Track Review: Bahjat- Stand Tall

TRACK REVIEW:

 

Bahjat

 

Stand Tall

9.4/10.0

Stand Tall is available at:

https://www.youtube.com/watch?v=a_K_3ozeMgQ

RELEASED: 27^th November, 2015

GENRES: Pop; Electronic

ORIGIN:

Malta

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FOR today I get to focus on an act from a part of the world…

That has produced a lot of great music.  Malta may not seem like a musical hot-spot, yet there are plenty of great Maltese acts making stunning music.  I have been a long-time fan of Chess Galea- a Pop/Soul artist based out of Surrey- in addition to Dana McKeon- a London Beatbox act- and Chloe Boleti.  The island has fostered a great deal of amazing talent and it is not hard to see why.   The wonderful weather and climate- combined with the friendly people and great music there- is inspiring and compelling new acts.  A lot of the best Maltese acts are based in the U.K., yet the island still has a great number of native musicians.  Too long I have been solely focused on U.S. and U.K. acts and have been neglecting other areas.  When you look further afield and stretch your imagination, you can discover some terrific music.  In addition to Malta, areas such as Sweden and France are producing some stars of the future.  Before I introduce my featured act I wanted to talk about male solo artists and 2016 music.  The male solo realm is showing some inconsistencies at the moment.  I remember around the period 2002/’03 there were a lot of great U.K.-based acts coming out.  As the decade continued, more tremendous solo acts came through to show what they were made of.  For my money, the past few years have seen very few great (mainstream) male acts.  The likes of James Bay and Ed Sheeran seem to be indicative of the mainstream- two artists I am not fond of at all- and there is an awful lot of bland and clichéd music coming through.  Aside from the Folk/Pop artists, there are few great Urban acts; scant cause for celebration in Rock and Indie- where are all the great solo men?  It seems there is a drought at the moment and it is a little concerning.  Even in the underground I have seen fewer great male acts come through lately.  It is hard to produce something unique, original and meaningful- what with the competition and weight of music out there- yet artists need to expand their horizons.  Too many solo acts tend to play the same genres, and whilst this is okay and acceptable, there is not enough variation when it comes to subject matter and projection.  Bahjat is one of the most promising new artists coming through and is showing a great amount of heart and passion.  Separating himself from the mass of rather insipid musician coming through, it is refreshing to see someone with their own identity and direction.  Let me introduce Bahjat to you:

“Hello! Nice to ‘meet’ you. I’m a 20 year old guy living in a beautiful little island in the middle of the Mediterranean. I’m a very optimistic person when it comes to life. I appreciate little things that other people would not notice, because I think that it’s the little details that matter, in everything that we do.

I remember when I first picked up a guitar when I was 13 years old, learning how to play it was not a plan of mine… until I strummed one that I found in an empty hotel conference hall. I did not know anything about it, but I knew that I connected with it. I wrote my first song that night.

Writing and singing music is remedy to me. If I’m feeling terrible about something, and I write a song about it, the moment I finish the last line, I’d immediately feel better. It’s weird. I write about things I go through or stories that impact me, whether it be something positive, negative, exciting and pretty much anything that has to do with feelings. My friends tell me that I hide things away from them because I usually never speak about my personal life, but they don’t know that I just poured my heart out about something the night before. I kind of get over it, you know? It’s like writing in your diary but with melodies and chords.

I have been dreaming of calling music my full-time job since that day I wrote my first song. The idea of being able to share your music to the world and have it help people get through something, or just simply put a smile on someone’s face is, for me, the ultimate feeling. Performing to people who will forget about the things that affected them that day, and sing along with you until the very last note is what I want to do every single day of my life.

There is a lot more that I want to say, but I’ll save it for other times. I hope that you’ve managed to know me a bit better. Thank you for making me happy and I hope that my music makes you feel something.

Oh and I forgot to mention…. My name is Bahjat”.

The next year will be important one of new music.  The mainstream is not really emphasising too many standout acts right now so there is a great opportunity for the underground musicians to steal some focus.  Bahjat is at the start of his career yet has potential to go a long way.  Whether an E.P. or album is in his mind I am not too sure.  What is for certain is there will be demand for him to perform in the U.K.  Whether he will want to leave the beauty and sunshine of Malta- for the rather inclement weather over here- we can only hope.  This coming year is a little tough to call and I am not sure what we are going to be witness.  It is clear there will be some interesting bands coming through and artists I have reviewed- those established and making new plans- are shaping-up to be very busy indeed.  It is those brand-new artists I am curious about.  I hope we do see some great talent produced and make waves, although if this year is anything to go by, the mainstream will be a little underwhelming.  New music- musicians flying under the radar- will be more reliable and let’s hope some smashers come through.  Bahjat is taking each day as it comes but surely will have his eyes set to wonderful horizons.

Most of Bahjat’s past material has been cover versions, so it is hard to compare it with original material.  Stand Tall is a young man discovering his personal voice and lyrical style.  The best thing to do really- if you are a new fan of Bahjat- is to look at his YouTube channel (link is at the bottom of the review) and discover the artists that inspire him.  From the likes of Adele, Ellie Goulding and Calvin Harris; Bahjat has covered a spectrum of artists: taking on their music and making it his own.  Over the past few months his voice has grown in stature and confidence.  There is an extra flair and determination in the vocals to my mind.  Whether inspired by the subject matter- or just a natural progression in his voice- the latest cover versions show a shift and improvement.  If Bahjat had begun his career with Stand Tall- and not tackled the cover versions- the vocal and performance may not have been as strong and confident.  Having cut his teeth with some modern-day Pop numbers, he has had the opportunity to find his own voice and hone his talents.  Across every cover version you get a new perspective and insight- the original artist didn’t convey- and Bahjat’s versions are stripped-down and soulful.  Take the likes of Ellie Goulding and Jessie J and you have artists that rarely strip back their vocals and attempt something that tender and still.  Bahjat takes fiery and energetic songs and makes them more passionate and pure.  Stand Tall is a song that continues this vocal style and applies it to something new and different.  Demonstrating a natural affinity and talent, Bahjat has unveiled a song that is both contemporary and classic.  Stand Tall could fit into the Pop/Folk scene- although it has greater merit than most songs of the moment- yet has shades of past glories.

When it comes to the song in question, it begins with atmosphere and intrigue.  Tender and sparse electronic notes create a twilight and odd sense of danger.  Cosmic and velvety, there are contradictions and contrasts in the opening seconds.  At the heart of things is that sense of beauty and tranquility that makes the song gripping from the off.  When Bahjat arrives at the microphone, his voice is firm and committed.  Demonstrating no lack of intention and urgency- although it is soulful and measured- the early words cause speculation and curiosity.  “We have our differences sometimes” seems to be directed to a lover or friend.  Perhaps a ruction or argument has ensued- that has inspired these words to come out- and there is a sense of demure and apology.  It is clear the duo have different minds; they have unique perspectives and directions in life- making me think a relationship is being attested.  Whatever the proclamation relates to, that vocal-and-composition combination creates some passion and spark.  The vocal is resolutely dedicated and soulful whilst the composition marries rushing beats and harder-edged electronics.  Inspired by the likes of Calvin Harris- and contemporaries of Electronica and Dance- there is an edginess backing the lyrics.  Whilst our hero is laying his messages out there- and stating he and his heroine stand at different corners at times- he will always need her by his side.  There is a fondness and passion that radiates through the composition- as the song progresses it gets more hard-pressing and pummeling.  Punchy beats and hissing percussion builds that underlying tension and urgency as Bahjat lets his voice flow.  As the song becomes hotter and faster, those declarative messages begin to pour.  It is said “I tried to do it without you/but I couldn’t do it alone” is perhaps the song’s core message.  Knowing that his heroine will be there to catch him when he falls; you cannot deny that intensity and passion.  Letting the vocals weave and quicken and it is hard to deny the pure intention and romantic lust coming through.  The composition itself expertly supports the vocal and inspires its plight and direction.  The “roof that keeps me sheltered”, you start to picture scenes and possible conversations.  Maybe the hero has been down on his luck and doubting his own mind.  Whatever the turmoil and storm, there is someone there to catch him and make sure he is okay.  Without any cynical edge or negativity, Stand Tall is a song dedicated to the solid bond and loyal passions we all can experience.  Whatever storm is raging and however bad things can be (the duo) will always stand tall.  I am not sure whether the song is based on real events- and reflect on current bond or romance- yet there seems to be a lot of meaning and reality in the words.  It will be intriguing to discover the origins as Bahjat has never sounded as meaningful and urgent as he does here.  Past the 1:00 mark we get some wordless vocals and funky/bongo-style percussion beats that create a hypnotic rhythm and swirl that gets inside the mind.  Perhaps representing that effusive comfort and delirium; you get caught in the swirl and smoke of the beats- as our hero lets his voice sway and drift into the atmosphere.  Before you get invested in this parable, the song changes course once more and back to its original motives.  It is said (once again) the two have differences and different hearts.  Although they are defined by their own personalities- and have their own course in life- at the end of things they will support one another and come together.  Although our man must embark down a dark road- as we all do at some stage- he will keep the promise he made “from the start”.  Whether this was a promise relating to love or something simpler, you are committed to the song and where it will go from here.  By the time the chorus comes back around the composition and vocal becomes more intense and pressing.  That chorus explodes into life and hits the ceiling with its emphatic voice.  Whatever crap is being thrown at the duo- and for our hero especially- that union and bond is the thing that will get them through it.  As compelled as you are by the vocal and lyrics, the composition creates its own gravitational force.  Fixing electronics and rampant beats whip up a compositional storm that aptly backs the song’s passionate blood flow.  There are so many little details in the composition; it may require a few listens to get to the core of things.  Celebratory horns and tribal beats spar with vocal chants and a bustling carnival atmosphere.  Those wordless vocals and energy makes the song endlessly arresting and addictive.  Not succumbing to the worst instincts of modern Pop- the need to Auto-Tune the vocals or make the composition sound processed and plodding- and you have a song that is natural and open.  The heroine lights up the dark and is the treasure chest to which Bahjat clings.  The imagery and pictures mix teenage-like sentiments with something mature and intelligent.  It appears the lovers may be separated or in different places.  Perhaps the duo is in different parts of the world but they will always find a way together.   In the final moments, you get more of those rousing trumpet/brass notes that give the song such a sparkle and vitality.  Although our leads may sometimes be apart, by singing that particular song- something that is special and unique to them- they will find their way together.  The final seconds see Stand Tall get more rushing and urgent.  That composition augments and bursts as our man lets his voice press and spark through the notes.  Together the two will stand tall and fight everything that comes into their path.  That redemptive message is the last thing on the song and a terrific way to end things.

It is pleasing to hear a young artist embark on original material with such confidence and conviction.  Having covered a range of artists, Bahjat is a musician that knows the current scene and the type of sound favoured.  Rather than truck to market forces and come up with a carbon copy (of Adele etc.) we have a song that brims with original voice.  Whether based around a personal relationship- or casting his net to fictional realms- you cannot escape the energy and intentions of Stand Tall.  That redemptive and hopeful core is what separates the song from a lot of current fare.  Bahjat has created a song that shows a proud and hopeful heart.  The composition is one of the busiest and more complete I have heard in a while, whilst that central voice expertly highlights the words and sentiments of Stand Tall.  Throw in some wonderful production values and a vibrant core and you have a song that should gain radio play and serious attention.  There have been few stand-out Pop songs in 2015 so it is great to hear an artist that could be a contender in 2016.  I will be interested to see how his career progresses and what songs are on the horizon.  Take time out to discover a fantastic new artist that could well be a radio fixture in years to come.

Stand Tall is not only a statement of intent but a message to the listener and fans out there.  With its redemptive and inspiring codas, the song is sure to resonate with a lot of people.  Bahjat is an artist who always promotes love and kindness- his social media feeds pay testament to this- and it is rare to hear a musician lacking in cynicism and negativity.  This does not dampen the appeal of Stand Tall; there is music to recommend and be proud of- a song that stands among some of the best of the last few months.  It will be exciting to see what the next year holds (for Bahjat) and where he goes next.  The music scene is packed and competitive so it is tricky determining which acts will survive and which to look out for.  The following year should see some change and mobility in music- one can only hope at least- with the new musicians taking some market share from the mainstream acts.  B.B.C. have just published their list of names to watch in 2016- glad the likes of Billie Marten are among them- and this shows how much eager talent there is out there.  How that talent adapts to the mainstream and what they will produce is anyone’s guess.  The likes of Bahjat will be keen to get their name out there and keep the momentum going.  I can see him- in a few years perhaps- rubbing shoulders with the best up-and-coming musicians so we should keep our eyes in his direction.  I opened by looking at the male solo arena and the music of Malta.  The men of music are lacking behind their female peers.  The girls are the most innovative and original out there; the lads are falling behind slightly.  I am not sure why there is that gender gap.  Too many male musicians pick up an acoustic guitar and sing about love and struggle.  Scan around the mainstream, and how many artists fit in this mould?  There are a few exceptions, yet as far as I can see, there are too many that are narrow and predictable.  Even new music is seeing a mass of similarly-themed songs/artists emerge.  The girls are showing more direction and individuality so it is probably apt the boys have a look and take inspiration.  I hope this ‘trend’ and imbalance is rectified in 2016 as music needs a bit of an overhaul.  Nobody can deny how much passion and intention goes into music; this is epitomised by Bahjat.  One of those male artists that surpass expectations and peers, I will be interested to see what the next year holds in store.  I love reviewing British acts- going across to the U.S. too- but it is great discovering something international and different.  Malta is that little corner of the globe that should not be overlooked or underestimated.  When I see the likes of Chess Galea and Dana McKeon do such great work- with two very different and unique styles- it always makes me proud.  In addition to the exotic and stunning beauty, you get artists with a flair for originality and upbeat; something incredibly passionate and committed.  You cannot accuse Maltese artists of lacking energy and commitment.  At the heart of the music is an optimistic message and something redemptive on the whole.  Before I sign-off it is worth looking at Stand Tall and what comes next for Bahjat.  A relatively new artist to my ears, it has been great discovering something with potential and soul.  I hope he plays some U.K. gigs and comes see the fans over here.  To that end, perhaps an E.P. will come along in 2016?  Whatever is being planned it will be an exciting time for the young Maltese artist.  Stand Tall is a song that cannot really be overlooked and ignored.  Surpassing the efforts of (most of) his peers, you have a musician with a great future ahead.  With 2016 fast approaching, it is heartening to hear…

THE year go out with a bang.

[youtube https://www.youtube.com/watch?v=a_K_3ozeMgQ&w=560&h=315]

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Follow Bahjat:

 

Official:

http://bahjatmusic.com/

Facebook:

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

Twitter:

https://twitter.com/BahjatMusic

Instagram:

https://www.instagram.com/bahjatmusic/

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Videos:

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

Track Review: Them & Us- Like Poison

TRACK REVIEW:

 

Them & Us

 

 

Like Poison

 

9.4/10.0

Like Poison is available at:

https://soundcloud.com/thump/themus-like-poison

RELEASED: November, 2015

GENRES: Electronic; Bass

ORIGIN:

London, U.K.

The E.P., Chapter II: The Great Escape is available at:

https://itunes.apple.com/gb/album/chapter-ii-the-great-escape-ep/id1059783910

TRACK LISTING:

The Valentinian (Feat. Rik Mayall)

Can’t Keep Coming Around

Oh My God

One Day

Like Poison

Safe Place (Bonus Track)

____________________________________

ONCE more I am back at the feet of one of the most…

assured duos in the U.K.  I will get back to Them & Us shortly, but for now, I am reminded of a few different subjects.  The issues of duos, variation and Electronic music are back under the microscope.  When I look at the duos coming through at the moment- and something I have mentioned a few times before- there is so much diversity and difference occurring.  I have bemoaned the lack of innovation in the solo market at the moment- and something affecting bands heavily too- so it is down to the duos to cling back some originality and quality.  New music seems to be going through a depression at the moment and not providing as much wonder as you’d hope.  The past few months have seen the odd great act come through, yet for my money, there are too few fantastic and memorable acts.  It is left to look back at the established acts and artists coming through.  Duos are among music’s most assured and reliable formations.  In London alone you have such an array of genres and styles it is hard to get a grip on it all.  I have reviewed everyone from the likes of Gypsyfingers and Jo Kelsey Music (featuring Niels Bakx); some multi-coloured and emotional music that has stuck in my mind- caused me to seek out similar duos and see what they are about.  I have speculated before but I find the two-piece as solid and sensible a line-up as you can get.  Band mentality means it often tempting (for bands coming through) to have their voice represented by the frontman/woman.  A lot of times bands replicate their idols and stick too closely to others.  There can be so many voices in the creative decision that the resultant sounds are muddled and unfocused.  Solo artists have a similar problem whereby a lot of them- but not all of them for sure- tend to mimic and duplicate another.  Being the sole voice of the music the decision-making can often be unwise and unchecked.  What with the strain and effort of progressing- having few others bodies to promote the music- fatigue and issues can creep in.  The duo has that perfect balance and harmony.  There are not that many people clouding the creative process; there are more possibilities when it comes to genre/sound- compared to the solo act- and the whole procedure leads to great quality and originality.  One of the biggest issues with music can be the underwhelming lack of diversity.  There is so much stale and predictable songs coming through it can be quite depressing when listening.  It is hard to be truly original in modern music- given how much music has come before- but there are so many possibilities available then you should be able to produce something different.  The best bands, duos and solo artists are those that go the extra mile and subvert expectations.  Before I raise a new point, let me introduce my featured act:

Members:

Ami Carmine (Vocalist, Songwriter, Producer) Lee Michael (Songwriter, Producer, Beatbox, Bass)

“Comprised of Lee Michael (aka Killa Kela) & former Basement Jaxx vocalist Ami Carmine, their highly distinctive style has been described as ‘a Game of Tones,’ perfectly encapsulating their capacity to blend the ethereal, melodic & beautiful with huge beats and heavy bass.

Let Them & Us take you on the highest journey of musical landscapes, monster drops & vocal hydraulics, blended gracefully with enchanting visuals & theatrics”.

I have been a fan of Them & Us for a while now and am impressed by the mixture of force and passion in their sounds.  Sounding unlike any other duo out there you get a unique blend of sounds and styles.  With Carmine having worked with Basement Jaxx- and having a sensational and original voice- you get a little bit of ‘90s/’00s Dance/Electronic with something soulful and beautiful.  Completed by Michael’s Beatbox skills and production wonder and you have a duo that are among the most solid and promising in the U.K.  It is hard to compare the two with anyone else out there: their passion and songwriting quality sets them aside as a serious proposition for the future.  Whilst they employ (in their biography) my least favourite word in the English language- is there a musician that does not apply the word ‘journey’ to their music; like fingers down a blackboard to me- there is some truth in things.  Those heavy beats and epic soundtracks are perfectly met with acclaimed confidence and stunning vocals.  Most acts do not put so much consideration into the compositions and providing such a wonderful sound.  Them & Us put so much detail and colour into their compositions it is easy to get lost in the dizzying sounds and huge score.  The bond between Carmine and Michael is stunning and the duo seems like a perfect musical match.  Electronic music is often overlooked as a venture for the new music.  When it comes to new music, Folk, Pop and Rock are favoured: these are the genres critics look to and pull in the biggest bucks.  I am seeing quite a few Electronic acts coming through- that blend in Pop, Soul and Rock elements- and the likes of Them & Us are a rarity.  They have demonstrated how much energy; urgency and wonder can be elicited when you try something different and fresh.  Blending myriad themes and ideas into their ‘Game of Tones’-style projection and you have an act that are going to be around for years to come.  Having assessed their previous E.P. (Chapter I: And So It Begins…) I am excited to witness the long-awaited follow-up: the much talked-about gem Chapter II: The Great Escape.  I will be focusing on one track- and tying it into the E.P. as a whole- but what they have achieved is a step forward and progression.  Their strongest work to date, the E.P. shows consistent quality and some truly amazing moments.  Mixing in some narrative segments- Michael’s distinct tones and an appearance from the late Rik Mayall- and their stunning imaginations and you have music that ranks among the very best out there.

Before assessing Like Poison- and a capsule review of their E.P. - it is worth looking back and seeing how the duo has progressed.  The debut E.P. - Chapter I: And So It Begins… saw the London duo explode with intention and quality.  Across the E.P. there was so much cinematic scope and epic themes.  The lyrics tapped into relatable issues- emotional worries and relationship breakdowns- but there was optimism and redemption to be found.  Mixing stresses and anxiety with uplifting and happier themes the duo impressed critics and fans with the range and quality throughout.  Carmine demonstrated herself to be one of music’s most stunning and diverse singers.  Her voice- on the E.P. - could go from intimate and passionate lows to euphoric and delirious highs- often within the space of a single line.  Michael’s narratives and production skills perfectly combine and create something sensational.  The originality displayed by Them & Us is infectious.  Taking Electronic music to new places- blending in Pop and Soul sensibilities- the London two-some were so fresh out of the blocks.  On their follow-up there was not much room for improvement.  Most new acts have some shaky early moments and a lack of confidence.  When it comes to Them & Us what has happened is an increase in confidence and innovation.  Chapter II: The Great Escape contains more passion, emotion and wonder than before and marks them as one of music’s most important forces.  If you are a fan of older and new Electronic acts- from the likes of Basement Jaxx and Nero- then you will find much to appreciate within Them & Us’s music.  Having worked with Jaxx before, Carmine has that authority and knowledge of the genre.  She manages to employ some of Basement Jaxx’s finest elements- the seamless blend of genres and command of music- into something new and bespoke.  Whilst a lot of contemporary acts have a one-dimensional and uncultured approach to Electronic music; Them & Us are more concerned with epic proportions and sonic diversity.  Entrancing and committed to the maximum, you have a duo that is unconcerned with comparisons and fitting into moulds.  They do not hang onto the coattails of any other acts and are endlessly assured in their own skin.

When it comes to Chapter II: The Great Escape I have decided to focus on the track Like Poison.  The E.P.’s standout track, it is a great representation of the duo and shows how memorable they are.  The opening notes and moments see wordless vocals and electronics weave and create anticipation.  The beats get heavier and more pressing as our heroine arrives at the microphone.  With her voice dedicated and passionate, we get an intriguing opening sentiment: “I see you shine your light far away”.  Delivered with attention and ellipsis, the thought builds early images and possibilities.  My mind instantly goes to relationship quarters- someone beckoning the heroine from across the waves- and a new bond perhaps.  Employing unique sentiments and lyrics (to ascribe love) and the song sets its stall up early on.  Juxtaposed thoughts and intentions mix in the vivid landscape of the lyrics.  Words of multiple lifetimes and dissatisfaction mutate into elicit kisses and a strange desire.  The first verse sees the vocals presented with maximum attention to emotion and pace.  Rather than simply sling the lines out like most would- no consideration to changing pace, time and signature- Carmine lets her voice stop and start; glide and stutter to create something head-spinning and unexpected.  It not only emphasises the urgency and drama of the song but catches the listener by surprise.  I get the impression Like Poison relates to a love that is already burning.  Perhaps a boyfriend or sweetheart, you get the sense there has been eventfulness and a backstory between the duo.  Propelled by a whirlwind composition and stormy weather, the vocals become more tense and pressing leading into the chorus.  When the chorus does arrive we get a declaration of “breathe deep”: a thumping and chorused cry that radiates and spikes through the compositional clamber.  With some Pop sensibilities our heroine attests her love is like poison: speaking to her beau, there is that dangerous and toxic potential afoot.  From romantic-potential declaration, it seems like the song has cast itself in a different mould.  After the chorus completes- and some more tangled electronics and vocals do their work- our heroine comes fully into the spotlight.  The next verse sees our heroine state: “all over you is where I belong”.  The thorn in the man’s side, there is that essence of vengeance and need to take back some control.  Like a poison ivy, it appears there has been some conflict and argument.  It would be interesting to know the circumstances behind the song- and what inspired it for sure- yet our heroine remains quite composed and level.  Not letting her voice and emotions needlessly wanders, the words and direction remains true and solid.  Before that chorus comes swinging back into view our heroine ensures the hero is put in his place.  Not having asked Carmine and Michael the origin- and what influenced Like Poison- but there seems to be a particularly personal and relevant backstory.  The vocals and composition mix the current-day edge of Electronic and club music; tying it to a vocal that puts me in mind of late-‘90s/early-‘00s Pop regency.  Carmine sounds at her peak here and lets her full range come to the forefront.  Riding that composition wave, the track really starts to burrow into the mind.  It is hard to ignore the energy and persistent of the track: never subsiding or relaxing, there is a constant force that the listener will become intoxicated by.  Those hard and primal beats marry with swelling and hypnotic electronics.  The chorus is the most astute and fullest representation of these ideals.  Pummeling and punching; catchy and entranced, you cannot deny we have one of 2015’s most indelible choruses.  Before the song is completed, our heroine comes back into the fray once more.  Wanting to swim through the man’s bloodstream and veins- like a poison and toxic energy- part of my mind wondered if there was cynicism or negativity- or if there was some ambiguity.  Perhaps doubting my own interpretation, perhaps there is some lingering passion and desire?  The closing moments are dedicated to wordless vocals and a compositional swirl.  Carmine’s vocals still press and weave yet it is that composition that fires and blasts its way to the finish line.

