Track Review: J.J. Rosa- Where is the Mercy

TRACK REVIEW:

 

J.J. Rosa

 

 

Where is the Mercy

9.7/10.0

Where is the Mercy is available at:

https://www.youtube.com/watch?v=SPD8peGMjtk

RELEASED: 16^th December, 2015

GENRES: Soul; Funk-Pop; Rock

ORIGIN:

Manchester, U.K.

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RARELY does a single artist come along that makes such…

an instant impression; they are talked-about in near-God-like terms.  Before I get to assess my featured artist- someone who has some serious praise levelled her way- she brings to mind a few different points: the Manchester music scene; influences and genres that are twisted together; the effectiveness of social media- a little bit about the female solo artists coming through.  My reticence about the band market still remains in place- the fact that the last year was not the most successful for new acts.  I have found that there is too much hype and attention levied towards bands; they seem to dominate the press’ attention- great solo artists get overlooked by comparison.  Whilst 2015 may not have produced the best year for band-made music; it did showcase some of the finest solo acts for years.  With more musicians deciding to go solo- rather than form a band- you are getting some brave musicians coming through; laying down their sounds and ideas- hoping it will capture the public attention.  Having spent te past week reviewing music across the U.K. and the world; it has been great to see what is coming through at the moment.  Today I get to return to Manchester and one of the city’s most promising and stunning artists.  Into this year Manchester is going to be on a lot of people’s lips.  With bands such as Blossoms, TVAM, PINS and Horsebeach emerging- touted as bands that will be festival-ready in no time- and it is small wonder Manchester is hot property right now.  The city has always been at the forefront when it comes to new music- and has an esteemed music legacy- so there will be a lot of eyes trained this way.  Although last year saw a somewhat ho-hum year for band output- only my opinion; many would beg to differ- this year is seeing some promising bands come through- with Manchester perhaps at the forefront of that vanguard.  Manchester boasts some of the most original, fresh and ambitious musicians coming through at the moment: each act seems to want to make their own stamp; creating something long-lasting and impressive- not just come into music for the popularity and money.  You get so much personality, force and nuance (with the music) so 2016 will be a bumper year for new music.  Away from the bands of Manchester there are a lot of great young songwriters emerging- some of whom are being compared to legends of music past.  Among these is J.J. Rosa: a stunning young songwriter with phenomenal musical prowess; a wonderfully evocative voice- hearts and critical fingers have been trembling in awe.  Although these are the earliest steps for J.J. Rosa, the signs are all very positive indeed.  There are so many solo acts out there; to separate yourself from the pack is an achievement in itself- it will be fascinating to see the rise of one of Britain’s most astonishing talents.  Before continuing my point- and bring up a few others- let me introduce you to her:

“Imagine Prince as a woman... Imagine Jimi Hendrix through the prism of Amy Winehouse, dressed in the sequins, feathers and cat-suit finery of a ‘70s Diana Ross. She's here already: the musically explosive, vocally dynamic, sex-groove, sleaze-blues rock 'n' soul force of nature known as JJ Rosa.  Scheduled to release her debut single 'Feel Loved' on Nov 18th, JJ is well n' truly ready to make her mark and confidently following in the Funk-Pop/Disco footsteps of the likes of Prince and Nile Rodgers.  JJ is now an official Fender artist and part of Select Model's Special Bookings. Earlier this summer JJ and her band opened for Stevie Wonder at The Calling Festival, topped with a full page spread in the official Glasto magazine, for what turned out to be a completely packed out tent with a double encore!  A female lead electric guitarist with such distinctive soulful pipes is hard to come by so there's no denying that JJ is somewhat of a revelation!  With an exceptional band providing a groove heavy, beat banging foundation, JJ and her boys are creating one big hard hitting catchy pot of insanely addictive music!”

The artists that are capturing the public imagination are those that display agility and range.  There are so many artists beholden to being straightforward and unbending.  Their sounds are too defined and inflexible; their voices too limited- there is the risk of boredom setting in.  I am not saying most solo artists do things this way- although there are far too many that come in tepid and predictable- yet the ones we should be watching are those that go the extra mile.  J.J. Rosa has been compared to Prince- she is taller and less purple than the U.S. legend- although those comparisons are not hyperbole.  Her guitar wizardry is exhilarating and eye-watering: she can weave colorful patterns and summon biblical electricity; assuage stress and heartache with the merest lick of her guitar- paint something sexual and soulful; foot-stomping and Funk-infused.  Although not as authoritative and skillful and Jimi Hendrix; that is not to say the Manchester-based songwriter cannot reach those heights- she is showing an immense amount of early potential.  I think critics are too quick to make comparisons with obvious musicians; Rosa is an artist that has depth and shades to her performance.  Her guitar skills recall elements of Hendrix and Jimmy Page; bits of Santana and Matt Bellamy- she runs a huge gauntlet of ideas and emotions.  When it comes down to it she is her own woman: not someone who hangs to the coattails of her idols and heroes.  That voice is a soulful and captivating bird in itself.  Influenced by the ‘60s and ’70 Soul greats- the likes of Diana Ross and Tina Turner- you get elements of fairly-recent Hip-Hop and Rap- Lauryn Hill is an idol of our heroine.  I know I am bringing names into the pot- and trying to make a contrary argument- but am employing these as a guide.  Being a devotee of black music and the wonderful variety on offer- from Jazz and Reggae greats to modern-day U.S. idols- it is tied with a love of Folk, Pop and legendary Hard-Rock- there are no limits when it comes to J.J. Rosa.

Artists that adore music and have exceptional tastes- maybe a subjective measure but there are some absolutes- are always going to be those that go that bit further.  So many new musicians coming through have such limited tastes and qualitative measures- bands crib too heavily from Foo Fighters and Oasis; solo artists are not much more adventurous.  What I love about J.J. Rosa- apart from her impeccable music tastes- is how diverse and authoritative she is across all facets.  Her vocal is unique and defined; it brings little spots of other artists into the mix- soulful and edgy; sensual and Blues-inspired- whilst her guitar work has a multifarious and free-from-captivity sound; it is unshackled but disciplined- one of the best female guitarists in the world right now.  With her lyrics tapping into modern-day concerns and politics- giving them an upbeat angle and plenty of emotion too- with romantic themes and personal struggles- you have a young woman with a huge future ahead.  Before I continue to the review- and bring in J.J. Rosa’s previous work- I wanted to talk a little about social media and female artists coming through.  With magazines and media having published their ‘ones to watch’ lists already- and making some good choices for a change- it is shocking not to see J.J. Rosa on all of them.  Among the female artists coming through at the moment she must rank somewhere near the top- deserving of a lot more focus and attention.  The Mancunian gem has already seduced large numbers across social media and the Internet- to my mind not getting the exposure she deserves.  When artists have thousands of fans and followers- which is the case with J.J. Rosa- I am always baffled by the comparative-passivity of the followers.  When she pronounces news and introduces new music; I find that so few of her followers actually share it and comment.  Maybe it is a sign of the digital age; there are so few people actually promoting musicians and their work- why follow an artist if you are not going to get involved?  With the calibre J.J. Rosa has it is inexcusable that so many do not herald her words and help build momentum- often left to media sources to do the heavy lifting.  No matter, for we have an artist whose music is doing the shouting all on its own- the reviews and praise is pouring by the day!

If you are a new follower of J.J. Rosa you might need a guide as to her influences and sounds.  When it comes to her idols and heroes; the below (taken from her Facebook page) are particular important to her:

Jimi Hendrix, Prince, Michael Jackson, Donna Summer, The Fugees, Lauryn Hill, Nile Rodgers, James Brown, Diana Ross & The Supremes, Etta James, Daft Punk, Tina Turner, George Clinton, Aretha Franklin, Billie Holiday, Nina Simone, The Doors, Martha Reeves and The Vandellas, Buddy Guy, Sister Rosetta Tharpe, Dusty Springfield, Gnarls Barkley, Cee-lo Green, Dr. Dre, Run DMC, Andre 3000, Outkast, Jurassic 5, Tribe Called Quest, Quest Love, The Roots,Sharon Jones and The Dap Kings, Fleetwood Mac, Bob Marley, Kavinsky, Justice, Led Zeppelin...

Having such a range of names in that list; it might be overwhelming trying to get a sense of her sound and direction.  The best thing to do is to hear the music and arrive at your own conclusion.  J.J. Rosa has a long list of musical favourites; if you are a fan of the above then it is well-worth checking her out.  Whether the young star will being these musicians into the fold (in a new album) will be interesting to see- let’s hope she continues her charge and is planning some new music for this year.  There are so many artists that do not hit you upon first listen- and compel you to go elsewhere- so finding someone so immediate and nuanced is a rare thing.

   Where is the Mercy (is) a new song that was motivated by horrors and atrocities.  In addition to our featured song; the young musician has released several other tracks onto the Internet.  Redemption is a song that begins with a funky slam and choir vocals.  A rousing and spine-tingling start; you get jagged and animalistic guitar notes cutting in.  Our heroine’s vocal is sassy and sexy; weaving and striking with passion.  Looking at an anti-heroine; we look at a subject that gives into temptation (a rather seedy sort at times) - she has an addiction for the darker side of life.  That need for redemption and salvation is key and centre- whether she will find it is another thing.  Almost a sermon song- helped by that choir-like call-and-response- you have a song with gospel roots; tied with Soul flair and a huge vocal- a song that has such energy and pizazz.  Mantras and sage advice is brought in- “Life is all we’ve got/so don’t go giving it up”- that highlights the need to make wise choices and not squander the chance for improvement.  Whether inspired by a real-life figure- maybe a friend or composite of various people- you are hooked by that soulful vocal and stunning musicianship- all coming together in a rhapsody of sound and voice.  More boisterous and rousing than Where is the Mercy- a song with a different side and theme- it shows another side to J.J. Rosa and what she is capable of.  This song has the potential to be a live favourite; it calls for mass singalong and chorusing- one of those songs that will bring the crowds together.

Other tracks like Step Aside and Sunshine are available- across SoundCloud and Youtube- whereas Tonight was mooted as a possible; single- Where is the Mercy was favoured; a more appropriate release at the time.  Cry Out is out of the most listened-to songs from J.J. Rosa.  Beginning with rushing vocals and choruses background voices; it instantly gets to work and leaves its impressions.  Sometimes life doesn’t work out for the better; there is loneliness and uncertainty around our heroine- she always has support waiting for her.  There is always that temptation to cry out when they “don’t give a damn about you”.  There is anger and disappointment in the song; that need to be recongised and have her dreams fulfilled.  The chorus is among one of the most potent and effective she has produced; another song that will get the festival crowds dancing along.  Backed by an incredible composition- flourishing and enraptured guitars; a funky beat throughout- you have a song with consistent momentum and energy; something that will get the listener involved and singing along.  Our heroine is used to writing songs that promote hope and keeping going; the more positive side of things- here we see a different agenda and feeling.  Here J.J. Rosa is in more anxious mood and is struggling to find happiness- that need to get away from darker things and get the respect she deserves.  Whatever motivated and inspired the song- whether the stresses of the music industry or the struggle to find her voice- you can hear that heartache and disappointment come through in the song.

Throughout every song you get a clear consistency and personality come through.  J.J. Rosa does not want to be any other artist: she employs little touches of some legends-past; at the end of things you get a very original and unique voice.  Every song tells its own story and has immense quality and consistency.  Over the course of a few songs she has demonstrated what a talent she possesses; maybe her SoundCloud/YouTube songs will come together on an album this year?

Whilst Feel Loved is the most popular and played of J.J. Rosa’s tracks- it has an endless drive and addictiveness to it- the song of the moment is Where is the Mercy.   When explaining the origins of the song- and the decision to release it as a single- the young artist ascribed it thus:

"The massacre at the Bataclan Club of a young audience enjoying our common bond of music is incomprehensible to me. So, in reflection of this, we don't feel it appropriate to release our song 'Tonight', and have now instead decided to share a song I hold close to my heart, 'Where is the Mercy'. I had written this song as a response to the many world tragedies that continually unfold however, in the wake of the Paris attack, it feels more relevant than ever to share this song as the sentiment is particularly poignant."

The song instantly comes to life (sans introduction) as our heroine is keen to put her voice onto record.  The song’s title is the first thing heard and highlights the urgency and necessity of its meanings- the reaction to such unexplained evil and violence.  Given the height of public feeling around the time- and the anger that still remains today- you get a vocal that does not accuse or shout; it does not scream or overly-emote.  Instead you have a performance imbued with incredible soulfulness and poignancy.  At her most arresting and sensual; the words are given so much more gravitas and meaning- if they were screamed then it would distill their potential and meaning.  That repeated line is deeply effective and striking as it unfolds; with every introduction there seems to be more hurt and heartbreak in the vocal.  When the first verse arrives; our heroine looks at “This girl”- one of dozens that were killed during the attack- and how unjust the killings were.  Usually when I review a song I do not known the origins and meaning- and arrive at my own conclusions- but knowing what inspired the song; I was compelled to hear what our heroine would sing- how she would represent the tragedy.  The song not only deals with Paris and the attacks: the song reflects all of the terrorist attacks that have occurred around the world.  The song’s central figure has been slayed and taken away for no reason and purpose.  Her promise and life was ahead- reflected in the sadness of her mother’s eyes- as our heroine lets her voice summon that loss and sadness.  Rosa seems disgusted and ashamed of the world at the moment; the evil elements that want to bring people down to Hell with them.  At this stage our heroine questions the existence of God- if someone really is looking down.  Being an atheist, I have no doubt there is no higher being looking over us- technically God did not stop the terrorists; he also created them and made it happen- so it is near-impossible to have faith and believe anyone would let this happen.  With no divine intention and heavenly compassion; our heroine questions the state of the world- just what happened to peace and mercy?  If there were true justice then lightning bolts would reign; the terrorists would be purged and obliterated- there would be some balance and justice coming into things.  As you start to become invested in that heartbroken and affected vocal; the song explodes into life as the chorus comes back in- the composition fizzes and the mood lightens.  A big and multi-tracked vocal emphasises the song’s mandate and adds huge weight to proceedings.  Highlighting the intensity and necessity; the composition mixes heavy beats and plenty of drama- supporting that passionate and stunning vocal.

The chorus has a Pop hook to it whilst retaining elements of Soul and Rock- a concoction of sounds goes into an emphatic and enormous whole.  The next figure that is brought into the song is a young man.  Thinking that tomorrow would be a better day; instantly I was wondering if another victim was being assessed- in a rather tragic and unfortunate way- or it is a politician.  As the lines continue- “there’s no way he could ever know”- the meaning becomes clear and evident.  That sense of being blind-sided and picked-off at random adds to the tragedy and unfairness- the fact these people had no idea what was in store.  Going about their business like everyone else; things would change for the worse.  Being too young to be “a memory of yesterday” you cannot help but reflect and remember the flashbacks from those fateful days- not just in Paris but all around the world.  Being especially affected by the attack of the Bataclan (where 89 people were killed) there is that innocent and happiness to begin- people going to see a concert in high spirits- before everything changed in an instance.  The haunting pain- like a shadow “on the brightest day”- has affected the world and all those who believe in justice and humanity.  J.J. Rosa represents a fear that we all feel at the moment: we may have our lives taken away before nature and old age has its chance; the fear that we do not get to choice how long we live.  Our heroine shows her fears and does not want to die young- in the modern climate, how many of us are truly safe?  Keeping that anger in-check and under-the-surface you can hear that mix of passion, fear and dismay work alongside one another.  Just past the two-minute marker an electrifying solo is dropped: the guitar riff is almost like a fire burning; something that inflames and enraptures.  An intense howl and call-out; you get caught in the spell of the strings as they cry out- the embodiment and representation of universal pain and anger.  Leading into the chorus; the brief coda adds a necessary exultation and release- our heroine lets her tears and scream come out through her guitar magic.  Where is the Mercy changes course and genres.  From the Soul-cum-Pop rush of the composition; the blitzing Psychedelia of the guitar introduction; our heroine takes the song into more touching and delicate territory.  With her voice reverent and hushed; she begs once more for mercy and sanity.  Speaking on behalf of the victims- “All she wanted was some mercy/but the angels took her away”- you get reflection and eulogy.  Haunting and affected, the vocal performance is one of the most raw and emotional I have heard in a long while- you sense that tears and collapse might not be that far away.  Reviewing the song a couple of months after its release does not dull it potency and potential- the words and vocals bring memories of the events back; those stark images and dark moments.  The song constantly looks for answers and questions fairness and faith.  If his life (the song’s hero) was taken away there must be a reason, no?  The reality is there is no reason why things happen- certainly no God moulding life and making decisions- apart from the fact others make them happen.  One of my least favouite things people say- aside from “There are plenty of people worse off than you”- is “Everything happens for a reason”.  That saying works on the assumption that there is a God (I do not believe in) and covers literally everything.  You can’t back a statement like that and ignore atrocities and massacres.  What was the reason behind random killings and holocausts?  I always find it aggravating when people believe such nonsense sayings and statements- the fact is life is random and unregulated; there is no cosmic balance and guidance; people control what happens (not God).  Our heroine is looking for some answers among the chaos and bloodshed- the fact is some cockroaches have made a decision to exterminate innocent human beings for no reason.  In the final moments the chorus is reintroduced to add effectiveness to the track; it sounds even more direct and mesmeric with each performance.  In the final seconds the vocal ends; we are left with haunted electronics that are like the silence in the aftermath- whereas thousands were preparing for a concert (in fine voice and conversation) the gunfire has caused complete stillness.

Amidst tragedy and carnage in this world; musicians are important voices that represent common feeling.  Whereas some post on social media and express their disgust; others sojourn to the studio and come up with something reactionary and beautiful.  I saw so little musical retaliation to the terrorist attacks which is very strange.  Musicians are among the most motivated and publicly-aware people around; I would have liked to have heard more songs coming through- that rally against the madness of the modern world.  Perhaps there are tracks lurking in SoundCloud and band pages- social media is pretty useless when it comes to bringing these songs to wider attention.  J.J. Rosa is a passionate young woman who felt inspired to have her words heard; get those feelings on paper- create a song that spoke for the masses and was a hymn for the fallen.  I was worried about reviewing the song given the Paris attacks were a while ago.  Unfortunately the threats and attacks continue; songs like Where is the Mercy are ever-relevant; with every week the lines and lyrics gain new meaning and relevant.  With no question mark following the song title- making it sound more like a proclamation and shout rather than a question- you have a song that speaks for all of us.  I am baffled the song has so few views on YouTube- what are people listening to?!- it shows the imbalance and thought process of the music listener.  Whereas Pop moppets are getting millions of views for their singles- the same crap about broken hearts and boys being boys- something universal and hugely impressive has garnered comparatively-few listens.  With so few of J.J. Rosa’s fans sharing the track; I do wonder whether more needs to be done to prioritise songs that are more meaningful and exceptional (than the Pop fodder that gets the big votes).  I’ll leave the rant for another day; I am just so pleased the media and fans have recongised the song and made sure it gets its plaudits.  The gorgeous Manchester-born artist has created a song that defines 2015 and shows what an immense talent she is.  Backed by an exceptional band- that are tight and effortless throughout- you get so many sounds and sensations elicited.  Rushing electronics and tribal drums entangle in the chorus; Funk and Soul sounds sit with something grittier and street-level.  The production is exceptionally sharp and concise: every note and element is perfectly mixed and balanced; ripe and clear- without being overly-polished and fake.  Given the weight and subject of the song; it was vital to ensure that vocal is up-front and decipherable.  Our heroine is allowed to be high in the mix and get her messages across.  Projecting one of her most incredible and indelible vocals to date; you have a performance that shows heart and heartache; passion and anger; beauty and transcendent chorusing- all mixed together in a peerless and entrancing delivery.  The lyrics bring in characters (nameless but feeling human) that give the song personal heartache and relevance- we can all picture the types of men/woman represented in the song.  Never profane or wandering; the lyrics are economic and impressive- the chorus is one of the most quotable and memorable J.J. Rosa has ever created.  By the end of Where is the Mercy you listen again and again- either to hear that chorus in full flight or immerse yourself in the lyrics.  A tremendous song that is the perfect representation of one of music’s most dazzling diamonds- a musician with few peers.

Where is the Mercy (is) a song that represents a public sadness and much-needed sense of reflection.  With a collection of songs available across SoundCloud- check them out if you can- it all bodes well for this year.  I am wondering whether J.J. Rosa will be in the studio putting together an album or E.P. - or whether she already has- but an album would be much-anticipated and celebrated.  Maybe she needs a few more months to travel and find new inspirations; let the music find her in a sense- you can bet she will be busy this year.  Over the last year she has travelled across the globe and captivated festival crowds- including spots at Glastonbury, The Calling (where she opened for Stevie Wonder); the Isle of Wight Festival and Secret Garden Party.  A devotee of the Fender Stratocaster (she is an ambassador for the brand; she was asked to play at the Fender Stratocaster 60^th anniversary) she has such a bond with the instrument- fueled by her love of Jimi Hendrix and the guitar greats listening to as a child.  From a tender age rooting through her dad’s vinyl collection; to her maturity as a stunning young woman- the London-based artist has blossomed into one of music’s most scintillating hybrids.  It is impossible to compare J.J. Rosa with anybody else.  Whilst her guitar-strumming skills have drawn lofty comparisons with Prince, Hendrix and their ilk; her voice mixing Amy Winehouse and Diana Ross- her fashion sense straight out of the ‘70s divas collection- and you have a singular artist that is blowing away the competition.  There are so many dull and approved-for-the-press artists out there- it is brilliant to see such a special and unique artist emerge on the scene.  She has already gathered some extraordinary praise and plaudits- including patronage from Christine McVie of Fleetwood Mac- and has a great expectation on her shoulders.  Having toured extensively and seduced crowds across the world; she is based in London and planning this year ahead.  Whether we see any new releases in the next few months- or touring is going to be the priority- I am not sure; what we can be sure of a busy year for the young artist.  Before closing things, I wanted to come back to the Manchester music scene and female solo acts; cross-pollination and ambition in music- a little about social media and its effectiveness.  Although based in the capital; J.J. Rosa is hails from Manchester: a city that has provided some of music’s best-ever acts.  At the moment there is a lot of attention paid to the bands coming from the city.  Still a big obsession for the media; some of the solo artists from Manchester are being promoted and prioritised.

J.J. Rosa is one of the most striking and startling to emerge from the city in many years: for my money there are few like her; none with that same ability and talent.  There are a lot of great female artists emerging at the moment; all with their own sound and identity- it can be quite hard to distinguish the ones to keep an eye on.  Depending on your tastes I guess- there is something for everyone out there- you are well catered-for and accommodated.  For those that have a love of ‘60s-Psychedelia and ‘70s-Hard-Rock; Soul and Blues greats; Funk and Reggae- you often have to look hard and embrace lots of different musicians.  No such issue when it comes to J.J. Rosa: an artist who effortlessly plays across the genres; fusing sounds and decades together- a cross-pollinating artist that is among the most arresting in the music world.  It is perhaps those guitar chops that have invigorated critics so.  It might be foolhardy to make Hendrix comparisons so early- Hendrix remains the greatest guitarist of all-time- yet Rosa has that innovation and technique; she has a command of the Blues and Rock- if an album does come out; it will be fascinating to see that guitar spread across ten or eleven tracks.  There are so few musicians that are as ambitious (as J.J. Rosa) and have such a pedigree and potential.  Musicians are enforced and motivated by their musical tastes- the music their parents played and what they love- so the output they project can be a mixed bag.  I get downright depressed hearing artists saying the same things and playing the same sounds- as though they all grew up in the same household.  With music saturating and exploding; it is natural there is repetition and limitations- true music-loving peeps are looking hard to find a new treasure; someone that differs from what is already out there.  With the critics raving and the public already hooked; it will not be too long until the Manchester-born artist is one of the hottest names in all of music.  Social media is a good way to get your name out there; to mind there are still flaws and drawbacks.  Having looked at J.J. Rosa’s Facebook page; I find so few of her fans comment on her news and developments; fewer still share the music and make it accessible to their friends- it means so many are missing out on some wonder.  I hope the musician-cum-model- her arresting looks have been swooped-up by a London model agency- gets more attention and praise as this year progresses.  Having been proclaimed and touted by some legendary musicians- tipped as the best Manchester-born musician in years- we need to do more to get her name and music out there.  Where is the Mercy (is) a song that shows heart and solidarity with the victims of the Paris terrorist attacks.  A brave and bold subject choice; the song shows huge heart and sympathy- whilst not being too depressed and accusatory.  It is a song that promotes togetherness and rages against the injustices of the modern world- against terrorists and all they stand for.  So few musicians have a political motive and get involved with that side of things- some that do come off as embarrassing and very insincere.  J.J. Rosa is a musician that has a great love for the world and its people; she represents the voice and discontent of the population- in a song that is hard to ignore and better.  Bringing all her talents and abilities into a single track; it is surely going to lead to some dazzling things.  Being such a singular and exceptional voice; social media and music websites need to do more to ensure this musician gets the success she deserves.  With that in mind, investigate her music and make sure to…

 

SUPPORT everything she does.

[youtube https://www.youtube.com/watch?v=SPD8peGMjtk&w=560&h=315]

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Follow J.J. Rosa

 

Facebook:

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

Twitter:

https://twitter.com/JJRosaOfficial

Instagram:

https://www.instagram.com/jjrosaofficial/

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Music:

https://soundcloud.com/jjrosaofficial

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Videos:

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

E.P. Review: Clara Engel- Visitors Are Allowed One Kiss

E.P. REVIEW:

 

Clara Engel

 

 

Visitors Are Allowed One Kiss

9.5 /10

Visitors Are Allowed One Kiss is available at:

C.D.:

http://www.paradigms-recordings.com/main.html

Cassette:

http://www.auditoryfieldtheory.org/products/561851-clara-engel-visitors-are-allowed-one-kiss

RELEASED: 2016

GENRES: Folk; Experimental; Gothic Blues; Other

ORIGIN:

Toronto, Canada

TRACK LISTING:

Swans- 9.5

Uneasy Spirit- 9.4

Swallow Me- 9.5

I Love an Evil Queen- 9.5

Once a White Owl- 9.4

DOWNLOAD:

Swans; Swallow Me; I Love an Evil Queen

STANDOUT TRACK:

Swans

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Minimalist avant-blues hymns originally recorded for solo guitar and voice, with contributions from musicians around the world.

Credits:

Clara Engel voice on all tracks, electric guitar on 1, 3, 4, acoustic guitar on 2, 5.

