E.P. Review: DreamVacation- DreamVacation

E.P. REVIEW:

 

DreamVacation

 

 

DreamVacation

 

9.4/10.0

DreamVacation available at:

https://soundcloud.com/dreamvacationmusic/sets/ep

RELEASED: July, 2015

GENRES: Shoegaze; Alternative

ORIGIN:

L.A., U.S.A.

TRACK LISTING:

Window Room- 9.4

Press Play- 9.5

End of Time- 9.4

STANDOUT TRACK:

Press Play

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BEFORE coming to my featured act and what they offer…

I am reminded again of Los Angeles and making an impression with E.P.s; in addition to the more serene and dreamy side of music.  With Christmas fast approaching I have been looking around for music that takes my mind away from the relentless jingle and bonhomie of Christmas songs.  It has got to that stage where these songs are filling the head and everywhere you go.  I am sort of glad Christmas is almost over as it gets a bit much in the end- you want something else to distract and bring you back into the world of new music.  The last few weeks I have heard a great array of sounds and some distinct acts- each with their own projection and sense of promise.  When it comes to music in general I tend to find there are a lot of acts at the moment going for urgency and passion- rather than presenting something introspective and dreamy.  I shall raise that point soon, but for now- and for the final time this year- I want to concentrate a bit on L.A. and the U.S.  I have been paying tribute to U.S. music for a while now, and with good reason.  The U.K. acts I have been reviewing are fairly similar in nature- or at least do not break too far away from the predictable- and tend not to be as expansive and diverse as U.S. acts.  It may be an over-generalisation yet I find American artists have a bit more depth and ambition with regards their music.  Perhaps it is just an issue of numbers- the population of the U.S. far outranks that of the U.K.- yet it may be something to do with the media and expectations; the support artists get from their peers- or something else entirely.  I have never visited L.A. but am compelled to next year: the music coming from here is among the most exciting and varied you will witness.  I am not sure what is creating this trend and sway but it is great to investigate the music of L.A. and the U.S. - every week some stunning and fascinating act is coming through.  When you are embarking on an E.P. it is crucial you make an impression right from the off.  I have heard too many bands and artists come out with E.P.s that are so slight and forgettable it is disappointing and heartbreaking to hear.  It costs a lot to create an E.P.- from the studio costs to the musicians- so you have got to ensure your finished product is as sharp and exceptional as it possibly is.  Maybe musicians are giving it their all but I find there is still too much vague and unimpressive sounds coming out- a general fatigue and lack of inspiration and ambition.  When an act does get it right- and creates something that is scintillating and memorable- it gives the listener a lot of hope and thought.  This brings me to my featured act DreamVacation who compel you with their name alone:

“DreamVacation’s stunning new self-titled EP sweeps you away with a brooding melodic power and hard-edged yet atmospheric guitars behind lead singer Ray Silva’s emotional vocals. The EP was produced by John Rausch, engineer and track architect for such powerhouses as Taylor Swift, Pink, Florence and the Machine, Foxes and Birdie.  DreamVacation's stellar lineup includes Gerry Matthews on bass and backing vocals, Morgan Terrinoni on guitar, and Noah Alexander on drums. The band members previously supported live acts such as Foster the People, Airborne Toxic Event, The War On Drugs and Matt & Kim.  The EP was written at a rehearsal space in downtown LA, and recorded in Kingsize Soundlabs in Eagle Rock.  “LA is such a juxtaposition of opposing landscapes,” says Ray Silva. “One minute your rolling through a really upscale area and the next you find yourself on 6th Ave passing the inner city refugee camps of the homeless.”  The band members’ personal stories over the last three years have been equally up and down. They’ve endured breakups, living out of rehearsal spaces or cars, marriages falling apart, and family deaths. But they learned to write as a group, and that forged songs such as “Window Room,” “Press Play,” and “End of Time”.

The L.A. group has made impressive strides this year.  Their music has been featured on T.V. shows and they have worked with some fantastic producers- gaining a great reputation and a lot of new fans.  Their social media numbers are rising but I find they have a lot more ground to conquer.  DreamVacation are a relatively unknown quantity in the U.K. so it would be great to see them get more support here- and perform at some of our best venues.  I mention this because the U.K. does not have many acts like DreamVacation at all.  The band has gone through some turbulent times and has managed to funnel the highs and lows into music that goes straight to heart and elicits dreamy scenes and vivid imagery.  It has been a busy and productive year for the guys so let’s hope the following year provides them with a lot more success and possibility.  If they manage to get to the U.K. it would be wonderful to see them in London.  The self-titled E.P. is not just dream-laden landscape and introspection: there is plenty of drama and emotion; rich compositions that inspire passion and smile- rounded sounds that compel your mind to imagine and conspire.  As Christmas is fully upon us it is worth retreating into music that does something rather special and distracts you from that nauseating and overly-gleeful sound.  DreamVacation are embarking upon their first steps but have already made big impressions so far.  It is not surprising to see a band with so much confidence and originality gain respect and acclaim- let’s hope this continues into 2016.  Their self-titled E.P. is a three-track collection that shows a lot of heart and beauty; something every listener will be able to relate to.

The L.A. band plays Shoegaze/Alternative sounds that have very few comparisons.  If you are looking for any comparable acts, then it might be quite challenging.  The new band is an act that is starting out so it is also hard to compare their new sounds with old.  The best thing you can do is embrace the new music on its own merit and think where the band could head from here.  Being such a unique and distinct band, it is going to be fascinating to see whether they vary their sounds or offer something new (when it comes to future E.P.s).  Having few direct comparisons, I can see the L.A. band coming out with another similar E.P. (to their self-titled debut) and continuing their fascinating charge.

Keen to see what the band’s E.P. would produce, the opening track Window Room is a tender and impassioned track that begins on subtle and atmospheric foundations.  Sparse notes melt with handclasp to create something that contrasts urgency with dreaminess and relaxation.  Our hero comes to the microphone and presents some vivid images and stark emotions.  With skin being pulled back; blood id drawn.  Whether insights into a troubled mind or a representation of a breaking love; there is a bold and troubling series of words that come from our man.  With his voice haunted and firm, you wonder just what inspires the song.  A heroine/hero watches him through “the open door”; perhaps he is attesting a relationship or a lover- maybe an argument or debate has raged; a tough time in their bond.  Things are quite oblique and emotive in the early stages making it hard to dig to any clear truths.  The song brilliantly compels myriad themes and ideas.  Our hero is stepping outside himself some more; laying down his soul is being laid out on the line.   The composition builds from tender and slight strings before exploding into something intense and drama-filled.  Backing the seriousness and heartache of the lyrics; the band whip-up a wonderfully evocative and passionate coda that augments those emotions and takes the song in a new direction.  After the band combine in this moment; build up the atmosphere and take the song to its sonic peak- our hero returns to the microphone.  The lyrics remain oblique and detached soon.  Our man moves to the sound of his heroine’s voice; caught in a boring love and a conundrum, you can sense something anxious and unsettling come through in the vocal.  Whilst the composition sees fiery and tight strings fuse with sturdy and impassioned percussion- held together and firm by the bass- our hero’s voice has a strange romantic edge to it; a swooning and gliding tone that adds some heart and lightness to the lyrics.  It appears a relationship is still going but the bond between the two is starting to break.  This view that “ain’t the truth” is deceiving and confusing.  Maybe things are not as ideal and special as they once were; perhaps they are just going through the motions- perhaps deeper and more personal doubts are in mind.  Lyrics concerning mortality and death are brought in; some rather stark sentiments come into the track creating something quite haunted and wracked.  It is not sure what has inspired this song and whether our hero is in a better place.  Window Room is a track whose truth is perhaps only known to the band itself.  From listening to the opening verses I was torn between issues of love and personal investigation.  It appears a great deal of tension is being assessed; our man’s mind and head is in a worrying place- that need for escape and answers.  As “my body falls apart” you cannot help but feel that surrender and lack of hope.  Maybe he needs a pure love to revive him; wasted words are being traded- our man is sacrificing a lot himself and desires something of a saviour.  As the song progresses- and our hero implores a girl to lay here for real- you feel like things might work out; perhaps there is going to be hope.  The beauty of the song is those contradictions and possibilities.  Early on you get ideas of shattered love and a dislocation.  As the song progresses there seems to be that desire to find and embrace passion- just lay alongside a heroine and drift away.  I am not sure whether personal events have compelled the song- or whether it is something fictional- but you cannot ignore that urgency and performance from DreamVacation.  One of the most impressive aspects of the song is the composition which continues to grow and develop; it goes through motions and moments- creating something quite beautiful.  The composition reminds me of Wild Beasts- the terrific and legendary U.K. act- and the sound they play.  Part-dreamy, part-emotive there is so many colours and layers built into the instrumentation.  A fantastic way to kick off the E.P.; Window Room is a wonderful insight into the L.A. band and what the E.P. will provide.

   Press Play is the E.P.’s most stunning moment (in my mind) in no small part because of its introduction.  Again you get those slight and sparse strings; there is an echo and ghostliness to them that really gets inside the mind.  Starting things off with a haunting and emotive sound; you wonder what is coming next and just where the song will lead.  The band provide their most rounded and deep composition; from the very first stages it ducks and dives; mutates and evolves- summoning so much emotion and possibility.  From that hollow and spectral start, the instruments build and combine- leading to something hugely atmospheric and dream-like.  The E.P.’s longest track; Press Play boasts a wonderful introduction that stretches and journeys far.  Constantly revolving and driving, you get caught in the magic of the thing; the way it keeps on growing and grabbing- huge evocation and promise is built before a single note is sung.  When our man does come to the microphone, his voice is firmer than before; less haunted perhaps.  It seems like a love is breaking down once more- or there is some dispute and disconnection- as the images provoke your mind to go there.  Whilst our hero is cast into the freezing rain, it seems like he is being ostracised and pushed away.  Maybe his intentions are pure and he is being open- and is suffering as a result- but it is another song whose meanings and clarity may only be known to the band.  What is most impressive about the song is the vocal and composition.  The former has a rich and sonorous tone to it- without being too heavy- reminding me of Jim Morrison in places.  The composition continues to engage and sparkle; lovely little touches and moments are brought together to create a wonderful rich and emotive harmony.  What I would say to the band here- and is an issue on the E.P. - is the vocal is mixed too low in the song.  The clarity suffers and it is hard to understand what lyrics are being sung.  Perhaps composition is being ranked ahead of the vocal but it does cause a lot of the song to be lost in translation- you can only really pick out the odd word here and there.  That said; Press Play is a triumph or mood and performance over clarity and decipherability.  The title compels images of stop-start.  Perhaps the love has frozen and stalled somewhat- the two might be growing distant and drifting- but by pressing play you can reignite that spark and get things back on track.  Images of doom and struggle are juxtaposed against hopefulness and making time- there is a lot of personal anxiety being explored in the song.  The band is at their tightest and most compelling here.  That composition keeps building and changing; always utterly insistent and emotive.  Allowing the vocal to really shine- our hero climbs into a wordless falsetto- it is the perfect blend of their talents and voices; something that leads to near-transcendent promise.  Towards the end you see our man wander into empty space; somewhere his girl used to be perhaps things have taken a sour turn- it may not be possible to rekindle the flame and get things back.  The raw emotion of the vocals draws you into things and makes you root for the man.  Maybe the song is that need to rewind and recapture what is being lost; get that love back and the happiness- things as they are not causing a lot of haunt and upset.  It is perhaps worth noting how intense the vocal gets towards the final stages: a howling and ecstatic outpouring that takes you by surprise.  A stunning moment from the L.A. band; Press Play is a hard track to forget.

  End of Time is another slow-building and moody introduction that builds as time ticks.  An eerie electronic sound is matched with the occasional electric guitar note that melts wonderfully.  The song develops a bouncing and emotional kick that once again brings me to thoughts of Wild Beasts.  Lighter and more accessible than previous numbers, the song has a slight sense of optimism and hope to the beginnings.  More radiant and sprite than before; that power and panache comes through strong.  When our hero comes to the microphone he is looking across the distant and divide- staring into a million eyes- and casting his mind out.  Maybe reflecting on things or reaching deep inside; he is searching his soul and at his most tender.  That vocal soundtracks a love and affection that is very important.  “I’ll still care for you” claims our man; he has a passion for a girl that is deep in his mind.  Wanting her to be there with him, you can feel that intensity and need.  Drawing his girl back into the world, you begin to wonder what the origins of this song are.  That necessity to spend more time (and have more time) is clear; perhaps opportunities have been wasted and needless moments have been wasted- our hero wants to recapture some of the past and make up for lost time.  Letting his voice emote and stretch, you become captivated by the honest and purity that is being expounded.  The band combines in one of their most rapturous and explosive compositions- that properly and nobly back the song’s plight and ideals.  Twanging strings and sturdy bass; tender percussion all unite to elicit something quite tingling and impassioned.  A song that never wastes time itself- always busy and fascinated throughout- there are “bright lights” and satellites; the idea to settle down and be together- maybe the two lovers have different intentions and goals in life.  The vocals are lyrics are clear and more decipherable than previous tracks making it easier to appreciate and understand what is being said.  With that said, there is obliqueness and mystery lingering at the heart of matters.  The band are a little cagey when it comes to full disclosure; never really revealing too much of themselves- leaving the listener to piece things together and interpret things their own way.  With End of Time being such a stunning and sparkling work; you find yourself powerless to resist the weight of that composition- the raw urgency of the vocals and the emotions being explored.

Congratulations must go to the L.A. band who has crafted an assured and constant E.P.  DreamVacation is a trio of songs that has a unique identity and a lot to say.  The band have honed a very particular sound and model- that ranks them as one of the most distinct in music- which is something you do not find a lot.  Reminding me of early-days Wild Beasts- not sure if the L.A. group have heard them- you get plenty of emotion, depth and atmosphere.  From dreamy and haunted moments you get explosions of sound and vocals- colours burst and emotions sizzle.  The percussion is notable for creating a huge backbone and leadership.  The ticking and beating heartbeat of the record; it is a sound and sensation that provides the most urgent and pulsating moments.  Impressively restrained- it never needlessly gets too heavy- you get a hell of a lot of depth and nuance; an authorities sound from a stunning percussionist.  The bass guides proceedings and keeps things leveled and tight.  With so many emotions and ideas being explored, you need a bass part that keeps all the strands held together- and ensures every sight and lyric is given appropriate energy.  Plenty of melody and rhythm comes through; acres of command and authority- making sure DreamVacation is an E.P. that remains controlled and firm.  Throw in the guitars which are at the heart of everything; they give the record its colour and life; the passion and soul- so many ideas and contrasts are brought in.  It is amazing how much depth and innovation comes out in the guitars; there are some fantastic riffs and beautiful notes- giving the music such a rich and stunning sound.  Our hero’s voice ranges between emotionally cracked and disarmingly passionate.  Few vocalists have such an original voice- again you can’t compare it with anyone else- that is backed by the stunning musicianship and tight performances.  Eliciting cinematic drama and dreamy introspection; you have a vocalist that leads the song with terrific lust, sensitivity and heart.  The only minor drawback is the decipherability and lack of clarity.  Sometimes the vocal gets buried in the composition making it tricky to understand the lyrics.  It only affects about a third of the E.P. but it would be nice to hear the composition mixed a little lower- so there is more balance and get that vocal singing loud and clear.  Toss away that slight missive and you have an E.P. with stunning production values and a lot of nuance.  One of the most bracing and atmospheric things I have heard in a long time; DreamVacation is a stunning statement from a band that are doing their own thing- that should inspire other acts to follow their lead.

Having listened to DreamVacation’s debut E.P. it shows a band with a bright future and a very original voice.  There are few acts emerging that sound as distinct and hungry as the L.A. group- every note and moment resonates with a very special passion.  Across the trio of tracks you get introduced to some very vivid scenes and emotions; your mind is taken away and seduced- every listener will comes away with a different experience.  Before taking things to a close it is worth mentioning L.A. music and E.P.s in general- and what is to come across the following year.  The U.S.A. has been very busy this year and given the music world some of the best and most spectacular music of 2015.  I love the British acts at the moment yet I find our U.S. counterparts have a little more verve and originality- music that is more ambitious and far-reaching.  I have tried to speculate the reasons behind this, but perhaps there isn’t a particular one- it is just the way things are at the moment.  Whilst New York bands and acts fascinated me earlier in the year, it is L.A. that has been making a charge towards the end of the year.  This past few weeks has seen a lot of great Los Angeles acts come to my attention- each one has a distinct sound and projection.  Critics and media in the U.K. only really assess L.A. acts rarely; they tend to focus more on the homegrown acts and what is coming through here.  There is so much hungry and originality coming from the city (and state) we should be spending more time over there- really embracing what is happening right now.  DreamVacation have shown how important it is to make big strides when you put down your very first sounds.  If you create an E.P. or album that does not hit you upon first listen it is unlikely listeners will return again to see if there’s anything they have missed.  Most bands and acts take this as an invitation to play very heavy and unsubtle sounds- essentially inject as much power into the mix as they can.  Even if you are a Rock/Alternative band, you can do something wonderful and memorable without creating needless pummel and noise.  Subtlety and intelligence go a long way in music- commodities that are not often traded and promoted- and is something to think about.  DreamVacation have created a sturdy and impressive E.P. that hints at what their future could hold.  Not going in with five or six tracks- they have managed to elicit huge amount of beauty from a trio of tracks.  It is clear a lot of thought and detail has gone into the music; the boys have not simply rushed a release to get their names out there.  An E.P. is a statement of your music and sound; something that should sell you to the public- for that reason, you need to come up with something that does you justice.  DreamVacation’s self-titled cut is a great insight into a young band that has a lot more to say.  As stunning as the E.P. is you feel their best and finest moments are still ahead of them.  Few bands play the type of music DreamVacation play.  Forsaking the necessity to go in hard and rushing; the band take things down and offer something more contemplative, emotive and honest.  Each member has gone through a turbulent and fractious year- this has not come at the expense of musical excellence and focus.  Instead, the band has channeled their strains and upheaval into something cathartic and emotionally bare.  The following year will be quite an interesting one for music and what is emerging.  A few acts have shown they are going to be names to behold; it is always challenging focusing on the very finest out there- hard to say just who is going to be in the mindset into 2016.  I am confident in saying DreamVacation will be creating quite a buzz next year and building on this early promise.  Whether they decide to release another or E.P. we can only speculate yet they should be congratulated on their progress and achievements thus far.  L.A. is a contrast of neighbourhoods, landscapes and scenery.  From moment to moment you can witness something vastly different; it has such a variation and diversity it is perhaps compelling musicians to write and create sounds.  The big cities have that cosmopolitanism and ability to really inspire musicians into action- try to capture the magic their city creates.  DreamVacation want to present music that promotes kindness and a new way of thinking; does something wonderful and gets the listener thinking more clearly and widely.  When listening to the E.P. you will certainly be engrossed by the colours, contrasts and atmospherics- ranging from jagged and raw to deliriously escapist.  Dive into DreamVacation and an E.P. that compels and stuns the imagination.  A band to be taken very seriously; make sure you surrender to the beauty of…

ONE of L.A.’s very finest new acts.

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Follow DreamVacation:

 

Official:

http://www.wedreamvacation.com/

Facebook:

https://www.facebook.com/dreamvacationmusic

Twitter:

https://twitter.com/wedreamvacation

Instagram:

https://www.instagram.com/wedreamvacation/

 _________________________________

Music:

https://soundcloud.com/dreamvacationmusic

___________________________________

Videos:

https://www.youtube.com/channel/UCWAwVTH9KdF47pw-uC_HzPw

Track Review: The Dangerhounds- Big Bad Wolf

TRACK REVIEW:

 

The Dangerhounds

 

 

Big Bad Wolf

 

9.6/10.0

Big Bad Wolf is available at:

https://soundcloud.com/thedangerhounds/big-bad-wolf

RELEASED: 12^th October, 2015

GENRES: Indie-Rock

ORIGIN:

Leeds, U.K.

The Big Bad Wolf E.P. is available at:

https://soundcloud.com/thedangerhounds/sets/big-bad-wolf-ep

TRACK LISTING:

Big Bad Wolf- 9.6

Santiago- 9.5

Stop Crying- 9.5

____________________________________

I have known The Dangerhounds’ front-man Adam Hume...

For a while now; having followed his career since his collaborations with Shiftin’ Shade- a Yorkshire-based Electro.-Swing artist.  Before introducing him and his new band, it is worth reflecting on the Indie-Rock bands across the world; the importance of memorability and roundedness in songs and what it takes to make an impression in 2016.  I have been a bit critical of the state of Indie-Rock/Alternative bands as I hear a lot of very predictable acts out there.  It is not a complete write-off across the genres; the main issue is there are too many bands that go for hard and heavy sounds- replicating the likes of Queens of the Stone Age, Foo Fighters etc.  It is great to hear music that has some vitality, passion and stunning riffs- it is also not that hard to create something original and fresh.  Too many new bands find the surest way to get attention and respect is to reproduce an existing sound- a lazy and unforgivable shortcut to getting into the festival rotations.  The best bands are those that do not play such uninspired and routine sounds- dig deeper and instil personality into their music.  My mind has been looking more to towards older Jazz music as-of-late; the early-‘00s Hip-Hop/Rap artists- something with passion, bite and emotion.  I am finding a lot of acts are too sterile and underwhelming: not evoking any real reaction or doing anything different from what has already come out.  It may be a generalisation, but I am a little disappointed by the lack of stunning bands coming through this year- it seems like the music industry has had a quiet year in 2015.  Indie and Alternative bands created the biggest buzz and tend to rake in the critical praise; it is understandable that so many bands want to play in these genres and make their mark.  My featured band has nothing to worry about as they are among the small percentage of acts that are doing something different and interesting.  If you want to make impact and impressions in music then you need to present more than simple pummel and riffs; create something more rounded and nuanced- throw some emotion, texture and intelligence into the music.  You do not have to water-down and distil your music by doing this; it is possible to come up with something urgent and passionate by stretching your imagination and stepping out the comfort zone.  Even if you are inspired by the likes of Foo Fighters and Queens of the Stone Age then take their core and sprinkle in something unique- little colours and touches that make the music more distinct and personal.  Too many bands are fearful when it comes to putting music out there.  I hear so many acts that play it safe and sound so timid and limited upon initial venture- either that or they just go in too hard and burn-out.  There is a hell of a lot of pressure for new musicians- the amount of competition and the cost of making music- so it is elementary acts take time and think things through.  The Dangerhounds are a band that seems unstressed by the predictable expectations for Indie-Rock bands; they have taken great care to ensure their music differs from what is out there- it has resonated with a huge amount of listeners.  Before I carry on; let me introduce The Dangerhounds to you:

“Brad Moorcroft (Bass), Tris Ellis (Drums) and Adam Hume (Rhythm Guitar, Vocals) and Obi Davis (Lead Guitar).

We are The Dangerhounds, a Leeds based indie rock band taking influence from the likes of Kings of Leon, The Wombats and The Strokes.

The Dangerhounds are a high energy band who specialise in catchy, energizing, sing-along choruses that are tough to not tap your feet too”.

I know what Adam Hume is capable of and how well his voice can blend into any scenario- if you have not heard Shiftin’ Shade’s collaborations with him- https://soundcloud.com/shiftin-shade- then make sure you investigate.  Having made his impression on some stunning Electro.-Swing songs, it is great to hear him front a new band with a huge amount of potential.  The guys are not your everyday Indie-Rock band that sounds like everyone else.  Although they take inspiration from a wide range of acts- including The Wombats and Razorlight.  Commentators and fans have noted how stunning the melodies are; the tight and wonderful rhythms get inside the head- the emotional and impactful vocals take you by surprise.  It is hardly surprising to see Yorkshire provide another wonderful artist.  Having spent a lot of my writing career here- and assessed so many terrific acts from the county- The Dangerhounds mark themselves as names to watch as we slip into 2016.  Their Big Bad Wolf E.P. was dropped earlier in the year and has already garnered some serious radio play- played in full on B.B.C. Radio Yorkshire- Hume plays all the parts on the E.P.; the rest of the band will combine for a live-version E.P. soon.  The three-track E.P. is a focused and memorable collection and shows how to make an impact.  With their music being played in the U.S. too, it is evident the chaps are going to have a busy new year and take their songs far and wide- I would not be surprised to see them embarking on some transcontinental sojourns very soon.  The Dangerhounds effortlessly mingle Pop and mainstream sing-along into something grittier and with Rock edge.  Their music evokes impassioned crowd reactions and gets inside the head- compelling you to come back time and time again.  The Dangerhounds are showing you do not have to replicate other bands too obvious in order to connect with crowds and get your music noted.  The Dangerhounds are going to ensure they are standing shoulder-to-shoulder with the best of them.  Big Bad Wolf E.P. is a mission statement that marks them as one of the groups to watch closely.

When it comes to The Dangerhounds, it is hard to compare their current work with older sounds- seeing as their E.P. is their first real offering for the music world.  The guys used to be a three-piece but added a fourth member to make their sounds even more hard-hitting and rounded.  The band is constantly developing and evolving; working on their sound and picking up as much live experience as they can.  If you are new to the quartet then it is advisable you seek out some of their influences to see where they came from.  The Wombats are a band renowned for their singalong choruses and hooks; they have never really grabbed the critics are gained huge commercial success.  The Dangerhounds excel where The Wombats fall down yet they do take a little bit of their essence into their own sounds.  Like The Wombats our boys employ wit, heart and passion into their music; wrap it up in uplifting and effusive choruses- to create fevered crowd singalong and captivating moments.  Their Glitterbug album (released) this year was their best-received effort: the polished and infectious album mixed ‘80s Electronica with ‘90s ‘Britpop’ sensations.  Layered, kinetic and in the mood for a party; the album fared better than past works- signalled a resurgence for the band.  The Dangerhounds have a similarly bold and memorable approach to their music.  The compositions mix subtleties with late-night haze and music that compels the feet to move.

Before assessing the E.P., I was chatting with their lead Adam Hume who explained:

"The E.P. was recorded before there was a band, they were just demos that I made.  The live versions are the same songs; they just have slightly different drum fills etc., that human aspect.  We're recording a live E.P. soon".

The title track to the band’s E.P. ensures attentions and souls are gripped from the very first seconds.  A gritty, concrete and rumbling introduction summons so much passion and grumble that you are powerless to resist its animalistic prowl.  With its heart in the realm of ‘00s Punk- again the likes of The Strokes come through in the introduction- our hero arrives at the microphone with intention and swagger.  It is the way Hume utters and pronounces the lyrics that really stick in the mind.  When he delivers the line “It’s going to be one of those nights” he stutters the ‘n’ in night- creating a twitchiness and potency that cannot be overlooked.  Like Santiago and Stop Crying, there are self-doubts, anxieties and stresses early on.  It seems like Big Bad Wolf is a song that is apt considering its title.  Perhaps a concept album or a slice into his state of mind; each track on the E.P. shows emotion and confession- the title track is probably the most intense and memorable of the three (tracks).  Our man is walking the streets and encapsulated within the glow of the neon lights.  With a heroine by his side it seems like daggers are being cast to the side of his head; that glaring look is causing him some tension and unease.  It is not clear whether that looks is meant hatefully or sexually- whether there is tension and argument or some foreplay at work- yet our hero seems in anxious mood.  The stuttered vocal and unique pronunciation gives the track an originality and energy that is impressive and memorable.  The girl is a “wrecking machine like you’ve never seen”- leading me to believe that there is something more negative and fraught being assessed- with our man caught in the spell and swirl.  You notice little touches in the song that add to the curiosity and quality.  The bass neatly tees-up the guitars and creates an underlying tension and intensity; the guitars then explode like fireworks to convey that emotion- the drums crackling like gunfire.  With so much attention towards compositional dynamics and nuance; you get a song that is layered and wonderfully assured; a tight performance that must be commended.  Our hero’s voice drips with emotion and soul; aching and yearning in equal measures- one of the most impressive vocal performances across the E.P.  The girl is the big bad wolf who is chomping and snarling with ferocity and carnivorous danger.  Whatever has led to this attack- whether that is her personality or she has caused friction- you begin to wonder and speculate.  Although Big Bad Wolf E.P. is not strictly a concept E.P.; it can be conceived as one.  The opener track here sets the scene and introduces the heroine- the opening salvo and first cracks in the dyke- whereas Santiago looks at the fall-out and self-destruction; Stop Crying picks things up the next day and the simmering tensions still there.  Whether our lead has a particular girl in mind- a relationship that has been particular relevant- I am not sure yet you can hear that conviction and meaningfulness in every word.   The crazy lady in question- our man delivers the ‘c’ in crazy with stutter; like The Feeling’s track Never Be Lonely but in a far superior track- is looking for that first bite and not relinquishing her quest for blood.  I am not sure whether the girl is s current/former girlfriend or just some stalker-type that has latched-onto our hero.  I get the impression our man knows the girl and there is a bit of history behind things.  Perhaps a relationship has ended in the past but the message was not received- it appears the heroine is not one to take refusal as an absolute.  That idiosyncratic delivery- the stuttered vocals and hypnotic melody- make the song such a stunner; you get swept up in the imagery and power of the composition.  Whilst a lot of bands offer songs that lack concision and economy- or are too vague and thread-bare- the Leeds group remain consistently tight throughout- the tracks on the E.P. range from two-and-a-half minutes to just under three minutes.  The guys know how good their music is- they get their message across quickly and effectively- and the fans have responded appropriately.  Big Bad Wolf is the most popular track and it is not hard to see why.  From that mesmeric introduction, you do not get a chance to breathe and relax- the song remains exhilarating and spellbinding to the very last.  By the 1:40 mark the chorus comes to an end and there is a slight pause in the second; it begins to build as our hero unveils a wordless chorus- something the band do on each track across the E.P. - to give brief respite and reflection.  Youthful rebellion mixes with Punk savage in a song that will unite younger and older fans; it crosses genres and has a honed and universal sound to it that has struck a chord with listeners.  Just as you think things are starting to wane and end; the song jumps into life and the chorus comes back into the mix- the boys are masterful when it comes to subverting expectations and creating a consistently unpredictable mood.  Everyone will be able to relate to the sentiments and lyrics unfolding throughout Big Bad Wolf.  It is a track that sees a jilted/loopy heroine undeterred by obstacles looking to claim her man- a song here that mixes humour and with a real concern and anxiety.  Our lead keeps his voice emotional and soulful throughout- Hume has such a range to his tones he is deftly able to make everything sound convincing and hugely urgent- and ensures the song never loses its magic and sparkle.  The band keep that raw energy and passion burning to the very last- it is the tightest and most rounded composition on the E.P.  By the final notes you wonder how things worked out- and whether our hero managed to evade the wolf and her blood-thirsty lust.  If you interpret the E.P. as a storyline/concept then he managed to evade her- perhaps only briefly to his regret.  Big Bad Wolf is one of the most direct and clear songs on the E.P.- its message is quite evident and it is the least oblique track here- making it perhaps the most accessible and immediate the band have created.

Kudos must be given to Hume as a performer, but first of all, the production and mixing must be congratulated.  A lot of music is ruined because of poor production values and mixing.  A lot of times the vocal is mixed far too low in the mix- it is the most important aspect so why do it? - making it hard to understand the lyrics and what is being said.  At other times the guitars and drums and too low and they lose their intention and potential.  It is hard to get that balance just so; when you do it brings the song fully to life.  Across the E.P. - and especially on the title track here- every element and instruments is perfectly brought together to create a polished and crackling track- one that is near-impossible to ignore.  The song sound polished and clear but retains its unique edge and Punk attitude.  Great attention has been given to ensure the song is as stunning and memorable as it could be.  Fans and commentators have commended the production values throughout and how assured they are.  Our man make Big Bad Wolf such a snarling and stunning beast.  The bass is a guiding light that keeps the track in-check and offers a sonic snarl and sense of misadventure.  Eliciting grooving rhythms and snaking hips; it weaves inside the composition to propel the vocal and drums- creating a stunning partnership with the guitars.  One of the most intuitive and unique bass sounds around; it is great to hear someone with so much authority and command at work.  The percussion is delivered with a lot of force and passion- although Hume claims the band version will be a lot sturdier with better fills; the drums are midi and the guitars are all re-amped in software from D.I .recordings.  Hume combines guitars to create intense emotion and endlessly impressive moments.  Across Big Bad Wolf you get so much vibrancy, emotion and savageness- perfectly backing the song’s lyrics and themes.  Never too forceful or intense, what you get are performances with plenty of nuance and depth- they perfectly sit with the drums and bass.  Perhaps the biggest impressions are made by Hume (as a singer) himself whose vocal is at its intense and impassioned best.  Some singers have vocal tics and idiosyncrasies and Hume is no exception.  Those stuttered syllables and wordless utterances transcends his performances above those of his peers- one of the most assured and inventive singers on the block.  Having worked with other artists- and given the chance to let his voice work in various genres and scenarios- it shows across the song.  Never nervous or unsure, Hume elicits so many shades and sides throughout the title track- bringing in his previous experience and showcasing the full extent of his voice.  Leading the music with enormous conviction and emotion; you have a front-man that is at his best here- you can see him getting better and stronger with every song the band produces.  Big Bad Wolf is a perfect E.P. opener and a song that is statement of intent from one of the U.K.’s hottest propositions  If you have not heard the Leeds act in full flight, then this is the perfect place to start.  The live versions will come soon- a new live E.P. will see the full band incorporate parts rather than Hume alone.

Big Bad Wolf E.P. is a trio of songs that will stick in the brain for weeks to come.  So many effete and aimless bands are out there so it is rewarding and fantastic seeing a group come through that offer long-term potential and terrifically assured music.  The connection and bond creates dynamic tension, emotion and uplift; stunningly evocative singalongs and tenderness too.  So much colour and passion goes into the blend it is not a surprise The Dangerhounds have captured the heart of so many listeners.  Hume marks himself out to be one of the most nimble and striking singers on the scene: capable of turning any song into a stone-wall classic.  Offering astonishing bass, guitar and drum support and you have a tight-knit group that are going to be festival favourites in no time.  Before I give a mini-review of the E.P., it is worth circling back to the concerns of Indie-Rock, lack of originality and what you need to make an impact in 2016.  I hope Indie-Rock bands coming through take heed and concentrate on their music before releasing it to the public.  I get the feeling too many groups are lazily copycatting their influences and rushing their music- negating the importance of original voice and personality.  I have witnessed too many bands dissolve and crumble due to lack of support and disharmony within their ranks.  To survive and flourish in the music world you need to craft music that has your own stamp on it.  The likes of Foo Fighters and Queens of the Stone Age seem to find themselves reincarnated in too many up-and-coming acts- it is disheartening to find so few original bands coming out.  When you do find a group that dares to be different- understanding the vitality of straying from the pack- that is when you get excited and start to find hope.  Our Leeds quartet (Hume for now; he will be joined by his band-mates on the live E.P.,) has some clear influences- The Wombats, Razorlight and The Strokes especially- yet they are never too obvious and worn on their sleeves.  What you find is a little essence of each at certain moments; when the mood calls Hume teases in a bit of other acts- ensuring their music has that blend of originality and familiarity too.  I have paid tribute to Yorkshire and how fertile the county is; just how many fantastic acts are hailing from the county.  I have given up trying to explain the reason behind this prosperity yet it might be something to do with the people and climate there.  Perhaps less stressful and crowded than London and the north-west, Yorkshire acts are among the most spellbinding and carefree I witness.  Of course every band and musician is tense and gets stressed; Yorkshire musicians come across less suffocated and harried than their southern peers- as a result the music has room to shine and breathe.  I am sure Yorkshire will be stamping some terrific new acts and bands into the following year- ensure you keep your eyes trained here.  The Dangerhounds offer something distinct and new- not just recycled sounds like so many others- they ensure emotion and depth mingles alongside something gritty, hard and impassioned.  With so few bands digging deep and offering singalong moments- there is a certain seriousness that is pervading the scene- it is refreshing to see someone ensure that kinetic energy and layered music evoke something wonderful.  It is hardly coincidental The Dangerhounds are enjoying rich rewards and seeing their social media numbers rocket right now.  The year is almost through and January/February are months vital for new acts- whether you are touring or releasing new music; it is important to make a big impression early on.  The Dangerhounds will be hitting the road and planning their next moves; making sure they remain in the consciousness and get ahead of their contemporaries.  Big Bad Wolf E.P. is a collection that showcases huge potential and consistently exceptional songwriting.  It hints at just what it to come and how far they can go.  It will be great to hear the live E.P. and see the rest of the band take on Hume's parts- and give new life to the songs.

    Santiago is the E.P.’s second track; a number that begins with a frantic ramble and urgency.  Reminding me of The Strokes and The Libertines; you get that street-level Punk vibe and a youthful spirit that has been lacking in music lately.  Hume ensure all of the tracks begin with a kick and race; keen to get the listener hooked and seduced within the first few seconds.  The Chilean capital is a great song title and something that got me interested before I heard a note.  After that avalanche of guitar notes and percussion pound; the mood starts to level and our hero comes to the microphone.  It seems our man wakes up each morning with a “little less dignity”.  Perhaps going through a tough time or feeling the effects of ageing- despite his tender years- you hear a voice that is brimming with emotion and openness.  Riding that reliable groove and stunning composition, it appears bridges are being burned and our man has fewer friends.  What the circumstances are behind this change- maybe they have different ideals and goals in life- it is clear something more haunted and anxious is being ascribed.  The Dangerhounds will never let the mood dip down too low- they always present sonic kicks and uplift- yet to do not betray the importance of the emotion and rawness being portrayed.  Hume’s voice is effortless when upbeat and riding the wave; it is equally assured and passionate when bearing his soul and singing about harsher and more emotive themes.  Backed by a fizzing and stabbing riff- that puts me in mind of Razorlight’s Golden Touch- the song keep that bristling tension and nervousness building.  Our hero is thinking only of himself; selfishly ignoring others and perhaps concentrating on his own needs and wants.  It is an honest and impressive perspective- few singers and bands cast self-blame and that open- but you always feel sympathy with his plight.  Never cocky or lacking earnestness; that vocal remains firm and strong in the midst of self-confession and outpouring.  A stunningly executed composition supports a brilliant melody that leads a hugely memorable chorus.  Once more you get some wordless vocals to add to the intensity and passion; that constant upbeat and energy in the composition gives the song a ‘90s feel- think of Ocean Colour Scene, Reef and their contemporaries.  Perhaps there is the recollection of a drunken night.  Our boy might have woken a little worse for wear it seems.  Maybe wanting to keep that momentum going, it is a call-out to a friend- to paint the town red and have fun.  At its heart there seems to be a need to self-destruct slightly or dull a pain- whether a relationship break-up or something else- that lurks in the undergrowth.  Evoking the raw Punk energy of The Strokes, you have a song that has anthemic swagger and a festival-ready sound- with a distinct Britishness to it.  The Dangerhounds never fully sound like any other band; their uniqueness and personality always wins over.  Hume has leant his voice to Electro.-Swing tracks- with their heart in the ‘30s and ‘40s- and manages to convey an old-time, vintage sound to the song.  Mixing decades together seamlessly- hoping between the ‘30s, ‘90s and present-day- you get a performance with a huge amount of depth and nuance.  Santiago has a radio-friendly sound to it that will appeal to the mainstream yet remains raw enough to translate into the festivals and live arenas- striking those that prefer their music on the harder side of things.  The lads remain compellingly tight and addictive throughout.  The percussion is a constant avalanche that creates a wonderful backbone and drive.  With the bass summoning melody, rhythm and a huge amount of energy; it backs the guitars which are insatiable in their intensity and power.  A brilliant and uplifting track that stays inside the head and provokes you to listen to it again and again- no mean feat in the modern climate!

Stop Crying begins with a blitz of guitars and an insatiable intensity that takes you by surprise.  Starting off with urgency and huge pummels; a catchy and hypnotic riff comes through that bristles with electricity and passion.  One of the most immediate introductions I have heard this year the track begins with a huge impact.  Our hero has intensity and rush going through his veins and marrow; his head is ready to blow and people don’t know “what I’ve been through”.  Whether directing his words to a girlfriend or close alliance- someone that may be causing stress and not understanding him- there is this explosive missive that lays his thoughts on the line.  A “one-man wrecking crew” you get a full sense of just how pressing and powerful these feelings are.  Ensuring themes of suffocation and pain are not too oppressive; the band gives the song a beautiful groove that makes the feet tap and the body move.  Hume’s vocals remain light enough as not overwhelm; he makes sure each words and line is giving maximum attention- creating a wonderful energy and real sense of emotion.  Maybe he is talking about a particular girl that is a little spoiled and thinks she will get whatever she wants.  The lack of sympathy and support is evoked in a chorus that has a high-octane sound an energy that cannot be dismissed.  The music is at its tightest and most exhilarating here: combining wonderfully, it offer so much force and catchiness.  Linking the sound of ‘90s Indie/’Britpop’ together with something of-the-moment the track evokes fond memories and reminds you of artists past.   One of the most instantly memorable songs I have heard for a while, that fantastic and polished production- that mixes everything superbly without compromising the rawness needed- ensures the song fully explodes to life.  All the instruments sit superbly together and can be heard; that vocal is high enough in the mix to ensure there is clarity and resonance- without toning-down the ferocious percussion and swaggering guitar/bass work.  In the “heart of an earthquake”, there is evident tension and upheaval afoot.  When our hero and his girl are in the car, little irritants and quirks are setting him off- from the knuckle-cracking to things being said.  It is easy to directly go for issues concerning love and broken relationships; perhaps there is a friendship that is showing strains and breaks.  You get an original perspective on the theme and a lot of wit instilled into the lyrics.  You picture yourself alongside our man and what he is going through- trying to keep his emotions in check and perhaps losing the battle.  It appears there is a long history and there have been frictions building for a good while now.  This song recounts the shift from dormancy to eruption: the expulsion of those sizzling emotions and building anger.  Making sure those lyrics and vocals are given an appropriate soundtrack; Hume ensures everything comes together superbly to form a composition with underlying tension and power- whilst ensuring there is catchiness and colour to be found too.  Hume’s vocal has a nice clarity and depth that has a guttural edge and a passionate core.  Able to stretch his tones to convey a wealth of emotions- a nice wordless coda past the half-way mark is one such example- you have a frontman that can make everything sound urgent, compelling and convincing.  Backed by a superb melody and a wonderful composition, it is hard to ignore Stop Crying.  Sure to be a live favourite, I would not be surprised to see the song feature heavily across radio stations next year.  It is a sharp and short blast that conveys so much within its time.  You wonder just how things worked out in the song- our hero was on the border of sociopathic violence it seems- and whether the duo reconciled or found any sort of compromise.  Too many bands create long and droning songs- unable to keep it tight, economical and qualitative- yet The Dangerhounds (Hume this time around) have masterfully crafted a song that packs in a huge amount in the short space.  A stunning sign-off from their E.P., it is a song that will be impossible to forget.  That could be said of Big Bad Wolf E.P. which marks an act with a big future ahead.  Do not miss the chance to witness a fine young band…

 

GIVING Indie-Rock the kick it needs.

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Follow The Dangerhounds:

 

Official:

http://thedangerhounds.com/

Facebook:

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

Twitter:

https://twitter.com/dangerhounds

_____________________________

Music:

https://soundcloud.com/thedangerhounds

 

This Week's Albums: December 16th, 2015

This Week’s Albums

 

December 16^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:  Funkadelic- Maggot Brain (1971)

 

9.5/10

The last album to feature the original Funkadelic line-up; their 1971 milestone stretches between Psychedelia, Gospel, Soul and Rock sounds- to create one of the finest albums of the decade.  The heavily-sampled Can You Get to That is a traditional Folk-led song- that differed from the band’s Funk-orientated sound.  Super Stupid looks an idiot drug-user who buys the wrong drugs- to inevitable consequences- whilst Wars of Armageddon mixes sound effects and samples around byzantine and obscure lyrics.   The seven-track album is perhaps defined by the incredible title cut: an instrumental execration that sees Eddie Hazel delivers a brain-busting solo (apparently George Clinton advised him to play as though his mama had died).  That mix of melancholy and introspection are delicious as are the delirious funk-outs; samples, odd avenues and Gospel chants- all supremely delivered by a band at the peak of their creative visions.  Trombones, Jew’s harp and bongo go into a delirious musical smoke that guarantees blissful transcendence; thought-provoking moments- the album looks at class struggles and brotherhood- and compels you to revisit it again and again.  Not an obvious album for a lot of people; it sure should be- as it’s an undeniable classic that becomes more relevant and necessary as time goes on.

DOWNLOAD: Maggot Brain; You and Your Folks, Me and My Folks; Super Stupid

STAND-OUT TRACK: Maggot Brain

[youtube https://www.youtube.com/watch?v=JOKn33-q4Ao&w=420&h=315]

The New: Jennylee- Right On! (Out Now)

 

6.5/10

The good new releases seem to become fewer as the calendar year progresses.  Not to throw scorn on December’s offerings but Jennylee’s latest album is a work that will excite upon initial listen without remaining in the mind for long.  The Warpaint bassist (the exceptional L.A. female-only four-piece) has embarked into the spotlight- losing some of the magic that made her alma mater so special.  Blind is an appealing (if slow) opener that does not set the tone for the rest of the album.  That expert bass work- that is mixed to create an awkward balance of tension and muted promise- is one of the defining highs of the album.  While Jenny Lee Lindberg is a fantastic musician; her voice is not quite arresting enough to sustain interest across an entire album.  That grip and popularity may hone itself in the future but for now Right On! is a record that shows only patchy promise.  When the music does hit its stride- as on the chilly vibes of never and the sparse Disco flavours of offerings- the heroine provides variation and personality.  Hazy and languorous he fresh is an addictive, mantra-like song- the line “he’s so fresh, he’s so fresh, he’s so fresh” will not escape the brain easily.  Riot and white devil show what the album should possess: urgency, danger and a sense of the unpredictable.  That said; the emotional and sonic contrast results in an album with emotional depth and a unique personality.  Let us hope the Warpaint bassist uses this album as a springboard to greater work- the potential and promise is all there.

DOWNLOAD: riot; he fresh; white devil

STAND-OUT TRACK: he fresh

[youtube https://www.youtube.com/watch?v=yzPTy7Emo1Y&w=560&h=315]

The Influencer:  The Streets- Original Pirate Material (2002)

9.5/10

The turn of the 20^th century saw hungry British rappers/Hip-Hop artists burst onto the scene- providing an arresting, dazzling and mind-bending insight into modern Britain and the realities of the streets.  A year before Dizzee Rascal’s eponymous debut (Boy in da Corner) came Mike Skinner’s The Streets.  The Midland-born artist switched between assured and witty rapping to spoken word pontifications.  The Streets’ opuses of getting drunk and eating chips; getting into danger and making ends meet was a daring and stunning insight into modern-day realities- an album that holds huge weight 13 years on.  Skinner is not as frantic and assured as the likes of Dizzee yet his flow-acceleration is not the main attraction: the asphalt-pounding poet is a man who delivers huge blows with his unique and urgent authority.  Funny, vulnerable and hugely intelligent; the album showed immense talent and ability from an artist fresh on the scene.  There is a quirky Britishness about Skinner’s rapping (the line “I wholeheartedly agree with your viewpoint” is less likely to provoke thoughts of gun-fire gang wars; more a quiet cup of tea with your nan) yet it is those eccentricities and loveable moments that make Original Pirate Material a phenomenal work.  Whilst Sharp Darts and Too Much Brandy are hard-riding and short mission statements the likes of Has It Come to This? were defined as lyrical slices of genius; Don’t Mug Yourself is a bouncing and dizzying array of images- texting a girl from the night before; Skinner’s friend Calvin offering some gravity and common sense.  With Let’s Push Things Forward mixing Reggae bliss and huge intentions- the song looks at the importance of pushing sounds forward and evolving; not buying the same old crap- and boasts some of the album’s finest lyrics.  A true masterwork that should be applauded hugely.

