Sweet Love”) which Gant arranged and on which he played the song’s memorable piano part. On Madonna’s self-titled debut album, Gant ‘s signature synthesizer licks defined "Lucky Star" & "Borderline"--both of which launched and defined Madonna’s career.

Sir Gant is joined on THE JOURNEY by some of today’s most highly acclaimed musicians: Marcus Miller; Gerald Albright; Omar Hakim; Steve Ferrone; Ricky Lawson; Al McKay; David T. Walker; Nathan East, Paulinho da Costa and others who each contributed their unique artistry to the inimitable course of THE JOURNEY.”

I was introduced to Sir Gant and the InVisible Force’s music by Ellene Masri.  She is an artist whose album Music was one of my all-time favourite reviews.  Having been seduced and overwhelmed by her music- and keep in regular touch with her- I already knew a bit about Dean Gant’s music.  One look at his C.V. shows a man who has helped shape and defines some of music’s biggest legends.  One of the world’s most notable and impressive musicians, it is great to hear The Journey come to life.  After hearing him on Las Vegas radio discussing the project, I know how dedicated and passionate he is.  Music means the world to him and connecting with people is paramount.  So many musicians do not care whether they connect and strike a person.  Too many are concerned with copying others and not telling a story in their sounds.  Dean Gant is a man that wants to ensure his music not only digs deep into the heart and soul; he wants to make sure every person is told a story and gets a clear sense of beauty.  Gant’s music is some of the most descriptive and intoxicating I have ever heard.  The rich and sensual compositions mix with stunning and unexpected moments, all of which compel dizzying images and dreamy scenes.  Having spent so many years honing and supporting other musicians, Sir Gant and the InVisible Force is the result of Dean Gant at his most stirring and impressive.  With a terrific band of musicians behind him, The Journey is an album masterclass of emotion, passion and redemptiveness.

“To showcase his own music in its best light, Sir Gant assembled a formidable roster of musicians for The Journey. Their collective bodies of work appear throughout the global market of popular, R&B and jazz hits. Among the stellar musicians are Marcus Miller, Gerald Albright, Paulinho da Costa, Steve Ferrone, Al McKay, Omar Hakim, Nathan East, Ricky Lawson, David T. Walker, Rahmlee Michael Davis, Dr. George Shaw, Charles Owens with the string arrangements of the legendary Benjamin Wright. The vocal stylings of Marc Nelson (founding member of Boyz II Men) and Tim (Tio) Owens (featured singer with the Al McKay All Stars) grace three tunes on the The Journey. Grammy winning engineer, Neal Harrington Pogue was brought on as co-producer to ensure technical balance and musical integrity of the project.”

I’m Gonna Miss You (Piano Prelude) sees The Journey begins its plight.  A soft and beckoning parable, the song is a tender and composed moment that perfectly welcomes in the album.

    Let Me See You Work It perhaps leaves little to the imagination.  This track was written by Sir Gant and Khaliq Jabari Gant and features Tim (Tio) Owens.  Very much a funky and hard-hitting jam, it benefits from some hugely powerful vocals and a stunning percussion.  Those beats and keyboards make the track and hot and sassy track that means business.  Stomping and seducing, you are caught in the infectious groove.  With Owens on vocal the song reflects Gant’s more sexual and sensual side.  There is a sense of chase and gameplay here.  You can imagine the object of his affections and the song’s heroine.  Burnishing with fever and intention, the vocal is a sumptuous and wonderful instrument that makes the song such an unforgettable thing.  The girl has our hero saying “yeah” and in quite a state of unrest.  The percussion and drum programming provide the song with that kick and punch that ensures the lyrics and vocals and given appropriate backing.  The bass and guitars ensure some seductive and shimmering lust.  The instrumentation here is among the album’s finest and each player is completely in-time and in-step with one another.  Like a classic D’Angelo cut, you get sweat dripping from the speaker.  Our lead wants to see his girl “work it” through the night.  Our man is lost and helpless to refuse her beauty and sex appeal.  Juxtaposing the composure and dignity of the opening cut, you get a song that puts its declarations and intentions right up-top.  An unrelenting paen to dancefloor lust, it is one of the finest R&B/Soul tracks I have heard in a while.  Boasting such a hugely emphatic vocal centre, each word comes to life and burrows into the mind.  Owens has a feverish and quivering voice that is utterly beguiling and stunning to hear.  Backed by an exceptional composition and vivid lyrics, and you have a song that is among the album’s very best.  Blending the funk and compositional mixes of Stevie Wonder with some Usher-via-D’Angelo-via-Prince vocal gymnastics and you have a song that bridges ‘70s Soul with ‘80s and ‘90s Funk.  A kick-ass and compelling jam, it is a song that can get dancefloors bouncing and lovers entwined.  Overtly confident and urgent, it is grinding sweat-maker that could score make-outs across the world.  Not a track to be overlooked.

   I’m Gonna Miss You (Departure) provided a break and cleaner.  A chance to throw some water over the steaming atmosphere, what we get is a beautiful transition.  After the rampant and sexual ambitions of its predecessor, that lilting and romantic piano is back in the fray.  Stefaniah McGowan plays the part of a flight attendant, as we get the most tangible sense of a ‘journey’.  Taking off to somewhere unknown, we get safety announcements amidst a tranquil piano- something not often tempted in music.  Advising the listeners to buckle their seatbelts and be prepared- bit late after the swagger that was Let Me See You Work It- and we then get a snippet of a voice message.  Our man leaves a message to his girl saying how much he misses her.  On his way to meet his lover and get to his hotel, it is a charming and wonderful touch that provides the album with narration and personal soul-bearing.  Some of the best albums mix narrative and spoken word snippets with instrumentals.  Over the space of three songs we have gone from a Classical-influenced instrumental to a sensual R&B jam to a spoken word insert that could have been seen on the most innovative Hip-Hop albums of the ’80s and ‘90s.  Taking the listen along with him, Gant has covered so much ground so soon.  You wonder where we will go next…

   I’m Gonna Miss You follows the aerospace departure.  Having arrived at his destination, here we get the full-length declaration.  Soulful and smooth from the offset, the track boasts an incredible vocal by Marc Nelson.  Written with Carol Van Brunt-Gant, it is one of the album’s most arresting and personal tales.  You can imagine Gant penning the song in a hotel as he thinks about his sweetheart.  As our lead talks about his intentions and wanting to kiss his girl “all night”, it is a romantic song that wears its heart on its sleeve.  It is another track busy with musicianship and terrific performers.  Here we have the likes of David T. Walker and Steve Ferrone lending their chops.  By recruiting another vocalist into the mix- rather than keeping the same throughout- we get a new tone and sense of perspective.  Perfectly suiting the subject matter, and backed by some terrific backing vocals, you have something that is aching and sensitive.  Contrasting with the sexual and masculine sweat of Owens, Nelson is more restrained and focused.  Both songs are terrifically addictive and memorable, with both saying different things.  Nelson has a hair-raising set of pipes that bring the images into life.  Tangled and united in each other’s dreams, there are no surprises.  Our lead loves his girl and wants to be with her.  Having arrived at his hotel, Gant has perhaps not quite reached his girl.  There is that sense of desire and longing that makes you feel sympathy.  Burning with passion and want, Nelson perfectly articulates that need and desire without histrionics and needless ululation.  A Soul seducer the likes of Luther Vandross would be jealous of and you have another song that cannot be forgotten or ignored.  Alight with endless passion and focus, it is another step in the tale that gets the listener invested and hooked.

   Hanging with Q is Gant’s tribute to Quincy Jones.  With Gerald Albright on saxophone and the likes of Charles Owens in the throng, it is a gorgeous Jazz track.  The trumpets climb and spiral as the percussion teases and beats with composure and calm.  Little tones and touches underpin the song and add life and conversation.  You can imagine Gant and Jones hanging and shooting the breeze.  Backing their dialogue and movements, the song projects hand motions and conversation topics.  A perfectly to-and-fro exchange, the composition reminds me of Miles Davis again.  It is hard to not see the jazz legend when the composition is at its most brilliant and divine.  That sax. work almost defines the song and gives it such a vitality and power.  A compelling and smooth groove that rises and falls; comes down to tease and flies with abandon, it showcases Gant’s compositional talents and clear vision.  Another natural progression and aspect to the story, we take a step away from love and desire to see our man hang with one of his heroes.  With ‘Q’ gets to hear the song is another matter but I’d like to think he has heard it and loves what it says.  An impressive and worthy tribute to one of music’s finest producers, it sees Gant mersmerised and caught in fantasy.  Not just reserved for Jazz aficionados, it is a song that has enough potential to grab fans of any genre.  Universal and all-encompassing, it is a song that stands among the album’s finest non-vocal cuts.