Being familiar with Them & Us I was expecting something magical from the new E.P.  Like Poison is perhaps the duo’s most immediate and dramatic moment to date.  Consistently energetic and epic, the song ensures that few listeners will forget it.  That chorus is perhaps the most catchy and sing-along they have penned and showcases a real knack for memorability.  Confident and bold, the track gets the listener guessing and picking the lyrics apart.  Many will be familiar with the themes and sentiments Like Poison expresses.  Recrimination and heartache are common themes yet the London duo portrays these ideals in new light and with fresh vigour.  Original and ambitious you have a track that is sure to be a staple of club dancefloors and radio playlists.  Not an atypical sound of Them & Us- their latest E.P. has several tracks as memorable- and prove how consistent and stunning they are.  With Carmine’s voice and writing as scintillating and gripping as always, and you have a lead voice that has few equals.  Mixing in everything from ‘90s Pop sounds and modern-day Electronica; here is a vocalist that is always a pleasure to here.  Making Like Poison a delirious and additive treat; you cannot ignore the passion put into the performance.  Those beats and production values make sure the song is endlessly captivating and emotive.  Michael leads from the back and provides the song’s heartbeat and blood-rush.  Together the duo elicits a musical storm that demonstrates just how serious and magical they are.  One of this year’s most rapturous and enlivened numbers; ensure you do not pass it by.

A duo that is synonymous with grand, epic and sweeping sounds; you cannot deny the importance and talent of Them & Us.  When I heard their Chapter I’ E.P., I was amazed by the confidence and consistency it promoted.  I had never heard anything like it- and haven’t to this point- and was blown away by the range of sounds and ideas they packed in.  Not compromising identity and originality, what the E.P. provided was a glimpse into a stunning act.  It would have been hard to follow that E.P. but Them & Us have surpassed their previous effort.  The initial confidence and sound is all in place; the duo sound even more scintillating and inventive on Chapter II: The Great Escape.  Carmine’s vocals are at their most soulful and beautiful- climbing to ecstatic heights when needed- and Michael’s production is at its very best.  His bass and Beatbox elements seem more in the fore- a Beatbox version of the album will be released this week- and the duo seem at their most solid and impassioned.  The kinship and understanding between Carmine and Michael results in an E.P. that bursts with life and energy.  From the Spoken Word-driven opener The Valentinian- where it’s “hard to play hero looking up at Ground Zero”- and you have an instant smash.  Michael lets his voice bustle and hustle for attention.  Projecting images of undeserving Gods and mere mortals; strife and modern-day anxieties and woes.  Oh My God features a pounding beat and mutating composition that supports a stunning lead vocal.  Carmine delivers one of her most urgent and memorable leads to date over a song that looks at broken love and heartache.  Speaking to the song’s hero, there is a space and gap left (in our heroine’s life).  Dealing with separation and soul-break and you have a song that is among the most relatable and accessible the duo has created.  The composition is a primal and pounding beast that perfectly soundtracks the song’s intentions.  One Day allows Carmine to let her voice soothe and entrance.  The vocals tangle and entwine; they build and multitrack to create something dizzying and head-spinning.  A fizzing and explosive club-bound smash, the song pulls in every critical acclaim and expectation.  It is a song that makes you want to dance; a rave-up smash that mixes cinematic and hard with something beautiful.  Similarly, the song mixes the explosive vocals of Nero with the serene and soothe of Lana Del Rey.  One of the E.P.’s highlights, it is a track that could garner a lot of radio play.  The bonus track Safe Place melts scuffling and riffled beats in with hurricane electronics and a commanding lead vocal.  Our heroine wants to be lead to her safe place and find some sanctuary.  The composition is the busiest and most insistent on record and never relents its charge and energy.  The entire E.P. showcases how talented and diverse Them & Us are.

I opened the review by assessing duos, range and Electronic music.  When you think of those subjects you get a mix of ideas and opinions.  I am sure there are a lot of great under-the-radar solo acts and bands- among the mass of rather indeterminate quality- but for my money, it is the duos that are providing the best long-term investment.  Seemingly entranced in each other’s company- the friendships and relationships between the leads enforce some stunning music- and you have sounds that are natural and assured.  Some duos do lack original bite, yet on the whole it seems, there are some terrifically new and wonderful examples coming through.  On December 12^th the duo play the Electric Ballroom in London.  It will be a chance for the crowds to hear the new E.P. in the flesh and in the live setting.  Them & Us provide cinematic and theatric visuals in their shows and put on quite an epic performance.  It will be wonderful to see the new songs performed and fleshed-out on stage- and curious to see what visuals and scenery is used- and everyone should go and see the duo.  London is producing some of music’s most important and mesmeric duos- and the most wide-ranging too- so it is not surprising Them & Us are being talked about in fond terms.  Their previous E.P. was celebrated and heralded by critics for its originality and wonderfully assured songs.  Now that Chapter II: The Great Escape has arrived we have another chapter from the London two-some.  Even stronger and more electric than their previous outing it suggests a very prosperous charge and future.  It will be fascinating to see what 2016 provides- whether they decide to produce an album perhaps? - and plenty of live dates will be forthcoming.  On that note, I would love to see the duo travel the world and take their music to international faces.  The demand will surely be out there- from Australia to the U.S. - and their sound translates to all countries and audiences.  I can guarantee their will be U.S. crowds that would snap them up- having spoken with U.S. bands and promoters- and the same has to be said of Europe and Australia.  Whether financial constraints will dictate their movements have yet to be seen but it would be great to see them travel the globe.  Before I sign-off this review, it is worth mentioning Electronic music and its potential to cross genre borders and transcend boundaries.  At the moment the genre has some exposure in the mainstream yet is synonymous with club music and late-night raves.  Listeners and readers will have expectations of D.J. sets and sweaty clubs; Ibiza raves and something quite cliché.  What Them & Us show is how versatile and accessible Electronic/Electronica can be.  Mixing in Pop and Soul shades into the blend and you have a sound that is hugely memorable and palatable.  The duo ensures that emotion and quality goes into every note- rather than the aimless smash-and-grab of their peers- and for that reason they can affect a change in expectations and fan-base.  With so few new acts coming out of the blocks with such a degree of potential and originality, we should all ensure Them & Us are supported and promoted.  As I revisit Chapter II: The Great Escape, let’s hope the following year sees Carmine and Michael continuing their charge and plight.  Perhaps London’s most spectacular and epic duo, ensure you check them out…

AND watch a young duo with many years ahead of them.

[soundcloud url="https://api.soundcloud.com/tracks/231391542" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Them & Us:

 

Official:

http://www.themandusofficial.com/

Facebook:

https://www.facebook.com/themandusofficial

Twitter:

https://twitter.com/itsthemandus

Instagram:

https://www.instagram.com/them_and_us/

 ___________________________________

Music:

https://soundcloud.com/themandusofficial

_________________________________

Videos:

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

 

Feature: The 450th Post- The 1990s Playlist

FEATURE: 

The 450^th Post:

 

The 1990s Playlist

_______________________________

AS I reach the 450^th post it gives me the opportunity to…

focus on a decade of music that provided so much quality and joy.  The 1990s remains music’s very finest time: an historic time that saw some of the finest music come forth.  It would be near-impossible to put all of the ‘90s best into a playlist- what with the sheer range out there- but I have had great pleasure selecting my favourite tracks.  Mixing Grunge and Dance with ‘Britpop’ and everything in-between, it showcases (I hope) just how varied and stunning the 1990s was.  Looking forward to years of continued writing, but for now, a chance to kick-back and reflect on a marvelous time for music…

[youtube https://www.youtube.com/watch?v=videoseries?list=PLHuzJLVjHOwnE5Npo5JftcDf9wAkIQtDO&w=560&h=315]

Psychoacoustics: A New Music Venture

Psychoacoustics:

 

   

A New Music Venture

______________________

THE WEBSITE:

Idea of the site:

There are quite a few music websites at the moment, between the iPhone, Facebook and the Internet. Most of them offer roughly the same things- music sharing, free downloads, and Internet radio access. There are a lot offering the same things, and quite a lot of things are not being considered. The idea of Psychoacoustics, is to pull all the existing qualities of these sites, together, as well as offering new features, and great networking opportunities- for free. The plan is to top Spotify, iTunes and the biggest sites, by offering what they do, plus much more besides. Specific areas and pages on the site will be named after musical figure, albums and events. For instance, a lyrics section will feature Bob Dylan’s name and be themed around here. It is sort of like a music Disneyworld- different zones and characters. This makes it more interactive and interesting than most music sites and is engaging.

Interface:

By accessing www.psychoacoustics.info, (website currently under planning/construction), you will be able to access the site. From there, there will be a home page. On the home page is a main design. It is an animation of a studio, called Psychoacoustics. It is designed like Abbey Road, and there is constant movement on the page. There will be a bank of about 200 different musicians, who will walk into the page and interact with each other; leave and enter the studio, and keep the user amused. The icons as well as the animation will be colourful and interesting and better designed than most of the music websites out there. The icons and options displayed on the homepage are as follows:

Chat:

There is a chat/Skype option where you can interact with any of your contacts or friends. This can be done via a Facebook-style message service, or Skype. When you add contacts- like Facebook or Twitter- you can chat with any of them at any given time.

Mail:

Your personal inbox; you can mail your contacts, as well as any musician or venue.

Search Engine:

This is a bespoke, specialist search engine. It is similar to Google but responds to questions and searches effectively, returning only relevant websites. It also can record via and audio, so if you were searching for a song title or name of song, it would be able to locate it. The search engine is able to answer specific music questions and ties together information and resources from Yahoo, Google and Bing.

Updates/Events:

This is a diary of important music events and updates specific to the user.

Music Player:

You will be able to create a playlist or jukebox of up to 2,000 songs.

Personal Profile:

You can create your own avatar, and enter all of your information. It is similar to Facebook, but more detailed, and upload photos, videos, and designs. I will go into more detail later, but on your personal profile, is all of your information, favourites, and links. The profile works like Twitter and Facebook but more in depth with fewer faults. I have described the social side of things in a previous mail.

Reception:

This tab is in shades of whites and grey.

Contacts:

This details all e mail and phone contacts for every department.

Inquiries:

Up to 6 different contact email and phone numbers depending on the query

Address:

This is the address of the H.Q. and map.

Social media:

This gives links to the Twitter and Facebook sites, as well as YouTube.

Feedback form:

Provide feedback on the site.

Suggestions box:

If you have any ideas for futures or designs, then let us know and will take into account.

FAQ and Troubleshoot:

If you have trouble with any part of the site there is support. Also an FAQ if you have a question and can report abuse or any issues day or night.

1. Studio and Rehearsals:

This is an animated studio and rehearsal rooms (about 3 studios with control rooms and one rehearsal space). Unlike sites where there are lists of features, you access the features via icons; so for instance you would click on a T.V. or a guitar to access the relevant feature. The tab on the interface is red, and will consist of different shades of red. The specific names and designs for each feature are to be decided, but are as follows:

Music video:

Here you can pitch ideas for music videos to bands, acts and labels. You can protect your idea and sell it for money or use it to gain points and exchange for a reward in the future. There is also a music video store, where you can access any video from any song, and search by genre, artist or time period. Also, there is software where you can put ideas into and create videos through animation, film or various other techniques and apply them to your own songs.

Album cover:

Here you can view any album cover, and search for it like the music videos. The features here allow you to design covers using animation, photography or a photography edit where you can mix and edit images and merge together to create incredible designs. From here you can publish them or share, or pitch ideas to bands looking for ideas.

Photography:

This is like Instagram where you can upload photos or designs and edit them, using hundreds of options. Here too you can search for photographers and view images, websites and famous images from music history.

Music video player:

This utilises YouTube where you can view music videos for free and have a favourites list, or share the video to social media.

Song dissect/mix:

On this page, you can take any song- from rock to classical and dissect it. You can see what notes are played, and what instruments are played. This helps when writing songs and can learn easily about music. Also you can take sections of various songs and mix them together, and edit the sounds to create new songs.

Entrepreneur:

Here there are guides, links and ways to set up your own record label, festival, or music magazine. You can interact with others online, and get funding in order to set up your own business, and then network on site to attract users and business. Also you can invent new music ideas and instruments; design them on this page and pitch them.

Broadcast:

There is software where you can design and broadcast your own podcast and radio station. Broadcast over the site or YouTube, play your own songs and broadcasts and get fans and followers as well.

License:

On here you can sell songs to T.V. and film companies and productions.

Band sites:

I will explain more on the registration but when bands and artists sign up they can create their own website and include a wealth of information, and make it easy to promote and get fans.

Sounds and Sampling:

This is a sound library with thousands of sounds, effects and mixing options.

D.J:

If you are a D.J., here you can mix tracks, scratch and broadcast your own set, via the site and promote your gigs.

Home Studio:

This is software where you can record vocals, instruments and effects and then send your songs to fans or broadcast the tracks online. There is also software for tuning instruments as well.

Recording and Production:

This allows you to record songs professionally and easily, and provides every technology a modern studio would. You can record vocals and instruments, mix and layer them, and create a professional sounding track. From there you produce the tracks, and broadcast them, and burn them onto C.D. It also allows for album covers to be printed and gives links to sites where you can buy C..D. case and additional software.

Rehearsal and Live Room:

These are simulations of studio spaces where you can play live or rehearse. Via Skype you can jam with the rest of your band or solo and be seen by contacts and have your performance saved and shared. There are options for recording. There are guitar, drum, piano, vocal and orchestra options where you can simulate any guitar or piano etc. and get the most realistic sound possible. Unlike software where it is flattering, here you have to know how to play. Like Wii it reacts to touch and you can simulate yourself playing, as if it were real. From there you can either mess around or record the sounds, or join with others or your band members, and jam together. You can tune the instruments and it is as good as the actual instruments. You can do the same with vocals and record as many tracks as you like, and access different mics, and effects. It is able to work with recording so you can record full songs and albums using this.  It is not to replace real life but more act as an easy way to share and record demos for when you are in the studio.

2. Bar and Venue:

The venue is downstairs of the studio and the bar upstairs. It is animated like the rest of the site and acts as a portal for socialising and broadcasting. The tab for this is green and appears with different shades of green on the interface.

Radio player:

You can access tens of thousands of digital stations from around the world and stream them live, as well as access archive broadcasts and songs.

Links:

There are links to all music magazines and publications, as well as music websites as well.

Donate:

Like PledgeMusic where you can donate to get album made, and respond to pitches. Artists can offer rewards or treats, and get a % of funds raised. Can network and swap and record vocals or write as well.

Share:

Due to revenue coming from advertisers and labels, the site can pay royalties to artists whose songs are downloaded; it means that songs can be downloaded free, but artists get paid.

Food and Drink:

Links to music venues, as well as music bars and cafes, anywhere in the world, and you can get alerts of any local to you as well as any events that are happening, and share them on the site.

Leagues and Competitions:

There are various leagues for new bands and directors etc. that are updated and points given to the winners. These charts reflect download amounts, most hits as well as popularity too and there are leagues and competitions for new and unsigned bands.

Music Fantasy League:

This is like football fantasy, but you choose a 5-piece band. You have to choose at least one drummer, and one singer, and can choose from any musician from history. You also select 2 songwriters as well and an album and song. There are various points awarded to each depending on how many times they have been downloaded and mentioned, and there is an overall league that updates each week.

Read and Write:

You can publish blogs and reviews of bands and gigs, and albums and publish them and share them, as well as gig reviews and album reviews.

Social:

There is a dating website and connection site for musicians, as well as connects and promotes music charities. There are event postings and updates for your local area as well as internationally. You can also tie all of your contacts and friends in from other social sites into this one.

Connected:

Once you have created a profile you can search for potential band members or venues. When bands or acts register, like a dating website you answer various questions such as favourite music, bands and albums. If you are looking for someone you can either type in a search and the site matches people for you, or you can click on a map. From here you can click on any country or city and search for any member located in that area and contact them. There are sections where you can connect bands and venues, labels to acts and band members and bands together. If you make a successful match, you gain points that can be exchanged.

Actors:

This links actors to bands looking for people for music videos, and also can join actors together, who can share links and tips with regards to music, and best contacts and agents.

Contacts:

I have explained all of the social side, but the site works more like Twitter where you can ‘add’ any band or musical act, and follow their progress and updates. There is a LinkedIn style site too where you can connect with employers or contacts and build up a network of fans and followers which gives you greater opportunities.

Live:

You can broadcast live shows and gigs and stream concerts here and share them.

3. Living Room:

This tab will appear shades of yellow. The living room will consist of a sofa, chairs, jukebox and notice board as well.

Music download:

Like Spotify, you can download any track for free, and either play them, or create your own playlists and sections. You can compile songs into albums and burn a C.D., or you can share songs via your phone or social websites. There are also links to Spotify and iTunes, as well as music apps too.

Promotion and Distribute:

You can listen to recommended music depending on your mood or find any new music depending on your tastes. You can then share them via social media, or you can promote new bands and artists, and share acts with promoters and venues, as well as labels. It works like Reverbnation but more in depth, and gives tools to find new music, as well as share and get your own voice heard easily.

Jukebox:

You can have a playlist of up to 2,000 songs, and play them, whenever you like.

Reference Library:

You can view information about every band, artist or album released. It is like Wikipedia where you can find out anything about music, and gives info about bands, videos, links and merchandise; which allows you access to new music, old music you may have forgotten about, and can access any information whenever you want.

Music Trends/Stats:

There are tables and graphs that show music trends, sales figures and stats relevant to you, that are updated daily.

Charts:

These are all of the charts from home and abroad, updated weekly, with links to all of the songs featured.

Search engine and lyric finder:

The search engine is also available here, but is a lyric finder, where you can type words or lyrics and it finds the song. Also you can input audio or video if you are unsure of the song or artists, and it will find out for you.

Pitch Zone:

If you have spare lyrics or ideas, you can pitch them and trade them with artists. You can earn points for anything that is bought from you, and you can pitch and find ideas for songs. Also you can pitch music, so if you have no lyrics you can match them, and also collaborate with people on site and join your music and lyrics together. From there you can create songs together and share them.

Music Notation and languages:

There is software where you can learn music and translate your music into musical notes, so that it makes it easier to write music.  There is a link to a language site where you can learn any one of 30 different languages for free.  This makes it easier to communicate with international contacts as well as write and sing in a different language.

4. Bedroom and Kitchen:

This tab appears as different purple and the bedroom has a bed, wardrobe and table, T.V. etc.; the kitchen is a smaller room connected to the room.

Updates:

You can access all of your updates, information and messages here- as well as directly from your personal profile.

T.V. zone:

This allows access to dozens of music T.V. channels as well as archived videos and shows as well, and relevant T.V. shows and performances.

Links:

There are links to music teachers, studios, websites and bars and venues; everything anyone could want.

Creative Zone:

You can chat with anyone; share ideas, stories, gig reviews as well as photography and videos etc.

5. “Acoustic Vinyl”:

This is a specially designed shopping site. The animation is designed like a large Rough Trade store and the tab will be a specially designed one.

Music:

Search by genre, period or artists and find music from them to buy. It pulls together Amazon, iTunes and all music websites so you can compare prices for the album and gives you the most choice you can imagine.

DVDs and Merchandise:

You can search for DVDs and merchandise from any band. This gives you links to shopping sites as well as band sites, so again you can find the best deal.

Others:

You can purchase band and festival tickets, music books, apps and instruments. You can also purchase gift cards too.

Stores:

There are links to shopping websites as well as info for independent stores, with website and address details.

6. Join/Log-In:

This tab is in shades of black and grey.

Registration:

Different registrations. For casual user, browsing, solo, band, promoter, venue, label and other. They ask for different details and different lengths but all very simple and easy.

Log-in:

It allows a simple log in and a feature where you can log in to all of your music and social accounts at the same time.

7. About Us:

This tab is going to be detailed in shades of orange.

Studio history:

There is information- fake of course- of how it was set up in East London in 1969, and the story behind it. There is a ‘mock’ Vevo-style video and video history of the studio and founders. It is comical and is also like a guided tour.

About the site:

This is a serious description of what the site aims to do and how it will evolve.

Press and links:

This displays any links to relevant sites and partners, as well as software sites so you can create your own music website.

8. Music Player:

This tab will be in shades of blue. This ties together all of available and your downloaded music so you can play it on-going and create smaller playlists.

9. Advertise With Us:

This tab is in shades of pink.

Adverts:

This is a separate page where all adverts from sites, and venues can be displayed. This means it doesn’t interfere with your profile or browsing but can access it any time from this site. Advertisers and sites pay to be published on the site. There are contact numbers and an online form if you want to advertise or subscribe.

10. The Garden:

Charity:

Each month a new charity is put under the spotlight.  The site would look at everything from mental health to homelessness.  There would be a chance for users to raise money for charities and use tracks to raise money.  Awareness is a big things and it will give a chance for those affected (by illness etc.) to engage and talk with others- get useful information that can help them.

New Music:

A site dedicated to new music and artist.  It breaks them down by genre, location etc. and makes it easier to discover great new music.  It is easier to share new music across social media and ensure it reaches the target audience efficiently.

Existing Music:

Whereas YouTube does not really break down music and make it easy to find; this site would break it down by decade and genre.  There would be sections for each genre, decade etc. and allow easy access to some unheard and rare music.  Artists and bands would get their own pages and you would be able to create playlists and a bespoke music channel- mix older music with new.

Music Map:

Cities and towns are broken down showing all music venues, cafes etc.  It would give a list of local musicians and places of interest.

Funding:

Making it easier for musicians to have their music funded.  Would be able to pitch more directly and include venues and other acts.  Allows music community to become involved in every stage and draw in big businesses such as Google etc.

 

THE BAR/CAFÉ:

Logo:

The logo will depict a gorgeous woman in a black dress.  In her left hand is a blue rose, whilst in her right, is a microphone.  There is a microphone stand in front of her, whilst we see a spotlight shine to the side of her face; whilst drops of rain are overhead and on the other side of her face.  She has brown hair and green eyes, with red lipstick.  To the side of her is a gramophone, as a vinyl plays.  She looks focused but relaxed; enjoying and entranced by the music playing.  The main logo will be centred, whilst either side of the logo will be ‘Psycho’ and ‘Acoustics’ in red lettering.  The letters will be in a stylised font, but easy to red; with the letters bordered in white to give a modern and striking design.

Intended Destination:

Hoping to have the premises located either Piccadilly Circus, Covent Garden or Soho.  Due to the size of the building it will need to be located in these areas; and are also locales that attract huge amounts of tourists and attention- providing the most possible custom.

Building:

Inspired by Café de Paris, the building will be very large as well as decedent.  The premises will comprise two floors; with the intention of each being large enough to contain all the incorporated properties of the business (see below).  Hoping to have it opened no later than 2018.

Opening Hours:

Mon-Fri:

8am to 12am.

Sat:

8am to 12am (when gigs are performed it will be extended to 1am).

Sun:

9am to 9pm.

Staff:

Around about 50 in total.

Policy:

It will be over-16s only: no babies or children allowed.  Dress code is not strict and open to the public.

Funding:

I know of websites similar to Kickstarter that provide funding opportunities for businesses.  I hope to pitch a business plan and raise as much of the funding from there.  Aside from a business loan, I am hoping to raise as much of the remainder of the funds myself.  I am not sure of the exact cost of the entire business, yet hoped that over the coming few years the entire amount can be raised.

Ground Floor:

Bar and Kitchen:

As you enter, to the left of the premises is the bar.  The bar will be very modern with a wide and long counter, in order to allow maximum custom.  The bar logo will be emblazoned above the bar, and will be unique.  As well as serving coffee (and tea, hot chocolate etc.) alcohol will also be served.  There will be a range of beers, wines and spirits- as well as an extensive cocktail menu.  The menu will be extensive.  There will be breakfast, lunch and dinner options- with a dessert menu.  The range will include British, American, Mexican, French, Chinese, Thai, Italian, Australian and Spanish food; from savoury to sweet.  The kitchen will be next to the bar, and will serve food from opening through to close.  There will be themed dishes and cocktails that will incorporate band names, lyrics and album titles etc.

Seating: 

There will be a large amount of sitting, to accommodate around about 100 people.  The seats will consist of sofas, leather sofas and chairs, as well as wooden chairs.  It is designed to be a relaxing and comfortable environment; it will not be cluttered or compacted- space and openness is a huge key.

Jukeboxes and Speakers:

This is one of the main features of the business.  The music will be the epicenter of the bar/café, and will be a constant.  As you enter, to the left and right hand corners; to the back left and right corners; as well as in the centre, will be two digital jukeboxes.  It will be free, where anyone can select a song.  There will only be allowance for one song per customer; with a continuous playlist being selected.  The jukebox menu will be interactive, so you can select a song by searching; or find by genre/decade etc.  There will be access to over 500,000 songs, and will include every genre and style.  There will be screens in the centre of the room (overhead) that will show which song is next- running order etc., and everyone will be able to hear the music.  There will be four speakers suspended from the ceiling- on each corner of a chandelier.  The music will not be so loud that you cannot converse, yet will be crisp and true.  Using latest technologies it will be possible to blend the sound of music and conversation so that neither becomes too distracting.