Siavash Amini guitar drone on 4

Aidan Baker electric guitar and bass drone on 5

Bryan W Bray electric guitar on 2, 3

Tomathy Daly Chandler bowed baritone guitar, saxophone on 3

Leah Dolgoy autoharp on 5

Nate Greenslit percussion on 2, 5

Heidi Harris ambient sounds on 2

Thor Harris flute, marimba, vibes on 3, vibes and xylophone on 5

Dash Lewis modular synth, backing vocals on 1

Dominic Marion electric guitar on 4

Adam Matlock accordion, viola harmonics, backing vocals on 2, accordion on 3

Meg Mulhearn violins on 3

Armen Ra theremin on 5

Phoenix York: modular synth and field recording on 5

Engineered and Mixed by Mitchell Girio

All Songs Written and Performed by Clara Engel Toronto, Canada 2015

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A while ago I placed an embargo on the musicians…

of Canada- after receiving an influx of review requests.  Being a subscriber to a Canadian music P.R. company- the name alludes me- so many bands were contacting me for reviews- all based out of Ontario, it seems!  After a while I had to step aside from Canada and concentrate on acts elsewhere- which is something that will change today.  Having unsubscribed from said P.R. company; today I get to feature an artist I am already familiar with- one of my favourite acts from the past couple of years.  Before I introduce Clara Engel; I was promoted to mention new Canadian music; unique approaches to music launching- in addition to the melancholic side to music.  For a start, Canada is one of those countries- which I mentioned in my review yesterday- that is under-the-radar at the moment.  The obvious music candidates- the U.K. and U.S. - get all the spoils; other countries have to suffer somewhat.  Given its proximity to the U.S.; it is baffling Canadian music does not get more exposure in the media.  Maybe people assume (the music here) is not going to be effective or note-worthy; they have stereotypical views on Canada itself- that pervades their expectations.  Over the past year I got the chance to review some fantastic Canadian bands and artists- they have such a range and nuance to the sounds.  It is refreshing stepping away from home to discover new music; Canada does things differently when it comes to the sounds- something I will touch-upon a little later.  Over last year some particularly strong Canadian bands were making their names known.  Montreal-based The Franklin Electric and Vancouver’s Dear Rouge sat alongside Rueben and the Dark- Toronto’s Brave Shores were of particular note.  Toronto- as with Vancouver and Ontario- are very busy and productive when it comes to new music.  Sad-reflectors New Fries were making waves; Princess Century, New Chance and Jazz Cartier were impressive too- solo artists Ebony and STACEY dropped some incredible music.  This year there is going to be a lot of great Toronto acts to watch closely.  It seems the city has a unique way of working; a bustling and supportive music community that promotes ambition and difference- resulting in some incredible sounds and results.  Whilst areas like Ontario are perhaps synonymous with bands coming out at the moment- there are some great Hard-Rock/Alternative acts emerging- Toronto is fascinating me with its solo talent.  Sound completely alien and different to that of U.S. musicians; what you get is music of the highest caliber- really original and daring stuff at times.  That is not to say nations like the U.S. and U.K. do not produce such great music- it’s just the case Toronto musicians cannot readily be compared with anyone else.  Before continuing on this theme- and introducing a couple of new points- let me introduce you to my featured artist:

“Based in Toronto, Canada, Clara Engel is an independent, multi-faceted artist and musician. She has independently recorded and released eleven albums, and has collaborated with musicians and artists from the UK, Germany, Brazil, Canada, Turkey, Iran, and the US. Engel's music has been played on Italian National Radio, as well as BBC Radio 2, making it onto Tom Robinson's show "BBC Introducing" on several occasions. Her music has been described as "folk noir," "minimalist holy blues from another galaxy," and "sung poetry." Her voice and guitar stylings place her singularly on the genre-map, somewhere between avant-garde torch singer and gothic-blues artist. Her influences span genres and media, amongst them are Vasko Popa, Virginia Woolf, Theodore Roethke, Jim Jarmusch, Arvo Part, Meredith Monk, Robert Johnson, Gillian Welch, and Jacques Brel”.

Engel is an artist that has seen her music played across the media and international radio- somebody with an assured and long career ahead of her.  It is hard to pin-down her sound into a genre: some have described it as ‘Folk Noir’ others going for ‘Gothic Blues’- our heroine is an artist with a singular and unique sound.  To be fair, the music she produces flirts with various genres and takes in a lot of musical ground- one of few artists out there that is adventurous and that ambitious.  Too many musicians now tend to play in a certain genre without expanding their horizons and sights- it leads to a rather predictable career.  I do enjoy seeking musicians out that have a singular sound and resonate in the mind; those that have authority and command whatever they play- I am always more compelled by artists that present something unexpected and cross-pollinating.  When discovering Clara Engel- I first encountered her last year- I was amazed by her voice and the music she performed.  There were dark and shady avenues; a lot of hope and light in those songs- poetic and otherworldly at times.  There are few artists that do things quite like her.  When it comes to lyrics, she has an intelligent approach that results in some wonderfully rich stories.  Imaginative and immersive, it is impossible not to be dragged into the songs as they unfold.  Backed by a rich and multifaceted voice- that can go from light and airy to grand and sweeping- make her music among the most essential you will ever hear.  Canadian musicians impress me with their work ethic and way of doing things.  When reviewing the bands Terrorista and Outer Rooms; I was amazed by a concept they produced: doing a split-cassette release.  The two bands each took a lead on one song- whilst the other band did backing- and put that two-song production on a cassette-only release.  I have not heard a band (recently anyway) that has released a cassette- it seems quite a strange thing in this digital age.  A charming and unique way of selling the music; we need more acts like this.  Clara Engel is releasing her new five-track E.P. on C.D. and cassette- another Canadian musician taking music back to its roots.  Whilst her songs are available across SoundCloud and YouTube; I was impressed by the physical release decision- few other musicians are as forward-thinking and bold.  In a time where every new songs seems to bypass C.D.s and makes it way onto music-streaming websites; I worry we have lost music’s heritage and anything physical.  I love album artwork and the beauty of an actual product- something you can hold in your hand and play.  When you get a C.D. you can spot the detail and work on the album cover; the time and attention that goes into its creation- something rewarding for the music fan.

Before investigating Clara Engel’s latest release; I thought it would be prudent to have a look back- and see how her older sounds compare.  Violetta is a Mad Bird was unveiled a year ago and was a track that struck my hard.  Such a haunting and memorable vocal; you get that spectral guitar propelling the song- creating an odd atmosphere and shadow entrance.  That central vocal gives respect to the music- lets it play and create its atmosphere- before coming into the fray.  A quivering and emotive performance; evocative imagery and an entrancing overall- you have a song that remains long in the memory.  Demonstrating her lyrical prowess- able to fascinate and compel with few words- you have a song that is very hard to ignore or forget.

   Harvest was released around the same time (as Violetta’) and shows that stunning musicianship and sense of drama.  Our heroine wants to “feel the thunder”; she wants to taste the harvest- her words are elongated to create a wonderfully haunting atmosphere.  I use the word ‘haunting/’haunted’ a lot; it is always a compliment- music that gets inside of you and stands you to attention.  Gorgeous and funeral-like; the track is slower and more emotive than Violetta is a Mad Bird- you get contrasting sides to the Canadian songwriter.  The composition has eeriness to it- quite subtle but hugely powerful- whilst that central vocal is utterly beguiling.

  Turkish Love Song is another gem from Engel; it begins with finger-picked guitar and a beautifully tender mood.  Our heroine has been crying- exhausted and in need of some hope and salvation- with that vocal once more becoming quite central to things.  A track that shows openness and soul-bearing; it is never too personal or singular- every listener can get a sense of what is being sung.   The track is quite minimalist and sparse- a lot of Engel’s songs are- which gives it an intimacy that few other musicians are capable of doing.

Over the past year Engel has increased in confidence and inspiration.  Visitors Are Allowed One Kiss is more adventurous with compositions.  Not betraying her past; you can hear that original voice/sound- instead new elements and threads are brought in.  The new music sounds more fascinating and deep than previous work.  Engel’s vocal is also more varied and nuanced too.  The compositions take in more Blues strands to create something layered and different: existing fans will love the new songs; new fans will be drawn by the range and diversity that is present.  With exceptional production values throughout; it is an E.P. that shows development and new sides to Engel- whilst retaining her individuality and core sound.  This rate of progressions means future releases will be exciting indeed.  I am not sure whether there are more releases mooted for 2016- or if touring and promotion is on the agenda- but I cannot wait to see more material from the young artist.  Her latest release proves she is one of the most singular and stunning musicians in all of music.

The first notes of Visitors Are Allowed One Kiss come in the form of Swans.  After initial distortion and echo a sharp and plinked electric string emerges- giving some initial urgency and fascination.  As that introduction develops and continues; our heroine comes to the microphone to deliver one of her most still and sensuous (if that is the right word?) vocals to date.  As with every Clara Engel composition; the lyrics conspire deep thought and interpretation.  The opening lines talk about being “carried by swans” over “land and sea”- nothing moves beneath or above the trees.  Those initial sentiments provoke some vivid images and dream-like scenarios.  Maybe referring to some wracked emotions and helplessness- perhaps the song’s hero/heroine is feeling detached and alone- there is that feeling of being helpless and calm at the same time.  One part of my thinks about serenity and entrancement- blissed-out and floating away- whilst the other looks at another side- perhaps there is a sense of self-destruction and anxiety that is being created.  The composition consists a funeral electric string sound that creates quite a haunting and gothic sound.  The vocal is queen and is allowed to reign free.  The lyrics become more fascinating as the song develops.  Into the next verse (the hero/heroine) is carried over “an oil slick beach”; the sky’s bright tendrils are torn “like a mandrake’s red howl”.  The poetic and oblique nature of the lyrics gets me thinking about harrowing possibilities and the upsets of life.  Our heroine separates herself from the lyrics- I am not sure who has influenced the song- and passionately projects her words.  The song’s subject is “carried by thieves” and seems to be completely adrift- what has created this turmoil is not sure.  Perhaps a relationship has broken down- maybe this is the vision of a nightmare- but you get gripped and enthralled by the lyrics.  Lines such as “a plough runs through the fire” provokes some strong possibilities: maybe the subject is trying to achieve things they can’t; life is turning into something unexpected and unforgiven.  Whatever the origins and truth of the song- whether there is any autobiography in there- you are captivated by that vocal-and-lyrics combination- one of the most affecting Engel has ever produced.  This is one of the most straightforward of the tracks across the E.P.- when it comes to the composition; there is just that continuing electric sound- it does not vary or employ any new shades.  What you get is a still and emotional tracks that draw you in and makes you wonder what it is all about- Engel demonstrates what an exceptional and intelligent lyricist she is.  The song finishes off with our heroine proclaiming that we “are feasts for the birds”; swans will fill the sky- you get such atmospheric and dark images; something few other songwriters bring into their music.  Whereas a lot of contemporaries go for simplistic and cliché ideas- looking at love and break-ups- Engel is more oblique and memorable; this song can mean so much- you are always trying to dig into its mystique and possibilities.  By the closing notes you are still imagining those images and lyrics; what they are pertaining to- your head in spin.  A triumphant and stunning start to the E.P.

Whereas Swans boasts a rich lyrics book of deep thoughts; twisted poetry and staggering images- with a simple and direct vocal/composition- Uneasy Spirit is a bit of a contrast.  Engel chooses to use the sophomore track as a mantra of sorts- certain lines are repeated for effect and sensation.  The initial moments are reliably captivating.  A soft and building composition employs tender guitar strings and a pattered percussion.  Being a song that exceeds six minutes- one of Engel’s longest efforts- it takes its time to build and breathe.  The line “uneasy spirit let go of me”- the song’s mantra and gravity- is elongated at the very start; a breathy and overwhelmed sound that sees our heroine under its spell.  With her voice smoky and gothic- ensuring every syllable and word hits the mark- you have a performance that is at once sparse and bare; you get plenty of emotion and layers to that performance too.  Whilst Engel rarely directly talks about love and passion- keen to keep cards closer to chest- you get some semblance of love/heartbreak in the lyrics- maybe I am over-reaching once more?  Our heroine wants to be laid in the sand; her heart has taken more than it can stand- is she talking about the dissolution of a relationship?  Maybe life is getting heavy and suffocating; there is that desire to go somewhere tranquil and safe- be taken away and drift off.  Whilst Engel does write lyrics that are darker and more anxious than most- a lot of the music showcases suffering and the need to escape- you do get redemptivenness and beauty in her music.  That central voice is always intoxicating and dramatic; the lyrics are never one-sided and too literal- you can interpret events your own way and conclude your own mind.  Mystical and spiritual; our heroine’s voice floats and hovers over the composition- again quite a bare-naked beat that drives things; otherwise it is just her.  It is said (this uneasy spirit) is choking her; her lover cannot reach her- maybe the spirit is an uneasy feeling or argument?  Whether she is using this spirit as a metaphor for life’s struggles and quibbles between sweethearts- or a vision that arrives to her when she sleeps- you sympathise with her and the intensity offered forth.  In the final moments we get the vocal multi-tracked to create greater intensity and meaning- the song becomes more of a chant or battle cry as it develops.  Camped out under the stars- “vault of stars and a petrol shroud”- simultaneously inspire romantic visions and something quite frightening.  That intense-hopeful mix pervades until the final moments; the listener again wonder about the song’s origins- left breathless by the emotions and heartache being poured out.

For those looking for emotional relief- and a song with joy and uplift- might want to look elsewhere.  Those that appreciate the true beauty and appeal of Engel’s magic; Swallow Me possesses plenty of stunning aroma and stark images; poetic beauty and entrancing vocals.  Again we are looking at a first-person interpretation; our heroine wants to be swallowed whole- “your limbs will blossom into rain and snow”.  Whether Engel is using herself in the song- and that need to be engulfed- or she is part of nature, I am not sure.  One of the most vivid and dramatic songs across the E.P.; you get a performance that is completely in awe and immersed in the music.  “Swallow me and your brain will bleed” it is said.  You start to wonder just what those could reference- is it a relationship or emotional connection?  Is it a nightmarish vision?  With every Engel song, you are never given the true origins of the music- just left to arrive at your own decisions.  As the track progressed, I became more invested in the words- those images really do stick in the imagination.  This song sounds like a tribal call; something you would imagine sung around a campfire at night- our heroine alone and imploring to the skies; wanting space to take her away.  We get snow and ice; we get tangles of eyes and wings- topped off with a “deep dust sea”.  With every passing verse and arrival you get a progression of the story; a chance to interpret once more- Engel has some of the most nuanced lyrics across all of music.  Keeping her voice fairly unwavering and straight- plenty of beauty and dreaminess to be heard in those tones- you get another song that is immediate and ethereal- that begs for renewed investigation.  The composition provides some electronic howls and pseudo-bellicose percussion; simple and unadorned enough to allow that voice to rule and be heard.  With the final verse in view- and promises of the trees speaking and the grass singing- I went back to thoughts of love.  Maybe Engel is referring to a lover and the need for their heart/passion to swallow her- only then will the positive reign and she will grow as a woman.  Maybe she is in a lonely place of confusion and insipidness- that burning desire to ignite a flame and be adored.  The song continues to amaze and intrigue into the final moments- our heroine always desperate to find closure and satisfaction.  I keep speculating what the ‘swallow’ part of the song refers to- whether it is a need to find great love or struggling with a harrowing dream- but that is the nature of her music.  Another one of those songs that demands you keep listening again and again- to get to the bottom of its true mysteries.

  I Love an Evil Queen arrives in typically still and calm manners.  Our heroine loves an evil queen; she wants her kingdom burned- you start to wonder again what is being ascribed.  “You can do whatever you please” is attributed to the evil queen- as she lets the kingdoms burn and freeze- and my mind started to look at an emotion being described- rather than another person.  When singing about being overcome and submissive; perhaps our heroine is bereft and in need of some hope- perhaps overcome by the challenges being thrown at her.  The composition here is more developed and stand-out than previous numbers.  Almost on a level with the vocal; you get uplifted strings and flourishes that add light and deeper emotions into the song- something almost romantic in its own way.  Pounding on the looking-glass; our heroine draws us into her fantastical and dream-like soundscape- another track that immerses your soul and begs you come along for the ride.  Whereas previous songs have a heaviness and suffocation to them; I Love an Evil Queen seems a little more accessible to newcomers- a good track to start off your investigation of the E.P.  When singing “Will you let me in before the hour has passed?’ you are almost drawn to images of therapy and session-in-progress.  I jut away from hat pretty quickly but then stray to evaluate that decision.  Maybe the song looks at depression and that feeling of being overcome and frozen.  Maybe the song is an outpouring or confession; a chat with a trusted professional- a chance to make some breakthrough and find answers.  Whatever your interpretation; you cannot ignore the hopefulness that comes out in the voice- perhaps a need to change things for the better and find some hope.  Our heroine’s fevered cheek needs soothe and cold; she is reaching out to this force- my mind starts to wonder just what is being ascribed when these words unfold- and subject.  Although our heroine loves the evil queen; it is almost counter-intuitive in its proclamation- always fascinating to try and unpick the mysteries of the lyrics.  Those Blues guitars- quiet subtle but capable of producing a quiet storm- work wonderfully with the vocals; perhaps there is a pining for some urgent percussion- just to give the track that extra kick and acceleration.  By the closing moments you are left wondering and conspiring once more- Engel never freely reveals her motives and truths.

   Once a White Owl comes to bring the record to a close.  In terms of introduction and composition we get a familiar sound and a consistency- ensuring the track builds and builds as it progresses.  Tending to employ urgency in the lyrics (rather than the composition) you have a song that once more has detailed and fascinating lyrics.  When the white owl came down we (the heroine and her subject; maybe the population itself) couldn’t see- the sun folded upon itself.  There is an effective and atmospheric guitar that builds in the back; propelling the vocal and helping to drive the mood.  In the first verse you get near-apocalyptic ideas and images; the owl came and made its nest- taking “your father’s eyes and your mother’s mouth”.  Perhaps not as literal as it is intended- or maybe it is- there are again potential for dream-imagining and haunted emotions.  The E.P. seems to be a collection of dreams and visitations; collections of poems with Gothic twists and entrancing ideas.  Being led to a window ledge- coming down to give your life “another name”- you start to imagine this bird and what it represents.  One of the wonders about Engel is the way she can write such poetic lyrics that have some common touch too.  They are never intangible and too distant; you can always extrapolate burning emotions and something deeply human in them.  The song looks at playing with fire and lurking danger- common themes across the E.P. - that is delivered with a typically assured and level-headed vocal.  Our heroine never lets her emotions get the better of her; she seems almost Zen-like in her delivery- completely at ease with what is happening.  The composition never overcrowds the vocal; instead you get another song that puts the vocal up top- allowing the song to truly resonate and affect.  By the closing moments you take in everything that has come before and try to get to the bottom of things- a strong and mesmeric way to end a fantastic record.

Congratulations must be given to everyone involved in the album’s creation.  From the autoharp and bass done to the E.P.’s closer to the modular synth on its opener- you get an E.P. that has stunning musicianship and performances from start to end.  Each player- whether they provide strings or bass; electric guitar or classic touches- adds to the vibrancy and colour of Visitors Are Allowed One Kiss.  The musicians on the E.P. have been sourced from around the world; you get a rich variety of sounds and artists- adding a cosmopolitan and universal touch to the music.  Mitchell Girio engineered and mixed the album; bringing all the themes, instruments and vocals together- making it such a rewarding and nuanced work.  With Engel taking control of the lyrics and music- bringing in a trusted and noteworthy name to mix the E.P.- you have a collection that seduces and impresses at every stage.  The lyrics are among Engel’s most impressive and detailed.  Each number leaves its impressions and compels the listener to dig deep and come up with their own interpretations- songs demands you listen again to try and get to the bottom.  With vocal performances that mix haunted and overcome with hopeful and fighting- you have a musician that has spent a lot of time and attention on the music.  I know these songs were formulated/imagining a while ago now- some began life in 2014- so there has been a long gestation.  If you have not encountered Clara Engel in full flight; Visitors Are Allowed One Kiss is worth serious time and attention- a perfect place to begin.

Having been immersed in some heavier and more energised music recently; it is good to discover an artist that brings the beauty back.  A lot of people seem to get put off when you describe an artist as ‘melancholic’ or ‘reflective’.  They will instantly attribute those words to something depressive and off-putting.  If you change your views and open your minds; you discover music that is incredibly touching and immersive; it goes deep inside the soul and provokes something personal- each listener will take something different away.  Too many musicians get caught up in making impressions with sound and energy- rather than feel, depth and lyrics.  Clara Engel’s new E.P./mini-album is a five-track collection that is expansive and immersive.  Whilst the songs are quite long and in-depth, you get a true and detailed insight into one of music’s most fascinating writers.  By the end of things you want the music to carry on- such is its effect upon the first listen.  It is that combination of lyrics and vocals that really struck me.  Engel is a poetic and intelligent writer who is capable of projecting epic scenes and wonderful imagery with very few words- one of the best lyricists on the block right now.  As a vocalist you get such an entrancing and unique voice; no other singer sounds like her- although Engel is inspired by other singers and artists.  Before wrapping things up I wanted to return to my previous points about Canadian music and a unique approach to music-making; finish off with the importance of beauty and depth.  It has been a while since I have properly explored Canadian music- restricting myself to avoid being formulaic and predictable.  With so much attention being paid to U.S. and U.K. music; more people need to focus themselves away from obvious areas.  Canada is a musical economy that is not gaining the attention it deserves.  If you are a fan of good bands; you have a huge array of stunning examples to choose from.  If you want heavy and hard-rocking sound- you are sorted and catered for.  Whether you favour something more Electronica or Pop-based; that is okay as there is plenty to choose from.  Pretty much any genre you can like is represented in Canada- the sounds change from city-to-city.  Whereas a lot of American and British acts stray too close to mainstream sounds- and lose their individuality- Canadian artists are much more determined to be unique and who they really are.

Engel is one of those artists that is hard to compare and define.  One of the most impressive musicians emerging at the moment; her sounds are those that take you off your feet and somewhere quite wonderful.  With so many vague and shallow sounds being produced; it is wonderful to discover artist with a real love for music and the effect it can have.  Visitors Are Allowed One Kiss is a collection that shows huge confidence from the young Canadian; someone who improves and stuns with every new release.  I was not surprised to discover such a force of nature based in Toronto: it is a city that is showcasing some of music’s most staggering artists.  I have never visited Toronto- it is a definite place to see this year- but I am guessing there is a wonderful music climate over there.  Given the acts and sounds emerging there at the moment; you can only imagine just how supportive and all-inclusive the music scene is.  Perhaps (artists here) are not suffocated by media expectations and overcrowding- the same way artists in the larger cities are- which is leading to some astonishing music.  Engel is an artist who fits into that scene and is producing music of the highest calibre.  Having opted to – at the first instance anyway- release her E.P. on cassette and C.D. (before a digital release; if there is one); you get a musician that wants to bring music back to its roots- something physical and real.  Given the fact her music is quite a physical thing anyway- and elicits something primal and soul-bearing- it seems only right she has made this decision.  So much of music gets washed away and distorted in the digital machine.  Perhaps it is that purity and soulfulness that gets taken away- I always prefer my music on hardware.  It may seem like an odd thing to raise but a valid point none-the-less.  I love music that has an energy and force to it; something that can get the feet moving and the head nodding.  When it comes to the other side of music- and plumping for something more settled and beautiful- it is equally rewarding to discover something pure and emotional.  Too many people assume melancholic and sensitive music will be hard-going and depressive- avoid it and go for something more reliable.  If you think this way you will never really understand music and get a full impression of its potential.  Clara Engel is one of those musicians that possess such beauty and seductiveness; her music digs into the soul and begs the listener to lose themselves in the music- why would you ever resist or ignore that?  If you get a chance; please get hold of Visitors Are Allowed One Kiss- a collection of songs that sound utterly entrancing and essential.  Check out Engel’s music and…

 

LET it take you somewhere magical.

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Follow Clara Engel:

 

Facebook:

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

Twitter:

https://twitter.com/clara_engel

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Music:

https://soundcloud.com/claraengel

Track Review: Dolores Haze- Reaching Placebo

TRACK REVIEW:

 

 

Dolores Haze

 

 

Reaching Placebo

9.6/10.0

Reaching Placebo is available at:

https://soundcloud.com/doloreshazeband/01-reaching-placebo

RELEASED: December, 2015

GENRES: Noise-Rock

ORIGIN:

Stockholm, Sweden

Their album The Haze is Forever is available at:

https://soundcloud.com/doloreshazeband/sets/the-haze-is-forever

TRACK LISTING:

Reaching Placebo- 9.6

The Haze is Forever- 9.5

On Purpose- 9.5

Crazy About Me- 9.4

Touch Me- 9.5

Milk- 9.4

I Got My Gun- 9.6

The Garden- 9.6

DOWNLOAD:

Reaching Placebo; The Haze is Forever; I Got My Gun; The Garden

STANDOUT TRACK:

Reaching Placebo

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MUSIC throws up all sorts of right angles and tangents…

so that one week you could be looking at a Pop act from London- the next you are investigating a Rock band from the U.S.  It is always pleasing to see what various parts of the world are producing.  For today I get to discover great music from a very prosperous musical centre: Sweden and the magic being made there.  Before I get down to my featured act I wanted to talk about Swedish music- Stockholm in particularly- in addition to girl bands and sub-genres.  Sweden is another one of those nations (like Australia and Canada) you would not normally think of when assessing new music- I had the same thought with regards Scotland too.  So much attention is paid to obvious musical nations- the U.S. and U.K. really- few eyes tend to gaze in other directions.  It is a real shame we have become so rigid and lazy when it comes to seeking new music out.  Critics and the media are always a little to blame in this regard- few actually offering insight into nations like Sweden.  When you consider Sweden there are so many great acts emerging last year.  In 2015 the likes of The Hanged Man, 1987 and Hey Elbow were names to watch and herald- exciting critics with their variation and quality.  Whilst there is some fantastic music emerging all across Sweden; Stockholm is probably the most note-worthy when it comes to bands at the moment.  Historically the city has produced the likes of Niki and the Dove, Dirty Loops and Zeitgeist (not forgetting ABBA)- quite a rich heritage here.  With bands such as The Amazing promising good things- other new and fresh bands coming through- I reckon we should look towards Sweden when it comes to new music.  Its capital is amazing me with the various types of acts and musicians playing- more varied than most other cities across the globe.  In the past few months I have taken my mind outside the U.K. and expanded my horizons somewhat.  When reviewing music from L.A. and New York; I was blown away by the depth and range of the music here- such a vast array on the musical menu; not just one particular sound or genre.  I find that a lot of new British acts are not as ambitious and original as they could be- Stockholm is producing some of music’s most original and striking new acts.  I am not sure whether it is the musical community there or the country itself- the lifestyle and pace is conducive to creative brilliance- but I would be interested to know.  There seems to be a resurgence happening here; 2016 will see a lot of Stockholm musicians make their way into the mainstream- and nestle alongside Britain’s best for the year.  It would be good for someone- a music website or search engine- to make it easier to discover Swedish music and the best the country has now- no music website is disciplined enough; search engines are too broad and unreliable.  This time- and as usual when it comes to Swedish goodies- I have been via Mystic Sons- a London-based P.R. company- to discover one of their finest clients.  Before I raise a couple of new points; let me introduce Dolores Haze to you:

Groovy Nickz: vocals, bass/Groovy Fuck: rhythm guitar/Lucky Lollo: lead guitar/Foxy Sagz: drums

The Swedish girl group is another act that has little biography and insight- preferring their music made up for it.  It would be nice to see (in future) a little bit of backstory and history for the band- where they came from and the acts that have inspired them.  The quartet are as much a fashion brand as a group- a mix of sounds and styles that goes into the incredible music.  In addition to being the heroine in Lolita- perhaps appropriate given the juvenile and girlish energy you get from the band- the girls have ‘charming’ pseudonyms- humorous and cartoon-like monikers that gives you a window into their mindsets and attitudes.  Here is a band with plenty of attitude and spunk: rebellious and purveyors of Punk spirits; channeling anger and passion through ‘Noise-Rock’ sounds- a sub-genre they are very comfortable in.  If you look at the band market at the moment; there are not really that many all-girl groups coming out.  There are mixed-gender bands- that usually have a girl lead- but when it comes to all-female; they seem to be a rarer breed.  Away from your Pop-only groups- that are variable in quality- there are some fantastic Rock/Punk girl groups around.  From Denmark’s Nelson Can to England’s The Tuts; there are some gems to be found.  I like the all-male bands we have now- they make up the majority- but is always more fascinating to hear from the girls and what they can offer.  I find the best Punk-inspired sounds come from girl groups- they tend to have that necessary attitude and vocal to truly do it justice.  Dolores Haze are one of the most impressive and talked-about acts coming from Stockholm right now- having enjoyed a wonderful past year.  It is hard to pin their sound down; the girls claim to be a Noise-Rock band- a genre/sub-genre that dates back to the ‘80s.  Back in the 1980s the likes of Scratch Acid (Texas) and Dinosaur Jr. (Massachusetts) helped to popularise the sound- influencing the likes of Nirvana and their Grunge peers.  In this decade acts such as Dope Body, Dumb Numbers and Roomrunner have kept the genre alive- all three are American groups.  Outside the U.S. there are not that many notable examples- unless I am missing something- so Dolores Haze have a real opportunity.  With so many bands becoming boring and predictable; these live-wire and explosive girls are conquering territory and ensuring the world hears their music.  Last year they released their album/mini-album The Haze is Forever: an eight-track collection that saw them at their peak.  This year the four-piece will capitalise on that success with no material- although their album is still gaining huge plaudits- and take their sounds across the world.  It would be great to see the girls come to London and the U.K. - there is a definite market gap and demand for their music here.  Let’s hope the Swedes do pop over here and electrify our crowds; in the meantime, they will be planning new moves and endeavours.  It is a testament to their individuality and ambition so many critics and reviewers have latched onto their music- the social media ranks for the girls is expanding impressively too.