DOWNLOAD: Let’s Push Things Forward; Don’t Mug Yourself; Weak Become Heroes

STAND-OUT TRACK: Let’s Push Things Forward

[youtube https://www.youtube.com/watch?v=I4iA_w81MpU&w=560&h=315]

The ‘Other One’: Beck- Mellow Gold (1994)

 

9.0/10

One of the defining albums of 1994- in music’s most prosperous and peerless year- few artists came onto the scene with such an assured debut.  Beck Hansen is not a man to be bound by limitations: Mellow Gold willingly hops between Hip-Hop, Rap, Rock and Country; taking in samples and quirky sonic touches- resulting in an album that has a freewheelin’ confidence and surreal wordplay.  It is those beat-poet/junkie lyrics that make the songs so vivid, original and down-right odd.  Recorded at home- and not benefiting from studio cohesion and focus- you get an inspiring album propelled by ideas and depth; as opposed to force and pummel.  Standout song Loser is perhaps Beck’s best-loved track- it is not the only stunner across the album.  The Garage-inspired Fuckin’ With My Head (Mountain Dew Rock) is a dizzying and vivid assault that is among the album’s most immediate tracks.  Sweet Sunshine sees Beck at his most fuzzed-out and unsettling whilst Blackhole is far more redemptive and touching than its title suggests- a gorgeous and acoustic-led track that sees Beck mix instruments (sitar among violins) with lyrics at their most oblique and image-provoking.  Whilst the U.S. master is more comfortable in mature and contemplative mode these days, look back when he was at his reckless and limitless best.  Few artists have ever matched Beck for genre-pollination and songwriting genius; Mellow Gold is an album that shook the scene and welcomed a one-of-a-kind to the musical bosom.  Mellow Gold is definitely not mellow (not for the most anyway) yet its gold-standard credentials cannot be argued.

DOWNLOAD: Loser; Fuckin’ With My Head (Mountain Dew Rock); Blackhole

STAND-OUT TRACK: Loser

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

Track Review: (The Ambition)- Will You Be Mine

TRACK REVIEW:

 

(The Ambition)

 

 

Will You Be Mine

9.1/10.0

Will You Be Mine is available at:

https://www.youtube.com/watch?v=P9LNemMIuDg

RELEASED: 2^nd October, 2015

GENRES: Pop-Rock

ORIGIN:

Liverpool, U.K.

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TODAY offers me a unique stand-away from the normal…

crop of bands coming through at the moment.  In addition to reviewing my first parenthetical band; it is a chance to witness a young group who are among the most tender and fledgling out there- whilst demonstrating huge confidence and assuredness early on.  Before I get to them, let me talk about young bands- that go against the boy band market- the music of Liverpool and the dwindling Rock market.  Let’s start by looking at young bands coming out at the moment.  It seems like music’s fresh-faced are becoming younger by the year.  I am seeing a lot of teenage acts coming out that sound completely tight and fully-formed.  Of course youthfulness does not equate to appeal and quality- there are a lot of very young bands that sound underdeveloped and lacking.  The media has an obsession with music and age- they get into a delirious tizzy every time a baby-faced clan arrived with stunning music- which is putting a lot of pressure on the rest of music.  A great deal of artists coming through feel the need to hit particular targets by a certain age- if they do not do it they can feel adjudged to be a failure.  The fact of the matter is that a lot of these younger acts are quite insignificant and lacking any real promise and bite- making anxieties and stresses (from other musicians) inappropriate.  It is great when a young band come along that actually possesses balls and a sense of longevity.  It is always quite hard to see which bands are going to be genuine contenders when it comes to the next year.  My featured act plays a mixture of Pop and Rock.  Whilst I am not a fan of some of the acts they have supported- I find Scouting for Girls unbearably annoying and poor- (The Ambition) are in no way or shape anything like the predictable crop of Pop-lite nonsense you hear blaring from the likes of Heart or Capital F.M.  If you dump any comparisons with your Five Seconds of Summer, One Direction and their ilk- the sort of money-makers that record companies love to mould and replicate with no ear for quality and musicality- we have an act that have more in common with Rock’s elite.  Whilst their best work is ahead of them, there is enough to suggest (The Ambition) will live up the hype and create something great in 2016.  Before I go into more depth, let me introduce Liverpool’s promising young act:

“Tipped by the industry as the next big thing, The Ambition is made up of Jack Morton, Ant Brady and Scott and Max Mealey. The Liverpool based four piece exploded online in 2015 and have established a hardcore fan base which is growing at an incredible rate.

The Ambition have already made an impact on the main stages of some of the UK's most prestigious events and festivals.  Performing their high energy, catchy rock pop sets and appearing at events alongside the likes of Scouting for Girls, Rebecca Ferguson and Basement Jaxx. 

Showing no sign of slowing down and setting up camp in the studio working on their next EP, 2016 is set to be an exciting year for The Ambition”.

The band has a down-to-earth and fan-friendly look that will see them featured on the front of magazines and playlist rotations.  We all get pre-conceived ideas when it comes to the fresh-looking bands and what they will offer in terms of music.  You do not need to look a certain way- or be a particular age in fact- to create music that brims with quality and appeal.  What (The Ambition) does is bridge the gap between radio-friendly Pop- there are enough teenage edges to appeal to the young girls and boys of music- whilst stretching their ambitions to fuse something more credible and appealing- harder Rock sounds that give you a flavor of bygone legends.  I have seen some fantastic acts this year that have plenty of scope; it seems our Liverpool clan could be mixing it among the hungriest music has to offer.  Liverpool is a city that is staying in the public consciousness when it comes to new music.  There seems to be this north-south divide with regards music and the attention of the media.  As much as I love London the bands/acts playing here; it is worth extending sights and seeing what the north of the divide can provide.  Take the sapling lads of (The Ambition) and you get little touches of Oasis and Arctic Monkeys; some Power-Pop of the ‘60s- elements from the north and their hometown into the mix.  Were they just to offer aimless heaviness and nonsensical choruses and you’d skip past them and lose concentration- instead their music rewards concentration and provides something deeper and more enduring.  I am really impressed by the bands coming out of Liverpool at this time.  Liverpool Calling hosted the likes of Jackobins- an act I have reviewed before- and Organ Freeman.  Whilst the bands have not reinvented the wheel- it is hard to display true originality and lack of compromise- they produce music that is elementary in its passion and fever; it is arena-filling and crowd-winning.  With the likes of Hooton Tennis Club and Strange Collective creating buzz and excitement; Liverpool is showing just how productive and fertile she is.  It is perhaps no surprise that (The Ambition) have captured the mindset and attentions of the city: they make music that rivals the best out there; it has a universal flair and appeal that means they will be festival favourites.  Whilst a lot of Liverpool bands go straight for the jugular- and tend to focus too heavily on Rock and Alternative- our featured act dig a little deeper and ply some colours and subtleties of Pop into the fold.  At the moment Rock seems to be suffering serious illness.  Perhaps passing years and lack of maneuverable room has led to problems and a cessation of innovation.  I am finding there are too few Rock bands that sound new and different.  Many are contended to cling onto their idols without altering the sound and pushing themselves- it leads to a lot of short-term acts that waste a lot of time and effort.  Even the likes of Royal Blood- and their critically-lauded debut- are too close to the likes of The White Stripes, Queens of the Stone Age and Foo Fighters.  Whilst Royal Blood have enough punch, epic anthems and ability to throw off the lack of originality; their newly-bred peers are not faring too well by comparison.   For that reason you need to bring other genres into your music and ensure it does not become insipid and predictable.  Thankfully (The Inspiration) have a boss sound with nouse and diversity to it.  They will be going onto create their best moments; their early movements showcase plenty of promise and force- outranking most of their peers and demonstrating why they have been hotly-tipped to be kings of 2016.

If you want a full assessment of Will You Be Mine, then it is worth digging into the past of the young band.  Jack Morton, Scott Mealey, Max Mealey and Anthony Brady have crafted a few other songs which show what a prospect (The Ambition) is.  Their debut E.P. Journeys was released earlier this year and was a chance to get into the mindset of a terrific young band laying down their marker.  Next To You shows maturity and impassioned vocals amidst rushing sonics and a central message of heartfelt love and intention.  Our hero wants to return home and be next to his girl.  Able to conquer the world and take anything on; he would not ask for anything were he to be beside his girl.  There are shades of Pop contemporaries and bands yet the boys have more edge and nuance than their peers.  Mixing sounds of ‘80s Pop (in a good way) there is less reliance on processing, Auto-tune and too-polished production.  You get some raw emotion and naturalness come out in the song- the E.P. has terrific production and definite quality- that means it sounds more grown-up and compelling than 90% of the Pop fodder out there.  You and Me continues alongside the same lines of dedicated love and yearning.  Propelled by a sprite and cheery composition the vocals are at their most insistent and urgent on the disc.  Spiked and electric guitars add some much-needed grit into a story that evokes the deliriousness of ‘60s Power-Pop around themes that look at dream-like love and intoxicating bonds.  The song’s heroine has got her man tied-up and fantasising; hooked and fascinated by all she offers- caught up in a spell.  Why the themes and ideas expressed are commonplace and cliché; the band utilise them to their own means and come up with sentiment that will appeal to their teenage audience- whilst boasting an adultness and strength that sets them aside from any preconceptions and easily labeling.  Our man is dreaming when the lights go out; the infectious and simple chorus hook has a Folk edge to it that will get people chanting and chorusing along.  It is the endless positivity and alacrity that makes the song impossible to dislike.  The highlight from Journeys; it sees a band that can pen a hook and keep audiences compelled to the end.  Never Let You Down expands their compositions and brings something more Rock-tinged and harder into the fray.  A merry and skipping composition showcases another bold and direct vocal that deals with love and the voice of a heroine.  Once again you get vocal chanting and chorus- not the inane way Coldplay trot it out in every track- but something that has a boisterous charm and heart to it.  Whilst the composition has an energy and spring to it; the lyrics are more introspective and haunted at their core.  There is a lot of positivity and hope yet some lingering pain and emptiness can be heard beneath the surface.  Adding emotional depth is vital with regards musical respect and development; listeners of all ages can appreciate what the E.P. offers and how far it reaches.

Since the E.P. - and bearing Will You Be Mine into things- the band have not reshaped and changed their sound a lot.  Being a brand-new act, you would not expect them to sound like Metallica or Basement Jaxx on their new track; they do sound more confident and nuanced here.  Whilst their E.P. was a bold and accomplished release; they have a bit more intrigue and passion about them.  It is crucial to keep their melodic and sunny approach in their music; what they have done is offer more variation and range in their latest cut- that could lead to a different-sounding E.P. in 2016.  I know the boys are going to be touring and in the studio again; it will be great to see the music live and up-close.  They are that confident and complete straight off the blocks- let’s hope they keep that momentum firm in the coming year.

With a high production video and a terrific story-line, it shows the band have a lot of confidence in Will You Be Mine.  The track gets off to a racing start with a spiraling guitar coda that promotes vitality, raggedness and emotional conflict.  The boys show how together and tight they are from the start; keeping everything quite tense and nervy- whilst allowing some space and reflectiveness to creep in.  The early vocal is rich in emotion and soulfulness; conveying conviction and a great sense of desire.  Our hero attests it’s not “too late to go back to that place where we used to be”.  Whether documenting an emotional space or a geographical location; there is that need to reconnect with his girl and get her back.  It is not clear whether the relationship has hit the rocks or whether there is just a sense of detachment between them.  Perhaps things have petered-out and there isn’t that necessary spark and kismet between them.  Our hero’s heart will always call out “for you and me”; there is that flaming passion and need underpinning the vocals.  A lot of listeners will be able to connect with those themes of desire and loss; the need to connect with something that may have passed- unwilling to surrender and let it die.  Augmented by that heartfelt and rich vocal, we here our hero “see that look in your eye”; the one that tells him not to go- you become intrigued by the reasons and truths behind the song.  Perhaps our man has to step away or focus on something else- maybe the realities of music life and their demands are having an effect- but it is clear the break-up is unwanted and unpopular.  The decision seems to be more firm with our hero; that need to start afresh and step away is evident.  Remembering his girl and those initial impressions- how she looked and the glint in her eyes- there are evocations of a better past and the purity of the initial moments.  Perhaps the idealism and expectations have changed; the reality of the bond has come into view- that is why he has to step away.  Their ambitions and desires seem separate and there is little room for compromise or an agreement.  Causing strain and emotions, you can hear that regret and sense of fear in the hero’s voice.  Backed by a composition that provides support and strength- not cheapening proceedings with sunniness and false emotions- and you have a song that remains focused and mature throughout.  Wondering how he could replace someone that “used to be my everything” the lyrics do not stray too far from the likes of their contemporaries- although that is no bad thing.  When it comes to love and relationships, it is hard to craft lines that are original and that distinct- without losing their universality and truth.  Few listeners can refute the passion and power that is emitted from the vocal; that will to explain things and express that pain and loss.  Our boy is struggling to stand quietly by his girl; there are words and things he needs to say- perhaps remaining quiet to avoid conflict or say things that may make things worse.  There are some silent moments and awkwardness as things are starting to crumble; the reality the two may not see one another- and life as they know it is going to change forever.  Among the throng of heartache and suffering there is a stoic and resilience to things; you feel like our hero will be able to regroup and get back to life as normal.  Whilst he is in the eye of the storm he has tried to keep his emotions in-check and together; he is letting it all go at the moment and submitting to the sheer force of the break-up.  It seems like the relationship may have been less storybook than first imagined.  It seems our man was “led astray” and been lied to.  Now he is finding his way “back home” there is that given of improvement and a mature attitude to things.  The video for the song looks at a middle-aged couple at a hospital bed.  The husband sits by his wife as she starts to fade and deteriorate- leading to different impressions and interpretations.  Part of your brain could relate the words to family concern- perhaps a fond relative that is starting to get ill and depart- although one suspects the video’s plot is designed to portray a love that is breaking down for reasons that cannot be avoided.  Quite an intriguing and open-for-interpretation, the boys ensure those heavy words and wracked souls are not too dark and shadowy.  The wordless vocal and rousing chorus injects enough optimism and energy to keep the song vibrant and uplifted.  The chorus and its declarations- whether the girl will be his- is perhaps that need to recapture something that has faded and the refusal to move on.  The song has some obliqueness and mixed messages that keep it fascinating.  Whilst our man seems to be rebuilding and accepting the break-up there is that denial and that want to get the girl back (and recapture what they had).  Whether it is ever possible- or he is fooling himself and knows it is a hopeless cause- it gets the listener guessing and hooked.  The band creates a vibrant swirl and attack that enforced the song’s messages and keeps that drama and electricity firm to the last notes.

With bands like Coldplay taking their foot off the gas- short of ideas and repeating themselves; songs that don’t match their glory days- we need Pop-Rock bands that have the potential to remain surprising and strong.  Being a teenage band you would excuse some sharp corners and ragged edges to the music.  What you get is a band that sounds like they have been playing for many years- they are as tight and assured as any out there.  Their lyrics are quite every day and universal- they document common themes and do not stray too far from worn subjects- although it is a move that is necessary and smart.  Their audience and listeners have been through similar experiences and want to hear songs that reflect their life and pain.  Were the band to pen something that was out of the comfort zone then they would lose followers and alienate their fans.  Packing much more punch and energy into one song than most bands create across an album; you have spades of nuance and recommendations here.  I am not a huge fan of Pop-Rock bands but have found an act I can get on board with and relate to.  They have plenty of maturity and aerodynamics that means the vocals and compositions do not get bogged-down into predictable and bland waters.  Perhaps their most focused and memorable work; here is a band that matures and develops with each new release.  The performances are impressive and stunning throughout the song; contrasting sensitivity and raw emotion with dignity and aplomb.  With the scene being defined by a lack of quality- critics beholding bands that are not worth their weight- it is refreshing to see the Liverpool boys come along and earn their plaudits.  They have had a busy and productive 2015 so should be very proud of what they have achieved.  They connect with so many people and Will You Be Mine is an assured and brilliant song that will see their fan-base rise.

Whether it is The Ambition or (The Ambition); they are not a band that need changing or parenthetic.  I was a little wary reviewing the band- thinking we would have a One Direction-type act that would cause me some ethical conflicts- yet I am pleased to announce they are a lot more appealing and stunning than any boy band out there.  In spite of the fact the boys are in the teens; that does not lead to music that is infantile and immature.  Beyond the moody photography- the boys barely crack a smile in any of their press releases- it is a red herring that is quite necessary.  Were there too many zany shots and stupid photos- you know the type favoured in teen magazines- they would be written-off as another off-the-rack boyband with nothing to say and nauseating personalities.  If their music were moody and downbeat then they would lack appeal and any sort of longevity.  What the Liverpool band does is showcase mature and adult aesthetics with music that ties sunny Pop of the mainstream with some credible Rock edges favoured on the current scene.  When it comes to tipping new bands for 2016- and those we should all keep an eye out- it is well worth putting some time and energy in the direction of (The Ambition).  The boys recently played at Harrods- an experienced that seemed unique and unforgettable- and they are mounting a charge on the musical landscape.  Will You Be Mine is another bold move by one of the hottest up-and-coming bands around.  I stated Liverpool breeds quality and consistency; no exaggeration when thinking of our featured bands and what they have shown so far.  If you check out Google- and search for ‘best Liverpool bands of 2015’- you get a good range of acts that show variety and promise.  (The Ambition) are creeping up and gaining impressions and support from all the right quarters.  Being so young it is forgivable they have an essence of mainstream Pop- it is necessary to appeal to their target audience- but I can see them developing and expanding their sound as the years progress.  The early signs are hugely encouraging and show a band that want to remain on the scene for a long time yet.  With so many young bands out there; the media are crawling over themselves to highlight and proclaim certain bands as ‘the next big thing’.  I am always sceptical by these lists- including the B.B.C.’s annual list that is always a little shaky- and find that they do not reflect public tastes and the majority of music-lovers.  We should not herald and focus on bands because they are young- it does not mean they will be good or last even- but on the quality of their recordings.  When you discover an act that is young AND good then it is worth making predications and speculations.  With Liverpool mothering some of the U.K.’s best bands we should keep our attention on the north-west city.  It seems like Rock is going through a recession at the moment and not giving the same returns it did a few years back- the acts coming through don’t have the originality and inventiveness they once had.  It will be good to see (The Ambition) come and play London and take their Pop-cum-Rock sounds in person.  Their optimism and powerful choruses are equalled by their lyrics which tap common themes and give them a personal spin.  I am tired and fed-up of the bland and inane Pop bands that come through- as are most of the public for the matter- so it is good to see a band come through with a bit of gravitas and difference.  Let’s hope our Liverpool band get back into the studio and lay down some new sounds for 2016.  Will You Be Mine is an insight into what they can achieve and where they are now.  It is a mixture of youthful love and multi-coloured sounds wrapped around a tight and mature performance that result in plenty of appeal and weight.  It may be too early to see exactly how far (The Ambition) will head but for now- and bearing their latest single in mind- it is all looking quite rosy and prosperous.  If you are hesitant about embracing sunshine Pop and something teenage, then do not be put off by history and the current crop coming out.  With these boys coming through…

 

POP is being given a good name.

[youtube https://www.youtube.com/watch?v=P9LNemMIuDg&w=560&h=315]

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Follow (The Ambition):

Official:

http://www.theambitionofficial.com/

Facebook:

https://www.facebook.com/TheAmbitionMusic/

Twitter:

https://twitter.com/TheAmbitionBand

Instagram:

https://www.instagram.com/THEAMBITIONMUSIC/

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Music:

https://soundcloud.com/theambitionmusic

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Videos: https://www.youtube.com/channel/UCNbVz80q7hu7vfqBrzKwPbQ

Track Review: Lola Coca- Bad Girlfriend

TRACK REVIEW:

 

 

Lola Coca

 

 

Bad Girlfriend

9.8/10.0

Bad Girlfriend is available at:

https://www.youtube.com/watch?v=d4y7tIJF7a8

RELEASED: 4^th December, 2015

GENRES: Pop; Hip-Hop; Ska

ORIGIN:

London, U.K.

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AMONG the colourlessness of some of music’s newest progeny…

it is always rewarding stumbling upon an artist that is vivacious, bold and hugely memorable.  I shall introduce you to my featured artist very soon, but for the moment, I am reminded of a few different subjects.  The first concerns personality, colour and brashness; the second looks at female Ska/Hip-Hop artists in the U.K.; the third concerns originality in songwriting.  When you look around new music and the artists that are coming through; there are few that really catch your imagination and compel you to dig deeper.  Whether it is a lack of energy or a rather stilted sound- I have not been seduced by too many artists lately.  I know how vital it is to work on the sound but that does not mean you need to sacrifice everything else.  I hear so many artists produce great/fairly good music yet nothing else really lingers in the mind.  You do not need to force a personality and aesthetic to make the listener compelled and fascinated.  It can be a way of thinking; a direction in songwriting or certain flair- little touches that go a long way.  A lot of new musicians- when it comes to interviews, photoshoots and such- come across as samey and overly-processed.  I find a lot of artists display vituperative attitudes and (are) needless childish to grab attention.  The most pure, addictive and long-lasting musicians are those that are naturally interesting and do not force things.  It may seem like an odd point to mention- yet when it comes to my featured act- here we have someone that ranks among music’s most interesting and alluring new artists.  Before I continue this point- and raise a couple more into the mix- it is time to say ‘hello’ to Lola Coca.  Londoner Lola- and her near-spoonerism name- is a fascinating artist that really intrigues me.  The London-based artist is splitting her time between L.A. (where she records) and the capital.  Reading interviews she has conducted you get the idea of a young woman that does not fake that infectious personality.  She has a raw edge and plenty of attitude; she seems one of the most humble and modest people in music.

Reluctant to call herself a singer or rapper- that modest strain coming in- there are definite expectations and nerves.  It is not just Lola Coca’s incredible genetics that have got her where she is today.  Her modesty aside you have a young musician with an incredible originality and honesty about her.  The heroine bears her emotions and subverts expectations; she is a brave and sensitive artist who has an undeniable and burning passion for music.  Music is the thing that keeps Lola up at night and keeps her heart beating strong.  I talked about lack of personalities in music- for all those dull and mind-numbing new acts coming through- Lola Coca seems to be the antidote.  Her fashion and looks- mixing bright colours and multi-blends outfits; vibrant contrasts and a blend of U.S. and U.K. fashions- is the result of someone drinking in the London cosmopolitanism.  You can tell how much the London residents inspire Lola; how the varied landscape and areas have impacted her direction.  The young star has an infectious sense of humour and down-to-earth appeal that has drawn in fans and followers- all falling in love with that wonderfully compelling and entrancing human.  There is not a great deal of female Ska/Hip-Hop artists in music.  I am currently obsessing myself in the genres- I hope Lola won’t mind me going on a brief tangent- and am an obsessive Dizzee Rascal fan; someone getting back into Cypress Hill- reveling in the force and magic of Missy Elliot.  Even Hip-Hop-lite artists Nelly Furtado- who I adore for her vocal delivery and sassiness- are filling my ears and soul.  Rap, Hip-Hop and Ska are those genres that seem to go under-the-radar; a minor force that is secondary to Pop and mainstream concerns.  It is a shame because there are so many great acts coming through.  Lola Coca is one of those rare humans: a white female rapper.  Whilst a lot of her heroines- the likes of Kelis for one- are black American artists; here we have a white rapper from the south of England.  I am straining my mind to think of anyone quite like our heroine.  It is understandable there are some nerves when it comes to her music- with so few being like her- but is great to see an ambitious young woman do something new with the genres.  Lola does not just play the U.S.-themed Hip-Hop/Rap we are all familiar with: she teases in ‘90s Pop undertones with Ska bliss; sweet-leaf chills and sharp edges that kicks ass.  There is so little originality coming through in a lot of music from our young artists.  Lola Coca is one of the rarest and most unique artists I have come across in a while.  A young woman you want to hug and keep safe- someone that deserves a wonderful human to mould her passion and ideas- there is an incredible strength and rebelliousness to her.  Bad Girlfriend is an offering that subverts expectations and offers a new slant on love.  Mixing p***-tease promise- her boy is not getting a ‘special birthday present’ this year- there is soulfulness, sensitivity and wit to be found.  Not just the result of her production team; you get a lot of insight into the woman behind Lola Coca.  Most new artists coming onto the scene- this is our heroine making her sapling steps- tend to write songs about heartbreak and no-good fellas; maybe something about being hurt and scarred by love.  Whether that is the logical first chess move; if market expectations demand that- Lola Coca is someone who has skewed the mould and come up with something more fascinating, original and wonderful.  Whilst a lot of media and reviewers are making easy comparisons with Lily Allen- a no-nonsense Londoner with a mix of cutting and cherry- that betrays the true potential of Lola Coca.  She is her own woman and has a lot more to her than Allen-esque strands.  A lover of the likes of Amy Winehouse; you can hear that Blues soulfulness and dark lust in her voice.  Lola’s love of ‘90s music comes through in the evocative and memory-strewn bliss-sounds.  The sharp tongue and strong skin is a match for her Hip-Hop/Rap favourites.  What you get is an artist that has colour, passion and heart; an effortless ability and huge future.  I know the young heroine has some trepidations and high hopes; I can see an album emerging in 2016.  Bad Girlfriend is an original and hugely memorable song that will see her gain momentum and inspiration.  With such a compelling and stunning mind; I know there will be some terrific songs emerging- tied together by her assured and exceptional team.  I hope her social media numbers rise- they are scandalously short of what they should be- I know of venues and musicians that have fallen under her spell.  2016 will be a bumper year for her and the chance for her to spread her wings- and show music just how immense she is.

Lola is making her first steps into music; it is hard to compare her new sounds with bygone music- seeing how far she has progressed and changed.  Bad Girlfriend is her newest cut that shows a fertile imagination and an assured singer.  Love Songs is another number that is online; it shows a contrast to Bad Girlfriend.  The opening notes mix crackling with romantic strings; a fusion of sounds that gets the imagination pricked from the first moments.  Old-style and vintage guitars- reminding me of ‘50s Rock ‘n’ Roll with Doo-Wop lingering- there is a bit of Swing to the introduction too.  Lola’s voice comes in firm and ready to tell of her “confidential” and “secret heart”.  Seemingly too shy to give her heart freely; there is that central message- “love songs are for losers”- that shows wit, spikiness and vulnerability.  The song goes against the common grain to deliver something old-cum-modern; that endless vinyl crackle and sparse guitar puts your mind in the ‘40s and ‘50s- it is a vintage song that has a modern heartbeat.  Sunny and effusive vocal layers bring the song to life and give it a vivacious and technicolour smile.  The flowing rhymes and emotive vocals see our heroine waiting for her man- she will hold out for his touch- and not giving too much away.  Perhaps a bedfellow of Bad Girlfriend- both look at denial and restrain whilst having different courses and ideals- it is a track that has an addictive and coolness to it.  Swinging, swaggering and London-esque; the song takes you to some wonderful streets- you build images and immerse yourself in the passion and heart of the music.  If love songs are for losers then our heroine “may never wake up”.  Lola’s voice has a crackle of Lily Allen; a soulful belt of Amy Winehouse: when it comes to to things you have a vocal that is very much its own beast; it mixes unique personality and tones to distance itself enough.  Towards the closing moments Lola injects some rapping into the track.  Our girl is “too scared to take the risk” and seems to be showing a vulnerable side to herself.  After the firm and effusive beginnings we have something more introspective and heart-bearing.  Showcasing her natural affinity for Hip-Hop and Rap; the mixture of the first phase- that indelible sway and cheer- blends seamlessly against the more jagged and hard-hitting rhymes.  Our heroine is “too shy” to perhaps be herself.  Love Songs is a track that balks against the traditional (love songs) out there; those ideals and romanticised notions.  There is a reality and relatability to Love Songs.  Some of us are shy and hesitant to be ourselves; the truth of things is that love and relationships can be hard from the start- a track that brims with meaning and personal insight.  You feel empathy with Lola and what she is saying; that desire to be with someone and be open- perhaps too reticent and coquettish to let her personality and qualities out.  A piano-slam and charming outro complete a track that is stunningly confident and assured.

Match Love Songs against Bad Girlfriend and you have two sides to an intoxicating and spellbinding artist.  Able to keep unified personality in two very different songs- the composition and lyrics have very unique perspectives- and you just wonder how far she can go.  In Love Songs, Lola Coca shows such a passionate, urgent and gorgeous vocal.  Letting her Blues/Soul voice mix with her M.C. /Rap skills and you have a song that will appeal to a mass of listeners- and lovers of multiple genres.  It has such a mobility and quality to it that is hard to ignore.  The lyrics are quotable and hugely memorable; the composition is full and unexpected- those vintage elements are a wonderful touch.  The equal to Bad Girlfriend; it is a 1-2 that has not been equaled this year.  Most artists come in a little vague and timid; really not letting themselves reveal too much or go in too hard.  Our heroine is a young woman that has a need to be heard and understood.  Someone that has vulnerability and hesitations; these sides are expounded and exposed in a song that points to an extraordinary talent.  This all means the following year will be exciting and filled with possibilities.  I can see Love Songs and Bad Girlfriend making their way into an E.P.  I have always dabbled with the album title Love Songs Without Choruses- that could be interpreted as a coital innuendo into the bargain- and easily house the likes of Bad Girlfriend and Love Songs.  Whatever Lola Coca has in mind will be great to see.  I can envisage an 11-track collection that fully explores and uncovers her spectrum of talents.  Maybe some more direct and edgy Hip-Hop slams- putting the heels into some no-good fellas- and soul-bearing Soul numbers will be stirred into a psychotropic and gorgeous-smelling bouquet of music.  With that stunning voice and huge ambition fully charged there is no telling where Lola Coca could head.

The stunning weight of Bad Girlfriend has set social media ablaze.  In the initial seconds you get some Ska/Reggae steps that are hugely infectious and wonderful.  Mixed low and echoed in the background, there are dope beats, infectious Salsa rhymes combined with a wordless cry from the heroine.  Compelling the feet to sachet and weave around; it is a funky and inventive statement that shows some Hip-Hop vibes and summer-time chill.  That girlish giggle and cute-as-hell opening leads to something swooning, dizzying and sky-diving.  A high-pitched vocal holds in the background to give the impression of bellicose cry and huge emotion.  Everything is kept levelled and disciplined in the early exchanges- backed by fantastic production values and phenomenal mixing.  Before our heroine arrives to the microphone; you get caught up in the scenic and vivid kiss of the introduction.  Its Latin workout-cum street-walking coolness is an infectious bond that gets you smiling and exciting.  Whereas Love Songs saw Lola come in with a Pop/Soul vocal- that leads into Rap- here we get something that is urgent and fast-racing from the very go.  Our girl “tried to hide, tried to lie…”- rapping and reeling against the swirling electronics and chaotic blend of the background- she is turning her man on “like a night light”.  The man has his birthday and is expecting a lot of sugar from his girl.  Perhaps that has been the pattern of the past- maybe former girlfriends have complied with his veracious and slavish demands- but our heroine is not so compliant and obvious.  Wanting to keep him on a lead and get the blood rushing to other parts- it is a cheeky and witty number that shows plenty of attitude and spunk (ironically).   Our heroine shows great authority and natural ability in the early exchanges.  A lot of new artists that go for Rap/Hip-Hop seem unsure and foolish in their early days- needing to cut their teeth on a few demos before launching into a single.  Lola seems like she has been doing this for year.  You can tell the likes of Missy Elliot have had their bearing: you can hear some of the U.S. queen’s cut and voice in the stunning lyrical tumble of Bad Girlfriend.  Our heroine lets her voice weave and snake with huge effect.  The mix of wit and original wording makes the song such a gripping and wonderful beast.  Her boy is begging like a puppy for attention.  Maybe pretty and good for the eyes; he is someone that certainly gets Lola’s engine running- but he needs to know his boundaries and cool his jets.  Her man is “embarrassing” and making a fool of himself.  You can tell how much fun Lola has recording this- you can practically hear the grin on her face- and she sounds completely in-command; controlling the song and ensuring every word hits the mark.   Riding a sparse and dancing beat- some wonderful compositional touches augment the emotions and ensure the vocal is driven and supported- our heroine is highly infectious and stunning.  Stopping him before he “hits the poontang”; our girl is hot and cold- too hot to handle but perhaps a little cold to the touch- there is that desire to relax and get her own way.  With no shopping stress and clichés; she just wants to kick back and spend her own way.  The lyrics mix U.S. and U.K. phrasing; the language-blend means the song will cross borders and easily translate to U.S. radio stations.  It is not a cynical move or calculated risk; here is a young woman with a love of U.S. and U.K. music- it is effortless; funneled into a consistent and wonderful work.  As the song progresses you get images and ideas of the story.  Our heroine is withholding sex due to the cloying and desperate pleas of her man.  Whether the need to establish control or just toss cold water on the boy- who may be putting physical acts above any real emotional connection- and there is some vulnerability and sensitivity that comes out.  Lola does not want to be objectified or controlled; she calls the shots and wants to be treated like a real personal.  As the song progresses you cannot escape that mix of quality, uniqueness and humour.  Sound effects are throwing in to match the lyrics- tills opening and closing; dog growls and little snippets of violin strings- as our girl rolls her eyes.  With fake astonishment she realises her man has a birthday and a big week ahead- which means sex in his mind for the most part.  Confessing to be a “bad actress” you get someone that may have been faking the motions- bad news for the boy’s ego- and someone that does not give a crap about his libidinous desires and impure motives.  I get little snippets of The Streets and Dizzee Rascal; bits of Missy Elliot and Kelis.  You have some street-wise flows and frantic rhymes- a lot of modern rappers are too slow and not cutting enough- whereas Lola presents some original bites and wonderfully inventive lyrics.  Like a young Dizzee- his debut album was bound with genius words and scintillating raps- here you get a fast-flowing and mesmeric flow from the young artist.  Dizzee looked at sleazy sorts and the sort of disreputable, controversial characters you find around town- the sort that need to get put in their place.  The Streets- especially on Original Pirate Material- mixed some stunning humour with spoken word professions and insights.

Kelis and Missy Elliot mix that sassiness and strong female vibes- showing control and dominance- with quirkiness and sonic invention.  Think of Kelis’ Wanderland and you get a comparable artist that sounds effortlessly assured and in the zone.  The genre-switching and parodying brings extra light and colour to the proceedings which see Rap and U.S. Hip-Hop merge with an accessible Pop chorus and hugely memorable chanting.  When the chorus does arrive that Bad Girlfriend chant is as addictive and memorable as you can imagine- it is an extra kick in the balls for the song’s hero.  Our girl confesses she does not known “when your birthday is” and that doesn’t really matter- she will not be led and told what to do.  It is that brassy and humourous attack that makes the song endlessly appealing and brilliant.  Those dazzling flows and terrific soundscapes effortlessly lead to the chorus which transforms into something sarcastic and contrary.  An echoed and processed vocal (by her heroine) recalls the sound of a phone message- she confesses how much she misses him; how much she wants to kiss him.  When the vocal comes hard into the mix, those sentiments were insincere.  Her man is a fool that is causing her too much strain and annoyance.  Whether he is too eager to get to the bedroom- and thinks he is the best thing since sliced bread- our heroine is putting him where he belongs.  Our girl has been checking Twitter and emails; looking at pictures and looking for mentions of her (there are none) - she hits-up his friends and goes clubbing instead.  Not wanting to crawl back to him like an animal there is that strong message that will speak to young females listening- the sort that have felt smothered and controlled by boys when they want real men who have genuine soul and kindness.  Lola is a young woman with a lot of life (she wants to live) and is keener to experience the unpredictability of the night- rather than as sworded night in with her boy.  Our girl gives more insight into her man and what he’s like.  Someone that is too keen and clingy; whose mother does his washing- Lola is always going to be “that thing between them”.  Not sure why this is- I guess there is too much of the mum in Lola; perhaps her son has been exaggerating things- you get an insight into domestic strife and disapproving relatives.  Maybe the mother has false ideas of her son and wants a girlfriend that is more complicit and not as strong.  Lola is an independent and brave girl that does not get controlled and dictated to.  This has caused ructions with her man (and his mum); those sly and catty words- the mum is not out of earshot like she thinks- has compelled a song that is a fingers-up to the man and his stupidity.  By the second chorus- and another chance to chant and sing that infectious slam- our girl seems even more compelled and fighting.  “Oh no!” she states; wanting her man to get off his knees- I think it means he is begging rather than anything else that comes to mind- and get a grip.  It is “not you it’s me”- in the sense our heroine needs better and wants to find something pure- and it is the “end of the road”.  With a slightly patronising and kiss-off attitude; the song is given a bouncing and twanging bass line- it adds extra grit and spike to the words and creates an infectious undercurrent.  At all stages the composition remains mobile and interchangeable: going where the lyrics need it to, you get emotional resonance and a cornucopia of ideas, genres and sounds- held together expertly to ably support Lola.  With that choruses being repeated; that growing passion- our heroine is “all up in your business”- you are hypnotised and sucked into that wonderful vortex- before some Tango-themed piano notes bring the song down to a close.

It is hard to take Bad Girlfriend in on a single listen- I went back and forth to listen to words and music- as it is a staggeringly ambitious and impressive offering.  So much passion and conviction comes out in an artist who is just starting out.  That same confidence and authority the likes of Kelis, Dizzee', and The Streets showed in their debuts; here we get a young artist who seems ready-made and fully-formed.  Few singers have such an amazing urgency and talent so early.  When she raps and rides there are no weaknesses; a phenomenally assured Rap artist you are amazed by the flows and rhymes.  Lola’s voice is a stunningly vivid and emotional one- she is effortless when talking about sex and bad guys; sensitive topics and throwing zingers into the mix- and it makes Bad Girlfriend such a huge achievement.  The songwriting is amazing throughout the track.  The lyrics are as sharp and quotable as any I have heard this year.  So many ideas are thrown in; there is a huge amount of imagery and possibility within the song.  It is a track that will resonate with listeners and be familiar to some.  Completely natural and modern-day it is that blend of contemporary and vintage that seduce.  Whilst our heroine tweaks her voice- offering accentuations, accents; dips and dives- the composition mixes Latin/Tango dance with pulsating beats and tribal warfare.  You get sound effects and wordless vocals; teasing strings and a huge amount of atmosphere and evocation.  The production is ripe, clear and wonderfully assured: it ensures every beat and note is heard and clear; perfectly mixes each element to create a compelling song that is nuanced to hell.  You keep repeating the song- drugged and hooked by the addictive sound and wonderment within- and you will need several spins just to get on top of things.  A wonderfully confident assault from a fantastic young artist; there is no telling just how good she can get.  Bad Girlfriend is rightfully being heralded and celebrated among music’s reviewers and lovers.  If Lola Coca has given indications she is uncertain about herself- as a ‘singer’ per se and a rapper-then I am not sure why.  As a vocalist she has a rich and gorgeous voice that drips with passion, emotion and strength- one of the fieriest and most soulful voices I have witnessed.  She is easily capable of matching her heroines and influences- it is no hyperbole to say she could own the U.S. and dominate the charts- and seems completely limitless, untamed and unstoppable.  A juggernaut slam that has honesty and truth- let’s hope the boy in question has been given his marching orders- it is an insight into a young woman who wants to be loved but not at the expense of her dignity.  A modern icon that should be highlighted- rather than the vacuous and vanilla-weak we have doing the rounds- huge congratulations to the stunning Lola Coca- 2016 is going to be your year!

Few column inches have been dedicated to Lola Coca the musician.  The heartbreaking model has been noted for her glorious cheekbones and immense beauty- it is something that is unavoidable and secondary to the music.  Lola herself has said in interviews she wants some distance from modelling.  In songs that wag fingers at G.Q. cover-featuring models/artists she can hardly deliver those messages with true conviction- being someone who features on magazines herself!  The head-turning Londoner has already amazed the model world; she is making steps to seducing the music world too.  Lola Coca is not your average Pop artist who offers sugary compositions among messages of immature boys and crocodile tears.  Our heroine is someone that has her ears and eyes on vintage sounds- a lover of Jazz and old-skool Hip-Hop beats- she melts it into something contemporary and of-the-moment.  The Amy Winehouse familiarities might not seem obvious upon first sight- the two are quite different as people- but that’s where you’d be wrong.  Their musical ambitions and tastes are incredibly similar; that personality-mix and lovable nature is almost identical- don’t be surprised to see Lola making a similarly impressive charge for the music summit.  Winehouse was that black-and-white movie heroine with an incredible voice; those Jazz/Soul workings backed lyrics showing heartache, love and loss in new light- tracks like Love Is a Losing Game and Back to Black have not been equaled by anyone since.  Bad Girlfriend is a stunning track and one of the finest songs I have heard this year.  I can imagine Lola expanding her sound to come up with something Winehouse-esque: backed by stunning horns and beats; a swaggering vocal that mixes ‘50s heartbreak with a f***-you kiss-off.  Lola’s love of Hip-Hop and U.S. Rap could see her delve into something street-smart and London-esque.  Imagine Dizzee and The Streets given a Lola-esque transformation: she has that ability and voice that could see her match the spit, flows and lacerated passion of our finest recent M.C.s.  Take into mind Lola’s Pop flavours and Ska layers.  That could be parlayed into something summer-vibed and sensual; a colourful Mark Ronson-esque composition that gets into the mind and provokes smiles and delirious feet-tapping.

She may have reservations and big boots to fill but she should have no fear- the next year will see her music developed and really explode.  I would love to work with her in some way- helping to promote or interviewing her- as we have a rare artist that has a genuinely big future.  That voice could pretty much conquer any territory she seeks; the variegated genre-fuse means she has an adaptable and utilitarian vehicle- able to traverse any landscape she wants.  Being her first steps, it is always sage to reign things in and offer some reflection.  There may be cynics that snort at the idea of a model-turned-singer seeking credibility and respect- think of some or her foresisters that have embarked down this road- but here is someone who was born to be a musician- modelling was sort of a happy accident; the result of incredible beauty.  Before I complete things, I wanted to circle back (perhaps with greater relevance this time) to themes of U.K. Hip-Hop/Rap; originality and the need for distinction and individuality in music.   On a side-note, I can see Lola Coca doing a mean and boss-woman version of Kelis’ Caught Out There- it seems a song that our heroine could give new life to and reinvent- it is impressive to see a young artist that instantly gets into the imagination.  I am tired and depressed by the meek and vanilla Pop artists that have vapid personalities and senselessly slight sounds.  Throw in new bands that can be copycats with a predictably lame look/sound- music that lacks balls, diversions and nuance- and you have a new music scene that has produced some variable quality this year.  The best and most enduring artists are those that go the extra mile and let their personality shine.  Having read interviews with Lola Coca; I was seduced by the voice of a young woman with such a relatable and lovable personality.  She has no pretenses, needless profanity and shallowness.  Articulate, funny and hugely intelligent; there is vulnerability, shyness and sensitive in there too.  You get a young woman who has a natural edge to her- quite bold and brash when she needs to be- who always brings it down to earth when she talks of music, passion and the future.  Bad Girlfriend is a song that is receiving serious kudos and some admiring sighs-knowing we have a wonderful proposition on our hand.  I am not sure whether Lola has a man in her life; it seems like she has encountered the wrong sort of boys- someone that perhaps is addicted to the bad-boy types; those that will always let her down.  When it comes to her music, perhaps that naïve and understandable typecasting is good for her music- if it can produce some Kelis/Winehouse-esque confessions and stunners; then keep it up!  With regards the future, maybe settle for a nice guy who will take good care; someone who can provide substance and dependability- and inspire new songwriting themes and personality stability.  There are some great Hip-Hop/Rap artists coming through yet few white female types.  It may seem like a stereotype to say that the best Rap and Hip-Hop emerges from black artists- and especially acts out of the U.S. - but it is certainly more common.  It is great to see the likes of Lola Coca come through with genuine passion and authority for what she does.  Best of luck to the stunning Londoner and let’s hope the following year offers her happiness, opportunities and stunning achievements.  I know there is an album in her mind; she has firepower and enormous passion for what she does.  The music world is crammed with young artists all wanting to make her name; it is hard to dig down and see which ones are worth a second look.  The Southsea-born heroine will want to focus on Bad Girlfriend and how it does- before looking too far ahead to new music and next year- but I know how well she will do.  If you have not heard Lola Coca then involve yourself in her music and spread the word- get those social media numbers flowing and growing- and watch a brave and stunning young artist embark upon her career.  With such an original artistry and fantastic support behind her it is only a matter of time before…

SHE is a household name.

[youtube https://www.youtube.com/watch?v=d4y7tIJF7a8&w=560&h=315]

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Follow Lola Coca:

Facebook:

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

Twitter:

https://twitter.com/lolacoca

Instagram:

https://www.instagram.com/lolacoca/

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Music:

https://soundcloud.com/lolacocamusic

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Videos:

https://www.youtube.com/channel/UCmNcM7zid3CIMc9yKrJ1q0Q

Interview: Cori Elliott of The Vim Dicta

Interview:

 

 

Cori Elliott of The Vim Dicta

 

IN the coming days, some great bands and solo acts are coming to my attention…

with a lot of variation- in terms of sound and geography- being covered.  The Vim Dicta are one of the hottest and most compelling bands coming out of the scene.  The L.A.-based ‘Psychogroove’/Rock band are setting tongues wagging with their stunning music.  The guys are planning a trip to the U.K.: a chance to show crowds here their unique blend of passion, power and wonder.  Before they arrive here, I was keen to catch up with their singer/songwriter/guitarist/bass player Cori Elliott.  She chats about the struggles associated with making music, the band’s plans for 2016- in addition to her recommendations with regards new music.

Hi Cori.  How has your week been?  Any plans before Christmas?

Hey!  It’s been good.  Just been gearing up for the holidays.  As far as plans before Christmas; we just played a benefit show for the Skid Row Housing Trust (they provide homes for the homeless) in Downtown L.A.  But mostly we’re just rehearsing and trying to finish up mixing on our new recordings.

For those new to the music of The Vim Dicta; can you tell us a bit about you guys

I’m originally from Austin, TX.  Matt is from L.A. and Chris is from Chicago.  Matt and I are the original members of the band as we had a different drummer when we first started back in 2011.  Matt and I met at Coachella in 2009.  About a year later, I reached out to him and we started jamming in his garage.  I would say my roots are definitely in Folk.  Bob Dylan is what got me into writing my own music, lyrics mean a lot to me.  Matt studied the great guitar players (Jimi Hendrix, Jimmy Page, etc.) and as we started writing together it brought out my tendencies towards heavier music.  Chris studied drumming of all kinds by listening to old records and playing with them.  Eventually it led to him becoming a hired gun in many major cities including Chicago, New York and Nashville.  The three of us together culminate a large array of influences.  Musically we are inspired by Rock, Jazz, Soul/R&B, Funk, the list goes on…bit may be cliché to say but there really are no limits to what can inspire us and our style.  To sum it up shortly, we’ve coined the term “Psychogroove” as our “genre” which sort of lends itself to an interpretation that makes sense upon listening to us and especially seeing us live.