Stages:

As you enter, to the right hand side of the building is a small stage.  It will measure 15 by 20ft, and will host intimate performances.  At the back of the building will a main stage.  It will be 25 by 30ft, and will have a retro feel.  There will be a blend of modern, Gothic and American; giving the stage a unique feel.  The stage will host larger gigs; whereas in front of the stage, will be an orchestra pit that can host 30 musicians.

Décor:

The décor will be a main attracting.  On the walls will be paintings and landscapes depicting famous album covers, music photos, as well as band portraits and designs.  It will encompass a large range of artists and there will also be canvases on the wall.  There will be modified street signs and portraits, giving it a retro and classic feel all at once.  There will be a white wall as well, where lyrics can be written and designs drawn.  The entire interior will mix modern and vintage, with artifacts and designs reflecting this.  It will not be like Hard Rock Café where it is a sort of music museum or attraction; it will be subtle and will play second fiddle to the key components.  Overhead will be several chandeliers as well, providing a romantic feel.  At night these will be on, and soothing lighting will bathe the interior.

Access:

There are two methods of access from the ground to upper level.  There will be a staircase to the right of the entrance; in addition there will be a small lift giving disabled access (and to allow transportation of equipment, stock etc.)

Upper Level:

Store:

This is a store with Rough Trade in mind.  The store is split into different sections.  There is an extensive store that offers music by genre, decade etc. and has a large stock- similar to H.M.V.’s largest stores.  As with the lower level of the bar, there are paintings, designs and artwork on the walls- and ceilings.  There is also band merchandise and memorabilia, signed memorabilia, as well as musical instruments.  The idea is that there is everything under one roof that a musician, music fan or music lover could want.  There is a charming décor that mixes ’90s Seattle, modern-day U.S. as well as Rough Trade.  It is homely as well as modern and cutting-edge.  As well as being an all-inclusive store there is a profit-share initiative.  Schemes will be set up to allow a small percentage of profits going to independent record stores, as well as local bands.

Charity Office:

There will be a small office, next to the store, which will house the Psychoacoustic charity.  It will employ around 10 people, and is a charity which aims to raise money for musicians, struggling bands and children from difficult background pursue their goals.

Consoles and screens:

This will incorporate everything from the Psychoacoustics music website: http://musicmusingsandsuch.wordpress.com/2013/10/.  There will be about two dozen consoles arranged within the middle of the floor.  These allow direct access to the website.  As mentioned, the website aims to make it simple to create music, music videos; collaborate online and distribute music.  It incorporates all of the best features of the major music websites, and offers so much more.  People will be able to access the website through the consoles.  There will be two large walls which will display music videos, or can alternatively project images from any of the consoles- for instance is a music video has been created, it can be instantly projected.

Studio:

Dominating one half of the level will be the studio.  It is a medium-sized studio that will offer all the benefits and technologies of the biggest studios.  It will encompass a studio, rehearsal room, control room; as well as lounge and bedroom.  There will be an in-house engineer, producer and representatives and offer rates that are very competitive.  The hope is that is will appeal to new bands, but also drag in big names and established acts.

Garden and Tranquility:

In the center of the level will be a small garden.  There will be a water feature, as well as plants; aimed to relax and inspire.  There will also be a balcony that will provide a small garden as well as seating.

Décor:

There will be chandeliers as well on this level, but a more toned-down feel.  There is impressive lightning and a warm and relaxing vibe.  Again there will be leather chair and sofas- located near the consoles.

THE SOCIAL MEDIA WEBSITE:

In conjunction with the music website (itself); the website is going to be different from the likes of Facebook and Twitter.  Although I use both; I find they have huge limitations and drawbacks- primary among them is the emphasis on irrelevance and self-indulgence.  We all love to have a good vent; to put our thoughts onto the page- the Psychoacoustics site is all about music- nothing else.

Design and interface:

The home page will be designed like a hotel building.  It will consist a building with rows of windows- you can see a lift running up the middle.  The sign at the top of the hotel will say ‘Psychoacoustics’- it is a simple design that is easy to read and clear.  There will be 16 windows in total.  At the top left will be the most recent post/update- the bottom right will have the oldest.  Unlike Facebook, there will no adverts; no poor layouts or needless icons- it is efficient and organised.  Running down the left hand side of the screen- going vertically will be: Mail; Updates; Search; Map and Favourites.  Down the right will be Chat; Contacts; Profile; Events/Gigs and Edit.  At the very bottom left of the screen will be a video player- where you can watch YouTube videos or any other music-related video.  At the bottom right will be a music player where you can stream tracks- listening as you navigate.  The whole page will be a catchy and stunning design; with constant movement and animation, it will feel less static- and unmoving- as current social media.

Functions and Features:

The site shies away from the user’s personal thoughts and ponderings.  The idea is to promote music; connect musicians and music lovers- for that reason, the site is design to focus on music alone (rather than self-promotion etc.

The Search function allows the user to search for bands and music.  It connects with Google (and other search engines) to hunt for bands and new music.  Connecting in with YouTube, you can hunt for songs and music videos.  The Map allows you to track down bands and artists from particular regions.  The map will bring up every country of the world.  You can clicks into a particular region/city- from there will be a list of musicians (arranged by genre) who are on the site- so you can connect with and interact.  The Favourites tool allows you to save your favourite bits of music- arranged by song/album/act and update.

The Profile and Contacts section are the main focus.  When a person logs onto the site; they select whether there are a Music-Lover; Musician; Manager etc- the interface will then tailor to that person’s needs and desires.  There will be personal information you need to fill in- name, location, favourite band/genres/albums.  From there, the site can find recommendations- songs and other artists; and put you in touch.  A Song of the Hour uploads to your home page; facts and links are fed in- that are of interest to the user.  If you are a music-lover, you can just go on the site to find great music and acts.  The site recommends existing music and songs from YouTube; finds recommendations; builds playlists and selections for the listener.  If you are a Musician, then the site factors that in- connecting you with other bands; venues and contacts.

You can add Contacts to your profile- these will be fellow musicians/bands (or just other music-lovers with similar tastes).  The status updates will be music-related and aimed at promoting great songs and acts- rather than inanities and personal thought.

This Week's Albums: November 28th, 2015

This Week’s Albums

  

November 28^th, 2015

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

 

that doesn’t rhyme”.  I do a D.J. gig every week 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 Replacements- Let It Be (1984)

 

9.5/10

One of the 1980s’ best albums; Let It Be is a post-Punk album that deals with everything from generational disenfranchisement to youthful self-consciousness.  Balancing itself between adolescent and adult concerns this album- compared with other works by the band- incorporates more humour and musical depth.  The diverse and melodic set of songs see The Replacements forge market expectations Paul Westburg’s voice sound weary yet essential; the album brilliant snapshots the experiences of growing-up and the strifes of the modern youth.  It is not surprise Let It Be is seen as one of music’s all-time greatest creations.  The throwaway and humourous moments- Tommy Gets His Tonsils Out and Gary’s Got a Boner- are just as important as the most urgent moments on the record.  Unsatisfied is a bridge between the band’s harder-edged past and current melodic sensibilities; the opening 1-2 of I Will Dare and Favourite Thing make an emphatic statement indeed.  Answering Machine is a strange and mesmeric swansong that completes The Reaplacements’ finest hour.  If you have not encountered Let It Be and its 11-track magic then realign this misdemeanour and discover a timeless and ever-relevant album.

DOWNLOAD: I Will Dare; Unsatisfied; Answering Machine

STAND-OUT TRACK: I Will Dare

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

The New: Anna von Hausswolff- The Miraculous (Out Now)

 

8.5/10

In a change to the listed album- this one is technically a couple of weeks old- I was compelled to investigate The Miraculous.  Having reviewed von Hausswolff in my blog (she is the only artist to score a perfect-10 from me); her sky-scraping and orchestral works are stunning to behold.  Whilst a little self-indulgent at times, The Miraculous begs some truly wonderful moments.  The angst-between-the-notes of Evocation is one of the album’s highlights.  Discovery leads with bass pipes before evolving into militarism drums territory; the vocals are among the most urgent and frantic on the album.  The strum-and-drang 11-minute Come Wander With Me/Deliverance finely boasts the combination of von Hausswolff’s choir-girl vocals and languid/epic organ work.  It is hard to pin down exactly what defines The Miraculous.  Von Hausswolff’s voice- which sounds startlingly like Kate Bush at times- is only bested by the stunningly imaginative and ambitious compositions.  Dragging Hard-Rock, Metal, Pop; Folk, Classical and Prog.-Rock into an astonishing album is not an easy trick to pull off- few of her peers manage to do this successfully.  What The Miraculous does is provide music (nearly) as apt as its title: an album that begs for repeated listens and a patient ear.  Give it time and its dark beauty will seduce fully.

DOWNLOAD: Discovery; Come Wander With Me/Deliverance; Stranger

STAND-OUT TRACK: Discovery

[youtube https://www.youtube.com/watch?v=Od_GujbtESk?list=PLKkWmlhvAT3vKYvcZUaZJLlsr7rS-F0uC&w=560&h=315]

The Influencer:  Run-D.M.C.- Run-D.M.C. (1984)

9.5/10

This groundbreaking Hip-Hop masterpiece saw Run-D.M.C. explode onto the scene in 1984.  The sparse beats and aggressive rhythms were a stark contrast to the lighter and ‘safer’ Hip-Hop/Rap of the ‘80s.  Whereas a lot of Hip-Hop collectives favoured the call-and-response/each-take-a-verse approach; Run-D.M.C. interweaves vocals and lines to create something truly dazzling.  It’s Like That (later to be remixed featuring Jason Nevins) and Sucker M.C.’s changed the face of Hip-Hop whilst Rock Box features stunning guitar riffs and a persistently persuasive beat.  Not quite as influential as The Beatles- many at the time saw them as a ‘Hip-Hop ‘Beatles’- the group’s influence cannot be understated.  Jam Master Jay’s scintillating scratching are backed by forceful and hardcore rhymes- ably and expertly backed by the taut and muscular musical backdrop.  Not just concerned with parties, boasting and insincere motives; we get a record that addresses urban concerns and the realities of the streets- in a way, Run-D.M.C. are a more accessible and palatable version of N.W.A.  Mixing reportage, objective fatalism with cutting-edge commentary and humour; we get an album that shaped the ‘80s and changed Hip-Hop forever.

DOWNLOAD: Rock Box; Sucker M.C.’s; It’s Like That

STAND-OUT TRACK: It’s Like That

[youtube https://www.youtube.com/watch?v=9Q9BMH_n3yw?list=PL7_creJTRlKnmw3tyRkLiIFve-zCkmcxN&w=560&h=315]

The ‘Other One’: TLC- CrazySexyCool (1994)

 

8.0/10

The U.S. girl group’s sophomore album was blighted with production issues- the alcohol issues of band member Lisa ‘Left Eye’ Lopes- producers Sean Combs, Dallas Austin and Organized Noise incorporated Hip-Hop, Rock and Deep-Funk into an album that tackled coming-of-age themes and new-found maturity.  Smooth, seductive and cool the album boasts numerous standouts: Waterfalls ranks as one of the ‘90s’ finest moments.  If I Was Your Girlfriend is a Prince cover that (perhaps ironically) surpasses anything the pint-sized legend produced during the decade.  Elsewhere, the steamy and unescapable lust of Red Light Special sees the girls at their steamy and alluring best.  Creep is one of the album’s highlights: looking at a boyfriend’s infidelity- the heroine, in turn cheats on him- it was nominated for two Grammys in 1996.  Kick Your Game is filled with funky beats and recurring themes of infidelity and lust.  Evolving from the Rap-only confines of their debut, SexyCrazyCool is a more accomplished and diverse album that perfectly blends myriad themes and genres (into a single album).  One of the trailblazing girl groups of the ‘90s, TLC influenced a host of modern-day bands and artists.  For that reason alone, CrazySexyCool is a must-hear album.

DOWNLOAD: Creep; Red Light Special; Waterfalls

STAND-OUT TRACK: Waterfalls

[youtube https://www.youtube.com/watch?v=8WEtxJ4-sh4&w=560&h=315]

Interview: Hannah Pisani

Interview:

 

 

Hannah Pisani

 

THERE are a lot of eager and impressive female solo artists coming through…

yet Hannah Pisani has the potential to be one of 2016’s most talked-about artists.  With a couple of recent singles under her belt, the next year will surely see her plan an E.P. and tour dates.  Already having performed in London, Pisani is one of the south’s finest emerging talents.  Having drunk-in Freak and Count For and you have an artist with a great maturity and ambition.  That voice is filled with richness, passion and beauty.  The composition tie-in Electro. bubble and spike with something Pop-based and melodic.  Breaking-away from the typical love song subjects- petty break-ups and immature utterances- Pisani injects a unique lyrical bent into her music.  Freak showcases an alluring and stunning vocal backed by clicked snaps and heartbeat percussion.  Building and atmospheric, the song is sure to soundtrack dance-floors and lonely night drives.  A track that can be understood by a range of listeners, it has great drama and evocativeness to it.  Count For has more soothing beginnings yet has that inimitable and distinct central vocal.  More uplifted and rampant than its sister, the track is a giddy Pop track that blends together punchy beats and an additive vocal coda.  Each track showcases a maturity and intelligence few peers possess and it all points to a positive future.  With a lot of solo artists looking to gain critical attention next year, my hopes are high for Hannah Pisani.  A stunning and eye-catching singer with a lot of ambition, I was keen to catch up with her and reflect on the past year…

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

Hi Sam, it’s been good thanks!  I’ve been in the studio recording a new song which I’m very excited about releasing in the coming weeks

Can you tell us a little bit about yourself: where you are based; your style of music etc.?

I’m a 21-year-old half-English, half-Maltese singer/songwriter based in Farnham, Surrey which is just outside London.

The style of music I write is definitely Pop in sound.  Lyrically, I like to explore different topics that stray away from the typical ‘break-up’ and ‘falling in love’ (although these do feature in my music at points!)

You have released the singles Freak and Count For.  Can you tell us the inspiration behind those songs?

I would love for people to hopefully find their own meaning in my songs, but I will tell you a little about what inspired me:

Count For is a song I wrote in about ten minutes - the words poured out of me.  It’s about a relationship that was once amazing reaching its end on awful terms.  It’s that upset and, almost, mourning over how you used to be and all the great times you shared together - knowing now that it means nothing.

Freak is a bit of fantasy.  It’s about escaping the modern world and getting back to basics, where you can’t be reached 24/7 and you can’t reach anyone else 24/7.

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

You are fairly new to music- and making your first moves at the moment- so must be looking ahead to the next year.  What will 2016 hold in store for you?

I’ve actually written songs since I was 13, but only felt ready to share my music in the last couple of years!  I have a whole catalogue of songs which I plan to take to my producers, and I look forward to releasing an E.P. in 2016.  And of course more songwriting; I’m always songwriting...

Music is a competitive and packed industry.  How would you say your music stands out for the crowd?

With the release of the third song, I think I’ll be demonstrating a great versatility in my sound.  All songs still fall into the spectrum of Pop, but some are Electro., some are Acoustic - I think this variety makes me a little different.

Also lyrically, as mentioned above, I like to touch on subjects that often aren’t mentioned in typical Pop, as Freak does.

Social media is an important tool for many musicians.  How has social media helped you connect with fans and music in general?

Social media is a great tool.  Thanks to it I have fans in different continents.  I would never have had that reach without the ability to put my music online, where it is accessible to anyone, anytime, anyplace.

What have been your particular highlights from this year?

Being played on the radio twice in one day was pretty great for me as an emerging artist.  I was played on B.B.C. South as their track of the day and also Eagle Radio and I was thrilled!

Which artists inspired you growing up and which current artists are important to you?

When I was really young, I remember my dad used to play a lot of ABBA - they definitely know how to structure a good pop song.

Generally though, I am more inspired by songs than artists (although I do have some favourites!).  Three songs which really stood out to me whilst growing up were Creep by Radiohead; Freshman by the Vervepipe and Unwell by Matchbox Twenty.  I loved how these songs talked about taboo topics like mental illness and dilemmas of the self.  They definitely inspired me to spread my wings a bit lyrically and tackle tougher topics.

Similarly nowadays, I am obsessed with Tove Lo! I love how honest she is in her lyrics.  Bebe Rexha is also great.  In sound, I’m likely to like anything produced by Max Martin- he really knows how to produce great Pop.

As a songwriter and musician, how do you write songs?  Do you set time aside and write or will an idea just come to you?

Both!  Sometimes I sit at my piano with the intention of writing a song.  But most of the time, I’ll be out and about or something will happen to me and the idea will pop in my head.  The other day I was waiting for the Tube whilst thinking about the same relationship that inspired Count For - and the idea came into my head of two lovers being “like strangers at stations” who barely talk anymore even though they get so physically close.  (Can I insert copyright here?  Haha)

 There are a lot of great female artists coming through at the moment.  Do you think there is inequality in the music industry and do you face any challenges being a female musician?

Ooft (sic.) I’m not sure.  So far in my journey, I don’t feel I have faced any setbacks as a woman.  If anything, I feel like there are more popular solo female artists than there are male artists; so it’s a little harder to get yourself heard.

For those who do not know much about you; could you tell us a secret- something nobody knows about you?

All my secrets are in my songs!

[youtube https://www.youtube.com/watch?v=RUCo8p0pf28&w=560&h=315]

I am a big fan of London and the music coming out of the city.  Is that an area you would like to play/live in the future?

I’ve played in London before at Raffles, Chelsea and really enjoyed it.  There’s so many great music venues in London and I would definitely be up for playing again and again.

Do you have any advice for any musicians coming thorough; those who are not sure if they have what it takes?

I’m not sure if I’m in yet in the position to offer advice, I’m still finding my way myself!  But I suppose to those who aren’t sure if they have what it takes: you don’t know unless you try!

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

Let’s go for Tove Lo’s Moments. The video is ah-mazing.

[youtube https://www.youtube.com/watch?v=W8tbQgXyn1c&w=560&h=315]

______________________________________

 Follow Hannah Pisani:

 

Official:

http://www.hannahpisanimusic.co.uk/

Facebook:

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

Twitter:

https://twitter.com/hannahpisani

YouTube:

https://www.youtube.com/channel/UCIxhF7ti28C7sj8l6sOeMfw

SoundCloud:

https://soundcloud.com/hannah-pisani

Instagram:

https://www.instagram.com/hannahpisanimusic/

Track Review: Sarah Dashew- Roll Like a Wheel

TRACK REVIEW:

 

Sarah Dashew

Roll Like a Wheel

9.2/10.0

Roll Like a Wheel is available at:

https://www.youtube.com/watch?v=wXr9yA1liLk

RELEASED: 12^th November, 2015

GENRES: Indie

ORIGIN:

Los Angeles, U.S.A.

____________________________________

THIS will be the second consecutive review where I will be featuring artist…

who has appeared on U.S. T.V.  My featured artist has appeared in My Name is Earl (well, her music has) and you are sure to have heard one of her tracks.  Before I get to Sarah Dashew, I wanted to raise a few points today: consistency of solo songwriters; female acts and the range of sounds out there.  I have often raised a point about solo artists and what is out there today.  I often find solo artists struggle to make early impressions on the music scenes.  Over the years I have reviewed some great solo talent, yet find that it is the bands that make the biggest early hits.  The solo artist has to do all the work themselves and there is a lot of pressure and expectation.  With so many sole acts coming through, there are a lot of eyes being cast in the pot.  Critics, fans and media are searching around seeing what is out there; whether the current crop is any good at all.  Looking back at this year, there have been a few great solo acts that have come to my attention.  What I tend to find- that is most impressive about the solo artist- is the commitment and dedication they show.  Whereas a lot of bands have multiple members and support, that is not the case with the solo act.  I always find the lone singer/songwriter has the most heart and passion when it comes to music.  There is that need to find capital and funds; the business of getting gigs and lining-up work.  It is a hard task and I admire the strength and commitment they put into the work.  The range of sounds out there is perhaps a little limited (when it comes to bands) and I feel a lot of solo artists stick closely to Pop/Indie/Folk themes.  It is okay to do that yet it does not really provide much surprise and diversity for the listener.  My featured artist is an Indie artist that separates herself from the crowd.  Whilst I find a lot of her contemporaries lackluster and samey; here we have a songwriter that sticks in the imagination and presents something different.  Before I continue on my point, let me introduce Sarah Dashew:

“In less than ten years, Sarah Dashew has managed three critically-praised albums, successful tours, television spots, and a new full-length, establishing her as one of the music industry’s most consistent singer-songwriters. 

On Sarah Dashew’s latest full length, Roll Like a Wheel, one can hear her whole musical history: Texas tejano, Southern gospel, and blue-eyed soul, but now wrapped up in a distinct Los Angeles flavor. You can still hear James Taylor and Janis Joplin, but there’s clearly a Paul Simon, Graceland-era spirit to the proceedings: The rhythms of her city have combined to imprint itself on the album. “More than any other city has done before,” Dashew pronounces. That and finding true and everlasting love. 

“Estas Son Las Cosas” announces itself with blaring Mariachi horns then Spanish-sung verses, a clear homage to the eastside of LA, which she calls home. “Are You Listening?” continues the Spanish singing, this time to an upbeat pop-rock number, perfect for a dance or two. Then there’s “Roll Like a Wheel,” the stand-out track (from which the album gets its name) that almost sounds like a manifesto for both the album and her brilliant musical career: Keep the wheel spinning, keep the influences coming, and never stop. Not surprising from someone who grew up sailing around the world with her family. 

"Roll Like A Wheel is the culmination of my musical history thus far. It takes all my life and sounds from childhood to now, wraps it up in a package of Los Angeles flavor, and spins it into a journey of soul and spirit,” says Dashew. “Joy and healing. Reflection and anticipation. And all that comes down to love." 

This insistence has earned her songs spots on the hit NBC show My Name Is Earl, inclusion in the celebrity playlist of ABC’s Ugly Betty, rave reviews of previous albums, and successful tours throughout the U.S. and Europe with the likes of Cowboy Junkies, Michelle Shocked, Suzanne Vega, and Pancho Sanchez. 

Roll Like A Wheel is engineered by Eric Lilavois (Saint Motel, My Chemical Romance) and will be released nationwide January 22”.

Dashew’s music has scored some great T.V. moments and she has garnered some positive and effusive reviews.  In the U.S. there are quite a few great female singer-songwriters emerging and Dashew is making her name heard.  Whilst her career is in its infancy, the next year will see her release an album and take her music on the road.  I am well-versed when it comes to U.K. music yet with regards U.S. music- as I mentioned in yesterday’s review- it is an unknown quantity.  I am more familiar with American band music so I always love discovering great solo talent.  Dashew has a voice and direction I have not often heard and it is great to hear someone that is distinct and original.  I cannot wait to hear her forthcoming album and would be good to see her do some dates in the U.K.  Perhaps the limits of financial flexibility will put that on hold yet there are eyes and ears here that would love to see her.  With such a reputation and acclaim under her belt, that is going to create some great momentum into 2016.

When it comes to Sarah Dashew, it is wise for the listener to look back and see how far she has progressed.  The single Take Me In was unveiled back in 2008 and is an aching and tender track that gets inside the heart.  Brimming with soul and soothing vocals, it puts me in mind of the legendary Folk singers. Our heroine is looking for comfort and refuge- is she is spinning out of control- and need someone to hold her and “take me in”.  Backed by a tender piano support, it is a confident and hugely memorable number.

Where I Belong was released in 2010 and is a wholly bouncier and more sprite number.  Climbing to the “top of your heart” our heroine’s voice is more rousing and impassioned here.  Displaying some Country edges and huge spirit, it is a song that shows a different side (to Dashew) and has an addictive and happy-go-lucky composition.  Ecstatic and proud horns mix with rolling piano to create something redemptive, positive and inspirational.  Showcasing so much spirit and heart, it is a song that displays a natural move forward.  Dashew sounds more urgent and confident and proves what a nimble and flexible songwriter she is.

Dance With Me was Dashew’s last single and reconciles her past and current endeavours.  Showcasing the tenderness and softness of early numbers, the song sees our heroine at her most insistent and compelling.  Having a secret that is hard to keep, there is mystery and ambiguity in the song.  Keeping her cards close to her chest, you start to wonder what is being ascribed in the song.  At all stages it is that aching and beautiful voice that grips and seduces.

Dashew has progressed and developed as a songwriter but was stunning to begin with.  A lot of artists start a little shakily and unsure; they evolve and improve over time.  Dashew showed- when you listen to her early tracks- how much intention and potential was there from the start.  What she is done is solidify that confidence and quality and incorporated new themes and stories into her songwriting.  The compositions are more nuanced and her voice seems stronger and more assured now.  Roll Like a Wheel proves this and stands out as one of her finest and most memorable numbers to date.