Accidental E.P. was released last year and one of the first chances for the world to hear the girls in full flight.  Whereas their latest album/mini-album shows them at their moist adventurous and complete; their previous record saw plenty of promise and quality.  Opener The Haze shows bulldozing riffs come together backing a raw and ecstatic vocal.  Our heroine wants her man to take her in his arms- a song that has made its way onto their debut album- and shows that anthemic quality.  More accessible than a lot of their songs it is a foot-stomping and crowd-uniting jam.  A stunning band performance drives that vocal which is at its defiant and proclamation best.  A developed and evolving track; it snakes and mutates- almost the anthem and mission statement from Dolores Haze.  Kaleido is a building and intriguing thing to begin.  Dark and building strings give impressions a Western mixed with a horror film- something emerging from the shadows.  The vocal is more restrained (than previous cuts) and shows our heroine in apologetic mood.  Having stolen the boy’s heart- something she is sorry for- all she wanted was a kiss.  Before long the song explodes in a haze of Garage-Rock riff-age that sees the band unite in the explosion.  Accelerating and rampaging as it goes, we get a wordless vocal that leads to a delirious and drugged-addled (in its effect) vocal- one of the most raw and primeval tracks from the band. Fuck the Pain Away leaves little room for ambiguity and misinterpretation.  One of the longer songs from the E.P.; it is one of the most lyrically-vivid and bold songs.  Quite proactive and detailed in its sexual descriptions- the soft-core rendez vous between the two is ascribed- you get a ragged and breathless encounter.  Rough and ready in its charm; dogged and explicit- the song is one of the most memorable for sure.  It is not to say the track is just an excuse to be controversial and lewd- it shows the heroine at her most alive and reckless.  Propaganda Goth Club opens with sirens and a sense of urgency.  Riding a hard and heavy riff, the heroine lets her voice wail and bite at every turn.  A short closer; it is an immediate and bracing track that is a bucket of ice water- after the hot and heavy proceedings of the previous number.

Whereas The Haze is Forever is a longer and more complete work; you can hear those early sparks of potential in Accidental E.P.  Perhaps not quite as accessible as their new release; some of the songs are hard to decipher and understand.  The vocal can get buried under the rabble and fury of the composition; sometimes that near-petulant scream can overwhelm and jar occasionally- some of the songs run a little too long.  It is understandable the girls would want to throw everything into the mix on the E.P. - it is a bold and brilliant statement of intent.  What you get are largely positive shades; lots to recommend.  Stunning riffs and exhilarant vocals; pulsating percussion and memorable lyrics- the Stockholm band was certainly memorable here.  Their latest collection expands on their early promise and smooths the rough edges out.  The songs now are more decipherable and balanced; the vocals not quite as overwhelmed and rushing- more emotionally-rounded and varied.  The girls sound tighter and more compelling now; they have grown and matured- more disciplined and nuanced than early recordings.  This all bodes well for their future releases.  Improving and evolving with every step; the girls are finding their voice and feet- not long before a full-length album is released.  What you have at the moment is a band with plenty of energy and compelling music; plenty more to say- one of the most explosive and memorable acts around today.

I was keen to focus upon The Haze is Forever’s opening track Reaching Placebo.  One of the most listened-to tracks on their album; it is a fantastic and highly addictive track.  The vocal gets down to work right away; the girls are determined to make this song an immediate and urgent thing- not giving the listener time to bed-in and reflect.  The opening lines mix with a Garage-Rock-inspired riff- that reminds me of early-The White Stripes- and has a dirty grunginess to it.  Our heroine speaks the lines: “I’m no friend of the sun/Not since she killed my brother”.  I was wondering what the inspiration behind these words was.  It is quite an oblique and intriguing sentiment that gets you thinking and imagining.  Maybe the song looks at something distant and intangible.  Perhaps not referring to a sibling or human; it might be directed at a spirit or feeling.  It is one of those couplets that get you reaching into the imagination-bag for truth and meaning.  Even early-on the song changes course and direction to elicit and emotional slam.  From the scratched and frantic early riff; the song demure slightly when our lady talks of a “pastel cab with seats of leather”- a cab she stole in revenge for the death- and the need to “Drive, drive drive”.  Even at the infant stages you get some vivid images and a wonderful story-line.  From early interpretations you start to re-imagine and speculate.  Whilst not attesting literal murder and deceit; the lyrics look at our heroine being brighter than the sun- something that is jealous of her.  In retaliation to this jealousy; the cab has been stolen and driven away- although she returned the same person.  It is at this point I was starting to look at personal heartache and dissatisfaction.  That lyric that said (our heroine) “came back the same”- maybe she retreated to find purity and sense; wanted to escape and take time out.  It seems whatever compelled this flight- and her subsequent return- has not given her answers and guidance.

When delivering that end-of-verse assessment; you get a stomping and tight performance that brings those words to the fore- it is impossible not to be intoxicated and drawn into that emotion and dissatisfaction.  Changing vocal course once more- the next lines are syncopated and fast-flowing- it gives the song new dynamic and shape.  By contrasting the vocal it makes the song fresh and unpredictable- meaning its nuance and sense of repeatability is near-endless.  Now the wind is being accused and spotlighted.  The wind is jealous of her heroine’s high nature and superiority- calling her up drunk from time-to-time.  At this stage I back-tracked and saw the meteorological figures as embodiments of companions/friends.  Maybe the sun is a friend or former lover; the wind certainly sounds like a sweetheart- someone who wants their way whenever the mood strikes- jealousy and envy at every stage.  Whereas most bands would go for obvious and literal lyrics; you get oblique and fascinating choice of words- that makes the song such a layered and glistening thing.  This time our heroine retreats and glides- “Fly, fly, fly, fly away”- without getting satisfaction and answers.  This pattern of self-destruction and recklessness has come from an emotional place- that need to find solace and guidance throughout drink and crime.  Never revealing the origin and true nature of the song; you get a verse that attests the streets and their relationship.  Having walked the streets since the age of seven; it seems the heroine’s feet are leaving her- she has “killed a few” and will go to Heaven.  You get more fascinated to find out what has caused these events and revelations; the lyrics are quite stark and vivid- you cannot help but picture the scenery and images being spun.  Perhaps the truth and real meaning is known only to the band- I may have to press them at some point- but that anger and urgency is very real.  The girls create their most complete and compelling compositions of the album.  Mixing Grunge and Hard-Rock; Noise-Rock and Gothic undertones- it all comes together with authority.  At every stage- when it comes to running away and escaping- everything remains the same; there is no change in mood or fortune.  Completely together and in-line; Dolores Haze are at their most exhilarating and determined here.  A song that is sure to be a live favourite; it also has mainstream/radio appeal- I could see it being spun across stations in the U.K.  Backed by a squirting, buzzed riff; our heroine stands questioning: has her friends and subjects changed?  Has she changed?  It seems that everything is the same and as bad.  There is clear regret and unease at the outcomes- as our heroine declares it’s “such a shame”- and you always empathise with her plight.  As the final notes ring in, the vocal is complete and you are compelled to re-investigate and see if you can shed light on the song- exactly what has caused this attack.

Congratulations must be given to the band that has come on leaps-and-bounds since their earlier days.  Their album The Haze is Forever is a stunning record that demands a memorable opening number.  Reaching Placebo gets to work immediately and shows the Stockholm girls in fine voice- one of their most intriguing and immediate songs.  The vocal is not quite as rampaging and rushed as on previous numbers; more developed and considered, you get emotional depth and pace- making the song much more appealing and nuanced.  Time and consideration has gone into the writing and recording.  The song sounds well-rehearsed without being too polished and lacking spark.  The production allows the raw and vibrant nature of the song to be exposed and flourish.  One of the most rounded and addictive voices in music; Groovy Nickz is a force to be reckoned with.  Her bass leads the song and makes sure the story progresses and the music hangs together- whilst summoning plenty of emotion and edginess into proceedings.  Groovy Fuck lets the rhythm guitar add huge spark and memorability to the song; blending perfectly with the band and eliciting wonderful moments along the way.  Lucky Lollo’s lead guitar is an attacking and savage thing that adds bite; propelling the vocal and creating tonnes of story and contours.  Foxy Sagz lets her drums propel and strike; keep the backbone straight and true- pummeling and dangerous when needed; more restrained and level-headed at others.  The entire band is wonderfully tight and alive throughout the track; it is clearly a favourite of them- a song that is sure to find patronage and appeal in the live area.  A perfect lead-off for The Haze is Forever; Reaching Placebo is the finest song from the Swedish quartet.

 

The Haze is Forever is an album that brims with confidence and memorability from the very first notes.  Consider the title track that begins with a chugging and Punk-influenced riff.  Our heroine wants (the hero) to take her in his arms.  This haze is forever it seems; there is a huge declaration and gauntlet laid down.  Repeating the song title; you get caught in a hypnotic swirl and energy- something that is unforgettable.  Skewed and spiked strings mix with burbling bass; our heroine longs for glory days and something better- knowing it probably will never come.  Mixing in Garage-Rock guitars and drive, you have one of the most immediate songs on the album.  On Purpose begins somewhat softly before mutating into a building and atmospheric number- with little embers of Pixies at stages.  It is one of the most gentle and restrained cuts on the records; showing a more subtle side to the girls.  Touch Me is one of the most vibrant and attacking tracks on the album.  The guitars are relentlessly exhilarating and buzzing; continuously pressing and rampaging- backing a dreamy and sonorous vocal.  I Got My Gun is one of the most unique cuts across the album.  Mixing electronics and video game-type sound effects; you get remembrance of ‘80s Dance and something retro. and brilliant- a happy and charming jump that gives the track such heart.  One of the most gripping and stunning tracks the girls have produced; it shows yet another side to their artistry.  Finishing off with the stunning The Garden- where they go fully on the attack- and you have a brilliant swansong.  One of the most exhilarating vocals on the album; there are shrieks and spits; an impassioned and determined drive- bringing proceedings to a close.

Throughout The Haze is Forever you get so many different angles, stories and personalities.  The songs deal with sex and relations; you have girls that are not embarrassed to be forward and open- sex toys and outdoors nookie sit alongside something more conventional and demure.  They are not a band that wants to shock or rebel- in a juvenile and teenage way- instead inspire other bands to follow their lead.  As it stands, the Stockholm band seems in a class-of-one: I have not encountered any other bands with the same firepower and songbook; something as special as this.  You cannot overlook just how much work has gone into the album and its brilliance.  The girls have stated how much hard graft and craft went into its creation; the songs were long-awaited love-children (their own words) and this wait and patience has resulted in their finest work.  Straying away from the limitations of their previous work- that perhaps appealed more to the homegrown audience- they are more cosmopolitan and all-inclusive here.  Setting their sights around the world- they are entitled to now- the music is more universal without being truly accessible.  So many bands are watered-down and safe; they miss that necessary panache and gutsiness- no issues from Dolores Haze!  Perhaps they still employ some of that pre-teen shriek at times- it actually adds to the music rather than detracting- but they are a maturing and developed brand that gets more assured with every release.  Their latest incarnation sees tight and focused songs sit alongside one another.  There are plenty of fun and witty moments- revolver-shaped dildos and faux-arrogance- in addition to some bite and verve.  The girls are always compelling and memorable; their music stands up to multiple batterings- you need time for the songs to sink it and do their work.  Before tying this all together, I wanted to circle back to my original points- the music of Sweden; girl bands at the moment and sub-genres in music.  The ‘60s cool and eye-catching fashion- see publicity photos of the girls- mixes with terrific Noise-Rock diamonds; songs that recall the ‘80s birth- giving the genre a contemporary energy and twist.  Sweden is showing just how innovative and original their musicians are.  Away from Dolores Haze; I have been amazed by some of the Pop acts that play here- including NONONO and Kate Boy; Miike Snow and Say Lou- and with the likes of Icona Pop and Beatrice Eli big names in the country- there is so much quality and potential to be found.  Whilst its best and brightest are not the most radio-friendly- in a very good way in fact- this does not mean they should be overlooked.  The musicians of Sweden are more bracing and daring; they are experimental but are able to keep things relatable- few artists in the U.K. do this as deftly.  I love the British acts emerging; it seems like Sweden is producing exciting and stunning acts that need to be embraced.  Stockholm seems to be at the forefront of this charge and assault.  Over recent years Niki & the Dove are aming Stockholm’s most prodigious acts; Elliphant is a gutsy and multi-genre artist that recalls M.I.A. (although she is very much her own boss).

Tove Lo and Nervous Nellie have broken through in the last few years; The Knife has also emerged proud and victorious.  That is just the tip of the iceberg; there is so much more to be discovered when you dig deep- it is a pity the mainstream media here is not recongising the influx and burgeoning rise of Swedish music- with Stockholm particularly fervent and stand-out.  One of my most frequently-appearing concerns- and the last time I shall introduce this for a while- is the lack of comprehensive music website- one that does everything a music-lover could want.  So many are hung-up with Internet radio and promoting home-grown acts- how many are authoritative and comprehensive?  If I wanted to discover the upcoming Swedish acts of 2016 where would I go?  I could type it into Google- which I did do- but the search engine is so wide and vague; it is near-impossible to get good results.  All you need is a website that organises by country/town; a user can go in and search by country- get a list of the artists and acts emerging here (drawing in blogs and music websites’ Information).  It seems a shame so much good music is going unnoticed.  Thankfully Dolores Haze have cemented their reputation in Sweden; they have translated across the globe and struck ears here (including Mystic Sons) - not long before they are a worldwide name.  With the boys dominating the band market, I am always glad and proud to put the girls up front- they are actually producing more interesting and nuanced sounds.  When it comes to Pop groups, I have assessed the likes of IV Rox- a British act that recall the likes of TLC and En Vogue.  If you think of male-equivalent Pop acts, you do not get that sass and attitude; the authority and quality- they are much more sugary and commercial.  Same can be applied to other types of bands in fact- the girls of music have much more drive and confidence.  Perhaps it would seem uncouth having men talk of sexual indiscretions and putting the boot into the opposite sex- their subject matter is sourced elsewhere; as a result they seem more limited and less enticing.  Who knows, but what I do know is that more attention should be paid to the girls and the bands they are forming.  Too much attention has been paid to the all-male bands- the likes of Dolores Haze are showing just what can be achieved; a sound few of their male peers can achieve and own.  The Stockholm girls mix sexual abandon with rebellious shout-out and even-the-score f***-you jams.  They are bringing about a sound that will see other bands follow in their footsteps.  Noise-Rock is a genre that was born in the ‘80s; over the last few decades it has seen a slight rise in popularity- still considered a niche sound; something that has not yet truly struck the mainstream attention.  Let’s hope in years to come we see more Noise-Rock bands emerge.  Dolores Haze are on the rise and will be big names to watch.  If you have not encountered The Haze is Forever then make sure you do.  It is a confident proclamation that is rightfully justified and astute.  The eight-track album spills-over with memorable moments and stunning songs.  Reaching Placebo is its finest moment yet not the only smasher on the record.  Take time to discover one of Sweden’s best and brightest new acts; girls that have…

AN extraordinary future ahead of them.

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Follow Dolores Haze:

 

Facebook:

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

Twitter:

https://twitter.com/doloreshazeband

Instagram:

@doloreshazeband

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Music:

https://soundcloud.com/doloreshazeband

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Videos:

https://www.youtube.com/channel/UCqWnQaxRaznggTpbM2-gFAQ

Track Review: The Fables- Worry

TRACK REVIEW:

 

The Fables

 

 

Worry

9.5/10.0

Worry is available at:

https://soundcloud.com/thefables/worry

RELEASED: 2013

GENRES: Rock

ORIGIN:

Glasgow, Scotland

____________________________________

HAVING just reviewed a run of artists releasing fairly-new material…

I am taking my mind back a couple of years to review music by an excellent up-and-coming band.  Before I get to my featured act, I have been thinking about music’s variety; the quality of music emanating from Scotland- in addition to the importance of keeping Rock burning bright.  I think there are quite a few issues when it comes to music.  The mainstream seems to be too fixated with certain kind of artists/sounds- when it comes to promoting.  The best albums from last year (in the mainstream) came from Kendrick Lamar, Jamie xx and Courtney Barnett- all very unique and different artists.  To my mind, their music and rise was less focused-upon than the likes of Coldplay, Adele and The Libertines- acts who produced very so-so albums; yet were a lot more radio-friendly and commercial.  It seems the best and brightest always have to fight harder to get acclaim- and are scandalously overlooked by the mainstream media- and do not get just reward.  If it were not for a few end-of-year lists I would not have discovered Kendrick Lamar’s To Pimp a Butterfly or Courtney Barnett’s Sometimes I Just Sit and Think, and Sometimes I Just Sit.  Aside from its unwieldy title, the latter is among the most urgent and stunning Rock albums for many years.  The humour and surrealism sits alongside nuanced tracks that reveal fresh beauty after every listen- every track hits straight for the brain.  Whilst topping polls and ‘best of’ lists; the albums received comparatively little mainstream focus- compared with the unspectacular offerings from artists who should be doing better.  It seems all the most genuine and inspiring music is being overlooked and ignored to an extent.  In terms of new music, there are some great acts and bands coming through- a lot of music publications are still concentrating too heavily on those who will be popular; rather than those who will provide exceptional music.  If you look hard enough, you get to discover some genuinely amazing artists- those that have potential to be big names in future years.  One of the (other) issues with new music is its sheer size and numbers- almost impossible to confine, organise and compartmentalise it.  Before raising some new points, let me introduce my featured act:

Vocals/Rhythm Guitar - Mark McSween

Rhythm Guitar/Backing Vocals- Alan Burgess Lead Guitar - Lloyd McAllister Bass - James McSherry Drums - Allen Hopkinson

Glasgow based Rock 'n' Roll band formed February 2013, started gigging in June 2013. Playing currently in venues around Scotland”.

Over the last few months I have become fatigued and a little disenchanted by some of the groups coming out.  What you get from solo artists is mobility and diversity.  They can perform Soul, Pop, Rock, Electro. - pretty much anything they want.  I have always found bands to be more restrictive when it comes to their sounds- a lot tend to blend into each other.  Those that do stick out are few and far between; luckily one such band is The Fables.  It is no surprise to see Glasgow producing another great band (the city has a great reputation).  The ‘Fables boys seem like honest and genuine musicians: The type that would rather see their music on C.D. and produce a physical product; rather than be online-only.  Fewer people are actually buying music in shops anymore- favouring the ease and facelessness of digital downloads and streaming.  The Fables are a band that put me in mind of the classic ‘70s Hard-Rock bands- the type that have followed music’s greats and want to follow in their footsteps.  Of course the Glasgow boys have to conform to social media and music-streaming sites- but have that genuine Rock ‘n’ Roll spirit to them.  Glasgow is a city that often gets overlooked compared to Edinburgh- when people think of new Scottish bands they often head there.  Whilst the two cities are very different; when it comes to music, I think Glasgow might be edging it.  Over the past few years, the likes of Deathcats and The Yawns have emerged into public consciousness.  Neon Waltz, Machines in Heaven; Babystrange and The Amazing Snakeheads are all going to be making moves this year.  I find bands elsewhere in the U.K. - from London to Manchester- tend not to have as much personality and charm as Scotland’s finest.  Glasgow is producing some terrific bands that are rebelling against the rather predictable and crowd-following examples emerging further south.  The Fables are very much indebted to Rock and its glorious history.  The boys have the classic four-piece line-up; they LOOK like a Rock band- not pre-pubescents with dodgy hair; high street fashion and fake attitude- that are making music because it means the world to them- not to get their faces smothered on magazines; Radio One drooling over their latest single.  Having formed a few years ago, the lads have barely stopped for breath.  Many commentators have speculated Rock is all-but dead; it is not as potent and qualitative as it should be.  Whilst there is some true Rock has lost some of its edge- due to the sheer number of bands throwing their name into the ring- there are some great bands out there who are doing new things; away from the mainstream-attention-seeking behavior of some acts.  The genre has seen so many representatives come through over the last decade; it is getting harder and harder to discover true Rock acts- those reinventing and reviving the genre.  I mentioned Courtney Barnett earlier as she was celebrated for giving Rock a fresh lease- putting wit, pathos and personality into her extraordinary music.  She did not have to reinvent it and change it too much- just be different and original.  The Fables have a love for older-days Rock ‘n’ Roll but do not wear their influences too heavily on their sleeves.  What you get is a band with an original sound that also infuses essence of past-days bands.  Having toured last year the boys are lining up gigs for the year ahead.  It would be great to see an E.P. come through to show the music world where they are now.  With a few fantastic tracks under their belt it would be the time to get some more tunes out there- as 2016 looks to hot-up pretty damn quickly.  I am sure the guys are planning their next move; it will be fascinating to see where they head next- hopefully they will do some tour dates further south (hitting London at some point).

Whilst Worry has its own charm and direction; if you want a full picture of The Fables, then it is worth comparing it to Like I Do.  Whilst the band keeps their sound and tightness strong; the two songs are very different beasts.  Like I Do begins with a swinging and swaggering introduction.  The bass gives the song a funky and feet-kicking push that perfectly melts with the hissing percussion- before the guitar comes winding in like a cobra.  Pulsating and scintillating; you get a hell of a slam from the first moments.  Our front-man has embers of Joe Strummer when at his rawest; shades of Tom Petty in there too- whilst keeping that native accent pure and unfettered.  The song looks at deceit and double-cross; “foot on the other shoe” and being bled dry.  Maybe this song recounts a past love and bond- one that has now hit the skids.  Having bled our man dry; you get that anger and recrimination coming out- backed by a drunken and avalanche riff.  The song has such a great (and pure) Punk spirit; straight from 1974, you could imagine the likes of Sex Pistols loving this one- whilst the song has a contemporary vibe to it.  The band never polishes their songs; ensuring that emotion, masculinity and Rock spirit is unadorned and pure.  A wonderfully measured and controlled lead vocal ensures the track resonates and sticks in the mind- it is not rushed or unintelligible; it is beautifully projected and controlled.  Whilst the heroine’s hazy eyes are turning blue; unleashed is a spiraling and tornado riff- one that twists and contorts with malevolent glee.  One of the most boisterous and addictive guitar performances I have heard; it makes the tracks hugely impressive and grand.  A clear made-for-the-live-crowds slam; it is a song that gets better with each passing moment.  The poisonous-tongued heroine and events transpiring provoke vivid images and wonderful scenes.  By the final moments you wish the song would continue and linger a little longer- the band keep things economical and tight.

What is consistent- through every song they produce- is how tight the performances are; they are completely in-step at every stage.  Like I Do and Worry should the band are agile songwriters and do not just stick to one sound- both tracks have contrasts and very different skins.  The consistency in each relates to the performances and determination.  The boys never miss a step and sound completely together- without making their music sound too rehearsed; keeping things natural, live and edgy.  With too many bands coming across overly-rehearsed and far too clinical.  Were the likes of The Ramones, Sex Pistols or The Clash to sound fake, polished and unnatural they would not have lasting careers and respect- something more bands should take note of.  With a couple of gems online- others making their way into set-lists- it will be fascinating to see how these tracks gel-together in a future release.

The opening moments of Worry show some Bluesy and emotional strings- a trickle and semi-cascade of notes- that gets the song off to a flying start.  Soon enough our hero is at the microphone and the song kicks up a gear; lyrics about anxieties and everyday woes.  Our man lets it known there are worries on his mind- things that plague him all the time- and there is a weight on his shoulder.  There is a brilliant ‘60s vibe to the melody/music- shades of The Beatles and their Power-Pop contemporaries- melted with some ‘70s Punk undertones.  Our lead lets his voice project those inner-doubts and fears.  It is not said what exactly causes this woes- whether a relationship has broken down or life is becoming too heavy- but you can hear that angst and disappointment in the vocal.  Worries are attributed and represented in various different way.  Is our hero worrying too much?  Is he worrying enough?  He is/should be/might worry about his girl- his head a centrifuge of mixed emotions and uncertainty.  Speculating and questioning life; he wonders whether things will be better today.  It is clear our boy has gone through a lot and has taken a burden on- maybe things are not going as well as they should.  Whereas Like I Do has a gritty Punk slam to it; Worry has more melody and a more uplifted composition- without becoming too Pop-y and mainstream.  It shows a wonderful side to the band- and proves how adaptable and diverse they are- and portrays some real emotions.  As the song progresses, you wonder who the song is directed at- whether it is a lover or friend- as the song is a confession of sorts.  With all these doubts and worries on his mind; there is a need and desperation to offload them and find his way back to safe land- be the man he used to be.  The panic that is inside is “freaking me out”; our hero is enraptured in a storm of confusion and stress.  You are always wondering exactly what has inspired the song- whether there is a heartbreaking split or a lack of finance; fights with friends or the pressures of the music industry.  At every stage the mind imagines and tries to dig to the bottom of things.  Perhaps life used to be more prosperous and better; it is at a stage where things have turned around and soured- that need for betterment and improvement is evident.  As our hero lets his voice ache and pervade; the band project a subtle and uplifting composition- imbued with ‘60s-Pop; ‘70s-Punk- a beautiful concoction of sensations and genres.  The band reemploys lyrics to enforce that sense of urgency and doubt- whether tomorrow will be a better day; if they will change at all- making the track addictive, memorable and singalong.  The Fables are masters of crafting songs that seem ready-made for the live crowds and gangs.  Whereas most new bands tend to aim for arenas with their sound- all heavy riffs with no direction or personality- The Fables go for something more intimate and genuine.  Their songs are destined for the vintage and gilded music venues- the type that attract genuine music lovers- and you can hear the attention, affection and detail in their music.  Worry breaks at the half-way point to elicit an emotive and glistening guitar solo- something that continues the story and fully represents the emotions of the song.  It is at this stage the band come fully together in song; the instruments blend wonderfully and intuitively- summoning up plenty of colour, panache and power.  After the speculative and intriguing early-verse words, you get reminiscence and back story- as our hero comes back to the microphone.  Harking back to glory days- when he used to hang around with friends in the day- there is that desire to go back there and recapture that spark.  Perhaps the magic has run dry but our hero is not through yet- just going through a bad spell.  The song is one that so many people can identify with.  If you are going through an uncertain period; there is that desire to return to childhood days- perhaps a time when things were simpler and uncomplicated.  I wonder whether our hero has encountered a break-up; whether success is not as ready perhaps as they should- those memories of better days come flooding in.  Perhaps the ‘good old days’; yet they tend to saw fights erupt and the law called- the proclivities and follies of youth, I guess.  You get a real insight into Glasgow and the sounds/sights of the streets- how our hero ran with the boys and stayed up late; didn’t think about tomorrow- just lived for the day.  With The Libertines passed their best; Worry is the kind of song that could have slotted onto Up the Bracket or The Libertines- a testament of youthfulness and the responsibilities of growing older.  The vocal always compels with its whiskey-soaked ravage and emotive sound- able to elicit sadness and regret alongside anger and regret without missing a beat.  In the final stages the band unites once more in the composition- a much edgier and stinging riff emerges this time.  (Like) Like I Do; The Fables are expert when it comes to those catchy and nuanced riffs- that strike you upon first listen but compel you to listen over again.  Caught in the haze and spinning beauty the song isn’t done seducing and inspiring- the final seconds see the song book-ended (reintroducing that introduction sound) to calm things down; bring the song to a soft conclusion.