You (and the band) are based out of L.A.  The city is fostering some terrific and varied music.  What is it about L.A. that leads to such great music and acts?

L.A., like New York, attracts people of all types from around the world.  When you have a major city like that with lots of music history, it will continuously draw in that much diversity.

The Vim Dicta has a sound that mixes ‘60s Psychedelia, Blues-Rock and Progressive-Rock.  Which bands and acts were important to you guys growing up?

Upon listening to our first E.P., I think you would definitely find those styles you listed in there because they are a part of our roots as musicians.  We recorded that at a time when we three had just come together as a unit and were beginning to get a handle on the direction and style of the band.  In two years, we have definitely evolved and I think more and more of our influences are beginning to come through as signifiers of a sound that’s less defined by conventional genre types of which we can call our own.  Bands and acts that were important to us:  The Beatles, Led Zeppelin, The Doors, Etta James, James Brown; Jimi Hendrix, Billie Holiday, Frank Zappa, Velvet Underground, Talking Heads; Ray Charles, Nina Simone, Pink Floyd, Bob Dylan, Jeff Buckley; The Meters, Can, Pixies, Nirvana, Leonard Cohen, Sam Cooke; Sonic Youth, Smashing Pumpkins, Black Sabbath, The Mars Volta; Serge Gainsbourg, King Krimson- the list goes on..

When I hear your vocals I detect shades of Billie Holiday and Blues legends.  Were the likes of Holiday important to you early on?   How as that voice created/crafted?

Thank you!  That’s a huge compliment for me.  I absolutely love her.  She’s one of the top influences for me vocally.  I would often find songs by her or other vocalists I’d admired and listen to the songs over and over to try and sing it exactly like them, phrasing and everything.  I think Billie’s voice is transcendent and you can really hear true pain in it.  She once said: “If I’m going to sing like someone else, then I don’t need to sing at all.”  I really took that to heart and won’t ever forget it.  I live by it in a way, especially creatively.

Which acts would you recommend- either in the U.S. or elsewhere- coming through at the moment?

Honestly, I would say there’s just a few right now.  I recently got turned on to Ezra Furman.  I saw him at the Echo here in L.A.  I think he’s fun and quirky; they’ve got this cool blend of ‘50s Rock n’ Roll/Doo-Wop-meet’s ‘70s Glam.  He’s a great lyricist.  We also love Unknown Mortal Orchestra; Courtney Barnett has got a cool thing going; love Laura Marling too.

Few bands mix gender, sounds and genres to create their sound- which causes predictability and stagnation.  Do you think it is vital for you guys to be original and bold from the off?

I think that’s very vital.  There’s too much of the same going around and it makes me crazy.  The fact that there are so many bands/music now does make it harder for people to sift through it all too.  I am a believer that the cream does rise to the top.  I also think that if you don’t apply the original and bold mentality from the get go; you inevitably will have a shorter shelf-life as an artist.  Something new and different takes time to be realized and appreciated.  I’d like to apply what I was saying earlier about that Billie Holiday quote in a more general statement.  If I’m going to sound like something/someone else, then I don’t need to do it at all.

What influences you to write?  Any particular mind-frame or inspiration or is it just a case of ‘when the inspiration hits…’?

There really is no limit to it.  It’s mostly spontaneous.  For me, a lot of the time, it comes down to sitting alone with a riff that came to me and the melody arriving next, sort of swimming in the pool of the feeling that the riff creates; eventually rising to the top.  As I sing the melody a couple of times, the lyrics start to form in my mouth without too much thought.  It’s very subconscious.  The initial point of all that we create as a band is almost completely subconscious.  From the jam to the decided parts; it isn’t until the bones are completely there that we begin to flesh out the final structure, form and nuances.

You are visiting the U.K. next year with the band.  Can you tell us a bit more about that

We’ve spent a good amount of time in L.A. honing our sound.  We haven’t toured too much as we’ve felt it has been very important to spend a good amount of time developing as a band (sound, musicianship, personally).  In the summer of 2013 we moved ourselves to Brooklyn, N.Y. for about 2 months and played all around the New York area.  That’s when we found Chris and in all honesty, it was some of the most exponential growth the band ever had in that short amount of time- it really challenged us for the better.  We’ve always gotten feedback that’d we’d do well overseas in Europe.  Based off of that feedback, music history, what we know about the country and it being very musically open and our instincts; we’ve felt that we should go there and now we feel ready to do that.

Any other plans for 2016?  A new E.P. or album?

We’re always open to new opportunities; the future is unwritten.  Yes, we do have a new album in the works—it’s being mixed right now.  We worked with an amazing engineer/producer named Dave Way.  He really understands our sound and is really fun to work with.  It’s a big departure from the “Von Tango” E.P. and I’m happy about that; I wouldn’t have it any other way because I feel like we’ve shed our skin into a whole new band.

A lot of bands and singers will want to follow your steps.  What advice would you give to new acts coming through?

My advice would be to know who you are with enough room to still find yourself to learn and grow.  Know what your goals are, don’t live your life in fear and take that chance to find out who will respond strongly to your music.  Yes, it’s great that we have the ability to discover new artists online but listening online will never compare to being moved by a live performance.

Many musicians face stresses and anxieties; financial and commercial pressures.  Do you think it is becoming harder to make it in music these days?

I think it’s extremely hard.  I ’m not sure if that stress/anxiety/pressure ever completely goes away.  It comes with being an artist.  We’ve been extremely lucky to have attracted amazing people that really believe in the band.  We got to spend some time with Michael Beinhorn (producer for Soundgarden, Marilyn Manson, Hole and Red Hot Chili Peppers) and it gave us a whole new perspective on writing.  It’s really easy to focus on the stresses of the current condition of things.  While it’s important to live “in the now”, you really have to find that balance between that and looking at “the big picture”.  For me, I try to remind myself that time isn’t linear and nothing happens how you expect it to or when you expect it to.  If we didn’t feel this undeniable, unexplainable force behind doing this, it would be tough to justify.  We do this because we HAVE to.

You guys have such a close bond and tight sound.  What is about The Vim Dicta that results in that stunningly close and compelling music?

I think all three of us have a general unspoken understanding of why we do music and how it moves us.  We’ve realized the combination of us three can create something greater than each of us alone.  Almost as if the combination of  every sound that comes from each of us creates one “sound” and connection that forms a fourth person.  There is definitely a strong energy when we play that we feel and hopefully can be felt by the audience.  We thrive when we play live.

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Follow The Vim Dicta:

Official:

http://thevimdicta.bandzoogle.com/

Facebook:

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

Twitter:

https://twitter.com/TheVimDicta

Instagram:

https://www.instagram.com/thevimdicta/

E.P. Review: FiFi Rong- Violently Silently

E.P. REVIEW:

 

 

FiFi Rong

 

 

Violently Silently

9.7/10.0

The E.P. Violently Silently is available at:

https://fifirong.bandcamp.com/album/violently-silently-ep

TRACK LISTING:

Intro- 9.7

Once- 9.6

Slow Poison- 9.7

Since When- 9.7

Outro- 9.7

DOWNLOAD:

Intro; Once; Since When

STANDOUT TRACK:

Since When

RELEASED: 4^th December, 2015

GENRES: Hybrid-Electronica

ORIGIN:

London, U.K.

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FEW modern artists arrive on the scene with such a…

unique and unexpected sound.  When you get new artists coming through, there is always a sense of trepidation and slow-build.  Maybe some magic will be created through the music (eventually) or their personality will start to emerge down the line.  There are too many musicians that just fade into the background and never really stand out in the mind.  That lack of inspiration and spark is what is lacking from the music industry.  When I look at new music- and the artists coming through this year- there are few that have truly stuck in the mind.  Maybe the music is good/great but something else is missing- whether it is the personality, artwork or social media pages.  If you want to forge a career and remain in the consciousness you need to separate yourself and come in bold I am not saying you need to fake a personality or style; simply accentuate what you have or be a little more daring.  These steps can be small (but effective) to ensure that interested is peaked early on.  My featured artists in the perfect example of someone coming in strong and distinctive.  Her colourful and stunning artwork is matched with terrifically inventive songs and as aesthetics that is startling and memorable.  Even if you take trouble to work on your music’s artwork- an E.P. or album cover- that makes a big difference.  Too many artists just lazily sling together a self-portrait or boring design.  With that in mind, how many people are going to be compelled to listen to the music?  There seems to be a laziness and severe lack of imagination that is hemorrhaging new music.  Fifi Rong’s E.P. (Violently Silently) spikes the imagination with its bold and effective cover art.  The music within is as wonderful and exceptional; she has gone to great lengths to ensure effort and passion are put into every asset of her music.  I cannot remember the last time an artist came along that made sure every box was ticked; eyes and ears would be seduced thoroughly.  It may seem like a minor point- surely the music itself is the most important thing? - but I worry the digitalization of music is casing many to take their foot off the pedal.  I long for the days artists took care to create a wonderful album cover.  Those bands and acts with a quirkiness and loveable personality that would make the listener come back for more.  Thankfully there are a small number of musicians that are ensuring that curiosity and wonder is left in music.  Not someone to do things by halves; let me introduce you to my featured artist:

“Originating from Beijing, Fifi Rong is a unique artist and producer based in London.

Eccentric, deep and honest, Fifi brings pure emotional intimacy into her songs with a mesmerizing voice, nuanced with the flair of her Chinese heritage. Fifi incorporates a wide range of genres such as Electronica, Jazz, Dub, Hip Hop, UKG, Soundscape into her production, resulting in a singularly unexpected musical hybrid that draws its beauty from its one-of-a-kind unearthliness.

Fifi has been collaborating with many exciting artists including Tricky, Phaeleh, Skepta and Yello to name a few, and receiving vast support from a stream of blogs and radios including The 405, Clash, Fader Magazine, Hype Magazine, Pigeon and Planes, BBC Radio 1, BBC Radio 1 Extra, BBC Radio 6 Music and so on. She was also nominated as the best Electronic Music Artist and publicly voted into China’s Top 10 of most popular new artists of 2014.

Having already established herself internationally as a stand-out live performer, with headline shows throughout the UK, Europe and China/Hong Kong, she released her much-anticipated new EP ‘Violently Silently’ in December 2015 with a special EP launch show at The Garage in London. Additional shows and releases are in the pipeline over the coming months. Watch this space!”

Rong fascinates me because of her looks and make-up.  When you look at her, your eyes and mind are instantly captivated and drawn.  Like a U.K.-based version of Bjork there is that beguiling and beautiful projection that is hard to forget.  One of the best Asian artists working in U.K. music; Rong brings sights and sensations of China/Hong-Kong into something British/U.S.  It is this cross-pollination and range that has gained her such a loyal and huge following.  You get so many young acts that try too hard to be cool or stand-out- without ever really succeeding- and it masks a desperate lack of musical ideas and ability.  What Rong does is conquer every aspect of her career.  Her looks and artwork is just the start of things.  When you dig deep and investigate those wonderful songs; you have an artist that is hugely capable and consistent.  London is showing how fertile and inventive its artists are; so many great acts are playing here at the moment.  Whatever the reason behind this rise and transformation- there was a slip lack of quality a year or two back in London- it is pleasing to see the capital re-surging and showing how it should be done.  If you hack away at the jungle of beige Alternative bands and generic Pop stars; you have a growing band of musicians that are putting colour, emotion and electricity back into music.  Rong is an artist I have known for a while- having followed her career for a few months- and know what a huge weight of support she has.  On social media she freely engages with her followers; happy to chat and connect, here is a young woman that has a mutual respect for her fans.  A lot of musicians negate the importance of regular contact with followers- choosing to post updates only when a new song is out- and this means interest will wane and dissipate.  The attention spans and concentration levels are pretty low when it comes to the general public; if you do not remain engaging and persistent then you fear losing your flock.  At the end of things it is the music that will win the day and keep people hooked; so long as it is original and unexpected.  Rong is a musician that mixes Electronica bases into a blend of Jazz, Hip-Hop and Dub.  Her variegated and unforgettable sounds evoke such emotions and drama; there is tenderness and romance to be found too.  Few contemporaries are as ambitious and spectacular when it comes to their sounds and projection.  There are a lot of Electronica artists working around London; few are as assured and confident as our heroine.  This ambition and spellbinding songwriting is reflected in Violently Silently.  You are hooked and intrigued by the title alone- that horror-show rhyme provokes a wealth of rather vivid images- and the amazing cover artwork.  When you dig into the five-track E.P. you become aware of a young artist that is blazing ahead of her peers.  Every moment and song shows so many layers and nuance.

When it comes to the present endeavours of FiFi Rong; it is pertinent to look back and see where she has come from.  Two years ago the track Only If I Knew arrived.  Building off a contract of pulsating beats and drifting electronics; our heroine (and his man) were only in love “for a second”.  That unique accent and sound radiates in a vocal full of heart and dreaminess.  Riding that spell of hand-clap beats and swelling electronics; you get a song full of heartache and regret.  A goodbye kiss has been elicited; it is causing strain and sadness in our heroine.  Our girl is being “broken for no reason” and messed around by her man.  Throughout the song you get vivid and candid images of the unfolding drama.  One of the most urgent and immediate songs you could imagine; you are find yourself drifting into the song and speculating images and possibilities.

The track Over You was unveiled last year and shows intimacy and delicacy.  Choppy beats and cutting electronics unite around a vocal with pin-sharp clarity and breathlessness.  Seductive and impassioned; it is a performance that can buckle the knees.  Quite Jazz-influenced and romantic; it is a more tender and calm track (compared to some of her earlier work).  Showing a different side to her music; those lyrics of heartache and romantic disentanglement come back into the mix.  This time there seems to be less accusation and anger; just more regret and what-ifs.

  Cold in You was another track from last year and one that showed a new direction for Rong.  Its acoustic-led introduction beckons a vocal that is among her most haunted and affecting.  Less emphasis is on compositional backing; the focus is on that voice and the plight of the lyrics.  Her man is so far and so close; there is “so much I don’t know”.  There is a lullaby-like sway to the words and it has q child-like appeal to it.  The man in question seems to be a stranger; that cold and off-putting core has caused the heroine to reassess things.  Our girl is troubled and floating outside her soul- affected and damaged by the rift of the romance.  Not able to live with the hero; there is that need to escape and cut her losses.  Painstaking and tormented; the emotions are raw yet the song has a calm and reflectiveness that ensures it is never too heavy-handed or draining.

Big City Grill is one of the most recent tracks from Rong (released earlier this year).  From the get-go you have a track that is more fizzling, crackling and explosive.  The introduction starts with an electronic hornet’s nest and a leaning towards Electronica and Dub.  It is an urgent and racing coda that takes you by surprise.  Our heroine’s voice seems echoed and distant; creating a stunning mood and weightlessness, she is riding that composition with confidence and authority.  The vocal and has a sexiness and seductiveness to it that really gets inside the mind.  Whispered and cooing; it is a performance that seems perfect against the dizzying and pulsating electronics.  That composition boasts quite a catchy and head-nodding slam that compels the feet to move in tandem.  A track that could be a club floor-filler- or score a tense chase scene in a film- it is another accomplished and wonderful track from Rong.

There has been little need to change her sound and improve since those early days.  What Violently Silently does- that perhaps her earliest work didn’t- is to pull her multiple themes and threads into one place.  Not just sticking with one sound and theme; the E.P. is the most assured and complete summation of her personality and musicianship.  The collection switches course and conjecture; there is so much passion and vivid colour- all tied together by that entranced and dreamy voice.

The E.P. gets underway with the track Intro.  From the off there is an intensity and vibrancy that takes you unaware.  Spectacular and howling; the electronics are a dangerous and ghostly cry that ensure few listeners will be uninterested or bored.  Our heroine portrays a wordless vocal over a composition that mutates and develops into something animal-like and threatening.  You imagine a late-night London scene that sees a heroine running from an unnamed threat.  Racing through the darkness and rain; you have that panic and need to escape.  You can feel that palpable tension and race as the composition sucks you into its vortex.  The drama and danger starts to build as our heroine seems lost in the machine.  Emphasising that E.P.-titled violence and pain; you start to get images and scenes tumbling into one another.  On the one hand you think of something quite personal and introspective.  Maybe our heroine’s mind is tormented and wracked by an event or breakdown.  Perhaps a love has hit the rocks and this is the fall-out and execration.  This may be her way of unveiling her true pains and feelings; that anxiety and horror that is filling her bloodstream.  On the other hand you get ideas of high drama and something fictional.  Few songs are as instant and gripping as Intro.  It is a number that forces the senses awake; it gets the soul inflamed and anxious- provoking the listener to engage with the music and submit to its immense force.  Most E.P.s begin with something calm and accessible; our heroine ensures there is an instancy and potency that you will not forget.  I was getting ideas of that chase and need to escape a capture.  As the beats start to echo and swell; there is a machine-like clatter underneath, you picture the streets, neon lights and loneliness.  Those wordless vocals seem desperate and suffocated; it highlights that idea of loss and panic- something you cannot get away from.  Maybe Rong is racing across alleyways with a blood-stained dress.  Perhaps embroiled in something beyond her control; she is fleeing the night’s air to find a safe haven and solace.  The shadows keep drawing in and that uncertainty is heavy on her shoulders.  Before long a slight lightness comes into the fore.  That clawing and snarling beat subsides to something more teasing and calm.  What is highlighted is the vocal which becomes layered and multi-tracked.  Our heroine weaves inside her own voice to create a tortured choral effect that adds to the lingering dread and emotion.  If you are brave enough to stay with the song you get fresh revelations and possibilities.  In terms of the ‘storyline’ and progression, things become more submissive and resigned towards the end.  That emphatic weight and sound demurs to a coda that is fading and weakening.  Maybe representing the true fate of our heroine- perhaps succumbing to the violence she has seen or in a safer place- it is an intriguing and compelling development.  Maybe Rong has made it to morning and managed to hide away?  Perhaps it was all a bad dream; this is the awakening and the transition back into reality?  Whatever the true origin it is a perfect beginning to an E.P. that promises much fascination and spectacular moments.

After that vivid and dramatic opening you could be forgiven for requiring something calmer and more seductive.  Once starts with a more romantic and accessible introduction that sees some echoed electronics create a bubbling and excitable sound.  It is hard to put into words what the sound elicits- and how it makes one feel- yet it is a sound that instantly fascinated me.  There is a sultry beauty to the composition which mixes dark beats and some near-orgasmic electronic threads.  Rong is a mistress when it comes to the introduction: making sure her songs get off to a flying start, she builds the mood and creates a mesmeric contrast of sounds and emotions.  Once is a song that differs from Intro; it has a restraint and romanticism to it- whilst still packing huge punch and evocation.  When our heroine comes to the microphone, her voice is enticing and dreamy.  With that distinct whisper and breathlessness to it, you are instantly drawn in and hooked.  There is byzantine obliqueness to the opening words which see an “emotion runs ahead of how I feel”.  When the summer ended our heroine “had to be cruel”.  These sentiments and expressions create speculation and curiosity.  Perhaps a relationship has ended or is coming to its end.  There are those feeling of personal dislocation and loss; the need to move on and find something safer and more secure.  If we are speaking of love and romance perhaps the hero has been playing around or cheating; maybe he is not good enough- there is a certain kindness to our heroine’s intentions.  With the possibility that “I could lose” it causes renewed speculation and interpretation.  That fight and conflict theme comes back into the music.  Perhaps a metaphorical fight, no less you start to wonder who is being described and what is unfolding.  When the next verse comes along- “fooling myself suddenly I’m hot and cold”- there is a young woman of contrast and contradictions.  She has to pretend that her heart is “made of steel” and there is a real emotion that pours out.  Whether she is ending a relationship or having to change who she is; those oblique and distinct words get inside the brain.  It is clear our heroine is going through some tough times; you always wonder just what is being documented in the song.  A clattering and propulsive beat backs the vocal which swims and glides from line-to-line.  When the next verse arrives we get more insight and clarity.  A man is being described and the dying of a once-good bond.  It seems “maybe we made it so good years ago”; there is that fear of intimacy and getting close now.  It appears the lovers had a great connection in the past yet things have changed and there seems to be a fading.  There seems to be an motionlessness and sense of loss inside the heroine.  That idea she is unable to feel and connect keep coming back; once upon a time she was compassionate and loving- maybe it is just the nature of this relationship.  Throughout the track you get seduced by that underlying beat- that evokes so much emotion and story- whilst the backing vocal swoons and sways with abandon.  There is a cheeriness and resoluteness to the chorus.  Although it is conveying strained emotions it has an uplifting and catchy sound that stops it from becoming too suffocated and affected.  These contrasts create a song that ranks among the E.P.’s best.

  Slow Poison has a dramatic and immediate blast that fuses parping and celebratory horn sounds; mutating into a bouncing electronic beat.  Our heroine lets her voice skip and bounce like a child in the playground; there is a coquettishness and playfulness that is infectious and unique.  The opening lines paint some vivid ideas and oblique possibilities.  Sadness and emotional upheaval is that slow poison that gets into the veins and causes toxicity.   The slow-poison-invaded-space parable reaches into our heroine’s world; a hero is being assessed.  As the man’s neck “turns into a bridge that brings you into my soul” you have some fascinating and quirky lyrical ideas.  Those images come flowing and it is a wonderfully strange and strong idea process.  It seems like romance and connections are afoot yet you wonder where our duo is meeting.  After the first verse- you get a punctuation of uplift and reflection- before our heroine races back into the song.  Once again the lyrics captivate with their unique feel and possibilities.  It seems “we have walked miles to find peace”; the duo have played game and things have ended in tears.  Maybe there has been a rough history and a lot of friction; it appears they want to make things work and find happiness- that battle for peace continues.  Whilst our lovers step back to an “instant sin” you are impressed by the presentation and delineation of the vocals.  Rong presents sentences that substitute grammatical accuracy for emotional and theatrical resonance.  Her voice skips and weaves within the heavy beats and colorful electronics.  Delirious and pained; promising and hopeful there is a contrast of emotions and feelings being confessed.  Whilst you try to dig to the truth of the lyrics there are all sorts of possibilities and avenues.  Seduced and magical; Rong lets her voice cascade over the waterfall of beats and electronics.  It is a busy and unpredictable track that develops, shifts and changes dynamic.  Raw and heartfelt the next; open and dreamy the next- few listeners will be able to forget the song in a hurry.  Mixing Pop sensibilities into her songs and you have an E.P. that is happy to mingle genres to create variation and depth.  Tumbling piano lines and fizzing beats combine to summon a spellbound and delirious smoke.  Psychotropic and pained; hopeful and passionate; Slow Poison is a stunning number.

Since When is one of the most popular and pre-approved tracks from FiFi Rong.  Having built up a wave of respect and love across the media, it is one of the obvious highlights from the E.P.  That yearning and aching string work that opens the track sets the mood.  Here is one of the most straight-forward and understandable tracks.  Looking at a broken relationship and a dismemberment of love; it is heart-rending and tear-stained.  Lush and gorgeous; tender and sweeping, you are powerless to refute the potency of the track.  Classical strings marry a dark and heavy electrical undercurrent that creates high emotions and a real sense of occasion.  The heroine comes to the microphone with a heavy soul and a real weight on her shoulder. Our heroine’s boy used to wake up (“kissed me and smile”) but that routine has changed.  Now it seems his eyes are cold and the passion has disappeared- for reasons that are unknown.  The vocal is emphasised here- the composition is mixed a little lower- as our heroine lets her voice entrance and work.  It seems “out of the blue” things changed and it appears like there was no explanation behind the decision.  Maybe the man has taken advantage and expected too much from our heroine.  Not pulling his weight and lacking emotional connection; perhaps things were always going to end this way- she needs someone better in her life.  It seems “violently, silently” our girl wished for no harm; the boy has changed his mind and caused a huge rift.  Throughout the song the vocals are accessible and sweet- never too angered or bitter- whilst the composition is rich and deep.  As the story develops the man’s beauty has “been a drug to my mind”; the slightest facial change could “set me on fire”.  These are words that attest a deep love and an intoxicating bond.  Before that chorus comes back in you delve into the emotion of the vocal which reaches the heavens and really takes the breath.  Such a raw and honest outpouring; you can’t escape that feeling of loss and disappointment from our heroine.  Whoever the man is he has screwed things up and done a lot of damage.  As the wall goes up and the lovers are balkanised; the heroine is forced to look inside herself- see if she is culpable or lacking.  A worrying turn of events- casting blame where it is not warranted or deserved- you get some introspection and self-reflection.  The closing lines build some violent images a real inner-anger that disturbs and haunts.  Our heroine’s “swinging solitude” provokes her to kill and harm.  Having wasted her summer clothes- no longer the muse it seems- there is that desperation and conclusion- there is no more accusation or room to move.  One of the most startling and memorable songs Rong has ever produced it is a dazzling number that shows her at the peak.  Mixing genres and sounds with expertise and authority you have a number that could well be a radio staple very soon.  Such an entrancing and personal song; it is a delirious and layered track that begs for multiple spins and investigations.  That unique accent and delivery means the words come to life; the listener will imagine the scene and have their own conclusions- making Since When a true standout.

  Violently Silently comes to a close with Outro- a bookend to the introduction number.  Given what has come before- those relationship perils and inner-turmoil- there is a familiar rush and urgency to proceedings.  Once more (like Intro) you get a track that starts off with passion and vibrancy.  Mixing Dub and Electronica together and you have a sweltering and electric beginning.  A heavy Dub beat swells and swaggers with confidence.  Backed by scuffed beats and a constant hiss you have a myriad of sounds that creates heavy and atmospheric moods.  Evoking so much emotion and possibility; it is a packed composition that takes in so much and says so much with it.  Soon a constant electronic parable gives way to eccentric notes and something quite intoxicated.  Perhaps this is the evocation and excoriation of the inner-pain we saw before.  Whereas the E.P.’s open track set the scene and had no backstory; here we know what came first and how things will end.  Our heroine has investigated her mind and had to face heartbreak and sadness.  The composition seems like the mix of pain and anxiety coming to the surface into something mysterious and magical.  Few listeners will be able to get on top of things the first time around; it needs a few listens to really take it all in and understand what is being assessed.  Soon enough that entranced and spectral electronic tightens into something more urgent and machine-like.  Vibrating and pressing with intention, you get new emotions and thoughts- slipping into a drunken and self-destructive haze- that cannot be ignored.  A hard and heavy slam, the music becomes more claustrophobic and intense.  Powerless to resist its weight and force; notes and electronics built into something dizzying and delirious.  The wordless vocals hover and scream like a pained heroine; the ghost-like sound leaves its marks for sure- by the end of the track you are exhausted to say the least.  Outro is stunning way to end the E.P. and bring a wonderful collection to a close.

What Violently Silently shows is a young artist who is among the most bold, brave and innovative on the scene.  The five-track is expertly mixed by Lee Slater.  His input allows all the varied threads and sounds to come together naturally- without crowding the sound.  Rong employs so many different beats, electronics and instruments; they are weaved into the music with authority and institution.  What you get are tracks that pack the most emotional punch and sense of occasion.  Rong’s vocals are never pitched too low- meaning you get a clarity and understanding of the lyrics- whilst the instruments are given a chance to shine throughout.  So much light, drama and passion are instilled into the E.P.: it has a nuanced sound that makes it one of the most addictive and staggering accomplishments from the year.  The songs all have their own personality and perspective- covering unique ground and agendas- and there are no weak moments at all.  Every track stuns upon first listen and gets better with each new listen.  The quality and magic is defined by Rong’s commitment and huge talents throughout.  As a songwriter she ranks alongside Bjork when it comes to uniqueness and quirkiness.  The lyrics have a very distinct voice; the wording is fantastic and you get so much emotion and scenery from a few lines.  The way Rong delivers the lyrics is impressive too.  Most singers do not put too much consideration into delivery; you get too many songs that are one-dimensional and stolid.  Rong ensures every song has its own skin and vocal sound; lines develop and mutate to augment the emotional impact and potential.  When it comes to the compositions- and similar to the Icelandic legend- you get a mixture of genres and sounds.  The inventiveness and huge ambitions are fully realised in an E.P. that effortlessly places Dub rawness alongside swelling and romantic strings.  Pop, Rock; Jazz, Alternative are all integrated to create an E.P. that has so much going on- it will appeal to a huge range of listeners and music-listeners.  Our heroine’s voice is perhaps the most stunning weapon in her arsenal.  With lyrics as special and vivid- not to mention those daring and spectacular choruses- you need a voice to carry that off.  Seemingly unconfined or limited; you have a vocalist that lets her unique accent create something truly special.  An exceptional and prodigious talent, you can only guess how far she could go- and just how startling the next release will be.  Violently Silently is a contrasting and variegated work that showcases one of London’s finest artists at the height of her powers.  The Beijing heroine is someone you need to check out and submit yourself to- you will not regret it!

One of the great pleasures of reviewing new music is the unexpected treats and treasures you encounter.  What I have discovered is a young artist with a spectacular future ahead of her.  FiFi Rong has a phenomenal live reputation; creating shows that are full of memorable scenes and stunning renditions.  Fans and followers have attested what a proposition she is in the live arena.  A musician that is endlessly compelling, talented and assured; Violently Silently is an E.P. that captures five moments from the Beijing-born heroine.  Not someone you would ever miss in a crowd; those immaculate and mystical sights are just the start of the magic.  When you really immerse yourself in the music you are witness to something truly staggering.  Songs can switch from exasperatingly anxious to deliriously relaxed within a few moments; they evoke high-drama and electricity- able to dip down low and reflect.  Artists that melt genres together in their music are some of the most daring there are.  It is easy to get things wrong and sounds pretty clueless- I have heard enough acts that just throw stuff together hoping for the best- yet Rong is doing everything right.  She has such mastery and passion for multiple genres- I can tell Jazz and Hip-Hop are equally important when it comes to her influences- and she funnels this into her own inimitable and distinct palettes.  With her voice mixing feather-light beauty and a wonderfully raw passion; you have one of the U.K.’s finest emerging artists.  Her social media numbers are rising by the day and it is small wonder.  An artist that engages and chats with her followers; reaches out and ensures she is active and consistent.  Her music has gained airplay across mainstream and underground radio stations; getting some prestigious plays and paen- it all bodes well for 2016.  With that said, there are limitless options for FiFi Rong.  She has a huge support base that are sharing her music, so there is no telling where she can go for now.  I can see her music being well-received across the globe; from the U.S. to Australia I know there is a market and will be a demand there.  She could conquer Asia quite effectively- from China and Japan through to Thailand- and colonise a lot of Europe.  It is no exaggeration to say she has created some of the most memorable music in new music.  It has no border and limits; it will appeal to all and few will fail to fall under its spell.  Before concluding it is worth recalling those early points- personality in the music industry; innovation and ambition- and relating them to Violently Silently.  This E.P. is brimming with a unique voice that is all-embracing, mysterious and beautiful.  One looks at Rong in full attire- that Asian fusion of make-up and dress- and you have someone that captivates with free will.  It is not just looks and aesthetics with Rong.  The young artist has a warm and personable relatability that has resulted in impassioned fan interactions and a great respect for what she does.  Not cloistering herself from her followers; you get an artist that wants to get out there and touch the people.  With such an accomplished E.P. in the ether, I know the heroine will be planning her next moves and scheduling the next year.  There are not enough musicians that go the extra mile when it comes to the sounds they are putting forward.  Few actually mix genres and step outside their comfort zone.  This causes a lack of fascination and potential; it is quite depressing when you see such a lack of imagination and strength- your mind instinctively will look elsewhere.  FiFi Rong has ensured her music is impossible to forget and overlook.  Make sure you capture Violently Silently and dive into its sea of colour and beauty.  One of the most agile and spectacular artists coming through new music, it will be amazing to see…

WHERE she goes next.

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

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Follow FiFi Rong:

 

Official:

http://fifirong.com/

Facebook:

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

Twitter:

https://twitter.com/fifirong

Instagram:

https://www.instagram.com/fifirong/

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Music:

https://soundcloud.com/fifirong

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Videos:

https://www.youtube.com/channel/UCpo_OJBAnhF9kksoobjWocQ

Track Review: Country Boy- The Essence

TRACK REVIEW:

 

 

Country Boy

 

The Essence

9.6/10.0

The Essence is available at:

https://soundcloud.com/countryboyraps/the-essence-prod-by-chris?in=countryboyraps/sets/soul-full

RELEASED: September, 2015

GENRES: Hip-Hop; Rap

ORIGIN:

Houston, U.S.A.

The album Soul Full is available at:

https://soundcloud.com/countryboyraps/sets/soul-full

TRACK LISTING:

Love of Music

Refuse 2 Lose

The Essence

Lo$T

SoulFull Skit

Love Is… (feat. Kali)

Off Safety

Cuz I Gotta (feat. A-da-Rican)

Outta Here

Brighter Days

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THIS marks something of a rarity for me…

In terms of reviewing.  Having just completed an assessment of an L.A.-based Folk/Americana band (Boroughs) I am faced with the exact opposite.  Located miles away- in terms of geography, genre and personality- I am with an artist that is among the most interesting I have faced.  Before I get to Country Boy his personality/plight brings up some interesting points regarding Hip-Hop/Rap, Texan music and prolificacy in the music industry.  Rap and Hip-Hop are those genres that have taken me a while to appreciate.  In terms of modern material there are some great artists coming through the underground.  My favourite time for Urban/Rap sounds was around 2002/2003.  In the U.K. we had extraordinary artists like The Streets and Dizzee Rascal explode onto the scene.  The Streets’ debut Original Pirate Material was a surveyance of the British streets and the realities of modern-day life.  That reality of growing up in the Midlands was exposed through running commentaries, pontifications and slice-of-life wit and humour.  The dazzling array of music and lyrical ideas took critics’ breaths back in 2002.  The Streets would follow that with A Grand Don’t Come For Free a couple of years later- an album that perhaps surpasses that immense debut.  In the middle of those two albums came Dizzee Rascal: Boy in da Corner was 2003’s most accomplished moment from the Bow-born rapper.  The then-teenager created an album with staggering rhymes and incredible compositions inventiveness.  From wacky show-tune additions- Jus’ a Rascal to pummeling percussion on Fix Up, Look Sharp; the consistency and quality was staggering. While both The Streets and Dizzee created phenomenal sophomore albums; both would see diminishing returns as their careers ticked- abandoning their authenticity and losing their initial appeal and conviction.  That is the trouble with Rap/Hip-Hop artists: they come from the poverty and hardships of the streets; their music is at its peak when authentic and truly convincing.  When you become popular- and pull in advertising deals- you become less street and more, well… neat.  If you are a rich and successful musician, how can you still convey messages of street ills and struggles with conviction?  That is perhaps the issue Dizzee and The Streets faced when they launched their debut.  A lot of U.K. rappers expound the horrors of the street and the struggles of their generation face.  If you keep your messages tight and open- with enough mobility as not to suffer the authenticity trap- then you can have a couple of great years ahead (perhaps many).  The trouble with a lot of U.K. Rap/Hip-Hop is it lacks that dazzles, hypnotic grasp and durability- few of the upcoming artists match the unbelievable heights laid down by Dizzee Rascal and The Streets.  The U.S. is favouring a lot better in that sense.  Perhaps it is a genre with better talent and more players; or perhaps it is the harsh reality of the U.S.  In the U.K. there is more gentrification and less poverty than a decade ago- a lot of London’s rougher areas are being transformed and bettered- whereas the motifs and ideals of Hip-Hop’s best has changed.  A lot of artists here are becoming less politicised and Urban-influenced- tending to put their focus towards areas of love and break-ups; the sounds are becoming more mainstream and less edgy.  Perhaps that is the view of an outsider- a white boy from the Home Counties who prefers Rock/Alternative sounds- but I am seeing few genuinely amazing Rap/Hip-Hop artists emerge.   Another issue is the lack of mainstream exposure the music gets- aside from a few radio stations- and the attention the media provides.  The U.S. is seeing more gun violence, social breakdown and criminality- not to mention barking bat-s*** crazy lunatics like Donald Trump open their toxic-sewer mouths- and easily inspire music’s angry and motivated youth.  With their being a lot of social and urban decay- areas like Detroit are becoming more hostile and broken than their glory days- there is plenty to compel the young rappers and M.C.s.  Country Boy is one of the U.S.’s slickest M.C.s: a young man with huge ammunition and a breath-taking consistency and work-rate.  Before I raise a couple of new points; let’s meet the star of the show:

“Innovative, explosive, seasoned, are all great adjectives that describes this talented young artist. Country Boy is the true definition of an artist just waiting for his moment to seize greatness. He is not only a great MC and song writer; Country Boy is also an extraordinary producer, and graphic/visual arts perfectionist. Besides being an emerging talent, Country is truly a caring, down to earth person fueled with passion and love. Innovative, explosive, seasoned, are all great adjectives that describe this talented young artist. Country Boy is the true definition of an artist just waiting for his moment to seize greatness. He is not only a great MC and song writer; Country Boy is also an extraordinary producer, and graphic/visual arts perfectionist. Besides being an emerging talent, Country is truly a caring, down to earth person fueled with passion and love. 

Country Boy’s journey began on July 17, 1987 in Alexandria, LA. After moving to Texas at a young age in grade school he began to learn to play various instruments in the school band and became a natural musician. Later during his years in high school, Country Boy decided that music was his calling and his path that he wanted to pursue for his career. Anxious to find his place in the music industry, Country began working, releasing several indie projects on his own even a mixtape with DJ Scream and DJ MLK in 2011 called, Not Your Average Mixtape. CB also began to gain a lot of local attention in Houston through his hyped performances at various venues and open mic showcases.

Later, Country Boy landed his first record deal in 2012. Shortly after he released his first solo album “No More Games” in the Fall of 2013 which generated Country Boy a great amount of attention underground and within the music community even landing him shows opening for such acts as Rich Homie Quan, Webbie, & more. This is also when Country Boy’s media company Fire Images started taking off. His art and graphic works landed him on the front page of many popular music websites/blogs, including the front page of music mogul Birdman or Baby of Cash Money Records website Stunnalife.com.

Country Boy's artworks also included work with YMCMB, We The Best artists, Wiz Khalifa and 100s of indie artists.

Recently, Country Boy released his highly anticipated independent mixtape, Back to the Basix that included great singles such as “No Love No Loyalty” which gained him national radio airplay. “My Old Ways”, which the video landed him his own Vevo Channel, and also features with industry majors such as French Montana and even the Legendary Blues Singer, Sunny Blue Bland, son to the late great blues singer, Bobby Blue Bland. Soon to follow, on a mission for greatness, Country Boy then released his project The Flood, in April of 2015. The Flood is the project that really made a mark for Country Boy in the game, gaining him many placement opportunities, greater radio spins, many blog & media platform’s attention and grew his fan base tremendously with over 250k streams within the first 2 weeks of release. 

Country Boy has truly developed into an emerging artist and a great spirit that is on the path for super stardom. He has overcome much adversity and many obstacles in life from such an early age. Keep your eyes and ears open for Country Boy as he continues to spread his works and the Country Boy brand. Soul Full is his next installment to his legacy set to release on August 31, 2015 in which he sets out to again shock the music community bringing back a deeply rooted, soulful, hip hop sound and share his story further with the fans.”

Country Boy is a God-fearing man with a love of music and a passion for what he does.  Like the freshest and most durable Rap/Hip-Hop artists, the young Texan has emerged and struggled against childhood struggles and the violent realities of the street.  Country Boy has not just taken this anger and obstacle-dodging into something almost religious in its power.  Texas gets overlooked when it comes to U.S. music and the emerging scene.  L.A. and New York are the cities/areas that are still in deep focus- few reviewers go beyond those territories.  Perhaps it is unsurprising these localities get the biggest focus: they are busy and bustling cities; housing some of music’s best acts.  When it comes to Texas there are some fantastic acts coming through.  The likes of Fat Tony, Mystery Skulls, Max Frost; The Tontons, The Wild Moccasins and Wild Child are acts that have captured attention this year- and names to keep an eye out in 2016.  Austin, Dallas and Houston are perhaps the busiest of the Texan areas.  As our hero is based out of Houston- having spent the first years of his life in L.A. - it is not a shock he fits in with some of his contemporaries.  Whereas as like-minded peers Fat Tony- a Nigerian-born rapper with furious rhymes and Kool A.D.-approved songs on board- you have a tantilsing and exciting Urban underground emerging from Texas.  Country Boy is one of music’s best, not just because of the style of music he plays- he is more inventive, direct and fast-flowing than most of music’s best- but the prolificacy he boasts.  Whereas a lot of his peers- who play in the Rap/Hip-Hop fields- are young black men out of the ghettos; Country Boy’s life and rise has been no less hard and authentic.  Most artists would take time to relax and acclimatise to a more tranquil/idealistic life: Country Boy has turned his pain into a dazzling string of songs, mixtapes and albums.  Having been on the scene a few years, it is breath-taking to see how much material the young Texan has produced.  His latest album is a ten-track tight collection called Soul Full.  It is real music with real stories; from a young man who wants to bring the verve, grit and reality back into Hip-Hop.  That album has been met with a fevered and celebratory critical wave.  Fans and followers have been keen to pay tribute to the incredible flows, raps and vocals from an artist with immense potential.  Knowing how prodigious Country Boy is, it would not be a surprise to see another album in-the-works.  Make sure you check out Soul Full and all the past work from Texas’ brightest stars.

Back to Basik and The Flood are too of the most relevant recent-works from Country Boy.  The title track from Back to Basik is a swaggering and cool-as-f*** testament from a young M.C. laying down the beats.  Looking at fools and players- trying to mess with his verbiage and rhymes- you get a barked backing chorus and a funky electric backing.  Teasing and testing beats back a vocal plight that sees the artist laid down one of his most angered and insistent tracks.  Boastful yet not arrogant- plenty of braggadocio is in there- you get a stunning track.  No Love No Loyalty starts with classic strings and an orchestral swoon.  Soon that mood explodes and you get a rambling and fast-flowing missive from that spiked voice.  Unless you flash cash and show the bling there is no love and respect- those genuine and humble people get overlooked.  One of the standout cuts from Back to Basik; it is a terrifically firm and passionate slice.  The 17-track album does not suffer bloating or unwise economy.  Every track has a rightful place and tells a side to the story.  There is so much inventiveness and nuance that you would actually like another track or two!

The Flood arrived earlier this year and saw that confident and slickness up its game.  The Dough-featuring track Crickets looks at champagne toasts on speedboats and a mesmeric array of images, characters and scenarios.  With the rhymes and rhythms tighter and more focused, the album is more honed and considered than before.  The 10-track collection still boasts a lot of emotional range; everything seems more confident and urgent than before.  All I Know is one of Country Boy’s most honest and authoritative tracks.  The subject of All I Know is money and what it can do; our hero has no other life or way and the coolness that comes with it.  From bank workers to his crew; our man gains huge respect flashing the wads of notes.  Those flash jewels and expensive goods are gaining him huge street cred.  Always Talkin is one of the most direct and unforgettable tracks from the album.  Hard-hitting and rushing, it is a slamming and cutting jam.   There are too many clowns talking (and saying nothing) that is causing anger in our hero.  The contemporaries and peers are talking crap and not worth the words they spit.  Our boy does not need friends or false allies; he has his cash and confidence that will see him through.

Although a lot of Rap/Hip-Hop emanates from struggles of the streets and urban decay; a lot of Country Boy’s modern material switches ideals and looks at wealth and the idiocy that is seen in the modern age.  Whilst not as deprived and affected as a lot of rappers, Country Boy has struggled and faces constant issues.  Whether it is validation or credibility concerns; these are exorcised and expounded throughout his work.  From the early days- across to his latest albums- there is that consistency and fascination.  The Flood was an album that was met with acclaim and impressive reviews.  More urgent, tight and nuanced than his earliest works; it signaled a quality rise and a fresh passion for the material.  If anything Soul Full (his latest album) is even more electrifying and quality-filled than previous efforts.  Growing in stature and force with every release; here is an artist that gets stronger and more determined every time he enters the studio.  A lot of similar and honed themes are worked- including rivalries and hollow endeavours; idiot contemporaries and boasting- but a new lease and lick of paint has been provided.  Every year sees the young man experience new people and places.  It will be staggering to see just what is coming in 2016 from Country Boy.

With Soul Full garnering some huge love and support; it was apt that I started falling for the magic the album provides.  The Essence is the track that best defines the album: a typically assured and confident pitch from one of the sharpest and most merit-worthy rappers coming through the ranks.  With Chris Prythm on production details- he gets a shot-out up-front- the industrial beats and lurking danger beckons the song in.  The confidence and assured declarations are all ready and primed.  Our hero claims he is the essence: this “lone star from Texas” is a man you do not want to mess with at all.  Whether he has faced some competition or doubters and has been forced to issue a retort and a stunning mission statement.  Riding that sweet-leaf undertone and the skeletal beat; our hero rides the wave with alacrity and menace.  He spits his lines with a directness and passion that cannot be understated or ignored.  The “substance” and “the core”; Houston’s fabled son is putting up his guard and ensuring nobody dents his charge.  Maybe some of his peers and friends have doubted him; perhaps the music world has not promoted him as heavily as it should- this is a bold and brash track.  The composition and background is no minor thing and shadow.  The sound effects, notes and beats propel the vocal and add to that pummel and restless energy.  In addition to relentless beats and a delirious swagger you get a blend of bell sounds and backing vocals- added together it creates a huge weight and an intoxicating, variegating scent.  Our boy states how he is the “K.O. blow” and the energy that makes the ground move.  These bragging rights have been earned it seems- given the quality of material that has come before- and there is little subtlety and modesty with regards the lyrics.  Laying out his messages to the music world; few can ignore how pressing and immediate the flows are.  Not the molecules that make up pollution; our hero is the essence of music and the reason behind its passion and success.  Having come from some harder climbs and some tough years; now Country Boy exerts some power and influence- he is making sure the world understands his confident and intentions.