When it comes to Dashew’s music she is influenced by the likes of Bob Dylan, Janis Joplin and Brandi Carlisle.  It is hard to compare Dashew’s voice and style with anyone else, but the above names are a good starting point.  She incorporates the range and Folk influences of Dylan with some raw edges and Joplin-esque touches.  When it comes down to it, Dashew is her own artist and cannot be readily compared to anyone.  You get a contemporary flavour and sound with ‘60s and ‘70s Folk/Indie touches in there.  The entire ensemble is an original and striking thing that will take the listener by surprise.

Roll Like a Wheel begins with plaintive and delicate electric guitars that gets the listener curious from the off.  Romantic and breezy, the initial words see our heroine directing towards an unnamed central figure.  Whether a friend or lover, she wants to go walk the desert.  It is hard to determine whether a relationship testimony is afoot or something based in friendship.  Whatever the initial intentions, you start to picture the scenes and the storyline unfold.  It seems that they- our heroine and her mate- have been through a lot and shared a great deal together.  There is one thing they have not learned, and that is to roll like a wheel.  Perhaps describing a relationship, it seems there have been some anxieties and stresses in the past.  Maybe I am misinterpreting but I feel there is an impasse where the sweethearts need to make a decision: the song is a declaration and a solution to the problem at hand.  By walking the desert and rolling like a wheel it eases the strains and is a way of dissipating strains that are currently being faced.  At this stage the composition rises and the vocal becomes more pressing.  When the wordless chorusing joins in the fray it puts me in mind of Paul Simon’s Graceland.  There is a sense and choir-like beauty to the vocal- you could imagine Ladysmith’ joining in to provide something ethereal and otherworldly.  Dashew takes a new approach to love and life with her original and fresh lyrics.  The vocals captivate and complete whilst the composition remains supportive and evolving.  Even in the sapling stages you are taken in by the beauty and vivid pictures of the track.  It is 95 degrees in the shade- as our heroine regretfully informs- and there is no real escape from it all.  You can see the duo pounding the desert floor and exchanging conversation.  With regards the origins and interpretation, by mind is still focused on relationship dilemmas and that need to fix issues.  The desert may be a metaphor for pressures and the heat of relationships.  Maybe stresses and tensions have reached boiling-point and that confrontational element is being documented.  The sweethearts have made some bad decisions and gone through tough times, yet there is a desire and loyalty that cannot be overlooked.  Wordless vocals and breathy notes augment that passion and beauty.  Within time those echoed and repeated vocals mix with some subtle horn notes and hissing percussive beats.  The song’s hero/subject is lonely and afraid and our heroine knows they are “not the only one”.  Between the vocal proclamations the compositions demonstrates its flexible nature and sense of occasion.  After the uplift and rouse of horns and keys, we now get something more contemplative and sensitive.  Soft guitar strings offer tranquility and a supportive shoulder; ensuring the song does not lose its momentum and purity.  After twilight there are silhouettes and love songs; all you are left with is the night.  Our heroine- to her beau and hero- wants eyes closed and minds open.  Surrendering to the night and the tranquility will offer peace of mind and lullaby.  At this stage it may not be a lover or boyfriend documented- perhaps a friend or someone struggling- but that is the strength of the song: Each listener will get a different interpretation and their own course of events.  Dashew lets her voice reign and glide wonderfully as she offers supportive arms and soul.  Those Graceland/Paul Simon comparisons come to mind strongly as the song reaches its final moments.  The combination of wordless vocals- that put me in mind of Under African Skies and Diamonds on the Soles of Her Shoes- and that striking lead remind me of that legendary album.  The final seconds ride that addictive and uplifting vocal; reintroduce the song’s title and emphasis the song’s messages.  Making sure the song ends on a high, Dashew lets her compelling voice strike and campaign to the very end.  Weaving in the mix of keys, strings and horns, it is an ecstatic and uplifting coda that will appeal and stick with every listener.

Being a recent convert to Sarah Dashew, I was amazed by the passion and layers of Roll Like a Wheel.  I have mentioned Graceland shades- and it is not hyperbole or over-exaggeration- but the quality and ambition is all in there.  Those lyrics have ambiguity and mystique but speak to everyone who listens.  Broad and redemptive, it implores resolve in the face of pressure and insurmountable strains.  Uplifting and positive it flies in the face of a lot of modern songs- that seem more cynical and downbeat- so it is nice to hear a song with free spirit and a real motivation.  Whether it is looking at a relationship quandary or a friendship moment I am not sure.  What we have is a track that will get you guessing and digging the lyrics and meanings.  Such a vivid and vibrant track, that wonderful and full-bodied composition gets you coming back for more.  It is Dashew’s voice that guides everything forward and adds serenity and passion to the track.  Roll Like a Wheel is one of the most instant and addictive tracks I have heard and demands repeated listens.  Once you get down to its nub you will unearth something of rare pedigree and divinity.  Make sure you check out of the U.S.’s finest songwriters of the moment.

Having been recently introduced to Dashew’s music, I have been lucky enough to review her current single.  I am often immersed in British music and rarely get a chance to experience anything beyond Britain and what we offer.  It is great to be in the U.S. (for a second day running) and witness a singer with a huge future ahead.  Having been playing for quite a few years, Dashew is growing in confidence and ambition.  With her album out early next year, it will give listeners a chance to see what is on her mind.  Having discovered her past tracks, I can see a development and a new confidence.  Growing with every release, it will be exciting to see what 2016 has in store.  Roll Like a Wheel is a bold and memorable song that will solidify her reputation as one of music’s most consistent and exciting propositions.  Before I conclude this review, I am going to go back to my early points with regards solo music and the range of sounds out there.  Dashew’s earliest sounds resonated with potential and intention so it is no exaggeration to say she didn’t need to improve or change her game.  What you find with a lot of solo artists is the weaknesses in the early stages.  Unsure of their direction and true sound, you get songs that sound a little uneasy and unfocused.  In time that confidence and assurance comes: The music will find its voice and an identity will be stamped out.  Too many U.K. solo artists do not linger in the mind and play the same kind of sounds.  Through adverts and T.V. you hear a lot of young artist- most of whom are female- that sound the same and have such an ineffectual and weak voice.  There is no emotional resonance or range; no passion or any originality or point.  I have said the band market is a little more assured and that is the case right now.  Perhaps strength-in-numbers creates flexibility and diversity in music.  Bands can do everything from Indie-Rock to Metal; across to Electro.-Pop and Hip-Hop.  The solo acts have potential yet they are a little more limited sonically.  For solo artists to gain foothold and market share there needs to be more diversity and originality.  Too many acts do not push their sound or do anything different (to what is out there).  This is a malady in the U.K. and it seems the U.S. is a little ahead of the game.  Sarah Dashew is an artist whose voice is stunning enough to distinguish herself from her peers.  The songwriting mixes love and life experiences that will appeal and resonate with the wide range of listeners.  Not one to be easily labelled or defined, you get music that seems free from anxiety and displays nothing but heart, passion and quality.  It is no surprise Dashew’s music has featured across U.S. T.V. and that is something that will continue.  The music industry is packed and growing so it is vital to celebrate those artists that do things differently and have that longevity.  There are so many musicians that quickly dissipate or they simply decline after a few releases.  Dashew has shown she gets stronger and more confident as she progresses.  With an album mooted for 2016, I will be fascinated to see what is included and what direction she goes in.  Her compositions include delicate piano and woozy horns; some stunning energy and introspective calm.  Whether we will see an influx of tremendous new songwriters it is to be seen, yet it is worth embracing those that show longevity and potential.  With the band market getting such attention and devotion, we need to shift focus to the best and brightest solo talent.  Residing out of L.A., Dashew is one of the city’s finest young songwriters.  In an area of the U.S. synonymous with musical richness and diversity, it is perhaps unsurprising the music (of Dashew) is so assured and fantastic.  I hope she will come to London and play crowds here as we hear few artists like her in the U.K.  It is left for me to recommend Roll Like a Wheel and embrace its beauty, messages…

AND mesmeric sound.

[youtube https://www.youtube.com/watch?v=wXr9yA1liLk&w=560&h=315]

___________________________________________

Follow Sarah Dashew:

 

Official:

http://www.sarahdashew.com/

Facebook:

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

Twitter:

https://twitter.com/sarahdashew

Instagram:

https://www.instagram.com/sarahdashew/

_______________________________________

Videos:

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

Track Review: The Slightlys- Desperate Measures

TRACK REVIEW:

 

The Slightlys

Desperate Measures

9.0/10.0

Desperate Measures is available at:

https://soundcloud.com/the-slightlys/desperate-measures

RELEASED: October, 2015

GENRES: Indie-Rock

ORIGIN:

Los Angeles, U.S.A.

____________________________________

OVER the next couple of days I am reviewing music by U.S. actors.

Whether there is a mutual connection (reading my blog) or something else, I have been contacted by two separate high-profile agents.  It has been a while since I have been in U.S. waters to review some great music.  Concentrating on U.K.-born acts, it is a relief to travel across the pond and discover a new band to my ears.  Before I introduce the featured act, I am reminded about U.S. music- and particularly that of L.A. - and Indie-Rock artists.  Being ensconced in the U.K., it is always hard being made aware of U.S. music and what is happening over there.  There are a lot of blogs and reviewers out there, but unless you read all of them, it is hard to get a true idea of what is out there.  A compartmentalised and wide-ranging industry, music comes to you in dribs and drabs.  Without my blog it is debatable whether I would have discovered half the music I review.  Few can deny there are a lot of great British bands around, although for my money, there are even more top U.S. bands around.  Having assessed everyone from The Falling Birds (New York) to The Open Feel (L.A.), I have been exposed to a great wealth of terrific music.  Today I am tackling another band from L.A. which is an area that is among music’s most prosperous goldmines.  I have mentioned in previous posts- although feel compelled to mention again- how fervent and fertile L.A. is as a music hub.  I have never been before, yet know how hot California is right now.  Perhaps there are better communities and media outlets- that make it easier for musicians to connect- or just the natural atmosphere that inspires such great music.  It is not just the range of sounds available but the consistency.  If you want Hard-Rock or Metal then there’s a band for you.  If you fancy something sunny and Pop-hooked then you are sorted.  There needs to be some sort of website to house all the great Californian music out there so people like me- and listeners too- can get a grasp on what is out there.  Looking at The Slightlys (my featured act) it reminds me of the Indie-Rock acts that are out there.  In this country the genre seems to be faltering somewhat.  Over the past year there have been few Indie-Rock bands that have stuck in the mind.  Maybe it is one of music’s most tricky genres- when it comes to being unique and stand-out- so it is good to see some U.S. acts injecting some passion and originality into the genre.  Before I continue on my point, let me introduce today’s featured act:

“Pop n’ Roll band The Slightlys, has a penchant for insistent, hook driven, unapologetically catchy songs. Led by songwriter and frontman Finneas O'Connell (who found success as an actor with reoccurring roles on Glee and Modern Family and in movies such as Bad Teacher), the band consists of four teenagers born and raised in Los Angeles California.  The group met each other at a battle of bands at Club Nokia in 2012 while each playing in different bands with all losing the contest that year. In 2014 they came together to form The Slightlys and took home first place in that same competition.  The Slightlys soon released their debut single “Superhero”, which attracted widespread attention leading to a dedicated fanbase as well as offers to play such high profile festivals as The Warped Tour and The Twilight Concert Series along with iconic venues such as Club Nokia and The House of Blues.  In 2014, The Slightlys returned to the studio to record their debut EP with famed producer/engineer Eric Palmquist (Bad Suns, Night Riots, HUNNY).  The result is a collection of power pop anthems with melodic guitar riffs, catchy choruses and a driving insatiable rhythm section rarely heard in rock music today. The first single “Desperate Measures” is an angsty instant pop anthem featuring radio-ready hooks and close vocal harmonies. “A Warning” features O’Connell’s rich soulful tinged vocals over insatiably danceable drums. All in all songwriter Finneas O’Connell hopes his songs “inspire people to never stop working on the things they love and to remember that although being patient sucks, you’ll need to be patient if you want things to turn out right.”  EP is set for release in early 2016

The Slightlys is: 

Finneas O’Connell: Lead Vocals / Guitar Darius Dudley II: Violen / Bass David Marinelli: Drums Robby Fitzpatrick: Lead Guitars”.

Whether you have seen Glee or Bad Teacher- in which lead Finneas O’Connell has appeared- or not, the music will not fall within predictable margins.  Going into reviewing I was expecting something Glee-tinged- and not being a fan of the show it was a relief that The Slightlys have much more credibility.  Although the Indie-Rock sounds of The Slightlys is miles away from Glee’s endless sunshine and sugar, the music they play (The Slightlys) is infused with plenty of optimism and upbeat.  A lot of Indie-Rock still plays on the side of angst and endless riffs.  Too many acts are looking at the likes of Foo Fighters and replicating their sounds.  If not Foo Fighters, then there is still too much familiarity in the music coming out.  I listen to Indie/Indie-Rock bands and can always hear too much of other artists.  The mood tends to be quite downbeat and the compositions quite suffocated and tense.  Occasionally I will happen upon something more open and breezy- with a hard-edged skin and sense of passion.  The Slightlys have a little bit of Sunshine-Pop to their music which ensures proceedings are never too heavy-handed and foreboding.  The close kinship and tight musicianship results in music with catchiness and memorability.  Desperate Measures is the latest release from the L.A. band and has been gaining appreciative feedback in the U.S.  Few of us in the U.K. will be familiar with the band so it is great to introduce The Slightlys here.  What the L.A. band does is inject some quirky lyrical touches with teenage vernacular and something youthful and cutting-edge.  Their language and songwriting stands out from their peers and the compositions are filled with energy and commitment.  I hope the boys come play London and give crowds here a chance to discover something new.  We have few bands like The Slightlys here so it would be a breath of fresh air to hear them play.

On their Facebook page, The Slightlys have quite a list of influences:

“The Beatles, Cage The Elephant, Two Door Cinema Club, The Foo Fighters, The Airborne Toxic Event, My Chemical Romance, Arctic Monkeys, Green Day, Blur, The White Stripes, Imagine Dragons, Muse”.

If you are a fan of the above, you will find much to love within The Slightlys.  There is a mix of The Beatles’ ‘60s Power-Pop together with Imagine Dragons’ sunshine and a little of Green Day’s kick and snarl.  It would be unfair to compare the L.A. band to any listed above as The Slightlys have their own sound and direction.  What the band does is combine some flavours of the ‘60s and ‘90s; tie together some modern-day Indie and a sound of the L.A. Indie-Rock scene.  The band is a new endeavor so it is hard to compare Desperate Measures with any other track.  The initial signs are very positive and there are no early weaknesses or lack of originality.  The best way to assess The Slightlys is on Desperate Measures alone and see where they will head from here.  I know the band are planning their debut album and putting together the moves and motifs for that.  Whether there will be 10-11 Desperate Measures-esque numbers- or whether the band will expand their sound out- across the album it is yet to be seen.  What we can expect is a consistent energy and ambition across the record.  Establishing themselves as one of the best young bands coming out of L.A., I am sure a future album will cement their claim and showcase artists with big ambitions and intentions.

Desperate Measures begins with a nice drum roll and kick that leads to a breezy guitar sound.  Quite an urgent and catchy introduction, the song spares no time in getting off to the races.  Eliciting the sound of sunshine and the open road, you find yourself captivated.  Vibrating strings and punchy percussion mingle to build the mood and atmosphere brilliantly.  An instant grab, the song gets you invested and interested.  Mixing some Hrad-Rock slam with something more Pop-infused, you wonder where the song will go next.  When our lead approaches the microphone, the early words paint vivid pictures.  The words “You got me up and at ‘em/Got me jones-ing for your touch/I can’t stand, I can’t stand without you/You fit me like a crutch” paint pictures of pure sentiment and romance.  Never overplayed or saccharine, it is an original slant on a well-trodden topic.  The lyrics look at love and obsession but it is done in a very particular way.  Whilst a lot of bands employ clichés and vague expressions, The Slightlys delve deeper to project something different.  Our hero attests- when looking at his girl of choice- she has him in a daze.  Like a drug in his bloodstream, that passion and excitement is tangible.  Backed by a river-flow guitar jaunt, the song does not drop its energy and sense of motivation.  The early words spare no chances and go in hard and strong.  There is little room for ambiguity and misinterpretation as our man is in the midst of a very powerful love.  By the time the chorus comes around- “These desperate measures/You wear me out so well/These desperate measures/Keep torturing myself/For you and no one else”- that degree of longing and love is explosive.  The vocal keeps on rising and becoming more pressing as the lyrics progress.  The chorus is that intended to inspire sing-alongs and group chorusing.  What you get is something full-bodied and hot-bloodied indeed.  The band unites in song and ensures each word gets inside the skull.  It seems the central romance is causing fatigue and confusion in our front-man.  Whether the duo is united at the moment or it is a flirtation, you can hear that need and desire in the vocal.  The song itself- up until this point at the least- will find an audience in lovers of Indie-Rock and Pop.  Whereas the introduction was a sharp and anthemic thing, the song soon mutates into something more Pop-influenced and sunny.  By melting those two genres together, you get something that will draw in the fans of mainstream Pop whilst interesting those who prefer their music harder and heavier.  By the time the second verse rolls around, more of the story is revealed.  The wording puts you in mind of a teenage tryst: something school-based and innocent to say the least.  It seems the friends of family (of the lovers) are unaware and kept in the dark.  Maybe an ill-advised or uncertain bond, things are being kept secret.  The drug-like addiction of the passion- tied to the secrecy and tip-toeing being done- is causing pain and heartache.  The words “Count the days, I count the days and seconds/’Til we can stop playing pretend/Now you got me shakin’/Got me takin’ in too much” add to that tangible desire and teenage lust.  Maybe appealing to a younger audience sector- aiming for the pre-teen market- it is good to see love and relations given a new spin.  Away from the anxieties and dark sentiments of Indie-Rock love- and the subjects the bands usually tread- here there is something more positive and hopeful.  There is a little bit of Imagine Dragons in the song- especially when it comes to the chorus- and that bonhomie and chorusing is hard to ignore.  By this stage in the song, the secret has not been unveiled although our lead does not seem too suffocated.  It is the third (and final) verse that showcases the band’s lyrical quirks and individuality.  If you assess its words- “I’ll join your cult, I’ll drink your Kool-Aid/I’ll break my back, whatever you say/Walk ’til my feet start to bleed and just keep on walking/I’ll dye my hair, I’ll change my name/I’ll play along, just teach me your game/You don’t play fair, I’m aware but I don’t care I’m not stopping”- there are clear images and humour to be found.  It is evident our man is infatuated and there is no turning back.  Most bands tend to go for boring and lifeless images yet The Slightlys ensure their lyrics get inside the mind and make the listener smile along.  Backing and augmenting the lyrics is a guitar-bass-drum combination that ensures plenty of punch and life.  Emphasising that need and desire, the composition never relents or loses focus.  By the time of the final chorus introduction, the band throws in some echoed vocals and vibrating strings.  Ensuring that tension and lust raises the blood pressure, the final moments are dedicated to getting the listener hooked and fascinated.  By the end stages you begin to wonder whether things worked out or whether the secret is being kept.  It is a bit of a mystery and cliffhanger- perhaps something that will be resolved in future songs- but it sees our lead lays his heart on the line.  Bringing the song to a close and that energy and excitement never fades and relents.

It is a real band effort at work throughout Desperate Measures.  O’Connell provides a passionate and committed vocal that makes the lyrics sound essential and fully convincing.  Perhaps drawing in his acting work, the performance comes across as very real and genuine.  Making sure every sentiment and lyric is dealt with appropriately, you get a real gamut of emotions.  Dudley II provides excellent bass guidance- that blends well with the guitar of O’Connell- and it creates its own degree of rhythm and melody.  With Marinelli providing ample and prominent drum beats, you get a primal and real heartbeat.  Making sure the energy levels and fascination never relents.  Fitzpatrick provides energetic and spirited lead guitars which give the song a vitality and rush.  Together the band is tight and insistent throughout.  It is perhaps the lyrics that provide the biggest slice of intrigue.  Mixing teenage ideals with something more mature, it is a song that tackles romance and seduction in a new way.  Many listeners will be able to appreciate and understand the themes being explored throughout Desperate Measures- it is a song that appeals and aims to all listeners.

Having been recently introduced to The Slightlys it has been great hearing the U.S. band.  As I said up-top, it is hard to encounter and assess every great band coming out of America.  The media tends to focus on home-grown sounds and does not really cast its net too far away.  When you discover one U.S. band, it is often easy enough to seek-out and find comparable acts.  When I reviewed Brooklyn’s The Falling Birds- who are currently playing in the U.K. - I connected with some of their social media bands/friends and discovered more great music.  In the same manner, The Slightlys will have some great band friends and acts they support.  It is a slow way of discovering music but is the way social media works.  Before I finish up it is worth mentioning Indie-Rock acts of today and the music in the U.S.  I opened by stating how stale and uninspired a lot of Indie-Rock is today.  Too many bands are fixated with sounding like their heroes.  I have heard too many bands that replicate Foo Fighters and Biffy Clyro.  Too many acts rip-off Artic Monkeys and their ilk.  If musicians want to survive in this industry then they need to be original and themselves.  It is human nature to be inspired by musicians although that should not come at the expense of identity and personality.  Those acts that separate themselves aside and provide something fresh are those that stick in the mind.  The Slightlys have a little bits of other acts in their music is unique enough to stand aside from their heroes and influences.  L.A. is producing some great acts right now and 2015 has been a bumper year for the city.  Maybe it is the Californian sun or the hustle-and-bustle of the city.  Perhaps there are more opportunities over there but it seems the U.S. is edging ahead of the U.K. when it comes to the band market.  There seems to be more originality and freedom there.  I shall leave things assessing The Slightlys who have an exciting next year ahead of them.  Following the release of Desperate Measures the boys are heading into the studio to continue work on their debut album.  It will be exciting to see what the boys come up with and what direction they take.  Desperate Measures has a sunny feel and great hooks; lyrics that mix teenage thoughts with something distinctly Californian.  There is a distinct accent and geography to the song and the track could easily soundtrack a show like Glee.  That is not meant as an insult- not being a big lover of the show- but there is optimism and quirk that could score a Glee scene for sure.  I guess a lot of critical eyes and thought will look towards Glee and Bad Teacher- with O’Connell’s links with those shows- but you should separate the music and the acting.  A lot of actors have fronted bands, and if history is any indicating of quality, you wouldn’t expect a lot from The Slightlys.  Luckily that is not the case here and what we have is a group that promises a lot and is a definite name to watch.  Music is lining up its quarterstaff for the charge into 2016 and we should all be aware of the big names to watch.  I have had a hard time seeing which U.K. bands are worth watching: it is a lot easier when it comes to the U.S. and the major acts to watch.  The future is ahead of The Slightlys and although they have just begun their careers.  We shall see where the boys are headed and what they have in store.  It would be nice for them to come to the U.K. and play some dates here- that is if they can whip some funds together- as there will be a definite demand here.  It is hard to mix some sunny Pop with harder Indie and make it sound credible and original.  The Slightlys have a natural charm and urgency that makes you root for them; their music translates through music boundaries and has universality to it.  It is only left for me to point you towards Desperate Measures and ensure you check the song out.  One of the freshest and most unique songs of 2015 it is guaranteed to blow away cobwebs and leave a smile on your face.  When it is all said and done, what else do you really want from music?  It seems the L.A. band have a very…

SPECIAL recipe indeed.

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____________________________________________

Follow The Slightlys:

 

Official:

http://www.theslightlys.com/

Facebook:

https://www.facebook.com/TheSlightlys/

Twitter:

https://twitter.com/theslightlys

Instagram:

https://www.instagram.com/theslightlys/

__________________________________________

Music:

https://soundcloud.com/the-slightlys

________________________________________

Videos:

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

Track Review: Svelte- I Don't Miss You

TRACK REVIEW:

 

Svelte

 

I Don’t Miss You

9.6/10.0

I Don’t Miss You is available at:

https://soundcloud.com/sveltemusicuk/i-dont-miss-you

RELEASED: 1^st November, 2015

GENRES: Electronica

ORIGIN:

Bristol, U.K.