Having produced a few smashers in their time; the Glasgow boys are onto something wonderful- music that stands aside from everything else out there.  For the music-lover you get archived hints of The Clash and their heyday; aside from that you get an original and unique act with a clear discipline- they betray a debt to nobody.  Congratulations must be provided to the mixing and producing first.  So many musicians squander their potential by over-producing songs and rinsing them out completely.  I hate a song that sounds too polished and clinical.  It takes so much away from the music you wonder why they bother in the first place- that desire to be ready-for-radio translates into music that is fake and plastic.  The band that have their eyes on the live crowds- and are not hung-up on playlists and plaudits- are those that produce the best sounds.  Worry has plenty of rough-and-ready charm to it- it sounds like a live-sounding track to be fair- whilst containing professionalism and consideration.  That vocal is allowed leverage and space up front- it is never mixed-down and dulled- meaning the words, emotions and intensity.  Mark McSween singles himself out as one of the music world’s most impressive and study-worthy singers.  I suggested embers of Joe Strummer early on; always intended as a compliment- not sure if our hero is a fan of The Clash.  A performance full of real emotion and nuance; I cannot wait to hear that voice expanded and spread throughout an E.P. or album.  With his rhythm guitar sparring beautifully with Lloyd McAllister’s stunning lead.  That lead guitar works wonders throughout the track: From the scratchy and gravelly riffs- via flourishing arpeggio- to the arena-seized soloing; you get a guitarist with so many sides and shades- one of the most nimble and natural performers around.  James McSherry is a stunning bass player that has plenty of melody, rhythm and leadership to his performance.  Infusing so much energy and life into the mix- whilst guiding the song and keeping it level- you get a player that holds the band together and keeps everything disciplined.  Alan Burgess comes into the band- one of the two new members- and provides stunning backing vocals and rythmn guitar.  His guitar work fits superbly in the band; fusing with his band-mates to create plenty of drama and wonder.  Naturally fitting into the fold; it will be great to see how he develops across the recordings.  Adding some stunning and emotive backing vocals into the track; you get a versatile band member who is a very valuable asset.  At the back, Allen Hopkinson (the band's new drummer) ensures Worry has plenty of punch and swagger to it.  Crackling and strong-armed; supportive and level-headed- a percussionist who ensures the song is always enthralling and mesmeric.  The entire band combines superbly and is as tight as any other out there.  It will be wonderful to see more songs come through this year- 2016 will be an exciting year for the Glasgow boys.

The Fables have a real gritty sound that harks back to the dawning of Punk- those rebellious and bracing bands that emerged in the ‘70s.  Punk may not be entirely dead- there are retro. bands doing their best to keep the flame alive- but Rock is surely not dead.  There are too many clinical and clean Rock bands out there- hardly worthy of much investigation and respect.  It is true there’s some great young bands coming through; I tend to find the best and most impressive sounds come from slightly older bands (no slam on the ‘Fables boys) that have that experience and maturity.  So many Rock bands replicate mainstream acts and put no individuality and kick into their music- it sounds faceless and far too polished.  The Fables have a granite sound that is far from under-produced; you get atmosphere and emotion; passion brimming through- it would be good to hear more music sound like this.  Worry is a song that sees the Glasgow band embrace Punk and Rock’s legends whilst injecting local sounds and sights- creating a sensational track that signals huge intent.  If you check out their SoundCloud page- https://soundcloud.com/thefables- you can hear all the boys have to offer.  I will be excited to see how they progress and develop through this year.  It would be great if an E.P. were in-the-works; something new from the band- I am sure 2016 will be a great year for them.  The Fables have been gigging around Glasgow lately and are enthralling the local crowds.  Having supported Space (at Classic Grand) they certainly have momentum, reputation and motivation.  The mainstream is struggling to really offer a great Rock/Rock ‘n’ Roll band that sticks in the mind and promises long-term appeal.  When you look at the underground (and the bands coming through) you get a lot more quality and intrigue.  Lately there has been a slight lag and fatigue; too many new acts trying to sound like someone else- the original and best are those that are themselves and make you sit up.  Before finishing up, I wanted to circle back to my original points: The music of Glasgow; Rock and its status and variety in new music.  Glasgow and Scotland are producing some of the music world’s best acts.  Media and critics tend to focus too heavily on London and England- their eyes and ears rarely stray too far north.  It is a shame because Scotland is showcasing some of music’s most innovative and wonderful musicians of-the-moment.  When it comes to bands, I would say they (Scotland) are ahead of everyone else- Glasgow is perhaps the city to watch in 2016.  Edinburgh (and other parts of Scotland) is impressive for sure- my music chums Universal Thee hail from here- yet Glasgow is really cooking right now.  For those of you who keep your eyes trained to London for music- the capital has the best solo artists for sure- and bands ensure you swivel your head to Scotland- this is where the real action is taking place.  For too long areas such as Manchester and Liverpool have been getting the spotlight and kudos- they continue to produce tremendous bands- yet there is an over-reliance to turn full attention here.  If you want music with depth, grit, passion and energy- Glasgow is a city that will never disappoint.  It is vital- when you are launching music/a band- to ensure your songs are varied and developed.  Too many acts sound basic and uninspired; keeping their music too limited and cliché- they risk squandering their future and losing possible support.  You do not need to throw multiple genres and sounds into the pot; just think outside the envelope and stray away from the pack.  The Fables have undergone a slight band rotation- a couple of their members have left- the guys sound solid and completely together.  While their SoundCloud account includes only a couple of originals; when they are performing live, other songs are coming through- including Not for Me and Don’t Cry for Me.  There is definitely an E.P. inside them so it would be great to hear these tunes- in addition to Worry and Like I Do- appear alongside one another.  Across their music you get the sound of a band that do not like to stay still and become predictable- each track covers new ground and says something original and different.  If commentators are claiming Rock is dead; there are a few bands out there who are ensuring it goes down swinging.  I think a lot of new Rock bands sound uninspired and stilted off the blocks; those that claim the biggest audience share are those who go the extra mile- The Fables are a band well-worth your time and effort.  Ensure you investigate a Glasgow band who have made some stride already; their best days are still ahead of them- it is their time to reign.  Having been disappointed by a lot of the bands coming through last year; I am confident this year will see a revival and revitalisation.  With the likes of The Fables emerging, the music of 2016…

 

IS in safe hands.

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Follow The Fables:

 

Facebook:

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

Twitter:

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Music:

https://soundcloud.com/thefables

Track Review: Izzy Bizu- White Tiger

TRACK REVIEW:

 

Izzy Bizu

 

 

White Tiger

 

9.5/10.0

White Tiger is available at:

https://www.youtube.com/watch?v=e2IpYd6Pu3s

RELEASED: 22 October, 2015

GENRES: Soul; Jazz; Funk-Pop

ORIGIN:

London, U.K.

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BRINGING to a close a great run of terrific female solo artists…

is someone who is definitely on the rise right now.  Before I come to my featured artist; it is worth talking about London’s variety of music; the big names that have been tipped for 2016- in addition to genre cross-pollination and its effectiveness.  I have touched on London’s music and how impressive the last year was.  As a whole, the mainstream did not throw up too many unexpected treats.  Perhaps less consistent/reliable as previous years; my attention was drawn to the underground and the musicians working down there.  In past years, it was Yorkshire that produced the most diverse and sensational music- it still stamping-out some wonderful musicians to be fair.  Last year was defined by London’s hegemony and imperialism.  The music coming from the capital is as strong as any previous year- resurgence has taken place.  Whereas other parts of the U.K. are known for the great bands coming through- Liverpool and Manchester especially- London is more adept when it comes to their solo talent.  I am not sure what has motivated such a turn-about and rise: maybe the musicians of London are starting to feel the competition; maybe it is just a particularly good year- whatever the reason, music is benefiting hugely.  In addition to the quality coming through; the consistency and range of sounds is amazing.  When I look at solo artists coming through; they seem a lot more agile and innovative than peers from around the U.K.  From street-level beats and tongue-watering Rap masters to Electro.-Pop queens; the incredible Soul voices and the Folk gems- there is pretty much anything for anyone.  Before I get onto some new points, it is worth talking about my featured act.

       Izzy Bizu was born in South-West London to an Ethiopian mother and English father.  Recently having been tipped as one of B.B.C.’s ones-to-watch for 2016- where she joins the likes of Billie Marten- Bizu spent her childhood listening to the likes of James Brown and Ella Fitzgerald.  Drawing these together with modern idols- Amy Winehouse and Adele especially- and she produces a stunning mix of Soul, Pop and Jazz- that is getting critics talking and fans near-hyperventilating.  In 2013 she released her debut E.P. Coolbeanz: it sold 50,000 copies and made it to number 3 on the iTunes chart.  Into 2014 and Bizu was selected to perform at Glastonbury- as part of B.B.C.’s Introducing competition- and has appeared on Later… with Jools Holland and T.F.I. Friday.  Citing the likes of Sam Cooke and The Black Keys among her influences; you get an artist that has a wide range of tastes of music- all represented and stirred into a boiling pot of heady entrance and beautiful aftertaste.  Later this year she released her debut album A Moment of Madness- a chance for the Londoner to really spread her wings and show what she is made of.  With kudos and patronage being paid; critics and radio stations raving- she has had her music played across national playlists- this year will see the 21-year-old rise to prominence. 

Izzy Bizu is one of the most arresting and stunning artists coming through at the moment.  Her music draws from the ‘60s and ‘70s; brings in some modern-day sounds- making sure her original voice and direction is the lasting impression.  It is no surprise Bizu has managed to hit so hard and left such an impression- she is an artist that understands the importance of mixing genres and sounds.  Too many artists are limited and stale from the very first moments.  Unless you have a planet-straddling voice or Bob Dylan-esque lyrics; you are never going to truly win people over keeping your sound one-dimensional and rigid.  Being inspired by the greats of Soul and Jazz; you get that smokiness and sensuality in the voice.  The likes of Adele and Amy Winehouse- with their powerhouse voices and stunning majesty- have resonated with the Londoner.  She manages to sound original and fresh whilst reminding you of those who inspired her- no wonder a huge range of ages and fans have fallen for her music.  There is a lot of expectation and pressure on her shoulders at the moment.  Having topped end-of-year lists; having appeared on T.V. and radio- it is quite a meteoric rise; everything has happened so fast.  Although she has been performing music for a few years; the last few months have been the busiest and most glittering- let’s hope 2016 affords her a chance to take some control and relax.  Given music’s commercial expectations; let’s hope Bizu gets chance to breathe and reflect a little- before the demands and rigours of the festival circuit and T.V. appearances.  The genre-fusing songwriter has enthralled the music world already; it is only going to get bigger and better for her- I cannot wait to see what this year holds in store.  It seems this year the innovatiors are being favoured.  If you look at the end-of-year lists and artists tipped to be big; they are synonymous with their originality and inventiveness.  In past year huge-voiced stars like Adele and Sam Smith have been favoured.  This year there is a drive towards vocal subtly; a preference of sonic innovation and nuance- in terms of vocals; a leaning towards beauty rather than lung-power.  The artists being singled-out by the likes of B.B.C. are among the most impressive in years- young solo artists are in the majority (compared with bands) which signals a shift in public tastes and a positive sign.  Bizu found a love of music through open-mic. nights- having caught the bug at a young age- and she is in love with the live environment.  A place she can dish it out and chill; really be herself- she is one of the most engaging and natural live performers coming out.  With White Tiger standing as her most popular song to date; there will be new music coming out- the young Londoner is back in the studio preparing for her debut album.

White Tiger is Izzy Bizu’s favoured and most-recent single.  In getting a full impression- how she has developed and progressed- I have been intrigued to look back.  Coolbeanz was released a couple of years back; it is a five-track E.P. that shows the young Londoner is tremendous voice.  Confident and stunning from the opening notes; Butterfly blends a sweet and honey vocal with acoustic guitar- a lullaby-cum-rhyme.  Flying through the trees; our heroine wants to find butterflies.  A sun-kissed and summer-time jam; you get little snaps of life in London.  Catching the train and wandering the parks; the song is augmented by a crystal-sharp and gorgeous vocal- often floats into wordless purity- that gives the song an almost child-like quality.  Skipping and upbeat; jumping and catchy- there is essence of Amy Winehouse.  It may sound a cliché trope but that Winehouse-esque smokiness and cigarette-weathered voice adds soulfulness to the honeyed and bird-like vocal.  An instant stunner; you get encapsulated in the imagery and colours being projected- allow yourself to drift away and float through the air.  Calorically concise and disciplined; the song is a short and spectacular effort with no needless garnish and beats- just Bizu and a guitar; entangled in a lustful and harmonious blend.

   High Road starts a little more urgently and spiked.  A flamenco-style guitar leads to a stunningly smooth and soulful vocal.  The song investigates the future and what it holds (our heroine is unsure); climbing mountains with her subjects- whether a boyfriend or friend- they are aiming high and working their way forward.  Whereas Butterfly has a sweet and fairy-light vocal; here is more breathless and fast-flowing- embers of Winehouse come through once more.  The frantic energy and brilliant guitar backing gives the track such vibrancy and exotic flair.  The fresh and breezy vocal makes the song seep into the mind and conspire the imagination- another song that is remarkably powerful in its subtlety.  Again it is a concise and relatively-short number that elicits a huge hit without being loquacious and verbose.  Bizu mixes high notes and lower tones; letting her voice swallow-dive and mutate- giving the song such emotional gravitas and instancy.  One of the E.P.’s finest tracks; it showcases the heroine’s voice in full flight.

Deep Blue Sea begins with an intriguingly romantic guitar sounds.  Serene and seductive; it beckons you in with its sensuality.  Our heroine arrives with her most arresting and urgent vocal on the set.  Having found herself in the deep blue sea- lost her way- her lover has shot her blind.  Having been heartbroken and betrayed; she is adrift in a sea of confusion and heartache- that exorcism is coming through loud and clear.  Backing vocals and finger-clicks give the song added momentum and layers- giving it a cool-edged strut and weight.  One of the E.P.’s longer tracks it is one of the most layered and busy tracks- in terms of the vocal for sure.  That indelible and hypnotic chorus is employed as a mantra: almost chanted; it is re-introduced to tremendous effect- one of the catchiest and memorable codas I have heard in a long while.  Embers of Sam Cooke and Soul greats come out in the vocal- it is one of the most spectacular vocals from the young artist.  In spite of the heavy subject matter and anxiety; the song is never anything less that upbeat and hopeful- it does not descend into maudlin territory or lose any momentum at all.   Energised and motivated; Deep Blue Sea has a live-sounding quality that makes it sound even more electrifying and pure.  Being so young and new-to-the-game- the E.P. was released in 2013- there are no nerves or uncertainties in the song.  Bizu sounds completely in-control and natural; at one with the song and enticing throughout- that voice gets headier and more delicious as the song progresses.

   Fool’s Gold starts with a piano flourish- superseding expectations- to provide the most grand and romantic opening on the E.P.  Stately and heart-breaking, it is a beautiful introduction that leads to the E.P.’s most gripping vocal.  Recalling heartache and duplicity; you hear of a boy who was disingenuous and a fake.  Cheating, lying and being a loser; the lad was just fool’s gold- not the real thing or worth a penny.  Trying to hide her anger and disgust; the song lays down the law and lets her feelings out- putting the boot to a boyfriend (or chancer) that was not worth the trouble.  Again the topic matter is quite hard-hitting and raw.  Bizu never descends to juvenile threats and immaturity; the vocal never gets mordant and introverted- there is always energy and powerful that radiates through.  Again the heroine fuses swooning high notes with raw notes to create a dizzying sound and intoxicating smoke- that makes the song drunkening and compulsive.  Blending Soul cores with Jazz and Reggae (the chorus has a Reggae vibe to it) and you have a song that defies neologism- to try and define exactly what it is all about/says.

Broken Man ends the E.P, back with guitar-and-voice combination.  One of the most haunted songs; we hear images of broken glasses outside doorways; a figure that is down-on-their-luck- and in need of salvation.  Walking on the dark side- where life used to be beautiful- there is violence and decay; danger and uncertainty on these streets- a figure whose former glories are so far away.  Living on “borrowed time” and you get a hero that has squandered chances for love and redemption.  The vocal here is multi-tracked and swelling- to augment those feels of unrest and downtrodden luck.  The brevity of Broken Man works wonders; it makes you want more by the end- a song that packs a huge punch in a short time.  That free-flowing and freewheelin’ voice takes every lyric and turns it into a sermon- one of the most accomplished and nuanced performances from the young star.  By the final notes you drink all the images in and try to picture the story together- it ends a tremendous and memorable E.P.

Since Coolbeanz, Izzy Bizu has kept her vocal purity and sound intact; the production values have changed on White Tiger.  Whereas the E.P. had a great live sound and raw feel to it; White Tiger is more polished and galvanised- perhaps signaling the intent and desire of the mainstream.  Given the subject matter and sounds of the song; the production sound is necessary- if it were sparse and slight the song would not hit as hard.  The piano, guitar and vocal combinations are there, yet Bizu has increased in confidence and sounds even more alive- her voice at its peak here.  White Tiger keeps that reliably upbeat and refreshing mixture solid- our heroine is not one to revert to downbeat and sour- and it continues where Coolbeanz left off.  Whilst exploring new subject matter and insight; the song could easily have fitted on the E.P. - the vocal delineation and composition is similar.  Whilst familiar and levelled at existing fans, the track aims to draw in new support and listeners.  Given the paen of B.B.C. Radio One and mainstream stations, Bizu has slightly adapted her sound to reflect the mainstream tastes- the production is more suited to those desires.  Coolbeanz had that classic bedroom-made sound that so many artists start out with- authentic and pure; with no radio station or playlist in mind.  White Tiger has that confidence and potential laced into its D.N.A.; as such it signals a big step and stand from Bizu- I can see future tracks displaying a similar confidence and direction.

From the first seconds that song title is chorused and declared.  Our heroine’s voice is sharp and sprite; it has such an energy and passion to it- beautifully soulful and hugely powerful.  In the early stages it is not clear what the ‘white tiger’ is as such.  Whereas most Izzy Bizu songs feature the voice-and-guitar combination; here the first distinct sound is from the piano- giving the track a Jazz-tinged and spirited birth.  The lyrics beg for interpretation and speculation as they are delivered.  After the song title is delivered we get “high-bright roller-coaster”- perhaps a person is being attested here.  Whether metaphors for love and passion; the choice of language is very unique and memorable.  Your mind is dragged in different directions.  If the opening words take your mind from anthropocentric realms; the roller-coaster takes it somewhere new entirely.  Maybe representing strength and courage; the dizzying excitement and love one can provide- all of these thoughts are swirling through our heroine’s mind.  There is a drunkenness and lack of control that comes out in the lyrics.  Part love-based and part-drunk-and-down; White Tiger begs for various interpretations and angles.  In the opening exchanges you are compelled by that stirring piano line; the idiosyncratic and swooning vocals- that have some familiar strands to them- alongside some oblique and startling images.  When our heroine talks about a hard wind hitting her skin; being out of her comfort zone- again that could beg for multiple interpretations.  Taken on the face of it; it seems like Bizu recalls a time(s) she was out of control and reckless- perhaps trying to numb herself from the pressures and pains of the world.  On the other hand, it is hard not to read into subtext and subconciousness- maybe there are elements of love and headiness that comes with it.  As with Coolbeanz; there is that combination of negative subject matter and positive composition.  A lot of the E.P.’s songs looked at loneliness and hurt; self-destruction and confusion- although there were plenty of uplifted and redemptive moments too.  The compositions are always effusive and cheery giving the music juxtaposition and contrasts.  If the music were downbeat and fatigued it would give the music a depressing quality- alienate a lot of listeners and not give an appropriate platform for that staggering voice.  The song has a nebulous quality, whereby you get caught up in the smokiness and out-of-body sound.  Our heroine is struggling to find breath and discover necessary gravity; there is a headiness and delirium to the lyrics.  Whereas one half of your brain looks at drunkening nights and self-abandonment; the other cannot help but attribute the lyrics to love and pure romance.  The lyrics about “When I wake up but not alone now” and “Whoa, my head is in the clouds” you cannot help but feel something purer and more impassioned is being ascribed.

At every avenue that vocal does full justice to the lyrics.  At once child-like and merry; the next it transforms into something lip-lick and near-explosion in terms of its seductiveness.  That mix of sexy and sensual pronunciations; tied with the coquettish and gurly (sic.) contrasts- it brings the song to life and showcases a singer with a terrific grasp on dynamics and emotions.  Before the one-minute mark we get the biggest sign to say Izzy Bizu has grown and changed since her E.P.: a heavy and hard beat- Dance-like and R&B-influenced- brings huge energy and pummel to the song.  Whereas Coolbeanz never got as heavy and pulsating as this- relying on beauty and instrumental discipline- here Bizu has expanded her palette and sound; the polished production demands new elements- this foot-stomping beat is just the panacea.  Whereas contemporaries employ bromides by the dozen; our heroine chooses her languages carefully and precisely- her words are much more powerful and original than most artists I have heard. By the time the chorus comes in you get a hugely addictive sound and vocal- the most compelling and memorable choruses Izzy Bizu has come up with.  A denizen of stunning quality and passion; it is that insatiable and irascible voice (in a musical way) that gets inside your head.  You cannot resist but fall in love with those tones and that silky vocal- part-Amy Winehouse; always completely mesmeric and beautiful.  Our heroine has “made it” and the safety bars are still on- inside that rollercoaster simile- which keeps making me thinking of love.  Whether recounting alcohol-fueled mayhem or the giddiness and firs bloom of love; White Tiger becomes more intriguing and compelling.  It is not until later in the song that the true origin reveals itself: the drunken slumber and ill-discipline.  With my mind taken away from oeuvres of love and romance; you galvanise your thoughts to focus on this revelation- “drunken ways take control”.   Whatever has influenced this binging and drinking I am not sure- one feels it may come off the back of a relationship breakdown.  When our heroine was drowning, “you were keeping me afloat”- is it the muse of alcohol or the heart of a man that was doing this?  Clearly trying to escape some hurt and inner-regret; you get the feeling a friend or sweetheart is in the mix- keeping them leveled and sane.  Or maybe everything is about the booze: the fact it can create false comfort and the idea of safety.  It is a song whose words have been picked to get people guessing and speculating- rather than going straight to avenues of obviousness.  In the final moment that head-swinging chorus sounds even more additive and multifarious.  You get caught in the beat and swagger of the vocal; the uplifting fun and fizz of the vocal.  Like Elizabeth Fraser, Kate Bush and Bjork- some very distinct vocalists- Bizu lets her voice twist and turn; switching from child-like sweet to woman-like sensuous within a few seconds.  Too many singers are too restrained and idea-less in their vocal projections- our heroine has one of the most adaptable and versatile voices in all of music.  Seeking dry land and anchor; this white tiger- it is the name of particularly tasty vodka- is keeping Bizu comforted and controlled.  Into the final moments, the brain whirls in a centrifuge of speculation and second-guessing.  A wonderfully impressive songwriter; you cannot accuse the lyrics of being unschooled- even if the unfolding events are somewhat.  In the final seconds, our heroine brings the mood down and lets her voice conclude- descending into Soul territory to evoke huge emotion and a wonderful conclusion.  At its most pure and hair-standing-on-the-back-of-your-neck; it is a wonderfully crystal and gorgeous swansong.

Congratulations must first be handed to the song’s producer (could not find it on YouTube alas) who has managed to bring life and atmosphere to the song- without betraying Izzy Bizu’s honed sound and personality.  Not too polished or vulgar; you have a production that brings everything fully to life- managing not to mix anything too low.  Too many bands and artists have vocals mixed too low- so they are unintelligible and lacking volume- or mute the instruments.  Here there is an authoritative feel and each element has been considered and beautifully blended- leading to a song that has such balance and vibrancy.  Every instrument element pops and fizzes; the vocal is allowed to reign and seduce- it does so with effortlessness throughout.  White Tiger is a slight departure from the Coolbeanz-days sound.  Whilst the vocal sound is not a million miles away; the composition strays from the acoustic-led flavor to something bolder and more beat-heavy.  Maybe primed and calculated for mainstream indispensability; one would like to think (the sonic development) is a natural evolution and a confidence stride.  This all bodes well for the forthcoming album.  Whether Bizu brings those acoustic early-days numbers together with White Tiger-esque sounds; it will be exciting to see what is coming.  The biggest applause must be directed as Bizu who has excelled here.  As a lyricist White Tiger stands as one of her most intruding and personal numbers.  Perhaps recalling youthful indiscretions and folly- or something based in the present-day- you get a track that prompts you to imagine and immerse yourself in its lines.  The vocal here is more subtle than some previous numbers; the histrionic range expertly presented- there is greater vocal depth and colour than before.  From the Soul evocations of Sam Cooke and Ella Fitzgerald; the modern-legend panache of Amy Winehouse; through to the sounds and sensations of her London contemporaries- you have a song that sounds completely essential and compulsory.  Let’s hope it forms the basis of A Moment of Madness- it would be an appropriately-named opening track.   This year will be a mighty one for the Barnes native: she gets stronger by the year and is on the horns of mainstream transition.  When she plays the big festivals come summer- there will be venues knocking down her door- I expect White Tiger will be a firm favourite among the masses.  A confident and utterly blissful moment from one of the U.K.’s most exciting and prodigious young singers.  I cannot wait to see where this year takes her.  From all the hype and speculation that has built; I can only imagine she will be topping charts and becoming a mainstay fixture of the mainstream radiowaves.