The essence of the streets- and everything it encompasses- that firm and unchanging vocal (there are few dips and changes of pace) create an anxiety.  Not letting his voice emote or change means it is easy to understand the lyrics and what is being said.  Perhaps some mobility and variation would have assisted the track in the early stages; that said, the conscience and quality of the vocal/lyrics make up for any dynamic downfalls.  The street beats of present are replaced with Jazz-tinged horns and bold brass.  Replacing the tension and heaviness of before we have something more celebratory and magisterial.  Our hero is riding that regal swagger with a set of lyrics that takes us through the city streets- and down every alleyway.  The “graffiti on the wall” and the movement that runs through the concrete; Country Boy owns his town and has ruler-ship over everyone.  Rap and Hip-Hop are defined by confidence and commitment.  The Essence is a song that is always scintillatingly bold and boastful without coming across as arrogant and off-putting.  The Texan has a way with words and his delineations and projections put every thought and insight fully into the mind.  The slave, king and “one-man dream team” is swinging the pavement and flashing his bling in every surface he can find.  Ensuring nobody is any doubt and questions his credentials; there is little room for sonic intervention and compositional punctuation.  Those messages and raps come thick and fast; cascading and bouncing over that intoxicating Hip-Hop beat.  The essence that is the “bullet in the gun” is pistol-whipping his declarations to the world.  What the music world has been waiting for; it is near-impossible to ignore that seductive and pressing vocal.  The heat in the flame and beat of the drum; those lyrics and images never seem to tire or lack any inspiration.  Taking pretty much every object, emotion and location he can think of- to ascribe just how important and vital he is- our hero seems untamed and free to roam.  Chris Prythm’s production allows clarity and polish but retains that urban grit and sparseness.  It is the compositional elements that fascinate and propel the song forward.  From the early beats through to the mid-way horns; we return to more heavy beats and that initial urgency.  Whenever you stand tall and look across the horizon; our hero is the one you will see- that unavoidable and unmistakable essence.  One of the most addictive, memorable and accessible tracks from Country Boy, it retains his quality and sound whilst introducing new themes and elements.  In terms of the vocal, it is one of the most straight-forward, focused and simple he has produced.  Were there too much flash, range and force and the messages and core theme would be distilled and overlooked.  By keeping his voice firm and static; it is the most economical way of ensuring the lyrics hit the mark.  As the composition and pace starts to change- the beats become less intense whilst the vocal comes more to the forefront- our man claims he is the blood and sweat; the danger that lurks behind bars- wherever you go you will not be able to avoid him.  The energy, flow and component that runs through every facet of life; here is a young man not shy about his abilities and future.  The final moments see the composition come into its own a little more.  Remaining energised and spirited- but not too foreboding and intense- there are piano notes and something more soothed; it blends supremely with the clattering and gut-check beats.  Our man has one final round of punches before the song comes to an end.  Wherever you go and however much you run; he is the force that cannot be ignored.

Working with Chris Prythm and you have a song that ranks among the best Country Boy has produced.  The Essence is one of the most addictive and impressive cuts from recent-years Country Boy.  The jewel and standout from Soul Full; you have a track that is insatiable and confident to the maximum.  Lacing the song with so many standout lines and thoughts; you need a few spins to really get down to the nub of the song.  So many ideas, sights and situations are explored that it is a dizzying and vibrant track- one that will gain the Texan a lot of new fans.  Being a fresh face to Country Boy, I was excited to see what The Essence could offer.  The beats and percussion create a necessary energy, threat and punch.  The variation of sounds- from brass to piano- create necessary emotional balance and sonic boast.  When the lyrics are at their most assured and confident, the composition is appropriately uplifted.  When there is more spit and attack, the composition is a noble accessory- matching the foreground with aplomb.  That fantastic production backs a vocal which is rife with passion and urgency.  Having had to shrug off some struggles, doubts and anxieties; The Essence is that retaliation that cannot be overlooked.  Make sure you check out this incredible song and another bold step from one of music’s very best young artists.

It has been a huge pleasure digging into the annals of Houston’s Country Boy.  The stunning M.C. has had a glittering and assured past- his music is some of the most consistent I have heard- and seems to get better and more assured by the month.  Soul Full is an album that is brimming with truth and street-life parables.  Although Country Boy has a few dollars in the bank- and a few friends in a loyal circle- that does not mean he has lost his identity and authority.  As I explained early, the likes of Dizzee Rascal and The Streets produced some amazing and stunning debuts (and sophomore cuts).  Those albums came from young men living tough lives.  The juiced-up girls and roughed-up guys threatened hostility and danger; the uncertain night-time avenues hosted mugger and hooded gangs.  Having grown up in that sort of environment fueled them to make the albums that would become some of music’s finest.  With success and money came a slight drop and that lack of authenticity.  Whilst Dizzee incorporated more throw-away songs and needless hate into his songs- forgetting his wit and intelligence made him what he was- his stock has dropped.  With The Streets retired to the country, this country has produced fewer startling Rap/Hip-Hop Gods/Goddesses.  The U.S. has been pretty busy when it comes to that side of things.  Whether it is the stunning flairs of Lizzo or the consistency of Drake, you have plenty out there.  Legends such as The Notorious B.I.G., Dr. Dre; Lil Wayne, Eminem and Jay Z has inspired a whole new generation of angry and passionate rappers.  Country Boy may be young and starting out but make no mistake: he is going to be a name to watch in the future; capable of standing alongside the best Hip-Hop/Rap stars that have come before.  Soul Full is a seductive, intense and contradictory album that boasts so much free-flow wit and insight; intelligence and keen observation- a daring compositional innovative and command of the material.  In a scene that is defined by a lot of black artists from socially-deprived background; Country Boy does not seem out of place or an intruder.  He has the same authority and talent as anyone out there and has faced the same sort of turbulence and urban distress too.  Texas may not seem like the most obvious location for terrific Hip-Hop music- Jay Z was born in Brooklyn; Eminem in Missouri; The Notorious B.I.G. in L.A.- it is a fascinating thing.  I know Country Boy began in L.A. but his current missives are hot from the streets of Austin.  Texas is a state that should be closer in the minds of reviewers and music lovers.  There is so much variety and quality coming out: from terrific Indie bands to sunshine themes there is a wealth of stunning material to be found.  After discovering Country Boy is has compelled me to dig more into Hip-Hop/Rap and discover what else the Lone Star State has at their disposal.  Too many musicians seem limited in their lifespan and potential.  As soon as I see a new act come through, I always wonder how long they will last.  Whether it is due to their sounds- too limited and predictable- or the passion they put in; it is always difficult discovering someone that will endure for years.  Country Boy has a big future ahead and is one of the most immediate and transfixing artists in all of music.  The Essence was a track I couldn’t wait to investigate as it sums up our man (in essence) and is a confident slice from a musician that never seems to stop working.  A restless, multi-talented and agile songwriter; the signs are promising when it comes to 2016.  New music not only allows you to discover a new artists or genre; it can open the door to new towns and localities- which in turn brings other bands to your attention.   If you want to find something that takes you somewhere special; transports your mind into a dizzying world of uncertainties and possibilities- then you need to discover this rare talent.  Country Boy may be Texas-based now, but that will not last.  The young maestro is…

BOUND for the big city.

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Follow Country Boy:

 

Official:

http://www.countryboyraps.com/

Facebook:

https://www.facebook.com/CountryBoyRaps/

Twitter:

https://twitter.com/cb_countryboy

Instagram:

https://www.instagram.com/countryboyraps/

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Music:

https://soundcloud.com/countryboyraps

Track Review: Boroughs- Keep it Up

TRACK REVIEW:

 

Boroughs

 

 

Keep it Up

 

9.4/10.0

Keep it Up is available at:

https://soundcloud.com/boroughsmusic/keep-it-up-1

RELEASED: September, 2015

GENRES: Rock; Alternative

ORIGIN:

L.A., U.S.A.

The E.P. Boroughs is available at:

https://soundcloud.com/boroughsmusic/sets/boroughs-1

TRACK LISTING:

Keep it Up- 9.4

Alive- 9.3

Stay With Me- 9.3

Give It Time- 9.4

Anytime- 9.2 (not available on SoundCloud)

Enough- 9.3

DOWNLOAD:

Keep it Up; Give It Time; Enough

STANDOUT TRACK:

Keep it Up

____________________________________

WITH my featured act emanating from L.A., it is providing me the…

Opportunity to concentrate on U.S. music and a few other concerns.  Among them are genres of Folk/Americana and the inspiration behind E.P.s.  Recently I have been afforded the chance to check out American music and what is being produced out there.  I have waxed lyrical about the range and diversity of U.S. music but it is hard to assess just how much great music is coming from here.  The only exposure I have to American music is via the acts that come to me.  Each time a new act comes to me (from the U.S.) it not only allows me to check out some great music; I get to investigate a new city/town and see what other acts are coming through in the area.  Being based near London, I know how much great music is coming out of the capital.  It is not just the quantity of sounds coming through but the range and originality too.  Artists do not stick to a single sound and come across as overly-predictable.  Other parts of the U.K. show less originality; when it comes to London there is so much variation and possibility.  With 2016 almost upon us, now is the time to investigate acts coming though- to see which will be making waves in the coming year.  Los Angeles (and California) has always produced some fantastic music in the past.  Alongside New York- an obvious hotspot for terrific musicians- it is L.A. that is providing some of the most stunning and original acts in all of music.  Like London, L.A. does not sit still and allow its artists to create lazy, insipid and predictable music.  From the innovative and granite-edged Rock bands; the sunshine Pop movements to Alternative-Country fusions- no matter what your tastes, you are catered for.  The U.K. media occasionally exposes us to Californian music, but by and large, we focus on British sounds and what is being produced here.  Whether a website will be produced- that organises new music so it is easier to find great bands across the pond- I am not sure; yet there needs to be something better than what is out there.  With the music world providing so many terrific acts; the Internet becoming more developed and user-friendly- what excuse are there not to utilize this fully?  For my money there are no websites out there that are all-encompassing when it comes to music.  We have smaller sites that do specific things; bespoke sites that do this and that- none that take everything under one umbrella for the consumer.  I raise this point because Boroughs almost escaped my notice.  A lot of times I rely on other acts- sharing a review often catches the attention of followers and fans (of the act) - or sheer dumb luck.  It would have been good to come across Boroughs under my own steam, but there we go!  Before I raise new concerns; let’s have a look at our featured act:

"In the span of less than a year, Boroughs have become one of Southern California’s most exciting and sought after Americana roots musical collectives.  The four-piece blends elements of country rock, gritty folk and soulful Americana reminiscent of the likes of early Neil Young, Ryan Adams, and Wilco.

Charismatic singer-songwriter Kyle Neal poignantly sings stories of heartbreak, confusion, and love while guitarist JD Carrera adds an atmospheric back country feel to the record.  Bassist Derrick Wong and drummer Tyler Johnson round out the four-piece with one of the most methodical rhythm sections in Americana music today.

After only a few months of playing Los Angeles area shows, Boroughs caught the attention of engineer/producer John Spiker of Tenacious D.  Spiker went on to record the band's self-titled debut EP.  The six track release highlights Neal’s warm vocals with additional harmonies by guest vocalists Natalie Nicoles (Branches), Natalie Meadors (Valley Queen), and Nicole Vaughn (Ranger).

Kyle Neal’s ruthless yet relatable honesty is apparent throughout the release “the EP is inspired by me having a brain that isn’t always happy, altering my state to try to cope with that, making dumb decisions, regretting said decisions and then altering my state to cope.”  The result is a record that is beautifully warm yet achingly relatable.  The leading track “Keep it Up” narrates the story of a reckless youth, denial in that recklessness and struggling to keep it together in a world of expectation. In the catchy single “Alive” Neal struggles with the universal themes of abandonment and heartbreak. The final track “Enough” offers listeners hope with a powerful anthem of love and acceptance."

Boroughs is: Kyle Neal: Vocals / Guitar JD Carrera: Guitar Tyler Johnson: Drums Derrick Wong: Bass Guitar

Guest Vocals: Natalie Nicoles Natalie Meadors Nicole Vaughn

Produced by Boroughs Recorded by John Spiker

Boroughs have released their self-titled E.P.: a chance for existing fans and new ones bear witness to one of the most unique and passionate coming from L.A.  Americana and Folk are genres that are not often represented and talked-about when it comes to new music.  A lot of focus still stands with Rock/Alternative in addition to Pop- and more mainstream sounds.  Maybe not as profitable as other genres, what (Americana and Folk) does is gives you something both modern and vintage.  If we think about the artists who have inspired Boroughs- Neil Young; Wilco- you have artists that stand among music’s very finest.  A lot of people assume Country/Folk/Americana blends are going to be samey and predictable- there is this preconceived image that few shake off- which is not really fair.  What you find is music with a lot of heart and passion; plenty of energy and catchiness- in addition to a glimpse into music’s past.  Boroughs are an act that has a very modern sensibility yet they hark back to older days to produce music that will have mufti-generational appeal.  Perhaps not as gritty and cool as a lot of Alternative-Rock bands, what you get is more depth and nuance.  The songs across Boroughs demand close investigations; the songs do not tire or lose their appeal over repeated assaults- they keep revealing some new insights and diversions.  When you combine genres together effectively- Boroughs splice Country, Folk and Americana into Rock territory- and you give yourself a better chance of sounding fresh and long-lasting.  If you are too narrow with your framework then you have limited options when it comes to the music.  The L.A. band has a busy next year ahead of them- the commitments of touring and showcasing their work- and will bring the E.P. on the road.  I am not sure whether any European/British dates will be on the itinerary but let’s hope- it would be good to see the guys bring their music to the crowds over here.  The American music scene is perhaps more competitive and startling than ours in the U.K. so it is always great seeking what the country has to offer.  Later on I will be picking apart a Texan Hip-Hop artist.  No two days are the same and when it comes to music, there is so much variation and difference.  The band market is that compacted and sardine-tin-packed agenda that is showing overcrowding and suffocation right now.  Those acts that want to remain in the consciousness and endure need to come up with something more distinct and exciting.  On paper many might overlook Boroughs and assume they the band has nothing new to say.  What you find- when you drill down to their bedrock- is a young band with a lot to say; and a long future ahead of them.

Boroughs is the debut E.P. from the L.A. band so it is hard to compare it with past work.  The initial signs show a band that has a huge amount of conviction and confidence early on.  Few acts really go in strong and compelling; there are no nerves of hesitations with our guys.  The E.P. is packed with personality, memorability and terrific tracks that will translate into many more releases.  Whether the guys will do another E.P. in 2016- or extend their music across an album- has yet to be seen but they will want to see how the E.P. does.  If you need to find some comparable acts it may be worth checking their heroes out- Wilco, Ryan Adams, Neil Young etc. - for a good starting place.  The Boroughs E.P. is available online- the five-track version (Anytime might be a track that features on SoundCloud soon).  It is one of those records that highlight a lot of future promise whilst demonstrating authority and a true voice early on.  There is no tribute to previous acts or pandering at all: the boys have such originality and uniqueness you cannot compare them to anyone else at all.

When it came to reviewing Boroughs, I was compelled to highlight its most memorable track, Keep it Up.  Whereas some E.P. numbers look at heartache and personal destruction; some have a redemptive hope- this track seems to unite the band’s various themes, intentions and sounds into one.  The most representative and whole song on the E.P.; it is a number that will speak to a lot of listeners.  The spirited and captivating opening boasts yearning strings and hopefulness.  Our man comes to the microphone quickly to look at “cheap consequences” and “drink ‘til we’re blind” look at harrowing and hard past days.  There is a sense of beauty underneath the tales of self-destruction and abandon that helps keep the song level and controlled in the early phases.  Our hero has had a hard past and is in music to explain and pour out some inner emotions.  Whereas there has been depression, doubts and mistakes made; it seems Keep it Up is a song that explains things and offers the most immediate personal insight.  With words like “white lines forever” and “early morning pride” get your mind racing and speculating and “those things that I told you” are being regretted.  Our hero seems like he could hide the shame of the morning- “should have kept it all inside”- and you get scenes and senses of debauchery, chaos and drunken haze.  Perhaps there are bust-ups and cruel words; maybe all-night drinking and rambunctious rabble- whatever it is, there is that need to bury it and move on.  Perhaps the inevitability of youth or the necessity to numb a pain; when the morning comes there is a naivety and ignorance that is required.  The track dips into a relationship that has its issues- the female backing vocal gives a great sense of story and dialogue here- that needs some repair and mediation.  The duo are telling lies and keeping their heads up.  After the hangovers and sobering moments, there is that sense of denial and the need to just keep going and pretend like nothing has happened.  Perhaps not the most sage way to deal with things; you get the impression it is the only way forward.  Among the tense and busy visions in the lyrics, the composition keeps the emotions in-check and stable.  Pushing sunshine, heart and passion into the mix and you get a sonic representation of a comforting hand: something that is supportive and mature; it keeps things balanced and restrained.  One part of my brain wonders about the song’s true meanings- whether it is a story from past days or a documentation of the present- and the other is engrossed in the proceedings and unfolding.  The rousing vocal declares the need to keep the “morning composure” and dignity throughout everything.  Whether the destruction and dulling is the way of quelling emotional pain- or a pattern of abuse that has been common- I am not sure but there is pain being hidden and a sense of refusal to accept the severity of things.  Throughout the darker and more tormented thoughts there is that hope to improve things and change ways.  The vocal is never suppressive and disturbed for a second.  So much strength and urgency is conveyed it makes every word not only true and convincing- it offers some light and hopeful promise.  Nothing is “quite as bad as it seems” (until it is, it seems).  If you keep looking for the sun you will find it- and the worst of it will pass- it is declared.  That vocal 1-2 and unity highlights those messages of self-betterment and strength-against-the-tide.  One of the band’s most complex and fascinating numbers; you are hooked and fascinated from beginning to end.  That composition provides stuttering and pulsating drums; a guiding and rhythmic bass alongside rousing and emotive guitar- the combination is the perfect soundtrack to a tale of hopefulness and personal struggle.  A message and theme that can be appreciated by all listeners; you are powerless to resist the catchiness and addictive nature of Keep it Up.  Within those notes and lyrics of pain and regret there is that abiding positivity and redemptiveness.  Although nothing is quite as bad as it seems “until it is” you are still hopeful for our man- rather than see some hopelessness and defeatism in the words.  It is true he has had a hard time- the relationship may be built on shaky ground- but there is going to be light at the end of this tunnel.

The entire band must be congratulated on a number that is the standout from Boroughs.  A song that perfectly unifies their myriad themes- self-destruction, loss, heartache and hope- into an intoxicating blend; you have a song that could well prove to be a live favourite.  Here we have one of the most urgent and complete performances across the disc.  Each player and instruments seems to be at its peak and most compelling.  Whereas other tracks see the vocal stand out too much- whereas the composition is in the background- this is the most balanced and brotherly bond on the record.  There is no standout player or star here: each element is essential and equal in the song.  The production is fantastic here and every word and note seems crisp and perfectly represented.  Whilst not too polished or shiny, there is certainly sheen and professionalism that means the song explodes into life.  This quality does not sacrifice authenticity and raw passion- this is all kept in place firmly.  The lyrics are some of the most vivid and memorable you will hear; so many different emotions and possibilities come out- each listener will have their own perceptions and ideas.  If you want a great starting song for the band- if you are a new listener- then I would recommend Keep it Up.  It is one of those tracks that has some cynicism and doubts to it- you feel like our hero will never believe things will get better- but there is plenty of heart and hope among the darkness.  For a band that deals with such heavy commodities- and has quite a lot of struggle and personal issues to explore- you need some optimism and uplift in the music.  The composition’s crackle and sunshine keeps things appealing and compelling; the vocal is one of the most intriguing on the E.P. - a terrific song from one of the U.S.’s finest new acts.

It has been great to discover a new band with a very distinct sound.  Boroughs have such a connection and passion in their music it is impossible to overlook.  You can hear echoes of the past and the masters of Folk and Americana- the likes of Neil Young especially- yet there are modern sensibilities and flavours.  Tying these strands together and you get music that is full of drama, love and vivid scenery.  Although the band come up with some tried-and-tested song titles- every one of the E.P.’s five have titles used by other acts- that is not to say their music is unoriginal and predictable.  Far from it in fact as the L.A. clan is intent on crafting a very distinct and personal sound.  The Boroughs sound is one of contemplation, redemption and personal struggle.  The songs stem from everyday concerns and anxieties; the struggles and issues we all face- eschewed and exorcised through melody, warmth and gentility.  At no point throughout Boroughs do you switch off or lose concentration.  The commitment and heart expelled in each song is stunning; the music digs deep into the soul and elicits something quite extraordinary.  Before I do a ‘mini-review’ of the E.P., it is worth returning to those initial points of the review.  I have raised concerns when it comes to the music media and their narrow focus.  For us based in the U.K. there are few opportunities to discover acts outside of Britain.   There are some fantastic acts coming out of the U.S.; I am excited to see which ones will transcend to the mainstream in 2016.  Having reviewed some great American bands like The Falling Birds, I was excited to come across Boroughs and what they had to offer.   There are too few innovative and nuanced bands it always nice discover an act that could be on the scene for a long time to come.  Americana and Folk- tied in with some Country edges- are hard genres to make fascinating and popular.  The media and music fans still favour something rawer and more urgent; it is a hard job for any Americana acts to instantly get into the public mindset.  What is great about this type of music is the universality and the emotional effect is elicits.  Listening to Boroughs and you get sounds that evoke fond memories and recollections; something dreamy and tender comes through.  Whilst the lyrics go into some more haunted territory- the struggles of the mind and the need to be better- those are themes that will connect with the audience.  Our Los Angeles band came into the studio to record their self-titled debut due to problems the band’s front-man was encountering.  Someone who was making bad decisions and screwing up a little- altering his mindset to compensate for these errors- songs started to flow and there was a real need for that anxiety to be translated into something cathartic.  A lot of bands go into the studio to meet market needs and just for the hell of it.  Too many artists get caught up in that urgency and fear- if they do not record music they will be overlooked- a lot of inspiration and effectiveness is being lost or watered-down.  Boroughs is an E.P. that shows an immense amount of bravery, reflection and sensitivity.

Alive begins with a rousing introduction that boasts great energy and promise.  Our man began smoking to “feel what it’s like”; there is that emotional numb and sense of loss early on.  You get the sense our man is going through struggles and a little self-destructive.  Those paradoxical blends- the cherry compositions backed against introspective concerns- works wonderfully in the track.  It seems a friend or heroine is being represented throughout the song.  There have been moments for second chances and redemption somewhat.  Whether there has been some friction and heartache, our hero is in firm and passionate voice. You get the idea a relationship has split and hit the rocks; there are split but you sense there is a chance for apology or a fix.   Our man was drinking in the sun just to pass the time; perhaps a little emotional numb, there is that need to fill a gap and balm heartache.  Various women came and went- a parade of possible one-night distraction and hollow encounters- to satisfy a part of him.  Whether a way of papering over depression- or a way of getting over a lover- there is some ambiguity to the lyrics.  You are always fascinated behind the true meanings and origins.  Buoyed by that propulsive and driving composition, the song gets inside the brain instantly.  Wanting to be strong enough to change things “I know” seems to be the standout thought from the song.  There is that need to change things and improve life- rather than self-destruct.  Self-destruction is the “only way I know” according to our hero.  Trying to blank a broken love away, there is that desire not to be left alone- that tremulous and desperate plea breaks through the mist.  With that hook-laden and catchy chorus standing out; the band elicit a raw and impassioned Blues-tinged riff in the final moments- it blends perfectly with the Country/Americana foreground.  One of the tightest and most haunting songs on the E.P. it is a clear highlight.

   Stay With Me starts with a beautiful and calm refrain that relaxes the listener in.  The vocal from our heroine is passionately tender and memorable.  Our man wants (his girl) to stay with him and not depart.  Unable to find the true words to convince her; this song is his shout-out and testament.  Backed by a swooning and urgent female voice- you get an uplifting and hugely effective number.  The band produces one of their most interesting compositions on the E.P.  Light and quite sparse it manages to provoke and promote a wealth of emotions and colours.  Expertly backing and augmenting the vocals, you get lost in that racing percussion and aching guitar work.  Our hero wants the girl to stay and forgive his short-comings and vanity.  Maybe there is a history and past with the lovers- the heart is definitely on sleeve for this number- but nothing that cannot be worked out and mended.  It is that central desire and purity that makes the song such a popular and universal number.  Many listeners will be able to appreciate that sense of loss and hope that comes through; the need to keep someone special close to them.  Although the song is just under four minutes long, you never feel like it bloats or wanders too much.  Again, Boroughs make sure the composition is uplifted and energised enough not to drag the listener into maudlin territory.  The confessional and honest outpourings are hugely emotional and direct; the composition balances things by injecting a romantic optimism into things.  Never fake or needlessly positive, the score elicits plenty of emotion and support for our hero.

   Give It Time is one of the most sensitive and touching numbers across the E.P.  Whereas previous numbers have started with empathic and rousing introductions; here we get something a lot more concise and sensitive.  Before you delve into the possibilities and emotions of the composition, our man comes to the microphone with a heavy heart.  It seems like a girl (maybe the same as before or someone different) is heavy in his heart.  With words like “felt the weight of you on my mind” you get the impressions a bond may be strained or broken once more.  Making “us hate what we once had” suggests there has been an argument or catalyst that has compelled these expulsions of grief.  By giving things time perhaps a resolution and mediation can be created.  Wanting to be stopped from running- and simply abandoning any chance of meaning and honesty- our man wants to stay grounded and firm.  In the past the hero may have run or retreated to the bottom of a bottle- this time there is more hope and that need to work things out.  By working through problems and properly dealing with them, it will result in long-term benefits for him and his girl.  The winds ae changing directions and our boy is a “stone for you darling”.  Two people that need one another, you get that intensity and passion burst through the song.  One of the E.P.’s most stunning and compelling performances; this song clearly has personal relevance to our hero.  Supported by a noble and nuanced composition- little notes and threads reveal their beauty across time- and it stands as one of the best songs the band has come up with.  Again the track boasts universal themes and messages everyone can appreciate.

A song not available on SoundCloud- a song that has recently been released- Anytime is one of those songs that has been garnering a lot of praise and review.  Neal’s voice is at its most tranquil and emotive during this number: a song that is the most Country-sounding on record.  Backed by some stunning female vocals (by Natalie Nicoles on this number) it recounts our hero losing his sense of time and perspective.  There are those feelings of destruction and confusion still; together with the unity and unity of relationships and a guiding hand.  It is one of the most yearning and aching tracks on the E.P.; whilst not the strongest of the set it provides another side to our hero’s voice- a chance to see new avenues explored and new subjects brought it.   When it comes to Anytime, the band explain its origins:

“Specifically, Anytime is a song about a friend of mine who has consistently been there for me when I was a bit too out of my mind. I think on a broader level the song is about how we can tend to put friends in awkward or uncomfortable positions with our decision making, but the good ones always shrug it off and are there for you no matter what.” 

Out of his mind in a local park- perhaps the effects of pot or drink have taken their toll- there is that dependable bond and reliability that sees him saved time again.  Knowing the true origins and truths behind the song make it more one-dimensional but no weaker for it.  It is good to know what inspires a song and Anytime benefits from a stunningly earnest and passionate central performance.  The strength of the band is taking their mishaps and struggles and channeling them into the songs.  Lesser acts would hide their emotions and cover them up- that is not the case with Boroughs.  One of the most honest and brave bands out there; Anytime is one of their most revealing moments to date.

  Enough is one of the most upbeat and rousing numbers on the E.P. - an appropriate emotional contrast to ensure proceedings end on a high note.  With chorused vocals and hand-claps you get a celebratory flair to the opening moments.  The opening words- “sometimes I get anxious”- are giving an oddly happy and electrifying delivery that compels you from the very off.  Our hero thinks about the things not done; thinking about his girl and things are enough for him.  A hopeful and pure message that leads to one of the most heartwarming vocals on the E.P.  Whereas previous numbers have had a lot of personal struggle and loss; here we get something that is overtly contented.  Years ago our hero might have wanted different things and not been happy with his lot.  Being in the position he is in- and being of a certain age perhaps- priorities have changed and there is that need for a safe and solid relationship.  It is nice to see love issues more stable here- whereas there has been heartache and breakup before- and comforting.  Sometimes he thinks about things not achieved and conquered; when it is all said and done that doesn’t really matter.  Our goals and ideals change as we get older- our hero is entering that stage of life- and it is not necessarily about dreams and ruling the world.  Sometimes something safer and true is more meaningful than a list of achievements and accolades.  Whilst still young, there is an old soul on the shoulders.

Throughout the six-track E.P.; Boroughs ensure that a lot of ground and sound is covered.  Not just casting themselves in the arenas of love and heartbreak, there is a nice blend of positive and introspective.  It means the balance of emotions is right and the E.P. has greater depth and range.  The performances are consistently tight and focused meaning each song stands up to multiple listens.  With no weak moments or questionable additions, the E.P. is a great achievement from one of the U.S.’s finest Country/Americana bands.  The boys go back to the past and investigate artists like Neil Young- they have a similar reflective haunt and lyrical quality- whilst keeping their shine and sheen modern and contemporary.  By blending fresh and polished compositions with something older and more historic creates music that will speak to a wide range of fans- from the younger to the old.  It is music that could be a staple of mainstream radio or score an edgy Indie film.  There are no boundaries and limits when it comes to the songs as there is a consistent universality and openness to the themes and sounds.  If you are new to Boroughs then their self-titled E.P. is a great place to start- just jump in and discover what is on offer.  Whilst there may not be enough grit and Rock flair to complete convert some listeners the E.P. will appeal to lovers of the genres (Boroughs play).  A lot of bands and solo acts play the same genres and are not nearly as effective and memorable.  It is the passionate vocals and colourful compositions that mean each track shines and remains in the mind.  Make sure you check out the L.A. band who will ensure the winter days (and nights) are warmed up nicely.  There is anxiety and pain to be heard in their music yet everything has hopefulness and a desire to change things.  Not an E.P. that wallows and depresses; it has a radiance and energy that cannot help but lift the spirits.  Get on board the Boroughs train and…

FOLLOW them wherever they head.

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Follow Boroughs:

 

Official:

http://www.boroughsmusic.com/

Facebook:

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

Twitter:

https://twitter.com/boroughsmusic

Instagram:

https://www.instagram.com/boroughsmusic/

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Music:

https://soundcloud.com/boroughsmusic

 

Track Review: Shaydes- All You Want

TRACK REVIEW:

 

Shaydes

 

 

All You Want

9.3/10.0

All You Want is available at:

https://itunes.apple.com/gb/album/all-you-want-single/id1064956271?app=music&ign-mpt=uo%3D4

RELEASED: 4^th December, 2015

GENRES: Rock; Pop; Alternative

ORIGIN:

Reading, U.K.

____________________________________

THE past week or so has seen quite a fair few…

Acts come to my attention.  From established and ambitious young stars to those just coming through; all different genres and styles have made it my way- from various parts of the world.  What I always love- when it comes to assessing new music- is discovering how (a band or act) formed and where they came from.  A lot of times- in the case of Noah Clouds and Kelsy Karter- I get to an act that is already established with a mass of social media followers.  In some cases the artists is just coming through with scant online fan-base (This Modern Hope) but shows immense passion and potential.  Before I get to my featured act, there are a few points that have struck my thoughts.  In addition to new British bands I wanted to look at variety in bands- in terms of gender and sound- in addition to the importance of originality.  Having Shaydes make their way into the sun, I have been fascinated to see the guys rise and campaign.  Their name and reputation is starting to gain momentum; All You Want is their opening gambit that throws a gauntlet down to their fellow acts.  In a lot of my reviews I get to feature bands and always look at the same themes: the state of the band market in music.  A lot of my dissatisfaction seems from the predictable and cliché sounds/line-up.  Most modern bands do not push the envelope or really offer that many surprises.  When it comes to British acts, there is still a reliance on Alternative and Rock sounds.  The likes of Foo Fighters, Arctic Monkey and Royal Blood are stuck too closely to.  Musicians see a band doing well and amassing critical acclaim and then get a thought: if we sound exactly like them then surely we will get popularity too?!  Unfortunately a lot of music fans are fueling this thought and it is casing so many sound-alike and unoriginal acts.  If you are going to come into the music world then why would you want to sound exactly like someone else?  We have cover bands and tribute acts that do this; there is no need for new music to be filled with replicates and insipid acts.  When it comes to critical attentions and demand, the bands are the most favoured and anticipated.  For that reason- and if you want to get your name at festivals and prestigious gigs- you need to come up with something new and unexpected.  I love Rock, Alternative and harder sounds as much as anything- some of the greatest bands/albums have been made in these genres- but there comes a point when there is stagnation and a lack of innovation.  Although I have heard some great bands this year- that play the heavier side of things- there have been a fair few that simply do not linger in the memory.  Unless you are mining golden riffs, emphatic vocals and addictive tracks you are unlikely to remain the consciousness for too long.  Britain is not the only culpable nation when it comes to this oversite: the U.S. and Canada are producing quite a few acts that have no originality, passion and distinction.  If 2016 is going to foster a prosperous band wave, then more new acts need to come out with their own voice and dip back into music.  Given the sheer depth and amount of music that has come before- from the early Blues masters to the Rap/Hip-Hop revival in early-‘00s (The Streets, Dizzee Rascal etc.)- there is so much sonic possibility and variety available.  It is no wonder the ‘90s is still revered and celebrated- a time when music’s bands were at their peak- to more should look back and follow the examples.  It is all well having your all-male, guitar-wielding acts; music seeks something more interesting with great possibilities.  For that reason, I have been thinking about bands and genders.  There is not such a gender inequality and (too much) sexism in music yet the band market needs a kick in the butt.  There are still too many all-male bands around- they must account for a good 90% of all acts- with a few all-female acts.  When you want originality, depth and variation then it makes sense to mix the boys and girls?  With Shaydes having a female lead, you get vocal and emotional variation; a clear kinship between the members- something an all-male band would lack.  It may not sound like a vital thing but we need to welcome more mixed-gender bands onto the scene.  This year the likes of False Advertising have stunned me; not just because of the music they provide but the relationship between their members.  With a female-led vocal- backed by two chaps on instrumentation duties- there is a lot more colour, distinction and nuance to the sounds.  There is still that idea- when it comes to girls in bands- that music’s women either go solo (or a duo) or form a girl band.  It is a stereotype that needs eradicating.  There are so many great female-led bands out there; the media tends to overlook them somewhat- concerning themselves with the tried-and-tested male four/five-piece.  Before I continue on this point- bludgeoning it to the point of murder- let me introduce my featured act:

“Shaydes brings you beautiful, powerful songs that will gladden your heart and lighten your mood, sympathise with your sadness and lift you to greater heights, make you smile and keep you happy. New songs are in the process of being recorded and will be published here soon.

Shaydes is the new band of established singer/songwriter Marisa Rodriguez, who has brought together an accomplished group of fellow musicians with a love of making music that moves you.

Featuring James Dixon on guitar, Andy Watt on Bass, Rob McGregor on drums, Heather Westgate-Bell on backing vocals and a host of other talented guest musicians”.

I mention gender and gender-mix in bands for two good reasons.  For a start a female voice up front- with boys backing her- means you get the best of both worlds.  Your compositions can be harder and powerful whilst the vocal sounds different.  Female vocalists tend to be more effortless when it comes to Soul and Pop vocals.  Shaydes are a band that I have been following since their conception.  With Marisa Rodriguez up front, you have a singer with a hugely powerful voice: one that can reach soulful stratosphere to intimate femininity; it is an instrument that is effortless in a variety of genres and scenarios.  Surpassing and bettering her male counterparts, Rodriguez’s voice is a breath of fresh air when it comes to bands.  Knowing Marisa for a while now- following her solo work through her other incarnations (the band Easy Tiger) - I know what a talent and passion she possesses.  Backed by a wonderful and multi-talented band, you have a new act that stray from clichés and provide something unique, original and hugely memorable.  Shaydes do not simply play vague Pop or predictable Alternative sounds.  On the basis of their debut single- and predicting a new E.P. in 2016- here is an act that has a radio-friendly sound whilst retaining a gritty edge and a sound that few other acts can match.  All You Want is a bold statement from a group that has worked hard to come together and get their music made.  I predict 2016 will see the group go onto big things- an E.P. or album followed by some important gig dates- so make sure you follow them close and see where they are headed.

When it comes to assessing the development is a hard to task: Shaydes are just starting fresh and making their first moves into the music world.  The band’s members (Rodriguez especially) has had a busy music past; this is the first outing for Shaydes.  All You Want is their declaration and initial statement that showcases huge confidence and quality.  If you are fresh to the band then you might be intrigued to see who influences them.  Whilst a wholly original and fresh acts, other artists have compelled and inspired them and their music.  Rival Sons and Paramore are two bands that have been important to the guys.  The U.S.-based rockers come out a little in All You Want.  When hearing Rodriguez’s vocals stretch, infuse and sparkle, I am reminded of the two bands (particularly Paramore) whilst the composition has a huge amount of force and power.  Rival Sons mix elements of Deep Purple, The White Stripes and Led Zeppelin-esque power chords.  Shaydes have a semblance of this in their single- there are definite moments of ‘70s Progressive-Rock with Garage-Rock and U.S.-inspired Alternative- but they use this as a jumping-off to bigger and bolder things.  Shaydes expand these templates and infuse something more soulful and emotive into their music.  Supporting their lead’s multi-emotion and stunning voice; the boys create a composition with huge depth, nuance and emotional wallop.  I know Shaydes have also been influenced by everyone from Skunk Anansie and Radiohead- two acts you would not normally see together- retaining a British sensibility to their music.  Whilst these acts are a good guide- if you are uncertain about investigating Shaydes- they do not seep too heavily into the sounds of Shaydes.  What the Reading-based band does is incorporate elements of each- bridging ‘90s and ‘00s bands into something contemporary and modern- and come up with their dynamic and sound.  Knowing what a voice Rodriguez has- able to be seductive and soulful; rampant and sensual- there seem to be limitless possibilities for the group.  All You Want has passion and heaviness to it without being too intense and angered.  It is a controlled and stunning track from a band that want to make immediate impressions.  With their influences in mind- and given the possibilities they have with regards vocals and compositions- I can see Shaydes being a very varied and multi-genre proposition.  Perhaps they will come up with more emotive and introspective numbers; something upbeat and soulful- a catchy number that never escapes the mind- or go into Electronica arenas.  That is the beauty of the band: they have the ability to sound genuine in whatever genre/area they see fit.  All You Want is the perfect starting place for a band that have plenty more to say.

The opening notes of All You Want are dedicated to atmospheric and a building mood.  At once edgy and tense, the composition opens up into a brief rush.  If anything, I am reminded of Radiohead and their work throughout In Rainbows.  That blend of tense electronics and accessible purity is distilled into the initial seconds of Shaydes’ debut single.  The percussion is firm and wave-riding- creating an emotional lift and peculiar charm- that perfectly highlights our heroine’s voice.  The initial words are delivered with beauty and a breathless passion.  “Dream of when we’re not asleep” is intriguing words that have your mind split.  In addition to the clever wordplay, you wonder whether a relationship is being ascribed.  That opening line sticks in the mind and is an impressive lyric.  That oblique and mysterious sentiment gets the mind working and curious as what is to come next.  Our heroine (and her man) are “shallow ‘til we’re in too deep”.  Again it is a delightful bit of wordplay that tops the opening line for intelligence and originality.  You get the impressions a relationship has reached its straining-point and there is no way around things.  Our heroine’s voice is at its most affected and tender in these stages.  Making sure it drips with emotion, soul and power; those words come to life and bring about some vivid images.  It seems this bond is going through a test; perhaps there are some issues that can’t be resolved.  It appears the duo never really connected or had real conversations until they were in love.  By time the relationship started to show cracks; that is when honesty and true feelings came to the surface.  Maybe I am over-reaching but it seems like things are more ideal and perfect in the imagination.  That ‘dream romance’ is desired rather than the reality of the situation.  Maybe there was passion and love to begin; it seems there are too many cracks to fix.  The boy is squandering chances and being a fool.  Our heroine knows her boy doesn’t know what he’s up against- the tensions start to raise and the mood becomes a little closeted and tight.  Backing our heroine is a composition that remains firm and melodic.  The percussion, strings and bass support and propel the vocal whilst eliciting plenty of colour, life and memorability.  You can sense that an explosion is imminent.  Before that crack of life comes through; you cannot help but be impressed by the resonance and effect of that vocal.  With a huskiness and chocolate-like smoothness to it; Rodriguez has one of those voices that can do anything it needs to.  Stretching notes and syllables to great effect; she seems effortless and completely commanding.  With such a stunning and original voice- there are little tinges of others but she has such a distinct tone- you get immersed in the song and its convictions.  As the lyrics become tense and accusatory, the composition matches the foreground.  The guitar fizzes into life- eliciting a nifty and sharp riff that adds electricity to the track- whilst the percussion becomes firmer and more muscular.  Guided by some supple and tight basslines and the song kicks up a gear- going from Soul/Pop beginnings to U.S. Rock/Alternative (Paramore etc.) hardness.  It seems a game is being played and there is a lot of anger and recrimination in the heroine’s charge.  Not knowing “what you’re waiting for”; she is not going to take this anymore.  Showcasing huge passion, strength and emancipated purpose; that stunning vocal builds to near-climax force- ensuring each word comes vividly to life.  When the chorus does hit you get a nice mixture of British Soul/Pop and U.S. Alternative sounds.  This will not only appeal to a wide range of listeners- and make All You Want popular and translatable in the U.S. - but it ensures there is a perfect balance of vocal and compositional sounds.  At this stage there is some openness- the quality of the lyrics means there is room for interpretation- and your mind strays from purely-love avenues.  In a sense you could tie the lyrics to the music industry and its struggles.  Music is a love and deep passion- for those who understand its potential- and you could interpret some of the words differently.  As our heroine talks about game-playing and needing fulfillment; frustration at not being fully recongised and respected- maybe a touch of anger at the state/nature of the ‘music business’.   Our heroine has given all she can and is not sure what the hero is waiting for.  Perhaps here is a love with two different ideals and expectations: she has given all of herself whilst her man has given nothing.  As you dig down to the meanings and truth of the lyrics; that band-vocal combination keeps coming to the fore.  The composition has a relentless energy and chug that adds vigour and intensity to things.  Never over-exerting or wandering; it is a tight and emotive composition that perfectly soundtracks the lyrics.  Whilst the track has a contemporary and radio-friendly vibe- it could be played on B.B.C. Radio 2 and appeal to older listeners- there is edginess and attitude to it that could see it spun on underground stations; appealing to a much younger audience.  This wide-ranging personality makes All You Want a track filled with nuance, potential and force.  It seems the lovers will “burn down to the ground”- like a candle flame burnt down to the wick- it seems that the purity, beauty and idealism of the bond has exploded- whilst a need for wholeness and rebirth are desired.  Having to step back into the world and rebuild her soul; our heroine’s voice is at its most tremulous and heartbroken.  When the vocals are backed and layered- emphasising and augmenting that sense of dislocation and loss- the compositions remains supportive and light.  Was the composition heavy and hard and the emotions might be distilled: as it is, you have a perfect balance from a band that has spent a lot of time crafting the song.  The next time the chorus arrives it seems more relevant, urgent and determined.  The vocal always sounds empowered and gripping no matter what is being attested.  The song’s defining mantra comes in the form of the words “you only have yourself to blame”.  This seems to be the motto and real truth of the matter.  Whilst scant detail is given as to the whys and whats of the breakdown- whether there was another woman or a lack of sensitivity- it seems like the hero is at fault.  Maybe there were chances and real promises with the relationship that he failed to see.  Supported by tumbling percussion and sprite strings; that home-truths accusation is repeated to great effect- as the song’s images, storyline and progression becomes clearer and more fascinating.  The final moments are dedicated to that chorus coming back to ride and strike.  At its most urgent and exhilarating; our heroine’s voice explodes with power and intensity- enforcing those words and letting her soul bear its anger and pain.  By the final notes you wonder what became of the lovers in the end.  One suspects the relationship is beyond repair although the circumstances behind its erosion remain an unanswered question.  What All You Want does is assesses a very common and overplayed theme- relationship breaking down; one party to blame- and gives it a new spin.

It is always challenging releasing a first single that deals with relationship breakdown and the aftereffects.  It is one of music’s most over-represented and predictable subjects- after a while you have heard it all and are offered few surprises.  Shaydes have come in with a song that does not remind you of another; giving worn and familiar scenes a new lease and different perspective; All You Want is a brave and bold track that will appeal to a lot of listeners.  Most of us can relate to the tribulations and scenes the song portrays.  One of the most impressive things about the song is how there are no weak moments; everything hangs together perfectly.  The band performance sounds loose yet tight.  You can imagine this is a live recording- it is has that sort of sound and feel to it- although you can tell hard work, detail and honing has gone into it.  The production on the song is faultless which allows the vocal to be clearly understood yet it never overpowers the composition.  All the instrumentation and notes and wonderful mixed and blended which means the song is as rounded and effective as it could be.  Whilst the band sound completely natural and assured, it is that lead vocal that leaves the biggest impressions.  Marisa Rodriguez has been performing and singing for years so it is no surprise she has such an accomplished, confident and beautiful voice.  Lesser singers would not be able to give All You Want the life, passion and power it requires yet Rodriguez sounds completely entranced by the material.  The voice would not be as stunning and strong were it not for the drive and intuition of the composition.  The lyrics mix hugely intelligent and unique insight- the wordplay in the opening moments is deeply impressive- with universal sentiments and something more ordinary.  It is that blend of accessible and personal that means the song will be taken to heart by all.  It is not a track that pushes people away or appeals to a certain sector.  A ubiquitous and memorable debut effort; ensure you follow Shaydes and their plight.  A band that sounded like they are meant to be together, I would not be surprised to hear more new material follow very shortly.  You can hear the passion and fun they are having making music.  Congratulations to the Reading band for creating a track that could well be receiving some prestigious airplay.