____________________________________

IT has been a fraught week to say the least…

With a lack of Internet connection, I have been forced to catch up and tackle reviewing head-on.  I have known about the work of Mary Spender before and love her voice to death.  When I heard about Svelte (a duo she fronts with Jacob) I was keen to dive in and investigate.  It brings to mind- when listening to the duo’s music- about a few things.  I am thinking of the importance of diversity, duos coming through and Bristol music- in addition to geographical sound break-down.  I have been listening to a lot of ‘90s music at the moment and bemoaning the lack of quality in some modern music.  There are few music-lovers that can deny the majesty of the ‘90s: the decade is music’s finest and cannot be topped in my view.  The range and diversity of music on offer (in the decade) is staggering.  From Grunge and ‘Britpop’ through to Pop and Dance, it was a decade that will never be equaled.  As the ‘00s drew in, music did suffer a slight dip- although some fantastic albums and acts came out.  It has only been the past decade that has seen a real drop in form.  Whether music is exhausted or the talent is not as startling; I long for the days of the 1990s and all it had to offer.  When I review great acts- and the finest music coming out- I see some potential and quality.  Our very best and brightest are those that do not simply put in the bare minimum effort.  Those musicians that had a great upbringing- tied to some excellent musical tastes- who really strike the imagination.  Blending genres and sounds together; doing something unique and imaginative- that is what gets the top honours and applause.  The ‘90s were so magical because of the variety and depth of music that was out there.  The phenomenal Dance/Trance movements and ‘Britpop’ regency was just the start of things.  It is near-impossible to reign-in and define the ‘90s for all it provided and stood for.  Musicians should take note and look at what came through then.  Too much of today’s music is stale and unadventurous.  Svelte are a duo that are just what the music world needs right now.  I have heard too many boring and lifeless solo acts come out; bands and groups that copy others for their own means.  When it comes to the Bristol two-some, you will struggle to compare them to anyone else directly.  Promoting a sound that marries harder Rock edges with Electronica bliss; stunning vocals and terrific compositions into a whole that is hard to beat.  Not too much is known of the duo and their biography: when they came together and who influences them; when they are playing live and what the future holds.  What I do know is they are busy recording and preparing a new single.  The duo have a nice little concept at their feet: they are going to be releasing a single on the first day of each month.  A lot of acts are too concerned with E.P.s and rushing material out there.  Svelte have ensured they have a steady stream of music coming without leaving gaps in-between.  With a new song arriving each month, fans get a chance to see how the duo’s developing.  This month saw the release of I Don’t Miss You: a song that ranks among their finest and shows just what a stunning act they are.  On December 1^st a new song will be unveiled and it will be exciting to witness.  Before I investigate the music itself I am reminded of duos and what they offer.  In previous reviews I have mentioned the dynamics and subject matter of various duos.  London two-pieces are among the most diverse and memorable.  Duos from other parts of the U.K. offer different sounds and themes and that really got me thinking.  Whether it is the relationship status of the duo- they could be partners or friends- or where they hail that moulds their sounds.  It is that music formation that provides some sensational music and wonderful interplay.  It is the harmony and bond of the duo that appeals to the musician and writer in me.  Whereas bands can be quite unwieldy and impersonal; solo acts somewhat lonesome and singular- the duos are a different prospect altogether.  Most tend to be a boy-girl make-up (there are some exceptions) and I always love hearing what they come up with.  Whilst a lot of their peers deal with Pop and Folk concerns, Svelte are more mindful and ambitious.  Commentators and reviewers have noted the myriad mix of genres and sounds.  That stunning and unforgettable central voice perfectly sits with vibrant and passionate compositions that are among the most original and daring out there.  Svelte are based out of the city of Bristol: a location that has provided some of music’s very best, it is not shocking to see another terrific Bristol act.  Perhaps inspired by Bristol legends Portishead and Massive Attack, the duo is adept at weaving ‘90s Trip-Hop/Electronica with something contemporary and fresh.  Bristol is showcasing some wonderful acts at the moment and some of the U.K.’s most ambitious and original examples.  Whereas London is perfects leading music’s charge it is Bristol that is providing the most interesting and impactful sounds.  I am a big fan of Electronica and its prowess so Svelte are a duo that I am keen to support and follow.  With a new song due in the coming days, it is a great time to get involved with the Bristol two-piece.  With few like-minded peers, they are an act that are giving music a kick and breathe of fresh air.

It would be all well to review the latest track and just leave it there you’d think.  For a more comprehensive investigation of the duo it is worth seeing how their latest cut stacks up against their previous fare.  Being a fairly new proposition, there is not a great archive of music to contrast and compare.  Both members have made music before Svelte- I am a particular fan of Mary’s solo work- and Svelte is something different altogether.

  Sleeping Tonight was released four months ago and begins with a buzzing and vibrating electronic slam.  A heavy and hard beats sees lyrics looking at clothes hitting the floor- not to be collected until next morning.  Looking at a central figure that is in a daze and drunken; we look at twilight tangling and unwise decision.  Mary’s voice is perfectly suited to ascribing a scene of ill-fated bonds and disenchanted ideals.  Soulful and rich, it marries with the strumming and stridulating electronics.  Riffled beats come in and tangle with hollow echoes.  A composition that develops and alters as the song progresses, it is a song that constantly keeps you guessing.  A memorable and sing-along chorus makes the song accessible and nuanced to the masses.  It is the interplay of the duo that really captivates and they blend their individual talents into the mix.  Such an energetic and snaking composition backs and propels a wonderfully striking and emotive vocal.

  Façade arrived a month after Sleeping Tonight and begins with a different tone and objective.  Lighter and more sleepy, the beats and electronics are more restrained early on.  Mary’s voice is more romantic and soothing than on Sleeping Tonight.  Feeling slightly exhausted and bereft, our heroine wants the ground to swallow her up.  Having her soul and identity taken away, that sense of suffocation and disability comes to the fore.  Lost and hopeless, you root for her and wonder what has caused this sadness.  Perhaps a relationship has broken down or a friend has betrayed her trust.  It looks at a boy who has left others “an empty shell”.  That inimitable and varied voice- that goes from a husky chocolate to something sensual and velvet- rules the track.  Whereas Sleeping Tonight saw the composition on an equal footing, it is the voice that takes the lion’s share of the honours.  Pin-sharp and haunting the one moment; meaningful and raw the next, it is a wonderful performance.  The beats are kept minimal yet provide a stormy and evocative backdrop to the song’s themes of betrayal and heartache.  A leap forward from their earliest cut; it shows how agile and varied Svelte is.

   Lipstick Melts begins with a passionate and intriguing compositional beat.  Mary’s voice is at its most sensual and direct; propelled by a punchy beat, the song is as stunning and picturesque as its title.  Our heroine’s world is “ending tonight” and gets the listener immersed in the song.  Rapture is arriving and perhaps a romantic explosion is due.  There is that sense of not letting go and separating.  Whether a relationship refuses to break or the lovers are not moving on, it is a song that begs for deeper interpretation and exploration.  Mary’s voice seems more confident and assured here whilst Jacob’s guidance and swathes are at their most daring and stunning.  The entire song perfectly merges classic Trip-Hop glories with something contemporary and modern-day.  Original and deeply personal, the song showcases the duo’s consistent songwriting and evolution ambitions.  Not sounding like any other track they have produced, few other acts are able to sound completely different and consistent at the same time.  Svelte change subjects and directions from track-to-track without compromising ideals and originality- each number shows a new skin and concern; a distinct theme and idea.

In October, the duo put Time (Put It All Together) out there and once more it signaled a new move and motivation.  Primal and urgent from the offset, it is a dominated and pressing electronic beat that gets into the mind.  Our heroine’s voice is both relaxed and passionate as we see blurry views and auto-focus being ascribed.  Trying to put their pieces together, there is a mystique behind early lyrical ideas.  Having wasted time on a central subject- a boyfriend or former lover perhaps- our heroine will not spend another moment “feeling blue” and “feeling used”.  The song develops into something more uplifted and spirited.  The electronics augment and raise- whilst being underpinned by a constant electronic burble- and the composition expands and ignites.  Detailed touches and elements come together- electronic guitar strings and processed vocals- to create an atmosphere that is heady and exhilarating.  Emotive and impassioned, the song is one of the duo’s most memorable and stunning.  Mary’s voice is at its most instant and wondrous here.  That busy and accomplished composition perfectly pushes and propels her performance whilst creating its own gravity and personality.

With every release, Svelte become more confident and stunning.  Seemingly at their most inspired, the last couple of months have seen them at their very peak.  With the talent on display- sensational vocals and tremendous compositions- they are capable of changing course and colour seemingly effortless.  I Don’t Miss You continues subjects of romantic concerns and separation whilst covering the topic with new life and a new angle.  The finest cut the duo has unleashed, it is the perfect summation of their joint talents.  It ensures future singles will be much-anticipated and celebrated and I can see some amazing numbers arriving.  At no stage has the duo ever slacked or dropped the ball and I would love to see an E.P. or future album arrive.  There is so much quality and range to be found so the options are out there for Svelte.  With a new single coming each month, it is a wonderful way to get constant Svelte music- something daring and amazing with each new venture.

Subverting my expectation from the off, I Don’t Miss You arrives with merriment and urgent rush.  Light and upbeat; busy and catchy, you get tripping and funky bass with echoed vocals and electronic motifs.  Unlike any introduction they have released previously, the listener is immediately taken somewhere different and new.  Our heroine arrives in the spotlight- after the insatiable and stunning opening phase- to give evidence and testimony.  The song is about- and the tale really concerns- “a claim to fame without the fame” and a story of “when you were young”.  The initial sentiments get my mind delving into possible interpretations and truths: maybe we are looking at a tabloid star or a fake star?  Perhaps it is a former lover that is bad news?  When Mary sings a “soldier without a gun” a photo-taking (during a summer holiday) there is an insight into a relationship and a break-up.  That lack of bravery and backbone- on behalf of the track’s male role- we get a window into a callous soul and someone that has caused pain and hurt.  It is clear there have been arguments and debates raging.  The chorus looks at the heroine strangely at peace and unaffected.  Not missing him/things as much as she should, it is evident the relationship was not as solid and meaningful as it could have been.  Many songs investigate relationship wreckages and the nature of the wake.  Whilst most singers and acts are filled with anger and accusation; we get a more dignified and mature approach to the subject.  As gripped as I was by the vocal and lyrics, the composition gets equal billing and does not demure into the shadows.  Not as heavy and pulsating as some of the past songs- Façade for one- the track lets a lighter and more open composition exploit the urgency and quality of the vocal.  It appears the song’s hero- although that seems like a grandiose word for someone not at all heroic- was looking for s life simpler and less complicated.  It seems like euphemism for commitment and seriousness.  When things were getting serious and deep he has retracted and run.  Someone in in for the wrong reasons- and maybe interested in only the physical- the first signs of purity and meaning have caused him to become immature and cowardly.  Not allowing this to cloud her soul and cause her true heartache, our heroine has a very pragmatic and dignified assiduity to her retorts.  Not casting blame or sounding too vulnerable, the lyrics are perfectly measured and delivered to project that sense of moving on and strength.  As the song develops, my thoughts look elsewhere.  Whilst the lead wanted a simpler love and relationship, it seems he could not stomach a simple life and existence.  When it comes to a “simple wife” and normal job, it seems he wants something more.  Our heroine has provided advice- to protect the man from hurt- and it may have backfired somewhat.  The two were looking for different things and different lives.  Having parted ways and separated there is not that recrimination and slander coming through.  Whereas our heroine is in her hotel room imagining possibilities and seeing the world- able to travel and cut loose a lot more- she is freer and happier.  Not being tied down and obedient- it seems her former beau wanted someone diligent and stay-at-home- there is that emancipation and new lease on life.  Our lead is at her very best and looking forward to new challenges ahead.  A healthy approach to love and break-up; I Don’t Miss You is a new take on a common theme.  It is that composition-and-vocal combination that really comes into play throughout.  Little details are thrown in here and there- from fragmented electronics to processed vocals- to create atmosphere and emotion when needed.  Svelte do not clutter the song and have made it simple enough to breathe and inspire.  From beginning to end it is a track that delights the senses but compels you to think.  A personal tale and survey, it is a song that many people can relate to.  Many women (and men for that matter) would have had that relationship that was due to shatter.  Perhaps it was not real love- or a relationship that would have gone the distance- where there is actual positives to take from its cessation.  Mary’s voice and talent ensure the lyrics are cliché-free and contain some real stand-outs.  With Jacob, the duo has created a song with a wonderful rich and vibrant composition tied to a true-to-life and emotional lyric.

Both parties bring their talents and skills together to create a wonderfully nuanced and memorable cut.  The vocal is consistently impassioned and urgent- two words I use a lot for good reason- and the conviction and drama are all there.  Not heavy-handed or too dramatic there is plenty of life and light to be found too.  Soulful and Pop-based; with a Rock-sharp tongue to boot it is a voice that is constantly stunning and agile.  The lyrics contain some lovely little sentiments and images- the idea of (the hero) being a “soldier without a gun” and the sense of plot and development stand out- to create something that will be played again and again.  The composition is probably Svelte’s best as it draws in their past heaviness and weight with something crisper and more developed.  Pulling in so much colour and so many different emotions, it is a sound that perfectly augments the centre whilst standing out on its own when needed.  Bringing those elements together, the production values are assured and polished.  Allowing both clarity and raw emotion, we get a production that perfectly suits the song and ensures each element comes together seamlessly.  The finest moment Svelte have created, I Don’t Miss You is a song that gives 2015 a mighty send-off- who knows what December’s single will contain?  All I know is that Bristol’s finest duo are in rich form and are in no danger of slowing any time soon.

Knowing Mary Spender and what an accomplished musician she is, it is no surprise Svelte are such a stunning force.  Jacob and Mary have a solid bond that comes through in their glistening and multi-layered sounds.  I Don’t Miss You reconciles Mary’s previous sounds and ideas with something more adventurous and multi-coloured.  I have checked their previous singles and Svelte seem to be getting stronger and more confident with each release.  From their initial unveilings, the duo has stepped up a gear and sound at their peak here.  On December 1^st we will get a new song and a fresh chance to hear one of Bristol’s best new acts.  The chemistry and intuition of the two players radiates in their music which reminds me of the ‘90s’ very best moments.  Music’s king decade boasted consistent quality and a range of sounds that has not been matched since.  Electronic motifs and Pop wonder sparred with harder Rock gems and everything in-between.  What Svelte have produced is something (a song) that mixes all these elements together with a vibrant sound of 2015.  Too many musicians and artists are concerned with playing it safe and honing themselves from the off.  Our duo is one of the most stunning and original out there and will go on to big things.  With so many artists out there at the moment, it is hard to decipher which will be the ones to watch in 2016.  There are some great bands and solo acts emerging, yet it is the duos that are sticking in my mind.  Before I complete the review, I am going to return to my original points about duos, geography and sound variation.  I feel the band market has reached a bit of an impasse at the moment.  There’s a few good bands emerging yet I find there is little innovation and originality to be found.  Aside from the likes of Everything Everything and Royal Headache- two of my favourite acts from this year- there are still too many that are too limited and stale.  Once upon a time ago we had acts that displayed vibrancy and stunning songwriting; a power punch of emotion and passion.  Something is missing this year and I hope 2016 unveils some genuinely great and worthy acts.  There are some impressive solo acts out there, but for my money, there are not enough.  It is the duos that will provide the best possibilities in the coming year.  This year has been a damp and disappointing one for mainstream music so we cast our eyes to new music.  Whilst it is hard to get a grip on all the fantastic acts coming out, we can at least swim through the mist and uncover those worthy of fond affection and support.  Svelte have hit about a great concept- when it comes to releasing a new song a month- and are no gimmicky act at all.  Their music ranks among the most refreshing and immense coming through right now.  If those gorgeous and passionate vocals do not get into your mind then that detailed and soul-hitting composition will win you over.  The duo pen lyrics and music that will resonate with many listeners and tap into the concerns and experiences of the average listener.  It is only left for me to see what the future holds for Svelte and how they compare to their contemporaries.  With Bristol heating-up as a musical centre, I am not shocked to find another tremendous act come out of the city.  Since the early-‘90s Bristol has been showcasing some of music’s most agile and innovative musicians.  Not just workaday Pop/Folk acts, Bristol is more interested in harder and darker Electronica layers; songs that are detailed and challenging.  I hope Svelte play London very soon as it would be a great chance for the capital to witness one of this country’s brightest hopes.  A duo that has their eyes set on the future, the connection Mary and Jacob share is electrifying.  In a live setting I can imagine something rather wonderful unveiled.  I am not so down on the music of 2015 yet I think something has to occur: a kick up the backside to get tongues wagging and musical minds inspired.  What we have at the moment is a mainstream that is rather average and unpredictable.  New music is perhaps providing more consistency and quality but there are still issues and concerns emerging here.  So many acts replicate others and do not really push themselves and their sound.  Whether that indicates a lack of talent and intelligence, I am not sure.  No matter because the likes of Svelte are providing plenty of salivation and insight into what 2016’s sounds will be.  After a stressful and frustrating past week, I Don’t Miss You is a song that has provided some solace and uplift.  There has been a glut of sensational music this past few months so it is wonderful to discover an act that are bringing the magic back.  I shall be keeping my eyes primed to Svelte’s social media feeds in the coming weeks.  When December hits us, that first day will see a brand-new Svelte number.  Whether it harks to their sapling single or carries from where I Don’t Miss You left off?  It may be dystopian and dark or it may be a joyous overhaul of emotions.  Who knows, huh?  That is the great thing about the Bristol act.  Such a diverse and fertile duo, they keep surprising and delighting with each release.  If you have not heard them then make sure you check out their latest track and dive into their past- they will be names to watch for sure.  For all uninspired bands and solo acts looking for a way to improve/alter their music then look no further.  Svelte show how it should be done and will compel and inspire others to…

PUT the invention back into modern music.

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 ___________________________________________

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Feature: The November Playlist (Part Three)

FEATURE:

 

 

The November Playlist (Part Three)

THIS is the final part.

Enjoy…

Bird

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

Follow Bird

Official:

http://www.birdofficial.com/

Facebook:

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

Echo Boom Generation

[youtube https://www.youtube.com/watch?v=URS1RiMQuwc&w=560&h=315]

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IV Rox

[youtube https://www.youtube.com/watch?v=J6L3Dq8qKcg&w=560&h=315]

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Mrs. Skannotto

[bandcamp width=350 height=470 album=3754640385 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1818193656]

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Night Wolf

[soundcloud url="https://api.soundcloud.com/tracks/192970979" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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SoundCloud:

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Hannah Boleyn

[youtube https://www.youtube.com/watch?v=CRCZEz03dWo&w=560&h=315]

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Hannah Dorman

[soundcloud url="https://api.soundcloud.com/tracks/220217260" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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The State of Georgia

[soundcloud url="https://api.soundcloud.com/tracks/227805067" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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http://georginalashbrook.wix.com/thestateofgeorgia

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The Bandicoots

[soundcloud url="https://api.soundcloud.com/tracks/180631468" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Universal Thee

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

Facebook:

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ReverbNation:

http://www.reverbnation.com/universalthee

Svelte

[soundcloud url="https://api.soundcloud.com/tracks/231036913" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Jade the Moon

[soundcloud url="https://api.soundcloud.com/tracks/232395348" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Goldbirds

[soundcloud url="https://api.soundcloud.com/tracks/221852558" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Fifi Rong

[soundcloud url="https://api.soundcloud.com/tracks/233324153" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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The Emsee

[youtube https://www.youtube.com/watch?v=cpULfKisk7Y&w=560&h=315]

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Kobadelta

[soundcloud url="https://api.soundcloud.com/tracks/196793347" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Play Erase Record

[youtube https://www.youtube.com/watch?v=Tsp96YRmocY&w=560&h=315]

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Black Lady Soul

[bandcamp width=350 height=470 album=2502362403 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=3455032278]

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The 48ks

[youtube https://www.youtube.com/watch?v=fGEvXi3E_Y0?list=UUReypWgvul5zBTrMCI1GRQA&w=560&h=315]

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Eliza Rickman

[bandcamp width=350 height=470 album=1610964857 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=3105990309]

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Chenai Zinyuku

[soundcloud url="https://api.soundcloud.com/tracks/176390087" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Ruby Macintosh

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

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The Glass Child

[soundcloud url="https://api.soundcloud.com/tracks/165011269" 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 The Glass Child:

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The Tuts

[bandcamp width=350 height=442 track=534154444 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

BandCamp:

http://thetuts.bandcamp.com/

Facebook:

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Alison Levi

[youtube https://www.youtube.com/watch?v=sN6LXNbWuF0&w=560&h=315]

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Official:

http://alisonlevi.com/

Steve Heron

[soundcloud url="https://api.soundcloud.com/tracks/218497896" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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SoundCloud:

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This Week's Albums: November 23rd, 2015

This Week’s Albums

 

November 23^rd, 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 Jimi Hendrix Experience (1968)

 

10/10

It goes without saying that this album ranks among the ‘60s’ very best.  The third album from the U.S.-U.K. force, it ranks as Hendrix’s most scintillating works.  Reconciling the electric Funk of Hendrix’s Band of Gypsys, the album benefits from a cavalcade of studio innovations- back-masking, chorus effect, flanging etc. - to create an album that defined the decade.  Aside from the obvious classics on the album- All Along the Watchtower, Voodoo Child (Slight Return) stand out- there are a host of gems.  Opener …And the Gods Made Love sees Hendrix mix spirituality and love with something raw and conflict.  It is not just the psychedelic and jaw-dropping guitar wizardry of Hendrix that sticks in the mind.  With Noel Reading and Mitch Mitchell providing stunning backing, you get an album that takes you somewhere truly magical.  A completely immerse experience from beginning to end it inspired a wave of Hard-Rock albums and bands.  Whilst others have tried to replicate Electric Ladyland’s sonic innovation and sheer quality; none have come close.  Not surprising the album ranks as one of music’s all-time best.  Audaciously accomplished and far-reaching it’s a record that does not dim with age or repeated plays- a masterpiece that keeps revealing new shades, colours and emotions.

DOWNLOAD: Crosstown Traffic; All Along the Watchtower; Voodoo Child (Slight Return)

STAND-OUT TRACK: All Along the Watchtower

[youtube https://www.youtube.com/watch?v=TLV4_xaYynY&w=560&h=315]

The New: Adele- 25 (Out Now)

8.5/10

It is one of the most hotly-anticipated albums of the year and with good reason.  After the mass-selling and huge acclaim of her previous album (21) Adele concentrated on family life.  Suffering from writer’s block leading up the album’s creations it was unsure whether 25 would ever surface.  Fortunately the young singer had a breakthrough in 2013 and the creative juices flowed.  Adele refers to the album as a ‘make-up’ creation; this shows on a lot of the numbers.  There is redemptiveness and love among the recriminations and doubts.  Although the album suffers some lags- Send My Love (To Your New Lover) and Love in the Dark could have sat on the studio floor- the album brims with confidence and intent.  Hello is an obvious lead-off track that has gained record YouTube views and sales figures.  Adele stretches words and vowels to create something mind-spinning and intoxicating.  The music and lyrics is a perfect match and at every stage she gives the material complete heart, soul and dedication.  That inimitable and dramatic voice makes tracks Remedy and Water Under the Bridge sound essential and gripping.  It will be fascinating to see where Adele goes from here but based on her current album the signs are promising.  One of this country’s most astonishing talents, it is a relief to hear Adele back- let’s hope there will be no more writer’s blocks!  If you want to discover a true singer show how music should be made, then ensure you get your copy of 25- an album that is flying off the shelves!

DOWNLOAD: Hello; Remedy; Water Under the Bridge

STAND-OUT TRACK: Hello

[youtube https://www.youtube.com/watch?v=YQHsXMglC9A&w=560&h=315]

The Influencer:  Aaliyah- Aaliyah (2001)

9/10

Few people I speak to are familiar with Aaliyah, which is quite galling.  Without her (and her self-titled album) the likes of Beyoncé would sound completely different.  A young artist taken too soon- she died in a plane crash after filming the music video for Rock the Boat- Aaliyah is an album that changed the game.  Drawing Funk, Hip-Hop and Electronica into the mix, the album showcases synthesized vocals and fragmented beats; manipulated vocals and choppy guitars came together to truly highlight Aaliyah’s unbridled talent.  More Than a Woman is the album’s true highlight: that catchy hook sees Aaliyah’s vocal ride in the mix.  Showing her sensual side to maximum effect, it boasts a truly spectacular vocal.  Throughout the album Aaliyah shows her mix of maturity and sexuality to great effect.  The likes of Justin Timberlake and Nelly Furtado looked at Aaliyah and its innovative production- without this album their careers may have gone very differently.  One of the best Soul albums of the decade (the ‘00s) its highlights- Rock the Boat, Try Again and I Care 4 U- see the combination of exceptional production- Timbaland and Bud’da were among the producers- blend seamlessly.  With so many singers indebted to Aaliyah it is only right you discover an album that redefined and changed the Pop/Soul landscape upon its release.  With its influence still being felt, there is no escaping its wonder and brilliance.

DOWNLOAD: Rock the Boat; More Than a Woman; Try Again

STAND-OUT TRACK: More Than a Woman

[youtube https://www.youtube.com/watch?v=pAbxS-6XsMY&w=560&h=315]

The ‘Other One’: Metallica- Metallica (1991)

 

9.5/10

I have featured Metallica in my D.J. sets before- their Master of Puppets was on the block- and it is great to come back to the legendary U.S. band.  Obvious stand-out Enter Sandman must rank among music’s most forceful and memorable tracks- those riffs and vocals are hard to forget- but the album is so much more than that one track.  Tracks Nothing Else Matters and The Unforgiven rank among Metallica’s very best- whilst displaying sensitivity in spots- and signaled a move away from the thrash and grab of previous albums; here they were embracing something less harsh and more refined.  Boasting intensity and true Metal production values- no gloss and polished studio crap- it was not an avoidance of past glories; simply a progressive step forward- the band almost invented a new genre (Progressive Thrash, if you will).  The album saw the band’s fanbase explode massively.  Whilst previous albums seemed bloated and directionless, the band streamlined and focused their attentions.  Making their music more commercial- whilst not compromising integrity and ethics- it sees them at their very peak.  They never recaptured the same dizzying highs in the careers, so for that reason alone, Metallica stands as a truly singular moment in Rock history.