Having gleamed interviews Bizu never thought she would come this far.  Having kept diaries from a young age- scribbled poetry and notes- this love of music and words was always there.  Propelled by the music of her tender years- those peerless voices and artists- it has led to a career with passion, purpose and potential.  Bizu has not really had a chance to be nervous or figure out what to do this year.  Ensconced in a blizzard-storm of publicity and appearances; the young songwriter has barely let her feet touch the floor.  I guess it is only to be expected when you consider the plaudits she has gained every station and magazine wants to get inside her head; she just what motivates that wonderful music.  White Tiger is one side into a musical progeny with so many personality shades and voices- an artist who is incredibly mobile and diverse.  Being inspired by a huge range of artists- there is no straight line between The Black Keys and Ella Fitzgerald- our heroine manages to hang these (albeit, disparate) musicians together; lacing-in her inimitable and spectacular voice- creating a mesmeric sound that few of her contemporaries possess.  Bizu left school (music school) at 17 and took on a part-time job: a gritty and low-income life that motivated her to write songs in her one-bedroom flat.  The free-spirit and straight-talking Londoner is more honest, raw and real than any other act I have come across.  She is not profane or glib; she has a down-to-Earth personality that makes her personable and relatable.

There are no made-for-the-press soundbites and cliché answers.  With every interview and answer you can hear that accent come out; a witty and sassy young woman who speaks her mind and knows her heart- you get fascinating tidbits and revelations from a gorgeous and multi-talented young musician.  It appears that this year is going to be defined by hungry and ambitious young solo artists.  In previous years the boys have grabbed the critical attention; into 2016 we are going to see the girls rule and stun- the female solo realm is the one favoured by critics this year.  With the likes of Izzy Bizu out there, it is no surprise really.  A Moment of Madness is all-but-done- in fact it is probably completed already- and Bizu developed the songs from jams; they are reflections on her past and personality- songs about people close to her and those who support her daily.  Before wrapping this up, I wanted to circle to my original points- the music emanating from the capital; the importance of sonic diversity- with a little word about the South-West Londoner.  Genre-fusing is a delicate art but something that can- when handled with expertise and intuitiveness- lead to some of the best music out there.  I am a huge fan of Jazz legend Miles Davis.  If you consider the range and technicality he produced; the exceptional quality on his albums- so many young artists are bypassing a potentially-huge icon.  From the crazy-and-cool mix of Bitches Brew- and the psychotropic performances throughout- the suave and romantic sways of Sketches of Spain- the majesty and peerlessness of Kind of Blue; Birth of the Cool’s cool-as-f*** kick.  Take John Coltrane’s spiritual masterpiece A Love Supreme.  If pure Jazz is not your bag; try some Jazz-Rock from (one of my favourite acts) Steely Dan- the cutting and witty lyrics; the unbelievable musicianship.  I fear too few musicians are dipping into the past in an original and forward-thinking way.  Too many artists are lazily tossing-off Led Zeppelin rewrites and half-arsed Oasis redux.

The consciousness of a lot of musicians does not stretch beyond the 1990s, sad to say (although it was music’s finest decade).  Bizu is an artist who has is intelligent enough to recognise doing what everyone else does- and therefore is a waste of time- is not the way to do it.  I believe the most successful artists from this year are those that push the envelope and really take a chance.  There is a galaxy of music out there; phenomenal sounds almost virginal in their re-interpretation- why settle for cliché and tried-and-tested sounds?  London is leading a noble charge right now; its up-and-coming young are showing the U.K. what they are made of- there is far less prevalence on the band market.  The solo artists are among the most original and appealing I have ever heard.  One of the finest coming out of the capital is the 21-year-old Izzy Bizu.  She is my kind of girls.  She is a pizza and football-loving girl; she has a dog called Teddy (me too); she loves poetry and yearns for an early night- I am the oldest 32-year-old around.  She is grounded and mature but still has a reckless streak and a teenage energy.  Loving raves and crazy nights-in; Bizu is drinking-in the fun, cosmopolitanism and potential London offers every day- making the most of things. The Amy Winehouse-devote- the one artist who she will listen to time again- it seems the two artists have a lot in common.  Whether Izzy Bizu experiences that same transcendent rise- without the pitfalls of fame and media obsessiveness- will be interesting to see.  I hope she keeps level-headed for now and enjoys the moments of normality life affords- in the next few years her diary will have no free days on it!  Although Bizu has a vintage lobe to her brain- she has one foot in the past among the legends of music; the heyday of Soul- she is very much a modern-age girl.  That golden honey voice has been enforced by Soul greats such as Sam Cooke and Marvin Gaye; her objectives and album have plenty of of-the-moment strands and sounds.  There is eclecticism and consistency in equal measures; one eye to the skylines of London’s; another to the horizons and the world at large.  It is clear she will be in demand and have international dates piling up.  I would love to see Izzy Bizu play in London; I expect she will be getting requests from the U.S. and farther still- her bedroom floor will be a rotation of holiday clothes and souvenirs from the road.  It’s all chill (in her words) as this is what she has worked for and what she does- everything is slotting into place and taking shape.  Before leaving I recommend you check-out White Tiger and keep your eyes trained to the 21-year-old.  She deserves huge admiration and support so- to finish this baby up- in the words of Sam Cooke: “Bring your sweet loving…

 

BRING it on home to me”.

[youtube https://www.youtube.com/watch?v=e2IpYd6Pu3s&w=560&h=315]

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Follow Izzy Bizu:

 

Official:

http://izzybizu.com/

Facebook:

https://www.facebook.com/IzzyBizu/?fref=ts&pnref=story

Twitter:

https://twitter.com/izzybizu

Instagram:

https://www.instagram.com/izzybizu/

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Music:

https://soundcloud.com/izzybizu

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Videos:

https://www.youtube.com/user/IzzyBizuVEVO?sub_confirmation=1

Track Review: Kelly Oliver- Miles to Tralee

TRACK REVIEW:

 

Kelly Oliver

 

Miles to Tralee

9.5/10.0

Miles to Tralee is available at:

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

RELEASED: 20^th November, 2015

GENRES: Acoustic-Folk

ORIGIN:

Hertfordshire, U.K.

The album Bedlam is available to pre-order via:

http://folkstockrecords.bandcamp.com/album/bedlam

TRACK LISTING:

Bedlam- 9.4

Lay our Heavy Heads- 9.4

Jericho- 9.5

Miles to Tralee- 9.5

In the City- 9.4

The Other Woman- 9.5

Same World- 9.4

Ghosts at Night- 9.4

Die this Way- 9.5

Rio- 9.5

DOWNLOAD:

Jericho; Miles to Tralee; The Other Woman; Die this Way; Rio

STANDOUT TRACK:

Miles to Tralee

LABEL:

Folkstock Records

http://folkstockrecords.com/

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THIS week is a bit of a girls’ week which is okay...

by me.  In addition to interviews with some great artists, I get the chance to review some wonderful female talent- the best coming out the U.K. at the moment.  Before I introduce my featured artist, I wanted to talk about the gender balance in new music; the Folk genre and its depth- in addition to how to succeed in 2016.  I have been thinking about females in music and how they often get overlooked.  I am not going to launch into a protracted diatribe about gender inequality in music, yet there is something interesting to note.  When it comes to the festival line-ups, there is always the favouring of bands- they, in the majority, are composed of men.  When it comes to mainstream recognition and attention there is still a proliferation of male-only attention.  Too often there seems to be uneven focus given to the men of music- whilst their female peers are overlooked.  Not to politicise the issue, but there should be greater equality and balance.  Whether this is something that will rectify itself in 2016 has yet to be seen; something needs to happen to affect change and provide genuine equality.  When it comes to the underground, there are so many great female artists coming through- that will take the mainstream by storm.  I hope their promotion and succession will see them applauded and equal- rather than have to struggle to gain kudos and support.  In my opinion, the best solo artists in new music are female.  I am not sure what they do differently (to the guys) but there is a definite ambition and soulfulness their male compatriots lack.  As the new year is upon us, eyes are looking out to music to see who is going to emerge and prosper.  Last year- when it came to new music- saw some fantastic bands and artists emerge.  My attention was split between the U.K. and U.S.; through various genres and sounds- plenty to get excited about throughout 2016.  When it comes to the solo artists of this year, the female artists are leading the charge- showing huge passion, fortitude and innovation.  Among the most talked-about and promising is Kelly Oliver.  An artist who has made huge strides in a couple of years, this year will see her rise through the ranks and come to prominence.  Having captured the ear and patronage of some movers-and-shakers; some of music’s most influential figures- I cannot wait to see what she achieves.  Before I continue on my point, let me introduce her to you:

“This Land, released in October 2014 by Folkstock Records, features legendary fiddle player Dave Swarbrick, as well as BBC Folk Award Nominees Sunjay and Luke Jackson. Kelly has appeared live on BBC regional stations, including BBC London radio in an interview with Gaby Roslin. Her singles 'Diamond Girl', 'Jericho', 'Rio' and 'Same World'  have enjoyed numerous regional BBC and local radio plays, including on BBC Radio 2’s Folk Show with Mark Radcliffe, Bob Harris’ BBC Radio 2 Sunday show and Chris Hawkins' BBC 6 Music show. 

2014 saw 4* album reviews from R2 Magazine and The Telegraph Music and 'This Land' was included in The Telegraph’s 68 Best Folk Albums of 2014. It also earned a nomination for FATEA Magazine’s Best Debut Album of 2014. Festival credentials include Larmer Tree Festival, Rhythms of the World and performing twice at Cambridge Folk Festival for Hitchin Folk Club, and Kelly has supported such acts as Cara Dillon, Barbara Dickson, CC Smugglers, The Young’uns and Chris and Kellie While, among many others. Kelly also headlines her own shows and has spent 2015 playing various gigs across the UK, making live BBC Radio appearances around the country, recording an Ont Sofa session in London and making her first live TV appearance on London Live. In October 2015, Kelly was awarded Best Female Solo Artist at the Cambridge NMG Awards, along with an upcoming slot at Secret Garden Party in 2016. She was also a BBC Introducing guest on The Mark Forrest Show, was which broadcast to all 40 regional BBC stations”.

Last year saw Oliver capitalise on her success and make her way into the public consciousness.  Having seduced and enthralled with her debut album (This Land) many were impressed by the depth and originality of her work.  Being so young you would forgive Oliver for taking time out and traveling a little.  Being an ambitious and prolific talent, Oliver has kept the momentum going: her forthcoming album Bedlam is already receiving impressive reviews.  It seems like the Folk star has no limits and is stunning the music world with her beautiful voice and immersive music.  It is that terrific voice and wonderful pen that has lead critics and listeners to a near-paradise: few have been able to ignore songs that reach into the heart and provoke such strong reactions.  The genre of Folk is one that still seems to be marginalised and overlooked.  Aside from a few contemporary purveyors; the Folk artists of the new music scene have to fighter harder for recognition.  With the music world still favouring band-led music and Pop sounds- perhaps Alternative is up there too- more eyes need to focus on Folk.  Many have the impressions it will be purely acoustic guitar-based and sounds like ‘60s and ‘70s acts- Bob Dylan, Joni Mitchell etc.  That style of Folk is still popular- and rightfully so you can imagine- yet the Folk artists of today fuse genres and show a huge amount of colour.  Kelly Oliver is probably one of the most colourful artists I have seen.  Her official website and album artwork is vibrant and multifarious; she always has an infectious smile and an immense amount of charm.  Not only does Oliver blend traditional Acoustic-Folk sounds with a deeply personal projection; she has a huge connection with her fans and an accessibility few of her peers possess.  The artists that succeed this year will be those that do things differently and originally.  The past year- in my mind anyway- saw stagnation when it came to (a lot of) band music.  A fair few solo artists sounded tired and uninspired- in need of retuning and revamping.  The likes of Oliver is a much-needed breath of fresh air that is going to have a stunning 2016.  Bedlam is the sound of a young woman who very much has her sights set on long-term success.  With so few sound-alike acts out there, she stands alone: a wonderful young musician that is going to be a festival favourite in years to come.

Whereas Miles to Tralee and Bedlam are Oliver’s latest incarnations, it is worth looking back to assess her earliest days.  This Land’s opening track is The Witch of Walkern.  With a rousing and bouncing acoustic sound; Oliver’s agile and fairy-light voice (with evocations of a young Kate Bush) soars and seduces.  Witch trails, confessions and death-by-water tableau boast an imagination that belies her tender years.  Oliver proves what a mature and intelligent songwriter she is; how expressive and confident her voice is- on a sublime opener.  Diamond Girl is a soft and tender number that shows Oliver’s romantic and lush side.  The song’s central figure is a sort-of rough diamond that lacks a necessary compassion.  A ‘perfect’ love that dims with every day; it sees two people drifting apart and losing that connection.

Mr. Officer is one of the album’s most haunted and vivid songs.  Looking at a boy who goes to jail- and could spend the rest of his life there- it is a song that boasts a truly splendid vocal.  A cobweb-delicate weave that has such urgency, you get caught up in the song’s story.  Harmonica blasts and lilting acoustic guitar puts me in mind of early-days Dylan; the vocal-and-lyrics combination has touches of Court and Spark-era Joni Mitchell.  Showing maturity, nuance and wit; a song that has such movement and swoon- another of the album’s best moments.  A Gush of Wind shows Oliver at her most literary and lyrical impressive: words and a narrative that is stunning in its detail, quality and originality.  Backed by a touching and gorgeous vocal; it is a classic Folk song- something that could easily sit in the cannon of Mitchell, Dylan and their peers.

Album closer Playing with Sand looks at family life and struggle.  Throughout the album, Oliver casts her mind back into history; there is a vintage edge to the songs.  Tracks look at older-days families living off the land; literary figures picked from the pages of Jane Austen.  With one of the most sensual and rousing vocals on display; it is also one of the most supremely-rich narratives on the record.  Wonderful story and amazing characterisations result in a song that lingers long after it has ended.

   Bedlam expands upon the promise of This Land and develops her sound.  This Land was synonymous with amazing vocals that brought the images to life.  Those songs looked at family dynamics and broken love; heartbroken heroes and incarcerated anti-heroes.  The logarithms of the lyrics have not changed a lot throughout Bedlam- I will review it later on- but bring in new colours and inspirations.  Oliver casts her mind to new horizons and towns; new voyages and love- keeping that distinct pen and storytelling quality high.  Characters and scenes tumble with brilliance and sparkle; the vocals are reliably stunning and entrancing.  Whereas the themes and vocals have not needed to alter and improve; what is clear is the added confidence and authority throughout Bedlam.  This Land was a stunning collection that showed immense conviction and maturity.  Bedlam builds on this and sees the young heroine nail and own every single word and syllable.  The songs are even more intoxicating (than that of This Land); the nuance greater and more spellbinding; the compositions are deeper and more hard-hitting.

When the album is released in March it will be greeted with praise and passion by her existing fan-base; critics and writers will find new layers and sides to an extraordinary talent.  Given her rate of progression, it will be startling to see just how far Oliver can go.  Already as strong and assured as some of Acoustic-Folk’s best names- Laura Marling and The Staves- the British treasure is someone with a very bright future ahead of her.

Looking at Miles to Tralee- the latest song to be released from Oliver- and you get Bedlam’s most intriguing and standout moment.  In front of an elongated (and deeply aching string) is a fervent percussion-and-guitar combination that infuses urgent energy and potential into the song.  Kicking and upbeat, you are at once in-tune with the song; relaxed and ready for what is to come.  Oliver’s Irish background begins with the introduction which sees Celtic sways mix with traditional Folk elements; a blend of English and Irish sounds.  That introduction builds and builds; it creates its own images and compels the listener to nod along- helpless to resist its charm and feet-sweep appeal.  As the introduction builds to its peak- those strings yearning to the point of explosion- the composition is taken down slightly; it demurs and relaxes slightly to allow our heroine to step to the microphone.  The entire song could be seen as a semi-autobiographical testament.  The initial words (“There was a young girl from Tralee/Moved to England to feed her family”).  The young girl from Tralee earnt her wages alone; before sending them home to her family.  Those initial words have a historical element to them.  You can imagine it being set in the 19^th century perhaps: where there was greater poverty and that need to emigrate- go to the big cities and make a living.  That said, the lyrics could be applied to a music career and the need to pursue dreams- and support the (less-well-off) family back in Ireland.  Oliver’s voice is at its more serene and breezy in the initial lines.  She does not needlessly emote or over-do the sentiments; allowing her voice to tell the story and ensure it is perfectly ascribed.  A master of projection and dynamic; Oliver pulls the listener into the tale- so one envisions everything being sung.  The track has an innocence and by-gone romance to it: our heroine (whether Oliver is placing herself as the heroine here) meets a cap-wearing boy from London- he is going to show her around the country.  Having arrived from Ireland to seek work and life; she has met this boy and is being taken in hand- much to her delight it seems.  You can hear the pleasure and comfort in the vocal; the radiance and romance is entrancing and comforting.  It seems the initial romance/intrigue might be short-lived; our heroine prefers and yearns for the familiarity of home.  Seeming alien and disconnected in England; there is that ambition to get back to Tralee.  If she could walk the sea and had it in her; that is where she would want to be.  At every stage I was wondering whether Oliver is recollecting something from her past.  Whilst not as poverty-stricken and older-days as the lyrics suggest; you feel like there is some first-hand relevance to the words.  Perhaps- having found herself in a strange town/country- there is that desire to be home and somewhere she feels safe.  Whether fictional or not, you get caught in a tale that everyone can relate to- feeling foreign and uncertain in a strange climate; seeking an escape from the vicissitudes of another land.  After the anxiety and longing from the verses; Oliver allows the song to break into a composition focus.  Those home-grown strings and merriment provide some relief and sense of fun- for the heroine; it is almost a call from across the ocean.   The next verse continues the hyperbole themes: walking across the oceans and journeying for miles in order to get back home.  There is clearly a lot of sadness at heart; the soul has been blackened and a lot of tears seem to be pent-up.  You ache and emphasise with the heroine; hoping she makes it back home you wonder what it is (about England) that has caused this distress.  Across Bedlam you get various sides to Oliver’s vocal and how she projects herself.  Here she is at her most impassioned and determined.

It is clear the song means a lot to her, and as such, you get one the most committed and beautiful vocal from the album (in my view).  Wanting to walk to the door where she was born; you get a racing and breathless vocal that is determined to get its message across- backed by a tight and compelling composition.  Never suffocating or too intense; that vocal stops for breath and never overwhelms proceedings- it is kept balanced, disciplined and hugely likeable.  Towards the song’s end you get some of the most intriguing lyrics on the album- “If our sailor boy should die/Is it our blood that keeps us alive? /When our second sailor boy dies/Is it the grief that takes our mind?”  I began to wonder what was being referenced here.  A little oblique; a little tragic and emotional, these are words that stand in the mind and contrast the rest- that are comparatively simple and direct.  By the final strings and notes you wish Miles to Tralee would continue a little longer- not willing to let it go so soon.

One of Bedlam’s tracks that has no other writers on board (Oliver wrote this alone) you get a true and honest account from a young writer who gets more assured and fascinating with every new release.  There is that mix of personal and fictional- hallmarks that have defined Oliver’s work- and it is a song that implores you to become part of it; get lost in its notes and lyrics and imagine what is happening- create a story and your own interpretation.  One of the most straight-forward songs on the album; Miles to Tralee wears its heart on its sleeve; it is about escaping somewhere unfamiliar and strange- that homesick feeling that compels people to regress somewhere safe and familiar.  Oliver’s voice is consistently engaging and stunning throughout- never becoming too overwrought or emotive.  You do wonder whether there was resolution and satisfaction- if our heroine got back to the homeland and back to her family.  There is a charming historical bent to the song which places its heart in another time; although its themes- homesickness and need to emigrate; feeling out of place and lost- are subjects that everyone can relate to.  Miles to Tralee is a track with few musicians and other bodies.  Stu Hanna produced the song but also provided most of the instrumentation (including fiddle, mandola and tenor banjo).  Accompanying Oliver (she plays guitar) and you have a song that sounds like there is a whole band playing- in reality it is just Oliver and Hanna.  It is that close relationship and understanding that results in one of the most memorable songs Kelly Oliver has ever written.

Miles to Tralee is Bedlam’s finest moment; yet the album is a joy from start to finish.  The title track begins with a merry kick and a sense of abandonment.  Looking at bringing a girl into the world she wasn’t prepared for; the track has an infectious spirit and a great ‘traditional Folk’ feel to it.  On this album Oliver has brought in new producers and helmers- who contribute to the writing- and mixes stripped-back songs with more ornate and layered songs.  Beginning with a song that could easily fit onto This Land; it provides an accessible transition for her fan-base- whilst introducing new themes and subjects into the lyrics.  A claustrophobic and scar-bearing songs; our heroine has her child removed and is vilified by her husband- again the song fuses classic literature with darker sides of life.  It has an old-age and classic-literature feel to it; the projection and delivery of the lyrics is stunning.  Whereas most singers have a flat and predictable delivery; Oliver lets her voice glide and stop; it contorts and expands- bringing the words to life and giving them a sense of occasion and drama.

   Lay our Heavy Heads looks at a place “where the river flows”; it is a gentle and secluded escape; the boats are moored and the scenes are set.  The track looks at a devotional love and bond between the hero and heroine.  When the days are dark and hope is gone (the hero states) he will stand by his girl.  Departing from traditional love songs and their cliché lyrics- Oliver is a much more intelligent and distinct lyricist.  Mixing fascinating slices of literature with modern-day insights.  Being such a young songwriter, you do not expect the depth and quality of the lyrics.  Having studied Folk artists for the last few years, Oliver has really developed her songwriting and is at her most fascinating.  You get sounds of ’70s Folk heroines throughout the performance.  It has a traditional sound yet you cannot escape that modern edge to it.  The composition blends strings and percussion- a delirious rapture that augments the song- and backing vocals.  One of the highlights from Bedlam; it shows the young heroine in extraordinary voice.

Jericho is a song that is available to the public- one of the first tasters from Bedlam- and has been met with celebratory praise.  Featuring harmonica, violin and dulcimer (among other instruments) it is one of the busiest and most multi-layered tracks.  Placing the emphasis on the vocal, the track sees a girl go to fight in Jericho- and bring back her prize; the boy.  It has quite a Celtic feel to it and you instantly start to transport yourself into the midst of the song.  Showcasing some of the album’s most noteworthy and vivid lyrics; it is a beautifully-performed story that has an indelible chorus- one of the catchiest and most memorable songs from the young heroine.  Drawing from Oliver’s Irish background, the band behind her- including Ciaran Algar on violin and backing vocals- is at their most electric.  The song was co-written/produced by Nigel Stonier and mixes the biblical story of Jericho with a modern-day feel and sound.  One of the best tracks from Bedlam; it has already gathered heady support and praise. 

   In the City is one of Oliver’s most personal songs- she wrote and co-produced it- and sees her voice at its most flight-fancying and seductive.  Gliding in delicately-picked strings and elongated harmonica, it is a gorgeous and tender song that looks at the dazzle and haze of the city- the desire to be ensconced within the safe haven of home.  In the city- the hero and heroine- the duo are losing their head and spirit; conflict is unfolding and the lovers are estranged.  Throughout there is a need to return to the country/home and rekindle a flame that is dulled and fizzling.

   The Other Woman is one of the most straight-forward and direct love songs on the album.  Not hiding behind florid words or fanciful fantasy; it has more urgency and bare emotion than album siblings.  Our heroine’s man proclaims his love and devotion; when the morning comes he is in the arms of another woman- a deceit that is italicised in a heartbroken vocal performance.  One of the most sparse and stripped songs on the album, you get a fragile and vulnerable woman who has been cheated and overlooked.  Whoever the other woman is; she is put first and adored- much to the dismay and sadness of our heroine.  Oliver delivers one of her most affecting vocals to date- bringing that sense of implosion and abandonment to life.

   Same World begins with a charming and beautiful mandolin which takes the album in another direction.  One of the most evocative and delirious introductions, it is another love song that goes straight to the heart.  Our heroine and her boy are dreaming of the same thing in the same world.  Throughout there is a sense of childhood and innocence; two souls laughing like ten-year-olds- that wonderful innocence persists for the duration of the track.  Underlying the purity and potential- backed by a stunning vocal turn and tight composition- there is some heartache and uncertainty.  The hero’s life is “standing in the way” and maybe causing obstacles between the two.  Another Kelly Oliver original (without the help of co-writers) you wonder what inspired the track- whether there was real-life recollection or if it was drawn from a dream/fantasy.

    Ghosts at Night looks at emotional haunt and the soul being plagued.  Our heroine directs her words at a friend/lover and sees the hurt that is inside them.  They are drifting “out to the open sea” and a feather floating in the breeze.  One of the most vivid and memorable set of lyrics; we get various metaphors and images that highlight this sense of detachment and loss- there is mystique and mystery lurking underneath.  I wonder whether this is a former sweetheart being represented; maybe a friend who has lost their way- the performance is delivered with heart and sheer passion.

   Die This Way is one of the most stunning and unsettling tracks Oliver has ever created.  The opening verse looks at our heroine not wanting to fly home- she has seen how planes are shot from the sky- which you could be about modern-day terrorism; or have their heart set in history.  There is a tangible and gripping fear in Oliver’s voice as she projects those fears and nerves in the song.  Listeners will be able to relate to that sense of uncertainty and political unrest.  As the song progresses we get images of gun-toting men and frontier-destroying barbarians.  Women have their bones crushed- as they walk alone in the street- there are a lot of modern-day evils and relevance.  It is not clear whether Oliver is ascribing the fears and torments of the modern world or placing her song in fiction and fantasy.  One of her most assured and immediate vocals on the album, it is a wonderful performance.

The album's swansong comes in the form of Rio.  A track that is miles away from Duran Duran's namesake (thankfully perhaps) it starts with a terrific energy and merriment.  One of the album's most overtly uplifted and firecracker moments; it sees Oliver let her voice glide and seduce with alacrity.  Ensuring Bedlam ends with a bang; Rio sees dreams of the Brazilian city comes under the microscope.  All it has to offer is here- the sun and sensations; the verve and strange glamour; the beautiful bodies- with our heroine in desirous and itinerant mood.  Whereas Miles to Tralee saw Oliver talk about the need to return home- from a place that is unusual and unwelcoming- we get the reverse here.  Casting herself as a tourist perhaps- and becoming entranced by the city's splendour- we get a dizzying array of images and sights- people praying to the "lord of the mountain".  Those cosmopolitan voices mix in a song that draws you into a tropical climate; there is such a sunniness and vibrancy to the vocal- one of the most applaud-worthy on the album.  Whether Oliver visited the city- or is using it as a metaphor for something else- you can certainty here that passion and joy come through.  When Oliver sings about having her heart filled with dreams and memories; Rio working its magic- I get reminiscences and flavour-notes of Kirsty MacColl.  Whether the late legend is an influence on Oliver I am not sure; you can hear that same tremendous urgency and quality in the vocal.  Backed by a wonderful composition- that mixes so many different strands and sounds together- you have a song that demands repeated plays and listens.  One of the most redemptive and hope-filled songs you can hear; it is impossible not to be swept up by the bonhomie and delirious jig.  One of the most indelible choruses Oliver has performed- Rio ends Bedlam with a huge smile; and one of the album's best songs.  The song resolves the conflicts and heartaches of previous tracks; ending with a positive note.