It is wonderful hearing a group that understand the importance of doing things differently and coming up with something original.  If there were another British all-male Alternative band- who think mimicking Arctic Monkeys is the way to get success- then my shoulders would shrug slightly.  What we have is the antithesis to all of that.  I know what a stunning vocalist Marisa Rodriguez is.  From her cover versions and early originals, I was witness to a young singer with a phenomenal range and an unforgettable sense of emotion, passion and determination.  Whilst her solo career impressed me hugely, she sounds at ease and at her most fulfilled here.  This is not just her show- far from it in fact- backed by a stunningly accomplished and tight-knit band.  Dixon’s guitar work mixes subtly and hypnotic moments; it gives the music an urgency and sense of calm- often within the same line- and is the perfect support to the vocal.  Watt’s bass guides and pushes the music forward; showing authority and plenty of melody into the bargain.  Westgate-Bell’s backing vocals melt with Rodriguez’s to create something lush, beautiful and hugely energetic.  Demetrius' sturdy percussion (he plays on the single) gives the music punch, heart and a primacy that few other acts are able to summon.  Shaydes mix such richness and variegation into their sounds- classical threads and wonderfully assured musicians- to create music that is destined for the big stages.  Before I wrap up it is worth addressing All You Want, the future of the band; towing back to the original themes of the review.  Shaydes are already performing small gigs around the south at the moment.  I know Rodriguez keeps busy with live music nights and performing; the Shaydes guys are starting their careers and excited by what is to come.  It may be debut single-days at the moment but the signs are already extremely promising and bright.  Few bands explode out of the blocks with such confidence, assuredness and quality.  There are no nerves or weaker moments on All You Want.  From the very first notes you get the impression of a band that have been performing together for years- rather than a matter of weeks/months.  The music sounds like it has been perfected and honed over weeks whilst retaining a looseness and effortlessness too.  That is a hard trick to pull off- whether All You Want was created that way- but it something that will gain them a huge amount of respect.  Their social media numbers are starting to climb at the moment; there are a few things they are working on- their official website is being reconstructed; it would be good to see them on SoundCloud and YouTube- but they are handling the pressures of musical expectation very well.  Sound anxiety-free and in love with music, ensure you check out a terrific young band.  I know how hard each member has worked with regards to this point; there is such an affinity and mutual respect between the members.  You can tell how close they are and how much they like one another.  This ease and passion come through in the music which is starting to gain waves.  I think 2016 will be a banner year for them.  In addition to conquering new venues- let’s hope they are invited to London to play and further afield- I am sure there will be new music and plans afoot.  British bands and new music has too many offerings that do not stray from the pack and offer anything new and insightful.  Aside from the sway of boring Alternative bands, there are a few great acts poking though.  For band music to thrive and inspire in 2016 we need to start embracing those with originality and a purpose.  Unfortunately the media tends to focus on bands that have radio-play appeal and festival potential- in other words, bands that sound like established acts- and miss out on some truly worthy artists.  There is so much potential to make a difference in music and inspire young musicians coming through.  By having a female lead (if you are a male-heavy band) or vice versa, you are already giving yourself more options and variation.  When it comes to the central sounds, you do not need to be rigid and do Rock/Alternative-only sounds- push your sights and mix in other strands and ideas.  Maybe I am being harsh but I am a little tired of the insipid and idea-less acts who seem to plague the scene.  Shaydes are an act that has no desire to sound like anyone else; they are ambitious and original- these traits will set them in good stead.  Make sure you pick up All You Want and discover a young act with a lot more to say.  The early days are always the most important and nervous- it signals whether a band could float or sink- and there is no fear when it comes to the Reading group.  There is so much passion, authority and tightness within All You Want, you can see them conquering rarified heights and gaining huge momentum.  Follow them, support the music and above all, discover an act…

 

PRIMED for a fantastic 2016.

https://play.spotify.com/album/6VJxH68auQ6cdd2BENM09C

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Follow Shaydes:

 

Official:

http://www.shaydes.co.uk/

Facebook:

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

Twitter:

https://twitter.com/ShaydesOfficial

Instagram:

https://www.instagram.com/shaydesagram/

Track Review: Kelsy Karter- Crystal Blues

TRACK REVIEW:

 

Kelsy Karter

  

Crystal Blues

9.7/10.0

Crystal Blues is available at:

https://www.youtube.com/watch?v=h26oC_rKDZI&feature=youtu.be

RELEASED: 7^th November, 2015

GENRES: Soul; Pop

ORIGIN:

Los, Angeles, U.S.A/Australia

The E.P. Kiss the Boys is available at:

https://itunes.apple.com/us/album/kiss-the-boys-ep/id1049359238

TRACK LISTING:

Clocks- 9.5

Kiss the Boys- 9.5

Children of My Hometown- 9.6

Valentine- 9.6

Crystal Blues- 9.7

Outsiders- 9.6

DOWNLOAD:

Children of My Hometown; Valentine; Crystal Blues

STANDOUT TRACK:

Crystal Blues

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TODAY I get to look at a fascinating artist that brings up a few really…

good points in my mind.  It is not often I get to look at female Soul artists, so it is great to come across Kelsy Karter.  The Australian singer (who not resides in L.A.) also compels me to look at the Australian music scene and iconic figures within the music industry.  Having investigated quite a few female artists this year, it has been interesting to see the range and diversity of what they produce.  A lot of my reviews have centred around Pop acts- with some electronic touches thrown in- but I have had scant chance to assess a female artist that packed such soulfulness and smokiness into the music.  In this country we have quite a few Soul singers although most female solo artists tend to play in other genres.  Perhaps that is related to the expectations of the mainstream- perhaps Pop is a more marketable commodity when it comes to success- so you have to look hard to discover those rare treasures.  What I love about Soul is the genre has so much mobility and potential.  If you look back at the legends such as Sam Cooke and Aretha Franklin and you cannot understate the power, potency and passion they put into the music.  Perhaps not the most immediate and all-encompassing music you will hear; what Soul provides is music that appeals to the heart and the soul.  It is for those people that want to reflect and feel something incredibly powerful and sensual.  Pop music- without mixing in Soul or other genres- can be too vague and slight; not really offering that much depth and surprise.  I have always loved Soul because of its power and wonderment.  Those incredible and peerless singers could take songs that seem simple on paper and transform them into something transcendent and mind-blowing.  In terms of modern music there are fewer Soul artists around but the ones we do have are making big impressions and showing huge promise.  With my featured artist in mind I have been compelled to look closely at the Australian music scene and the music coming out at the moment.  I spend a lot of time reviewing U.K. and U.S. acts- it is easy to overlook other parts of the world- and see what is coming through there.  In terms of the Australian music scene, there are a lot of great bands and acts coming through there.  From bands such as Milwaukee Banks to Lowlakes; Aversion Crown and Earth Rot, there is a whole host of spectacular and vivid bands.  In terms of solo acts you have the like of Catlips and Sunbeam Sound Machine; Baro and Peter Bibb are providing the music world with something very promising and fresh.  Like the U.S. and U.K., Australia is not confined when it comes to sounds and genres.  Depending on which part of the country you visit depends on the type of artist and sounds coming out.  Melbourne, Brisbane and Perth are the three areas of Australia that are producing the most promising music this year.  Perth is a particularly curious example.  The capital of Western Australia is showcasing some phenomenal solo artists and Electro.-Pop bliss; stunning bands with a hell of a lot of passion- some tender and passionate male solo acts.  When it comes to Kelsy Karter- although she lives in the U.S.- she is one of the most fascinating and individual artists coming out of Australia.  With a voice that summons up so much emotion and passion; songs that mix rebellious story-lines with soul-bearing moments and you have a young woman with a big future ahead of her.  Before I go into depth, let me introduce her to you:

"Musician. Rebel. Professional weirdo.  Kelsy Karter -Australian blue-eyed soul singer is here to disobey,  and conquer. She moved to Los Angeles as a runaway teenager, with no plan, no fears and an innocent rebellion. Miss. Karter was brought up on Motown, soul and rock n roll. She is re-inventing these genres into her own little mix of musical wonder.  Storytelling is one of her favorite parts of being an artist, as she grew up in the theatre singing, acting and dancing, as well as playing the piano and flute in the school orchestras.  Kelsy’s style is a cross between ‘60s rock ‘n’ roll and a real life circus doll and has been described as "The Rebel Doll", because of this mix of style, musically, visually and spiritually. 

“I feel like I was meant to live through the ‘50s and ‘60s, so I embrace that. I am heavily influenced by people like James Dean, Johnny Depp, Angelina Jolie and Elvis. I wanted to join the circus as a kid too... so I guess I dig a little madness". 

Her musical heroes include Amy Winehouse, Sam Cooke, Elvis, James Brown, The Rolling Stones, John Newman, Stevie Wonder, Bruno Mars and The Beatles. Kelsy was a mischievous kid, with a fearless, impulsive and emotional nature. She is taking those parts of her and channeling them into something great. Something magical. 

“I am a firm believer of embracing your oddities, and making your strange your strength. I love love, I fight hard, and am irrevocably addicted to chaos”.

Karter is one of those artists that is hard to ignore.  She is called ‘The Rebel Doll’; it is an apt title.  In addition to being extremely beautiful and stunning, you can see there is something different about her.  Karter loves chaos and a sense of conflict; there is a Rock ‘n’ Roll spirit to her Soul heroine persona.  The beautiful Australian has a look of Amy Winehouse about her- that same facial look and attitude- and reminds me of Winehouse when she first came through.  Although there is sweetness and vulnerability to Karter, she is not someone to be messed with.  Feisty, spunky and strong; here is a woman that channels that strength, defiance and pain into her music.  Little is known about the young star beyond her online biography.  Having briefly conversed with her via social media; she is someone who fascinated me hugely.  A young woman with a passion for music and getting his songs out there, I am confident Karter will be one of the names to watch in the next year.  There are so few characters and standout personalities in the music industry; it is rare to find someone like Kelsy Karter.  The music she plays harks back to the likes of Sam Cooke and James Brown via a modicum of Winehouse and contemporary Soul artists.  With the likes of Lana Del Rey providing that sense of rebellion, defiance and uniqueness in their persona/music- with few others following their examples- it is great to find someone like Karter: a talent that has mainstream appeal yet is not your run-of-the-mill musician.  Too cool for school and fools, you can tell she will never tire of stop pursuing her music dreams- taking everyone on until she gets to where she needs to be.  Were in just the personality that seduces then you’d have reservations.  Karter backs up her charming quirkiness with songs that are hugely evocative and sensational.  Working with some top-name producers and honing her sound; the E.P. Kiss the Boys has been met with effusive praise and a lot of love.  The E.P. looks at disconnection and loneliness- I shall tap into this more near the end of the review- in addition to romantic trysts and fantastic dreamscapes.  Whilst the lyrics paint stunning scenes and possibilities- a blend of retro. cool and modern-day angst- that voice is enticing and entrancing at every stage.  Impossible to forget or pigeon-hole; Karter is a woman with a very special sound and sense of direction.  Let’s hope she makes it to the U.K. very soon- I for one would like to see her and buy her a beer (or several) - and play over here.  There are clubs and venues that would house her for sure.  We have few comparable artists in this country, so I can see there will be a demand for the young Australian.  Kiss the Boys is just the start of things for the stunning heroine.  As 2016 looms, there will be more music, intrigue and chaos for sure.  Things are never boring or predictable when it comes to Kelsy Karter.

When assessing the young L.A. resident as she is now, it is worth having a look back into her past.  Last year Karter released A Very Rebel Christmas.  A covers album with a unique twist, it gave the public a chance to witness the heroine reinterpret some classic standards in her own style.  The tracks Please Come Home for Christmas, I Saw Mommy Kissing Santa Claus; Have Yourself a Merry Little Christmas and Silent Night are tackled- with huge authority and passion.  Please Come Home for Christmas is given urgency and desperation to really emphasise its messages.  An aching and heartbreaking performance it sees Karter let her voice stretch and elicit raw emotion and urgency.  Not overwhelming or heavy-handed it gives the classic a new lease of life; it sounds new and fresh.  I Saw Mommy Kissing Santa Claus has some sensuality and vibrancy to it but retains its purity and innocence too.  Karter lets his stunningly soulful and gorgeous voice add honey, light and beauty to the track to give it a wonderful edge.  Have Yourself a Merry Little Christmas and Silent Night are kept fairly faithful and loyal to their original sound.  Karter gives edge a smokiness and strength that few other artists have to ensure listeners are impressed and hooked.  Committed to the material and showing what her voice can do; A Very Rebel Christmas is an E.P. that sees Karter lay her voice and heart on the line- the results are hugely impressive indeed.  A lot of artists do Christmas cover and to be honest, most of them sound the same.  A wonderful collection of some old favourites; the Australian heroine came into the scene with an emphatic charge and a stunningly realised voice.  Since then Karter has covered other tracks and done some collaborations; honing her unique voice and concentrating on some original material.  Kiss the Boys is the result of her travels, labours and efforts.  Whereas A Very Rebel Christmas gave the purity and innocence of Christmas a slight dash of vodka and kick- whilst ensuring the songs were not overhauled too far- Kiss the Boys extends the rebellion and attitude into new ground.  Over the course of a year Karter has come on leaps and bounds and sounds effortless and urgent now.  No weakness or shyness can be heard in the original material.  What we get is a young woman with a very determined and gutsy attitude to music.  Having grown up with legends and classic artists; Karter has been singing since she was a child.  It is no surprise her E.P. sounds confidence and commendable yet few young artists produce something with no filler or rough edges.  Whilst her voice perhaps sounded a little close to Amy Winehouse in A Very Rebel Christmas; Kiss the Boys sees her expand her vocals and inject more originality and range into the material.  Her latest collection shows that voice show more colour, depth and emotion.  What is most impressive is the strength of the lyrics and compositions.  A lot of contemporaries are weak in one area yet Karter demonstrates she has flair when it comes to words and music.  The stories and characters throughout Kiss the Boys are very real and relatable- without becoming too unlikeable- whilst she has an emotional palette that does not just stick with love and heartbreak.  The compositions have richness and range that means plenty of nuance and repeatability will come out.  Shivering and shimmering one moment; drained and angered the next and you have an E.P. with no fear or bounds.  This all signals a very promising 2016 for the Australian rebel.  After such a confident and bold release, one would expect her to rest and maybe tour for a bit.  I know how much Karter is getting from music and how inspired she is.

Given the staggering breadth and confidence of Kiss the Boys, I was excited to see what Crystal Blues would provide.  Amidst some church organs and ecumenical calm there is a vocal sample (I am not sure the origin of it) from a preacher; a pastor maybe that is in determined voice and firm.  Claiming “you cannot let The Devil rise” we get a beautiful juxtaposition of tender organ and ecstatic vocal delivery.  A lot of mystique and fascination is built into the opening seconds of Crystal Blues.  Before our heroine has approached the microphone you wonder what is coming and where the song will go.  It appears (The Devil) will tell “your people how to drive…”- drive right off a cliff, it seems.  Quite an odd and alarming proclamation; one that is memorable and vivid in its details.  After that unique and dizzying religious sermon, our heroine comes straight into the fore.  With her voice electrifying and passionate, she is in reflective mode.  “Mama told me/don’t you cry” it is said; that voice is so strong and urgent you cannot ignore those words and where they will lead.  Asking her daughter to dry her eyes- there is a supportive shoulder and sage advice- pretty girls with pretty eyes do not need them ruined by boys.  Whichever boy(s) has caused the tears it is not worth it.  There is some everyday wisdom and advice in there and that sense of mystery deepens- what has caused this missive and lyric?  Maybe our heroine is in a dark place and heartbroken- where she has been messed around by the boys- and she is recollecting words that can help her in this time.  Our heroine’s Crystal Blues (from her crystal blue eyes) are startling gems that are being watered and tarnished by a ruinous bond.  Although the no-good boys and hound-dog fellas are not worth their weight; the aftershocks of a relationship breakdown still hurt as bad.  Although her mother warned her against these types of men- those that are all about looks and have no emotional depth- the thrill of the chase is exciting; the passion and connection still intense- even though there is going to be an inevitable fall-out and break-up.  Our heroine’s boys has gone and got her in trouble- “don’t I know it baby”- and is causing hurt and confusion.

In these early exchanges the most striking facet of the song is Karter’s vocal delivery.  Not just a static or limited performance; you have a delivery that twists and turns; it stops and starts- creating a huge emotional wave and an idiosyncratic style.  So many singers have unmistakable vocal traits- from James Brown and Michael Jackson through to Prince- that adds maximum effect and gravitas to their songs.  Karter lets her soulful tongue weave and twist with sensuality, lust and heartache.  The effect is quite a stunning one; you are gripped in the grasp of her power and panache.  I get little flavours of Amy Winehouse in the voice- a similar overall sound and sense of drama- in addition to Soul legends such as Aretha Franklin, James Brown and Sam Cooke.  Karter always has one eye in the present and one in the past.  Her vocal recalls vintage and classical beauty- you are transported to the ‘60s and ‘70s- but always brings things to modern-day.  Crystal Blues is a song that builds from promising beginnings to offer something very personal- with a scenario and sentiment that can be understood and appreciated by many.  Our girl is not fooling for “your disguise” and pretty eyes.  Whoever our heroine is being approached by- many a former sweetheart returning or a new boy on the scene- she is getting wise to his tricks and hollowness.  Having been “to Hell and back” you can hear that hurt and scar in her voice.  Although she is a rebellious doll and takes no bulls*** from anyone; there is still a vulnerability and sensitivity that lingers beneath her skin.  Too many boys have taken advantage and left her affected and mistrustful.  With that being said, our heroine is not fully free from blame.  It seems the ‘type’ she goes for are not your 9-5 and dependable sort.  Maybe the tattooed chaps and rough-around-the-edge anti-heroes have the looks and cool- when you spend time with them they offer little beyond all that.  The ‘normal guys’ do not have the pretty crystal blues- that enticing glint that hooks our girl in every time.  Crystal Blues is the most open and emotionally resonant song across Kiss the Boys.  On other tracks there is attack and accusation; plenty of fight and rebellion- perhaps masking real emotions and expressing true intentions.  Karter does not overload the vocal with histrionics and wallowing: she teases and tempts words and vowels; twists and turns her phrases to emphatically highlight her true feelings.  Having been tricked and fooled too many times, perhaps she is maturing and learning harsh lessons.  Recalling mama’s messages- that The Devil has got into her girl- she does not want to quite pretending.  The central vocal sound transforms into a Gospel-themed chant that brings the song to new levels and elicits shivers and raw emotion.  With the vocal multi-tracked and haunting; you return to that original sermon and the sense of holiness.  Perhaps the song is a confession of sorts; a cleansing of sins or perhaps the understanding that she may be damned and condemned.  Whilst she realises the wickedness of the boys- and what they do to her soul and personality- there is that drug-like addictiveness she cannot escape from.  After a sojourn back into evangelical and quasi-religious ground we return to that chorus- which seems more relevant and prescient this time around- as our heroine lets her voice cry out.  With the words (and that chorus) becoming more desperate and urgent as time ticks on; our girl will not be fooled by disguise and tempting words- perhaps there is going to be redemption and some savior for the heroine after all?  The final seconds boast a catchy and soothing sway that mixes Gospel and Soul together with something dreamy and delirious.  Those multi-tracked vocals weave in and out to evoke an immense amount of passion and energy.

Kelsy Karter is the master of introduction and always captivates the listener from the very off.  Often the introductions sounds distinct from the rest of the song- a red herring sometimes; always scintillating- and have spoken word parables and samples.  Crystal Blues is a track that draws you in from the first notes and takes your mind somewhere very odd and wonderful.  Congratulations must go to the production and mixing which helps makes the song such a wonderfully compelling and authoritative beast.  Backed by her band- and with that team in place- you get a song that sounds cinematic and widescreen whilst retaining an intimacy and confine.  The vocals are allowed to rule and reign- whilst not compromising the impact of the composition- and are the E.P.’s most effective and stunning.  What staggered me about the track is the eclectic ambition and genre-range throughout.  Effortlessly switching between Blues-Rock and Gospel; to Blues and Soul you get a spectrum of sounds packed into an exorcism of love and strange addictions.  Karter once more plays with her favourite themes and traits- rebellion and doing what she wants; chasing a thrill-kiss and sexual fulfillment- even if it does result in some heartache and hard lessons.  You get the sense Crystal Blues is a wake-up call that will lead to change and maturity in our heroine.  The likes of Lana Del Rey have highlighted the lure of the cigarette-chomping bad-boys and the primal thrills they elicit.  Our heroine perfectly balances a fervent lustfulness with something heartbroken and wracked.  Never over-emoting or sounding insincere it is a perfect balance of her vocal dynamism and emotional balance.  What you get is a stunning song that shows a lot of attention to detail and craft.  It is not a tossed-off number to meet deadlines and expectations.  One of the most personal and relevant tracks Karter has produced; it showcases all of her strengths and assets in a single stride.  From her Twitter posts I get an insight into the woman behind the music.  She very much seems as genuine as the music and who she claims to be.  Someone with rebellious nature and a who-gives-a-f*** attitude to convention; she is a refreshing breath of air that music needs to embrace.  Sexy, beautiful and hugely impressive; Karter is an artist who impresses most with her authority, talents and pure passion.  Crystal Blues demonstrates just what music means to her and how she wants to connect with people.  Whether our heroine has found love- and is in a relationship with a good guy- or is running with the boys, we can only guess.  A part of me wants to see her settled and in arms of a loyal soldier who is worthy of her beauty and wonderful soul.  That said, if heartache and rebellion brings about music like this; perhaps she should not be too fast in changing her ways (and taste in men).

Kelsy Karter is not a manufactured artist intended to throw some electricity and shock into the music world.  With so few personalities and memorable musicians making their way through this year, the Australian heroine is one of the most vided and fascinating around.  I have mentioned the likes of Amy Winehouse and Lana Del Rey- artists with tragedy and chaos; they are inspired by the past and its wonders- Karter effortlessly slips alongside her peers and icons.  Too many musicians are only inspired by modern-day music which tends to limit their possibilities and artistry.  When the music is predictable and narrow you are unlikely to really connect with music-lovers and carve out a long career.  Music is becoming defined by its disposability and lack of imagination.  Karter is a young woman that few people will forget in a hurry.  Her unique beauty and rebellious swagger are just the start of things.  A young woman with a huge amount of spirit, guts and complexity- analysing her dreams would be the stuff of legends- you have someone that is made for the music scene.  Shaking it up and infusing colour and cigarette smoke into the mix; you have one of this year’s biggest personalities coming through.  A rebel-child that would seem more at home caning it down a highway in California- boy in the passenger seat; stood up in his seat screaming across the desert with delight- and embracing the wild and untamed possibilities of the road.  It seems like Australia is fostering a lot of popularity and potential for the young heroine.  Whether she decides to remain here in the future- or relocated to the U.S. or U.K. to gain a new audience- is down to her but that will be something to mull.  Were Kelsy Karter just a fascinating woman- with very little to recommend in her music- I would be reluctant to predict a glistening future.  Kiss the Boys is an E.P. that shows a lot of heart, natural talent and variation.  A songwriter with a troubled and interesting past; she funnels her scars and anxieties into intoxicating and beautiful music- at times it sounds like an execration of the soul.  Not just reserved to exorcism and anger our heroine embraces the passions and possibilities of life: mini-dramas and vivid characters come to play with introspective pleas and heartfelt confessions.  The compositions range from lush and swelling to intimate and nervy.  With that amount of contrast and possibility in the music it is small wonder so many people are embracing this young artist.  Crystal Blues is the gem in the crown; the song that shows Karter at her strongest and more fantastical.  That inimitable and wonderful voice is packed with drama, sexuality; sensitivity and grit- few contemporaries manage to combine that many strands and contradictions into a seamless whole.  I started this review by looking at Australian music, figures of music and Soul of today.  The Soul genre is quite under-represented and under-the-radar at the moment.  Charts and mainstream media tend to favour other genres when it comes to their recommendations.  With regards Soul it still seems to be a niche genre.  Over the course of this year I have seen some fantastic Soul artists (mainly women) emerge that could revitalise the scene and transcend into the mainstream.

I am not sure why so few people overlook Soul as Kelsy Karter has demonstrated what can become.  Emotive, dramatic and sensuous vocals are just the start of things.  Throw in some grand and semi-orchestral swathes- with some more restrained and tense beats- and there is another layer of fascination.  Top it all off with lyrics that address personal heartaches and vintage characters and there is a wealth of wonderful music, material and emotion to be found.  I find too much of music is narrow and unadventurous.  Soul is a genre that has few limits and is reserved for those that want to put the magic and passion into music.  This country is promoting a few great Soul artists yet I am fascinated to go abroad and see what is happening in other parts.  Australia is a country that I negate somewhat- it is 10,000 miles away and social media does not bring it any closer- so it is perhaps excusable.  In addition to their great bands and fantastic solo artists it is the diversity of sounds that Australia does so well.  Many have cliché ideals of sunshine and constant upbeat- there is more depth to the country than that- yet there is emotional depth and danger to be found too.  A country that has always produced some phenomenal musicians, I suggest you keep a closer eye on Australia.  Melbourne, Perth and Brisbane are hotspots that seem to be at the forefront of the country’s charge and who knows what 2016 will produce?  What I do know is- when it comes to the music scene in general- we need more interesting artists and fascinating back stories.  Too many bland bands and boring solo artists are coming through.  If the music is good then it is acceptable yet one craves a writer that has some tragedy and fascination; something that catches the eye and compels the soul.  If the face behind the music is predictable and lacking any curiosity then surely the public will grow tired eventful.  I am not saying musicians need to fake a personality or persona yet there is no harm in putting yourself out there more and being more open and honest.  So many musicians are guarded and secretive which is quite frustrating to see.  Kelsy Karter is a young woman who is bold and memorable.  Her stunning beauty and wonderful backstory- the stuff that classic films are made of- is just the start of things really.  She manages to funnel her spirit, heartache and idiosyncrasies into her music which digs deep and elicits a huge emotional response.  Her knowledge and passion of music legends- Sam Cooke, Amy Winehouse, The Rolling Stones etc. - comes through in her own work.  She manages to blend ‘50s/’60s Soul into something heavier and more contemporary.  I fell in love with Crystal Blues as it is the perfect representation of Karter’s many sides and depths.  Kiss the Boys contains many more treasures and curiosity; an E.P. that everyone should investigate.

Clocks begins with some echoed vocals and building atmosphere.  There is a distant cry and electronics layer into the track.  Rushing and emotive, our heroine is at the microphone and left with memories that tick like a clock.  Going back and forth, there seems to be some anxiety and burden that is haunting the heroine.  A lullaby “wasted on you”; a song that “I didn’t want to write” are lyrics that cause some intrigue and great fascination.  Our heroine lets his voice sway over the composition- creating a mix of lullaby and waltz- that gives the song a sense of romanticism and soothe.  It is Karter’s voice that stands out early.  Imbued with graveled passion and a soulful electricity, there is so much drama and heart put into the performance.  It seems like a particular man has caused some heartbreak and disappointment this time.  Whether the relationship is over, it is hard to say yet it is evident our heroine is feeling the effects.  The clocks on the walls are constant reminders of the stress and loneliness that is being felt.  With her voice at her most wracked and tortured Karter asks (her man) why he left.  Like a lot of love songs, there is an obliqueness and mystery to things- names are not mentioned and reasons are not given- leaving the listener to interpret their own course of events.  The opening track mixes electric guitar stabs and Rock-tinged swathes that give the number necessary force and emotion.  A confident and stunning opener, it shows Karter at full flight; that voice is given a chance to roam and stretch to its full potential.

Kiss the Boys’ title track starts with pizazz and a sense of theatre and dance.  Swaggering and ready for the show, there is a sassiness and suaveness to the introduction.  Slinking and confident our heroine soothes into view.  Her voice is at its most Blues-tinged and soulful here.  People are telling her people cannot fall in love (as young as she is).  Our lady is making a “deal with The Devil” and making a Faustian pact.  The bad boys and no-good rough-around-the-edge chaps are being sought and lusted-for perhaps.  Although they will lead her astray there seems to be that necessity for thrills, danger and illicitness.  Perhaps a poisoned chalice, it is one Karter is willing to sup from.  The composition boasts a persistent piano line; some punchy and rampant beats alongside Jazz-tinged notes and some howling guitar notes.  A busy and hypnotic thing, our heroine seems effortless and in command here.  Recounting days and nights when she would run wild; the songs has plenty of cool, edge and attitude to it.  The guitar work comes into its own- sounding like Jack White’s solo work- whilst the lyrics project scenes of forbidden kisses, brief encounters and false expectations.  Maybe the rebel princess is letting her heart take a backseat; there seems to be some recklessness and lack of control here.  It all makes for a track that is one of the E.P.’s best.  An addictive and memorable number that effortlessly fuses Rock, Soul and Blues into a stunning whole; Kiss the Boys is a definite high.

Children of My Hometown allows for a narrative to open proceedings.  The E.P.’s longest track, it shows some personal insight and reflection.  Growing up our heroine confesses she was unaware of her greatest fear.  That fear is then realised: she didn’t want to grow up.  She wanted to live forever and had some great friends; becoming an adult was a lonely and haunting step too far.  Running to a “grand circus” with extraordinary and vivid creatures; she had to return to home and face things.  Those now-adults will always be the children of her hometown.  With some Nancy Sinatra quiver in her voice- that vibrating guitar reminds me of Sinatra at her most haunting- our heroine lets her voice ooze and seduce.  Although our heroine may run and seek new adventure she lets it known “I’m always homebound”.  The soft and controlled pace of the vocal allows the lyrics to shine- they tell of a childhood adventure and mischief.  Birds and butterfly-chasing mixes with night-time shenanigans and chaos.  Our heroine seems haunted and sad here.  Not wanting her friends to grow up without her, there is that need to stick with them and not be cast as an outsider- gripping ono the past to give her safety in the future.  Tender and emotional; Children of My Hometown is an inventive and unforgettable track that sees Karter explore her soul-uttering and impassioned side to extraordinary effect.  Wavering and rippling guitars are sparse yet hugely effective too.  The sound is one of the most bare-boned on the E.P. which allows that vocal to stand in the spotlight to create shivers and spine-tingle- which it duly does!

  Valentine is one of the most instant tracks on the E.P. because of its opening.  Thudding beats and sassiness welcome in the tracks.  Motown and soulful guitar licks create a heel-click and huge addictiveness.  Our heroine never meant to hurt her man and is sorry for what has happened.  Brassy and parping horns create a Mark Ronson-esque track that mixes Soul and Blues with something contemporary and funky.  The track never really sits still for investigation.  After the frantic opening, the mood calms and sees Karter step into the spotlight.  Casting apologies and regret to her boy, the song kicks back up- fueled by a stinging guitar slam and some ecstatic percussion work- to keep that revelry and upbeat constant.  Constantly shifting and unpredictable it is a song that keeps listeners on their toes.  Romantic piano lines come in to offer romance and serenity: perhaps there was love in the relationship but is has broken down; our heroine may “love you tomorrow”.  Allowing her voice to reach its limits and achieve its full potential, Karter effortlessly switches between genres and moods to create something of an exorcism.  A flavoursome and sizzling song that has catchiness and transcendence to it; it is one of those songs that will be a live favourite and radio staple.  The heartache is never too heavy and harsh; that chili-hot composition paints so much flair and colour you get caught up in its magic- Valentine instantly comes out as one of the E.P.’s finest.

   Outsiders seems like a perfect way to bring the E.P. to its conclusion.  With so many different introduction sounds being presented; the final track begins with vinyl scratch and sirens.  Buzzing and scuzzy guitars bounces and blend with military drum-rolls.  A heavy and hit opening, our heroine is at her most spiked.  “Cigarette burn T-shirt” and wasted wonder years is being spent on “mainstream s***”.  Our heroine is the outsider for a good reason: she does not fit into a bad mould that her peers do; following the pack is not the way to do things.  With her voice echoed and processed it creates a raw and savage sound that brings conviction and danger to the performance.  That Rock-influenced composition sees our girl not wanting to belong and conform.  Running with her friends you hear that rebellion and attitude come through in the vocals.  Perhaps one of the most personal and relevant songs in her cannon; it brims with conviction and passion.  After that rampant and hypnotic drive the song mutates and changes in the closing moments.  Initially there are echoed voices and a haunted string before our heroine’s voice can be heard in the background.  Chanting messages (“we do not need to change”) she is “perfectly insane”- it is other people who need to change.  That memorable imagery is riding for a few more seconds before Karter raps and spits a bellicose message.  With Hip-Hop attitude and spike she fast-flows a mantra that ends with that key message: the rebel kids are those brave enough to change the world.  Not only one of the best songs on the E.P.; it ends with a sentiment that will get the listeners reflecting and thinking.

Congratulations must go to the producers and minds behind Kiss the Boys.  Each song comes across clearly and wonderfully.  The mix of sounds and ideas explored is fantastic; Karter shows herself to be one of the most agile songwriters and voices on the scene today.  Wildly inventive and unrestrained; Kiss the Boys is a stunning collection that demands close investigation.  Mixing classic Soul softness with edgy Hop-Hop, Soul and Rock; you have an artist that is brave and daring in the extreme.  When you finish the E.P. you are left to take it all in.  Congratulations to our heroine who has unveiled one of the most stunning and accomplished E.P.s I have heard this year.  If you have not heard her/the E.P. then you have no excuses- it is also available via her SoundCloud account- and pick apart its many wonders and layers.  An artist with a tremendous future, Kelsy Karter has many years ahead of her.  Make sure…

 

YOU follow every one of them.

[youtube https://www.youtube.com/watch?v=h26oC_rKDZI&w=560&h=315]

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Follow Kelsy Karter:

 

Official:

http://www.kelsykarter.com/

Twitter:

https://twitter.com/kelsykarter

Instagram:

https://www.instagram.com/kelsykarter/

 ___________________________________

Music:

https://soundcloud.com/kelsykarter

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Videos:

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

Track Review: Elena Ramona- Christmas Together

TRACK REVIEW:

 

Elena Ramona

 

 

Christmas Together

9.5/10.0

Christmas Together is available at:

https://soundcloud.com/elenaramona90/xmas-together

RELEASED: 

December 11th, 2015

GENRES: Pop

ORIGIN:

Guildford, U.K.

Lyrics and Vocals by Elena Ramona

Music written by Rob Kidd, Chris Snelling, Luke Anderson and Elena Ramona

Music Recorded and Produced by Luke Anderson

____________________________________

IT has been a while since I have reviewed…

Elena Ramona.  Having had a busy year- including new material and impressive live performances- she brings her 2015 with the track Christmas Together.  Summoning up the peace, joy and togetherness of Christmas, I was keen to review the track and see what was on offer:

The opening notes of Christmas Together summon Christmas traditions and something gleeful and merry.  Ensuring the song begins with huge festive positivity; the listener is instantly put in a good mood.  When Elena arrives at the microphone she is hoping for meaning and hope this year; praying and thinking of those in need and “the misunderstood”.  Not wanting meaningless things; there is a desire for comfort, charity and relevance.  Letting her voice ride an infectious piano line, that central message- wanting togetherness and family- shines through; you cannot help but get caught up in the purity and happiness of the track.  Recalling some of the better Christmas classics, the song is descriptive and scenic in terms of lyrics- you start to imagine the scenes Elena is singing and describing.  By the closing stages the vocal becomes elongated and emotional as our heroine switches her focus to direct a vital thought into the music.  Imploring (the listener) not to “take what you have for granted”; you never know how long you will have it for.  A true and undervalued message around Christmas- commercialism tends to get in the way- the final moments are gentle, contemplative and extremely soulful.  With a juvenile joy and an immense amount of passion, Christmas Together is an infectious Pop-based number that is guaranteed to compel the listener and create massive smiles.

Alongside Rob Kidd, Chris Snelling and Luke Anderson; Elena Ramona has created a composition full of Christmas joy and cheer- a dizzying and delighted sound that evokes classic Christmas tracks whilst giving it a contemporary vibe.  With Elena imploring thought and giving this Christmas- alongside lyrics and images of festival cheer and family- and you have a song that has depth and heart.  Backed by a passionate and beautiful vocal and you have one of the best Christmas songs from 2015.  Make sure you check out a wonderful song that will make...

A real difference.

[soundcloud url="https://api.soundcloud.com/tracks/237131576" 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 Elena Ramona:

 

Facebook:

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

Twitter:

https://twitter.com/elenaramona90

 ___________________________________

Music:

https://soundcloud.com/elenaramona90

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Videos:

https://www.youtube.com/user/TheStathaki1?feature=watch

This Week's Albums: December 10th, 2015

This Week’s Albums

 

 

December 10^th, 2015

 

 

 

 

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

 

that doesn’t rhyme”.  I do a D.J. gig every week at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts) - in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people about music; play some awesome stuff- turn people on to some great/forgotten sounds- well, I try to!  I shall publish this every week; try and highlight some fantastic albums- maybe some you have forgotten about.

The Old:  The Beatles- Help! (1965)

 

9.5/10

In a year that saw The Beatles release one of their must stunning works (Rubber Soul); the soundtrack to the film Help! showcased some of their strongest material up until this point.  One of the last Beatles albums to feature cover versions- two of the fourteen songs were not written by Lennon/McCartney/Harrison- it shows few weaknesses and slight moments.  Perhaps relying on covers to pad out the album slightly- the boys would embrace their own voice more after this album- Harrison’s contributions to the album paled to that of Lennon and McCartney.  It is Lennon who stands out during Help!  In addition to writing the title track, he produced a third more tracks than McCartney.  Whilst the likes of It’s Only Love are not up to his best standard, you cannot ignore the majesty of You’ve Got To Hide Your Love Away.  If Lennon was starting to hit his songwriting peak- and release his inner- Bob Dylan on a few tracks- McCartney was certainly not slouching.  In addition to Yesterday- the most covered song ever- The Night Before is an effortless smash that is infectious and unforgettable.  Whilst not their greatest album- perhaps there is no definitive answer to that- it was their best material of the early days.  The band explored new sonic ground; they sounded effortless and assured in the studio.  A fascinating insight into where the band would head; Help! is a vital addition to the catalogue of music’s finest band ever.

DOWNLOAD: Help!; You’ve Got To Hide Your Love Away; Yesterday

STAND-OUT TRACK: Yesterday

[youtube https://www.youtube.com/watch?v=S09F5MejfBE&w=420&h=315]

The New: Lizzo- Big GRRRL Small World (Out Tomorrow)

8.5/10

There are few artists out there that pack as much punch as Lizzo.  It is at this juncture we see the Rap/Soul artist reflect on her fame and situation.  Eviscerating no-good dudes and disreputable sorts, it shows a step forward from Lizzobangers (her previous album).  The heroine bends notes and contorts songs to turn them into something unexpected, beautiful and staggering.  Unlike a lot of her contemporaries, Lizzo deftly and effortlessly blends the sensual and intimidating.  On Humanzie she sounds aghast, hopeful and distant- all in one track- desperate for a human connection and a real love.  The Minneapolis star continues Lizzobangers’ sense of fun and frivolity on opener Ain’t I: a banging and acrobatic number that sees the singer drop her vocals in a bassline that could raise the dead.  Lizzo adds emotional depth and range her previous album lacked: showcasing a fertile songwriting talent and the need to explore various sides of her personality.  With tracks like En Love switching between gospel beauty and insatiable rapping; you have an artist that is unpredictable and always exceptional.  The lyrics are wordplay is at their peak too.  Mixing wit and humour into the fold and you have an album with a vast range and something for everything.  Whilst there are fewer bangers and instant smashes than before, that is no bad thing: here we have an artist developing and showing a new side to herself.  A terrific sophomore album from an artist with few equals- ensure you check her out.

DOWNLOAD: Ain’t I; Humanize; En Love

STAND-OUT TRACK: Ain't I

[youtube https://www.youtube.com/watch?v=2xt9j3QMhGc&w=560&h=315]

The Influencer:  John Coltrane- A Love Supreme (1965)

10/10

The album is broken into four parts: a suite that looks at transcendence, spirituality and the search for meaning.  No Jazz collection is complete without A Love Supreme- it ranks as the most influential album in Jazz history- and is noted for its profoundly moving sound.  Coltrane's violent and impassioned playing- never boastful or too forceful- elicits sheer joy and thankfulness.  From the four-note hymn of the opening “Acknowledgement” we are witness to an album-long hymn.  Artists as wide-ranging as U2 and Carlos Santana have been inspired by the record which remains one of the most peerless and staggering in all of music.  Not an album for Jazz aficionados solely, it has an accessible sound that will appeal and resonate with everyone.  No listener will fail to  fall for the spirituality and hugely impactful music (created by Coltrane and his band).  Coltrane is at the apex of his playing and intuition whilst the band are in-line and complicit to their leader's spiritual quest and desires.  Clocking in at less than 35 minute, the album cannot be accused of excess at all.  One of the most inspiring and important recording in music history, A Love Supreme is a record that has no bounds, limits and prejudices.  It embraces the listener and takes them inside the music; inside that spiritual quest- and leaves them breathless and stunned.

DOWNLOAD: Part 1: “Acknowledgment”; Part 3: “Pursuance”; Part 4: “Psalm”

STAND-OUT TRACK: Part 4: “Psalm"

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

The ‘Other One’: Manic Street Preachers- Everything Must Go (1996)

9.5/10

Following the disappearance of their brother Richey Edwards, Manic Street Preachers could be forgiven for taking time to reflect and assess their future.  When Everything Must Go arrived in 1996, few critics and fans were expecting anything special and memorable.  This was the album where Manic Street Preachers became more accessible, mainstream and emotional- a move that enthralled and amazed the public.  Whereas previous releases were angrier and more political (in no small part due to Edwards’ lyrical genius) Nicky Wire takes over lyrics duty and pens songs with more heart, introspection and hope.  Reviewers have seen the album as a catharsis of sorts: a record that is hopeful and shows the boys resolved, strong and in fine form.  The title track is a stunning melodrama that boasts a thunderous vocal by James Dean Bradfield- one of the album’s most immediate and memorable cuts.  A Design to Life is a stately number that looks at class conflicts and working-class solidarity.  One of the defining tracks of the ‘90s- with the immortal opening lines “Libraries gave us power/then work came and made us free”- it rescued the band from despair and is considered one of the most pivotal in their career.  Australia is Wire’s escape-metaphor: that desire to leave the emotional turmoil and escape from the stresses of home.  One of the greatest British albums ever, Everything Must Go vastly differed from The Holy Bible- less intelligent lyrically; more accessible as a record- it shows optimism, uplift and hope.  Given the circumstances of its birth, the album is a focused, taut and memorable record that should be in everyone’s collection.  Manic Street Preachers produced more critically-approved albums yet they never made a finer one.

DOWNLOAD: A Design for Life; Everything Must Go; Australia

STAND-OUT TRACK: A Design for Life

[youtube https://www.youtube.com/watch?v=TfEoVxy7VDQ&w=420&h=315]

E.P. Review: Noah Clouds-Love Is Not Enough

TRACK REVIEW:

 

Noah Clouds

 

 

Love Is Not Enough

 

9.6/10.0

Love Is Not Enough is available at:

https://noahclouds.bandcamp.com/album/love-is-not-enough-ep

RELEASED: November 20th, 2015

GENRES: Acoustic-Folk; Americana

ORIGIN:

York, U.K.

TRACK LISTING:

Love Is Not Enough- 9.7

Sunlight- 9.5

Lost in Barcelona- 9.6

The Railway Line- 9.5

The Magnificence of Livin’ Wild & Free- 9.7

She’s a Writer- 9.5

DOWNLOAD:

Love Is Not Enough; Lost in Barcelona; The Magnificence of Livin’ Wild & Free

STANDOUT TRACK:

The Magnificence of Livin’ Wild & Free

Banjo By Tom Reeve | Percussion By Isaac McInnis | Lead Guitar By Tom Reeve (6)

All Songs Written & Performed By Noah Clouds 2015 © & ℗. Produced By Isaac McInnis | Recorded, Mixed & Engineered By Isacc McInnis @ Crooked Room Studio | Artwork by Noah Clouds

____________________________________

AS this week has been a rather varied one…

I am not surprised to see another unique and different artist come under the radar.  When it comes to my featured act, his music has quite an interesting backstory.  Before I come to him (Garry William Beanland), I wanted to discuss various genres- particularly Folk, Americana and Acoustic- in addition to what inspires musicians to play; plus the variety of British music in the underground scene of 2015.  When musicians embark upon their career, they have to choose what sounds they are going to pursue.  It is always a hard decision to make and exactly what the music will possess.  A lot of musicians look at the mainstream when it comes to their inspiration and direction.  If you are a band then the Alternative/Rock side of things is most appealing.  Most bands tend to play the heavy side of things- it can be quite narrow when it comes to the band market- and it is rare to find too many bands that really surprise and come up with some unique.  That said- even if you do play within those genres- there is still a lot of potential to do something a little fresh and original.  I am perhaps getting jaded when it comes to the bands in general.  Having heard too many sound-alike and uninspiring types- a couple of reviews this week are going to change that- the solo market is always more interesting when it comes to diversity.  I have scolded some solo acts who seem intent on putting the listener into an undead state.  Too many guitar-wielding artists are compounded to playing the dullest and insipid music known to man- like it is some sort of competition!  Whether you have a heart of gold or a cynical outer shell; the music always has to appeal to the audience and possess something appealing and interesting.  I know that is quite an ask (in all seriousness).  If you are a solo artist coming through then you have no other bodies to help create the sounds.  That leaves you with quite a predicament.  If you want to create music that is passionate, different and colourful then you have a number of options.  You either focus on the lyrics and subjects to ensure they are varied and not predictable- stray away from love and heartache when necessary- or you do something different with the compositions.  Even if you are an Acoustic/Folk artist then you can still make your music sound fresh and alive.  Everyone from Neil Young, Nick Drake to Bob Dylan have shown how fascinating and compelling the genres can be.  Other artists (solo artists) either add electronics and Pop sounds or goes a bit heavier.  That all depends on your musical tastes and abilities.  If you go heavier- into Rock territory and the like- then you will need a band and other players.  If young for electronic additions then you need some expertise and authority with the art-form- not just lazily bang some notes out of a laptop.  It is quite a conundrum and headache for up-and-coming musicians.  I have a lot of respect for those who play Folk/Acoustic as it is the hardest gene(s) to nail- when it comes to solo work- and provides the fewest options with regards sonic endeavor and vocal breadth.  Before I get to my next point (about the underground quality of 2015) Noah Clouds has compelled a new theme for me: when it comes to the inspiration behind taking-up music.  Noah Clouds’ lead took up music after the death of his childhood hamster (true story) but that aside- it was a jokey aside in an email he sent to me- it is interesting anyhow.  Too many musicians tend to get into music for the money and the stardom- the talent shows tend to spew these kinds of cretins out prolifically- and it is quite depressing to see.  Musicians that mean the most- and deserve the biggest applause- are those that do it for the passion and love of music.  I am finding too many musicians that are lacking that passion and drive.  Maybe it is the commercial and financial pressures- that enforce a lot of fatigue and anxiety- but too many artists are coming through to ensure they get column inches and attention.  Noah Clouds is one of those artists that is doing this for the right reason: to ensure his music reaches ears and seduces the listener.  Despite the tragic-hamster-death-background conundrum; the young artist picked up the guitar to make the most beautiful and fascinating music he could.  This year has seen some interesting and standout artists come through the underground.  I have witnessed some fantastic bands come out- although fewer than last year- and a few terrific duos have emerged.  When it comes to the solo artist there have been some really interesting examples emerge.  I have seen a lot of great Electro.-Pop pioneers- mainly female artists- and some great Soul/Pop artists too.  In spite of the lack of great Acoustic/Folk artists emerging- too many still have little energy and innovation to appeal to the masses- Noah Clouds in an artist that goes further and digs deep.  Although his music is largely Acoustic; he pulls in Americana threads and Pop undertones to create something stunning, emotive and fascinating.  Not just sticking to tried-and-tested themes; there is a wealth of wonderful material and sounds to be witnessed.  One of the best young British talents to watch for; the next year will be an exciting one for the Yorkshire songwriter.

Before getting down to Love Is Not Enough it is worth looking around and seeing how far Noah Clouds has progressed.  The E.P. is one of the first forays into the market for Noah Clouds (and his second E.P.).  It is a confident and stunning eneavour that shows an artist with a true voice and clear commitment.  Although there have been a few non-E.P. tracks from the York artists, Love Is Not Enough is the second fully-fledged effort for the public.  The E.P. does not suffer any nerves or slights at all- just command and confidence throughout.  What amazes me about Noah Clouds is the originality and lacking of tribute that comes out in the music.  So many artists tend to sound too similar to others that you have a hard time separating them and coming up with anything to say.  What we have within Love Is Not Enough is a collection of sounds played by an original and fresh voice.  The early signs are all positive for Noah Clouds.  I can see another E.P. arriving next year that builds upon this and expands its motifs.