DOWNLOAD: Enter Sandman; Holier Than Thou; Nothing Else Matters

STAND-OUT TRACK: Enter Sandman

[youtube https://www.youtube.com/watch?v=CD-E-LDc384&w=420&h=315]

Feature: The November Playlist (Part Two)

FEATURE:

The November Playlist (Part Two)

 __________________________________

THIS coming week I am going to be releasing a three-part feature…

That looks at some of the biggest names to watch.  I am going to be (in following parts) look at some great bands and solo acts; in total there will be around 75 different acts featured.  In a week that has seen some horror and violent atrocity around the world- in Beirut, Baghdad and Paris- and some unity and music distraction is much-needed.

Little Sparrow

 

[soundcloud url="https://api.soundcloud.com/tracks/211770739" 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 Little Sparrow:

Official:

http://www.littlesparrow.org/

Facebook:

https://www.facebook.com/singinglittlesparrow

Echo Arcadia

[soundcloud url="https://api.soundcloud.com/tracks/87436303" 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 Echo Arcadia:

Official:

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

Facebook:

https://www.facebook.com/echoarcadia/

Melinda Ortner

[soundcloud url="https://api.soundcloud.com/tracks/196164473" 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 Melinda Ortner:

Official:

http://melindamusic.com/

Facebook:

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

Sarah Collins

[soundcloud url="https://api.soundcloud.com/tracks/146400287" 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 Sarah Collins:

Twitter:

https://twitter.com/SazzleCollins?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

Facebook:

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

Los and the Deadlines

[soundcloud url="https://api.soundcloud.com/tracks/199862851" 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 Los and the Deadlines:

Official:

http://www.losandthedeadlines.com/

Facebook:

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

Sir Gant and the Invisible Force

[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

Sophia Ben-Yousef

[soundcloud url="https://api.soundcloud.com/tracks/221903567" 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 Sophia Ben-Yousef:

Twitter:

https://twitter.com/sophiamusicuk

Facebook:

https://www.facebook.com/sophiamusicuk/?pnref=lhc

Lydia Baylis

[soundcloud url="https://api.soundcloud.com/tracks/86926808" 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 Lydia Baylis:

Official:

http://www.lydiabaylis.com/

Facebook:

https://www.facebook.com/lydiabaylis/?fref=ts&ref=br_tf

Jonnythefirth

[bandcamp width=100% height=42 album=3030808195 size=small bgcol=ffffff linkcol=0687f5 track=2465227601]

Follow Jonnythefirth:

Twitter:

https://twitter.com/jonnythefirth

Facebook:

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

Spy from Moscow

[bandcamp width=100% height=42 album=4125279795 size=small bgcol=ffffff linkcol=0687f5 track=3919502208]

Facebook:

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

Twitter:

https://twitter.com/SpyFromMoscow

Gemma-Louise Doyle

[youtube https://www.youtube.com/watch?v=tjonLM-yZ2c&w=560&h=315]

Follow Gemma-Louise Doyle:

Official:

http://www.gemma-doyle.com/

Facebook:

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

Terrorista

[soundcloud url="https://api.soundcloud.com/tracks/170197471" 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 Terrorista:

Facebook:

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

Twitter:

https://twitter.com/TerroristaMusic

Gypsyfingers:

 

[soundcloud url="https://api.soundcloud.com/tracks/146889946" 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 Gypsyfingers:

Official:

http://www.gypsyfingers.com/

Facebook:

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

Gelato

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

Follow Gelato:

Facebook:

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

Twitter:

https://twitter.com/GELATOMusicYeah

False Advertising

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

Follow False Advertising:

Official:

http://www.falseadvertising.co/

Facebook:

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

Emily Kay

[soundcloud url="https://api.soundcloud.com/tracks/71999605" 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 Emily Kay:

Twitter:

https://twitter.com/msemilykay

Facebook:

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

RKZ

[soundcloud url="https://api.soundcloud.com/tracks/167431480" 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 RKZ:

Official:

http://rkzuk.com/

Facebook:

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

Issimo

[soundcloud url="https://api.soundcloud.com/tracks/216895404" 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 Issimo:

Official:

http://www.issimomusic.net/

Facebook:

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

Allusondrugs

[soundcloud url="https://api.soundcloud.com/tracks/170089404" 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 Allusondrugs:

Official:

http://www.allusondrugs.com/

Facebook:

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

The Moth Lantern

[soundcloud url="https://api.soundcloud.com/tracks/217563467" 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 The Moth Lantern:

Official:

http://www.themothlantern.com/

Facebook:

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

Little Dove

[soundcloud url="https://api.soundcloud.com/tracks/90677559" 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 Little Dove:

Official:

http://www.littledoveband.com/

Facebook:

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

 

Archi Deep and the Monkeyshakers

[youtube https://www.youtube.com/watch?v=kzc9n5kBsnA&w=560&h=315]

Follow Archi Deep and the Monkeyshakers:

Official:

http://www.archideep.com/

Facebook:

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

Josh Haynes

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

Follow Josh Haynes:

Twitter:

https://twitter.com/joshaynes

Facebook:

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

Ivy and Gold

[soundcloud url="https://api.soundcloud.com/tracks/165011169" 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 Ivy and Gold:

Official:

http://ivyandgoldmusic.co.uk/

Facebook:

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

Waiting for Wednesday

[soundcloud url="https://api.soundcloud.com/tracks/99351402" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Official:

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

Facebook:

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

Ellie Rose

[soundcloud url="https://api.soundcloud.com/tracks/178743264" 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 Ellie Rose:

Official:

http://ellierose.co.uk/

Facebook:

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

Track Review: The Mouse Outfit (Feat. Truthos Mufasa & Black Josh)- Sit Back

TRACK REVIEW:

 

The Mouse Outfit

  

Sit Back (Feat. Truthos Mufasa & Black Josh)

9.7/10.0

Sit Back is available at:

https://www.youtube.com/watch?v=kXLPWi1B5DI

RELEASED: 19^th May, 2013

GENRES: Hip-Hop; Funk; Reggae

ORIGIN:

Manchester, U.K.

____________________________________

HAVING had a good run of musicians coming to my attention it is…

great to see another come to the block.  Today I am reminded of a few different issues: among them is the variation and cross-pollination of sound; the bands and acts of the north in addition to Hip-Hop/Funk stylings.  To start with, I am amazed by some of the music coming through this year.  A lot of artists have taken the time to think about what goes into the music and its creation.  That said, there are too many acts and bands that are not being bold and varied.  I raise this issue, because a lot of bands and solo acts are simply producing simple and unimaginative tunes.  It is okay so long as those ‘simple’ songs are memorable and original.  The trouble is, not only are a lot of the songs unspectacular; what you find is they get stuck in a rut and never really push their imaginations.  When you limit and confine yourself you risk running out of inspiration and steam.  If you produce something narrow and limited then the fans will get bored and the music is a lot more forced.  Those with elasticity and freedom (to their sounds) are those with the greatest chance of success- and feel a lot more natural and relaxed.  I mentioned this as my featured act is among the best genre-splicing and creative I have heard.  I shall get to them but wanted to raise a sort-of ‘mini point’.  When it comes to experimenting with sounds and genres it can be a risky game.  What with the range of genres and sounds out there, you have to make sure what you are doing sounds true and meaningful.  If you just toss sounds and ideas together it comes off as unprofessional and insincere.  If it all hooks together- and you hit the nail on the head- the resultant music can amaze and inspire others.  Before I raise a couple of new points, let’s have a look at today’s act:

Members:

Chini - Production/Keys/Recording Defty - Bass/Videos Pitch - Production/MPC/Percussion Dr Syntax - Vocals Sparkz - Vocals Truthos Mufasa - vocals Joe Luckin/Adisa Allen - Drums Phil Ratcliffe - Guitar Sam Lewis - Sax Jack Tinker - Trumpet We also have occasional guest vocals from various MCs including Verb T, Black Josh, Dubbul O, Jman

The Mouse Outfit was founded in 2008 by Paul Hooley (Chini) + James Defty after they met at an audition in Manchester. They formed a band and began producing music with a number of local musicians + vocalists. Defty started a jam night, in order to meet local talent, called ‘In the Loop’ (where rappers would freestyle to live breaks from The Mouse Outfit band) Here, they began crafting a live show with hip hop and funk breaks combined with original grooves. The band started gigging locally and around the UK with various changes in line-up. Chini was a teacher at a music college in Manchester and noticed a talented student drummer Adisa Allen (Deese) who joined the band in 2010. After uploading a track to BBC Introducing they were asked to perform a session at BBC Maida Vale studios for the Mark Lamarr show on BBC Radio 6. Another of Chini’s students, Ian Garland (Pitch) joined in 2011 as a beatmaker. Pitch had been working with Dr Syntax and he soon started working with the band as well. ‘In The Loop’ regular Sparkz was asked to feature on a track and after recording several singles he also became a regular member of the live show. In 2012, Defty + Chini also began producing music videos after working with a local filmmaker Tom Doran. Defty took a greater interest in video and began filming + editing a stream of music videos. Chini continued producing music with local rappers + musicians and recording them in his studio over his own beats and beats from Pitch + the result was ‘Escape Music’ their debut album released in May 2013. The Mouse Outfit has remained independent and Defty and Chini continue to manage all aspects of the band including tours, merchandise, social media and promotion.

I was introduced to The Mouse Outfit by a music contact and peep- with a great standing and reputation- and baffled how they escaped my attentions for so long.  One of social media’s most ironic and jaded aspects is how great acts escape the radar.  Although The Mouse Outfit have a lot of fans and followers; it seems few people are sharing posts and spreading the word to others- thus ensuring newbies like me stumble on them by accident, sort of.  What the Manchester band offer is a myriad mixture of sounds.  From sweet-leaf bliss and peace to fuc***-up guerilla attack- across to mind-melting raps and riffs- you have a band that are getting rightful acclaim.  It brings me onto the subject of Manchester and the north.  I have mentioned how productive and fervent London is; it seems Manchester is not exactly slouching.  The northern city has always produced some of music’s very best- from The Stone Roses to The Smiths- but over recent years it is London that has been stealing some focus.  Whilst the capital is under the critical radar; Manchester gets a bit of a dim light when it comes to attention.  That is a shame, as The Mouse Outfit have a sound and talent that should not be overlooked.  Manchester is putting forth some of the U.K.’s best new bands and acts.  Due to the community music scene and the comradery the artists have; we are seeing a lot of relaxed and stunning music come through.  Less anxious and limited than most; the music of the north is among the most startling coming out.  Too many new bands and acts are getting hooked up with traditional genres and music configurations- guitar-bass-drums etc.- and not embracing something more interesting and unexpected.  The Mouse Outfit blend Hip-Hop hardness into Reggae mellowness; unite Rap’s street-wise and urgent messages with something electrifying and universal.  It is hard to really nail-down the sound (The Mouse Outfit) produce.  Safe to say you will find few other acts like them on the scene.  Having garnered a huge following across social media; the band are preparing new moves and a busy 2016.  One of the most inventive and exciting prospects in U.K. music; so many new faces and fans are flocking their way.

When it comes to looking at The Mouse Outfit in depth, it is pertinent to look at their back a catalogue- see what evolution has occurred and how they have developed.  Their E.P. Check Your Pulse was released in 2012 and was a blistering start to their music career.  Featuring Dr. Syntax; Get Ready starts with some heavy and military drums.  Mutating into horn blasts and screeched vocal- an ecstatic female voice- and you get an urgent and arresting start.  Something “busy brewing up” are some of the first words and you sense something quite dangerous and epic.  The fast-flowing rhythms are punctuated with horn blasts and rolling drums.  With M.C. Presto featuring on Who to Trust and you get another side to the E.P.  More laid-back and Hip-Hop based than other tracks; here is a song that features slick production values and a terrific central vocal.  Backed by tease and a sexy back-beat and you get a song that has a distinct kick and charm to it.

Shak Out was released shortly after (their debut E.P.) and featured Sparkz on vocals.  A low-down and elastic bass sound heralds a hard-hitting and determined Rap.  A street-savvy and attacking assault our hero has more energy than the Duracell bunny.  The raps are fast and high-energy.  Never stopping for breath or relenting, the song is a frantic and gun-fire attack that changes contour and sound as the song develops.  From the energetic beginnings, the song goes into Reggae territory with a more relaxed and seductive vibe.  Picking back up and continue its plight, the song has a great mobility and sense of the unexpected.

In 2013, the band united Sparkz and Dubbul O in one of the best songs to date.  A rolling and romantic piano line leads to a fresh and slick vocal that pays testament to vibing beats and exhilarating sounds.  Slicker Than Average is a song that sees “poisonous fumes” invade our heroes’ space and mindset.  Looking at some of the harsher aspects of life (and music) it is another song that alters dimensions and dynamic as it progresses.  Variating between free-flowing and hypnotic Rap; the track goes settles down into a more sedate and chilled groove.

This year The Mouse Outfit conspired with Bam (The Jungle Brothers) and produced What’d I Do?  A funky and feet-moving beat puts me in mind of classic Soul- James Brown and his peers- and unites with a commanding central vocal.  Profanity and home truths are laid down as the central vocal sees the hero swagger with braggadocio.  Doing “something right” that passion and energy bursts through the speakers.  Complete with attitude and intention, we see a rap that shouts its own name.  Boasting his credentials and musical flair; that confident lyric is juxtaposed with a smooth and memorable chorus declaration.  With Bam providing some restraint and contrast, it is a short track that stays in the mind.

Over the course of the years, The Mouse Outfit have changed their sounds to fit their ambitions and mood.  Ensuring the core sound remains true- keeping that cross-pollinating vibe strong- they address changing themes and new concerns.  By collaborating with so many artists you get new insights and voices coming to the parapet.  This allows the act to create restless and diverse music that is resonating with the listening public.  The musicianship and compositions are always daring and stunning to witness.  Whether fusing with Hip-Hop maestros and young rappers, The Mouse Outfit ensures their lead is giving a stunning backing.  The songwriting has grown in confidence and stature since their earlies days.  I find with each passing year the band widens their horizons and become more daring and brave.  It is the songwriting confidence and collaborative spirit that ensures that quality control is on the highest order.  I know The Mouse Outfit have released a double-vinyl release (that drew together a lot of their singles) but it would be great to hear a new L.P. next year.  They have plenty of ammunition and arsenal in their locker; seeing that spread across and album would give new listeners an insight into their mindset and future ambitions.

If you look at their SoundCloud account (https://soundcloud.com/themouseoutfit) it is stunning to see how many songs The Mouse Outfit have produced.  One of the most prolific and dependable acts in the U.K., there seems to be no end to their ideas and intentions.  Sit Back featured on Escape Music- the compilation they released in 2013- and is one of the finest tracks they have produced.  A perfect introduction for new listeners, the earliest notes really stand you to attention.  With Truthos Mufasa and Black Josh providing their support, you get some sedate and soul-soothing piano notes in the first instance.  Welcoming you in and teasing the senses; that captivating parable sound sees the beat notch up and the vocal come in.  Early words advise (whether the listener or a particular figure) “smoke dope” and go “watch cartoons”.  That idea of sitting back and chilling is prescient; that need to “slide into your heaven”.  You can picture the scenes and images as those words are elicited.  We will all have an idea of the type of person being ascribed.  Whether we are looking at Truth Mufasa or someone outside the circle, the commitment and urgency in the vocal cannot be overlooked.  You begin to smile as that arresting and captivating voice rides the beat wave and marries with that piano underpinning.  Uniting some Reggae-tinged vocal/vibe with a building beat and it is an opening salvo that will draw in every ear and mind.  Just as you think the song will continue along these lines, the Hip-Hop readiness and testament of Black Josh hoves into view.  Seamless linking together, the song changes its course and accelerates its heart.  We have “one for the mind/two for the money” (whether documenting dope or some other contraband) and there begins a riffling and rolling rap that catches you by surprise.  Making sure you can get your head around the words and idea- well, you may struggle.  Such is the fever and intention laid forth, you have to go with the flow and let the rap take you over.  Our hero has a spiked imagination and is an “extra-terrestrial” creating something daring and huge.  A resident of “M14”; there are dizzying scenes and declarations put to tape.  Filled with doubts and anger, there are so many ideas thrown into the melting point.  From profanity to religion; along to ambitions and the realities of the street, you are drunken by the hypnotic rhythms being put out.  Exhilarating and tornado-speed, it is a parable you go back to and unpick.  Our hero is filled with doubts and anger for sure.  He is separating himself from the crowd and trying to make his way, yet there are fears and stresses plaguing his thoughts.  As the walls start to close and that sense of suffocation reigns, it is the chorus that comes to the rescue.  That drop-smoking and relax-your-mind melting seems like sage advice given the circumstances.  Perhaps not the most medically-advisable solution to the issues at hand; it at least offers restraint and comfort for Black Josh.  The anxiety and passion with which he spits makes the song a sizzling and ballistic assault to the brain.  If the song continued along these lines- and simply extended the rap onwards- it would be tiring and rather overwhelming.  Breaking up the missives with something reflective and chilled and you get a song of contrasts and seamlessness.  It is never unnatural or strange- hearing those disparate sounds and elements come together- and you get a delicious fusion of Reggae and Hip-Hop.  Stating “you won’t know life ‘til you try to escape”, the blissed-out chorus gets a gradual kick-up through the gears.  Not returning to that rapid-fire scat of before; it is an ascent that sees a definite fear.  Looking at pissed and drunken visions- even tales of mermaid-kissing are in there- you feel like you are caught between a dope-fueled hallucination and a gritty insight into modern-day Britain.  There are a lot of street-level concerns and concrete ideologies; ravaged and wracked souls having to retreat from life.  Maybe assessing the population as a whole- people that are wasting their lives or self-destructing- or concentrating on a particular person; you get a real sense of reality and realisation.  It feels as though our man has seen too much and been through a lot.  As the song progresses, you get a drive-by view of fat-fried chicken and late-night drunkenness.  Each new verse offers fresh angst and anger.  Each presentation is salvaged by that reflective and caution-laden chorus.  As it is told- “it goes on and on…”- these realities continue unabated.  Ambulance sirens and pub debacles mix with stunned realisations and personal confessions.

Sit Back is a song that needs repeated listens to take everything in.  Such is the breadth and quality of the tune, you instinctively come back to reexamine and investigate.  That stand-out chorus becomes more relevant and impressive with each new view.  Those heady and head-spinning raps showcase some exceptional talents and lyrical genius.  Something that is not just reserved for lovers of Hip-Hop and Rap, you get a track that can be appreciated by all.  There is a definite funk that mingles with the edgy and straight-talking flows.  Each element works wonderfully together and nothing seems forced or out-of-place.  The production values are exceptional and do not give unsure focus to any aspect of the song.  The composition propels the vocal and gives it a wonderful backing.  Provoking such a sense of adventure and atmosphere; the beats are hot and the piano notes teasing and tender.  It is the songwriting and vocals that impressed me most.  Whether you absorb every word and sentiment- you would need to have listen a few times to pen them all down- it does not matter as it is that flow and energy that captivates the most.  The twin talents of Truthos Mufasa and Black Josh work wonderfully together.  It is almost like a father-son relationship with regards the chorus and verse.  Whilst the verses are heavy and angry; filled with anxieties and concerns, it is that chorus that brings it down to Earth.  Perhaps not the wisest fatherly advice you could hear- smoke some weed and chill- it at least advises relaxation and chance to breathe.  As a newly-bred convert to The Mouse Outfit, I have checked their songs out and that which best assesses their sound and appeal.  Sit Back is a song that is perfect for any season, reason and mood.  It compels the listener to pen their own tunes and write lyrics down (or maybe just me as a songwriter) but at the very least it gets inside the mind and compels something quite wonderful.  If you have not discovered a stand-out song from one of the U.K.’s most urgent and stunning acts, then make this the natural starting-point.

It is an exciting time for new music, in no small part due to acts like The Mouse Outfit.  I have been looking around for artists that are different and unique.  You get a lot of great act coming through, yet few differ from the pack.  I love Rock and Indie bands but find there are too many sound-alikes and a real lack of difference.  It has forced me to expand my horizons and looks at other genres.  Sit Back is a track that has been out for a while, yet shows the Manchester clan at their strongest and most arresting.  At the moment, the guys are performing across the country and conduction interviews/promotion etc.  Having just played Camden’s Jazz Café, they are on a real high.  The following year should see them producing new music and conquering new territory.  I am not sure how much of the world they have seen- when it comes to performing outside the U.K. - because they have a sound and passion that could translate well abroad.  I know finance is an issue that plagues every musician; The Mouse Project could well be future stars across the U.S. and farther afield.  It is vital we embrace and support the best new music out there.  When it comes to this Manchester outfit, the signs are all promising and exciting.  They have been performing for years and produced a string of dazzling and unforgettable moments- you feel their finest times are still ahead of them.  Before I finish up, I wanted to circle back to my original thesis: with regards Manchester, Hip-Hop/Reggae and new music at the moment.  Inventiveness and originality is something that is much-needed and lacking.  Aside from the originals and ambitious acts there are far too many that do not stick in the imagination.  Those that dip deeper and are braver get the biggest acclaim and remain in the mind.  The genres of Hip-Hop, Rap and Reggae are still genres that tend to be niche and under-appreciated.  Go into any music store and you have a proliferation of Rock and Pop- few aisle inches are dedicated to other styles of music.  Mainstream radio still strays away from going beyond safe and comforting borders.  With the likes of B.B.C. Radio 6 and others embracing the best of the underground, it is high-time other stations and outlets follow suit.  Music should be celebrated and promoted to the masses if it possesses quality and potential.  Too many stations are obsessed with what is mainstream and marketable: Music that rules the charts is not indicative of wider tastes and needs.  If you listen to The Mouse Outfit; they are an act that do not push people away and want to stay in a corner.  Embracing and pioneering, their music brings people into their dazzling and scintillating world.  The fast-flowing Raps fuse with jagged and pummeling beats.  The sun-drenched Reggae vibes unite with some Hip-Hop attitude to create music that defies expectations and easy labelling.  I know a lot of Ska and Reggae outfits that mix in elements of Hip-Hop and Rap yet none with the degree of success and wonderment of The Mouse Outfit.  Manchester is showcasing some wonderful musicians at the moment; it is an exciting time to be there and it will be wonderful to see what 2016 produces.  I cannot wait to see what the next year comes up with.  It is likely The Mouse Outfit will be creating a lot more buzz and excitement as we head into 2016.  I am not sure whether a new E.P. or album is imminent; I suspect they will be performing around the country and dropping a few tunes along the way.  It is only left for me to direct you their way and get involved in their multifarious and genre-splicing gems.  If you are a hardcore fan of the genres they play- Hip-Hop, Rap, Reggae etc.- then you will find authenticity and a lot of relatable sounds.  If you are not overly-familiar with the genres- or find the current crop rather off-putting and underwhelming- then you should not let The Mouse Outfit pass you by.  What the band provides is something wholly unique and brand-new.  They expertly cross-pollinate and tie-in genres to create something truly memorable.  For new music to inspire and motivate, we need to embrace artists that do things different and have their own voice.  Musicians with passion, energy and innovation are those that are going to survive and make it to the mainstream.  The Mouse Outfit are one of our finest acts and more people should latch their ears in their direction.  Too often one misses out on some truly wonderful music due to the worst traits of social media- sometimes great acts are not promoted and shared as often as they should.  Make sure you investigate The Mouse Outfit’s music and discover something fresh and alive.  Not just an underground act reserved for niche clubs and avenues they are a band that can…

TAKE the scene by storm.

[youtube https://www.youtube.com/watch?v=kXLPWi1B5DI&w=560&h=315]

_________________________________________________________

Follow The Mouse Outfit:

 

Official:

http://www.themouseoutfit.com/

Facebook:

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

Twitter:

https://twitter.com/themouseoutfit

___________________________________________

Music:

https://soundcloud.com/themouseoutfit

_______________________________________________

Videos:

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

_____________________________________________

Gigs:

https://www.facebook.com/themouseoutfit/?sk=app_178091127385

Feature: The November Playlist (Part One)

FEATURE:

 

The November Playlist (Part One)

 __________________________

THIS coming week I am going to be releasing a three-part feature…

That looks at some of the biggest names to watch.  I am going to be (in following parts) look at some great bands and solo acts; in total there will be around 75 different acts featured.  Today I am kicking things off with some terrific musicians to watch out for in the coming year- and my favourite track of theirs.  In a week that has seen some horror and violent atrocity around the world- in Beirut, Baghdad and Paris- and some unity and music distraction is much-needed.