  Les Bleu I guess would refer to ‘the blue’ or ‘the blues’ Gant could be feeling.  Although the title may suggest a sense of longing and loss, the composition is an upbeat and rushing beauty.  The percussion constantly beats and pushes as the piano dances and smiles as it goes.  After a fabulous bass introduction, the song has an infectious kick that swoons and swaggers in equal measures.  As cool as anything across the album, it once more proves how adept and diverse Gant is when it comes to composition.  Here I got touches of Steely Dan and some of the greats of U.S. Jazz.  It is that piano sound that sticks in my mind.  Never losing its pace and beauty, you cannot help but be sucked into its wonderfully compelling sound.  Each listener can imagine their own scenes and what the song represents.  To my mind, Les Bleu is Gant reflecting and thinking about life.  Having been on the dancefloor and in delirium; after longing for his girl and hanging with Quincy Jones, we have a contemplative and pondering track.  Whether he is Las Vegas, Chicago or somewhere out of the U.S. each song represents a different moment in Gant’s life.  It is the quality amnd depth of the music that stands out here.  Not just a throwaway or insincere moment, you can tell how much detail and consideration has gone into the track.  Based on the ‘blues scale’ the song is a beautiful refrain that will delight lovers of Jazz.

   I’m Gonna Miss You (Instrumental Reprise) is a short number that sees Nathan East providing bass solo and Sir Gant on keyboards.  Reminding me of Stevie Wonder once more, the song marries twinkling lightness with something more primal and soulful.  Designed to provide punctuation and transition, the track is a delightful little number.

   The Journey is the title track and epicenter of the album.  Beginning with a rousing kick and sensuousness, it soon develops into something quite tribal and Africa-inspired.  With some African vocal samples, it perhaps harks back to Gant’s childhood and African ancestry.  Being based in the U.S. now, Gant takes us to Africa and gives us an insight into a different time in his past.  Uniting his multiple threads and musical tastes, you get a bit of World music and Paul Simon’s Graceland into the fold.  Standout beats and a Soul-infused bass groove give the song a cool-edged and addictive sound.  Those vocal samples punctuate rising strings and an atmosphere that bursts with life and vivaciousness.  So many colours and cultures come through in the music.  One of the album’s finest moments, it shows what an exceptional composer Gant is.  With an expert ear and eye for touching every listener, it is a song that is a perfect mood-setter and entrances you.  Drawing together Jazz horns and some Soul reflectiveness, the song is one of Gant’s best moments.  You are constantly moved by the unison of beats and strings.  Packing in a wealth of musical detail and finesse and it is as a result of serious study and thought.  Flugelhorn and bass sit with strings and percussion to create something wondrous and continent-straddling.

   On the Dancefloor sees the progression in the tale.  After the initial seduction and glance, our hero and heroine take to the floor and are locked in one another’s arms.  Given the proceeding tracks were gentle and romantic swoons, here we have something with a Funk kick and some definite R&B influences.  With Marc Nelson and Sir Gant on vocals, the track is a shivering and hugely powerful number that sees the velvet-voiced Nelson conspire supremely with Gant.  The story looks at the hero take his girl to the floor, asking her to “follow my moves”.  There is that instant relatability and every-day to the song.  You can see the images unfold and the stunning vocal build a captivating scene.  Our hero is in the groove and entranced by his love.  With elements of D’Angelo, Prince, Michael Jackson and Usher, the track will unite fans of each.  Packed with original intent and wonderful musicianship, the track is an undeniable smash that gets inside the head.   Our hero cannot wait to get his girl on the dancefloor as she is the only one he needed.  That chorus is a catchy and memorable proclamation that will have listeners singing along and remembering long after the song has completed.  Contrasting early movements, it is a welcome balance that sees Gant and his musicians expand their wings and take the listener into new territory.  Packing such a kick and soothe, it is impossible to overlook such a sensuous and romantic track.  Balancing Gant’s tones, Nelson’s mighty falsetto will draw comparisons with Stevie Wonder and the greats of music.  It is a song that is so strong in its convictions; it stands as one of The Journey’s finest and most immediate moments.

    So Much in Love starts with a tender and touching piano coda.  Relaxed and seducing, you lean into the speaker in an attempt to drink in its serenity and gentle kiss.  Whereas the music of Peace defined the title and could quell and calm any conflict, So Much in Love shows a burning and intense desire from the offset.  Even with subtle and even-toned restraint, you can sense that heartfelt passion and love from the initial seconds.  The opening seconds see the song build and swell; strings are introduced to showcase something classical and symphonic.  Reminding me of The Cinematic Orchestra at their most spine-tingling, the track grows and climbs.  Twinkling piano sits inside maternal strings that provoke images of floral bloom and a still-morning sunrise.  The percussion work (Paulinho Da Costa and Omar Hakin) perfectly unites with the string work and arrangement Derek Nakamoto.  With Sir Gant co-composing and performing the string parts in addition to keyboard work, the song has a personal edge to it.  You can tell the song comes from a very personal place and time in Sir Gant’s life.  After the shivering beginning, the track becomes more upbeat and toe-tapping.  The percussion is a static and stunning beat that supports the dancing and twirling piano line.  Jumping and waltzing, the song has an upbeat and divine sound that inspires you to dance with a lover or simply lie back and reflect.  Like Miles Davis’ great works, the listener can close their eyes and project their own course of events.  As the song reaches its peaks and high points, the full power and force comes through.  I can imagine Gant paying tribute to a special and wonderful woman.  Perhaps someone who is still with him, the song is a fitting tribute of undefeatable passion and tireless beauty.  Such a deep, full and busy composition, each player is tight and focused on the job at hand.  Like the finest musicianship you can hear, So Much in Love is a song that reveals its true beauty and potential after many spins and investigations.

  Peace is a song that begins with shimmering and glorious declarations.  Powerful and immediate, the strings are a romantic rhapsody that cannot help but to soothe and ignite the soul.  You instantly start to drift away and imagine beautiful and tranquil scenes.  When that compositional rush gets to you, you are powerless to refute its charms and force.  With Sir Gant on all instruments and Charles Stepney on vibes (the track is a tribute to him), the track sees delicate and touching piano mingles among the strings.  From that hot and dizzying opener, the mood starts to become more reflective and pared-down.  Allowing the song to evolve and move, the instrumentation has taken us from a heady and exciting dream to the peace of a new day (or perhaps a moonlit night).  As guitar strings strike and ask for a response, the piano is a lush and cascading flow that responds with immense beautiful and evocativeness.  Enraptured in the swirl and nuance of the surroundings, the listeners are guaranteed to smile and conspire.  Keyboard sounds add a Soul-cum-R&B edge to the song (reminding me of a Songs in the Key of Life-era Stevie Wonder composition).  Uniting modern-day U.S. Jazz with ‘60s/’70s Soul and you have a ripe and receptive track that showcases what a talent Gant is.  Ending with a blend of fast-flowing and passionate piano and vivacious keyboard, and Peace achieves it aims.

Completing Gant’s journey is I’m Gonna Miss You (Vocal Reprise).  Bringing Nelson’s vocal back into the fray, and we get a brief reprise of that central message and declaration.  By the final notes the listener is left wanting more having been taken into a beautiful and stunning world of music.

According to Gant, The Journey was so-called because:

  “I chose the title “The Journey” because it has special significance for me. I believe that “life is a journey, not a destination. It’s a continuous, evolving, learning process that takes many unexpected turns. You have to be flexible & adaptable in order to navigate without losing your way. I’ve had many incredible experiences and challenges, (there will be a book later this year). From being adopted as an infant by 2 incredible parents, to being a single parent with my daughter, my son suffering a serious spinal cord injury while playing college basketball, to finding my birth mom after decades of not knowing who or where she was. All of these things have brought me here today and have shaped me as a person and musical artist. So what you are hearing is my “Musical Journey” which is not one dimensional or really definable by traditional categorizations”.

My words cannot really do justice to the wealth of depth and ability projected throughout.  Bringing in a stunning roster of talented musicians, Gant has created something that is as personal as it is universal.  It brings in Gant’s musical past and present into a collection of songs that tell so many stories and will appeal to all.  From tenderness and longing to passionate sexuality through dreamscapes and reflection, you have an album that is packed with wonderful moments.  Boasting entrancing musicianship and exceptional compositions, The Journey also contains some wonderful vocal turns.  Without a weak moment or poor production element, each song is allowed to breathe and give the album a huge majesty.  If you have not discovered Sir Gant and the InVisible Force’s remarkable album, ensure you hear it now.