The first taste of Love Is Not Enough arrives in the form of the title track.  No rambler and slow-moving thing, the ecstatic river-flow rush of acoustic strings gets underway with ferocity.  A passionate and hugely emphatic opening salvo puts me in mind of Nick Drake- especially his work during Five Leaves Left (Cello Song especially).  There is that Drake-esque passion and spellbind from the earliest notes that takes the listener somewhere magical.  There is a flavor of the U.S.A. in the notes as the foot-stomping, hand-clapping mantra compels you to move your feet in rhythm.  The early sentiments look at fates and righteous victims.  It seems like our hero is going through the mill and is trying to discover something more than love.  Whatever bond and relationship he has; whatever the nature of this love- there are downsides and hazards that are plaguing his mind.  Whilst a lot of contemporaries tend to focus on personal heartbreak or the joys of love, it seems our hero has other concerns.  With that husky and whiskey-soaked voice seductively backing the tumbling strings, you get caught in the whirlwind of force and passion.  Our man lets his voice reach to the heavens and seduce with ease.  It is hard not to get sucked into the beauty and rawness of that voice- so much so you pass through some of the lyrics- and get caught up in the dizzying and dancing strings.  That quick-step jive of acoustic notes provides so much energy and swirl that you become entranced.  As our man claims that (his subject) is like a river or a bleeding pain, you become fascinated as to the origins of the song.  My mind instantly goes to a disguise of a relationship.  Our hero has clearly faced some turmoil and it seems like he is seeking something more fulfilling and worthy.  Perhaps a bond has broken and left him hurt; maybe the current love is filled with negatives and strains- there is that desire to claim something golden and more nourishing.  The words are steeped in the history and folklore of ‘60s Folk- it is hard to escape the spirit of Nick Drake- as that sandpaper and romantic voice delivers a stunning sermon.  Love Is Not Enough is an opening track that perfectly demonstrates the natural talent and intuitive spirit of Noah Clouds.  That acoustic guitar work is mesmeric and spine-tingling throughout.  Combining hoe-down merriment with riparian seduction, it is a wonderful combination and parable.  Past the half-way mark, our hero switches the style and inclination of the strings.  From the heavier and domineering passion we get something more subtle and introverted.  The strings lighten and the mood softens- offering reflection and a chance to take everything in- that provide a great sense of story progression and new imagery.  I pictured the hero pacing the dimly-lit floor of an apartment; vinyl spinning and the rain beating he is lost in his memories.  Maybe a girl is in mind- or is framed on the mantelpiece as a constant reminder- and the song is a way to explain his decisions and reach an epiphany.  A young artist that offer some oblique curiosity and some direct soul; it is a fantastic opener that delves deep into the heart and delivers a primal thrill.  The extended and effusive string work is breathtaking to behold: it showcases a guitarist with exceptional talent and a hugely impressive ear for emotion, melody and passion.  I have mentioned the likes of Nick Drake and it is no faint praise or hyperbole- it is a reincarnation of that legendary human.  By the closing moments, the “blood-stained arrows are here to stay” and love/its embodiment is a bird that has flown away.  Bleak and vivid images that recount a young man who has been damaged by the vicissitudes and capriciousness of love.

Sunlight arrives with an appropriately morning-bliss opening that beckons sunlight and a radiance.  Our man seems to be waking to a new dawning and discovering the world with new perspectives and perceptions.  After the tender and evocative opening strings, that voice arrives with its feather-light-cum-grave contradiction that makes an instant impression upon the listener.  A broken mystery is brought by the light and our man seems to be going through a transition at the moment.  The song seems to have its mind in love, paradise scenes and something quite hopeful.  Perhaps over/under-interpreting the song, Sunlight benefits from a dedicated and crystal-like composition that is like a soft breeze on a summer’s day.  Whilst passion fruit shines and radiates, our hero is walking the land and seems to be looking for some answers.  What strikes me about the song is that there is positivity and redemptiveness among the more suppressed and heartbroken moments.  “Ruptured destinies” and near-by sunlight “somehow sets us free”.  Our master is keeping his close cards by his chest and allowing some obliqueness to rule the waves.  Again we seem to be in the midst of a lover’s confession: some bond is afoot and Noah Clouds is trying to come to grips with it.  Whilst Love Is Not Enough has more direct and vivid imagery- that offers some harrowing confessions and wounded spirits- there is more uplift and lightness to be found here.  I have mentioned Drake before- and our man might get sick of my harking back to him- but he is a clear inspiration for the E.P.  That stunningly direct voice has so much contradiction and quality to it.  At one moment is can be feather-like and graceful whilst investigating nature and the nourishment of sunlight.  When looking at spirits fading and something more anxious, that voice can dip into the shadows and produce something deeply affecting.  Once more that guitar gets into the mind and one is amazed at the breadth and range of sensations it produces.  After the rambling, rushing and racing opening track, we have something more settled and tender- although not lacking urgency and spectacular flair.  Although our hero has experienced a love that was “almost hard to bear”, there seems to be a lot of calm and satisfaction in the voice- again, I may be missing the true point.  Someone who has always been there and been waiting; it seems like there is more hope and happiness throughout the number.  Not as heart-rending and aching as the opening number we get a new perspective from the young artist.  The chorus here is one of the E.P.’s most rousing and memorable- one sure to captivate crowds into chorus and dedicated sing-along.  Heartfelt and true, our hero is enclosed in this hard-to-bear love but it is “all we need I swear”.  More satisfied and content with his lot, you can hear that ease in the vocal.  With few recriminations and regrets, Sunshine is a song that will appeal to many listeners.  A lot of us have been in that same position- when a relationship has had cracks and faces tough times- realising the bond is as good as it should be.  Maybe love is not as idealistic and faultless as you’d imagine but no fear: if you are satisfied and happy then that is all you need.

Many listeners have already heard Lost in Barcelona and it is a track that is a favourite of mine.  After the spectacular 1-2 we have witnessed, the third track does not offer any rest or lack of quality.  Following a brief and delirious electronic rush- that subverts expectation and shows a scintillating urgency- our hero is straight to the microphone.  Being lost in Barcelona, our man is entranced and awash in the city’s scenes and passions.  Tales and sights of anarchists from past days; the smells and sights are evoking fond memories and some deep emotions.  From the earliest moments you transport yourself in the song and follow our man as he walks the streets.  Having been lost in Barcelona once before- on the way back from a shopping centre I struggled to find my way back to the hotel- there is never any fear or anxieties at all.  It is a city that takes your breath and mind; free from hustle and danger, you feel warm and safe there.  Boasting so many vivid alleyways and wonderful people, it is a place where you can feel at home- without knowing a single person or speaking the language.  Whilst our city is going to “raise this city tonight” his heart belongs to the people and the architecture.  Perhaps there is a girl in mind- there must be in some avenue- yet this is a paen to the wonders of the Spanish gem.  What impresses me about this song is the change in guitar and vocal pace.  The vocal is more energised and determined here.  Whereas the title track was a soothing and husky delivery; the sophomore track lighter but the same sort of pace- here is a vocal performance that breaks away and sounds more alive, free and unconfined.  Due to the nature of the track- that tribute to a special place- that is reflected in the vocal which rises and dives with intoxication and desire.  The guitar work is perhaps less standout- it is the vocal and energy of the song that is prescient- yet still elicits an emotional punch and plenty of scenic speldnour.  Delicate strum and intricacy notes weave like tapestry to take the listener through the streets and across the city.  You cannot resist the temptation to close the eyes and imagine the people and sights as they unfold.  Looking back at “Catalonian days” and revolutionary ideals, there is that mixture of history and contemporary pride.  Whether our hero is in the city to relax- or if he is there to meet someone- it is clear he feels at home here.  That chorus is reintroduced to create a catchy and flowing mood that will take the listener with it.  Whereas the previous duo of songs have looked at personal love and romance, it is rare to hear something that confesses a love for geography and a particular place.  For that reason, it allows our man a chance to put away burdens and soul-ache to focus on something special to him.  Although a particular girl is not in mind this time around, that does not mean the passion and lust fades in this number.  If anything, the intensity and delirium is at its peak on Lost in Barcelona.  Taking the E.P. to its half-way mark you get blown away by the quality and consistency thus far- leaving you fascinated by what is to come next.

Our fourth track arrives in the form of The Railway Line.  Without hearing a note you can probably guess what inspired the song- and what the lyrics will pertain to.  That is where predictions and the obvious end.  The opening notes have jauntiness and skip to them that instantly put you in warm climbs.  Walking the fields along the railway line, it is a sunny and delightful opening.  Noah Clouds is a master of creating a huge atmosphere and passion through the guitar and this track is no exception.  Early sentiments look at the railway line and times he has walked its limits.  Again we see a girl come into the scene and memories are cast.  There is a girl with a scrape on her knee; times when the two were together by the railway line- perhaps the bond and romance has subsided somewhat.  Throughout the song you get a child-like innocence that propels images of two infants embroiled in a sweet and innocent courtship.  I guess our hero has other ideas and the girl in question has caused some scars for sure.  It is a hard song to break down which is what I love about it.  On the one hand, I perceive messages of lust and fondness; on the other, there seems to be some heartbreak and hurt- our man wants the rain to fall on him.  What captivates me most about the song is the guitar work which emotes so much and provides some stunning drama.  I know how much Noah Clouds puts into the music but few artists take as much care to ensure their compositions are as deep and nuanced as him.  The Railway Line never stands still and has that locomotive feel to it.  Summoning images of rushing trains and a soft breeze it is those contradictions and contrasts that make it such a rich and full-bodied compositions.  Among the fever and settled demure you get some cute and tantilsiing little detours that project images of countryside and conversations; two people lost in each other’s company- nobody around for miles.  Too many songwriters cast shadows and heaviness into their music so it is great to hear a number that is enriched in soul.  Noah Clouds' wondrous miniatures and staggering finger-picking is only the start of things.  The ageless voice and paradoxes create something monumental and hugely impressive.  Whilst The Railway Line has some weariness in the lyrics, Noah Clouds achieves the best of both worlds- the melodrama of heavy emotions and the necessary escape of the pastoral and dream-like.  Backed by stunning production- that is clear and concise to allow each element to be heard- the fantastical scenes put me in mind of The Thoughts of Mary Jane- sorry, back on Nick Drake territory!  The confidence that comes out in the vocal seems to be from an experienced and older soul- not someone embarking on their earliest days in music.  As the song continues you get lost in those delightful and effusive strings- they bristle and crackle with the promise of a summer morn.  Managing to tie in U.K. and U.S. sounds- the scenery of the British countryside with the twang and sound of Americana- and you get a wonderful blend.  A proprietary concoction that inspires knee-buckled dreams, our hero is casting his ghosts asunder.  It seems like (the duo) never really said goodbye.  Perhaps the railway line is a place they used to meet- or a destination where they said goodbye.  As the song progresses, the landscape becomes more concrete and populous.  Perhaps the duo has had to part ways and split; that assumption sounds alters.  When our hero says that day gave him “so much joy”; the girl walked alongside her “blue-eyed boy”.  Again, perceptions are altered and new images come to mind.  It is a song that constantly compels you to think and concentrate; a track that rewards attention and dedication.  Regardless of the genesis and true nature of the origins- that is something that may be known only to our hero- you are helpless to resist the power of that vocal and the scenic lyrics.  The final notes are a collection of mini-scenes and thoughts that wrap up a song of immense purity and a stunningly beautiful heart.

The E.P.’s most interestingly-titled song comes in the form of The Magnificence of Livin’ Wild & Free.  An ante-penultimate track that begins with a floral and lucid guitar motif; it is a coda instilled with beauty and stately grandeur.  From the infancy of the song one conspires with imaginations and speculation- piecing together scenes and images the notes summon forth.  A cascade of notes and passion, it is an introduction that immediately gets the senses primed and the ears hungry.  Following from the gentility and sparkle of the opening notes, our hero approaches the microphone.  As has become a custom of previous ventures- introspective and looking into life’s inequities- it seems our man has autumnal leaves weighing his shoulders down; a sensitivity that is stopping him in his tracks.  His life is a half-lived thing like a “half-lit cigarette”.  Chasing after “smokescreen silhouettes” it is unclear (in the first round) whether the words are acclaimed to our lead or a personal acquaintance.  What is clear are the vocals which are the most intelligible and concise on the record.  Whereas earlier numbers perhaps saw that smokiness distill some of the clarity; this is the most pin-sharp and resonant performance on the E.P.  Assessing the fidelity and fruitfulness of the city streets, our hero pays tributes to the importance of the pavements- concrete beats that have shaped his identity and who he is.  Whereas previous numbers have funneled open-picking arpeggios to score tales of yearning and disenfranchisement; here there is a sweet-leaf bliss that sees our man in his most assured and calm state.  With his voice at its most emancipated and open, you have a performance that drips with passion and strength.  Speaking to his peers, friends and lovers; it seems they could never see the importance of living wild and free.  Wherever he is- whether it is the home town or a place where he feels safe- even the coldest air “warms my lungs”.  With no ersatz rurality the poet is steeped in the bliss and comfort of the streets- ensconced in a haven that nourishes his soul and causes smiles and contentment.  What Noah Clouds creates on this song is something quite sparse and stripped: a song that has less flesh and fewer bones that previous numbers.  Throughout the E.P. our hero mixes Jazz stylings with Folk-Rock and terrific arrangements.  On this number there is no need for huge instrumentation as it is that simplicity that is being emphasised.  Wanted to go and free; with fire in his lungs there is a determination and travelogue that is impossible to overlook.  Filled with grace and commitment, that vocal soothes and floats over the horizon.  You imagine our hero surrounded by friends or loved ones.  They raise a glass to “forgotten days” and a past that cannot be revived.  Throughout the song you get a sense of a man looking back on his past life and adventures- he seems happy to move on but wistful in his reflectiveness.  Not tied to progeny, commitment and a fixed abode; our man is the nomad that is happy to run free and wild- few anxieties and troubles are there to tie him down.  It is a track that is the E.P.’s most pure essence: the track that perfectly defines Love Is Not Enough and all is campaigns for.  Demonstrating that awesome voice-and-guitar combination, it is a spine-tingling campaign that songwriters should study carefully.  A stunning rumination that is nostalgic and hopeful.  Contrasting early tales- and the black velvet hue that lingers in some notes- here is a song that shows our hero in sensational voice.

Bringing the E.P. to a close is She’s a Writer.  Beginning with nimble-fingered guitar work, we return to the tumbling and open-fingering of the opening number.  A beautiful bookend, you get another exhilarating flow of strings that showcases Noah Clouds and his guitar chops.  An impassioned and scintillating opening exchange you get flavor notes of Flamenco and Latin music within the notes/dynamic.  One of the most contemplative and elongated introduction, it shows a superb talent who knows how to evoke atmosphere and passion- before a single note is even sung.  Our hero is back smoking cigarettes and pondering.   Still believing and resolute our man is headed to the ocean with a head full of thoughts.  Perhaps one of the most original and distinct numbers- stepping out the shadow of Nick Drake for this song- we get an upbeat and optimistic closer to the E.P.  The song’s repeated mantra (“Keep believing”) is represented through a number of scenarios- hearing your heart beat; taking a number etc. - and it is that repetition that makes the song so affecting.  Almost spiritual in its intentions, She’s a Writer is a song that compels the listener to look inside themselves and never give up hope.  The E.P.’s most hopeful moment, it is a perfect way to end.  As the song proceeds; events and emotion-blend starts to mutate.  Friends (or “allies”) of our hero were “victims of friendly fire”.  Declarations and assumptions are renounced as our man looks at past events and people that were in his life.  Although the intention- whoever has caused these changes- was of kindness the result is still the same.  Noah Clouds teases with the oblique and indirect nature of the lyrics- each listener will have their own interpretation of events- and it makes the song more complex and troubled than first feared.  Not only do we get some more emotional depth but that intrigue and speculation will take you by surprise.  Whatever has happened- and whether hurt has been caused or bad changes have occurred- that motivational coda comes back to salvage the ship.  Our hero is determined to ensure everyone in his life keeps believing and aiming- throwing the negativity and harsh history away.  The E.P.’s final moments are dedicated to beautiful and soothing guitar notes.  Bringing proceedings to a close, it is a vivid and colourful composition that never ceases to amaze and calm.  Invested in the movement and ambition of the strings, the listener is entranced and enticed until the end.  Trying to draw all those images together and get a hold of everything the final seconds allow for reflection and interpretation.  A song that has some simplicity and direct- together with something more detached and mysterious- and you have a terrific end to a wonderful E.P.  It is worth noting that Tom Reeve takes lead guitar on this track (providing banjo notes during the E.P. too) and kudos must go to him.

It is fantastic to hear a young artists so assured, ready and confident right out of the blocks.  Having recorded and played for a while, this is the first time for a lot of people to encounter the man behind Noah Clouds (although he released an E.P. before).  I have mentioned Nick Drake several times- and the last time I shall do so- yet it is always meant as a genuine compliment.  When listening to Love Is Not Enough I was reminded of Five Leaves Left (Drake’s assured debut) and the comparisons between them.  Like Drake; Noah Clouds has astonishing ambition, conviction and talent so early on.  The finger-picking guitar work is sensational throughout and the six tracks cover a lot of ground.  From tributes to fantastic cities to remembrance of youthful indiscretions, you have a songwriter not willing to stay still or fit in with the pack.  One of the most poetic and intelligent lyricists on the block, Noah Clouds has crafted tracks that are synonymous with their stunning images, wordplay and choruses- filled with nuance and plenty of emotion.  That central voice is intoxicating and hugely impressive.  From the husky and charcoal opener, it does not stand still; it evolves and develops when needed- without losing its uniqueness and sense of purpose.  By the final numbers that voice is more open and light; optimistic and upbeat- compared with the more dewy-eyed sensitivity of the opening tracks.  It is this emotional balance that ensures a rich and rewarding listen.  Were all the songs the same- in terms of subjects and sound- it would feel bogged-down and a heavy listen.  That blend of positivity and hopelessness; lovelorn and inspired- it showcases a songwriter that wants to inspire his peers and distinguish himself from the pack.  You cannot deny the quality and force of the guitar playing which is universally exceptional and spellbinding.  Bring all these elements together and you have a talent that is one of this country’s best; an E.P. that delivers knock-out blows and beautiful moments- a complete and stunning insight into a sensational young talent.  A cornucopia of colours, sights, sounds and sensations; Love Is Not Enough is as yearning and ambitious as its title.  The young star has heady goals and wants to create a new life; he wants more and is wandering the land- the future and its possibilities are seemingly endless.  On that note- and whether there will be a new E.P. in 2016- it would be good to see Noah Clouds expand the compositions and instrumentations.  I lied about Nick Drake- THIS will be the last mention- but Drake fought with Joe Boyd (head of Witchseason; the label that signed Drake) over the nature of his music.  Boyd fought for strings and orchestral elements on Five Leaves Left- you can hear it on River Man, Way to Blue and most tracks on the album- whereas Drake battled for a more stripped-down and naked sound.  Drake got his dying wish on Pink Moon (sadly the final seduction from a talent that burned-out too young) and this is something Noah Clouds might consider.  A number of the tracks within Love Is Not Enough are magisterial and grand.  The addition of cello, violin and oboe- on a few tracks but not all- would elevate the music to transcendent heights and create an even bigger emotional hit.  Maybe our hero wants to stay true to his Folk/Americana roots for now- perhaps an augmentation and sonic shift will occur later down the line- but it is a suggestion for the future perhaps?  My backseat producing aside, what we have is a staggering E.P. that does not tire or diminish upon repeated listens- it only reveals more beauty, insights and treasure.  With the days and nights becoming dark, cold and wet; we need something that will hold us close and take our minds somewhere more peaceful and warm.  Noah Clouds should be congratulated on the ambition and passion contained within the E.P.  Never sounding far-reaching or undisciplined you have an artist that has spent a lot of time to ensure everything is meaningful and at its best- that attention to detail and commitment cannot be faulted or understated.

This week has given me the opportunity to discover some fantastic new talent.  I know how much love and admiration Noah Clouds has on social media.  The fan numbers are rising and the music clearly means a lot.  It is hard to drill down to a single reason as to why the music resonates so much.  The subject matter is different from a lot of peers.  Noah Clouds takes the listener to new places and introduces fascinating ideas, scenes and emotions.  Not just concentrating on love and heartbreak it ensures the young artist remains original and unselfish.  Too many contemporaries have little imagination and few ideas; Noah Clouds is a musician that is filled with quality and potential.  One of the strongest and most diverse lyricists I have heard (in the genre for sure) his music is full of conviction and mobility.  It is that central voice which hangs it all together in a compelling and phenomenal way.  Able to convey so much emotion and urgency with what he has his disposal is incredible.  It is the mark of a fertile and fantastic songwriter that Love Is Not Enough is what it is (if that makes sense?).  An E.P. that is jam-packed with adventure, curiosity and introspection; we have an artist who is wholly in love with music.  Clearly our hero has had an interesting past and has felt compelled to pick up a guitar- especially after the death of his beloved pet hamster- and exorcise demons and concerns through the medium of music.  The music contained within possesses plenty of heartfelt utterances and intelligent storytelling.  Before I wrap things up, it is worth predicting the future of Noah Clouds- whilst returning to my original themes.  The six-track E.P. from the young York man shows a musician that wants to remain in the scene for a long time.  Clearly a lot of effort and commitment (not to mention money) has gone into making Love Is Not Enough.  It is not a rush-released statement from a musician that is desperate to get anything on record.  Every moment and minute is testament to a talent that is looking for respect, longevity and success.  That said; it will be interesting to see what 2016 holds for the young songwriter.  At the moment a lot of the tour dates are concentrated closer to home (York).  I know for sure many of us here down south- around London and a lot of venues- would like to see Noah Clouds in the flesh.  Those E.P. tracks would sound fantastic in a live setting- a chance to see those emotions and confessions up-close.  I can see another E.P. arriving- or perhaps an album no less- as you can hear that hunger and drive in each song.  In a scene where there are so few great solo artists- especially those who play Acoustic and Folk sounds- it is rewarding and impressive to see such a young artist come through with such conviction.  I have had reservations with regards Folk/Americana sounds and how limited a lot of its patrons are.  From the ‘60s onwards the legends of the scene- the Neil Youngs and Bob Dylans of the world- have amazed and inspired the scene.  Since those days there has been a steady decline in quality and originality.  Perhaps it is hard to nail and conquer genres that work in quite narrow and specific quarters?  This year has produced some vibrant and talented musicians onto the scene.  For my money the female solo artist have elicited the greatest reaction and biggest range.  The chaps are making up ground yet most are lagging behind their female peers.  I hope that 2016 sees a little balance and a revival in music.  It will be fascinating to see which artists make the biggest impressions in the coming year and what music is produced.  Noah Clouds will be an act that is going to be on many people’s lips.  That infectious and stunning sound is ready-made for festivals and arenas; it has an intimacy to it that would suit cafes and bars- music that is utilitarian and hugely profitable.  Too many artists get into music to cash-in and get paid- in an industry where it is notoriously hard to make money- and get their faces on the media pages.  If you are in the business to get T.V. deals and big dollars; to get into tabloids and appeal to the lowest common denominator.  Those that embark upon a musical career for the right reasons are the ones we should all be focusing on.  People that want their words to be heard and inspire others are those that will remain and be in focus for many years to come.  Yorkshire is producing some of music’s best and brightest stars; Noah Clouds is among the most arresting and startling the county has produced in a while.  Bringing 2015 to a rather triumphant and stunning close, I recommend you dive into Love Is Not Enough and entrance yourself in its wonders.  An E.P. that contains so many brilliant moments and nuanced vocals; it is hard to escape the passion, drama and intrigue throughout.  On a cloudy and rain-swept day- down this way anyway- it is a great time to immerse yourself in music that brings sunshine and warmth.  Not your average and workaday solo artist; Noah Clouds has assembled a rich and vibrant collection backed by some fantastic musicians.  A young man who claims that Love Is Not Enough; take it from me…

 

IT is plenty for now.

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Follow Noah Clouds:

 

Official:

http://noahclouds.com/

Facebook:

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

Twitter:

https://twitter.com/noahcloudsmusic

Instagram:

https://www.instagram.com/noahclouds/

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Music:

https://noahclouds.bandcamp.com/releases

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Videos:

https://www.youtube.com/channel/UCfyIZhxxN7AuD9o02P5xzGQ

 

Track Review: This Modern Hope- The Abyss

TRACK REVIEW:

 

This Modern Hope

 

 

The Abyss

9.6/10.0

The Abyss is available at:

https://soundcloud.com/thismodernhope/the-abyss-private

RELEASED: November, 2015

GENRES: Indie

ORIGIN:

London, U.K.

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IT is good to come back to an artist who I am familiar with...

and return to Rob Payne.  Being familiar with his alma mater (The Bedroom Hour) I was curious to see how his solo project compared/fared.  Before I introduce the man and act in question, there are a few themes that come to mind.  I have been fascinated by the issues of the solo realm, London music and atmosphere in music.  Having mused (to psychotic lengths) in past reviews, it seems like the solo market is still a little unbalanced.  I shall not labour the point too much; suffice to say there are few acts that have stuck in my mind this year.  I think one of the issues is they (solo artists) look at the mainstream and follow examples like Ed Sheeran and James Bay etc.  I have respect for those acts to an extent- although I do not like their music- and feel they have a lot of ambition and passion for their craft.  It is all well and good following and being inspired by artists.  When your music sounds too close to existing acts then it seems pointless endeavouring on your own career.  We have heard too many acts that are just replicating others.  It means the listener is not given any real originality and individuality at all.  What Sheeran and Bay provide is acoustic guitar-driven Pop music that delves into love and introspection.  This has been a staple of music for decades and in a time where there are all manner of possibilities- when it comes to sound and genres- there is no real excuse to stick to these well-defined and narrow confines.  Those artists that take time to forge something characterful and innovative will gain the fan-base and stand out in the mind.  I feel when you play in a certain way- acoustic and stick to certain themes- there is a danger you become rather dull and uninteresting after a while.  I am not suggesting artists need to throw everything into the mix- and lose concentration and focus- but there is so much available to put into music.  I know solo acts are alone and have a hard time of things- with no band members at their disposal- and maybe money (lack thereof) is hindering musical progression?  Perhaps so, although I find there is too little imagination out there and a certain market expectation.  I guess fans want to hear insights into relationships and something they can relate to.  That being said, playing music that concentrates on those concerns need not be stagnant and uninspiring at all- far from it!  The solo arena is showing too many examples who come to music and give nothing but a lazy shrug of the shoulders.  It may seem like a tangent but it brings me to my featured artist.  Being familiar with The Bedroom Hour- a London-based act with embers of Elbow who sadly disbanded this year- I know how great Rob Payne is.  A superb voice with a distinct style and compositional flair, it was great investigating This Modern Hope.  The ‘band’ moniker does not seem like a coincident: it is almost a message to fellow musicians and a sign that music can get better and more fascinating.  Before I raise a couple more points, let me introduce my featured act:

“This Modern Hope, the new solo project from West London musician and producer Rob Payne, is ready for takeoff and poised for success. Drawing on influences such as Death Cab For Cutie, Doves and his brother's record collection, This Modern Hope's sound is classic yet fresh, switching seamlessly from up-tempo, driving rock to stirring ballads, Rob's soulful voice floating effortlessly over the melodies as the beats flow. Lyrically deep and with a heady vocal intricacy, the songs come straight from the heart and leave a lasting impression that words can't describe.  With a strong musical pedigree, masses of talent and a little help from some friends, This Modern Hope's tunes are ready to be heard”.

Payne is based out of London: an area and part of the country that is offering some of music’s most fascinating examples.  It is not really the London bands that are most intriguing to me right now.  I am finding the solo acts out of the capital are some of this country’s finest.  I have had the pleasure of reviewing some tremendous solo talent this year.  From Electronica females to some great male Hip-Hop; it seems London is causing some serious waves when it comes to the solo peeps.  I have speculated the reason behind this transformation- last year was quite fallow by comparison- and maybe social media has played its part more efficiently.  Whatever the reason behind the revival, I have been fondly looking at the capital for solo inspiration.  What is staggering me most about the solo market (not just London but everywhere) is those artists that ensure atmosphere and passion is put into the music.  Too many musicians tend to put little consideration into the composition and making things interesting and detailed.  Music that sticks in the mind and demands repeated listening is that which contains detail, nuance and ambition.  Rob Payne is a London-based treasure that made some huge footsteps when part of The Bedroom Hour.  That (sadly bygone) band put me in mind of Elbow- when it came to the vocals especially- but also when it came to compositions.  Not just a band who followed the pack; lush strings and moody electronics mixed with terrifically economical riffs and something taut and tense- I was sad (as were so many others) when the band called it time.  Payne is not replicating his former band in This Modern Hope.  What has remained is that configuration of stunning compositions and slice-of-life lyrics.  Tapping into modern concerns and romantic misadventures- with some insights into his own soul- we have an artist that wants his music to be heard and inspire.  The compositions- from the songs that have been released thus far- show a young artist with a need to climb among the mainstream mass and define himself as a genuinely fresh example.  The Abyss will be released on Christmas Day- perhaps the least Christmas-y release ever but something that will no doubt warm souls- it sees Payne provide something hugely atmospheric and memorable.  The track Tear Me Down was unveiled earlier this year and was one of the earliest opportunities for listeners to witness This Modern Hope.  That track was a confident and stunning insight into a musician with a definite agenda and special talent.  I am predicting some good things in 2016 (for This Modern Hope) and would be great to hear an E.P. or album produced.  What we can guarantee is a string of dates and a chance for the U.K. to hear Payne bring his music to the masses.

I have reviewed This Modern Hope before (the track Home back in April) and the best modern-day comparison will be with their most current tracks.  When looking into The Abyss, one must look back at Tear Me Down.  The track begins with a shimmering and fascinating introduction which sees swaying strings ache and pervade.  The percussion is tight and taut as a subtle and grand piano line rouses through the mist.  Wistful and yowling strings linger in the background whilst you get carried away in the waves and momentum of the foreground.  Having built up quite a head of steam, our hero steps to the microphone with some angst-ridden opening sentiments: “Break off a piece of me”.  Our man counts his sins and is “part of your process now”.  Perhaps struggling from the wreckage of a relationship, you can sense that anger and dissatisfaction in the vocal.  The vocal itself is instilled with so much passion and soul that it is often easy to overlook the lyrics’ heartache and troubles.  Those anxious words melt seamlessly with the chorus; it remains lighthearted enough so the track does not get bogged-down and too bleak.  What you get is a song that shows Payne in fine voice and at the top of his compositional prowess.  From that Bedroom Hour-esque introduction you get the sound of a man that has new issues and agendas- funneling them through the supportive medium of music.  The sweetheart at the center of Tear Me Down is desirous and lusted-for.  She may not believe our man be he definitely wants her.  Whatever troubles or history they have had- or whether this is a new romance- there is a definite need and cohabitation that cannot be broken.  Perhaps the duo has been through the mill and there are residual feelings that refuse to die.   Whatever the truth, the commitment and urgency of the vocals cannot be understated.  Bits of Guy Garvey’s solo work peeks out in the mantras of Tear Me Down.  You can hear shades of the Elbow front-man in Payne’s tortured and love-seeking drama.  What Payne does is provided a unique insight into his world.  With a meaty and mighty guitar coda ending the song (similar to its opening) and you have a song that will appeal to Indie-lovers and those which prefer their music compelling and dramatic.

  The Abyss shows a different side to This Modern Hope.  Whereas Tear Me Down was more lyrics-focused- and looked at that desire to get the girl- here there is more emphasis on texture and composition.  As the title may suggest there are images and sentiments of mortality and space.  Because of this more effort is expended to ensure that composition elicits appropriate imagery and vivacity.  You get a more developed and complicated composition; the lyrics are stunning and striking; that vocal just as compelling.  Both songs do different things- yet are equal in terms of quality- and show different aspects to Payne and his personality.  What both songs show is a young talent with a fantastic ear for musical evocation and eventfulness.  You have so much passion, nuance and wonder in every note; you can tell it was created by a man with huge appreciation and love for what he does.  Distinguishing himself from his peers; each track has a different personality and contains bags of electricity and honesty.  Over the course of a few months- between the releases of both tracks- you can see a little development and change.  Essentially, This Modern Hope want to go in with a unique and consistent sound- so that they don’t come across as freewheelin’ and unfocused.  That said, the two tracks both offer something new and separate.  This bodes well for any future releases as the consistency and depth (of both tracks) is tremendous.  The Abyss is a brave and daring number that shows Payne is free of fear and limits- how many musicians can promise that?

I was very excited to get my reviewing fingers on The Abyss: a song that has been garnering some very positive assessments from the online community.  The opening seconds are appropriately cosmic and frightening.  Some echoed and distinct electronics give you the impression of uncertainty and floating into the heavens.  Perhaps you get sucked into that vivid and spacey thought process, our hero lends some softer guitar to balance the composition out.  Taken it into Alternative (and safer) territory it is a perfect blend to ensure the introduction summons the biggest reaction- and evolves to create anticipation and excitement.  The soft guitar-strumming sits aside from the foreground which has some yowls of guitar and something detached and machine-like.  It is strange in a way that the composition shows so much emotion but could be the representation of emotionless machinery.  Perhaps scarred by a relationship or just in an uncertain place; what the introduction does is gets you imagining and wondering.  My thoughts regarded life’s uncertainties and the fears of stepping into the world alone.  Having said goodbye to his band brothers- embarking on a solo venture- you can sense a little uncertainty and fear for sure.  Maybe there is just a bleak period (in Payne) that needs to be exorcised and explained.  Most modern acts are keen to dispense with the introduction as quickly as possible- radios like songs to get to the vocals quickly- so you hear few building and scenic songs around.  Those musicians more concerned with quality and emotion (as opposed to airplay and hollow claims) create the best music.  The Abyss has an atmosphere and beauty that is hard to describe in words.  One of those songs that need to be played live- to experience its full majesty- you get so many movements, emotions and images within the space of a few seconds.  When the vocal does come to play- nearly a minute into the track- the listener has already had their mind transported to somewhere fantastical and far-off.  Payne arrives at the microphone with a pleasing falsetto (that puts me in mind of Noel Gallagher) containing ample warmth and intention.  Something is taking him away (perhaps the abyss and life itself) although our hero is “not ready”.  Unwilling to be sucked into a premature submission, that aching and yearning defence is something that gets right into the soul.  Dripping with emotion, few listeners will be able to evade that haunted and soul-bruised uttering.  When the opening words do come, you begin to work on your own interpretations.   “I wasn’t to know” are words that indicate that our hero has been taken by surprise and may be documenting a love affair.  Perhaps things have turned sour through no fault of his own; that ominous composition gives you shiver of the good kind.  Payne lets his voice hover and hold- in order to get across the importance of his mindset- drifting into the cosmos.  Conveying so much purity and emotion is not an easy track; our man manages to sound authoritative, natural and hugely stunning.  Whereas there are troubles and contradictions amassing, it seems there is a central figure that is “there for me”.  Our hero is perhaps struggling against the tide of life and has something/someone he can cling to.  Whether this is a lover or loyal friend I am unsure; what is sure if that need to be anchored and find some answers and peace.  Between the vocal offerings are swathes of compositional beauty.  This is a song that says a lot in its lyrics (the few of them) but says more in its composition.  Our hero says what he needs to say before letting his music represent the full extent of his thoughts.  Like the introduction, the between-the-verses music is scintillating and dramatic; not to mention evocative.  Those electronics and strings melt to create something inescapably intense and amazed.  Awe-struck and drifting, the listener is left to immerse themselves in the notes and follow the music on its plight.  Each of us can relate to the song’s sentiments- about loneliness and uncertainty; those forces we all struggle against- and will have our own way of dealing with those pressures.  What The Abyss does is provide an outlet for us to express; a song that taps into our darker moments and provides some comfort and companionship.  A song that is universal in its themes, there is a lot of beauty and tenderness to be found.  Although the official release will be December 25^th- and not something most of us would think of at Christmas- it is a song that provokes you to dig into your mind and reflect.  A song that demands people reach out to people and help- it is a powerful and mesmeric.  Our man returns to the microphone to claim his sins have dissolved and he feels the abyss.  Like its sister-song (Tear Me Down) there seems to be sin-cleansing that is occurring.  Whether a broken relationship- and the cheating and heartache that occurs- or some personal troubles; our man has burdens on his shoulders he is determined to eradicate.  Of course it is not just Payne that brings the comfort and reflection.  His band manages to evoke such a range of emotions and directions, hats go off to each of them.  Whilst the percussion is strong and heartbeat; the guitar buzzes with pain, nervous energy and insistency.  What strikes me about the song is the vocal itself.  The scant lyrics are hugely effective in the messages they promote- our man is wrestling against life but wants to make things better- but the way they are delivered is the most impressive.  Words are help and elongated to give the true essence of floating into the darkness and abyss.  Whilst all my words may lead you down shadowed paths- and think the song is a depressive thing- the truth of the matter is this: The Abyss is nothing to be afraid of.  What the song does is promise redemptiveness and positivity.  Our hero has felt heartache and uncertainty but is determined to redeem things and start afresh.  The composition is such a wonderfully rousing and atmospheric thing it will move you with its strength and passion.  Most of the song is instrumental, so it is a chance to see This Modern Hope display their compositional chops.  A lot of Indie/Alternative bands- when they tackle something or decide to get cinematic- often lose the plot and wander into aimlessness and banality.  Payne is a seasoned musician that has/does work with some terrific musicians.  Bringing his talents and insight to This Modern Hope has resulted in a stunning track that is hard to forget.  By the closing notes- and the epic swathes that precede it- you continue to wander and wonder as to the song’s ending.  It is clear the hero is going through change and asking questions; there may be uncertainty to the future.

Congratulations must go to Rob Payne who has penned a song that is among his finest work.  His comrades in This Modern Hope- the fellow musicians and producers that have helped forge the sound- should get commendation and respect.  The production is clear and polished- although not overdone or too shiny- which means the song fully comes to life.  No instrument or vocal is mixed too low ensuring you get a perfect balance and can hear every component.  It is vital the vocal is not faded down so that you can understand the words and hear that passion in full flight.  Similarly, the composition is so impressive and domineering, you cannot relegate it to the background.  The musicianship throughout The Abyss is staggering: so much time and attention has been paid to ensure that every line and note promotes fascination and self-reflection.  From start to finish you get a masterful song that never relent its majesty and grandeur.  Differing from Tear Me Down- a song that has more subtly and a different agenda- we have an act that is effortless no matter how big (or small) they want to be.  One reviewer/commentator stated The Abyss was a cross between Doves and Pink Floyd.  Whilst I have mentioned Noel Gallagher (vocals) and Elbow (composition and lyrics) there us truth is that summation.  One can hear elements of Dark Side of the Moon’s cosmic and staggering ambitions.  This Modern Hope summons a modern-day representation of Floyd’s grand-scale dreams and humongous compositions.  Pink Floyd’s greatest moment saw them take the listener somewhere special.  Few modern musicians take the trouble to pen such deep and compelling songs.  Doves did/do produce music that conveys modern-day concerns through haunting and epic vocals- listen to their album Lost Souls- whilst making it accessible and populist.  This Modern Hope take ‘70s Prog.-Rock with ‘90s/’00s Manchester-based Alternative to create something tremendous.  A unique and stunning song, ensure you investigate This Modern Hope- and surrender to The Abyss.

With his social media numbers still growing- although scandalously short of what he deserves- This Modern Hope is an act to watch in the coming year.  There are so few accomplished and memorable acts that provide something atmospheric, haunting and emotional- without it becoming heavy-handed and suffocating.  There is plenty of beauty, hope and light to be heard within the music.  What This Modern Hope offer is a chance to escape and reflect; get away from the stresses of life and immerse yourself in something quite spectacular.  Too many musicians do not resonate in the mind and has such a slight and tedious sound.  For every twee-voiced acoustic artist out there we have a musician that is willing to be different and fresh.  Rob Payne amazed me during his stint with The Bedroom Hour and he sounds more assured and confident here.  I know how hard the last year has been for the young musician- the band splitting and the financial and commercial pressures of getting his solo endeavor off the ground- but that grit and graft will translate into rewards and success.  The coming year will be a chance for him to expand his horizons and get a new release out into the ether.  An E.P. would allow the public a chance to hear This Modern Hope in full flight- whether the funds would be raised via Kickstarter is to be seen- but I for one would love to hear more from the London act.  Before closing this review, it is apt to reintroduce the concerns around solo music; the potential London is showing; the importance of injecting something atmospheric into your music.  Without being foreboding and dark-hued, This Modern Hope ensure their music bristles with beauty, shiver and something twilight.  Modern-day sounds- when it comes to solo acts- either have very vague and generic compositions or something quite hard and heavy.  Few artists go in the middle and create something symphonic, emotional and epic- well, not with much conviction or originality at least.  Maybe that type of music can get you down after a while- if you immerse yourself fully to its cause- although there is plenty of redemption, beauty and positivity to be extrapolated from (this music).  The Abyss is not as daunting as its title suggests alas.  The song not only provides something quite memorable but it points to a musician that understands the vitality of ambition and atmosphere in the music.  With London providing so many hungry and eager musicians, I was not surprised Payne decided to venture into the fray once more.  A talent that has always impressed me his new music will please fans of his past life- that with The Bedroom Hour- but also pull in new followers and supports.  With so many lesser musicians packing thousands of social media fans, I was staggered to see comparative few flocks towards This Modern Hope.  Let’s hope this changes and Payne’s music gets the following and respect it has earned.  The U.K. is lacking a little behind the U.S. when it comes to new music- the quality and diversity that they provide.  I tend to find too many are concerned with chart success and following critically-approved artists rather than forge their own careers and sound.  This means there is a grey mass of acts that all sound alike and are cynically designed to appeal to radio playlists and readers of Q Magazine.  Those that have the balls and intelligence to create something unique- that will stand the test of time and inspire the likes of me- will have a harder road to success.  Maybe the plaudits will come in years (rather than months) and they will have to escape and fight a little harder.  Perhaps that gauntlet is too challenging and frightening for many, yet some are sticking it out.  For new music to stand a chance of inspiring and succeeding we need to embrace those artists that are willing to make changes are expand their minds somewhat.  Of course ambition and originality do not always equate to quality.  With music becoming ever-more evident and popular, it is getting harder to determine which acts are going to last the course.  Rob Payne’s new outfit differs from The Bedroom Hour yet contains those some atmospherics and dramatic scenes.  The pristine and exhilarating vocals are in place and the music gets directly into the heart.  The Abyss is a song that does not want to push people away; it beckons you in and wants to immerse you in its colours and drama.  Take a listen to the song and support an artist…

 

WITH a lot more to say.

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_________________________________________

Follow This Modern Hope:

 

Official:

http://www.thismodernhope.com/

Facebook:

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

Twitter:

https://twitter.com/thismodernhope

Instagram:

https://www.instagram.com/thismodernhope/

 _______________________________________

Music:

https://soundcloud.com/thismodernhope

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Videos:

https://www.youtube.com/channel/UCoezfwi011FeoW9kzzAqDaA

Track Review: Sameblod- Asian Mojito

TRACK REVIEW:

 

Sameblod

 

Asian Mojito

 

9.6/10.0

Asian Mojito is available at:

https://soundcloud.com/sameblod/asian-mojito

RELEASED: December, 2015

GENRES: Electro.-Pop

ORIGIN:

Stockholm, Sweden

The Nostalgia E.P. is available at:

https://soundcloud.com/sameblod/sets/nostalgia-ep

TRACK LISTING:

Fade Out- 9.5

Asian Mojito- 9.6

Echo- 9.4

Valencia- 9.5

My Fortune- 9.4

DOWNLOAD:

Fade Out; Asian Mojito; Valencia

STANDOUT TRACK:

Asian Mojito

____________________________________

ONE of the best things about music reviewing is getting to...

discover acts that are new and exciting.  I spend a lot of time assessing U.K. acts so it is rare I get to venture elsewhere.  Today I am back in Sweden looking at a duo that is among the most exciting and uplifting in music.  It brings a few different points to my mind: the music coming from Sweden; the Pop market in general in addition to the sunnier side of music.  Over the past few years I have got to review a few Swedish artists.  From Say Lou Lou- technically they are half-Australian- to Anna von Hausswolff it has been a pleasure witnessing the stunning music of a wonderful nation.  What I notice about Swedish music is the expertise and confidence that comes through.  Whereas a lot of young artists here start off nervously and few sound completely in control; in Sweden there seems to be an ingrained mentality and authority.  Whether it is the climate and landscape of the country I am not sure; it may be a different type of personality and community- I find Swedish music much more hypnotic, uplifting and unique.  I am familiar with a lot of great Scandinavian acts- from Nelson Can to First Aid Kit- and love every example that comes forward.  When reviewing international music I always love seeing what different areas/regions provide.  The U.S. is one of the most wide-ranging and varied nations in the world yet Sweden seem to be the most consistent and under-the-radar.  Perhaps not the first stop British reviewers and media outlets go to; Sweden is offering some of music’s most compelling and fascinating musicians.  Maybe there is less congestion and crowding there; the people more friendly and less stress about?  Whatever the reason behind it all you cannot deny there are some fantastic artists showing why Sweden should be in the public focus.  One reason why the country is leading a golden charge is its prolificacy and innovation in the Pop arena.  In the U.K. and U.S. - and most parts of the world for that matter- the Pop market is defined by some rather indeterminable quality.  We all are sick of the sugary and nauseated Pop music of boy bands and twee teen singers- the types you hear singing on John Lewis adverts every year!  The best Pop music comes from those with the balls to take the vocals, music and subject matter to new heights and different arenas.  If you focus solely on love and issues around relationships then you are far too limited and risk boring the audience very quickly.  Those acts that look at other aspects- from the population are large to specific items/people- yield the finest crops.  I have long grown tired of British Pop music for its lack of quality and the complete lack of intelligence that goes into it.  Sure, we have a few great Pop acts yet for the most part the scene is very under-developed and depressing.  We do much better when it comes to harder sounds- Alternative and Rock fort example- but there are some fine examples that could be fixtures in 2016.  I have reviewed the likes of NINA and Ivy and Gold- two London-based acts that mix Electronica and Pop- that are demonstrating determination, innovation and passion.  I get bored and sick of the lack of energy, originality and intuition of Pop musicians today.  Seemingly fixated with numbing the audience, there needs to be a spark and explosion in the market- there is a risk that Pop could sink into quicksand and never come back up.  Thankfully the likes of Sameblod are providing guidance and a rulebook that should be picked up by artists here.  Before I raise a new point, let me introduce the Swedish duo:

Sameblod are: Frederick and Mikael

“Wild arctic nature. Big city pulse. Fearless synthesizers, miles and miles of reverb, and delicate rhythms. Delicious Swedish indietronica from Stockholm by way of San Francisco and the cold northern regions of Sweden. Long nights of dancing and long hikes in the mountains.

Sameblod is one of Sweden’s most promising and exciting new acts - Frederick and Mikael in Sameblod released their debut album 'Braided Memos' April 20th, 2012”.

There is mystique and mystery behind the duo- very little biographical information is known about them- so it is down to the music to fill the gaps and do the talking.  It would be nice to know who influences Sameblod and what their plans for next year are.  With that being said their music at least raises some points about the importance of energy and colour in Pop music.  Too many artists use the genre as a way of exorcising demons and playing clichés to death.  You can sing about love and relations without succumbing to doe-eyed proffering and predictable sounds.  What Sameblod have shown is how much potential and quality can be gained from injecting fervency and sunshine into their music.  Their Nostalgia E.P. is out and contains five tracks that radiate with light, energy and plenty of intrigue.  The stunning songs are defined by their originality and stunning compositions.  Each track compels vivid images and daydreaming; a lot of thought and investigation.  Songs that demand repeated listens and long-term affection; here is a duo that has a good and bright future ahead of them.  The E.P. is being greeted with celebratory reaction and fans (new and old) are welcoming it with open arms.  Whereas most Pop acts lose momentum over the course of an E.P. there are no such concerns here.  From Fade Out’s bright openings to My Fortune’s lucky charms and you have a collection that will keep listeners hooked and invested in every moment.  I was keen to dive into the E.P. and select a song to review (Asian Mojito) and came away amazed by the depth and quality of the music.  A duo I was new to a few weeks ago, I will be following them very closely- seeing just what the next year has in store for them.