Bedlam is an album that is more collaborative than This Land.  Bringing in co-writers and new producers; a range of musicians and artists- it has a more rounded and layered feel.  More colourful and vibrant, here Oliver has gone electric- whereas her debut was a more acoustic and pastoral affair.  This has not resulted in an artist having her voice muted; quite the opposite in fact.  Whereas This Land was staggeringly confident and assured it showed just what could happen- a stunning building block for the young artist.  Oliver has assembled a fantastic team that adds to her songs and voice without stealing the focus away.  The entire album sees Oliver at her peak and in extraordinary form.  Her lyrics are more borderline-genius than ever and are hugely impressive and mature.  With no weak lines or clichés, she stands as one of the greatest songwriters in the country.  That incredible voice is more mature and developed than before.  Showing new emotions, shades and contours; each song is defined by stunning intuition and skill from the young songwriter.  Backed by wonderful musicians and producers and you have an album that could stand as 2016’s very finest- even before its official release.

Bedlam is an album that marks Oliver out as a serious talent to watch.  Miles to Tralee is an invigorating and heartwarming song that is hard to resist and ignore.  Replete with a glistening voice and endless talent, I am not surprised Oliver is gaining so much kudos and respect.  One of the U.K.’s most promising young artists, make sure you grab the album when it is released in a couple of months (but you can get your hands on a copy ahead of the official release (6th March) by going to one of the gigs on the tour; or pre-ordering from her website now, which will be dispatched at the end of January when the tour starts.  A soft release is available from the website on January 28th).  I urge you to look back at Oliver’s work and witness an artist with a very special and original voice.  It is that urgency, passion and soul- three words that are commonplace in my reviews- that blends with beautiful reflection and stunning compositions.  I see too many young artists squander initial promise and sell-out their principles; change their identity and burn out.  With so much pressure being put on young musicians, it is vital to take time and create music that sounds natural and true to who you are- not bend to the capricious desires of the mainstream media.  Before wrapping up things, I wanted to circle back to my original points about female artists of music; Folk and ways to succeed in 2016.  I have seen a lot of upcoming female artists stifled by the comparative lack of attention (compared to their male colleagues) when it comes to their music.  With mainstream attentions still fixated by band music- and it being a male-dominated sector- I fear this imbalance will not abate into this year.  It is a shame there are inequalities in music because most of the best artists emerging (in my view) are female.  It may be the case that 2016’s finest mainstream albums were male-heavy (except for the likes of Adele and Courtney Barnett) but it is an entirely different story in the underground.  Let’s hope there are fewer transgressions and quasi-misogynistic trends in music as 2016 progresses.  Kelly Oliver is proving what the majority of female artists are proving: they are just as strong as- and in a lot of cases, stronger- than their male peers.  I shall leave this thorny, controversial issue to another time; but it is worth reflecting on the year ahead.  As I said up-top; there are some great artists coming through already- I am reviewing a few in the coming weeks- that are demonstrating huge prowess and potential.  Kelly Oliver has amazed me with her fresh sound and nuanced music.  Having been lucky to get a press-only/advanced link to the album- *sticks tongue out smugly*- I have been revisiting songs and moments; digging into divine moments and hidden treasures.  The mainstream is going to showcase some great artists and albums this year- whether will get anything as biblical as Kendrick Lamar’s To Pimp a Butterfly has yet to be seen- and will see some existing legends produce new work.  Innovation and invention will be the order of the day when it comes to new music’s kings/queens-in-waiting.  There are too many insipid and lackluster artists around; so public demands will want their musicians to be more forward-thinking and striking.  Oliver is one of those artists who has developed since her earliest days.  Without losing her identity and voice, she has expanded and augmented her talent- getting better and stronger with every new release.  If you sheer away at the Folk clichés- the acoustic guitar-holding singers talking about nature, peace and love- then you will discover a genre that is contemporary,   Packing plenty of wonderment, uplift and depth; Folk is a genre that is attracting a lot of musicians- and with very good reason.

Kelly Oliver’s top-of-the-table consistency and drive is setting her out as one of music’s most mouth-watering and scintillating singer-songwriters.  Bedlam is a marvel of an album that has no fuller material and only stunning moments- songs that keep revealing layers and beauty with every listen.  Oliver has a varied collection of influences- from The Staves and Bob Dylan through to Steve Earl and Joni Mitchell- which she infuses and mixes into her own, inimitable brand of music.  Miles to Tralee is one of the most instant and fantastic tracks I have heard for many a-month; it sets the album’s objectives out wonderfully- just what the fans and listeners can expect.  Investigate one of Britain’s brightest talents and dive into her warm and comforting musical waters.  Behind the colourful artwork and intoxicating beauty is an artist that has huge maturity, compassion and talent.  Having garnered praise from some rather lofty names- including Bob “Whispering” Harris- it is no hardly shocking when you play her music.  2016 has only begun yet I am fully-confident Kelly Oliver will be one of the names bothering critics’ end-of-year polls come December.  Immerse yourself in a special music talent with many years ahead.  A wonderful, sure-fire way to beat…

 

THE winter blues.

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

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Follow Kelly Oliver:

• 

Official:

http://kellyoliver.co.uk/

Facebook:

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

Twitter:

https://twitter.com/KellyOliverUK

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Music:

https://soundcloud.com/kellyoliver

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Video:

https://www.youtube.com/channel/UCe-rtusTwX8JK3CvqBtrvyw

 

Interview: Eden Jones

Interview:

 

 

Eden Jones

 

IT is going to be exciting to see which artists make a mark through 2016…

For my money, Eden Jones is going to be one of the hot names to watch this year.  With a stunning range of music behind her- she is planning gigs throughout 2016- we will be seeing new material and  fresh revelations from the stunning young artist.  With so many singer-songwriters emerging, Jones sticks in the memory and is hard to forget.  I was keen to see how 2015 treated her; plans for the coming year- which artists have inspired and influenced her music and voice.

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

Hey I am great thank you; I had a blessed holiday period with my family and friends.  I had some new home studio toys to play with so I kept busy.  Christmas and the New Year is always a great time to recharge, reevaluate and get focused so I’m ready for 2016

You split your time between L.A. and London.  How do the cities differ in terms of music/people and what compelled you to travel to L.A.?

I think they differ loads.  London is more about live music, gigging and getting yourself out there.  I find L.A. a great place for studio sessions and getting the majority of the writing done- so it’s a great mix, and hell, who doesn’t want to be spending their down time soaking up some rays and hiking!  I have such an incredible team and friend network in L.A. that it really is a second home.

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Wild Hearts is your latest track- and a track I hope to review- and really spoke to me.  What inspired you to write it?

I guess I used to live my life robotic; to society's standards.  Then adolescence came and I made my mistakes; after a few years of being thoroughly lost a friend of mine told me if I wanted to see the world just do it- if I wanted to sing then sing loud.  I guess the song comes from my experiences after that conversation.  It resonated with me so deeply and now I live day-to-day, doing something I love and loving what this beautiful Earth has to offer us.  It’s not conventional but more and more people are breaking free from the constraints of the rat race and finding peace and happiness in nature; and even if it’s just for an hour a day, I try to disconnect from social media and modern life to take in some of its beauty.  Wild Hearts is written from that place I go to when I’m not taking pictures of the stuff around me; just taking it all in and experiencing real life.

I think your voice defines your music.  It has soul and passion.  There is plenty of rawness and vulnerability.  Which singers have been influential when shaping that stunning voice?

Thank you.  I try to sing every word and lyric like I’m telling a story and I love other story-tellers.  From tribal singing to Kate Bush and Bjork- who are two incredible female artists that tell their story with emotion in their voice.  I take inspiration from them.

A lot of musicians I know are successful because they feel like outsiders; some feel misunderstood.  What compelled you to become a musician and have you had any struggles/bad times that have influenced you to make music?

I think everyone has a past and has had struggles.  We all have people who affect our happiness and we all make decisions that create pain in our own worlds and I certainly have made mine.  My music is like a diary of the pain; the hurt and coming out the other side stronger and at peace with it all.   Every experience can be learnt from and I’ve learnt to forgive and find inner-strength to find a positive in my past.

Last year was quite busy for you.  What does 2016 have in store?  An E.P. or album in the pipeline? 

Yes, I am working on new music all the time.  I love being in the studio and getting a song in my inbox from a producer finished is like Christmas morning!

Being a young woman in the music industry; have you found any challenges/inequality when trying to get your music made and your voice heard?  Do you think there is a gender imbalance in the industry?

I have been really lucky and had an incredible response from other people in the industry both male and female.  I have had my fair share of labeling though.  I speak in a public school accent and this has for sure been something that has been mentioned along the way.  People have assumed that I have had financial help.

I must admit I do revel in telling them I have done it all myself; living in hostels and worked my ass off in full-time work at the same time as recording and creating my own fate.  I like to think in today’s society it doesn’t matter who you are, what sex you are; where you are from or the colour of your skin- If you keep your feet on the ground then hard work pays off.

In terms of your influences and idols; who has been particularly important to you growing up?

I guess like everyone the music your parents listen to tend to shape your music ear.  My dad loved Queen and Dire Straits and my mum was an Enya and Adam Ant fan.  We always had music on growing up and the vast spectrum of styles has defiantly helped mould my eclectic style.

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If you had to pick a song/moment from your career which stands out this most which would it be?

I think it would be The Hunger- a song I wrote with Carsten Lindberg in the U.S. this summer.  I wanted to create something for a friend of mine who is recovering in hospital after a pretty serious accident.  I spent nearly a year writing notes, poems, letters and nothing quite said what I wanted it to.  But with Carsten he captured the emotion so beautifully in the track that the lyrics and melody just came out.  We recorded at his home in Los Angeles and I cried my way through the vocal takes.  We kept them pretty raw and (still) when I listen to the song I tear-up most times.  This track resembles strength beyond comprehension and the whole experience from writing to recording was very spiritual for me.  I just hope my friend loves it as much as I do; he is my hero and for sure the bravest and strongest human I have ever been blessed to know.

A lot of music emanates from heartache and relationships.  Has love and relationships been important when it comes to your music.  What is your creative process when writing a new song?

Yes, I think heartache is something everyone can relate to.  I have had some pretty distressing times and also some incredible friendships and relationships in my past; and always write from experience.  When I start a session I like to get to know the producer and any co-writers so they can understand the story we are going to tell and can feel the emotion behind the lyrics.

There will be some young artists inspired to follow in your footsteps.  What advice would you give them?

Every journey is different but I think just do something you love, don’t chase the money or fame, just enjoy every day; and then if it doesn’t work out you have a life of laughs and experience money couldn’t  buy, and that will forever put a smile on your face.

It seems like you have a great bond and connection with your social media followers.  How important have they been with regards your music and success?

My social media followers are incredible.  I have such support and it always surprises me how sweet and kind people are.  I have people promote and help me from all around the world and I feel very lucky.  I just can’t wait to repay them all with a finished album.

What one gift would you like if you could choose anything?

I have such a blessed life full of wonderful friends and family that I couldn’t wish for anything for myself. Health, peace and strength for all those who need it would be the best gift.  Thanks and maybe a puppy… who doesn’t love puppies!? :)

Finally- and for being a good egg- you can name any song you like; I’ll play it here…

Well it has to be Dakota by Stereophonics.  They invited me to their show at the O2 last month and it was so incredible live.  They have been going for 20 years and still pack out a venue as big at the O2 arena with fans of every age.  They are ultimately one of the coolest bands and their live performances are note-perfect.

[youtube https://www.youtube.com/watch?v=SzBJQnD7TRM&w=420&h=315]

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Follow Eden Jones:

 

Official:

http://www.edenjonesmusic.com/

Facebook:

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

Twitter:

https://twitter.com/edenjonesmusic

YouTube:

https://www.youtube.com/watch?v=2nOail9mRxE

SoundCloud:

https://soundcloud.com/edenjonesmusic

Instagram:

https://www.instagram.com/edenjones.music/

Interview: The State of Georgia

Interview:

 

 

The State of Georgia

WITH 2016 now in full swing, I am spending the next week…

checking in with some of my favourite artists of the last year (in addition to some new peeps).  Georgiana Jakubiak’s moniker The State of Georgia is releasing a new album this year- with big plans afoot- so I was keen to catch up with her and see what was in store...

Hi Georgina.  I hope you are well.  How was Christmas and New Year?

Christmas and New Year were great thanks!  Spent it in Cornwall with my family (that's where I'm from).  It was all about my 2-year-old!

Looking back at the past year- either personally or music-wise- what have been the highlights for you?

Musically I managed to get funded on Kickstarter which meant I could finish my album (which has taken me two years)!  That felt amazing to finally finish it and I'm really pleased.  Personally I found out I'm having another baby, eek!

Your latest album Roses & Swallows is completed and almost ready to be released.  What can you tell us about it and its themes/sounds?

Roses & Swallows is an album of Pop songs.  People are scared of the word 'Pop' but I try to write melodic, catchy songs which mean something.  There's a lot about family on there and friends.  I love good ‘80s Pop like Fleetwood Mac and Kate Bush- listening to Haim a lot and Sia.

I know the album was funded via Kickstarter.  How vital have the fans been with regards getting the album made?

I usually fund everything myself by playing at weddings and teaching but I was struggling towards the end; everything is so expensive!  So grateful for the fans for helping me out.  Thanks everyone!  They get the album before everyone else.

Being based out of Yorkshire there are a lot of great artists playing throughout the county.  Any particular bands/acts you would recommend?

Oh there's loads!  I did some singing for The Ainsley Band in the summer as part of Long Division festival in Wakefield- where they recorded an album live and the audience heard the mix in headphones.  The album is great and they are a brilliant band; check them out!  Other friends Jonny the Firth, Rosie Doonan- who's working on new album too- Mi Mye (lots of Wakefield bands but I actually live in Leeds)

Listening to your music and it is hard to think of other singers/artists.  Which artists were important with regards shaping your music and passion?

Skunk Anansie were the first band that made me want to sing.  Skin's voice is amazing so I started singing her songs at school and never looked back.  I love Kate Bush and Tori Amos.  When I get stuck in the studio I always say 'what would Kate do?'.  I toured for a long time in a band called The Research- I was the bass player and sang so got to see so much music over the years.  I always love seeing girls in bands; check out The September Girls.  They are super cool.

What other plans are ahead for 2016?

Release a single No Man's Land which I'm making a video for in the next month hopefully; then release the album end of March.  Album launch party 1st of April at Unity Wakefield so rehearsals for that.  All before having a baby end of May.

When it comes to writing music, what inspires your creative process?  Do you set time aside to write or do songs form when inspiration strikes?

I don't get much time to set aside so usually when inspiration strikes, or in-between singing students when I'm sat at the piano.  Songs sometimes take shape in bits and come together in the studio.  I record at Greenmount Studios (in Leeds) with good friends Lee Smith and Jamie Lockhart- they produce me and do a great job!

[soundcloud url="https://api.soundcloud.com/tracks/239282922" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

We have a few mutual music friends (including Jonnythefirth).  Any particular upcoming bands/artists you would recommend?

I think I said them all in the earlier question, whoops!  Yeah Jonny is on the album on guitar; he's a great guy.

I am curious to ask this of musicians.  If you had to choose one song/album that is most important to you, what would it be?

That's really hard!  Kate Bush's Hounds of Love is a longtime favourite.  I went to see her last year and it blew my tiny mind.  I've also met her! (I like to throw that one into conversation).  She is lovely.

Music means a lot of things to various people.  What does it mean to you personally?

It means everything; I don't know what I'd do without it!  It's my therapy; keeps me kind of sane.

If you had to choose your proudest achievement- or the moment that means the most to you- what would it be?

Nonmusical, but having my little boy!  I've played some big gigs and done some great things but I don't think anything compares really.  He's my best creation!

What advice would you give to any new songwriters coming through?

Keep trying, talk to people; make your own luck.

Have you any plans to come and play London- and perhaps internationally- when the album is released?

Possibly, depends what happens with it.  Will have to take some time out to have my second baby but it didn't keep me off for long last time.

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

[youtube https://www.youtube.com/watch?v=CgTRmb1HBnE&w=560&h=315]

_____________________________________

Follow The State of Georgia

 

Official:

http://georginalashbrook.wix.com/thestateofgeorgia

Facebook:

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

Twitter:

https://twitter.com/stateofg

Feature: Music Websites- The Need for Change

FEATURE:

 

 

Music Websites

 

 

 

The Need for Change

ONE of the most stressful and disheartening things about…

2015 was the struggle to find great new music.  That is not to say there was a deficit of quality; quite the opposite in fact- it was just a struggle discovering it.  There is so much emphasis on social media- sites like Twitter and Facebook- but how useful is it when it comes to music?  These sites are great when it comes to statuses, photos etc.; but what about music?  To my mind there are no websites dedicated to promoting music and providing something comprehensive.  I have waxed lyrical about this when talking about Psychoacoustics- the website I hope to put together that remedies this slight- but it is something that really riles me.

When it comes to new music; there is so much emerging by the week.  All around the world there are hungry and eager musicians breaking through but so little discipline and exposure.  Unless you are on social media- and hear about music via a friend or connection- so much music will pass you by.  There is no excuse for such a sloppy and lazy approach to music.  If new musicians are to be given a fair shake- and get the attention and listenership they deserve- they need a platform that will do them justice.  Facebook and Twitter are very limited in their effectiveness and connections.  As I said; unless you are sort of ‘in the right place at the right time’ you will not be aware of so many great artists.  There are a lot of music websites that do very specific things.  Whether it is Internet radio or gig promotions; there is a website out there for you.

It shouldn’t be that hard to create a site that channels and focuses new music into a one-stop portal.  You can break it down by city, genre or sound; make it easy for the user/listener to discover some fantastic artists.  All you would need to do is visit the site- Psychoacoustics seems like the most likely option; unless someone else gets there first- and have a browse.  You would link the site to social media so bands and artists would post updates and news onto the site- it would integrate existing social media/music websites into one website.

The same issue arising when it comes to existing music- something a little easier to control and organise- and getting to grips with its full potential.  So often I have haphazardly been searching on YouTube and come across a great song from years past- maybe something that was an old favourite.  Too often I discover bands and acts I never heard of; those that I should be aware of- I have stumbled upon it by dumb chance.  The same principle applies here- as I have said with new music- where you could have another area of the website that would organise the music more effectively.  Whether you wanted to search a particular decade or genre; maybe a particular band or album- it would make it simple to get the music you want.  YouTube is the site that houses this music yet they have no system that effectively lays out the music and allows the music-lover to find lost treasures and bygone treats.

As this year continues I shall be seeking the best in new music; keen to see what is on offer.  Too often I have to put out Facebook shouts to the masses: seeing if they can recommend a great artist to review.  Why isn’t there a website that makes things easier for the likes of me?  It doesn’t need to be hugely developed and sparkling; just somewhere I can hunt ALL the new music coming out.  It is 2016 so let’s hope- if I can’t get there first- someone focuses away from social media/technology and spends some time and money on something people NEED.  Not only will it ease the stress of music-lovers and aficionados but make new music easier to access and share.  When it is all said and done…

ISN’T that the point all along?!

Track Review: Kirbanu- Drifting

TRACK REVIEW:

 

Kirbanu

  

Drifting

9.4/10.0

Drifting is available at:

https://soundcloud.com/kirbanu/drifting

RELEASED:

2016

GENRES: Pop

ORIGIN:

Adelaide, Australia

The album Drifting was released on 01.01.'16 and is available at:

https://kirbanu.bandcamp.com/album/drifting

TRACK LISTING:

Drifting- 9.4

My Old Friend- 9.3

Haunted by a Shadow- 9.3

Let Me Love You- 9.3

Closed Eyes- 9.4

The Voice Inside- 9.3

You’re Beautiful- 9.4

Time Goes On- 9.3

DOWNLOAD:

Drifting; Closed Eyes; You’re Beautiful

STANDOUT TRACK:

Drifting

____________________________________

FOR the first time this year it is not only a great solo artist…

I get to review, but someone who raises a few interesting points regarding music.  Before introducing my featured act, I am looking at music outside the U.K.; the importance of travel and relocation- the sounds that are shaping up for this year.  Most of last year was dedicated to discovering and fostering U.K.-born acts; artists that did not stray too far beyond Britain.  Over the coming year I will be looking at more international acts and what they have to offer.  A lot of music outlets tend to concentrate on their homegrown artists and do not give much of a glimpse to musicians from other countries.  Some of my fondest discoveries from 2015 were those artists that hail from outside the U.K.  Not only do I get to discover a new sound/artist but investigate a new country and culture.  What I noticed from last year is the amount of musicians moving abroad and changing their locations.  Whether it was a move outside the U.K. - or a slight move within the country- I have seen a lot of emigration and change.  I am not bringing it up as an idle point; movement and change has brought about some musical transformation and improvement.  Musicians are constantly looking for inspiration and something new; a landscape that will influence their mind and support their goals.  Changing homes and location can do a hell of a lot for music: the artist gets a chance to take in fresh faces and scenes; find some new impetus.  I mention this point because my featured act originated in Australia (Adelaide) but now resides in Germany.  It seems the people and sights of Heidelberg have motivated and compelled Kirbanu; her new home has brought about song inspiration and a lot of happiness.  I am not saying musicians need to find a new country/town in order to find inspiration; staying in the same spot can lead to some stagnation and limitation.  Little is known about the Australian-born star- there are few biographical details on her official site- but the young artist has had a busy past year.  Her album Drifting has just been released (yesterday): the culmination of hard work and dedication; the album shows a stunning talent with many years ahead of her (I shall be doing a review of the album near the end of this piece).  A few weeks ago I was looking at Australian artists and how fertile the country is- few eyes look there when it comes to the brightest musicians.  When it comes to Adelaide itself, bands such as Cold Chisel and Atlas Genius sit alongside Double Dragon and Virgin Black.  With direct contemporaries such as Joy Sparkes and Naomi Keyte putting Adelaide on the map, it is not shocking to see Kirbanu emerge and prosper.  The south Australian hub is up there with Sydney, Melbourne and Perth (when it comes to the best new music).  I hope 2016 sees journalist and the music press dedicate more time outside the U.S. and U.K.  When you expand your horizons and take your mind across the globe; you can discover some stunning music and fascinating artists.  Kirbanu has essences of her Adelaide solo contemporaries- a distinct accent and sound that merges with something contemporary- but draws in inspirations of her new home.  When it comes to Kirbanu’s music, that voice is the queen: the central figure that captivates and seduces at will.  In developing the voice, Kirbanu assesses it thus (information sourced from her official website):

“So at this point you could think that I was born a singer. That I was gifted from age 4 with the perfect sound. That my parents groomed me through childhood to cultivate my gift. Perhaps this fantasy would lead me to some fancy music conservatory like Julliard. And then culminate in a mesmerizing performance onstage with Beyoncé in front of millions. Great though it would be, this picture couldn’t be further from the truth…

Though I’ve loved singing all my life, for a long time I lacked the confidence to seriously pursue it. Even when I was finally performing on stage, I still had so many doubts about my voice. I was incredibly insecure. Having grown up in a world where music was basically forbidden, I felt ashamed of longing to be a singer. This fear was so strong that I sang in front of no one. I kept my love shut away. I practiced only in my car, in secret.

But true love cannot be pacified. And as I aged my love became a wild fire burning inside, longing to be released. I needed to sing. I had to understand the voice. I felt like a bird trapped, longing for release and I knew I could only find that release through embracing and empowering my voice. So I cracked”.

2015 was the Adelaidean’s finest to date; she is clearly reveling in her surroundings the fans that support her.  Drifting is the result of that new-found inspiration and happiness: an album that sees Kirbanu let her magic voice soar and hit the soul; present touching love songs and personal insight.  There are a lot of great female artists coming through, although few have such a distinctive sound and vocal- something that has seen Kirbanu’s social media numbers climb.  Into this month, Kirbanu tours Australia and gets a chance to ‘come home’- enthrall her native crowd and show them what they’re missing.  This year will see Kirbanu tour her new album and reach out to new audiences.  The album shows a lot of hard work and attention; immense amounts of heart and passion- there is no telling what the next year will hold.  After such a prosperous and busy 2015; I am sure Kirbanu will keep that momentum going and produce yet more new music.  I hope she comes to the U.K. and plays here; there are plenty of venues and towns that would welcome her fondly.  With so many new musicians coming through, it will be challenging narrowing-down the best this year has to offer.  You would be hard-pressed to find anyone as immediate and memorable as Kirbanu.  Her music may not hit you instantly; it reveals new layers and insights as you re-investigate- sounds that have plenty of nuance and long-term appeal.  She digs into common-day themes whilst giving them a personal perspective; ensuring the listener can relate and empathise with the songs.  If you have not encountered her new album, make sure you check it out.

Drifting is one of the first of Kirbanu’s works I have encountered.  Whilst reviewing the title track- and checking the album out as a whole- it was prudent to look back and see how the Adelaide-born artist has progressed.  From the earliest days, Kirbanu has showcased that peerless and stunning voice.  If you check out her YouTube channel, you can hear the cover versions she makes her own.  From Birdy’s All About You to Florence and the Machine’s Cosmic Love; you get new insight and life into existing songs- they are transformed and made new.  Most of Kirbanu’s original material is contained within Drifting; Wrapped in Your Love was released last year- and is one of the few songs not contained on the album.  A paen and love song to her husband (one would assume); the song showcases devotion and a huge passion- appreciation for what has been given and what she has.  A simple and upbeat acoustic-led composition; it allows that rich and vibrant voice to create something soulful and bold.   Her latest material shows greater confidence and depth.  The compositions are more varied and deep; the subject matter goes away from love to take in other topics- a fully-rounded and complete work.  Whilst Wrapped in Your Love was a great song from the young artist; it was a sign of things to come.  Given the confidence and talent displayed throughout Drifting, it will be great to see what strikes Kirbanu next.

When it comes to Drifting, I was keen to focus upon its title track.  Beginning with a soft and delicate acoustic lead; you become relaxed and fascinated from the off- swept up by the gentility and gracefulness of the strings.  As that introduction builds and develops- becoming atmospheric and eerie in places; instilled with wistfulness and beauty- our heroine comes to the microphone.  In the early stages, she recalls decisions around emigration- leaving her home and relocating to another country.  It instantly stands out as one of the most personal and reflective tracks on the album- that move from Australia to Germany.  The people “and the stories they’d spin” never resonated with Kirbanu; that distance and sense of not fitting in- that underlying need to go somewhere she belonged.  Whether directly referencing her move to Germany I am not sure- although one assumes this is being attested- you can hear that reality and urgency in the vocal.  The performance has some sadness and sensitivity early on; anxious when recalling time at ‘home’- that dislocation and lack of identity.  Having “sailed off across the world” the heroine began her travels in that need for a new home.  In a way Drifting can be seen as an impersonal song or metaphor for love.  If not seen as a directly autobiographical, the words could apply to that search for love and personal belonging- being a better and happier person.   That escape and adventure has seen the heroine expand her horizons and experience something magical.  Having seen so many new faces and places, you can hear that sense of relief and happiness- something that was long-overdue and almost spiritual.  In spite of the travels and new experiences, the biggest change has been inside of her.  As the chorus comes to play you get a sense of someone who has lost her identity; was drifting at sea- perhaps not all is well it seems.  This constant movement and relocation has not been as beneficial as hoped.  With so many countries visited- so many faces and stories seen and heard- you get the impression of a nomad; a woman that is searching for stability and an anchor- she is lost at sea and unsure of where she belongs.  Feeling she is “going blind”; you get vivid and unforgettable images portrayed.  The vocal changes course as the song progresses.  In the early stages- when the lyrics look at the heroine relocating and moving- it is almost spoken; it is calmer and sweeter.  When thoughts look at personal heartache and loss you get a more impassioned and urgent vocal sound.  That tension and hurt is evident and unescapable as you immerse yourself in the song and follow the lyrics- following the heroine as she goes from place to place.  As our heroine talks about anchors and not being rooted; a tribal and rampant drum comes in to give the track that needed heartbeat- something that brings huge force and resonance to proceedings.  Being lost and drifting at sea; in need of something safe and secure- you cannot help but to wonder how things resolved themselves.  Knowing Kirbanu is happy where she is right now- and it seems her home is where her heart is- it is curious what inspired the song.  The musician’s life will see them constantly travel and meet new people; not being settled and endlessly moving- it is a song that many can relate to.  In other aspects, the song could be a broader look at love and personal happiness.  It takes time to find someone that means a lot to you; someone that fulfils you.  Whereas other album tracks look at happiness and fulfillment; Drifting deals more with harsher concerns and something more upsetting.  At every stage you are rooting for the heroine and want to see her happy- hoping she found her feet eventually.  The composition never encroaches on the mood and remains supportive and augmentative.  That exhilarating drum introduction gives the track extra spark and life; the rousing strings give it energy and movement.  As the song enters the final third, you get an introduction of something more haunted and spectral- aching electronics and something more shadowy.  As a composer, Kirbanu always pays close attention and ensures the composition is as effective as the vocal.  The quiet-loud dynamic of the song- the way it can be restrained and then suddenly explode- keeps the listener on their toes for sure.  It is the constant passion and soulfulness that makes Drifting such a standout.  The lyrics deal with common-day and relatable concerns.  Although deeply personal to Kirbanu; there are going to be so many people listening in the same boat- a boat that has no clear destination.