I opened by mention musicianship (the lack of it) in modern music and the disposability of modern stars.  It seems there are fake idols and talent show-chasing musicians that want the money and quick success.  Few take time to study and work at the craft these days.  Whether daunted by the financial and commercial pressures or unwilling to immerse themselves in music fully, the results are telling.  There are too few wonderful musicians that really show exceptional talent and ability.  Too many studio-based tricks and committee-written songs are muddying the waters and making it hard to find genuine articles.  Dean Gant has been in music for many years and worked with the likes of OutKast and Ellene Masri.  A man who knows great music and a true talent, this has been distilled into The Journey.  I love Jazz and Soul but find it hard to find artists and albums in these genres that really compel me.  Sir Gant and the InVisible Force is an act that ties in these genres alongside R&B and Classical to create something that should appeal to a wide sector of people.  If you balk at the idea of instrumental tracks then have no fear: On The Journey you get depth and nuance with plenty of upbeat and beauty.  It seems the U.S. is breeding some phenomenal artists that could benefit ears and eyes of the U.K.  We have some great composers and producers here yet few try anything that I have heard today.  One of the most compelling and stunning albums I have heard this year, it leads me to wonder the next steps for Gant.  Whether he chooses to unite with other musicians and create a new album (in 2016) or just produce, the options are there.  Having heard him alongside Masri on Las Vegas radio, I know how much passion he has for the music.  Fans and listeners love his work, so the demand is definitely there.  I for one would love to hear another album next year; something that continues The Journey’s plight and explores new stories and territories.  If listeners and music-lovers have not heard The Journey then they are missing out.  Perfect for any mood or time, it is a record that says so much and conveys so much emotional and passion.  In short what we have…

IS everything music should be.

[soundcloud url="https://api.soundcloud.com/tracks/71170205" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_____________________________________________________________

Follow Sir Gant and the InVisible Force:

 

Official:

http://www.sirgantmusic.com/

Facebook:

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

Twitter:

https://twitter.com/sirgant

 ________________________________________

Music:

https://itunes.apple.com/gb/artist/sir-gant-the-invisible-force/id410167589

__________________________________________

Videos:

https://www.youtube.com/user/sirgant?feature=mhsn

Interview: Dana McKeon

Interview:

  

Dana McKeon

ONE of my favourite artists has been busy this last year…

ensuring the music world keeps her majesty firmly in mind.  Having reviewed Street Art previously (her album released last year) I was excited to catch up with Dana and see how her year has gone.  Halcyon has recently been released and is an album that showcases her immense talents as a songwriter and singer/Beatbox artist.  Few musicians have such a range and unmistakable ability as the Maltese wonder.  Halcyon shows just how diverse, passionate and stunning Dana is and a very promising sign as we head into 2016.  The rest of this year will be busy for the young talent as she embarks on gigs and plans new material.

Hi Dana.  I hope you are well.  How has your week been?

Hi Sam, I’ve been busy but I can’t complain cause I’ve been jumping from gigs to studio sessions all week.

You hail from Malta- and are among a number of fantastic Maltese musicians in the U.K.  Is there a big music scene in Malta/opportunities for young musicians?

The Maltese music scene is full of quality talent and the opportunities on the island provide a great platform for new artists.

Being based in London, the city must offer inspirations and plenty of influence.  Do you get inspired by the people and geography of London when writing your music?

I’m generally inspired by my feelings and surroundings, so the city and its people are definitely a big influence when it comes to my music.

[bandcamp width=100% height=120 album=204923027 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small track=2703034617]

How did you get into music to begin with?  Did you Beatbox before becoming a musician or did the two sort of happen at the same time?

I’ve always loved music and used to write poems to instrumental pieces of music when I was younger.  I wrote my first proper song and started to beatbox around the same time in my late teens though. It was never something I thought I could do well - things just came together and I discovered a whole new form of expression which I became incredibly passionate about.

You have released a new Beatbox album.  Halcyon is full of life and insight.  What were your inspirations when writing and recording the album?

This album was inspired by the different elements and happenings around us while we were writing and recording it.  Sometimes it’s easier to write and sing lyrics than it is to say them out loud.

Songs like Funk It Up and Melt Your Heart have quite Pop-based cores.  What sort of music inspires you?  What genes/bands are particularly important to you?

Pop is a genre which comes naturally to me, but I’m inspired by an eclectic array of styles ranging from Hip Hop to Rock.

You worked on the album with Daniel Cassar (a friend of Dana’s).  The songs reflect a peaceful state of mind, hence the title.  When recording the album, was that a conscious decision?  Did you need to regroup and focus on something soothing and melodic to relieve stress and anxiety?

It wasn’t a conscious decision at all, but the songs all seemed to flow in that direction. That’s quite an insightful deduction!  I guess we could all do with some musical stress relief every once in a while!

My favourite track from Halcyon is Gone.  It has Electro.-Pop vibes and is experimental and fragmented like FKA twigs and St. Vincent.   What was the inspiration behind that track?

Thanks for the kind words - it’s an honour to be compared to such artists.  As with the rest of the songs on the album, it was all very experimental as we didn’t want to restrict ourselves to a particular genre.  We generally drew inspiration from our feelings at the time and just tried to create as genuine an expression of that as possible.

Given the rise of female artists- and the impressive sounds coming through- do you find it a struggle to make your voice heard?  Is the day-to-day ‘business’ of music-making quite tiring and harsh?

It’s both increasingly challenging and inspiring to be surrounded by so much incredible music these days.  The day-to-day business can be quite tiring but I believe that as long as one works hard and remains true to themselves, then their voice can cut through and be heard.  My passion for making music gives me the motivation to keep going and even having my music touch a handful of people’s lives makes it all worthwhile.

You have performed quite a few gigs around London recently, from intimate and charming venues to larger venues.  How do the crowds react to your music in general?  Are you getting a lot of love and support at your gigs?

I love playing gigs and the variety of shows I play keeps me on my toes.  It’s always a great and rewarding experience to have people support what you do and I’ve been pretty blessed in that department.

Can you tell us what the rest of the year/2016 holds?  Plans for new material perhaps?

The rest of the year is packed with studio sessions as I’ll be writing and recording lots of new material.  There are quite a few exciting collaborations in the works and I’m looking forward to playing more shows in London, as well as headlining a big 3-day concert at the prestigious Manoel Theatre in Malta this December.

You have inspired (take my words for it) some up-and-coming artists.  What advice would you give to them with regards the music industry?

That’s very flattering!  My advice would be to get out there and gain experience while networking and drawing feedback from audiences.  That’s the best way to develop as an artist and pave the way for bigger and better achievements.

Finally, and for being such a good sport, you can name any song, and I will play it here…

‘King’ by Years & Years is a good one that came out earlier this year.  Very fresh and inspiring!

[youtube https://www.youtube.com/watch?v=g_uoH6hJilc&w=560&h=315]

___________________________________

Dana McKeon's latest album Halycon can be found at:

https://danamckeon.bandcamp.com/album/halcyon

______________________________________

Follow Dana McKeon:

 

Official:

http://www.danamckeon.com/

Facebook:

https://www.facebook.com/DanaMcKeonMusic

Twitter:

https://twitter.com/Dana_McKeon

YouTube:

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

___________________

Listen to Dana McKeon's music at:

https://soundcloud.com/danamckeon

Track Review: These Your Children- Set a Fire

TRACK REVIEW:

 

These Your Children

 

Set a Fire

9.4/10.0

Set a Fire is available at:

https://soundcloud.com/theseyourchildren/set-a-fire

RELEASED: October, 2015

GENRES: Soul; Rock

ORIGIN:

Nottingham, U.K.

The E.P. Fires is available from November 9^th, 2015:

TRACK LISTING:

Fires

Set a Fire

David

Stronger

_________________________________

WHEN it comes to exploring new music and what is out there...

is enough variety, for sure.  If you are interested in Rock or Pop; Soul or whatever takes your fancy, there is something to tickle your fancy.  When it comes to variation there are still gaps and avenues that are left unexplored.  I admire bands and acts that buck trends and go against the grain when it comes to music.  We have to look back to the past to see music at its most daring and explorative.  I find too many current bands and acts are too restrictive and safety-minded when it comes to pushing their sounds.  Maybe critical minds and mainstream tastes dictate something particular and familiar- meaning a lot of brand-new artists tends to play it safe to begin with.  I guess your music projections (when it comes to artists) are dictated by your upbringing and favourite acts.  I bring up this point because These Your Children sound unlike anything I have ever heard.  Their name may sound like an angry northerner holding two children by their ears- bringing them back to their parents after their football has broken his window- but their music is as original and experimental as I have heard for a while.  Inspired by African sounds and rhythms, the duo brings African sensations together with modern Rock and Soul undertones.  With the music game being a competitive and ever-expanding one, it is refreshing to find a duo that are so relaxed and assured.  I shall introduce them to you shortly, but for now, the issue of anxiety and naturalness come to mind.  With music being such a foreboding and unforgiving mistress, it is a gamble going into the fray.  Regardless of quality and ambitious, you cannot always guarantee yourself success and longevity.  I think a lot of artists let stress and pressure get on top of them too much.  That tends to impact on their music and moulds their future- leading them to capitulate and retreat.  Artists that come in with a mixture of confidence and relaxed spirit tend to fare better and ride the waves more seamlessly.  These Your Children is a duo that seems completely confident and assured in their own skin.  The stunning twosome seduces you with their soulfulness and amazing blends.  By tying in African influences together with contemporary hardness to create something scintillating and completely awe-inspiring.  Before I continue on my point and raise a couple of new ones, let me introduce you to my featured act:

“Nottingham show / EP launch 18 November at The Bodega, London show–25 November at St Pancras Old Church in association with Mahogany Sessions http://www.ticketweb.co.uk/event/200377

Nottingham -based  singing-songwriting  duo  Rebeka  Prance  and  Joe  Baxter,  better  known  as  These  Your Children debut lead single 'Set a Fire', taken from their EP of the same name.  These your Children describe their sound as 'storytelling music with the aim to take you on a journey 'with an undercurrent  of African  freedom  songs  that  combine  passionate  vocals  and  delicate  melodies.  Their forthcoming  4- track  EP  'Fires'  aims  to  stay  true  to  their intimate vocals  by  exploring  an  emotive  angle,  yet showcasing their eagerness to experiment with a bolder, tribal sound.  Growing  up  together  from  a young  age  in  Nottingham  in  the  Midlands,  they  both  came  from  musical backgrounds, enjoying a healthy upbringing of Stevie Wonder, Quincey Jones and Earth Wind And Fire, all of whom they cite as some of their key musical inspirations.  Joe's initial music involvement started at an early age when he learnt to play the drums and guitar which lead him  to  develop  a  passion  for  songwriting  that  later  culminated  in  him  studying  a  Jazz  Drums  Degree  at Birmingham Conservatoir. Similarly, Rebeka developed a fondness for Jazz from a young age which shaped her listening choices growing up, admitting that she “didn't know pop music existed until the Spice Girls.”  As a child she was a keen singer which led her towards The Arts and in turn she developed as a vocalist and eventually went on to study a degree in Vocal Music Performance at The Academy of Contemporary Music in Guildford.  Built  upon  a foundation  of  a  longstanding  friendship,  These  Your  children    officially  formed  in  September 2011 while  they  were  both  at  university  and  where  they  began  to  receive  positive  feedback  from  their YouTube videos reworking favourites such as Al Green's, 'Let's Stay Together' and Corinne Bailey Rae's 'Put Your Records On'.  By the following year they were writing more of their own material and towards the end of 2012 and into 2013 they were gigging the new material and started recording their EP. They supported JP Cooper in Nottingham in 2015.  The Fires EP is a refreshing debut release from an exciting duo, with a lot more to come.”

What you get with the Nottingham duo is something both familiar and highly unexpected.  When it comes to African influences and motifs of freedom and emancipation, you do not get too many acts make those kinds of moves.  I think of Paul Simon’s Graceland and some more underground acts and albums.  In terms of the mainstream and new music coming through, few artists are as ‘daring’.  Perhaps that is the wrong word yet how many acts do you know that fuse African elements with Soul and Rock edges?  It is this distinction and pioneering spirit that is getting tongues wagging and critics excited.  The duo’s forthcoming four-track E.P. is going to be very exciting indeed.  With their fire-based songs already in the ether- Fires and Set a Fire- the Fires E.P. mixes inflammatory and explosive beauty with tribal sounds and stunningly beautiful vocals.  It the interplay between the two leads that ensures you are completely entranced and hooked throughout.  There is too much narrowness and riskless-ness in music which is meaning it can become predictable and stifled.  It is always refreshing and impressive hearing something genuinely fresh and innovative make its voice heard.  Prance and Baxter have an affinity for their subject matter and ensure their music resonates with every single listener.  In a modern society concerned with disposability and short attention spans; These Your Children make music that is for those passionate about music.  If you want something forgettable and quick, then look elsewhere.  The duo’s rich and nuanced blends cater to music-lovers that look for something new and detailed.

Until recently These Your Children have largely been covers-based.  When it comes to compare their earlier work, we have Fires.  The title track to the forthcoming E.P. was dropped last month and was the first real exposure to their original material.  When the song was first revealed, there was a lot of praise and critical feedback.  Unlike anything on the current market, it is hardly surprising to see what the song garnered such a weight of appreciation and love.  The introductory notes are soothing and melodic.  Baxter takes the lead to begin and the duo soon combines and blends with perfect harmony.   Images of moths to flames are drawn in; an intoxicating and dangerous sort of love is introduced.  The chorus is a joyous and positive thing that raises the spirit levels and sees the song ignite (shall try and ease with the fire puns).  Our duo investigates a passion that seems unstoppable and certain.  Eyes are meeting and hearts are interlocking.  There seems to be a huge desire and expectation at play which is enforced and compounded by the vocals.  The duo is consistently gripping and tight throughout.  Backed by a composition that is sparse yet powerful, the track has immediacy to it.  The track has received a lot of great reviews from social media and SoundCloud users.  I would say Set a Fire sees the duo in even more impressive form.  Whereas Fires is a stunning tracks, Set a Fire is a companion piece that goes even further and deeper.  The vocals seem even more intoxicating and stunning.  The composition comes to the fore slightly more.  The beats particularly stand out and really cut through the vocals.  On the vocal note, the duo seems more electric and urgent.  The chorus is another memorable and rousing moment that draws you in and compels the listener to vocalise and support its plight.  A detailed and gorgeous track, it shows two different sides to the duo.  I feel these two tracks have been released so close together, as they have similar sounds and lyrical ideals.  There is love and passion for sure.  The ‘fire’ part of the title is employed in different ways, but on both occasions, it is used to denote fiery passion and dangers.  Although the lyrics are probably less personal and more universal in their themes, there are no weak moments to be heard.  The duo make each sentiment sound new and personal and turn potential clichés into something much more fascinating and interesting.  I suspect the E.P.’s ‘second half’ will be a little more personal and stray from general themes of love and passion.  Maybe I am wrong but I see a duo with contrasts and two sets of themes and ideas.  They are very much committed to universal themes and presenting them in a new light.  In another sense they are keen to explore something much more unique and true to them.  What Fires will show is an act with their eyes on the mainstream who are also committed to their own ethics and way of working.  In every moment you can tell the music is special and with very few comparisons.  The compositions are more daring and colourful whilst the vocal unity betrays a debt to nobody.  Having concentrated a lot of covers and other artists’ songs beforehand, the two-piece are now putting their own material out there.  There is no uncertainty and stumble; they naturally progress and evolve and sound as convincing in their own yard as they do in anyone else’s.  This bodes well for future releases and it will mean a lot of ears and eyes will be snapping Fires up next week.

Set a Fire starts with gentle and lilting stings.  Soon a cooing and wordless vocal comes in from Prance that adds to the mood of serenity and tranquility.  What you begin to imagine is a night-time scene and a moonlight endeavor.  The title comes to the mind straight away as you get projections of crackling fires and something rustic and countryside perhaps.  That early dreaminess and promise augments as the acoustic guitar kick puts me in mind of Nick Drake and Folk’s legends.  Both gentle yet with a strong backbone, it is a great introduction to the track.  Underneath the acoustic guitar is a static and crackling beat that adds a much-needed sense of balance and urgency.  With the instruments blending in perfect harmony, the listener is part-entranced and part-hopeful, as to what is coming next.  There is an early air of tension and heartache to begin things.  Whilst one party is building their house on sand (the other on stone) our heroine brings in graveside imagery and something quite haunting.  A metaphorical representation for betrayal and deceit; her suitor/hero is picking flowers from the grave.  Maybe a break-up has occurred or they are drifting apart.  Whatever the origins, you get a real sense of anxiety and uncertainty.  The man should keep his words confined and unspoken.  Whatever he intends to say and whatever promises will be made, they will lead our heroine astray.  Early thoughts lead me to believe there is a history behind the song and there is a very personal significance to the words.  With our duo combining in voice and performing different sides to the story, it brings a real conviction and sense of reality to proceedings.  Both beautiful and meaningful, the vocal work brings each word and thoughts to life.  There is no insincerity and falsehood to any of the offerings as you are completely hooked and invested in the moment.  At the back, the song is propelled by the punchy beat and swooning strings.  It is said “we don’t speak/you don’t see” as the duo let their tones mingle and reach the stratosphere.  Without revealing too much behind the ills and stresses of the relationship, you start to speculate and imagine your own course of events.  Maybe the song looks at love in a more general sense and is seeing the two surveys a wider concern.  By the time the chorus arrives, the pace quickens and the composition comes to the fore.  The percussion stands out particularly and is tribal and bellicose in its intentions.  Our duo looks at setting souls on fire and becoming motivated and engaged.  The love has broken down and maybe there is too much restraint and needless tension and strain.  The fire and ignition is going to clear the debris and see the passion come to life.  Few choruses are as explosive and immediate as this and you get caught in its riptide and power.  Riding the wave and letting the composition do its work, our intrepid twosome let their voices ring and shout loud.  The messages combine a perfect sense of redemptive hope and a clarion call to the masses.  So many lovers and couples are mired in a game of one-upmanship and pettiness.  There is too much recrimination and blame with so many needlessly holding back and not letting their feelings made.  The These Your Children heroes are penning a song that is designed to get voices singing and bodies moving.  Too many acts are concerned with mainstream expectation and fitting into moulds they negate the vitality of passion, power and originality.  Here we get a real burst of life and colour that catches you by surprise and takes the song up a notch.  Juxtaposing and contrasting the fiery chorus; Set a Fire calms at the 1:30 marker, allowing the mood to restrain and settle.  It also allows our leads to soothe and harmonise and give the track a moment of contemplation.  Wordless vocals and acoustic strings melt together beautifully to create something melodic and gentle.  Images and thoughts of graves and resurrection are reintroduced as the song starts to pick up again.  At every stage you picture the scenes and dreams unfolding.  Our leads are battling demons and egos; the strains and fights of love and completion.  Maybe I am over-analysing but I feel this song emanates from personal backstory and something that has left its scars.  The conviction and strength of the vocals ensures everything sounds essential and completely natural.  “Burn your house down that you built” and “So set a fire to your soul” are repeated as mantras that become more compelling with each presentation.  It appears the song’s anti-hero has not been as nourishing and fair-minded as they could be.  Causing perturbation and heartache, the song is a rebellious kick.  At its core, Set a Fire is redemptive and uplifting.  There is a lot of hope at its core and an overwhelming soulfulness and sense of beauty.  By the closing notes the myriad avenues and stunning moments spiral around your mind.  It will take a few listens to control and discipline the song’s layers and passions, but once you do, the rewards are staggering.