Ellene Masri

 

[soundcloud url="https://api.soundcloud.com/tracks/229966400" 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 Ellene Masri:

Official:

http://www.ellenemasri.com/

Facebook:

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

Elena Ramona

 

[soundcloud url="https://api.soundcloud.com/tracks/206080437" 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 Elena Ramona:

Facebook:

https://www.facebook.com/Elena-Ramona-323928237668916/?fref=ts

Twitter:

https://twitter.com/elenaramona90

Yearbook

[soundcloud url="https://api.soundcloud.com/tracks/137768820" 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 Yearbook:

Official:

http://yearbookoldbones.co.uk/

Facebook:

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

NINA

[youtube https://www.youtube.com/watch?v=uJseFSFi3hg&w=560&h=315]

Follow NINA:

Official:

http://www.ninasounduk.com/

Facebook:

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

Jo Kelsey and Niels Bakx

[youtube https://www.youtube.com/watch?v=SxakzgJw2uY&w=560&h=315] 

Follow Jo Kelsey and Niels Bakx:

Facebook:

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

Twitter:

https://twitter.com/jokelseylalala

Vinyl Staircase

 

[soundcloud url="https://api.soundcloud.com/tracks/227678622" 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 Vinyl Staircase:

Official:

http://vinylstaircase.co.uk/

Facebook:

https://www.facebook.com/Vinyl.Staircase/ 

Chess Galea

[soundcloud url="https://api.soundcloud.com/tracks/195653597" 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 Chess Galea:

Official:

http://www.chessgalea.com/

Facebook:

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

Braver than Fiction

[soundcloud url="https://api.soundcloud.com/tracks/200950870" 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 Braver than Fiction:

Official:

http://www.braverthanfiction.com/

Facebook:

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

Dana Mckeon

 

[bandcamp width=100% height=120 album=204923027 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small track=3732555366]

Follow Dana Mckeon:

Official:

http://www.danamckeon.com/

Facebook:

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

Jingo

[soundcloud url="https://api.soundcloud.com/tracks/225501024" 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 Jingo: 

Facebook:

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

Twitter:

https://twitter.com/JingoMusic

Ina Reni

 

[soundcloud url="https://api.soundcloud.com/tracks/206355654" 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 Ina Reni:

Official:

http://inareninow.com/

Facebook:

https://www.facebook.com/ina.reni/?fref=ts

Lucas

[soundcloud url="https://api.soundcloud.com/tracks/156705961" 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 Lucas:

Facebook:

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

Twitter:

https://twitter.com/lucasmusicuk

Billie Marten

[youtube https://www.youtube.com/watch?v=KvH4EnCvdfE&w=560&h=315]

 Follow Billie Martin:

Official:

http://www.billiemarten.com/

Facebook:

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

Jasper in the Company of Others

[youtube https://www.youtube.com/watch?v=-zCSEVFw_1I&w=560&h=315]

  Follow Jasper in the Company of Others:

Facebook:

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

Twitter:

https://twitter.com/JasperITCOO

Marisa Rodriguez

[soundcloud url="https://api.soundcloud.com/tracks/198477194" 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 Marisa Rodriguez:

Facebook:

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

Twitter:

https://twitter.com/marisasingsalot

Gold Phoenix

[soundcloud url="https://api.soundcloud.com/tracks/183110381" 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 Gold Phoenix:

Official:

http://www.goldphoenixband.com/

Facebook:

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

Lauren Housley

[soundcloud url="https://api.soundcloud.com/tracks/213790879" 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 Lauren Housley:

Official:

http://laurenhousley.co.uk/

Facebook:

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

Meat Loving Vegans

[soundcloud url="https://api.soundcloud.com/tracks/224539617" 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 Meat Loving Vegans:

Official:

http://www.meatlovingvegans.com/

Facebook:

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

Elizabeth Ajao

[soundcloud url="https://api.soundcloud.com/tracks/55315731" 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 Elizabeth Ajao

Official:

http://www.elizabethajao.com/

Facebook:

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

The Updraft Imperative

[soundcloud url="https://api.soundcloud.com/tracks/162956080" 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 The Updraft Imperative:

Official:

http://www.theupdraftimperative.com/

Facebook:

https://www.facebook.com/theupdraftimperative/?fref=ts&ref=br_tf 

ADI

[soundcloud url="https://api.soundcloud.com/tracks/225026336" 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 ADI:

Official:

http://adiulmansky.com/

Facebook:

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

Fola

 

[soundcloud url="https://api.soundcloud.com/tracks/225870743" 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 Fola:

Official:

http://www.officialfola.com/

Facebook:

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

Manda

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

 Follow Manda:

Official:

http://mandaofficial.com/

Facebook:

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

Rouge United

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

Follow Rouge United:

Official:

http://www.rougeunited.com/

Facebook:

http://www.rougeunited.com/

Jen Armstrong

[soundcloud url="https://api.soundcloud.com/tracks/227497300" 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 Jen Armstrong:

Official:

http://jenarmstrong.tv/official/Home.html

Facebook:

https://www.facebook.com/jenarmstrongm sic/?fref=ts

The Mouse Outfit

[youtube https://www.youtube.com/watch?v=xiir1qs7qqE&w=560&h=315]

Follow The Mouse Outfit:

Official:

http://www.themouseoutfit.com/

Facebook:

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

Track Review: Meat Loving Vegans- Bad Move, Stanley

TRACK REVIEW:

 

Meat Loving Vegans

 

Bad Move, Stanley

9.6/10.0

Bad Move, Stanley is available at:

https://soundcloud.com/meatlovingvegans/bad-move-stanley

GENRES: Alternative-Rock

ORIGIN:

London, U.K.

The album Lost in Fiction is available at:

http://www.meatlovingvegans.com/#!lost-in-fiction/citr

TRACK LISTING:

Bad Move, Stanley- 9.6

Plasticine Dreams- 9.5

The Ballad of Gosport- 9.5

YOU- 9.5

Darlin’- 9.5

Why?- 9.5

Daniella- 9.6

You Ain’t No Dog- 9.6

Together We Stand- 9.5

Goodbye Granda- 9.6

DOWNLOAD:

Bad Move, Stanley; Daniella; You Ain’t No Dog; Goodbye Granda

STANDOUT TRACK:

Bad Move, Stanley

Lost In Fiction is the debut album by London formed band Meat Loving Vegans. Recorded mostly in frontman Dex's bedsit in Lewisham, South London, as well as Lounge Studios in Acton and mates houses in London, Woking and Gosport, Hampshire. FANX.

www.meatlovingvegans.com

Released September 19, 2015 © 2015 JSA Records.

Credits:

All songs written by Dexter Krenal except 'You Ain't No Dog' written by Dexter Krenal and Ben Toon.

Dex - Lead Vocals, Backing Vocals, Guitar, Bass, Drums, Synths, Percussion, Arrangements, Production, Mixing & Mastering. Clayton Saunders: Backing vocals on track 3. Maxine Stowe: Backing vocals on track 3. James Quinn: Keyboards on tracks 1, 2, 3, 4, 5, 8 & 9. Dario Corsetti: Tambourine on track 9. Corinne Thomas: Backing Vocals on tracks 5, 9 & 10. Charlotte Hodgson: Backing Vocals on track 10 & Viola on track 7. Ryan Jones: Backing Vocals on track 9. Vika Juganzon: Backing Vocals on track 9. Mathieu Robert: Bass on tracks 4, 5, 7, 8 & 9. Josh Haynes: Cello on track 9. Xav Mingus: Backing Vocals on track 10. Hann Clef: Trumpet on track 10. Alice Bradley: Artwork.

Released by:

JSA Records

Release date:

   19 September 2015

____________________________________

FOR the past few days I have been concentrating on…

some rather eclectic sounds and something quite different.  Taking me all over the place, it has been great to hear what the music world is offering now.  Few can deny the range of music available at the moment, yet it is hard to get a real handle on it and discover all the great acts out there.  My featured act are one of the most distinct bands coming out of the U.K. at the moment and offer something quirky and eccentric into their Rock and Alternative motifs.  It would be hard to compare them with any other act which raises a few issues: concerning uniqueness of sound, London bands and making a sound that counts.  Music is at its very best when the artists involved go the extra distance and separate themselves from their peers.  I have bemoaned the lack of originality some artists produce; always depressing to hear, it puts you off investigating that act further.  With so much variation and possibility available, why would you want to sound like any other act out there?  I can see the temptation of embracing your icons and dedicating your music to them to an extent.  When you mimic another act then you are only going to gain a certain amount of respect and fan-base.  It is those artists that stand firm and think outside the box that are going to remain in the memory the longest.  It is hard to be truly original- a sad fact that is becoming more evident- yet it is paramount in a music world where there are dozens of acts emerging by the week.  My featured band have taken that on board and made great strides separating themselves from the pack.  That inimitable and odd sound has a strange beauty and a definite heritage to it.  Recalling Punk and Rock legends, you will struggle to bring a particular name to mind.  Before I continue on my point let me introduce my featured act:

“Meat Loving Vegans are quirky alternative rockers from London formed in May 2015. Eccentric rough-around-the-edges vocalist, guitarist, songwriter and producer Dex fronts the band, and keyboard virtuoso James, madman genius composer Matt hammers the bass and insanely artistic drummer Sam complete the infectious line-up.

The band’s debut album Lost In Fiction was made over 4 months in 2015, and released 19th September 2015 on the band's own label JSA Records. Lost In Fiction was mostly written, recorded and produced by Dex in his bedsit in South-East London, Lounge Studios in West London, a garage studio in Woking and other generous folk’s houses in London and Gosport, Hampshire.

Inspired by the front man’s colour blindness, the image is bright, colourful, clashing and striking, with a power house sound that matches the look. When you go to a Meat Loving Vegans gig or listen to a recording, prepare for in your face, engaging, and genuine tales of English council estate life and debauchery, to heart breaking send offs, sandpapered love songs, and everything in between.

Although the songs are based on rough subjects, ultimately they stand for pulling together with those that matter to make the most out of what you’ve got. Even if it's not a lot”.

London is holding a lot of great bands at the moment and it is always great to hear an act so unique.  When you consider how many musicians are coming through at the moment (in London) it is challenging filtering them down to the very best.  Being a fan of Los and the Deadlines and a few other London stunners, I am always keen to add to the portfolio.  When encountering Meat Loving Vegans they strike me as an act that is not concerned with following others or fitting into any moulds at all.  There is so much lyrical and thematic variation in their sound they are restless and never sit still.  The subject matter ranges from social issues to love without stopping for breath.  When you listen to the vocals and instrumentation it is clear these boys mean business.  There is an urgency and passion I have not heard in a while; a real drive and sense of attack.  When it comes to producing harder and heavier sounds a lot of contemporaries do not consider emotion and atmosphere.  Too concerned with filling quotas and trying to fit into expectations, so many bands negate the importance of sonic depth and invention.  Meat Loving Vegans’ sounds are meaty and raw; they are vibrant and rugged.  Whilst no two songs sound the same, there is so much variation and colour to be discovered.  Their Lost in Fiction album is testament to the band’s range and talent.  A record packed full of tantilising offerings and fast-paced gems they are emerging as one of the country’s most promising bands.  When it comes to 2016 and seeing which acts are worth following, you can be sure eyes will be trained to Meat Loving Vegans.  Although their social media numbers are on the rise, they are one of these bands that will get true recognition in time.  The artists that show originality and something unusual are those that are going to stand the test of time.  Too many modern bands and acts lack diversity and a unique voice; the likes of Meat Loving Vegans are given the scene a much-needed injection of quality.

I chose to focus on Bad Move, Stanley as it’s the album’s lead-off track and the first experience of Lost in Fiction.  The song begins with bubbling and computer game-like electronic pips that go into meaningful and pioneering guitars.  That combination is quite a dizzying and nice touch that gets you invested straight away.  Just as you guess where the song is headed you get a rampant and Blues-inspired guitar pattern that takes it in a new direction.  Graveled and masculine, the notes strike through the speakers and give the song some emotional punch and urgency.  When our lead arrives at the microphone, his voice is filled with sarcasm-cum-direction as he is laying-into the central figure.  Stanley is letting people dictate his life and is “bank account friendly”.  Perhaps too soft and naïve for the world, it seems people are stomping him and getting into his business.  The “vampires” of life are creeping into his life and making him a different person.  A song that implores (the hero) to toughen and change his ways, you cannot help but sympathise for the lead.  With odd phrasing like “sonic letter” it is a song that mixes real-life with something more oblique and strange.  In the initial stages the vocal pace and sound remains static in its charge and delineation.  Backed by a propulsive and gravitational guitar pulls, the percussion and bass guide the song and create something harsh and dangerous.  As you go inside the band’s world- and what they are imagining- you get another shift in dynamics.  Moving away from the straight-ahead Punk attack of before; you get something more open and breezy.  As the chorus comes into life, important questions and concerns are asked.  Our man asks when serenity will come to him.  Tired of living off a “can of beans” it seems life is kicking him in the shorts.  Having just ascribed Stanley and his inability to make his way in life and you start to dig inside the lyrics.  Perhaps putting themselves in the mould of Stanley- the first-persona native of the chorus seems to be about Stanley rather than our frontman- the band asks when Stanley will man-up and take charge.  It is a track that does not judge or put the boot in; it implores the hero to rebel against the forces and struggle and find bravery and guts.  With a little bit of Blur in the vocals- and the merry swing of the chorus- and you get some British sensibilities and a semblance of the ‘90s.  Catchy and compelling, you are powerless to resist the lure and charm the song has.  After the diversion into open Pop and rousing vocals, the song goes back to its constricted and rushing sound.  Turning a 180-degree skid we are back into Punk territory as our lead is assessing the song’s subject.  Stanley needs to speak up and “grow some balls” it seems.  Perhaps lacking quite as much empathy as one would hope, the song looks to make changes for the better.  The anti-hero is being trodden on and dictated so the words are designed to bring about change.  Tired of Stanley being eclipsed and silenced, our lead’s voice is replete with meaning and passion.  His words are there to be heard and understood as the band whip a storm behind him.  That circling and rousing compositional sound adds meaning, focus and menace to proceedings- the song gets harder and heavier by the second.  As the emotions start to rise and swell, you have to wonder whether the song’s central figure will change his ways.  The architect of his own downfall, Stanley is being led down a bad road it seems.  As the lyrics end and the music takes charge you start to root for the hero.  It is quite sad to see someone being dictated and controlled; especially so here as the suffocation and potency grows as the song develops.  Whether it is a group of people (controlling Stanley) or society in general you get a real sense of dread and concern.  In the final moments, the opening lines are reintroduced and a final chance to hear the band stick it to Stanley.

Rich with musical invention and depth you have a song that shows how good Meat Loving Vegans are.  That Punk-styled vocal is direct and compelling throughout.  The entire band is in-step and tight from the beginning to end and Bad, Move Stanley is the highlight from Lost in Fiction.  The lyrics are filled with wit and venom; motivation and kick to inspire change in the hero.  A subject and scene we can all relate to, there is a sense of poignancy and patheticness to the subject.  A man (Stanley) being trodden-on and dictated, you cannot help but feel sorry for him.  The band ensure Stanley gets the message and tries to change his ways as the sonic assault rarely lets up.  Never predictable and one-dimensional, the composition switches from focused Punk to something richer and more colourful (in the chorus).  Reminding me of the likes of Blur, Sex Pistols and The Clash and you have something quintessentially British with a universal skin.  Tremendous and raw production allows the song to electioneer with full force and it is a track that will prompt you to come back and reinvestigate.  The lead-off and stand-out from Lost in Fiction, you cannot ignore the quality of Bad Move, Stanley.  With so many British bands suffering lack of inspiration and direction, it is wonderful to hear an act vibrant and original.  Plenty of nuance and depth can be heard and it will appeal to a wide range of music fans.  A song to blow away autumn cobwebs, make sure you check this gem out.

Being a new listener to Meat Loving Vegans I am pleased to hear a band that dares to be a little different.  They are not a divisive and ‘quirky’ band in a bad way at all.  What the guys do is stand apart with regards their sound but have a ubiquitousness and familiarity too.  Uniting the classic sounds of Punk and Rock, the compositions will strike an ear with those that really love their music.  With subject matter address key social issues and universal love, the band has a wide and striking palette.  I opened by stating how originality is waning and how few bands are going that extra mile.  Perhaps concerned with getting to mainstream level- and copycatting their idols to achieve this- the marketing strategy of artists is a little baffling.  The best way to gain long-term success is not to replicate the sound of (already established) acts but go the other way and do something new.  It is hard to be completely unique- given the sheer mass of other acts and how surprise is harder to achieve- but it doesn’t take a lot to stand aside from the crowd.  What Meat Loving Vegans do is synthesise bygone bliss with something very modern and relevant.  Their raw and passionate aesthetic boasts some determined and urgent vocals; compositions that pack nuance and emotion, yet never make proceedings too downbeat or unexciting.  Every track and moment resonates with strength and force; that crucial ingredient that gets the listener involved and motivated.  The capital is showcasing some of the country’s best and brightest bands, so it is no surprise to hear another (great one) come through.  Lost in Fiction is a collection of songs designed for the youth of today.  Tapping-into a rich vein of conscientiousness and awareness, the boys should be very proud of their achievement.  It is not often you get a band that balks ‘tradition’ and distinguishes themselves so.  I have heard enough acts that put me in mind of others and simply do what everyone else does.  Those that take the time to think of something personal and original are always the best to follow.  It is just left for me to assess the band’s future and give a small assessment of the album.  It is no lie to say the band will be ones to watch as we go into 2016.  Although they do not have a huge army of social media acolytes yet; this will change given time.  They are quite a new act and are still spreading the gospel across the Internet.

   Plasticine Dreams is a catchy and upbeat stomper that has some elements of The Clash and Blur in its sound and vocal flair.  One of the album’s more strained and melodic efforts, it is a distinctly British sound.  Looking at a man that leaves a fight with a “cut-up eyebrow” and a girl rebelling against her parents, we get mini-scenes from modern life.  The lyrics have an oddity and peculiarity but strangely they resonate with familiarity and reality.  From questions about life in space to dancefloor mellays, the song scans across the horizons and introduces us to some wonderfully engaging scenes and figures.  That central sound puts me in mind of Modern Life is Rubbish-era Blur and The Clash’s debut album.  One of the album’s highlights, it is a song that is hard to ignore.

   The Ballad of Gosport has some Dylan-esque harmonica amidst a serene and romantic sound that gets you hooked and seduced.  With our lead offering that distinct and accentuated vocal, you have a song that looks at the misery and boredom of Gosport.  Being from a town and area that I hate (shall not mention it) I can relate to the song’s core and themes.  Few bands really tackle home-town/local boredom with such humour and verve.   Combining underpinnings of Punk with Pop and Indie sensibilities it shows a different side to the band.  The guys always showcase humour and wit in their song; this number seems to be one of the most urgent and personal.  You can hear that fatigue and dissatisfaction of the “dodgy market stalls”.  The people on the dole are crowding the doorways and the people seem dead-eyed and lifeless.  Whether the Gosporters (if that is the collective noun for them) agree or not, it has made me curious (as to what the area is like).  A song that sticks in the mind long after it has finished, Meat Loving Vegans leave you with a smile for sure!

You starts with some bubbling bass before mutating with blissed-out and buzzed guitar.  The vocal is distorted and buzzing as we look at a central figure- the ‘you’ of the song.  A martyr for their cause and a real self-flagellating figure, the person is in danger of alienating themselves.  I get the impression the band are addressing a mutual contact as you cannot deny the conviction and menace in the voice.  The song never relents its determined down-dressing and warning.  Should they not heed this advice (the subject) is going to burn bridges and end up alone.  We all know someone that flails against common sense and logic.  The song has a great bounce and addictiveness to it that means you will go back and witness the song with new vigour.  Catchy and vigorous, it is one of the album’s shorter numbers; it never seems to escape the mind.  That stunning and meaningful lead vocal is impassioned and strong; the composition ducks and dives with purpose.  A beautifully British Punk excursion, you are hooked by the intergalactic strings and bursts of life.

Darlin’ is a calm and romantic thing to begin with.  A passionate and heartfelt song; it showcases the earnest and purity of our lead’s voice.  Laying his thoughts on the line, it is an upbeat and wonderful song that sees the band at their breezy and urgent best.  That punching and pressing beat drives the song and gives it a real heart and soul.  The song soon develops into something a little frayed and wracked as the couple begins to squabble.  Harking to better days- and when they were at their happiest- the love has turned a little sour.  Protesting for peace and common ground, our man wants to rekindle that spark and unity.

Why? begins with some yearning and languid strings that creates a woozy and romantic setting.  Showing some Alternative/Indie shades, it is a teasing and tender thing that soon builds upwards.  Imbued with Funk and Soul leanings, it flourishes and expands as the seconds tick.  A punctuation point for the album, it is a great instrumental that showcases how diverse and stunning the band.  Bringing in some cosmic and quirky electronics- together with a busy and restless beat- and the song keeps expanding and campaigning.  So much colour and life is brought in without a word being song.  You can imagine your own scenes and fill in the gaps.  Vivid projections and ideas come in and you can paint your own picture.  One of the album’s most impressive outings, it sees the band step away from the microphone and demonstrate what intelligent and tight musicians they are.

Daniella gets off to a woozy and scratchy start.  Hazy riffs then mutate into something melodic and upbeat.  The percussion and merry vibes spar with that head-hurting wooze that leads to our frontman’s vocal.  The song looks at a hero trying to write a love song (for Daniella you’d imagine).  Our frontman has ruined it and sabotaged the effort it seems.  The soon-to-couple are being put under the microscope.  Whether a former love of our hero, he is laying down some home truths.  With her new fella, their idea of romance is getting “high in Camden town”.  The two are embarking on an unwise romance that will obviously end quite badly.  The song’s heroine is not someone that would score most love songs; she seems to be one of life’s less attractive and appealing humans.  Our hero pisses over their bonfire and offer that wit and humour you expect from the band.  Whether the new couple ended up happily- you’d imagine not really- you are gripped by the story.  One of the album’s most full and brilliant compositions, the musicianship and sound is incredible.

You Ain’t No Dog kicks off with a primal and heavy slam.  The guitars are tormented and menacing from the outset.  One of the album’s heaviest and most concrete songs, the guitars chug and fight their way through.  Our lead’s voice is at its most spiked and political.  Asking us- and the people in general- if they are a “valued human being” there is a definite campaign at work here.  Are we valued and looked-after by our government?  Recalling the sound of Sex Pistols and their Punk snarl you get some gloriously additive strings and riffs.  Catchy and head-spinning it is a song that never relents it grasp.  Not a dog that should be kicked or overlooked, it is a track that rebels against suffocation and inequality.  Fight against societal ills and stresses; rally against the horrors of government and imbalance.  One of the best things about the song- aside from the chugging guitars and determined vocals- is that central message.  Showing another side to their songwriting; we have gone from love and ill-advised relationships to something modern-Britain and political.

Together We Stand gets off the ground with romance and tenderness.  That harmonica and serene string work leads to an aching and passionate central vocal.  The song looks at those that feel stuck and being empty.  If there is no one to catch you while you fall; we are all standing in this together.  One of the album’s purest and most tender offerings, you cannot help but be swept along.  You can hear that love and urgency in the vocal as our man puts his heart on his sleeve.  Whether addressing a particular friend, he is sending out positive vibes and inspirational messages.  Without cynicism and irony it is a track that compels you to sign along in unite.  Showing how much soul the band has, it is a nice contrast from their most angered and edgier numbers.

The album finishes with Goodbye Granda.  One of the longest and more widespread tracks on the album, it begins with an atmospheric and cinematic introduction.  Washing waves and the call of the sea; we evolve into some romantic strings and something quite soothing.  Mixing elements of Funk and Indie into the agenda, it is another pure song that lays its emotions on the line.  Perhaps another dear friend and comrade; our hero puts his voice into the fray with a heartfelt and direct plea.  Mixing wordless vocals with some of the band’s most emotive lyrics (“Can’t we have more time?”) and you  get a sad and reflective end to the album.  Like Blur’s This Is a Low, it is a sweeping and memorable number that addresses something quite haunting.  In the midst of remembrance and longing, you get plenty of energy and fantastic music.  Granda is being given a fitting send-off as the song mixes spoken vocals and some enflamed and passionate highs.  The band brings in some aching and choir-like backing vocals to bring the album to a terrific and wonderful close.

With a name like Meat Loving Vegans it is no shock the band is contradictory and diverse.  The album does not just rest on pure Punk and force.  From the scintillating opening to the passionate and emotional closing coda; you get a wealth of music diversions and colour.  Pop and Funk go into Soul and Indie.  It is a restless album that never suffers inconsistency and weakness.  Every track stays in the mind and compels you to come back for more.  One of the finest albums I have heard this year, the London boys deserve a much larger fan-base.  Given recent news in Paris- with regards the terrorist attacks and atrocities- we need to embrace something hopeful and positive.  Lost in Fiction has taken my mind somewhere safer and given me a chance to appreciate one of our finest bands out there.  Few can deny how dedicated and direct the band are throughout the album; the songwriting is so strong and focused at every turn.  It is not just the compositions that stick in the mind but everything about the music.  The lyrics mix wit and purity with something oblique and strange.  The vocal work is direct and impressive throughout and the band has such a connection and tightness to them.  If you have not heard Meat Loving Vegans I cannot recommend them highly enough.  An act (and album) you need to hear; make the day better and brighter and discover…

ONE of the U.K.’s finest young acts.