Congratulations must be given to Kirbanu whose voice is at its most agile and passionate throughout the song.  Showcasing beauty and sensitivity; introspective emotion and something deeply moving- a performance that is hard to fault.  The lyrics give an insight into her mind and past; the words are never clichéd or predictable- something that few other musicians can boast.  Supported by a composition that gives plenty of colour and drama to the song; Drifting is a song that gets inside the heart and evokes emotion and reflection.  Few artists are capable of producing songs so immediate and striking.  Drifting is an album that provides so many gems; none as quite as mesmeric as the title track.

It is clear 2015 has been a prosperous and happy one for Kirbanu.  With Heidelberg offering up its daily beauty and inspiration; that joy and comfort is reflected in the music she makes.  Few people can deny that incredible voice and the quality of the songs being offered.  Throughout Drifting- I shall do a mini-review soon- you get insights into the Australian; her love and admiration she has- whilst it explores universal themes and heartaches.  It is not a coincidence social media numbers are climbing and she has such a loyal fan-base.  On a daily basis- throughout Facebook and Twitter- there are effusive messages and supportive praise.  That music is resonating with people and drawing a lot of people in.  Perhaps it is the passion and commitment injected into every song; that voice and all it can do- maybe something difficult to explain.  Whatever the reason behind things, it is clear Kirbanu is a name to watch in 2016.  I started by stating how few people tend to look outside the U.K. and U.S. with regards new music.  People tend to go where the media leads them.  A lot of media outlets tend to rely too heavily on their homegrown artists and overlook the wonderful music that originates farther afield.  I have loved what Australia offered throughout 2015.  It is a country that has produced some of new music’s most original and memorable artists.  Let’s hope media trends are overhauled and they start to open their minds slightly- so much great music is being lost or discovered by chance.  Social media can make a difference but it is so vast it is impossible to get a grip on it.  I guess we just have to be thankful for the artists we come across when they do.  Kirbanu is one of the most vibrant and passionate musicians I have come across.  She has such respect for her fans and is keen to connect with them daily.  That love is reciprocated; it translates into music which is brimming with heart and soul; such a memorable sound.  It seems like relocation and emigration works wonders for the mind of a musician.  Always seeking fresh faces and desires; changing scenery can lead to reinvention and huge inspiration.  Although Kirbanu was born in Australia she lives in Germany.  Not wanting to be anywhere else it seems; Heidelberg has got her creative juices flowing and resulted in some amazing moments.  This coming year is going to see a lot of hungry young artists come through; all eager to make their mark and grab the attention of the media.  I have never been a fan of end-of-year polls and who is tipped to be the best for the coming year.  It is always more reliable following your own instincts and arriving at your own conclusions.

In addition to its title track; Drifting boasts plenty of wonderful moments and surprises.  My Old Friend begins with an intrepid and spring-time acoustic sound; pastoral and serene it gets the listener into a peaceful mindset.  The song looks at our heroine and a friend- recounting a time when they were young- and the adventures they shared.  Days at the beach and under the sun; the duo were inseparable and free.  With her voice at its most evocative and breathless; you get a song that is so vivid and scenic.  As our heroine is a “gypsy”- and wandering the world- her subject is based in London- you begin to wonder who is being recalled.  The song continues its picturesque and story-like projection; drawing you into a tale of separation and desire- that need to rekindle something that once burned so bright.  Haunted by a Shadow has a more spirited and hard introduction.  Our heroine’s heart has been frozen a thousand times; there seems to be something lingering on her mind.  When she closes her eyes and tries to sleep; this spectral burden is weighing her down.  Suffocated and plagued by this feeling- there is some obliqueness that does not reveal the full extent of the troubles- you get a song of trouble and anxiety.  Kirbanu’s voice keeps the song uplifted and emotive; it never strays into depressive territory- it is full-bloodied and defiant.  That chorus is one of the most sing-along and memorable on the record- monsters and ghosts under the bed; that lingering fear- and shows our heroine is adept at creating indelible hooks and choruses no matter what the subject.

After the suffocated stress and desperation of the previous track; Let Me Love You offers something more serene and hopeful.  Our heroine wants her man to lie beside her; rest their head and put down their weapon- just lie there with her.  One of the most arresting and pin-sharp vocals arrives here: filled with sweetness and passion it is heartfelt and hugely soulful.  Bare-naked and honest, the track explores purging the past and the need to find togetherness- opening the heart and “let love inside”.  The composition mixes delicate piano notes with a springing acoustic guitar line that melts together wonderfully- backed by some aching strings to create something operatic and dramatic.  Closed Eyes starts with one of the album’s most unique introductions; it leads to a vocal that is instilled with beauty and passion.  Semi-operatic and hugely powerful, the track looks at sinking ships and painful pasts- the subconscious being affected by things that have come before.  Again that composition remains fairly sparse yet effective: the electric keys and languid strings fuse wonderfully to create something emotional, rich and stunning.  Transcending into wordless vocals; you have one of the album’s pinnacles: a track that truly showcases the depth and breadth of Kirbanu’s vocals and compositional talents.  The Voice Inside sees a subject sitting confused alone- “a battle with yourself”- and thinking things through.  Looking at herself, our heroine investigates the voice inside her; projects outward to people who are confused and conflicted.  That friction and confliction is tearing them apart; they need to fight for redemption and “turning your back on who you’re supposed to be”.  It is here we get the most varied and evolving composition.  Samba moments melt with Jazz notes; there is plenty of energy and dance within the song.  Urging chance-taking and listening to that voice; doing things differently and living life better- it is one of the album’s most positive and hopeful tracks.

   You’re Beautiful kicks into gear with a sprite and uplifting sound.  Our heroine looks at someone who is failing; judging themselves by who they’re not- there are fears that are blinding the song’s subject.  The “iron fortress” in the skin is causing pain and blocking things out; there is baggage causing damage too- a lot of vivid images and raw emotions come to the surface.  It is uncertain who is being referred to- if it is a friend or a former love- but there is a sympathy and understanding in the lyrics.  There is no accusation or judgement; just an understanding and support.  The song’s hero/heroine is unique and special; they can overcome the hurdles- and can make things better.  You cannot help but be caught in the rush and effusiveness of the vocal; that rousing composition- the song acts as a theme song for anyone in the same position.  Time Goes On brings the album to a gentle and contemplative close.  Looking at life’s dichotomies and bookends; mortality explored and explained- life goes on regardless.  The composition boasts yearning cello and gentle acoustic guitar; a tender piano sound that perfectly soundtracks the themes of passing moments and life’s realities.  It brings to close an album that mixes emotions and themes; it is constantly engaging and enthralling- promoted by a voice that has endless beauty and potential.  Drifting is an album that can ease the mind and keep troubles at bay; take you somewhere special and do something wonderful.  With exceptional production values and perfect track-listing- each song is wonderfully polished; tracks are exactly where they should be- you get an album that stands up to repeated assaults and reveals new beauty…

WITH every fresh investigation.

[soundcloud url="https://api.soundcloud.com/tracks/219186741" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

___________________________________________________

Follow Kirbanu:

 

Official:

http://www.kirbanumusic.com/

Facebook:

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

Twitter:

https://twitter.com/kirbanu

Instagram:

https://www.instagram.com/kirbanu/

______________________________

Music:

https://soundcloud.com/kirbanu

__________________________________

Videos:

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

Feature: Sounds of 2016- Part Three

FEATURE:

 

  

Sounds of 2016- Part Three

______________________

THIS coming week I have been looking ahead to 2016…

and the bands/acts/musicians that will making a mark throughout the year.  From U.S. treasures to British bands, there are so many passionate and great musicians making plans for the coming year- new recordings and tour dates; it will be exciting to see.  Time for the final 30 …

DreamVacation

 

[soundcloud url="https://api.soundcloud.com/tracks/213981498" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow DreamVacation: 

Official:

http://www.wedreamvacation.com/

Facebook:

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

Martha Paton

[soundcloud url="https://api.soundcloud.com/tracks/188484014" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Martha Paton:

Official:

http://www.marthapaton.com/

Facebook:

https://www.facebook.com/martha.music/?fref=ts

Hannah Pisani

[soundcloud url="https://api.soundcloud.com/tracks/236188397" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Hannah Pisani:

Official:

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

Facebook:

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

Rosie Crow

[youtube https://www.youtube.com/watch?v=Q0DrLxpRznc&w=560&h=315]

Follow Rosie Crow:

Twitter:

https://twitter.com/rosiecrowmusic

Facebook:

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

Meat Loving Vegans

[soundcloud url="https://api.soundcloud.com/tracks/213108730" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Meat Loving Vegans:

Official:

http://www.meatlovingvegans.com/

Facebook:

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

Vinyl Staircase

[soundcloud url="https://api.soundcloud.com/tracks/227678622" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Vinyl Staircase:

Official:

http://vinylstaircase.co.uk/

Facebook:

https://www.facebook.com/Vinyl.Staircase/?fref=ts

 

Henrietta

[youtube https://www.youtube.com/watch?v=yWhi9MPCnm8&w=560&h=315]

Follow Henrietta:

YouTube:

https://www.youtube.com/channel/UCQfp324Rg-b450nBLVty1bA

Facebook:

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

Gemma Louise Doyle

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

Follow Gemma Louise Doyle:

Facebook:

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

Official:

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

In Hoodies

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

Follow In Hoodies:

Official:

http://www.inhoodies.com/

Facebook:

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

The Condors

[youtube https://www.youtube.com/watch?v=DqJZluwVmz8&w=560&h=315]

Follow The Condors:

Facebook:

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

Official:

http://www.thecondorsmusic.com/

False Advertising

[youtube https://www.youtube.com/watch?v=BfCdXLvcY4Y&w=560&h=315]

Follow False Advertising:

Official:

http://falseadvertising.co/

Facebook:

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

Tiny Rhymes

[soundcloud url="https://api.soundcloud.com/tracks/208358194" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Tiny Rhymes:

Twitter:

https://twitter.com/TinyRhymesMusic

Facebook:

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

The Falling Birds

 

[soundcloud url="https://api.soundcloud.com/tracks/227081012" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The Falling Birds:

Official:

http://www.thefallingbirds.com/

Facebook:

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

Ruby Lane Music

[soundcloud url="https://api.soundcloud.com/tracks/169919575" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Ruby Lane Music:

Facebook:

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

Twitter:

https://twitter.com/RubyLaneMusic

Sir Gant and the Invisible Force

[youtube https://www.youtube.com/watch?v=i6Hb_CCLNkk&w=560&h=315]

Follow Sir Gant and the Invisible Force:

Facebook:

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

Official:

http://www.sirgantmusic.com/

Lisa Marini

[bandcamp width=350 height=470 album=2018683747 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=122747599]

Follow Lisa Marini:

Official:

http://lisamarini.com/

Facebook:

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

Sophia Ben Yousef

[soundcloud url="https://api.soundcloud.com/tracks/223063914" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Sophia Ben Yousef:

Twitter:

https://twitter.com/sophiamusicuk

Facebook:

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

Kobadelta

[soundcloud url="https://api.soundcloud.com/tracks/196793626" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Kobadelta:

Twitter:

https://twitter.com/kobadelta

Facebook:

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

The Moth Lantern

 

[soundcloud url="https://api.soundcloud.com/tracks/217563468" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The Moth Lantern:

Official:

http://www.themothlantern.com/

Facebook:

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

Shaydes

Follow Shaydes:

Official:

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

Facebook:

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

Their single All You Want is available from:

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

 

The Glass Child

[soundcloud url="https://api.soundcloud.com/tracks/165011269" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The Glass Child:

Official:

http://www.theglasschildofficial.com/

Facebook:

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

God Damn

[youtube https://www.youtube.com/watch?v=v-VgA6-mEv8&w=560&h=315]

Follow God Damn

Official:

http://goddamntheband.com/

Facebook:

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Beth Macari

[soundcloud url="https://api.soundcloud.com/tracks/206513616" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Beth Macari:

Official:

http://www.bethmacari.com/

Facebook:

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

Little Violet

[youtube https://www.youtube.com/watch?v=vrwzvuZ0s-k&w=560&h=315]

Follow Little Violet:

Twitter:

https://twitter.com/_Littleviolet

Facebook:

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

Rouge United

 

[bandcamp width=350 height=470 album=1073013147 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

Follow Rouge United:

Official:

http://www.rougeunited.com/

Facebook:

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Little Dove

[soundcloud url="https://api.soundcloud.com/tracks/199962473" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Little Dove:

Official:

http://www.littledoveband.com/

Facebook:

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

NINA

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

Follow NINA:

Official:

http://www.ninasounduk.com/

Facebook:

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

Lydia Baylis

[youtube https://www.youtube.com/watch?v=fpa7ABHyk_c&w=560&h=315]

Follow Lydia Baylis:

Official:

https://lydiabaylis.com/

Facebook:

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

Gelato

 

[youtube https://www.youtube.com/watch?v=6elaGtN0A-U&w=560&h=315]

Follow Gelato:

Twitter:

https://twitter.com/GELATOMusicYeah

Facebook:

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

Mrs. Skannotto

 

[bandcamp width=350 height=470 album=3754640385 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1777054702]

Follow Mrs. Skannotto:

Official:

http://www.mrsska.com/

Facebook:

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

Feature: Sounds of 2016- Part Two

FEATURE:

 

 

Sounds of 2016- Part Two

THIS coming week I will be looking ahead to 2016…

And the bands/acts/musicians making a mark throughout the year.  From U.S. treasures to British bands, there are so many passionate and great musicians making plans for the coming year- new recordings and tour dates; it will be exciting to see.  Time for the next 30 …

Lauren Housley

 

[bandcamp width=350 height=470 album=1312593268 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2779668825]

Follow Lauren Housley:

Official:

http://laurenhousley.co.uk/

Facebook:

https://www.facebook.com/laurenhousleymusic

Noah Clouds

 

[bandcamp width=350 height=470 album=2977922604 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=714174249]

Follow Noah Clouds:

Official:

http://noahclouds.com/

Facebook:

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

Manda

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

Follow Manda:

Official:

http://mandaofficial.com/

Facebook:

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

Them & Us

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

Follow Them & Us:

Official:

http://www.themandusofficial.com/

Facebook:

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

Eliza Shaddad

[soundcloud url="https://api.soundcloud.com/tracks/230246826" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Eliza Shaddad:

Official:

http://www.elizashaddad.com/Eliza_Shaddad/Home.html

Facebook:

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

Little Sparrow

 

[youtube https://www.youtube.com/watch?v=KRt-R0NO_m8&w=560&h=315]

Follow Little Sparrow:

Official:

http://www.littlesparrow.org/

Facebook:

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

The Vim Dicta

[youtube https://www.youtube.com/watch?v=5HpHY6NPdP0&w=560&h=315]

Follow The Vim Dicta:

Official:

http://thevimdicta.bandzoogle.com/

Facebook:

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

IV Rox

[soundcloud url="https://api.soundcloud.com/tracks/219971023" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow IV Rox:

Facebook:

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

Twitter:

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

 

Elizabeth Ajao

 

[soundcloud url="https://api.soundcloud.com/tracks/210052076" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Elizabeth Ajao:

Official:

http://www.elizabethajao.com/

Facebook:

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

Gold Phoenix

[soundcloud url="https://api.soundcloud.com/tracks/183110381" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Gold Phoenix

Facebook:

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

Official:

http://www.goldphoenixband.com/

Kirbanu

 

[soundcloud url="https://api.soundcloud.com/tracks/219186741" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Kirbanu:

Official:

http://www.kirbanumusic.com/

Facebook:

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

Boundless Brothers

[soundcloud url="https://api.soundcloud.com/tracks/168991451" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Boundless Brothers:

Official:

http://www.boundlessbrothers.com/

Facebook:

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

Ina Reni

[soundcloud url="https://api.soundcloud.com/tracks/206355654" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Ina Reni:

Official:

http://inareninow.com/

Facebook:

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

Waiting for Wednesday

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

Follow Waiting for Wednesdsay;

Facebook:

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

Official:

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

Tigercub

[soundcloud url="https://api.soundcloud.com/tracks/225898683" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Tigercub:

Facebook:

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

Official:

http://tigercubtigercub.co.uk/

Archi Deep and the Monkeyshakers

[youtube https://www.youtube.com/watch?v=oXq2n4WeQ_8&w=560&h=315]

Follow Archi Deep and the Monkeyshakers:

Official:

http://www.archideep.com/

Facebook:

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

Aphty Khea

[soundcloud url="https://api.soundcloud.com/tracks/227075463" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Aphty Khea:

Twitter:

https://twitter.com/aphtykhea

Facebook:

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

Jess Meuse

[soundcloud url="https://api.soundcloud.com/tracks/239420664" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Jess Meuse:

Official:

http://www.jessicameuse.com/

Facebook:

https://www.facebook.com/IdolJessicaMeuse/?fref=nf

Next State

 

[soundcloud url="https://api.soundcloud.com/tracks/232181229" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Next State:

Twitter:

https://twitter.com/NextState_

Facebook:

https://www.facebook.com/nextstate1/?fref=ts

Los and the Deadlines

[soundcloud url="https://api.soundcloud.com/tracks/199862851" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Los and the Deadlines:

Official:

http://www.losandthedeadlines.com/

Facebook:

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

Issimo

[soundcloud url="https://api.soundcloud.com/tracks/216895404" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Issimo:

Official:

http://www.issimomusic.net/

Facebook:

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

 

The Updraft Imperative

[soundcloud url="https://api.soundcloud.com/tracks/162956080" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The Updraft Imperative:

Official:

http://www.theupdraftimperative.com/

Facebook:

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The Tuts

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

Follow The Tuts:

Tumbrl:

http://thetuts.tumblr.com/

Facebook:

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

Sarah Collins

[soundcloud url="https://api.soundcloud.com/tracks/237983667" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Sarah Collins:

Twitter:

https://twitter.com/SazzleCollins

Facebook:

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

Alison Levi

 

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

Follow Alison Levi:

Official:

http://alisonlevi.com/

Facebook:

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

Jonnythefirth

[bandcamp width=350 height=470 album=3857401020 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2726239472]

Follow Jonnythefirth:

BandCamp:

http://jonnythefirth.bandcamp.com/

Facebook:

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

Goldbirds

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

Follow Goldbirds:

Official:

http://goldbirdsband.com/

Facebook:

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

Melinda Ortner

 

[soundcloud url="https://api.soundcloud.com/tracks/196164473" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Melinda Ortner:

Official:

http://melindamusic.com/

Facebook:

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

Quinn Archer

[soundcloud url="https://api.soundcloud.com/tracks/159286677" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Quinn Archer:

Official:

http://quinn-archer.com/

Facebook:

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

The State of Georgia

 

[soundcloud url="https://api.soundcloud.com/tracks/239283745" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The State of Georgia:

Official:

http://georginalashbrook.wix.com/thestateofgeorgia

Facebook:

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

Feature: Sounds of 2016- Part One

FEATURE:

 

 

 

Sounds of 2016- Part One

THIS coming week I will be looking ahead to 2016…

and the bands/acts/musicians making a mark throughout the year.  From U.S. treasures to British bands, there are so many passionate and great musicians making plans for the coming year- new recordings and tour dates; it will be exciting to see.  I start with the first 30 acts to watch…

 __________________________

Sofia Talvik

 

[soundcloud url="https://api.soundcloud.com/tracks/190608286" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Sofia Talvik:

Official:

http://sofiatalvik.com/

Facebook:

https://www.facebook.com/sofiatalvikmusic/

Dana McKeon

 

[bandcamp width=350 height=470 album=204923027 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2143010816]

Follow Dana McKeon:

Official:

http://www.danamckeon.com/

Facebook:

https://www.facebook.com/DanaMcKeonMusic

Jingo

[soundcloud url="https://api.soundcloud.com/tracks/219926773" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Jingo:

Twitter:

https://twitter.com/jingomusic

Facebook:

https://www.facebook.com/jingomusic/

Country Boy

[soundcloud url="https://api.soundcloud.com/tracks/153503726" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Country Boy:

Official:

http://www.countryboyraps.com/

Facebook:

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

Ellie Rose

[soundcloud url="https://api.soundcloud.com/tracks/178743264" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Ellie Rose:

Official:

http://ellierose.co.uk/

Facebook:

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

Mayflower

 

[soundcloud url="https://api.soundcloud.com/tracks/225910161" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Mayflower:

Twitter:

https://twitter.com/mayflowermcr

Facebook:

https://www.facebook.com/wearemayflower/

The Dangerhounds

[soundcloud url="https://api.soundcloud.com/tracks/218926549" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The Dangerhounds:

Twitter:

https://twitter.com/dangerhounds

Facebook:

https://www.facebook.com/thedangerhounds/

Lola Coca

[soundcloud url="https://api.soundcloud.com/tracks/232640966" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Lola Coca:

Twitter:

https://twitter.com/lolacoca

Facebook:

https://www.facebook.com/Lolacocamusic/

Jen Armstrong

[soundcloud url="https://api.soundcloud.com/tracks/220863450" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Jen Armstrong:

Official:

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

Facebook:

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

The Mono LPs

[soundcloud url="https://api.soundcloud.com/tracks/166239369" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow The Mono LPs:

Facebook:

https://www.facebook.com/themonolps/

Official:

http://www.themonolps.com/

Echo Arcadia

 

[soundcloud url="https://api.soundcloud.com/tracks/93812315" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Echo Arcadia:

Official:

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

Facebook:

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

FiFi Rong

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

Follow FiFi Rong:

Official:

http://fifirong.com/

Facebook:

https://www.facebook.com/fifirongmusic

Bahjat

[youtube https://www.youtube.com/watch?v=7nb6FKsAtcg&w=560&h=315]

Follow Bahjat:

Official:

http://www.bahjatmusic.com/

Facebook:

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

Svelte

[soundcloud url="https://api.soundcloud.com/tracks/235496918" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Svelte:

Facebook:

https://www.facebook.com/sveltemusicuk/

SoundCloud:

https://soundcloud.com/sveltemusicuk/

Chess

[soundcloud url="https://api.soundcloud.com/tracks/195653597" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Chess:

Facebook:

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

Official:

http://www.chessgalea.com/

The Mouse Outfit

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

Follow The Mouse Outfit:

Official:

http://www.themouseoutfit.com/

Facebook:

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

Gypsyfingers

[soundcloud url="https://api.soundcloud.com/tracks/146889936" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Follow Gypsyfingers:

Official:

http://www.gypsyfingers.com/

Facebook:

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Universal Thee

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These Your Children

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This Modern Hope

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Braver than Fiction

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The Black Fields

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Allusondrugs

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Elena Ramona

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Rews

 

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Jo Kelsey Music

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Ellene Masri

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Sameblod

 

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Billie Marten

 

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ADI

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Antifreeze in Summer: The Lyrics

TRACK LISTING:

"The Journey"

Mine's a Double!

Amelia

East End Boys

Hold On, Don't Let Go

Love at Third Sight

______________________________

“The Journey” (5:34)

 

Female pop star:

“I don’t think I could have done this without the support of my friends, family…and…um…it’s been an emotional rollercoaster; like fate, you know?  Yeah, but like, it’s been one incredible journey…”

VERSE 1:

Give me a break honey, for Christ’s sake

You ain’t got a clue what a struggle takes

Been on a journey?  You ain’t moved a yard

Sounding like everyone else out there isn’t that hard

Putting nonsense lyrics over a contemporary composition

Don’t want to be an original just settle for tradition

But no, no, I’ll humour you girl

You been traveling the globe an emotional whirl

Nightly blood-shed violence; some geezer kicks your door

Another sleepless night and conversations with the law

That rite-of-passage that’s a hard ol’ life

Not obsessing on social media over shares, comments or likes

The ReverbNation charts; the YouTube views and shit

Your pouting Instagram photos; your epileptic fits

Male solo artist:

“Man I have to work all day, like.  Why ain’t local radio playing my songs?  I put in all the clichés, you know; heartache and love so what did I do wrong?  It has a nice piano line and a chorus you can sing.  One Direction make it work so why aren’t I worth a damn…”

VERSE 2:

You wanna know why eh?  Because there’s 20 million like you

Want the green, won’t bleed red, all blue blood; black that ain’t true

All tweak and faked; no soul, emotion, no point

So long as you get the money you don’t care about this joint

Could get them buzzing with a catchy beat and slick rhyme

That would take some talent though; a little bit of time

But don’t bother yourself, no, it’ll be okay we’ll make do

Guess there’s a pioneer out there; a couple, a few?

Wanna make a difference then cut the talent show crap

Don’t give me that hard-luck bullshit; it’s all fallen in your lap

You ever seen a fight they didn’t show on Netflix?

I know you’ve dated so losers and no some no-good pricks

I’d rather have my music heard by a few ‘cos the hurt is real

Don’t give a damn ‘bout Kiss F.M. so long as I can feel…

Like me, a real person; saying what’s happening out there

All you sound-alike bands; your clean-cut and well-quaffed hair

Band member:

“We’d like to thank our fans this year for supporting the album and inspiring the music.  It’s been really hard, but you know, but it has been our best year and one hell of a journey…”

VERSE 3:

Excuse me mate, toss that work around; you even know what it means?

It ain’t a spiritual thing or emotional definition or a dream

It is physical progression, a movement then I’ll listen man

I don’t hear anything ground-breaking in your 3-chord jams

Foo Fighters riffs, Arctic Monkeys vocals, a girl on your mind?

It seems like miss what’s-her-name ain’t really been too kind

Ah bless, she broke your heart?  Must be the fucking first

Because everyone’s doing it the same and putting it all in verse

Why not pick your language carefully; do something quite bold

Because that whining and ball-bitchin’ is getting somewhat old

Throw in a key change; a nifty or sleepy chorus

How could something so fresh ever go and bore us?

Radio D.J.:

“A new Indie band with a promising future.  Catchy choruses and stunning vocals that are getting people excited.  Songs that deal with very real-life issues and…”

VERSE 4:

You been penniless lately?  Felt the sting of depression strike?