In a music industry where there is idle economy and fluctuating quality, the likes of These Your Children should be put in focus.  Too many renowned and established artists are either suffering dwindling returns or are not expanding their sound enough.  There are some great acts about in the underground that should be heralded and promoted.  The Baxter and Prance blend works wonderfully throughout Set a Fire.  Both performers have sensual and gorgeous tones that are capable of incandescent burst and power.  When they unite (in the chorus) you get the most intense and dramatic representation of their shared talent.  When each singer takes a lead, you get a great insight into their unique perspectives and vocals.  Whilst Rebeka Prance seduces with her chocolate soulfulness and captivating beauty, Joe Baxter is no second-fiddle or minor voice- matching Prance in terms of beauty, soul and power.  Were it just for the vocals and you’d have a so-so song.  With such terrific songwriting and production, it means Set a Fire is a triumphant and memorable cut.  One of this year’s most vivacious and surprising moments, it means I will follow These Your Children with a heady and curious passion.  Few duos have such a connection and instant quality.  With their debut E.P. forthcoming, I am amazed at the depth and conviction of their music- free of nerves and any sense of anxiety.  With such a proclamation and gauntlet thrown down, their contemporaries could learn a thing or two.  If you have not discovered the Nottingham act, make sure you take some time out to discover something genuinely special.  This year has produced intermittent quality and few startling moments.  As 2016 comes into view, we need to keep alert of the up-and-coming gems of music.  These Your Children are in the embryonic stages of their careers, yet all the signs are positive and gleaming.  Vibrant and emotional layers sit effortlessly with scintillating vocal byplay and tribal beats.  A joyous duo with many years ahead of them.

Having investigated Set a Fire and Fires, the non-fire-related half of their E.P. is yet to come.  The duo has teased and tanitlised public expectations with two terrific and promising tracks.  I cannot wait to witness what is to come and what Fires will produce.  On the evidence of what they have put out, These Your Children are going to go very far.  I have mentioned Graceland before- and it may seem like a stretch perhaps- but I can see them releasing a similar album.  Whilst Simon’s masterpiece was a brave political move and daring- playing with African musicians during Apartheid- the sounds and textures of that album stand out the most.  Although These Your Children are in their infancy, I can see them expanding their sounds a little.  Maybe a full-length record will see them combining with African musicians and introducing Graceland-esque elements into the fold.  What Fires will showcase is a duo that is among the most potent and impressive we have at the moment.  Those delirious and heart-melting vocals are just the start of things.  Dig deeper and you get spades of nuance and quality that cannot be denied.  At the heart of everything is a contemporary and upbeat vibe.  The duo does not like to introspect too much and bring the mood down.  The sprite and pulsating percussion beats blend with the passionate and resonating vocals.  What we can guarantee for the future is more music from the stunning duo.  Although they are making their first moves, the early signs are exceptional and hugely impressive.  Few artists come onto the scene with such purpose and passion.  Perhaps it is that original and unique fusion of sounds and influences that makes them such a proposition.  Maybe it is the chemistry and intuition the duo share.  Whatever the secret, you cannot deny how special the duo is.  Fires is an E.P. that will mark them out as one of the U.K.’s most special and awe-inspiring musical acts.  Before I complete the review, I want to bring in issues of commercial pressure, African music and duos.  There are a lot of duos coming through in the U.K., each offering their own sensibility and direction.  I find that most duos are not as experimental and original as solo acts, perhaps.  Too many duos focus on Electro.-Pop and Pop.  There tends not to be a huge amount of innovation beyond the boundaries of Pop and Rock.  I would love to see more These Your Children-esque duos come through that take the time to bring us something subversive and beguiling.  What you get from this duo is something brimming with confidence and free of anxiety and uncertainty.  Throughout Set a Fire I was struck at how natural and urgent it all sounded.  Most new acts come off as slightly unsure and overly-cautious, yet this was not the case here.  It is as though the duo has been performing for years and already had a huge public backing.  You can probably ascribe the confidence and assuredness to a natural bond between the duo.  Prance and Baxter have a chemistry and connection that is not forced and cannot really be understated.  The duo has studied music and certainly knows the market and what is expected.  When it comes to their own sounds, These Your Children do not fit into moulds and have few direct comparisons.  There are some acts that unite African beats and influences with something modern- they are few and far between.  It is really just left for me to predict their future and have a look at what is to come.  The two-piece have a vital London gig upcoming at The Bodega.  They will launch their E.P. that night before St. Pancras Old Church six days later.  It is a busy and great time for them and it is best you get on board now.  Make sure you snap up the duo’s E.P. and take in all it has to offer.  Set a Fire is one of the most impressive, immediate and nuanced tracks I have heard this year, so I am going to stick with the two very closely.  There are few acts that deliver such a heady mixture of delirious vocals and rushing melodies.  Those primal beats and stunning messages dig inside your head and keep revealing their meanings and beauty across time.  It is a rather uncertain and windy day, so we all need a bit of comfort and great music.  If you are looking for something new and glorious; an act that stick in the imagination and make you want to hear more, then look no further.  The Nottingham-formed These Your Children are on a quest to seduce and capture the public’s hearts and minds.  With Fires about the burn and explode, let Set a Fire play and discover all of its colour, detail and glory.  With the wind howling and light fading, when it comes to it, there are few better ways…

TO spend the day.

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__________________________________________________

Follow These Your Children:

 

Facebook:

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

Twitter:

https://twitter.com/TYCOfficial

Instagram:

https://instagram.com/TheseYourChildren/

 ______________________________________________

Music:

https://soundcloud.com/theseyourchildren

This Week's Albums: November 6th, 2015

This Week’s Albums

 

November 6^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:  Aerosmith- Toys in the Attic (1975)

 

9.0/10

Regarded as one of the best albums of the 1970s; Toys in the Attic showcased big riffs and sex a-plenty-the sound of a band at their absolute peak.  The cocaine-fueled tracks see the U.S. legends marry their love of The Rolling Stones and Led Zeppelin: the sexualised stunners of the former; the heavy and addictive jams of the later- into an album brimming with nuance, confidence and gems.  One listen to Joe Perry’s riffs on Walk This Way and you begin to smile (it is one of the most recongisable and classic sounds in Rock history).  Its teenage hot-and-heavy motifs boast one of Steven Tyler’s most electrifying vocal performances.  Uncle Salty and Adam’s Apple are packed with innuendo and impish smuttiness.  Elsewhere, the band does not stray too far away from promiscuousness and lust (Big Ten Inch Record and Sweet Emotion leave little to the imagination).  Although Aerosmith are not as refined and exceptional as Zeppelin or possess The Rolling Stones’ songwriting panache and clout- Toys in the Attic is an album that shows they have a real good time.  Their boozy late-night revelry and lascivious one-mindedness never seems weary or knuckle-dragging.  Thanks to some exceptional licks and riffs; phenomenal band interplay and an insatiable lead, you get an album that sticks in the mind and keeps you coming back for more.