Sameblod have been on the scene a few years now- and have released a number of tracks already.  When considering their latest offering it is worth harking back to see how they have developed and changed.  What is clear is the passion and commitment they have at the moment.  Their earliest days saw them find their sound and solidify their direction.  UR Road was unveiled a few years ago and begins with a teasing beat and a twirling electronic sound that bond surprisingly well.  Almost infantile in its sound you have a song that is radiant and bright from the very start.  The composition itself is perhaps a little more interesting than the words- the vocals are mixed too low making it hard to decipher what is being sung- but that is compensation for the sheer energy and vitality of the music.  The pressing and thudding beats keep that insistence and passion bright whilst the electronics weave beautiful patterns and possibilities.  As the song nears its end we get something lovely little details and touches come through.  Whistles and giddy notes sit with skipping beats and plenty of colour.  A terrific early number- only let down by the poor vocal mixing- it showed the duo meant business and had a very distinct and stunning sound.

   Norwegian Summer shows a more heartfelt and emotive beginning (than UR Road) - well the first few seconds!  After that we get explosions of light and fire that brings the track right into the forefront.  The lyrics look at someone hiding things “that are growing”.  It seems like the worst days are gone- and the best ones are still ahead- which causes some fascination and intrigue.  Perhaps assessing a Norwegian Summer- the warmth and tranquility will replace the colder moments- the song promotes some conspiring and interpretation.  There are still one or two issues with vocal decipherability (especially towards the chorus) but is improved greatly from their earliest cuts.  Again it is the consistent beat that makes the song such a thing of beauty.  Our lead wants to take away the days without colour; improve things and make life better.  That optimism and belief makes the song an inspiring thing for those listening.  Too much of music gets concerned with sadder and heartbroken themes; Sameblod cast their net to greener pastures and aim for the sunshine.  Showing emotional and thematic consistency; the duo sound more confident and clear here- a step forward and a necessary development in their music.

   Forever arrived around the same time as Norwegian Summer and boats the same kind of introductionary fascination.  Tumbling and delirious beats splice with a soothing and emotive electronic swathe to bring a great shiver and warmth to the opening.  The song soon gets underway and displays that traditional sun-burst that marks out a Sameblod composition.  Entranced in the beats and electronics, you “hide from the things you fear at night”.  There is redemptiveness and protection at the song’s heart- something that is a staple of the Swedish duo’s artistry.  Few negative thought and intentions can be heart and there is a dedicated bond and connection at work.  Whether speaking of a sweetheart or friend, you cannot deny the loyalty and intentions of our hero.  The girl has had a hard life and struggled but our hero is urging change and a way to improve thing.  Urging her not to stop forever there is that motivational coda that is sing-along and indelible.  A message and emotion not often conveyed in music that optimism and uplift never tires at all.

   Suddenly was released a year ago- and was remixed several times as part of an E.P.- and stands as one of the duo’s most popular and assured numbers.  A harder and more urgent start comes to play- compared to their previous numbers- but you have that distinct and unmistakable sound.  Our hero is speaking to his girl and misses her face.  His girl got her way; she sighed when they fade away- perhaps there is something more negativity and jaded in this number?  Compared to the hopefulness of previous numbers there seems to be more emotion at play here.  The issues with clarity (especially in the vocals) are almost resolved which makes it easier to interpret and understand the track.  It seemed like the relationship was meant to last and would endure any test.  Perhaps time and circumstance has altered things but you cannot deny the emotion at work.  Our man lets it be known he is hurting and things have not worked out how they should.  Although there is some hurt and dissatisfaction in the song the composition remains as sprightly and open as ever.  The electronics and beats never seem suffocating or tense: juxtaposing those nervy and wounded sentiments makes the song even more interesting and fascinating.  Perhaps the drifting apart is a mutual agreement although one suspects there was an argument or difference of opinions.  Whilst the lyrics are story cause speculation and investigation it is the composition that digs deep and takes your mind somewhere else- the two work effortlessly alongside each other.  Marking a move forward for the band- in terms of subject matter and assuredeness- and you have a track that was rightfully celebrated and mixed (producers and musicians were keen to give their spin on the track).

   Flourish was released earlier this year and saw another change of direction for the Swedish pair.  The introduction itself is different from past endeavours.  Reminding me of Black Box’s Ride on Time- that oft-sampled and mimicked sound- and you have a track that could have been a staple of the late-‘80s/early-‘90s.   That introduction is more than a recollection of past glories.  Stunning little gems and details linger in the fray; the sound is detailed and nuanced- more than just a one-dimensional thing.  By the time our hero gets to the microphone we hear sentiments like “(I) couldn’t preach my words” and “need to let you go”.  It seems the love he is perhaps too intense and confessing this is more than he can go through.  Our lead has stress and problems and needs to let her/it go.  Whether it is just a relationship that needs cooling-off- or a particular tense time of things- you get that anxiety and strain in the vocals.  Being a Swedish Pop duo you are never going to get a whitewash of emotion and sadness.  The composition is perhaps the most vivacious and colourful the duo has come up with.  Flourish is the statement of someone needing to let go and change things.  People are telling (our hero) what comes next yet he wants to make his own way.  He knows his stresses and life and will not be dictated and controlled.  There is soul-bearing and sensitivity at work as our hero needs to control his emotions and take time to reflect upon things.  It is unclear what has caused this realisation although one suspects the vicissitudes of life have had their bearing on his soul.  One of the most assiduous and fascinating songs from the duo’s collection it showed a leap in quality and confidence.

With each release Sameblod grow in stature and meaning.  The earliest days were interesting and impressive yet there were one or two issues.  The vocals were often buried down in the mix and it made the songs hard to truly enjoy and understand.  The compositions too played along the same lines and were not as diverse as they are now.  The two-piece ensured the clarity and decipherability issues were rectified- they are now; everything is a lot crisper- whilst they push their sound and have become more daring and innovative.  Nostalgia E.P. grows upon this and boasts five tracks that match Flourish’s sense of ambition and wonderment.  Tying in emotional themes from their past work- love breaking down and more positive attitudes to life- and you have an E.P. that marks the peak of their achievements.  Everything has been building to this moment and the boys have done themselves proud.

A dizzying and Asian-themed blend of electronics strings welcome in a track that instantly gets inside the mind.  High and low notes swim frantically into a cascading waterfall that takes you by storm.  Summoning up that image of an Asian mojito and you have a song that is evocative and stunning before the first note is sung.  Before too long that drumbeat comes in to augment the fascination and add another layer to the intoxicating opening.  It is rare for a band/act to elicit so much quality and passion in an introduction.  Sameblod have always been masters of the craft yet have outdone themselves on Asian Mojito.  With our hero at the microphone he confesses he drinks with everyone; not liking it when they complain we have some curious and intriguing early sentiments.   Both oblique and direct, you start to imagine various scenes and predicaments.  The introduction puts your mind in a Tokyo bar- where you hear those sparkling and crackling notes in the background as you sip a mojito- and the characters that are assembled.  When the lyrics arrived our hero might be in the midst of the throng.  As our man proclaims a beautiful day and swims with dolphins- ironically images that seem like a drunken haze in their contradictions and oddity- and you start to drink in the various scenarios and views of the hero.  Our lead is looking inside his dreams and seems to be battling against certain people and thoughts.  When it all comes down to it that Asian mojito is called for (“keep them coming and coming…”).  As you become entranced in the images of paradise beaches and tropical retreats- matched against thoughts of skyscrapers and bustling metropolis crowds- you wonder what an Asian mojito consists.  It seems like a drink with a lot of kick to it- perhaps some wasabi mixed with lime and mint leaves? - and all sorts of possibilities present themselves.  Whatever is contained within the cocktail is surely having a desirable effect as our hero is propped at a bar- whether an Asian city bar or a beach-side retreat- and slipping into the night.  It seems like there are personal anxieties and troubles causing him to slip into the bottom of a cocktail glass.  Whether an Asian mojito is a metaphor for something else (or literal in its meanings) it is causing his mind to become more relaxed and less inhibited.  The chorus marks one of Sameblod’s most delirious and spellbinding creations.  Those electrifying electronics and beats are head-swimming and insatiable; you cannot escape the grip and theatrics.  That chorus promises so many images and colours.  Our lead has his only friend in hand; becoming more drunken and relaxed it seems like he is escaping his problems and retreating to somewhere safer and more comfortable.  Our lead asks for company- whether from the drink or a friend- as he will drive the oceans and it “feels like lotion when we dive in”.  As the words develop I get the impression of that tropical climb and the sand and sea underfoot.  It seems like the sun-bliss island is the perfect place for our man to be in.  Whether fighting struggles in life or entranced in a dream Asian Mojito is one of Sameblod’s most vivid and wondrous numbers.  Asian Mojito never relents its charge of charm and seduction; effortless making its way into every crevice and nook of your existence.  That Asian-Electro.-Pop blending is something very rare in music and it is stunning to witness.  The duo is always authoritative in everything they do but here they sound utterly unstoppable and steamrolling.  As the song comes to its end our man is sipping down his favourite drink whilst exploring ideas of the ocean, escape and tranquility.  When trying to explore an origin and inspiration for the song I feel like there is a loneliness and sense of dislocation.  Maybe so-called ‘friends’ are shunning the hero and not as supportive as they should be.  Few could argue against the passion and conviction within the song; a number that shows underlying anxieties and heartache.  The Asian mojito is the remedy that is sought; the way to drift into a fantasy and perhaps forget the troubles surrounding him.  Maybe I am over-reaching but always like to drill down to the nub of the song.

Sameblod have crafted a terrific number within Asian Mojito.  The rest of Nostalgia E.P. contains plenty of colour and vibrancy; perhaps no song is as urgent and memorable as Asian Mojito.  A lot of Sameblod’s material is noted for its frantic past and rushing vocals.  A few of the lyrics get buried on Asian Mojito although not too many to cause a big issue.  With the simplicity of the lyrics it is clear that that cocktail and its effects is the central message.  The vocals are among the most instantaneous and memorable the band has come up with- they summon up a myriad of emotions and intentions.  The composition is something of rare beauty and wonderment.  Such a busy and detailed beauty you can’t help but get lost inside its magic and mystique.  Colours and sparkling notes put your mind in busy cities and among neon light- whereas the lyrics put you in a tropical climb- and it is a wonderful concoction.   By the time you hear the song and let it do its work you are compelled to go back and investigate it again and again.  Ensure you check out a wonderful song from a fantastic duo.

Not being the most ardent Pop fan I have been fascinated to hear Sameblod do their thing and kick ass.  So much of Pop relies on introspection and a rather limited vocal/musical palette- it creates a low bar standard which others seem intent on limbering under.  There are some great U.K.-based acts out there that are putting energy, fire and colour into Pop although they are a rare breed indeed.  The Swedish two-piece has shown what can happen when you put some imagination into your music.  It is true Nostalgia E.P. is not wall-to-wall joy and upbeat- there is emotion and some darker moments- although the abiding take-away is that of a duo intent on putting fun and passion into proceedings.  Before I take things to a close it is worth looking ahead to 2016 and which Pop acts could make an impression.  I mentioned I have reviewed some interesting Electro.-based Pop acts that could be creating waves in the near-future.  For my money there are too few original and memorable Pop artists that deserve closer scrutiny.  This country does a lot better when it comes to Alternative and Rock bands; we have some interesting solo artists coming through but there is too little quality and overall consistency.  Sweden is one of those nations that few musical eyes cast towards.  When it comes to the press here they tend to focus on homegrown talents- perhaps venturing on hot acts out of the U.S. - and negate the great artists coming from Europe and further afield.  I understand that it is vital to foster and nourish the best we have here although that often creates homogenisation.  What Sameblod produce is definitely worthy of some serious admiration and love, no?  Their social media numbers are climbing and the feedback they are receiving- when it comes to their latest E.P. - demonstrates how effective and stunning their music is.  They have not had to reinvent the wheel to elicit that kind of reaction and affection.  Taking some core and standard elements of Pop- love and life’s struggles; interesting scenes and characters- they have ensured their voice is original and pure; the compositions are rich and vibrant- essentially they are putting as much intrigue and thought into the songs as they can.  This attention and consideration results in music that has spiked a lot of excited eyes and ears.  Make sure you pick Nostalgia E.P. up and discover a five-track release that ranks among this year’s most compelling and original.  Sameblod are a fairly new act out of the blocks and have their best moments ahead of them.  It will be great to see how they develop and progress in the coming years.  Clearly they will be performing across the globe- let’s hope they come to London and play down this way- and giving fans a first-hand chance to hear the songs in the flesh.  I am confident there will be another E.P. mooted and the boys will be seeing what they come up with next.  Sameblod are a duo that has a big sound and clear knowledge of Pop.  By sprinkling electronic elements into something genre-blending- hints of ‘60s Power-Pop with something ‘90s-inspired- you have music that hits you upon first listen and reveals new charms and layers the more you listen to it.  With winter being among us we all need something warmer that emits something sunnier and joyous. Nostalgia E.P. provides plenty of heart and emotion but takes the trouble to lift the spirits and rouse the soul.  Asian Mojito is one of the (E.P.’s) tracks that get less attention- when you compare it with the rest of the songs- but to my mind it is the finest track the duo has created.  The title alone had me hooked and fascinated; the music contained within is spellbinding and hypnotic.  Few Pop acts understand the importance of energy and mobility when it comes to their songs so I hope more follow the example of Sameblod.  It only takes a few seconds to be completely invested in their music.  With so few comparable acts around I will be sure to follow their plight and see what they come up with.  Take a few moments out of your day to study a duo that is being talked about in very fond terms.  You may be unfamiliar with the Swedish music scene; you may lack a great insight into the Pop market.  Once you get onboard Sameblod’s train of thought and you will have your perspectives changed.  Nostalgia E.P. and Asian Mojito are mighty fine ways…

 

TO end the musical calendar.

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____________________________________________

Follow Sameblod:

 

Facebook:

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

Twitter:

https://twitter.com/sameblod

____________________________________

Music:

https://soundcloud.com/sameblod

___________________________________

Videos:

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

Album Review: Jonnythefirth- Beautiful Beast

ALBUM REVIEW:

 

Jonnythefirth

 

 

Beautiful Beast

9.6/10.0

Beautiful Beast is available shortly

GENRES: Alternative; Rock; Blues

ORIGIN:

Yorkshire, U.K.

TRACK LISTING:

In My Dreams- 9.5

We the Ammunition- 9.5

Black Feather Blues- 9.7

How Do You Sleep? - 9.7

So Young- 9.5

Flowers and Bones – 9.5

Hold On- 9.6

Nothing Without You- 9.6

I Am a Mountain- 9.6

Love Can Build- 9.7

Searching for the Key- 9.7

Broken Bones- 9.6

DOWNLOAD:

Black Feather Blues; How Do You Sleep?; Love Can Build; Searching for the Key

STANDOUT TRACK:

Searching for the Key

____________________________________

THIS is the first time I have reviewed an album in a while and I get to…

feature one of my favourite artists.  Before I mention Johhnythefirth it is worth bringing in some relevant points regarding male solo acts; albums from this year and Blues-Rock.  I have mentioned solo acts a lot and how limited they can be.  In the underground you have a fair few talented acts that are trying to do something original- for my money, there are too few that are standing out at the moment.  Having recently immersed myself in the music of 2003/2004 (weird but a good years no less) and the likes of Dizzee Rascal, The Streets and Alicia Keys unveiled stunning albums.  Over the last ten-or-so years, the mainstream has slowed and stagnated a little (when it comes to the solo realm) and the effect is taking its toll on new music.  Having so few genuine stand-outs in the mainstream is not encouraging for new acts coming through.  Too male solo acts are compelled to offer songs about love and relations; led by an acoustic guitar and wistful vocal- it seems to be the most popular configuration at the moment.  Even those artists that push the envelope lack necessary nuance and longevity.  It is a plight that is affecting the men of music (more than women) but is slightly worrying.  Those that have the most potential keep things varied and do something genuinely new.  It is great concentrating on love and relations- and doing acoustic numbers- but it is a cliché that is growing tired.  Jonnythefirth is an artist who is restless and never stays still.  One of the most innovative acts out there he is showing the male solo artists what should be done.  From his debut album-era Blues-Rock soakings his latest album expands his sound and shows a rare songwriting talent in full flight.  A U.K. version of Jack White, Jonnythefirth looks at older/quirky themes- coal pits and odd characters; there is a vintage wistfulness to his work- and is one of the most hard-working musicians out there.  As one half of Knuckle- a stunning two-piece reminiscent of Royal Blood- and a third of Crybabycry- a Yorkshire-based act fronted by Rosie Doonan- there is no rest is the pipeline.  Like White, Jonnythefirth’s most spectacular and memorable work comes when he goes solo- White’s work with The Dead Weather and The Raconteurs pales by comparison- and lets his individual voice shine.  Jonnythefirth came to my attention a few years ago when he released the album Broken Bones.  On that disc we got to see the young artist seduce through a 13-track album that promised much treasure and intrigue.  A confident and authoritative work it showcased a fond love of Blues, Rock and Alternative sounds.  These genres are often tried but few manage to really master them.

Although Jonnythefirth- in his debut album at least- had a leaning towards Jack White, his individuality and personality shone through.  Attesting everything from coal-mining to local villains, the album was rife with colour, heritage and modern-day contrasts.  Too many artists focus solely on love and do not really expand their sound and themes.  In 2015 there is no excuse to be so limited and narrow.  Johnnythefirth was exceptional early on and has stepped up his game on Beautiful Beast: an album that is tighter and more astonishing; sees the Yorkshire artist stretch his imagination and music to new heights.  This year has seen few genuinely great and memorable albums from anyone really.  Maybe an overstatement, I do not think there have been that many stand-out moments.  In terms of new music I have been hearing a lot of E.P.s and songs- few albums have come through.  The ones that have contain a few great tracks but that lack of consistency and nuance is quite telling.  Perhaps it is the financial pressures- the cost of producing an album is staggering- or a lack of imagination, but I hope 2016 brings the goods.  It seems that the innovation and surprise is dissipating: Jonnythefirth is an artist that seems incapable of limitation and quality-lack.  Whether more in the background (Crybabycry) or sparring with a bearded Ballwanks (Knuckle) he seems effortless and fully commanding.  As Knuckle’s guitar-playing half, Jonnythefirth proves himself to be one of the most assured front-men out there.  When going solo something else strikes my mind: there is that comfort and confidence that is hard to ignore.  Immersed in his own material he seems wrapped up in the words and everything sounds vital and electrifying.  It is great to see him release another album and when it is released to the general public- it will not be too long now- the reviews will be hugely positive I can tell you.  With a couple of tracks released at the moment- How Do You Sleep? and Searching for the Key are out- and you can just hear that confidence and ability radiate through.  With a lackluster music year stumbling to the finish line, Jonnythefirth puts some true potential back into the scene.  The next year will be an exciting one for the Yorkshire star.  In addition to the album release, there are sure to be tour dates and important gigs.  Continuing his work with Knuckle and Crybabycry, I am hopeful there will be new material from both- although there seems nothing confirmed at this stage.  What is clear is that none of the passion and ambition is missing from Jonnythefirth.  Like Jack White, Jonnythefirth can spend time with other bands without sounding fatigued or spreading himself too thin.  It is when he shakes off the additional bodies that we get the best material from the young artist.  Beautiful Beast showcases an exceptional songwriting talent with a load of years ahead of him.  I can see Jonnythefirth being a big festival fixture next year and being in big demand.  Make sure you investigate the cuts from Beautiful Beast (on SoundCloud) and get excited for what is to come.

Before I get down to a track-by-track assessment of the album, it is worth looking back and seeing how this latest release compares.  Broken Bones was where it all started really- the young artist released songs before but this was the debut album- and a huge expression of intention and ambition.  This 12-track album did not suffer any bloating or false economy- every track is essential; no fillers here sir- and gave the listener a great insight into Jonnythefirth and his mindset.  Just the Way I’m Feeling is a jubilant and rollicking opening featuring delirious horns and one of the catchiest choruses you’ll ever hear!  Fly Away is a chugging and machine-like stomp that is reminiscent of The Black Keys and The White Stripes.  So much grit and raw guitar work makes it one of the album’s most urgent moments.  Dirty Jokes is an instant firecracker that features catchy wordless vocals and a foot-stomping introduction.  A track that never loses its energy and delirium, it is another highlight that sees the hero our hero leaving “you all behind”.  Pitbull Blues is the album’s most snarling and animalistic number- hardly a shock given the title- that sees the sensitive hero let his emotions and passion explode.  With Sing for the Miners providing an acoustic-led emotional close and you have an album that offers huge diversity and quality.  Without missing a beat the album benefits from tremendous consideration and detail.  The track-listing is bang-on- each track is exactly where it needs to be to create a perfect balance- and there is no top-heavy/bottom-heavy issues- the end is just as compelling as the beginning.  What amazed me most was the confidence and authority that early on.  No weakness or nerves can be heard; like Jonnythefirth has been playing for decades!

Beautiful Beast is an album that continues where its double-d predecessor left off- although there has been a gap of 3 years- and shows no fatigue or lack of ambition.  Between albums we have seen the young talent produce tracks and put out material with his sister bands Knuckle and Crybabycry.  The public was aching for some solo material and expectations will not be disappointed.  Right from the opening salvo we get that same astonishing energy and passion that Broken Bones led with.  If anything the material sounds more urgent and confident than before.  When letting his voice soften and campaign Jonnythefirth sounds purer and more assured- showing himself to be a very versatile singer- and there is more of a leaning towards relations and personal investigation.  Broken Bones looked at political issues and character-driven stories whereas Beautiful Beast seems more personal and angered.  Whether inspired by personal events- relationship problems and the changing world- but the focus has shifted and a new agenda is on the table.  This actually works in favour it seems.  The jubilant and youthful passion of the debut was right and just what we needed.  Were that to continue here and it would not mark an evolution of step forward.  Jonnythefirth has aged slightly and he is concentrating on new ideas.  The latest album sees the Yorkshire master at his peak and more natural than he has ever sounded.  This is promising when it comes to future releases.  An artist that changes and mutates when needed- whilst keeping his core sound and personality intact- it will be fascinating to see how he develops.  Artists that spend time with other acts- Crybabycry and Knuckle are very distinct and different- would see lack of focus and concentration when it comes to solo work.  Jonnythefirth suffers no such fate and if anything brings those different strands and experiences into the fold.  Having spent time on the road with the two acts that extra confidence and assuredness into the studio.  With a leap being made and new ground being covered, I was excited to get down to reviewing Beautiful Beast.

The album begins with some entranced and languid electronic strings.  In My Dreams starts with our hero in poignant and mortality mood: “Take me to my grave/show me how I die”.  Letting his voice hover and stretch it is a stunning and emotional start to proceedings.  Our man is investigating his dreams and a man is coming to him (whether Death or a personal relation).  There is a lot of strain and anxiety that comes through in the lyrics.  The vocal remains focused and strong throughout- backed by a sparse and strummed electric guitar- and the listener will be gripped.  Just as a percussion beat kicks the song up, Jonnythefirth looks at funeral scenes and tear-shedding.  With nothing seeming right; there are those trouble dreams that haunt our man.  The mood expands as violin comes in to provide aching romance.  Swimming in a sea of confusion; Jonnythefirth puts out an aching plea and seems like he needs to prove himself.  When he says “I’ve got something to show you” his voice is at its tremulous best.  Maybe wracked by some doubts and fears there is that need to change things and turn his fortunes around.  Our man has been to the “depths of destruction” to reach an epiphany; he has sunk and is making his way back up.  The track never sounds too morbid or heavy-handed because of those passion and redemptive vocals/lyrics.  Sparks of electric guitar fuse with violin; the percussion keeps the heart beating and there is a hopefulness and beauty that shines throughout.  A heartfelt and stunning performance, it is a memorable and wonderful start to the album.  Showcasing Jonnythefirth’s urgency and memorability and we have a lead-off track that will stay in the mind for a long time to come- setting up the rest of the album wonderfully.

Following from the wonderful opening; We the Ammunition begins with firepower and a lot of energy.  Dizzying keys/electric guitar notes put me in mind of The Black Keys (their El Camino work) and gives the album a much-needed kick of Blues energy.  Our hero has been saved from the ocean and given a lifeline (by an unnamed figure) and has been given a “reason to live”.  Perhaps Beautiful Beast refers to life itself: it can be harsh and animal-like; it also offers beauty and humanity too.  After the sad and heartbreaking opening- where there were disturbed dreams and screams- we now have hope and life affirmation.  Kudos to the compositional elements which add so much vibrancy and emotion to the song- the percussion is especially meaningful and standout.  After the initial sentiments of redemption and hope, the composition is then allowed to go upfront.  The electric strings present a woozy and tumbling sound that create images and plenty of intrigue.  Our hero is “a liar” that seems to be on the brink of a relationship crisis.  It may be the case that his sweetheart is not as idea as she seems- she shoots and wounds just like everyone- and there is that sense that idealism and perfection are very far away.  Perhaps based on a relationship break-up; you get the sense of a man that has been affected by his girl- and showing his hurt and dissatisfaction.  Not able to see “the woods from the trees”, there is that feeling of civil war and balkanisation.  By the final moments- as those vibrating and buzzing notes end things- you start to take everything in and reflect- trying to get to the bottom of things.  Another wonderful and emotive track; it completes a stunning 1-2.

Black Feather Blues is right back in Broken Bones territory- separating the emotional balance to focus away from love/mortality/introspection.  From the opening yowl- our boy lets his inner-wolf howl out- and you get a grizzled and gin-soaked Blues guitar parable.  A feet-kicking and good-time swagger, Jonnythefirth goes back into the Wild West of Yorkshire- you can imagine a hoe-down in the coalmines as this song is played.  With his voice distorted you get that raw edge that makes the song even more authentic and dramatic.  “Our love is gone” as his woman put her spell on our hero- he is not cast in black feather and wondering where to go next.  There is wit, innuendo and vivid imagery among the stomping percussion and boozy guitars.  That buzzing and echoed voice tells of a bullet between the eyes; his girl has done him a favour now he is “going to die”.  Before you predict where the song is going, you get a delirious and stunning harmonica solo that gives even more chutzpah and spark to the song.  At every angle and moment you get a hell of a lot of energy and dance.  A contrast and distinct shift from the opening couplet (of the album) and you have an artist that is comfortable with anything he touches.  A ‘50s Blues excoriation that compels the fists to shake and the voice to reign; you cannot escape the sheer force of the song.  Few will be able to escape the black magic of the song.  The heroine has a heart “black as coal” and is causing distress in our man.  Now that things have gone sour (he) is not coming back- it seems this love has reached the end of the road.  In this number we get a tantilising slice of Bob Dylan- his Bringing It All Back Home period- and The White Stripes (who covered Bringing It Back Home’s Outlaw Blues) during their debut album.  The locomotive keeps chugging and grinding; the bass drives the song with a sheer force- that enraptured guitar never relents or demurs.  Towards the end, Jonnythefirth’s voice reaches fever-pitch and gets more pained- the full force of events taking their toll.  A scintillating joy-ride of love-gone-wrong emotions and you have a song that is one of the album’s highlights.

   How Do You Sleep? has been released on SoundCloud and goes back to the softer territory of the album’s opening couple.  An aching and emotive strum beckons in the track; a song that soon builds from the tender and emotive opening strings.  The album’s most intriguing number, its messages can be applied to political and love equally.  The opening line- “We’re fighting for what?”- is one of the moist relevant and prescient modern-day messages that can be ascribed to political turmoil as it could the inequities of love.  A song that could have come from Dylan’s early-career lyrics book; the song looks at being given a gun and sent straight to Hell.  Looking at needless war and the insanity of what it represents; Jonnythefirth ensures his voice is up front and can be heard clearly.  A somber and reflective song, the blood runs “all through the street”.  There is money and power; we are all “dead meat”.  As stones are thrown and (needless) war is waged; we all seem doomed and fated to a destructive end.  How Do You Sleep? is one of the album’s most stark and standout tracks: as relevant today as it was in the early-‘60s; those fears and anxieties perfectly document the feeling we all have at the moment.  Backed by ethereal and haunting vocals, you have a song that stays in the memory long after it has finished.  Innocent humans are felled; the news is a depressing thing- the state of the world is worrying and hugely disturbing.  Brothers and fellow man is killed- our man does not want to “march for country or king”- and you can hear that anger and fatigue come through in the performance.  A political song that hits the mark and is utterly compelling- peers and contemporaries are not as apt and intelligent when it comes to politics- and you have an artist who is authoritative and staggering whether he tackles love, politics, war or fantasy realms.  The song’s final manifestos look at the needlessness and pointlessness of warfare.  Given guns to hunt men like game; what the hell is the f****** point of any of this?!  A sobering and ever-relevant song that does more than act as a musical moment- it is a finger pointed to our leaders and ‘betters’.

   So Young is a song that does not stay in the crapulence of warfare and political insanity.  Once more we get some touching and soft string beginnings- reminding me of Nick Drake to an extent- as our man comes to the microphone.  A delightful and touching acoustic lead, our man is looking at the leaves.  Looking at the rain and we get a young man reminiscing about a time (perhaps better) that is on his mind.  The road is calling and it seems like there are concerns and fears in his mind.  Maybe wanting to return to better days- or unsure about his current plight and situation- and you feel like our hero wants things to improve and change.  Back to a time when he was young and care-free; there is a sense of regret and longing to be found.  Whilst the water is “falling on me”; the “blue skies are calling” and you have vivid images that soundtrack some emotional strains and a desirous need to return to days of the past.  Showing how versatile and effective Jonnythefirth is when accounting personal doubts- he does not suffer sameness and lack of imagination- and you have a song that many can appreciate and learn from.  One of the album’s most straight-forward and commercial songs; it is a song that showcases Jonnythefirth’s songwriting chops.  Our man has only memories and fond recollections; that need to revoke the past makes the song so heartbreaking.  That said, his memories are “all I need” so perhaps there is hope and satisfaction after all.  Not as wracked and anxious as one might imagine, it seems our hero might be okay in his current mould.  He has fond memories but has grown and is living a new life- perhaps things will work out for the best.  A song that inspires the listener to pen their own lines- “Water is thicker than blood/when you’re caught in the flood” was my ‘attempt’- you have a jewel that needs some repeated listens.

Flowers and Bones once more injects some needed sway and merriment to the album- and provides a nice switch-and-bait.  A waltz-like fairground sound welcomes the track and gets the listener standing to attention.  Our man is in political territory once more- although it is the politics of the street rather than universal warfare this time- and our hero has been in this position too many times.  Fighting and fisticuffs are reigning blood; the men are duking it out- a predicament that seems to be a definition of modern-day Britain.  Cryptic messages and memorable scenery- flowers up the nose and silly games being played- as Jonnythefirth is lost in doubts and confusions.  Having played this game, he is proud of the past and seems contented in his own skin.  Intoxicating by that oom-pah-pah swing, our hero lets it be known we are young “only once”.  Whereas previous numbers have looked at the need to go back to the past; here there is the message to live in the moment.  As fires burn and uncertainty rules, we are only young once- that need to grab life by the horns is paramount.  One of the album’s more minor players- although it has plenty of quality and plaudits- it sees Jonnythefirth in his most reflective and angry moments.  The composition is one of the most interesting and varied on the album.  Whereas other tracks are acoustic-based or exhilarating, here we get a mixture of emotions and colours.  There is a constant energy and momentum that keeps proceedings fascinating; the song never relents its voice or dies down at all.

  Hold On fades in and boasts one of the most interesting introductions on the record.  Spacey and echoed, there is a sense of entrance and fascination.  The hero is awake in his dreams and is laying his soul on the line.  Looking for certain someone- or perhaps they are looking for him- our boy is coming and will be there.  Letting his voice emote- one of the best performances across the album- there is a tear in the eye.  Sounding like John Lennon at times- and his solo work especially- you get waves of emotion and heartbreak.  It seems there are stresses, strains and obstacles to be faced.  Our man will be “right by your side/with a tear in my eye”; that declarative love and passion cannot be faulted.  Whether directed at a sweetheart or good friend, that noble sentiment and determination is hugely impressive.  With the composition being kept light and uncluttered- the voice is king here for good reason- you have one of the album’s most emotional resonate and pure moments.  Putting his feelings out there and sending a message across the waves, it will be interesting to see what inspired the song.  Leaving no room for misinterpretation Hold On is a song that shows how beautiful and emotive Jonnythefirth’s voice can be.  Seemingly expert when letting his voice emote- or rampant with lust when needed- it shows a sensitive and passionate side to the lad.  You get touches of ‘70s Lennon in the song which will draw in a new generation of listeners for sure.  With no cynicism or weak moments it is one of the album’s most compelling moments.

As we head into the final third of the album, Nothing Without You keeps that reflective and passionate voice firm.  The introduction sees acoustic strings create scenery and set the mood.  As the drum rolls and crackles, the song begins to build and expand.  Vivacious organ notes and percussion bond and get the listener swaying along with the sound.  A full-bodied and colourful composition, there is a return to the sonic innovation and sound of Broken Bones.  Before a note has been sung, the listener is hooked.  There are cracks on the skin of our man.  Deep memories linger and there is that central figure in the spotlight.  They are the pride and the reason he keeps on ticking- “I am nothing without you”.  Whoever the girl is, they are ensuring the hero keeps ticking and moving in life.  A pure love song with no agenda, you get our man putting his heart back on the sleeve.  The “clock on the wall” and “everything I hold dear” there is a purity and heartfelt tone that will appeal to everyone.  Whereas contemporaries can sound clichéd and predictable; here we get a song that sounds fresh and new- whilst exploring worn themes and over-represented subjects.  Caught in the midst of a vital and life-affirming love, that sense of lust and desire comes out in the composition.  Tumbling and shimmering strings mix with punchy and urgent beats to create something utterly compelling and entranced.  One of the album’s finer moments, Nothing Without You shows a sensitive side to the Yorkshire troubadour.  Showing how nimble and effective his pen can be; the song marks a step into love’s possibilities and positivity- addressing the subject with aplomb and a huge amount of emotional resonance.

  I Am a Mountain takes the album back into more energetic avenues.  Not as explosive as some numbers, it sees Jonnythefirth’s voice layered and at the forefront.  Our man is a mountain (for his girl) and goes into Country/U.S. Folk territory.  Projecting the sound of the Deep South and a good-ol’ sound; we see our hero take the listener into a new direction.  Whoever he is directing the song to, it seems that they need to grow up “or pack your bags”; go on their travels and make sure they pack bread- it inspires images and very vivid possibilities.  Yorkshire is directly references in a song with its heart firmly in the U.S.  A song that compels singalong and chanting, you cannot escape that chorus- something that sways and shouts with addictiveness and pure force.  Coming from “the land of coal”; she emanates from “the seaside town” you have two people from different climbs.  Our man’s face is weathered from the northern skies.  It is on this song where you get some of the most memorable and unique vocals- something that can only be penned by Jonnythefirth.  His girl comes from a harsh town and barroom brawls; he is beaten and exhausted by things.  I Am a Mountain is a song that is sure to delight live crowds with its catchiness and wonderful messages.  The composition is one of the most interesting on the record.  Violins come back in with a teasing and hissing percussion to create something that mixes U.S. Blues with Irish sounds; Bluegrass and Country mixes with Blues and Alternative- a song that causes the listener to smile and feel uplifted.  Certainly one of the most catchy and memorable tracks across Beautiful Beast, it shows how versatile and wide-ranging Jonnythefirth is.  One of the album’s longest tracks- it clocks at over 4 minutes- it does not feel over-long or lacking focus.  A great way to welcome in the final third; I Am a Mountain has single potential and could be one of those songs that will be a live staple.

Love Can Build takes us down into romantic territories once more- with the love-gone-wrong message and pure emotion- and begins with a light and tender acoustic string-led sound.  That aching violin is back in again and bristles with shivers and purity.  Spellbound and entranced, you get hooked into that shimmering and gorgeous sound.  Johnnythefirth lets his falsetto back out again- and into Lennon territory once more- our man is definitely the one.  His girl and he are having arguments and it “breaks me”.  That need to rebuild and move on is essential and there is a definite crack in the dyke.  Hate is tearing things apart and things are getting a bit too much.  He thought his “faith was enough” but his girl broke it down “like a lumberjack" cutting through wood.  Hate can tear love down and eradicate all it stands for.  Love can mend the soul and balm wounds; it seems things are too late here and there is no way back.  His girl is with another love and our hero seems affected and deeply affected by this tryst.  It seems like (him and his girl) has a pure love that has turned sour.  His voice trembling with emotion and heartbreak, you cannot help but sympathise with our hero.  One of the album’s definite highlight; you cannot deny the intentions and truth of the song.  There are no fake emotions or commercial pandering: Love Can Build is a song that shows what a sensitive soul our man has.  Representing the sound/tone of the album- the softer side of Jonnythefirth comes through across the record- the song distills and represents our man’s soul at its more pure and affected.  Not an easy listen at times- it can feel draining putting yourself in his boots- it is a song that shows Beautiful Beast in all of its sides- from the beauty love has to the beastliness of break-ups.

It seemed like (up until this point) Black Feather Blues was a one-off apparition.  With Beautiful Beast having so many acoustic-led songs- and tracks that deal with emotion disenfranchisement- it is good to hear Searching for the Key.  Whilst not as exhilarating and raw as Black’; it is a track that gets back to that U.S. Blues-Rock template- and a little glimpse back at Broken Bones’ sound.  This is the second track from the album to be released online and it is small wonder it has received such high praise.  The early guitar noodling gives the listener a bit of a red herring- it is an inventive way to kick off and ensures there is a break-away from the acoustic openings of past songs.  An aching and cooing vocal- once more lets his high notes come into things- kicks off the song.  Our man is searching for the key and wanting to be free.  Our man keeps on “cracking stones” and seems imprisoned and shackled to life.  With his body a slave and his mind overwhelmed he is searching for a way to relinquish the tyranny.  That fuzzy and buzzy electric guitar comes into play to add vibrancy and passion to the song.  A lemon-zest slice of Blues; you get hooked into the guitar and its hornets’ nest of sting.  Whereas previous numbers have seen our man scarred and hurt in love- having his heart broken and been screwed over once too often- here we have a more positive and hopeful track.  Although he is doing community service for life, there is hope that love will bring about a rebirth and reinvention.  I am unsure whether a particular girl in is mind- or whether it is a general plea to the masses- but it is clear our hero is looking for a sweetheart to help ease the burden.  Echoed vocals mutates into a rapturous and explosive break-down of drums and guitars.  Heavy and pulsating, there is a monster riff that strikes across the heavens.  Our man lets his voice shout and screech through the mire.  The percussion pummels and punches whilst the guitar crackles and vibrates with snarling teeth.  One of the most rapturous and intense vocals on the record, it shows our man at the peak of his passions.  Searching for love- and his mind “like a disco ball”- you cannot shake off that intensity and overwhelming passion.  One of the album’s longest tracks- it never feels overlong or needlessly loquacious- it is a song that is utterly compelling from start to end- and marks as the album’s standout track.  So much buzz and paen has been paid to this song and it is not hard to see why.  Recalling his debut album’s sound and raw raggedness, it will also entice many new fans- it is a hugely electrifying track.  Recalling Grunge and ‘70s Hard-Rock- you can imagine Led Zeppelin tackling something like this- you get such a mixture of musicians and images.  Little shades of the guitar greats- Hendrix and White; Clapton and Kirk Hammett- come to mind as the song intoxicates fully.  Our man is a pile of broken bones; his girl will be that which sets him free.  “Love can build a home/if you can find the key”.  Our hero is searching for the key and previous songs are named-checked- including We Are the Ammunition and Nothing Without You (with Love Can Build)- which is a nice little touch.  It is clear Jonnythefirth has been affected by heartbreak and strains in the past.  At this stage he is looking for love and seeking something meaningful.  Beautiful Beast acts as a concept record: from the opening number to this moment we get a progression and definite story-line unfolding; emotional arcs that could fit into a stunning and emotive whole.  A track that is unpredictable and interchangeable- it alters course without a moment of notice- it is a huge and dramatic tracks that declares the necessity of love and all it can bring.  Wanting emancipation and freedom, you are campaigning to see our boy gets it- he certainly deserves love and comfort.  It is the album’s longest track but any shorter and it wouldn’t be as good- that is why it is Beautiful Beast’s most vivid, spectacular and animal-like jam.

Ensuring the album ends with some kick- and direct references his debut album- and Broken Bones arrives.  A cheery and upbeat guitar opening sees that momentum and pace continue.  Country-fied and skipping, the track sees our man with heartache and “black eyes from the girl who loves me so”.  Our hero has nobody fighting his corner and is stressed by the modern world- including headaches from mobile phones.  A song that harks to the past- with its old-time sound and sensation of U.S. Bluegrass- and taps into modern concerns; the river-flow pace and scatter-gun vocals are arresting and brilliant.  When our man was a little boy he thought he would be “the king of everything”.  Now he is grown he would rather be a fool than a king- maybe harking to political issues and ineptitude they display.  Having gained nothing from the town he was born; our man misses that “shitty town” and is headed back home.  Nose bleeds and black eyes seem secondary to the biggest issue of all: regressing to a town that is undesirable and crap.  People have abandoned our man- he has gained nothing from his hometown- and it ends the album with a few questions looming.  You wonder whether our man is running away from love’s woes and has abandoned his ambitions and desires.  Maybe he is feeling homesick and wants to revert back to a childlike state.  Perhaps the answer is simpler: he is out of ideas and just need to think things through.  Whatever the answer; Broken Bones is a fitting swansong and it will be fascinating to see how he follows it up.

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There will be a lot of people looking forward to a new album- even before Beautiful Beast has dropped- as the latest cut shows Yorkshire’s Jonnythefirth in fine form.  Whereas Broken Bones was Blues-Rock heavy and concentrated on heavier sounds; on Beautiful Beast we get a sonic and tonal shift.  Maturing and developing as an artist we are witness to a transformation.  Jonnythefirth keeps his voice and writing intact but instead goes for a softer and more emotional sound.  Broken Bones was a raw and White Stripes-esque affair that was more synonymous with its characters and heavier sound.  Not having abandoned that template at all- Searching for the Key and Black Feather Blues harkens back to that sound- our hero has opted for a more sensitive and tactile sound.  Whereas the debut album was a chance to get inside the imagination of a young man; here we are offered a chance to get inside the heart and soul of a man.  It is a change that has not resulted in any quality dips or issues.  There are one or two songs (on this album) that do not burn as pure and bright; for the most part Beautiful Beast is an accomplished and hugely impressive effort.  I know how hard Jonnythefirth campaigned to get the album funded- and how much effort he puts into his music- and that comes through in every track.  Due to the emotional balance and confidence on this record we get a natural development from Beautiful Beast- an album that surpasses Broken Bones whilst keeping its vibrant alcohol-soaked sound in place when needed.  The two tracks that are online now- Searching for the Key and How Do You Sleep? - perhaps best represent the sides of Beautiful Beast.  The former showcases a man with a sensitive soul and a need for love.  Doing this with some vibrant Blues-Rock sounds- and a composition which evolves into something monumental- and you have a great emotional balance.  The latter shows a political edge that is very apt at the moment.  Broken Bones had some political moments although nothing as intense and focused as this.  In a time where terrorism and hostility are a daily horror, the song is almost a soundtrack for our times (sadly).  It would have been nice to see a Just the Way I’m Feeling-type track on Beautiful Beast although it is a minor critique.  Jonnythefirth is in a different place now and has been through the emotional ringer.  There is plenty of positivity afoot but his soul and heart have been dented and betrayed the last couple of years- it is appropriate the album reflects this rather than trying to laugh it off or disguise it.  Whilst most contemporaries- who put out an album of heartbreak- would be boring and clichéd Jonnythefirth’s musical gifts and songwriting abilities transcend the songs to ratified heights.  That personal pen and voice dictate proceedings and ensure that the album sounds like an original and distinct creation- perhaps more so than the debut it seems.

Congratulations must go to our hero and the musicians that help create such a stunning record.  There is such a wealth of musical colour throughout the record.  Bringing in violin to the fold and you get plenty of romance and swooning passion- it is an instrument that is sadly lacking from a lot of modern music- that gives the album some of its finest moments.  Our lead’s guitar chops are at their best and hugely impressive.  From the monstrous riffs of Searching for the Key to the guttural and cigarette-strewn burn of Black Feather Blues; there is more depth and range now.  The more emotive and love-affected numbers see the acoustic guitar shine bright and linger in the memory.  The percussion beats are constantly impressive and essential.  Giving the record its tangible heartbeat and energy, the percussion is more developed and nuanced than on previous efforts.  Throw in some guiding and melodic bass; some wonderful keys and production values that are exceptional throughout and you have one of the most assured and impressive albums this year.  Not yet available to the public, ensure you snap up an album that is set to be one of the best you’ll hear.  Whether you are new to Jonnythefirth (or not) it will not matter: the music transcends boundaries, tastes and expectations- the Yorkshire lad has upped the game and shown just how what a musical talent he is.  With a mighty sharp pen- deftly able to convince when political, heartbroken and plain vengeful- it is worthy keeping your peepers on the bearded wonder.  Whereas the likes of Jack White are starting to fade slightly- The Dead Weather are not at their best; The Raconteurs may be over- it is stunning to see such a busy musician remain focused and consistent.  Whether Knuckle and Crybabycry continue working into 2016 it is clear Jonnythefirth will be a man-machine on a musical quest.  From its vivid album cover to the wealth of treasure throughout, Beautiful Beast is a staggering album that begs for repeated listens and a keen ear- an album that rewards those who adore music and all it stands for.