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Follow Meat Loving Vegans:

 

Official:

http://www.meatlovingvegans.com/

Facebook:

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

Twitter:

https://twitter.com/meatlovinvegans

Instagram:

https://instagram.com/meatlovingvegans/

Bandcamp:

https://meatlovingvegans.bandcamp.com/

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Music:

https://soundcloud.com/meatlovingvegans

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Videos:

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

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Gigs:

http://www.meatlovingvegans.com/#!tour/c1677

This Week's Albums: November 13th, 2015

This Week’s Albums

 

November 13^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:  Midnight Oil- Diesel and Dust (1987)

 

8.5/10

I am violating my rules with regards ‘old albums somewhat- as this is not a pre-1985 release- but Midnight Oil’s sixth album saw the Australians create their finest work.  An album that was a concept based around the struggles of Aborigines, tracks like Beds are Burning are stunningly powerful and evocative.  Regarded as one of the best Australian-made albums ever- and one of the 1980s' finest creations- Diesel and Dust is a calling-to-arms and a campaign for change.  Amidst the powerful politically-led numbers such as Beds are Burning mingle with passionate cuts  Dreamworld and The Dead Heart.  Front-man Peter Garrett is at his most essential on an album that differed from previous Midnight Oil work.  Whereas previous albums were harder-edged and esoteric; Diesel and Dust is more universal and varied in its ambitions.  An album that matched left-wing messages with a populist sound and nuance; few bands and albums have achieved as much.  The band insisted royalties from the album went to the indigenous Aborigines.  If you have not investigated this truly remarkable album that ensure you check it out.  Far from sounding dated or insignificant, it is a creation that grows more impressive and startling with age.

DOWNLOAD: Beds are Burning; Dreamworld; The Dead Heart

STAND-OUT TRACK: Beds are Burning

[youtube https://www.youtube.com/watch?v=jpkGvk1rQBI&w=420&h=315]

The New: Boots- AQUARIA (Released Today)

 

8.0/10

Boots’ Jordy Asher is a former New York nightclub D.J. who has been performing for two-and-a-half years now.  AQUARIA is a success because of its collaborative spirit as opposed to Asher’s unique talents.  Whilst a terrific writer and talent, his vocal is a little limited; this is evident at various stages but never a major drawback.  The Angel Deradoorian-backed title track boasts the immortal line “Don’t cross the river with an alligator underneath your knees” and is one of the album’s highlights.  Elsewhere, the subject matter shows a different shade of black on Only- complete with funereal beats and eulogistic piano lines.  The music never sounds suppressive and dictatorial in its darkness: It is a suffocating world for sure, yet one that shows beautiful chinks of light and plenty of heartfelt passion.  Having produced and moulded Beyoncé’s fifth album- and created a narrative and fairytale-like gem- Asher is no stranger to atmosphere and quality control.  With barely a weak track on AQUARIA you get ghostly vocals (Brooklyn Gamma) and introspective beauty (Only); romantic bleakness (Bombs Away) and C.U.R.E.’s insistence that there’s “cash in the rat trap”.  Whilst lacking a certain depth and variation of ideas it is an album that shows a step forward for Jordy Asher.  Definitely recommended.

DOWNLOAD: Brooklyn Gamma; AQUARIA; Only

STAND-OUT TRACK: Only

[youtube https://www.youtube.com/watch?v=Zyub98JdwVw&w=560&h=315]

The Influencer:  Dizzee Rascal- Boy in da Corner (2003)

10/10

Exploding onto the scene in 2003, this Mercury prize-winning album is a remarkable feat indeed (considering Dizzee was 17 when the album was released).  Tireless, staggeringly inventive and packed full of ideas, quirks and power; it is an album that has not been topped in its sense of scope and ambitions.  The maturity on the album is stunning to behold.  Worrying about growing up and peers’ lack of maturity; Dizzee Rascal tackles the issues with a real dignity and strength.  Like a weaving boxer, the phrasing juts and ducks; the beats are always intoxicating and perfectly articulate the danger and flair of the streets.  Highlighting the irrationality of youth and the mechanics of modern-day society, Boy in da Corner’s moist dizzying moments- Brand New Day and Jus’ a Rascal especially- you get that mix of emotional outpour and hard-hitting truths.  The dense production and scattershot beats recall the likes of Bomb Squad whilst Dizzee’s East London delivery could derive from nobody else.  If you do not choke back a tear during Do It!’s mortality-and-me seduce- “If I had the guts to end it all, believe -- I would”- then you may be technically dead.  Not since The Bends has an album that deals with so much emotion ended with such a redemptive and hopeful line- Do It! closes with “You can do anything”.  One of the decade’s most influential Rap albums, it shook up the (relatively tame) scene and forced contemporaries to up their game and behold a rare genius.

DOWNLOAD: Brand New Day; Jus’ a Rascal; Do It!

STAND-OUT TRACK: Do It!

[youtube https://www.youtube.com/watch?v=XK284fbhZ6o&w=560&h=315]

The ‘Other One’: Suede- Dog Man Star (1994)

 

10/10

Few critics would have expected Suede to top their 1993 self-titled album.  Dog Man Star not only surpassed that album; it ranks as one of music’s all-time best.  Released in the midst of ‘Britpop’ the album eschews its virtues and introduced a wide array of influences and subjects.  With its grand, orchestral sweeps and theatrical gestures, the album shook-up the face of 1990s guitar music.  Messy at times; the inimitable guitar notes of Bernard Butler- he and Brett Anderson were at loggerheads during the recording- see The Power and Still Life packed with classic-Suede musicianship.  From This Hollywood Life’s grit-and-grab to The Wild Ones’ gorgeous balladry and you have an album that fully deserved its accolades.  Typically swooning, tragic and romantic, Suede created their chef-d'œuvre.  For an album plagued with strife- Anderson’s drug battles and Butler walking out before completion- it is remarkable the album is so lucid and consistent.  Dazed and dreamy, it matches Rumours in a sense (an album saw band squabbles result in a work of pure wonder).  Not just a relic of ‘90s bliss, it is an album that is influencing and enforcing modern-day guitar Rock ‘n’ Roll.  In the words of the immortal The Wild Ones: “We'll be the wild ones, running with the dogs today”.

DOWNLOAD: We Are the Pigs; The Wild Ones; This Hollywood Life

STAND-OUT TRACK: The Wild Ones

[youtube https://www.youtube.com/watch?v=zJYbovI6abc&w=420&h=315]

Track Review: Pixel Fix- I Want You the Same

TRACK REVIEW:

 

Pixel Fix

 

 I Want You the Same

9.4/10.0

I Want You the Same is available at:

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

RELEASED: 4^th November, 2015

GENRES: Alternative; Indie

ORIGIN:

Oxford, U.K.

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THE topics of musical depth, bands and innovation are on my mind at the moment…

as I witness a great new band.  Before I get to Oxford’s Pixel Fix, I have been looking at the detail and consideration artists put into music.  Looking around some of the mainstream new releases and there isn’t really as much depth and invention as one would hope.  Every time I check the press and online music sites- when they review a new release- there always seems to be something missing.  Maybe the songs are relatable and impressive enough but the consistency isn’t there.  Perhaps the compositions are interesting and varied but the vocals are lacking that kick and originality.   Very seldom do you find an album or artist put forward that has ticked every box and is firing on all cylinders.  I guess it is hard to please everyone- with tastes being subjective and all- but too few are putting the time into their music to ensure it is as good as possible.  With music being high-pressured and challenging there is that tendency to get your music and name out there as soon as you can- through fear you’ll be overlooked and overtaken if you take too long.  I raise this because my featured act seems to be the definition of ‘cool’ and ‘considered’.  You cannot accuse their music of lacking thought and detail.  There are so many artists around that produce music that goes in one ear and quickly exits the other.  The modern music consumer demands something with memory and staying power.  Too many temporary and flimsy songs are being put forward and it is getting a little tiresome.  This brings me to the band market who seem to be most culpable when it comes to my point.  There is a lot of demand from Alternative and Indie bands that can produce something anthemic and filled with great riffs.  A lot of music fans are casting their eye for the tried-and-tested ‘typical band sound’ which is causing a bit of an issue at the moment.  It has been many years since I’ve come across a new band (in the mainstream) who have really excited me and stuck in the mind.  Perhaps Royal Blood are an exception yet too many bands are getting stuck in a rut and playing the same old tired sound.  There is only so much inventiveness and surprise that can be issued from the stadium-seeking ambitions.  It is the bands willing to be more original and daring that impress me the most.  As with a lot of the best music, it is the underground and under-the-radar acts that are doing the best work.  Pixel Fix are traditional and standard in a lot of ways.  Their line-up looks like this:

Marcus (vocals, guitar), Clem (lead guitar), Rob (drums), Jarred (bass)

A southern band with four members and a standard guitar-vocal-bass-drum formation may not seem like unusual, yet this band do things differently.  Their ‘Soulwave’ sounds have more in common with R&B artists such as The Weeknd than they do Foo Fighters.  The Canadian singer- and his beautifully crafted music has compelled a lot of British acts to try the same sort of sound.  Although the Oxford boys have the look of a normal and everyday band, they go that step further to craft and hone their music; make something packed with little touches and layered.  That is not to say the music is a laptop-processed drone that lacks soul and bite.  Far from it, as their sounds have pricked the ears of critics and fans alike.  Other bands who have attempted the same sort of Weeknd-inspired music have succumbed to the worst instincts of expectation and laziness by betraying their ideals.  They have essentially packed their laptops and decadent motifs away for something lazy and guitar-driven.  I know it is hard to maintain a very unique sound and make every release sound original and progressive.  That is not to say you should just give in and get the amps out.  The scene has too many bands that can fill stadiums and rock-out but we need more artists such as Pixel Fix.  I hope the Oxford band do not capitulate and try to fit into Indie moulds as their blissed-out and becalmed creations are among the most inventive and original on the current scene.  The boys have been playing for a while now and have produced a number of E.P.s and songs.  Not much is known of the band- they keep their social media pages bereft of personal insight and biography- but the music certainly gives plenty of detail and information.  As 2015 starts to cool its engines and come to a close, we are all looking to the coming year and which bands to follow.  Having become slightly bored and uninspired by mainstream bands, I am basing expectations around the best the underground can provide.  Whilst Pixel Fix’s compositions and songbooks may sound transatlantic and foreign, their vocals are firmly based in the U.K.  It is that cross-pollination and blend that has seen so many people flock to their shores.  The boys are playing London in December- and have just done a session for Sofar Sounds- in support of their new track I Want You the Same.  Following from their triumphant and successful E.P.s the boys are ensuring they are going to be one of 2016’s biggest names to watch.

To get a complete picture of the band, it is worth looking back and seeing how far they have really come.  Rosa was released in 2013 and begins with atmospheric and intriguing electronics.  A bubbling and murky beauty mixes with something strange and haunted.  Growing in intensity, the processed beats clap and vibrate.  Whilst the vocals may be hard to decipher at times- there is an issue with intelligibility- the composition is vibrant and fascinating throughout.  Trading R&B seductiveness with something edgy and hard-hitting, the song changes skin and course to create something wonderfully rich and exciting.  Building and exploding towards the latter stages, it manages to mix Indie/Alternative anthemics with more detailed and intelligent electronic sounds.

The E.P. Fall was unveiled last year and its title track kicks off proceedings.  Another muddy and swooning introduction, it sees wordless and distorted vocals snatches jabber and echo with peculiarity.  Our hero is falling too far and crashing.  The chorus has a Pop/Indie sensibility that fits perfectly alongside the colourful and exhilarating compositional beats and details.  With a little touch of The 1975 in the vocal sound, it is a track that will appeal to the underground and mainstream alike.  Boasting perhaps the mist addictive and memorable chorus of their careers, the song gets better and more fascinating with every listen.

     Awake is one of Fall’s sexiest and most dizzying numbers.  Another full and detailed introduction puts you in a daze.  Our lead looks at disappointment and lies in the narrative.  The vocals are more decipherable and clear and the production allows the lyrics to come through more clearly.  One of the band’s most vibrant and vivacious compositions, there are so many details and threads in the song, it is another track that benefits from repeated listens.  That inimitable and British vocal gives the song a homegrown feel; the electronics and composition puts your mind towards the U.S. and Canada.

    Running Thin was an E.P. released last year and signaled a drive towards harder beats and more Indie-driven sensibilities.  Lungs is a song that boasts big and bold beats and chorus sounds.  The song unites the bands previous work with something more mainstream.  That is not to say the music is watered-down and temporized yet the boys are embracing more band-driven sounds here.  Less reliant on electronic soundscapes and laptop processing, we have a more organic and open song.  Allowing plenty of room to breathe and maneuver; it is a track that is filled with energy and momentum.  Never relenting its sense of drive and passion, it showed the boys develop and vary their sound a little.  That issue of decipherability is back and something the band need to work on.  On the E.P. the production means the composition is too high up the mix.  The vocal is getting buried and making it hard to pick out the lyrics and understand them clearly.  Not a modern-day concern for them, it means Running Thin suffered a few technical and production issues.

     Overflow is less Pop/indie-driven than Running Thin and saw them fully embrace their ‘classic’ and traditional blend of electronics and hypnotic beats.  The aching and rushing introduction leads to a vocal that is packed with intention and heart.  The mantra of “I’m trying” keeps coming back in and it seems our man is laying his thoughts on the line.  The song is built on few on few original lines; instead it lays repeats lines and thoughts to reinforce the song’s urgency and anxieties.  The composition is another detailed and multifarious creation that creates a wonderfully atmospheric and exciting.

It is clear the band have developed and evolved from their first moments.  The sounds have varied and become more innovating as time elapses.  Essentially the boys have not had much need to alter their core sound too much as it was pretty fully-formed from the offset.  A band concerned with texture and sonic innovation, the songs have grown in confidence and nuance as they progress.  Developing and growing as songwriters, the current offerings rank among their most inspired.  Few bands offer such detailed and colourful compositions that tie hard emotions, serene beauty and strange diversions into the same song.  Perhaps the biggest- and in fact only- issue for the boys is making sure the vocals are clearer and we can grasp the lyrics being sung.  There is a tendency to make the composition stand out above vocal and that is sacrificing clarity to a degree.  Whilst the odd lyric can be understood, a lot of the lines and thoughts are being buried and suffocated.  Maybe a production or performance issue but something that could be tweaked and considered on future releases.  It is a minor detraction as the boys have so many positives in their favour.  Growing and improving with every song and E.P. they are one of a few bands that are not only consistent but they become bolder and daring with each new release.

Having familiarised with the band’s past music, it was exciting coming across I Want You the Same.  Having garnered a lot of praise and paen so far, it is clearly a song that has resonated with people.  Knowing the quartet’s innovation and sense of ambition would be unwavering, I went into the song with high expectations and hopes.  The opening moments put me in mind of their Fall-era work.  The opening seconds of the introducing see fizzing and hissing electronics come into play.  Bubbling and delicate plinking sounds mix with that static fizz to offer something quite evocative and instant.  Having Google-d the lyrics to the song I at least would be able to tap into their meanings without having to strain too much and miss the odd word here and there.  That hard and varied composition mixes animalistic moments and tender beauty.  Spiraling and racing, the composition is so evocative and fascinating, you have to repeat it to get a full idea of its scale and meaning.  So much detail and intelligence means you are hooked from the offset.  I am pleased to say the lyrics and vocal sound is a lot clearer and intelligible.  The production means the vocal is not buried into the mix and is allowed to come up-front and pervade.  A smart and needed move, you get a much better and clear listening experience from the get-go.  Ridding a pulsing and heavy beat, our lead presents lyrics that are cryptic and oblique.  Words such as “No torturing my brain/Over ends of these things/You said before” have a certain quirkiness and unexpectedness to them.  It is clear there is a relationship being assessed and maybe a strain and crack has formed.  Maybe an old argument and conflict has resurfaced and causing the duo to squabble and argue.  Whilst your mind is trying to pick apart the lyrics and drill to their core and meaning, you are intoxicated and drawn by that fizzes and rushing composition.  Few bands take the time to ensure every aspect of the song is as good as possible.  Too many acts are concerned with instantaneousness and power and negate the importance of intelligence and textural depth.  Pixel Fix have always been masters of the fully-rounded song and there is no difference here.  Their most fascinating and instant song to date, it forces the listener to think about the subject matter and dive into their magic and majestic composition.  As the lyrics develop, you get the following insight:  “Now I can't speak, I, I can't be/You see, you see yourself in me”.  That internal struggle and torture is evident and you start to consider possibility there is relationship struggle.  Maybe our hero and his girl are still involved yet their contrasting intentions and hopes are causing conflict.  The heroine has her doubts and reservations perhaps wanting different things from the bond.  Our hero is struggling with his emotions and wants to step away and find some solace perhaps.  I am heading straight into relationship territory because the lyrics seem to be very heartfelt and emotional.  There is little room for ambiguity and misguided thoughts as the lines really strike a chord.  Ensuring the phrasing and original choice of words spikes the imagination it is a song that provokes you to think and imagine.  A lot of acts go for cliché sentiments and wording; that is not the case with Pixel Fix who have a novel and personal approach to common and everyday concerns.  Ensuring the composition has some lightness and breeze, the boys do not put too many dark notes and heavy beats into the sound.  There is an open heart and romantic appeal to the electronics, whilst packing plenty of power and force, do not become too forceful and foreboding.  When our man sings “And you change our soul/I vision the weather/I want you and I need you the same as me” there is a mixture of humour, quirkiness and intelligence to the sentiments.  There is that need for equilibrium and compromise in the relationship.  It is clear the two sweethearts have different agendas and are moulding the bond for their own means. Perhaps the heroine is trying to change things for the worse or has some false and high expectations.  Maybe our hero is expecting too much and not willing to compromise in this relationship.  Whatever the quagmire, it seems like a compromise is needed and perhaps unobtainable.  Drawing in the likes of The Weeknd and The 1975 into a vibrant and heady blend of electronics and beats, it is unsurprising the likes of Radio One have picked it up.  It does not stray too far into mainstream Pop territory but at the same time it is more universal and all-inclusive than some of their earliest work.  Whilst their initial songs and moments were perhaps a little darker and narrow, they expand their sound on I Want You the Same without losing their appeal and true identity.  A shrewd and welcomed move from the band who have crafted their best song to date.  The song title is a central mantra that is reintroduced with a passion and urgency.  That sense of separation and disconnectedness is evident and you wonder whether the lovers will ever reconcile and survive.  If we consider the next verse- “Or does it have me drown/When it's all these things that you are told/And don't make you turn lighter around/It's always please, please, please/Don't come around for me”- and it another verse filled with obliqueness and some strange wording.  Quite a fascinating and unique bent, it gives the listener a chance to decide their own interpretation and course of events.  Perhaps our front-man knows the real truth, and it is going to be near-impossible for the listener to get a true sense of meaning and understanding.  We know there is an imbalance and a dissatisfaction in the relationship that is causing friction.  It seems the heroine is concerned with herself and not really looking at the complete picture and the needs of our lead.  Ensuring the foreground does not become too intense and heavy, the composition it at its most sparse and light at this stage.  The band is always concerned with dynamics and emotional resonance and make sure the composition matches the lyrics/vocal.  In that way, the vocal drives the composition and there is a real unity and supportiveness from each band member.  Towards the final stages the boys repeat the chorus and central themes, adding to that feeling of dislocation and drift.  You wonder whether the relationship will ever get onto an even keel and resolve itself but are dubious to say the least.  A lot of bonds and relations are defined by some internal struggle and occasional indifference; it seems this particular pairing needs something quite big to save it from extinction.  When that chorus comes back to roost, the composition steps back up and expands once more.  Those teasing and punchy beats weave inside raindrop electronics and fizzing rushes.  Distorted vocals and spectral moans fuse with R&B sensuality to elicit something quite special.  As the song comes to its close, the urgency and dedication in the vocal performance is to be commended.  Perhaps the band’s most meaningful and impressive number, it shows just how inventive and accomplished they are.

I am glad I Want You the Same does not suffer the production/clarity issues of earlier works which means you get a much fuller appreciation of the music.  Marcus’ vocal is filled with emotion and intention from start to finish and his phrasing and projection is a lot clearer and more decipherable than the earlier band works.  Blending with Clem’s guitar the duo creates a brilliant guitar sound that brings in flavours of Indie, Alternative and R&B.  The entire band is at their best hear and with Rob’s percussion work sturdy and emphatic; Jarred’s bass guiding and creating melody and rhythm, you have a band that are tight and filled with quality.  By blending electronic sounds and sound snatches with something melodic, mainstream and ‘traditional’ you get a song that will appeal to a wide range of people.  The band understands the importance of commercial appeal but do not sacrifice their sound and originality by pandering to that.  Instead they provide music that has heart and honesty to it but is edgy and Americanised too.  They appeal to lovers of R&B and the credible music-lover who appreciates composition with balls, depth and intelligence.  By making sure warmth and elliptical moments punctuate when needed you have a song that cannot fail.  The lyrics have obliqueness but there is a universal sentiment to the themes and subjects explored.  With its terrific production values and nuance you have the best track Pixel Fix have released to date.  It means the future is very bright for them and it would be great to see where they head next.

If you are new to Pixel Fix you should definitely take time to check them out fully.  Their music is intelligent and well thought through.  They have Pop hooks and some sweet melodies; some detailed compositions and atmospheric moments.  Not your run-of-the-mill Indie band, the Oxford band has innovation and ambitions few of their peers possess.  I mentioned earlier how bands who are Pixel Fix-esque have retreated to the safe and predictable sounds of Indie and Alternative.  So far they have not abandoned the laptops and Weeknd-inspired sounds to do something anodyne and commercially-driven.  By staying true to their ethics and intentions they are not only compelling other acts to follow in their wake; they are impressing listeners with their originality and forward-thinking approach.  Before I bring things to a close it is worth looking at Pixel Fix and where they are headed.  With I Want You the Same gaining momentum- and being featured on Radio One- the boys are plotting an exciting future.  I would not be surprised to see an E.P. drop next year or an album perhaps.  There is so much demand and expectation in the modern scene so it is impressive to see Pixel Fix seemingly relaxed and cool about things.  They are producing great sounds and promoting them far and wide; free from the anxieties and stresses a lot of bands face.  If they remain true and loyal to their intelligent sound they will be gaining a lot more followers and support.  I started this review by looking at bands, depth and originality in the music scene.  Perhaps terms that do not go together naturally, there are some underground groups that are doing things differently.  I know there is a demand for Indie and Alternative music that is guitar-led and basic, but too many acts are performing this type of music.  A lot of listeners seek something more intelligent, detailed and varied.  As a balance and remedy to what most bands produce, artists like Pixel Fix are a breath of fresh air.  I hope they do not abandon their great work dynamic and on the evidence of I Want You the Same, they are in the midst of a hot creative streak.  The band market is that big earner that is always going to see new players come through every week.  Those wanting to remain in the mind and forge some long-term appeal should take a tip from the Oxford band.  If you are too concerned with guitar-drum-bass-vocals music and are simply concerned with ‘anthems’ and riffs, then you are going to struggle.  It is possible to be an Indie/Alternative band are not only create something familiar and powerful but inject some warmth and originality into the mix.  If you look back at the greatest albums that have ever been created; they are synonymous with depth and ambitions.  They do not lazily play the same chord and repeat the same song over and over.  I feel too many young acts are getting hung up on filling stadiums and trying to be as powerful and direct as they can.  As a result, their music is coming across as uninspired, anodyne and predictable.  That will only cause their name and potential to wane and erode as time goes on.  Pixel Fix are architects with a grand design and a very sterling vision.  Their cannon of music demonstrates a lot of nuance and thought that has certainly hit a chord with listeners.  Last year Paul Lester of the Guardian tipped the band as one of his ‘Bands of the Week’.  He was impressed by their attention to detail and thoughtfulness; how they differ from their peers and seem intent on being original.  Since then they have not been idle or succumbed to the instincts of their peers.  Who knows just how far the boys can go and what the future holds for them.  At the moment they are performing and interview across the country and getting their name out there hard.  Having dropped their latest single a few days ago it is still collecting plaudits and fond sighs of excitement.  Radio play and prestigious airtime is resulting in augmented social media numbers and a lot of buzz.  It is clear music needs more Pixel Fix-like bands who do not play the same sound as everyone else.  Too many bands are so disposable and boring they are making it hard for others to discover something fresh and worthy.  If you fancy music that is going to stick in the mind and ensure you are hooked and intrigued then you need to get on board with Pixel Fix.  I know they are going to keep busy for the rest of the year and it will be fascinating to see what they produce next.  Not just one of the best new bands emerging from the scene; they are one of the most innovative and intelligent bands full-stop.  Make sure you check the quartet out and I Want You the Same and…

HEAR a band unlike any other.

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

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Follow Pixel Fix:

 

Facebook:

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

Twitter:

https://twitter.com/pixelfixmusic

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Music:

https://soundcloud.com/pixelfixmusic

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Videos:

https://www.youtube.com/channel/UCCyf4ClkfGXeS2Cny5zR53Q

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

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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/