DOWNLOAD: Toys in the Attic; Walk This Way; Sweet Emotion

STAND-OUT TRACK: Walk This Way

[youtube https://www.youtube.com/watch?v=4c8O2n1Gfto&w=560&h=315]

The New: Jamie Woon- Making Time (Released Today)

 

7.5/10

Making Time is a particularly apt title given the time Woon spent creating it.  With his debut Mirrorwriting a four-year-old memory, fans and critics were eager for new work- Making Time is the result.  The album certainly boasts attention to detail and plenty of focus.  You would be hard-pressed to find another album this year that shows so much sweat and hard work.  At times this lack of relaxation and slavishness compromises the naturalness and quality of the music- there is slight sag towards the mid-way point of the album.  Whilst songs like Thunder are rife with quirky touches and delicious guitar notes; Dedication is a gorgeous and near-symphonic closer.  The 32-year-old Brit manages to combine breezy and cool with concise and sprawling.  Whilst a lot of people were starting to forget about Jamie Woon- the quality and credibility he brought to music in 2011- he has not been wasting his time.  Woon’s Neo-Soul blends and stunning vocals give the album vibrancy and contours; plenty of emotion and seductiveness.  The Pharrell Williams-endorsed Sharpness sees Woon tie-in smooth piano with a wonderful falsetto vocal.  Whilst there are the odd filler moments- the Willy Mason-featuring Celebration takes time to appreciate- the album shows a young man with a clear passion and role in music.  Let us hope Woon’s third album will not take four years to create: what Making Time shows is that Woon has lost none of his intuition, soul and ability.  A fantastic artist with many more music moments ahead of him.

DOWNLOAD: Movement; Sharpness; Dedication

STAND-OUT TRACK: Sharpness

[youtube https://www.youtube.com/watch?v=sCitYOAp-N4&w=560&h=315]

The Influencer:  Underworld- dubnobasswithmyheadman (1994)

9.5/10

In a week where three of the albums could be seen as influential- James Brown and Aerosmith’s cuts have inspired legions- it is Underworld that come to my mind.  In a decade that saw some groundbreaking releases; the British Synth.-Pop maestros moves into Techno. and Progressive-House on their third release.  1994 was a year that saw a wave of world-beating releases: Underworld’s stunning album surely competes with any of the year’s most distinct releases.  The odd and demented lyrics sit seamlessly alongside beautifully retrained Techno. sounds.  Walls of sound and sensual underpinnings nestle with gritty guitars and cross-genre fusions.  It is the production that really stands out, mind.  It is hard to believe dubnobasswithmyheadman packs so many genres and sounds into one album- all with such expertise and natural affinity.  At the time of its release it enthralled critics and compelled legions of Techno. artists- it opened doors and showed what could be achieved.  Songs like Dirty Epic and Cowgirl are hugely evocative and filled with memories.  For those of us who grew up around this time, it is great to hear those tracks so many years later.  Underworld's leader Karl Hyde wrote a lot of the material whilst sojourning in the U.S.  Songs such as Mmm… Skyscraper I Love You were inspired by New York’s skyscrapers and Greenwich Village life; Dark and Long is a paen to the prairies of Minnesota.  Undeniably one of Electronic music’s most essential moments; dubnobasswithmyheadman is a timeless joy that is still inspiring artists today.  Pick up the album and witness a record whose influence cannot be understated.

DOWNLOAD: Mmm… Skyscraper I Love You; Dirty Epic; Cowgirl

STAND-OUT TRACK: Dirty Epic

[youtube https://www.youtube.com/watch?v=uSSF7ozBfGg&w=420&h=315]

The ‘Other One’: James Brown- In The Jungle Groove (1986)

 

9.0/10

Released in 1986 by Polydor Records; In the Jungle Groove compiled some of James Brown’s rawest workouts- capitalising on the popularity Brown has among Hip-Hop circles of the time.  Upon its release, some saw the album as too serious and restrictive; reserved for aficionados of Brown’s work and perhaps not accessible enough to appeal to great swathes.  Fresh ears show just how short-sighted that assumption is.  Funky Drummer is not only a much-sampled stunner; it shows how phenomenal a band leader Brown was.  Combining his classics from ’69-’71, In the Jungle Groove shows Brown at his most hypnotic and assured.  From delirious and sweat-pouring workouts like Give It Up or Turnit a Loose (Remix) to It’s a New Day’s phenomenal nuance and passion, you have an album that has transcended time and boundaries.  The album saw Brown step-out as one of music’s Funk and Soul innovators; inspire a scene and mark himself as one of history’s most staggering and exhilarating performers.  Whilst Brown’s lineup and band was revolving and interchangeable, the quality of the music and the sheer intensity cannot be faulted.  With so few great modern Soul voices- and fewer who can pack so much punch and sexuality into a performance- as good as Brown, more ears and eyes should investigate In the Jungle Groove.  Those stunning grooves are just the beginning of the story: the album is testament to the transcendent power James Brown possessed.  A preacher and gospel leader; Brown could ignite and seduce audiences with ease.  In a way, In the Jungle Groove captures him at his most fertile and influential.  An album for Brown aficionados and new fans.  An album that somehow gets better with time.

DOWNLOAD: Funky Drummer; Give It Up or Turnit a Loose (Remix); Talkin' Loud and Sayin' Nothing (Remix) 

STAND-OUT TRACK: Funky Drummer

[youtube https://www.youtube.com/watch?v=AoQ4AtsFWVM&w=560&h=315]

Track Review: Spy From Moscow- Little War

TRACK REVIEW:

 

Spy From Moscow

 

Little War

9.5/10.0

Little War is available at:

https://soundcloud.com/spyfrommoscow/sets/little-war

RELEASED: July, 2015

GENRES: Alternative

ORIGIN:

Newry, U.K.

Guitar/Vox/Harmonica - Declan Feenan

| Drums - Luca Romano

 | Bass - Sara Klepp

 | Flugelhorn - Mark Schorah |

Recorded & mixed by J.B. Pilon @ Wax Recordings, London

 | Mastered @ Audioseige, Portland OR | Artwork Jai Sewell |

Design Mandy Horton |

Thanks to Nicola & Carl for the gong | ©Copyright 2015

Released by:

  Rock The Church

The E.P. Little War is available at:

https://itunes.apple.com/gb/album/little-war-single/id1048190655

TRACK LISTING:

Little War- 9.5

It Never Comes- 9.4

Persephone- 9.4

STANDOUT TRACK:

Little War

________________________________

THERE are a lot of upcoming singer-songwriters on…

the market now.  Given the dominance and hegemony of the band market- a point I shall not labour again today- it is important to shift some focus onto the solo stars.  I always love experience the depth and range of the sole star; the sheer personality and point of view- what goes into their music.  It is important individuality and personality goes into music, as so many musicians seem to just copying others and lacking that necessary innovative.  This is a point I am going to labour today.  I have heard far too many musicians that go into music with the desire to be ‘The Next So-and-So’: They have an idol in mind and want to replicate their sound and reputation without anything unique or different.  If you are going into the game of music, then at least have the intelligence to do something new.  Too many new musicians are either ridiculously bland and unimaginative, or simply replicates and dilettantes.  It is hard to get a foothold and make a name for yourself: Something that comes with time and sacrifice.  If you are not willing to accept the realities of the business, you will never gain any respect and support.  You do get some great up-and-coming solo artists in the mainstream, although there are far too many rip-offs and yawn-inducing types.  When it comes to their underground siblings, there is better luck and inspiration.  I am not saying all of the new underground solo acts are original- there are a wealth of insipid and foolish young artists- yet there is a greater desire and sense of emancipation.  Whether you are looking for some vocal wonder or witty lyrics; some genre-fusing sounds or songs that dare to be different, then you have plenty of options.  I raise this point (well, several actually) because my featured artist is a tantilising and stunning proposition.  Having been described as “choirboy Grunge”, you get a small window into his sound and creative process.  That mixture of purity and hardness; that beauty and dirt- all coming together in a head-melting blend of musical magic.  For all the rather lifeless and aimless songwriters, it is good to witness someone that puts so much thought into their sound.  Before I continue on my point, and raise a couple of new ones, let me introduce you to our featured act:

“SPY FROM MOSCOW is the moniker of Declan Feenan – an Irish alternative songwriter based in London. Coming off the back of a 7 date UK tour (where it never stopped raining!) he's now releases his new EP Little War - a simple but intense follow up to The Mile End Sessions (2014).  Talking about what he sounds like: 'Someone I know came up with 'choirboy grunge' and it's kind of stuck. I just like messing around with textures and tones – I think about how all the other instruments will respond to my vocal sound and run with that. So I put the vocal at the centre and work everything around it. That's how I make sense of the process. And as long as it's in tune I'm happy.' Recorded in Wax Recordings London and mastered stateside by Audiosiege in Portland OR, LITTLE WAR is delicate and intense trio of songs where simple guitar and melancholic vocals explode into heavy distortion and flugelhorn calls. Thinking about what songs to include: 'After gigging for a bit off the back of the Mile End Session I really wanted to release something in 2015, but I never thought I'd get round to it because I'd buckets of unfinished stuff lying around - half songs and bits of music – and all of it needed a lot of work. So I worked myself into a stalemate with myself, I didn't really know where to start. Then a friend told me to shut up and just record the songs that were already written. Pretty obvious when she put it like that. So that's what I did.' ...and a three track EP?  'Yea, it just fell out that way.' LITTLE WAR is available on iTunes and Spotify from 15th October 2015.”