Beautiful Beast is a beautiful, bright and varied album that sees Jonnythefirth at the top of his game.  The genesis and birth of the album was a challenging one.  Like a lot of musicians, there was a Kickstarter campaign to ensure funds could be raised.  Due to generosity and plain common sense he hit his target and was allowed the chance to get into the studio.  With modern music being sticky and troublesome- the funds and commitment needed are extraordinary- it is a relief to hear the bearded wonder back doing what he does best.  I loved Broken Bones for its Blues-Rock passions and mix of emotions- from the uplifting Just The Way I’m Feeling to War Song’s swooning romance and unforgettable imagery-  but find Beautiful Beast to be even better.  The exceptional production values and songwriting standards are all intact yet Jonnythefirth seems more confident and committed than he ever has.  The material is more varied without losing focus; there is more a political edge (whether influenced by recent events) and the whole album sounds completely intoxicating.  Before signing off on this one- a relief for those who have made it this far I am sure! - it is worth circling to my main themes and predicting the future for Jonnythefirth.  Blues-Rock and Alternative sounds are difficult ones to tackle and I find a lot of artists/bands can get the mixture right.  That said, I have heard too few great examples coming through this year.  Too many artists tend to replicate other acts and go for stadium-sized anthems and Foo Fighter-esque jams.  What Jonnyhefirth does is produce songs that have that Blues-Rock heritage- the classic sounds the likes of The White Stripes and The Black Keys play- whilst giving it a modern twist.  It is not just the sound which is exceptional but the subject matter.  Pulling in some disreputable characters with political motifs; romantic disentanglement with personal introspection- you have a songwriter with a vibrant imagination and a clear passion for music.  What strikes me about Beautiful Beast- and indeed Broken Bones and subsequent work- is the compositions and vocals.  Jonnythefirth cannot be easily compared with other singers out there- keeping his accent intact and not making it sound American and fake- whilst the compositions bring in brass and Yorkshire bliss with some U.S. Blues grit- throw in some ragged and raw guitar sounds.  Make sure you snap up Beautiful Beast when it is released: the album is contradictory, stunning and beautiful as its title suggests.  The Yorkshire lad has done proud and produced an album that ranks as one of the best I have heard in several years.  The male solo realm produced too many acoustic-led artists that put their heart on their sleeve and leave it there.  Love is a subject matter that is hard to make original and completely fresh.  Those acts that use it is a spring-board- whilst concentrating on issues separate from this- are those that have the longevity and pick up the originality points.  The girls of new musical have been leaving the most indelible footprints on the music of 2015 and it seems like that make continue into the following year.  I am not sure what is happening with the solo chaps at the moment: there are a few genuine kings out there yet few fulfill any sort of real promise.  This review is not a passion piece but a genuine investigation of one of music’s most innovative and stunning solo talents.  Someone wholly passionate and in love with music; Jonnythefirth is an artist that understands the importance of originality, diversity and expanding the imagination.  Within Beautiful Beast we get political distress, personal quests and heartfelt pleas for love.  That sensitive-cum-raw outer skin is the mark of an artist who can paint in vibrant colours without losing authority; he can dim the lights without casting everything in pitch black- essentially he can cover a myriad of subjects/themes and make everything sound compelling and fresh.  I am sure the next year will be a busy one for Jonnythefirth- if he spends some time in the studio with Crybabycry and Knuckle- as he will be embarking on tour dates.  Beautiful Beast is an album that will see the Yorkshire ripper (in a musical sense not the serial killer) seduce and conquer the musical world.  A songwriter who gets more fascinating and strong with each passing release; someone who is going to be a huge name in years to come.  I hope he comes and plays a London gig soon- there are venues that will be lining up for sure- and it would be great to review/interview Jonnythefirth (and share a few beers) and catch up.  For those new to the music of Jonnythefirth ensure you do not miss out and get involved.  Few modern artists have the ability to stick in the mind and offer quality and amazement on every release.  Here is an artist that has produced an album that is rife with passion, nuance and glistening gems.  With that considered it seems…

BEAUTIFUL beast is a very rare species indeed.

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Follow Jonnythefirth:

Facebook:

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Music:

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This Week's Albums: December 6th, 2015

This Week’s Albums

 

 

December 6^th, 2015

 

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

 

that doesn’t rhyme”.  I do a D.J. gig every week at The Stoke Pub and Pizzeria (https://www.facebook.com/TheStokeGuildford?fref=ts); I have the opportunity to play four different albums: one that is ‘old’ (to my mind, anything pre-1985), something ‘new’ (released brand-new that week); something influential (and has inspired a genre/other acts) - in addition to dealer’s choice (any album I choose).  Having done this for over a year-and played everything from Graceland to Pearl Jam; FKA twigs to Beastie Boys- it is enormous fun.  I get to talk to people about music; play some awesome stuff- turn people on to some great/forgotten sounds- well, I try to!  I shall publish this every week; try and highlight some fantastic albums- maybe some you have forgotten about.

The Old:  Santana- Abraxas (1970)

 

8.5/10

A musical maturation from the early days; Abraxas mixed Jazz, Blues, Salsa and Rock into an explosive and stunning mixture of material.  Whether tackling Fleetwood Mac’s Black Magic Woman or going into instrumental territory (Samba Pa Ti for one) - everything sounds compelling and sensational.  Not just a chance for Carlos Santana to stand in the spotlight; a host of musicians come into the mix to add to the album’s diverse and accomplished sound.  Santana’s love of the guitar never ventures into aimless riffs and vague sentiments- there is so much texture and colour within the music.  With that love of Latin and Blues you get a cross-genre blend that sounds effortless and hugely original.  Abraxas was an album that stands as Santana’s peak- inspiring fellow musicians in its wake.  Black Magic Woman/Gypsy Queen and Oye Como Va stand as highlights- tracks that showcase the guitar chops of Santana and his band’s stunning musicianship.  Were Abraxas released today it would sound alien and out of place.  Arriving at the beginning of the ‘70s the album sounded utterly right and perfect.  Whilst Santana would go onto making more varied and collaborative albums- the likes of Supernatural stand to mind- he never made a finer one.  For that reason ensure you revisit this album and discover a guitar icon at his very peak.

DOWNLOAD: Black Magic Woman/Gypsy Queen; Oye Como Va; Se a Cabo

STAND-OUT TRACK: Black Magic Woman/Gypsy Queen

[youtube https://www.youtube.com/watch?v=95H1MegGgao&w=420&h=315]

The New: Coldplay- A Head Full of Dreams

 

6.5/10

In a week of weak albums- neither Amazon nor H.M.V. had Kid Cudi in stock- I was compelled to look at Coldplay’s latest effort.  It is a classic three-star album- not their worst effort but not up to their best- but the positives are encouraging signs.  Whereas Coldplay’s previous effort (Ghost Stories) was a somber and reflective work- after Chris Martin’s ‘uncoupling’ from Gwyneth Paltrow- A Head Full of Dreams is a vivacious and colour-filled about-face.  Latest single Adventure of a Lifetime is replete with carefree Funk and flute loops.  A sun-kissed and effusive track; it stands as one of the better cuts from the album.  Elsewhere the band go into R ‘n’ B territory- Army of One dabbles with surprising conviction and assuredness- and there are plenty of tracks to recommend.  A few Coldplay issues still remain.  Martin’s lyrics are still unspectacular and mindlessly clichéd whereas the band’s inability to progress/develop- there are wordless chants and inspirational quotes a-plenty- ensure it is business as usual- which does hinder any signs of evolution.  There is more ambition on this record yet it feels more like a band treading water.  There are some needless fillers and weak moment but there are positives too: A Head Full of Dreams shows the band is willing to stretch their sound and try something a little different.  Let’s hope their next album sees a more compelling exploration of this; a break from their clichés and routines- more of the magic that we witnessed on Parachutes.

DOWNLOAD: A Head Full of Dreams; Adventure of a Lifetime; Army of One

STAND-OUT TRACK: Adventure of a Lifetime

[youtube https://www.youtube.com/watch?v=QtXby3twMmI?list=PLpMUJrYyZ562JrYQ7O4R3kdhRSumv_mup&w=560&h=315]

The Influencer:  Pixies- Come on Pilgrim (1987)/Surfer Rosa (1988)

9.5/10

Few bands have been as influential as Pixies.  Surfer Rosa inspired Nirvana hugely in its quiet-loud dynamic.  A daring and audacious release; Surfer Rosa showcased the sensational guitar range of Joey Santiago; the punchy and tight rhythms of Kim Deal and David Lovering- supporting Black Francis’ animalistic and demented shrieks.  The humour and wit is evident throughout- including Bone Machine and Tony’s Theme- whereas Where Is My Mind? tackles softer Pop-inspired avenues.  A record packed with everything from epic explosions (Vamos) to the voyeurism of Gigantic; it is endlessly mind-blowing.  The E.P. Come on Pilgrim was released a year before Surfer Rosa and showed a band with a huge amount of authority.  The inexpensively-recorded E.P. - a result of a demo tape paid for by Black Francis’ dad- showed grit, raw passion and boundless confidence.  From the surfer-girl tribute Ed is Dead to the eerie and execrated Caribou- it is an eight-track collection that shows no weakness or repent.  Taking on harder issues and grey area- the incest of Nimrod’s Son and I’ve Been Tired’s sexual frustration- Come on Pilgrim is an essential and fascinating study of a band that would change the face of music.  From the likes of P.J. Harvey to The Smashing Pumpkins, few can deny the legacy and important of Pixies.  Surfer Rosa/Come on Pilgrim is a double-disc study that has often been studied/replicated but never bettered.

DOWNLOAD: Caribou (Come on Pilgrim); Nimrod’s Son (Come on Pilgrim); Where Is My Mind? (Surfer Rosa).

STAND-OUT TRACK: Caribou (Come on Pilgrim)

[youtube https://www.youtube.com/watch?v=3sW3zoANMp4&w=420&h=315]

The ‘Other One’: Yeah Yeah Yeahs- Fever to Tell (2003)

 

8.5/10

This Grammy-nominated record was considered one of the finest creations of the ’00s- hardly surprising when you really delve into it.  Before this album- this was the band’s first full-length foray- the New York clan produced E.P.s.  This allowed the public to see a group shift and grow in confidence.  Abandoning the Garage-Rock/Punk of their self-titled debut to something more focused and sharp (Machine).  There are a few issues on Fever to Tell- the sequencing means the tracks are poorly laid-out; the heavier sounds and ballads are not evenly-distributed and in the wrong place- whilst the 37-minute running time means it is not as urgent and concise as their E.P.s.  That being said, the highlights more than make up for it.  Black Tongue is a raunchy and swaggering number- with its images of “let’s do this like a prison break”- Date with the Night is a frantic and insatiable rush of a track.  With Karen O’s vibrant and not-of-the-earth vocals backed by Nick Zinner (guitar) and Brian Chase (drums) and you have a powerful and unstoppable trio.  Yeah Yeah Yeahs were not all about force and screwed-up sexuality.  Maps is a stunning beautiful and sentimental stand-out whilst Pin and Y Control show genuine heart and introspection.  Perhaps uneven and hard to take at times the album showcases an immense amount of originality and balls.  How many other albums promise that?

DOWNLOAD: Date with the Night; Black Tongue; Maps

STAND-OUT TRACK: Maps

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

Track Review: The Mono LPs- Christmas Time

TRACK REVIEW:

 

The Mono LPs

 

Christmas Time

9.5/10.0

Christmas Time is available at:

https://www.youtube.com/watch?v=Zlr5cinMhds

RELEASED: 28^th November, 2015

GENRES: Alternative; Indie

ORIGIN:

Liverpool, U.K.

© 2015 The Mono LPs. The Mono LPs have teamed up with Pancreatic Cancer U.K. to raise funds and awareness for the charity. All profits of the single go to Pancreatic Cancer U.K.

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FOR today only it is time to look at a Christmas song…

albeit one with a difference.  There are a lot of different Christmas songs coming out at the moment- mainly from the music underground- and it raises an interesting point.  Historically, we always think of Christmas tracks as cheesy and quite offputting.  Having been hearing them for the last few weeks- they seem to be piped constantly in every shop- we have all had enough exposure to the songs we have heard for years.  I understand shops/businesses want to get people ‘in the spirit’; yet it seems to be overkill at the moment.  It is nice to hear the old favourites closer to the day but most people have had their fill already.  That said, when a new Christmas song comes along, it not only provides a chance to hear a new song- it allows you to still feel Christmas-y at the same time.  Before I mentioned my featured act, it is worth looking at the nature of Christmas songs.  Most of the tried-and-tested classics relate to togetherness this time of year.  Whether someone is driving home for Christmas (Chris Rea) or just celebrating the day in all its fun and frivolity (Slade; Wizard etc.) there seems to be a range of emotions and possibilities.  The Christmas songs I have always loathed are those without a message or true meaning behind it.  It is all very well producing something uplifting and embracing: if it does not interest you with its lyrics and themes then its appeal is going to be short-lived.  The likes of Wham! and The Pogues remain seasonal favourites; not only because of the quality of the song but what it says.  It seems like a strange point to labour yet the best and most memorable songs have a key message and something universal to them.  When it comes to Christmas songs, too few actually dig deep and put their mind to it.  I think we all get a little tired (of Christmas songs) because of those cheesy and rather obnoxious numbers that do not do anything but cloy and irk.  My featured act have not only produced a great Chritmas song- it is one with a great message that is modern and relevant- but the music and vocals are memorable too.  So many Christmas tracks suffer in one department- overly-emotive vocals or a stupid composition- yet the Liverpool band have taken great care to ensure their latest track possess quality in each department.  The Mono LPs consist of:

Ste Reid - Vox - Songwriter - Guitar

Vicky Mutch - Cello - Backing Vox

Chris Barlow - Bass

Daniel Beech – Drums

Before I raise a new point- and get down to the music itself- it is worth noting the band is raising funds for Pancreatic Cancer U.K. - no pressure to buy!  It is impressive and note-worthy finding musicians that generate music to help charities- it is something that does not happen too often.  This time of year is synonymous with giving and kindness so perhaps it is fitting that something like this has happened.  Perhaps The Mono LPs’ altruistic approach to music will rub off on fellow bands- we can only hope so.  Not just a commendable move, the song in question- which I shall get down to shortly- is one of the best they have produced.  The band market is busy and hectic at the moment- as I keep mentioning in reviews- and I always love seeing the variation and types coming through.  Liverpool is one of the most interesting areas for music at the moment.  Recently I have mentioned cities like Leeds and London- when it has to come to my reviews- and it seems like the north is hotting-up right now.  Liverpool has always been at the musical heart and produced some of our finest acts.  I have never visited the city but I know a lot of bands and act up there.  Everyone really says the same thing about the city: the heritage and communities there inspire great music.  I cannot speak for other areas; it seems Liverpool has a lot of great and supportive acts that is helping to inspire a great scene.  Vibing off the history and legacy of the city, many young bands are stepping to the plate and putting out some wonderful music.  The Mono LPs have had quite a busy time lately and are planning moves for 2016.  I love the sound of the band as they are one of the most original and immediate acts out there.  The direct and passionate vocals sit inside stunningly addictive and tight compositions.  The entire band has a great connection and sound that has seen them invigorate critics and draw in a lot of fans.  A few days ago the band put out Die a Little Death (Deluxe): a collection of live/studio recordings that drew in some of their past recordings.  A chance for fans to see the guys in a different light/setting; it is a collection that new fans should get hold of.  Bristling with memorable songs and wonderful moments it is clear the band is going to be a name to watch.  I put a lot of recommendations out there- when it comes to the bands who will hit the big leagues- yet it seems apt and appropriate with regards the Liverpool clan.  It is not just their consistency and quality that amazes me but the attention they put into their music.  Few other groups spend so much time to ensure their music differs from the competition.  It will be great to see the guys come up with a new E.P. in 2016: a chance for fans to witness something new; what is on the band’s mind at the moment.  As it is, it is well-worth checking out Christmas Time: one of the finest Christmas songs over the last few years; something that shows a lot of heart and spirit.

Before I get down to investigating Christmas Time, it is worth looking back at the band’s back catalogue.  Last week the band released live/acoustic versions of some of their biggest songs- including The Flame and Emilia.  6 a.m., Die a Little Death, Giving It Up and Emilia are the songs that stick in mind with regards The Mono LPs.

  6 a.m. is a tender and calming number that begins with hypnotic acoustic strings.  Our lead arrives at the microphone to produce an aching and evocative story.  Speaking to a lover, there is declaration and passion in spades.  Backed by an aching and romantic cello line the song is one of the tenderest and pure I have heard in a while.  Putting me in mind of Crowded House- and their Woodface period- the track boasts a hugely evocative and effective chorus.  Building and exploding in time, our man will “try to believe”.  You know there is some history and backstory to proceedings and are fascinated to know its origins.  A heartrending and shimmering love song; it is not just the lyrics and vocals that impress.  The entire band come together beautifully to create plenty of passion and drama- it is one of the most committed and compelling performances they have put to tape.

Having been released two years after 6 a.m. (which itself was released four years back); Die a Little Death saw the Liverpool group alter their sound slightly.  Keeping that lyrical fascination and depth intact, the abiding sound is more Blues-Rock and Alternative.  Rampant and rollicking, there is even a touch of Flamenco/Latin music to be heard- the percussion and rums flourish and dance.  A catchy and sing-along chorus is only the start of things.  Drawing in vocals from Vicky Mutch, it is a fully-rounded and nuanced song that shows how adept and malleable the band is.  The song looks at our hero feeling lonely- when he is with his girl; she says he is “good for nothing”- and there is a lot of anxiety and recrimination in the song.  Vacant eyes and hollow souls are looking in the mirror; a sense of loneliness and loss pervades the track and is hard to extricate one’s self from.  That catchy and rousing chorus is hard to ignore and Die a Little Death ranks as one of the finest tracks from The Mono LPs.

   Giving It Up- recorded a year ago- saw the band carry on from Die a Little’ and its sound.  Perhaps more taut and menacing than that track; we see Mutch join in the vocal work and the entire band produce something exhilarating.  The most spiked and swaggering track they have produced it is a song with layers and huge depth.  Those Blues-soaked guitars swing and strut around as our man lets his voice do his work.  There is sexuality, submission and false economy being surveyed.  Straying away from the pure aesthetics of love and relationships the band take in modern-life concerns and fairness- a rallying cry of sorts for those disaffected and underfoot.  The composition stands out on Giving It Up: one of the most memorable they have produced, the entire band sound completely in-step and focused.  One of the shorter songs in the band’s cannon- it clocks in at 2:30- the band shows their concision and economy.  Unlike previous numbers, this is one of the most Rock-driven and Alternative-themed tracks they have produced.

  Emilia is another granite-sliced and hard-hitting song.  With a shivering and quivering cello line running in the introduction, the vocal duo come together for something exhilarating.  Our man was left in the “pouring rain”- with no money for a bus or train- so is hitching a ride.  I get slices of The Black Keys, Led Zeppelin and legendary bands within the track.  The composition shows real emotional depth and intelligence.  The guitar lines and riffs mix beautifully with the classic elements- that quivered and spine-tingling cello keeps coming back.  An hot-bloodied and stunning track, it shows a natural development and confidence.  Perhaps the band’s finest-ever song; Emilia should be a staple of the airwaves.  Once heard it is impossible to forget and it seems like a song that would be a live favourite.  Over the months the band has gained confidence and get better with each new release.

It will be fascinating to see where this improvement takes them.   Christmas Time embraces their earliest days- and the softer elements of 6 a.m. - and injects some of their more recent Rock elements in too.  With such a staggering sound- and a great diversity and authority- I am sure 2016 will see something truly special come through.

Everything has been leading up to the shining star in the musical sky: Christmas Time is the latest song from the marvelous people of The Mono LPs.  The opening seconds are dedicated to some aching and seductive cello strings.  Putting my mind towards the likes of The Cinematic Orchestra- and their most assured and compelling numbers- and you have something instantly gripping and memorable.  Romantic and swooning, there is a lot of dignity and reverence in the opening moments.  Evolving from that solo string work, the band elicits a slight percussive hiss before transcending into a gorgeous piano coda.  Paced and elliptical; the sound augments that romantic edge and wistfulness.  You start to picture yourself in Christmas climbs and surrounded with candles and lights- the music video shows the band performing in a room abound with candles.  I instantly notice the production here which is among the most assured and captivating of the entire band’s work.  The introduction is crisp and clean without being polished; the piano notes shine through and the cello strings sound utterly beautiful.  The best representation of this production quality is in the vocal which gets straight to the heart.  Our front-man is at piano and laying his heart on the line.  The opening lines see his heroine breathe into the winter’s air- her cheeks are rouge and the scene is set.  I get pictures of the heroine and central figure- each listener will have their own interpretation- and the scenery is instantly set.  Perhaps snow-filled and silent, you get images of streetlights and a crisp night’s air.  Our hero is certainly entranced in his thoughts and paying tribute to someone very special.  Even though the sweetheart is being attested- and it is someone that seems very pure and loveable- she is “not around”.  As I piece things together- including the reason the song is recorded (to support pancreatic cancer) and those words- it seems like the loved-one is lost.  Instantly you may think of a lover or mother- someone very special to lead- and the fact that she is sadly departed.  Perhaps it is me over-interpreting with gloom shades yet the song has that haunting and touching sound.  Solemn and sensitive, you get enraptured in the words and cannot help but sympathise with our hero’s plight.  Among those tender and stunning vocals there is a shimmering and standout cello sound that cannot be overlooked.  Reminding me of Nick Drake- and his work across Five Leaves Left- you can compare it with Way to Blue and River Man.  It is a perfect and sparse combination that says so much with a few notes.  Were there a lot of guitars and percussion sounds in the fold then it might distill the beauty and intentions.  The song never sounds mordant or overwhelming at this stage.  Defined by its soulfulness and heart, you cannot escape the beauty that is emitted.  Our man recalls moments when he (and his subject) climbed a hill on the way to the chapel.  With that distinct accent coming through- The Mono LPs do not Americanise their vocals and retain their home-made sound- and the picturesque scenes; you get a very detailed and recognizable scene.  As the duo walk, the brass band plays on- and my mind starts to re-project the scenery.  It is quite a Christmas-y theme and tableaux that is unfolding- we can all imagine the sort of scene and images that are being presented- and it puts a smile on the face.  My thoughts stray away from remembrance and post-mortem tribute- not sure why it went there to begin- and we have a scene that puts you in the Christmas mood.  The Mono LPs have always been master of the chorus and there is no change here.  Not too unctuous and sickly, instead we get a composed and passionate chorus.  It is Christmas time- and we should sit and drink wine- as the song starts to get inside the mind.  Finding yourself swaying along to the song- and captivated by its heart and sound- it is a track that never relents or slips at all.  Such a gorgeous vocal and melody- Reid and Mutch combine in voice- as the lyrics look at remembering and the sun leaving the sky.  As the night leaves the day (the duo) reminisce about all they “used to say”.  Before you get too engrossed in that vocal, the cello comes back in to producing something gorgeous and wondrous.  A brief bit of percussion- tied to some acoustic guitar strum- adds to the energy and passion of the song.  As my mind drifted away from recollections of times past- and recalling someone who has passed sadly- I return to those themes once more.  Maybe our hero has a particular person in mind that he has lost- either romantically or has departed- and you cannot help but to suppress a tear.  Never succumbing to anything too heavy-handed or depressing, the song is nothing but beautiful and memorable.  Whereas most Christmas songs let the sickly-sweet rule the roost- with subject matters that do not really dig that deep to be honest- it is refreshing to hear a song that is concerned with real issues and something human.  Christmas Time is a song that can be appreciated and understood by all in its sentiments.  Whatever the truth behind the lyrics; you cannot help but to pick the words apart and see where they emanate.  Our lead looks at days when we “were all fine”.  By the closing moment that chorus comes back in as you cannot help be entranced and hooked by that chorus.  Having watched the music video- and seeing the band perform in a candle-lit room- it is a hugely touching and unforgettable song/video.  As the closing notes play- the cello comes in to produce something appropriately conclusionary and ethereal- and you end a song that is truly special.

If it weren’t for the chorus- and perhaps a few of the lyrics in the verses- the song could easily be about romance or… well anything else.  It is not a traditional Christmas song in any sense.  It does not look at gifts under the tree and kids waking up excited and deals with something more mature and important.  I mentioned the significance of messages and meaning in songs: Christmas Time pulls away from the cliché and shallow sentiments of the past to address something deeply personal and yet universal.  Some mystery and obliqueness linger in the lines- as to the true meaning/significance behind the words- but that only adds to the beauty and weight of the track.  Reid and Mutch are particular impressive on a track that has harder edged- the chorus is rousing and memorable as they come- but plays with something softer and more gentle.  A track whose lyrics and images are pure and heartfelt, it is that vocal that perhaps resonates longest.  One of the purest and most emotive the band has produced, you know how significant the song is to Reid.  When Mutch lets her cello play, you get the most impactful hit of beauty and serenity.  Able to conjure images, colours and soul; it is a tabluea that soothes the soul and is not easy to forget.  If you want to a Christmas song that differs from the predictable mass of sugar-sweet then check out Christmas Time.  A track that has deep meaning and  relevance- and is raising money and awareness for a very serious cancer- you have to tip your hat to the guys (and gal) of The Mono LPs.  One of the best bands coming out of the U.K., they are going to have a big future ahead of them.  Constantly wonderful songwriters, they have produced a sensational song that could rank with any of their previous work.

I love what The Mono LPs have done with Christmas Time.  The song is not just a one-off novelty that is meant to be loved in the moment and then discarded.  It is not a track that is effortlessly cheesy and saccharine- like so many other Christmas songs- but a track that can be enjoyed every year and will endure the test of time.  Let’s hope the band can raise lots of money for Pancreatic Cancer U.K.- I am sure they have already raised quite a bit already- as they are doing a great thing and should be commended.  The song itself departs from the band’s existing sound to create something more Pop-orientated.  Having lost none of their focus, identity and talent; the track is a catchy number that sees the band produce of their best works.  I opened by looking at Christmas number and their appeal- in addition to the music of Liverpool- and will return to that arena.  We have all had our fill of the Christmas classics- we are all being exposed to heavily right now- and know every word to every track.  Let’s hope Christmas Time makes it into the roster of classics as it is a modern take on an old theme.  There have been few great and credible Christmas number lately- it is not something many acts tackle- and most are content to just let the established songs do their work.  Whether acts don’t particularly like Christmas songs- or feel they wouldn’t be able to write a decent one- it seems an area that can be exploited.  I know it is a rather narrow subject topic but there is plenty of potential to create something stunning and solid.  The song does not have to be cheesy and expound the virtues of togetherness or fond recollections.  It can be quite broad in a sense and address anything from peace/unity to finding love (at this time of year).  A side of music that has plenty of potential, The Mono LPs have opened up a floodgate that should see more bands follow in their footsteps.  Whether they do is yet to be seen but I would love to hear some more original Christmas songs come out.  The guys will be busy promoting the song and trying to raise as much money as they can.  Popular and established in Liverpool, let’s hope 2016 sees the band embark on a U.K. tour.  I know money is always a sore subject and issue for bands; the tour does not need to be an extensive thing- just a chance for different crowds to witness their music.  It would be nice to see them come down to London- there are plenty of venues that would be hospitable- and seduce the faces down here.  Christmas Time has received an overwhelming and staggering response from social media.  The band has been posting tweets to say how thankful they are- there has been some great feedback- and it seems the song has hit a lot of people hard.  A terrific track that conveys an important message; so many people have provided their comments to The Mono LPs.  Liverpool is a city that has been vital in music’s development and progression.  From The Beatles in the ‘60s through to the ‘Britpop’ band such as Cast and The La’s- via the ’80s Punk bands like Echo & the Bunnymen- Liverpool has been hugely influential and important.  The city keeps on producing these great acts that can stamp their footprint on music’s landscape.  The Mono LPs have a terrific sound that is not often heard in the modern climate.  With some Pop sensibilities and melody, they inject plenty of hard-edged Rock and Alternative sounds into the mix.  Those emphatic and passionate lead vocals and backed by wonderful compositions.  The band is among the tightest I have heard and their back catalogue is hugely impressive.  Few bands mix male and female members- a point I mentioned when reviewing FloodHounds- and fewer have a cello player in their midst.  It may seem like a minor point yet a lot of bands are quite predictable and clichéd.  Away from the four/five male bands- where there is your guitar-drum-bass-vocal line-up- and there is not a huge amount of variation.  I would love to see more bands mix things up a bit and broaden their make-up.  When you provide variation and a new dynamic then you have greater possibilities with regards your sound.  The Mono LPs have proved how rich and vibrant their music is- due to the fact they do not do things like other acts.  Before I wrap things up I wanted to congratulate the band on a great release.  A song that is going to be gaining a lot more praise, Christmas Time is doing a great thing for a great charity.  The coming year will be an interesting one for the band who are sure to be thinking about getting back into the studio.  Having enjoyed their past singles/E.P.s, it is going to be exciting to see where they go from here.  The music scene is packing lots of bands into the public attention and it is interesting to see which acts will endure and succeed.  I hear too many bands with such an overly-familiar and uninspired sound- that has been done so many times before- so it is those original artists that will succeed.  The Mono LPs are inspired by a few acts but never wear their influences on their sleeves.  If they keep their passion, sound and quality firm then there is no telling how far they could go.  I am sure they will want to see the year in without having to think about 2016.  Make sure you check out the young band as they will be doing some great things next year.  If you have not purchased/heard Christmas Time then rectify this.  Not only supporting a great cause and raising awareness- the survival rate of those affected by pancreatic cancer has not changed in 40 years- we need to do something to change this.  Raising money, awareness and support is the logical and most important first step to affecting change.  The Mono LPs have created a great Christmas song that deserves to be heard, appreciated and supported- to ensure they can help Pancreatic Cancer U.K. continue their great work.  Take time out of your day to hear a song (and band) that will remain in the memory.  Unlike the schmaltzy and irritating Christmas ‘classics’, Christmas Time is guaranteed to…

 

GET into the mind in a very good way.

[youtube https://www.youtube.com/watch?v=Zlr5cinMhds&w=560&h=315]

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Follow The Mono LPs:

 

Official:

http://www.themonolps.com/index.html

Facebook:

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

Twitter:

https://twitter.com/themonolps

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Music:

https://soundcloud.com/the-mono-lps

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Videos:

https://www.youtube.com/channel/UCVW0cuOdLw3zN3zVa5xXTHA

Track Review: FloodHounds- Twisting and Turning

TRACK REVIEW:

 

FloodHounds

 

 

Twisting and Turning

9.5/10.0

Twisting and Turning is available at:

https://soundcloud.com/floodhounds/twisting-and-turning-1

RELEASED: August, 2015

GENRES: Alternative

ORIGIN:

Sheffield, U.K.

The E.P. Bare Bones is available at:

http://www.floodhounds.com/music/

TRACK LISTING:

Bare Bones

Walk at the Door

Twisting and Turning

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ONCE again it is good to be with a band…

that are among the most fresh and vibrant on the scene.  I have bemoaned the lack of original and impressive bands emerging from the scene.  With the year ticking to a close, I am hunting about to see which acts are going to be spiking the imagination in 2016.  As I look around, a few stick in the mind.  Being a new convert to FloodHounds, here we have an act that is capable of enjoying long-term success and a glistening future.  Before I introduce them I want to return to two common themes: Yorkshire music and the mixed-gender band.  Yorkshire is a music county that never fails to amaze me.  From Issimo to Allusondrugs- two names I bandy about when talking of bands- Yorkshire is one of the most fertile and productive areas of the U.K.  You cannot deny how much great music is coming from the north at the moment- perhaps tackling London when it comes to music.  I am never sure what is causing the influx of great music (in Yorkshire) but the communities and musical clans there are encouraging terrific things.  Perhaps there is less anxiety up here; the locals a bit friendlier and less oppressive?  Whatever you attribute the great music to; it is always a pleasure to hear another Yorkshire band come through the ranks.  I have been looking at London a lot and stating what a range of acts there are here.  I am always impressed by the duos and solo acts of London yet the band market is perhaps a little sketchier and less assured.  Yorkshire seems a lot sturdier and more dependable when it comes to the band market and the best sounds out there.  It is not just the consistency but the quality of band music too.  Whereas a lot of southern bands tend to stick purely to Indie and Alterative lines; over in Yorkshire/the north there ius more diversity and consideration.  Softer sounds and electronic elements come in; epic swathes and intimate moments combine- overall there is a lot more depth and intuition.  Perhaps I am over-simplifying, yet I find there is a bit more quality and consistency away from the south.  Before I raise a new point, let me introduce the intrepid FloodHounds to you:

“FloodHounds are a fast-paced 3-piece British indie-rock band from Sheffield. Their "gloriously guitar-heavy rock," takes you from British Indie/Rock to raw American Blues and hits you like a British Black Keys, crossed with The Rolling Stones, fed on a diet rich in Band of Skulls, The White Stripes, Blur and Kasabian. Floodhounds were picked, out of 1,200 unsigned bands who appliedfor a handful of emerging artist slots at Tramlines Festival 2015 and landed the coveted Leadmill supporting Fat White Family to rave reviews,seewww.exposedmagazine.co.uk/music/tramli…floodhounds/.  Make Noise Studios captured FloodHounds' live acoustic session for Tramlines 2015 - see it on YouTube at bit.ly/1KZRBGy.  BARE BONES, the title track of the band's second EP, has attracted Radio play from BBC INTRODUCING Sheffield, Sheffield Live and a host of other local/online radio shows. A third EP is due out in 2016. The band were also picked to represent Sheffield for national newspaper, The Independent's isessions series in January 2015. A video of the band recording of "Bare Bones" at Sheffield's iconic 2FlyStudios is atyoutu.be/24xT906F1kU. Storming local gigs at the Rocking Chair and Plug Sheffield, supporting October Drift, saw FloodHounds playing further afield this year, at the Live in Barnsley's 126-band Festival in June, and 3 successful London gigs in Camden and Shoreditch in April and supporting DJ sets by the likes of Gus from alt-J at 229 The Venue's Mayday Festival. At the end of 2015, the band made their debut in Leeds, Manchester and Huddersfield and are hoping to cover more of the UK in 2016. The band are hoping to cover more of the UK in 2016 and have recorded new music with early Arctic Monkey's producer Alan Smyth at Sheffield's 2Fly Studios, in November 2015. FloodHound's new 3-piece incarnation emerged in late 2014, when founder members Jack Flynn - the vocalist, guitarist and songwriter of the band - and bass player Rhys Owens, were joined by drummer Lauren Greaves”.

FloodHounds are comprised of a female and two guys.  It might not seem like a big point yet few bands actually mix gender nowadays.  Perhaps they never did so it is always great to see.  There are too many all-male bands on the scene it can become a little tired and cliché.  Having reviewed the likes of False Advertising- another near-neighbour of FloodHounds- it is great to see a mixture and balance in bands.  With so few all-girl bands out there- aside from Pop groups; you seldom find all-female Alternative bands- I do love seeing a band that strays away from the all-male model.  Perhaps it seems like an odd point to raise but music needs more surprise, diversity and dynamic.  If you have all men/women the sound and subject matters often are limited and samey.  Whatever your views of band make-up and balance you cannot deny the effect FloodHounds are having on the music world.  One of those new acts that are making some impressive waves, their Bare Bones E.P. shows just how stunning the music is.  Much more detailed, enriching and original than most of their peers, I predict some good things for the Sheffield band.  A lot of new bands seem to be too one-dimensional and limited when it comes to their early movements.  The Sheffield trio has gone to great lengths to ensure they stand out from the crowd and are not just seen as another-one-of-them-bands.  As we go into 2016 it is great to see a young act that is on the rise.  Whether they have plans for more tour dates- or will sojourn to the studio for another E.P. - but they are getting a lot of local love.  It would be great to see them in London very soon and rock the crowds down here.  Having read some social media feedback and reviews- when it comes to their new E.P. - it is clear the music is resonating and having effects on the listeners.  Too many acts are tired and uninspired so we should all be paying closer attention to FloodHounds.  With a tight and addictive E.P. out in the ether, there is definite momentum and public demand.  What impresses me most about the band is that mixture of originality and surprise.  The compositions do not just stand still and wander about: the music mutates and moves; it explodes and calms at will.  The vocals and lyrics have a very personal stamp to them and you cannot compare FloodHounds to too many other acts out there.  Inh a music scene that is bursting with some rather limp and vague bands, it is great to find an act that have distinction and plenty of energy.  I can see them playing the big festivals of the future and making their way into the mainstream.  Whatever they have planned for the coming years, ensure you check them out and investigate their new E.P.

When it comes to properly assessing FloodHounds it is apt to see how they have developed.  A couple of years ago, the band released the three-track E.P. FloodHounds.  Moving Pictures is a slinking and seductive song that gets out of the traps with Blues licks and calm vocal.  Moving things with “no direction at all” you wonder what is being attested.  Our man is taking his time and seeing what is going to happen.  There are some mysterious vibes and oblique words that make you think a relationship is being ascribed.  The riffs and composition are catchy and effective: bursting and swaggering along, there is so much confidence and vibrancy on display.  A tight and electrifying band performance there is the sound of a great ‘Britpop’ song- the likes of Oasis would be proud.  Motivation begins more sprightly and showcases a stomping and foot-stamping opener.  Barbwire and meaty, the opening salvo certainly raises the interest levels.  Our front-man lets his voice climb and pervade as he rallies against forces.  Bothered by events, it seems certain people are chipping at him and causing him fatigue.  Aiming to leave the city and see better things, there is that need for escape.  Wanting (a girl) to be his motivation that need for calm and stability is evident.  Another tight and focused jam, the song certainly sticks in the memory.  Memorable riffs, impassioned and tough percussion bonds with some guiding bass to back a passionate and heart-bearing vocal.  The Fall starts with tripping and spiraling riffs that sees our lead talks for being taken from the darkness.  A central figure is taking the fall for things and needs to keep an open mind.  Our man is offering words of advice and wanting to prove himself as well.  The track boasts some great little details and sonic diversions.  Elements of The Coral, Oasis and Arctic Monkeys can be heard although it is the band’s unique voice and direction that rides highest in the mix.  The entire E.P. proves how instant and tight the band is.  With no nerves or weak moments, it is an E.P. that showcases their full talents and how great their songwriting is.

Since the debut E.P. - and arriving at Bare Bones- the band have continued on this course and grown in confidence.  Whereas their debut was filled with great riffs, percussion and bass parts; some stunning vocals and catchy songs- now they have taken that even further.  More softness and introspection has come in.  The overall sound may not have differed too much although the subject matter and lyrics have incorporated new themes and ideas.  Having produced such a stunning and complete debut there was no need to radlicalise their sound and brings in new elements.  What FloodHounds have done is continue from where the E.P. left off and upped the game.  Now the band sounds even more urgent and passionate across the trio of tracks.  Whilst a lot of acts stuff E.P.s with songs- four of five songs that can tend to go on- FloodHounds are concerned with concision and focus.  Their songs are those memorable and brief cuts that stick in the mind long after they have finished.  Although they incorporate some great northern bands into some moments- the likes of Oasis, Arctic Monkeys and such- the abiding sensation is of a young band with their own voice and mind.  Seamlessly fitting together and compellingly tight, they have shown just how consistent they are.

The swansong to their Bare Bones E.P., Twisting and Turning is a song that is hard to forget.  A wave-crash percussion/cymbal bonds with murmuring bass notes to create a moody and smoky beginning.  Not sure what is coming next, the band keep you on your toes and build the intrigue up.  Not going straight in with guitars and noise; we have a song that is more textured and considered (than most Alternative tracks).  That percussion input starts to become a little more in focus and make its voice heard.  Smattering and punching through the mist, the song starts to build and accelerate.  That mixture of ‘90s- the best Alternative and Rock sounds of today- and Blues-Rock skins combine to create something instantly memorable and familiar.  Funky and teasing, the introduction soon explodes and ignites into something frenzied and rebellious.  Grizzled and gritty, each player seems to have equal weighting.  That drum work smashes and creates a hugely sturdy backbone.  The bass guides the song and keeps its disciplined whilst the guitar whips up a storm of colour and passion.  Before the vocal comes in, you get enraptured in the composition that ever relents or loses its magic.  A natural head-banging riff and tight-knit performance draws you in and makes you mind drift and imagine.  When our hero comes to the microphone, the early sentiments are curious indeed.  Our man is (asking his subject) to have a look around.  Things used to be “better than this”- whether referencing a town or situation in life- you start to picture your own version of events.  With his voice clear and focused, the performance is determined and strong.  Making sure his words hit the mark; our lead lets his voice whip a myriad of themes and possibilities.  When the words “open your mind/but don’t let your brain fall out” you get a mixture of humour and cutting bite.  It seems like an acquaintance or love is being spoken to; someone that has made some bad decisions or is stuck in a rut.  With those kind of words falling out, you imagine (the song’s subject) has made some bad choices and does not freely let their intelligence get in the way of logic.  The core/subject is mired in delusions and confusions; their ignorance and lack of wisdom galls out hero.  I get the impression an ex-love or relation is being spoken about, although I could be wrong.  That anger and fatigue is evident as the band creates an appropriate sonic backdrop.  Little Blues-Rock licks and bass rhythms combine with the sturdy and passionate drum work.  “Lock the doors/break the law…” is delivered with pace and consideration- words you sense are important to the lead- and there is that building sense of anxiety and discontent.  Keeping cards close to chest, there is never any historical explanation- what has caused this chagrin and events that have transpired.  Whoever is being talked about it seems they had grand ambitions- “you thought you could change the world”- but not are being forced to run for their lives.  It does not seem to be a purely relationship-driven investigation.  Maybe there is a musical aspect or someone close to the band.  The attention of focus will turn the world upside down and be on their way.  Our lead will be right behind them- whether a malevolent claim or a supportive shoulder- there is some contrast and mystique coming in.  Maybe there is a sense of empathy and support although one suspects the teeth are out and there are lingering resentments afoot.  The vocal does not needlessly explode or draw blood; instead it remains dignified and focused on the job at hand.  The band creates a whirling wind of energy that pulls in the varied emotions and stresses of the lyrics.  The composition does not simply strum and aimlessly wander; instead you get a catchy and kicking jam that   makes you smile and puts you in mind of Blues-Rock acts (like The Black Keys and The White Stripes).  Ensuring that melody and musicianship stand alongside lyrical originality and passionate vocals, Twisting and Turning does not relent its plight.  Our hero was young and naïve once; he ate up “every word that you sold”.  Maybe a woman leading him astray- and making promises she could not keep- or a wise elder who has come into disrepute.  My mind is always split between romantic ideals- and two parties in different places- or a musical plight- and our hero being fed falsehoods and deceived.  When the line is delivered with particular emphasis- “tempt all your followers to go and/follow you”- you cannot help but thing of some musical avenues.  Perhaps a false prophet or jumped-up wannabe; there is that recrimination and annoyance in the lyrics.  Maybe someone who is not what they are cracked up to be, Jack Flynn’s words seem his most personal and important (on the E.P.).  It is his vocal and guitar work that manages to convey this anger and irritation to the full.  Constantly supported by some exceptional production- that perfectly blends the instruments and ensures each note resonates fully- his bandmates perfectly support the lead’s plight and add huge force and nuance to proceedings.  Lines such as “light a match and watch it fade” are delivered you feel there is perfects over-ambition- a musician with ideas above their station- or maybe a relation that has fallen foul.  Throughout, there is that split-meaning and obliqueness that puts your thoughts in two camps.  The final moments see the instrumentation come into play- after the chorus comes around once more- and demonstrates how tight and close-knit the band is.  Those percussion sounds create a tense and nervy heartbeat; something that hisses and bites.  The bass creates melody and rhythm whilst driving the overt emotion and anger through.  Our lead’s voice-and-guitar combination aptly promotes a sense of hostility and judgment without being preachy or overly-cruel.  With that chorus making its voice heard one final time- and gaining extra relevance and potential- you have a song that leaves some questions hanging whilst answering a lot.

Twisting and Turning is a track that undresses and highlight’s a subject that has caused heartache and seems to have caused a lot of problems.  Initially I was thinking of a relationship that has gone sour perhaps.  As the song progresses- and the lyrics start to expand and progress- it seems like a male counterpart or colleague is being addressed.  It is that mystery and openness that makes the song such an interesting and dramatic thing.  Jack Flynn has written one of his most personal and memorable tracks to date.  A song that can be understood by all- we have all found ourselves with similar concerns- his pen and sharp tongue are at their finest here.  That inimitable and stunning guitar work ensures each word and thought is given the maximum degree of venom and potential.  Not just reserved to attack and drive, the guitars manage to go from Blues-Rock catchiness to something more restrained and calmed.  Rhys Owen lets his bass guide the song and ensure it does not become undisciplined and unfocused.  Creating melody and drive, the bass keeps the layers together and drives the vocal into the bargain.  One of his best performances on record, it would be good to hear more of Owen in the future.  Lauren Greaves ensures her drums are not pushed to the background with a performance that is packed with pummel, gravity and melody.  Managing to summon all sorts of possibilities and emotions- she is adept at changing course and conjecture to match the lyrics- you have a drummer with great imagination and strength.  The entire band combines wonderful throughout to deliver a song that is packed with nuance and stunning moments.  You will find yourself visiting it again and again to capture little bits and pieces.  Once the full force does take effect, ensure you investigate the rest of Bare Bones.  Special mention to the producer, engineer and sound guys who ensure the song is perfectly blended and put-together.  Each instrument and layer is perfectly realised to ensure it is not just the vocal that stands out- the entire sound is promoted and given a necessary spotlight.  Few bands get that balance right- ensuring the vocal is not mixed too low down and the sound is crisp- yet FloodHounds have a sound that is professional without being too polished and fake.  Plenty of grit and grime is allowed without the proceedings sounding amateur and insincere.  A terrific accomplishment from a young band with many years ahead of them.

I opened by saying how few bands stick in the mind and how few original ones there are.  In London and the south we have a few great acts, yet when it comes to those who stick in the mind, I feel Yorkshire and the north are really leading that charge.  I was amazed by FloodHounds’ debut E.P. and was surprised to see they have topped themselves this time around.  Bare Bones is even sharper and more addictive than the debut: bristling with ideas, confidence and commitment; you cannot deny these guys are on the way to something special.  With a sound that is ready-made for the festival stages, it will be great to see where they head now.  The band market is the most competitive and full there is at the moment.  Every week we are witness to new acts coming through which can make it hard deciphering which are worth sticking with.  Sometimes geographical proximity and media recommendations lead us to music; it is hard to really discover all the best acts out there.  Luckily social media can come to the rescue a lot and point you towards some real treats.  Twisting and Turning is a snapshot of a young band that mean serious business.  You can hear that determination and passion in every note and throughout every line.  A group that love music and have soaked in a lot of its best moments; who would bet against them going all the way?  Although these are the early days for them- and they have their best days ahead- it will be great to see them on the big stages.  Gathering a lot of kudos and support from the local crowds they have a sound that translates across the globe and can be appreciated by all.  Let’s hope the Sheffield three-piece carry this momentum into 2016 because if they do, they have the potential to be one of the best upcoming acts about.  Before finishing, it is worth going back to my original points about Yorkshire and mixed-gender bands- perhaps pulling in production and the nature of sound.  Yorkshire is once more showcasing just how much of a music hotspot it really is.  I am not sure whether it is the landscapes, communities or fellow musicians that have promoted this productivity and quality.  As mist eyes look at London- the media tends to focus here too- more eyes should be cast towards Yorkshire and the north.  Perhaps it is a coincidence, yet I would be fascinated to see why Yorkshire is producing so many great acts.  When speaking with Damien Hughes- part of the Leeds band Allusondrugs- I posed the same question.  He said there was less anxiety and strain up there.  The lesser population numbers- consider the crowd and bustle of London- there is certain levity and degree of space there that can translate to musical freedom.  The friendliness and community musicians show (in the north) is also a factor as is the lack of pressure from the media.  Whatever the reasons behind the trend, it is great to see FloodHounds come into the fold and do their thing.  With their boy-girl formation- bucking a trend of all-male acts out there- we have a band that certainly mean business.  Like Echo Boom Generation and False Advertising- two bands that have boy-girl make-up- the sound is harder and heavier.  Crafting riffs and memorable compositions is no mean feat, yet the Sheffield band makes it sound completely natural and effortless.  Kudos must go to the production, engineering and mixing of FloodHounds’ sound.  Few reviewers and fans take the trouble to investigate the actually sound of a record.  The people behind the scenes make such an impact on the overall sound.  FloodHounds’ music is tight, measured and wonderfully produced.  Without the expertise and guidance of producers and engineers, you would have a very different sound on your hand.  It is perhaps an odd point to finish on but it is vital when it comes to FloodHounds.  That radiant and wonderful sound- that mixes Blues-Rock stylings of The Black Keys with ‘90s glories- into something original and daring.  Ensure you take time out to listen to one of the best British bands coming through at the moment.  Twisting and Turning is a brief window into a young band with a lot more to say.  In a music world that is being crowded with bands and artists ensure you stay close to…

A group that will go a very long way indeed.

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