There is a nice blend of casual and professional when it comes to Spy From Moscow.  I like how Feenan experiments and tests sounds; sees how his voice and instruments blend- coming up with music that is both natural and unusual.  A lot of artists are too rigid and disciplined with their working methods; they follow the pack and are rather predictable to be fair.  As a result, the music itself can be a little limited and infertile: Not really that inspiring or nimble; it takes its time to hit the mark.  Our Spy From Moscow has ensured the music he provides not only comes from the heart; it is the result of a man in his elements; getting in touch with what music means to him.  I have witnessed a lot of E.P.s this year yet none- I shall go into more depth towards the end of this review- that offer something so fresh and surprising.  My final point I guess- before I get down to specifics- is that which relates to differentiation and experimentation.  Some of the finest music from this year has been the result of bucking trends and going against the grain.  When I think of mainstream near-masterpieces, I think of John Grant and Royal Headache; Tame Impala and Sufjan Stevens.  These are artists that have produced some incredible albums; ones that do not necessarily fit into moulds and the ‘in crowds’- they are creations that are unique and nuanced; revealing great beauty across repeated investigation.  I am all for instant and engaging music.  When you listen to a lot of traditional Indie/Alternative acts, you get great riffs and epic choruses; stunning jams and passionate pleas.  How often do you come back and dig into that music?  For me, it is hardly ever.  That sort of music is a very primal and first-time thing.  I barely feel necessitated to re-listen and see what I have missed/overlooked- the music is not that complex and mysterious.  We need disposability and easy-to-understand music, yet the brain and heart craves something more studied and intelligent- whilst still retaining that core of accessibility into the bargain.  Spy From Moscow’s music perfectly suites all needs and specifications: Both in-depth and intelligent, there are some terrific sleep moments and under-the-radar touches.  Riding into the forefront is that special and stunning voice: One that could only emanate from a man with a clear direction and lashings of soul.  All of these elements and factors go into making Little War as apt as its title.  You get some heartache and uncertainty.  You get a lot of strength and fortitude; the need for peace and resolution- at the very end, you come away affected and touched.

When it comes to assessing and reviewing Spy From Moscow’s current life, we must go back and see how he has progressed.  Being influenced by the likes of John Cale, Neil Young and Stone Temple Pilots; the music of Spy’ has always been diverse and stunning.  When looking at Feenan’s list of influencers, there is quite a mixed and interesting list.  Few young solo artists have John Cale and Neil Young on their list.  Fewer might have Stone Temple Pilots on there.  Seemingly without link or lineage, it all comes together in the music.  That Young/Cale-esque heart and masculinity comes through in the music.  Similarly you get the stunning and emotive lyrics.  Words and sentiments that drip with meaning and resonance.  If we look back at The Mile End Session (Spy From Moscow’s debut) and you can hear how fully-formed he was.  Across the four tracks you get soul-bearing and heart-bleeding; determination and focus.

   River begins with pastoral and gentleness.  It is not long before that voice comes to the forefront.  Heartfelt and husky; emotive and pure, our hero lets his voice stretch and expand.  With some scratchy and insistent electric guitar working between the notes, the song is evocative and highly compelling.  Words about loss and struggle mix with vivid and stark images.  As the vocal haunt and float the instrumentation ensures the atmosphere is filled with electricity and shiver.  Shimmering and vibrating strings create something orchestral and Prog.-Rock.  You get aching and spectral notes that hang in the air and get inside the head.  A perfect and stunning E.P. lead-off, it is one of the most memorable tracks I have heard for a while.  Back upon its release, the entire E.P. received warm and effusive praise.  Writers were keen to highlight that original and wonderful voice.

   Hold Me begins with a similarly reverent and tender beginning.  Reminding me a little of Wildwood-era Paul Weller, that blend of guts and beauty comes out in the initial vocals.  The song looks at a heroine, whoever she may be.  Our man asks her to dream (of him) and he will take her under.  There is tremulous desire and the need to be pinned to the sheets.  “I am king” declares our man, as the tambourine and strings composition adds heartbeat and potency to the foreground.  Like its predecessor, it is a slow-burning and dreamy song that compels you to be drawn in and imagine.  Ensuring the listener is entranced and struck, it is a track that demands repeated spins.  Upon first listen, you are caught inside the vocal and composition.  When you come back again, you start to pick apart the words and scenes- everything starts to come together.

On The Way Home is another still gem that is built around a simple and effective composition.  The guitar strings bubble and flow.  The mood is sleepy and dream-like as our hero lets the song’s title create its own weight and gravity.  Letting the words stretch and mesmerise, again you start to conspire and imagine.  Allowing that hushed and chocolate vocal affect and strike, your mind begins to picture images and scenes.  Moonlit and romantic, I got images of quiet and deserted streets.  As lovers go hand-in-hand, a lone man wonders the avenues in search of answers and truths.  Of course, the song itself has a definitive truth, yet it is another song that is open for interpretation.  Not too rigid and clear-cut, the words allow the listener to come up with their own conclusions.

   Call In The Morning ends the E.P. with a woozy and swaying underpinning.  At the forefront our lead let’s his voice rise to its highest-pitched best.  Allowing his heart and soul to show its colours, you get an impassioned plea to a lover.  Whoever is being ascribed, you always root for satisfaction and coming together.  With a sensual and gorgeous composition, it is a perfect way to end the E.P.  Never becoming overwhelmed and forceful it is a short and sweet track that is economical and memorable.  The words are honest and sensitive; the music is lush and swimming.

Released in 2013, Spy From Moscow has developed his sound a little.  All the key components are still in place- that fragile yet strong voice; the rich and beautiful compositions- but there is expansion and increased confidence.  There is a little more overt upbeat across this E.P.  Perhaps with harder edges and a bit more grit, there is a definite step forward.  Whereas The Mile End Session was mainly riparian and becalmed; we get a bit more energy and panache on Little War.  The electric guitar comes more into the forefront, as songs see that voice opened-up and more vibrant.  With clearer and crisper production values, it is very much the sound of 2015- yet it differs and separates itself from the pack.  Feenan comes into his own as a writer and singer and shows new inspiration and meaning.  This all bodes well for any future sounds and releases.  Developing and progressing with each release, it would be wonderful to hear more from Feenan in 2016.  His latest cut is the most complete and rounded set of songs to date.

Little War’s title track is a song that begins with some minimalist strings and direct words.  Our hero has been “waiting so long” as you begin to wonder the inspiration behind the song.  Sounded tired and emotional, maybe desire and passion are being assessed.  Perhaps our hero has been waiting for happiness and completion; a chance to achieve dreams and follow his heart.  That inimitable vocal puts you in mind of the likes of Paul Weller and Guy Garvey without really dipping too far into their territory.  What the Irishman offers is a voice dreamier and more seductive than both.  It is a voice that could score the phonebook and make it sound utterly essential and meaningful.  Initial exchanges see Little War really build and create weight.  Maybe he has seen too much and knows that each day will bring disappointment and struggle.  Maybe the realities and honesty of love has its drawbacks.  In those sapling moments, your mind is transported somewhere serene and safe; somewhere you can drift away and forget yourself.  Stating “I don’t want you to break”, that sense of mystery and intrigue begins to build.  Whilst the strings and percussion create a flowing and evocative backdrop, you are concentrating on that vocal.  Our hero talks of a soldier with “more dogs at his door”.  Tomorrow will always bring another little war; things will always be hard and fraught.  Perhaps the strains of love are taking their toll.  Whilst the strings provide a sturdy bass and sense of movement, the percussion lightly clashes- giving a sense of heartbeat and harshness.  Riding into the equation, a delightfully tender and majestic flugelhorn cuts through the mist.  Perfectly realised and balanced, that beautiful and colorful instrument creates more imagery and scenery.  Ensuring every listener and ear is pressed to the speaker- the vocal is almost whispered meaning you have to lean in to listen- it is impossible not to surrender to the graceful and heartfelt words.  Soul-nourishing and honest, Spy From Moscow has created a song that could heal the lonely and make the most rain-lashed night tolerable and magical.  Something that could fit into a Nick Drake album, I was amazed by the musical innovation and sound.

The strings build up and then retreat with their lullaby-like sway.  That percussive beat remains firm and controlled; able to add weight and force when called upon.  At the mid-way marker, I was trying to imagine the origins and history behind the track.  Being familiar with Spy From Moscow’s debut, I know he has seen his share of heartache and loss.  On Little War there is that mixture of everyday reality and a very personal insight.  Half of my mind was concerning romantic struggle and battle whilst the other half was looking into personal anxieties and stresses.  Maybe our man has reached a plateau: Caught in the mire of a romantic break-down, the arguments and recriminations keep coming.  Whether his heroine is casting her eye elsewhere- looking for another soldier and hero- you start to symptahise with our lead.  It seems like they have reached an impasse and must decide how they will proceed.  On the other hand, one could look at a personal struggle and that desire for answers and happiness.  The rest of the E.P. looks at commercial desires and the need for fulfillment.  It would only be natural to think Little War looks at the day-to-day battles and realities.  Being a musician and songwriter, our hero has to face wars on a daily basis.  That need and desire to be heard and understood sit alongside the strains and fatigue of music-making and getting recognition.  Whilst the casual listener lets the music tell the story, I love how the vocals, instrumentation and lyrics perfectly mesh and conspire.  Towards the closing stages, the vocal gets harder and more emotive.

The entire song augments and enraptures as that indelible and memorable chorus comes back to strike.  Reminding me of early-days Elbow, Spy From Moscow allows the composition to create something symphonic and highly dramatic.  From its somewhat tender and minimal beginnings, the song turns into something enraptured and haunted- a song that screams its name in the final seconds.  You never know what to expect when it comes to the music of Little War.  Having been comforted and settled into the song’s sound and direction you are wrong-footed and redirected.  That latter-day burst of life takes the song in a new direction and gives you much food for thought.  As you try to take in all the compositional notes and nuance, you start to wonder how the story worked out- and whether there was a comforting resolution or satisfaction.  It is a song that makes you smile and sigh; a moment that creates vivid speculation and pictures- one of the most direct and emotional songs I have heard for a long time.  Clocking in at just over four minutes, Little War never seems over-long or too unfocused; it just remains compelling from beginning to end.  At the very end, you are motivated to go back and check the song out again (and again).  Upon each fresh listen something new comes to light.  One of the hallmarks of a great songwriter is nuance and you get that in spade-loads.

   Little War perfectly kicks-off the E.P. and shows Feenan has lost none of his ability to seduce and amaze.  The finest cut from the E.P., what you get is a young artist who sounds like no other.  I have mentioned the likes of Paul Weller and Elbow, yet in reality you would be hard-pressed to really link them together.  You get a little of Guy Garvey and Paul Weller’s voice, but Spy From Moscow is more entrancing and beguiling then both.  His imagery and songwriting is more compelling than most of his peers and shows a great amount of intelligence and maturity.  That vocal is perhaps the star of the show that ensures it would be hard to let the song escape the memory.  Backed by a terrific band and clear production, you get a song that oozes tranquility and soul; passion and fears- ensuring every listener is left with their own impressions and sense of interpretation.  The flugelhorn is a masterful addition that allows some sunshine and beauty to weave between the fabrics of anxieties and love-gone-wrong.  Bass, guitar and percussion push the vocal and ensure each word and sentiment is giving a stunning backing and guidance.  Those compositional elements never encroach on the foreground and seem too high in the mix.  On that matter, everything is balanced and mixed perfectly to allow every strand and facet to hit with maximum attack.  A stunning track that holds as much mystery as it does truth; you cannot the effect it has on the brain.  Not a simple thing that drifts along and does its thing, you can hear the detail and thought that goes into its creation.  Due to Spy From Moscow’s unique and original working method, it has resulted in a song that sounds unlike anything else, yet remains accessible and easy to love.  A rare feat in a music industry where you get scant originality and nuance, it is fantastic to witness a talent that has all the necessary ingredients for long-term appeal and success.

Having immersed myself in Spy From Moscow, it is refreshing and pleasing to hear an artist with a definite future ahead.  Too often I listen to musicians and feel uncertainty about their longevity and future moves.  Some just retreat and take years to come up with something memorable.  Other artists follow-up pretty quickly but suffer diminished returns.  It may be the early days, yet there is ample evidence to suggest the Newry-based artist has quite a packed and prosperous future ahead.  Little War is a three-track collection that displays a truly special voice.  Woven into its fabrics are words of longing and wonderment; vulnerability and passion- themes and sentiments that will resound with all listeners.  Before I wrap things up- and give a review of the E.P.’s other two tracks- I am compelled to return to my point about longevity and innovation in modern music.  Maybe there is a fear and sense of fatigue with some new musicians.  That is the only explanation I can find to explain a willful lack of energy and motivation.  Too often I hear music that either parodies the past or simply does the bare-minimum.  This is especially true in genres like Pop and Alternative.  Band and artists seem content to rock up to the party and put out music which, let’s be honest here, is the same as everything else out there.  On occasions I have reviewed artists so similar (to others) that you struggle for words.  If you look at the end-of-year lists and the best albums/moments from music, you will always find artists with the utmost consideration towards innovation and originality.  In 2015, the likes of Jamie xx and Beach House will be nestling for top honours.  These artists and albums are defined by their flexibility and originality.  A lot of fresh acts coming through seem too scared of laying themselves on the line.  Scared of potential failure, they hang onto the coattails of their heroes and influencers- without saying anything new or personable.  Our man has ensured Little War is an E.P. that betrays a debt to nobody.  Brimming with a mixture of confidence and soul, you are helpless to resist its charms and strength.  It is an E.P. I am compelled to dig into today- and will continue to do so tomorrow- to get to its roots and core.  The current scene is hot and heavy.  Filled with so many eager artists, it is always hard to decipher who will make the grade, and which artists will fall by the wayside.  I have a good radar when it comes to quality control and spotting those with inborn potential and natural ability.  Have no fear when it comes to Spy From Moscow.  As apt and fitting as his moniker, this stealthy agent of secrecy will be hard to take down and defeat.  With a mission statement that few will be able to top this year, it sets a great marker for the coming year.  Whether Feenan decides to expand his voice across an album has yet to be seen, yet it would be great to see something full-length.  Such is his talents and abilities, the music world will be keen and interested for sure.  For now, we must study what is already here: That is the stunning trio of songs across Little War.  If you want to find music that hits the heart and makes you think; that which resonates with passion and beauty, then look no further.  That central voice makes everything sound essential and compelling, and stands out as one of the most gripping on the current scene.  Having been influenced by everyone from Tom Waits to The Beach Boys, that eclecticism and diversity comes through in the music.  Not just your average workaday songs; what you get is an E.P. overflowing with personality and insight.  The future looks bright for the young artist indeed.

It Never Comes begins with a Folk-influenced kick that differs from a lot of Spy From Moscow’s work.  Whereas most of S.F.M.’s work begins more measured and serene, here we get something quite energised and upbeat.  The harmonica breezes and combines beautifully with the percussion.  Reminding me a little of Bob Dylan and the 1960s Folk scene, there are touches if Neil Young and his Forever Young-era work.  Looking at the sun and beautiful morning, it another of those songs that leads me in a couple of different directions.  Maybe yearning for true recognition and success- and investigating the realities of music- and how that rightful success never truly comes.  Here we get the E.P.’s richest and fullest composition.  The subtle and effective bass conspires with a stunning percussive beat that twirls and mutates.  We get a nice quiet-loud dynamic that sees the song explode and then retreat, allowing our hero’s voice to reach its absolute peak.  It Never Comes has an endless evolution and sense of mobility that ensures you are transfixed until the vey end.  Perhaps our man is looking at love and personal satisfaction and feeling dissatisfied and short-changed.  One of those songs that can mean different things to different listeners and leaves you with a smile on your face.  Whether that is the intention or not, you have a song that mixes upbeat and emotive; blending introspection with something overt and very passionate.

Persephone leaves the E.P. with a triumphant and wonderful song.  Starting with a calm and focused vocal, we get some haunting and affecting words in the early stages.  Our hero has been chasing applause for years.  Not an angel hair, “not the bride” you get a sense of resignation and dissatisfaction.  Attesting that it will sound be over, our hero seems to be in defeatist mode.  The song harks back to his debut-E.P. days and that sound and gives the listener a nice mix of current-day work and past glories.  The finale is a song that actually subverts expectations.  From its quiet beginnings, Persphone builds and starts to mutate.  That percussion gets louder and more primal as the guitars build and strike.  The composition raises the emotions and then comes down as quickly as it begun- allowing that vocal to come back in and soothe.  In-between the bursts and flourishes, you get some soothing harmonica and guiding bass lines.  It is a memorable and layered track that not only sums up the E.P. but leaves the listener wanting more.  So captivating are the trio of songs, you are hoping more will come.

Overall, the E.P. sees Feenan expand his sound and take a natural step forward.  More band-focused and inclusive, the songs benefit from that compositional range and fullness.  That is not to say our man gets buried in the notes as that is far from the truth.  Our lead is very much at the centre and his voice seems more developed and urgent this time around.  With greater confidence and depth you get so much gravitas and emotion from every note.  Reviewers have noticed how soul-etching and affecting it is; it is one of the E.P.’s most obvious take-aways.  Throughout the trio of songs, you get so much insight into the young man and his life.  Those relationship questions and life struggles mix with optimism and hopes; wars and battles come into the fray.  Stunning songwriting and wonderfully evocative compositions ensure Little War is an E.P. everyone should get hold of.  Marrying dreamy with potent, you get caught by the compositional shifts and insightful lyrics.  It is impossible to deny and refute the power of the central voice which makes sure every track is essential and of the highest caliber.  If you have not encountered Spy From Moscow’s latest creation…

MAKE sure today is the day that wrong is righted.

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Follow Spy From Moscow:

 

Official:

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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]