Or did some naughty boy in Nikes just run off with your bike?

Can’t afford a Caribbean holiday so you’ll have to go to France

I’ll put this all down in writing of the public give me a chance

How about you sleep alone or spend a night out on the street?

All those who struggle that you walk past begging at your feet

The kids with no happiness; no prospects, no fun

You have that silver spoon in your mouth; well they have a gun

When they get free they’ll document it over an industrial loop

Some liquid bass, cutting words; something more astute

May not be a chart smash; the teenage girls may get vexed

It won’t appeal to your Facebook posts, first-world problems, texts…

Death of the Sweetheart is here giving an even-hand education

Antifreeze in Summer in your veins brings about a new sensation

Let’s make a change and take it back to make the future bright

Because what we have right here?  Well (laughs) oh yeah…right

Girl band member:

“Thanks to everyone that’s listened to us.  Those struggles we had this year with the chart positions and break-ups.  Having the fans’ confidence, like, has you know?  It’s been a real blessing; helping us every step of the way on this... incredible journey”.

Mine’s a Double! (3:32)

 

CHORUS:

Oi, oi, don’t want no trouble

Oh boy if I get buried under the rubble

Savloy no-one’s going to burst my bubble

Oi mate, make mine a double!

VERSE 1:

Right it’s Friday that would make this wine o’ clock!

Except let’s start with beers wouldn’t want the lads to mock

Three layers-thick at the bar; what the ‘ell!

If that geezer knocks my pint I’ll send him to Hell!

Don’t want to fight just ignite a J.D. and coke!

Throw a Jagerbomb in there a Courvoisier, mad jokes!

I’ll fall on my arse I’m not a turtle; I’ll be straight back!

Show the girls some muscle; flash a little crack

By the time it comes to close I’ll be wasted on the street

Lying in a daze, ambulance and paramedics by my feet

Then it’s off to hospital me, Darren, Mick and Den

Hey hey by the morning break I’ll be back at it all again

CHORUS

Narrator:

“Let’s break this down shall we?

Why not sort your life out.  What are you boozing for?

You know alcohol is a depressant so I don’t want to bore

But get a grip; have a life and maybe on a Friday night

You write a song, do something productive not star in fight

The hazy heads and expensive meds.; does it really make it better?

You’re A&E, D.O.A., D.U.I., D.I.V.; try choosing some different letters”.

VERSE 2:

Back at The King’s Head and Suzy’s looking pretty firm

Get another pint and yeah bruv, think it’ll be my turn

Take her to an alleyway and seduce her from behind

Then when we’re done I’ll walk her home; that would be kind?

Right now I’m, wankered; and man this pool table’s upside down!

(Laughs) It’s alright Daz; another Stella will turn it the right way round

I may be late for work again but the boss I know he’ll be mad

Screw it we’re only young once; having fun out with the lads

No harm done apart from some broken arm; he’ll walk it off!

(Landlord): Last call people!

You what?  I’m not having that, he’s well soft!

I pay that guy’s wages; what you looking at you mug!?

Let’s have five more for the road and get away from all these thugs!

CHORUS

Narrator:

“Let’s break this down shall we?

(Starts to fade down):

Do I need to repeat myself, it just seems like…”

CHORUS

Amelia (5:54)

 

Boys’ choir:

“Three years in a row you’ve been voted the most popular girl’s name

For even-more years before you’ve been the boys’ favourite dame

Give it is this life and live it in the next

The wordplay you scream out every time you have s-e-x

Istanbul not Constantinople; an empire all-but purged

Amelia you’re breaking our heart; shaking our confidence daily”.

VERSE 1:

It must have been last Friday and I was at the local K.F.C.

I flashed my glance in your direction; you chatting at your friend Tracey

Your fake fur and false tan; that attitude was pretty real

Those bed notches on your cheek; this girl’s out for a thrill!

Was chatting shit to Dave whilst ordering my bargain bucket

As you looked my way tried to smile, but, oh man, fuck it!

I blew my nerve and paid my words you laughed that girlish coo

Tottering your 3ft heels to that outside Beemer; all shiny, new and blue

Kissing that cropped-haired guy with tattoos; a muscled prick I see

Your chaperone, dog with a bone, one-night man, she wouldn’t want me

That cheeky grin you threw me as that car pulled away

Gave me some false hope; I explained this all to expertly to Dave

So I left with the chicken and hope in heart; mayonnaise on jeans

We cracked a crude sexual one-liner; well you know what I mean!

VERSE 2:

A vision in Essex astro-suede those boys all like it rough

But behind it all Amelia is quite shy; she ain’t really that tough

The girl from west of Mayfair; the boy from the east of Hackney Wick

Yeah, this could happen so all you fools can just hit the bricks!

Now I down a can of Budweiser and head to the Club U.S.A.

To the local spot where the underage psychos all play away

The bouncer starts all shirty and wants to see some I.D.

I flash a nervous smile and a hand over a handsome bribery fee

Past the vomiting couple doing it doggy on the stairs

Through the doors to the Viper Room where hope battles with despair

Sweaty pissheads rhapsodise to Calvin Harris, Swedish Mafia or some shit

Rude boys slipping Es discreetly to 16-year-old girls well off their tits

To the toilets, ah yes, a confidence boost; every toilet door being pounded

Orgasms among the muted bass-lines all my confidence was compounded

Oh Amelia, you’re breaking my heart, you’re shaking my confidence daily!

VERSE 3:

So I fight my way to the bar, pushed asunder by some leery dick

One racist geezer shouts “mental oriental!”; Jesus some people are so thick!

Down another G&T, wish these V.I.P.s and G.I.T.s would R.I.P.

Although not in peace because you can’t hear a word among all this noise

No humanity just profanity; no eye contact, just people staring at expensive toys

Just about to call it quits whilst Dave calls up for a taxi

He turns and says “Ain’t that the K.F.C. bird and her mate Tracey?”

Every eye swerves verve and every boy turns to perve

An angel from south of Highbury; these clowns all got a nerve!

Their Mockney accents and cheap lines: “You must have fallen from Heaven”!

Give us a break mate, what are you, like eleven?

Nah, I’m out of here; I accidentally brush Amelia on my way out

Grab my coat from the pink-haired girl with the purple lipstick pout

The girl on my mind she ameliorating my life; excuse my crafty wordplay

If I play it cool and causal, you know it might well be my day!

VERSE 4:

Alone in the July air as siren’s blare the fuzz are here

Cuffing all the hooligans; getting too fresh, seven too many beers

While the wagons pull away, see Amelia fumble for a Marlboro Light

I drift in and seize the chance and say: “Don’t I know you, right?”

We share a lame old joke regarding queuing in line for our K.F.C.

I laugh all nervous and lean in, she smiles and kisses me

Dave distracts Tracey with a Shakespearean aside; I hail a cab

We buckle in and race up-town destined for my pad

Arriving at the curb we get out: “’ere mate, keep the change!”

Get heavy in the bedroom I show her my full histrionic range

It’s all a blur the next morning see the lipstick mark on my pillow

Knickers on the bed stand, radio playing that song about Amarillo

Walking back from the bathroom I see a note there and read it aloud:

“Darling I don’t feel very proud.  I’m a career girl and don’t commit; I really had a ball.  Maybe I’ll see you in K.F.C. (lol) or maybe not at all”

I wipe away a tear; that girl stole my heart and...

Oh shit, she stole my phone, wallet, everything!

What a mug I can hear it now, the boys’ choir they will all sing:

Boys’ choir:

“Easy son, it’s not your fault don’t let her get to you

By this time tomorrow she’ll be dumping number 2-0-2

That girl she ain’t a true love; not a true love see mate

You two were different classes this ain’t your fate

A decent and naïve boy a fine motor but second-hand car

Just thank your stars you didn’t end up with that vixen Amelia”.

Amelia, you’re breaking our heart, you’re shaking our confidence daily.

Damn.

East End Boys (8:12)

 

Prologue:

This is Death of the Sweetheart and Antifreeze is Summer.  Rhymes not slick as the streets or pack that dizzy beat; but last night, saw this…

ACT 1, SCENE 1:

Joe: What the hell, you seen Facebook status, who is this Tina girl all hating?

(Reading it out): “Joe Buckley is a real prick and should die”.  You hear that mate?

Hero: Just let it go mate; it’s only social media so don’t let it grate

Blow it off bud, we’re next in line get your coinage primed

Joe: Nah fuck that; Claire Menzie liked this post; what a bloody joke!

Share, like, comment?

Claire that Dyke must be on something!

Hero: Who the Hell is Tina anyway

That girl I saw you with the other day?

Joe: Just a girl I dated, so overrated

Wouldn’t want to procreate so hit it hard to third base

Then she was all in my grill; wouldn’t let me go until…

Kept saying she wanted to date; hung up wanted to chill with mates

Now she’s posting this scorn for all and sundry to see

Look, now; likes are up to 6; comments now up to 23!

Hero: I’m having the spicy zinger burger.  You?

Joe: True, alright I’ll let it lie

Even though I hope that bird dies

Look mate it’s that fine piece Amelia

She’s be the top of my bucket list

The finger-licking chick I’d like to kiss

Speaking of buckets, Tina can kick it when I bring it

Fuck it!

Hero: Just cool it mate, you ain’t thinking at your best

Just let’s go home and get rid of all this stress

Joe: Nah get the boys and the Ford Fiesta

When Amelia bends can see the crack in her jugs, ah!

Pray one day she’ll let me mess with her

Get the rest of the boys from the Isle of Dogs

That girl has got me down and grinding me cogs

Know you’d rather spend a night chatting reflective pronouns

I’d rather take revenge; that bitch the low-blow, hoe-down

So let’s get ourselves sharpish into town

(Across town the girls offer their retort…)

SCENE II:

Claire: Oh Tina, that slag Joe is cussing you bad

That post I commented; said he’d like to cut me bad

What a tool a loser, he’s so sad

Truth must hurt; that ain’t a man he’s a lad!

Tina: Look at the Facebook status

“That Chelsea slag Tina really hates us”

Current location: Camden

Let’s go in tandem, get the rest of the girls

Get The Swifts crew

Take on that boy and make him blue

Thinks I’m a slow-honed, low-boned, hoe-down

I’ve seen his mum and galactic bum; takes one to know one!

(Girls all laugh)

Claire: Woah, stop the car- the light are still on

Tony Turner’s Deluxe Knives and Guns

Let’s grab a pistol for fun the geezer owes me one

Tina: Yeah, sure; ain’t that your man Rebecca?

Rebecca: Nah boy was crap in bed; like a 2-inch pecker

Guess this is his way to over-compensate

But nah, it’s cool, we’re sweet, we’re mates

Claire: Be quick mind, we’re going to be late

Tina: Relax Joe’s retarded; doubt he can even drive

By the end of the night he’ll wish he ain’t alive

Not lucky enough for suicide

How dare he hurt my pride!

(Across town…)

SCENE III:

Hero: Mate, this is going too far

Let’s just grab a quiet pint at the bar

In the morning you’ll be over her

Instead of mock her; have that bird Amelia

Joe: Yeah she’d be good for my ego

Great for the show and blow; a walk down death row

Rich: What you talking about Joe?

Joe: Shut up Rich just drive this shit bro!

Don’t go so freaking slow put down the toe

Tina’s current location: Camden

Damn man, she’s so near!

Just want her to disappear

Rich: Woah, that girl; ain’t that her girl Stacy?

Claire, Rebecca, Tina, Trish; man they look pretty tasty

There they are by their Peugeot 306

Walking into the bar and taking Instagram pics

Hero: Woah look at the new post; that girl’s real sick!

Joe: What!  Oh come on; that girl gets on my wick

Okay, we’re here, that’s it!

(Back to the girls…)

SCENE IV:

Rebecca: That guy across the bar ain’t that Nick Goldfini?

Is it him or global warming melting the ice in my martini?

Trish: That’s a Lambrini you div; you’re stirred and shaken

He always orders doubles that lout; look at the glasses he’s breaking

Spray tan, all mouth, a yob; could I be any clearer?

Rebecca: Ark at her, why don’t you look in the mirror!

(Girls all laugh)

Tina: Yep soon as I see him won’t be fun

I’ll make the boy a Joe-k; excuse the dodgy pun!

Claire: Let’s make it to the Banbury Estate

Know some spots there a couple of close mates

Tina: Wait, The Filth might be there with their lot

Every night there's someone there getting shot

Rebecca: Chill hun; it’ll all be sweet

Got a shooter and ten ready feet

Don’t give a rat’s about that twat!

(To the boys…)

SCENE V:

Joe: Says on Facebook she’s off to the Bambury Estate?

We’ll seal them off to seal their fate

Put the hammer down don’t wanna be late

(Fellow drive shouts abuse): Shut up mate!

Narrator:

Act I and our gangs are balkanised and dehumanised

As it progresses we are witness to an incredible journey

Go sit back because mine’s a double

Because man there’s going to be trouble

Death of the Sweetheart, Antifreeze in Summer act II:

ACT II, SCENE 1:

Joe: There’s The Swifts crew but between me and you…

(The two gangs meet)

It’s all spoilt girls, just… Oi Tina, what the Hell!

Tina: Don’t give me that all you do is yell!

Joe: Where you get off telling all those lies?!

Tina: Christ boy, just open your eyes!

Think you have an alibi?

All you do is screw, cheat and lie!

Joe: Excuse my righteous indignation

Back at Dance Station you gave no clear indications

That night we met you wanted no strings

Then you kept bugging me, my phone never stopped ringing

What happened; thought we were in it for the fun?

Oh shit, wait; that girl got a gun?!

What’s the Hell’s going on!

Tina: Relax man, it’s firing blanks

Like you that night to God I thank

Joe: Funny stuff but she’s a nut when goaded

You tell me that pistol ain’t loaded?

Tina: Look I’m sorry should have left it at sex

Joe: No fair play, I was perplexed but I did wrong

You hear that?  From the club there; this is our song?

You want to dance along?!

The composition changes to a Latin dance as the lovers dance

SCENE II:

Tina: Alright you soppy monkey

You move like King Kong mind, not funky

Joe: Think you’ll find he’s a hairy ape

Just like Becks your blonde mate

(Tina laughs)

Tina: Oi, quiet she’ll hear you

For now I just want to be near you

And Becks will be a mum in 26 days

Not sure about the dad; they’re running the D.N.A.

Never really wanted it to come to a fight

Just kiss me and we’ll dance instead tonight!

Sirens blare. 

SCENE III:

Hero: Oh Christ what am I doing here?!

Just wanted to stay home with a beer

We’ll be arrested and I’ll have a record

Why do we need this trouble and negative discord?

Stacy: Which of you called the law?!

Mick: They could have heard you in Cheshire with that mouth of yours!

Stacy: Hey Mick, how would you like a gun in the mouth?

Mick: From what I hear you’ve been sampling guns further south

(Cat calls and howls from the gangs)

Stacy: Yeah, well I’d put a bullet in your brain

By the time I find it I’d have serious finger pain

Mick: Or menstrual pains, you’re such a psycho!

Gun cocks as an approximation of The Rumble (from West Side Story) kicks in

SCENE IV:

Tina (talking): Hey, hey, just stop, put it down!  It’s all okay me and Joe and cool now.  We had a chat and want to move to Norfolk.  That was the plan to just get away from London.

Joe (talking): Get away from the gang life and start a music store.  Still up for it babe?

Tina: Course babe.  That incredible journey.

Police car door slams.

Police officer: Metropolitan Police.  Nobody move!

Hear the gangs run and disperse.

SCENE V:

Hero: Oh God, I don’t need this stress

Why does everyone here want to imitate the U.S.?

Settling feuds with the click of a gun?

Rather be home with Seinfeld re-runs

What happened to the country, we used to be sane?

Now everybody wants to blow everyone else’s brains out

Used to be Great Britain now we’re two-faced U.S. louts

Can’t wait until August when I get to finally emigrate

Female Police Officer: You might as well stop there’s nowhere to run!

Stacy: Who are you to talk pig; I’ve got a gun!

Police officer: Don’t move, don’t move!

Hero: Guys, guys stop, need to call my mum; she’ll-

A shot rings out and hits the Hero.  Screams and cries from the gangs.

Ah!  Ow; oh crap.  (Cries).

The score goes to strings and piano.

FINALE:

Didn’t really want to be part of a gang

Just didn’t fit in and was all alone

Was good people of my age wanted me to hang

Got to get away from the stress I felt at home

Wish I had told my parents

How sorry I am and how much they meant

Mum drinking heavily when she thought I wasn’t looking

Dad counting his mortality in possessions the cancer really shook him

One losing her mind in spirits; the other losing his body through disease

Most days wrapped up in myself never hear their mortal pleas

Through all my loneliness and depression they always cared

Put me first and in return I was never really truly there

I’m sorry I was a burden; I’m sorry I love you!

Now it’s too late if I make it and wake

Just want a chance to be a better man with a  sounder plan

These messed-up friends in their dead-end world

These East End boys let the West End girls shoot them...

Police officer: DOWN!  Nobody move!

Joe and Tina run.

Joe: Got to stop, he’s dying!

Tina: He’s gone babe; no use in trying

Female Police Officer (on radio): I.C.1. male, 22-year-old; gunshot wound to the chest...

Ambulance Crew: So sorry guys did out best; nothing we could do; can I call anyone for you?

Police Officer: Stacy Pilkington, you’re under arrest for murder!

Nobody else move you’re all under arrest!

Rich: What?!

Rebecca: You heard her!

Rich: All of this because of a Facebook post for shit's sake!

Rebecca: We didn’t start this; where’s Joe and Tina; they’re our mates!

Ambulance speed away.  Hear Hero’s phone beep.

Answerphone: You have one new message.

Hi sweetie this is your mum.  Just heard there’s a shooting in Islington.  Not sure if you are near?  Just being overly-cautious but with me and your dad being unwell- just worried about you.  Just wanted to say we love you.  Oh, it’s Mum by the way (Dad in the background says “he knows!” as both laugh).  Call us back; love you.

Hear feet stomp and out of breath sound as Joe and Tina get into car and program satellite navigation.

Sat Nav: "Choose your destination".

(Taps it in)

"Is Norwich, Norfolk correct?"

(Taps again)

"Calculating distance: 123 miles.  Set as new destination?"

Slight pause.  Tap again as turn engine on and drive away fast.

Hold On, Don’t Let Go (5:30)

 

Narrator:

It’s Christmas Day and all I want to do is blow my mind away

Can’t smile or think; just numb, I’m not a human any more…

VERSE 1:

I know it can be lonely and appreciate how bad it can feel

When people think you’re overreacting; try to walk in your heels

“There are people who have it worse in the world” they say again and again

What  fucking good is that?  You know how I feel; you in my brain?!

You know how it feels to daydream of an eternal sleep?

Every time I see happy lovers all I want to do is hide and weep

Depression is a black dog; hundreds of shades and dozens of breeds

So how do I know which is biting me and when they’re through with the feed?

When you find yourself on the ledge don’t look down just up

You’re a ledge yourself; don't think there's never much hope in that cup

It’s half-empty now but soon enough it’ll be 5/6ths full

All those people that put you down will seem so very small

You stand tall and follow those dreams; make a better world

Those scars will heal, you’ll find a foothold; fall for some great girl...

Who makes it all seem better; makes you a brand-new man

I know it sounds impossible but men and women you can do it…you can.

CHORUS:

I don’t know how you feel but I know that you can touch

The soul is just a counterbalance for a heart that feels too much

I know you pray for sunshine when all you get is snow

But please don’t give in; hold on, don’t let go!

VERSE 2:

I ain’t never kissed a girl or shared my bed at night

I’ve never felt the blinding light of those blessed with perfect sight

But I have hope I’ll write it down in a five-and-a-half minute song

And those who feel just like me would happily sing along?

You’re so low but just know just how far you can truly see

It sounds unlikely, you can smother that beast, and then you’ll be free

No platitudes just gratitude; just the person you used to be

The booze we used to numb ourselves just crumbs in a champagne glass

Lift that flute don’t refute the brute- raise a toast to a bygone past

You see the boys in the band and those Pop stars who have it so easy

Don’t let it knock your voice and aim; don’t let it make you queasy

Don’t compare yourself, just prepare yourself; they’re jealous of what you’ve got

You’re beautiful and strong; if life gives you a gun then take a shot

You don’t need all that jewelry; those B.M.W.s and Mercedes Benz

They are so much poorer than you; your riches they can’t comprehend...

How much stronger you are; your scars are static veins

The honour badge you know it’ll end; it’s only a temporary pain

We’re all in the same boat so let’s all row against this tide

This hell-ride, runaway bride; bad side, brain fried

We’re tongue-tied, happiness dried, just wish you could hide

CHORUS

VERSE 3:

Look I’ve been there; in fact I’m going through it still

Always so tired of being tired; sick of being ill

Don’t have a lot of excitement; no money or real friends

This ain’t an unquenchable thirst curse I know one day it’ll end

Like a verse I guess that’s played for too long

As a reminder of how far I’ve come I’ll sing along

Because that song made me who I am for better or worse

I’m going into clichés, I’m sorry it’s just a verse

Don’t pray to God he ain’t there; this is all down to you

If you’re kicked down into the gutter be sure to look at the stars

Because only something so bright and distance knows how lonely you are

I’m walking Hell and I’ll keep on walking to those who understand

Just hope these words motivate you in the best way that they can

So I’ll leave it up to you with this because I believe it sums it up

That vessel that was once half-empty is now a full-up cup

When you can’t climb out the hole your heart is far too torn

One day you’ll wake and realise that this morning you’re reborn

Repeat chorus *2 

Love at Third Sight (4:14)

CHORUS:

It was love at third sight; the most gorgeous girl I’ve ever seen

An angel with Prada wings; the heroine in all my dreams.

VERSE 1:

It’s Saturday; I’m down on my luck my wallet clasp is bent

Had to hock the last of my porn DVDs to make this month’s rent

Need to blow off some steam so fumble into a local Costa Coffee

Almost have a cardiac arrest when I see the queue in front of me

The middle-aged woman taking for-bloody-ever to decide

Barista keeps cool but inside he’s planning a double homicide

She goes for a double-shot vanilla, triple-shit hazelnut Frappuccino

I ask for a beer to lighten mood; he sighs; not the worse he’s seen though

Grab a copy of The Sun and make my way to a vacant near-by seat

Dodge the city bankers and the woman with babies swinging from her teat

I flick to the sports pages when an angel sits just ten feet away

I completely ruin the ambiance as my Crazy Frog ringtone plays

VERSE 2:

I let Mum bounce to answerphone; girl didn’t notice it, she’s alone

Playfully manipulating her bright-blonde fringe distracted by her smartphone

There’s a little glance it’s furtive; man, the most beautiful I’ve ever seen

I keep it together and smile back gotta keep this dirty mind spring clean

Whilst she goes to the counter I read the first page

Some Manchester bird with her breasts out; Simon Cowell’s wage raise

Oh look!  A bit about terrorism... continued on page 34

Our government bombing innocent countries; what the fuck we voting for?!

Prime Minister stands proudly grinning like a constipated school boy

Doesn’t have a grasp on reality; let’s overthrown them let’s destroy 'em

Along with his cronies taking the ‘great’ right out of The British Isles

I’m getting wound up sodistract myself with a quiz about menopausal piles

CHORUS

VERSE 3:

She smiles again I’m nervous so I make shapes with my underground card

Casually quaffing the Americano and trying not to sweat too hard

A barista lets out a scream, got burnt on that milk-making steamer

Drops a cup in his best French; think we’re going to need a cleaner!

As I scribble a crude anatomy on the receipt from the pawn shop

The girl licks the chocolate from her lip and makes my jaw drop

And my phone!  Oh shit!  The battery’s out; people are staring!

Fumble it back into position and shoot a smile; that’s quite daring!

Giving my T-shirt a pull a man says I’m the loudest chap he’s ever met

Never been in a coffee shop with such a delightfully honest etiquette!

This could well be like Paris except for that unmistakable sound

Of Westminster City Council tearing a historical monument down

CHORUS

VERSE 4:

I digress as I recall my mother’s advice about not punching above my weight

Guess it’s not that extrapolatable, it just helps me to relate

I’m getting nervous so I read the sports page: Arsenal lose again!

A local beggar comes into the place creating looks of disdain

I plant some gold in his palm; he hooks away my half-empty Americano

Cheeky sod!  The girl smiles, seems my generosity has really charmed her

She goes to leave but a crowd blocks me; walk brazen in front of my gaze

Where did that girl go?  Which way; oh man, oh my days!

Resigned I scoop the underground ticket; no eye contact don’t want my anger to transfer to them

Although secretly I hope all these lovely people take a running sprint straight into the Thames

Then I see a note left on a table; 11 digits, her name... XX

Today is my day; can’t help beaming mate; oi, oi, success!

CHORUS

CODA:

Things are on the up, hail a taxi can’t believe my luck

Just then the paper flies out my hand, out of sight...

Oh f-!

Feature: Death of the Sweetheart- Antifreeze in Summer

FEATURE:

 

 

Death of the Sweetheart

 

Antifreeze in Summer

 

IT has been a long time since a zeitgeist really swept across music…

and really brought about movement and change.  My favourite music is Rock and Jazz Rock; Jazz itself and ‘90s sounds- love the ‘60s and ‘70s masters too.  Recently I have been getting into the U.K.’s early-2000s Garage/Hip-Hop blenders- the likes of The Streets and Dizzee Rascal.  The former has particularly compelled me; listening to Original Pirate Material (the debut from The Streets) and you get that confidence and genius; the amazing and unique sound- an artist with a rare and special voice.  Mike Skinner (The Streets’ human voice) followed up that debut with an even better album- the peerless A Grand Don’t Come For Free.  This was a concept album that looked at the British streets and drinking culture; the seedy figures and everyday concerns- music that spoke to the working-class and those often ignored in music.  A stunningly intelligent writer with a  savage wit; Skinner ensured his music packed serious poetic cut with tremendous compositions- resulting in music of the highest order.  Dizzee Rascal emerged at the same time with his 1-2 wonder: that phenomenal debut Boy in da Corner; its no-less-impressive follow-up Showtime.  Those albums showed two of Britain’s best- in fact possibly the only- rappers; writing music that documented the concerns of the youth- the struggles and issues they faced.  Perhaps it was a product of the time- and captured a feeling and desire- but I’d like to think that spark could be recaptured.  Being quite unhappy as-of-late; I decided to see if I can write something positive.  Over the last few days I have written a five-track E.P. I hope to get out next year:

The Title:

Antifreeze in Summer

A play on words that looks at the problems of the modern times.  Antifreeze (in this context) refers to heroine; how people with nothing bad in their life- who have privilege and advantage- turn to the drug and try to ‘cure’ themselves.  It also refers to global warming and the changing climate; in addition to the depression people can feel when all is sunny and bright- themes that are explored in the E.P.

The album cover would boast a striking central image.  Inspired by the photo below; it would be a similar shot that perfectly documents the themes and ideas of the E.P. - something that is haunting, beautiful and memorable.

The Collaboration

Having written the lyrics; I will be working on the compositions and basic instrumental tracks.  I am hoping to pitch the songs to a singer I know- who has the perfect voice for it- and contribute to the vocals.  It essentially will be a duo project- vocals switch and you get two different perspectives- that brings in collaborators.  Because a few of the tracks have female ‘voices’; there will be a few female singers involved- that can play characters and add their talents to the mix.  Listen to the likes of Boy in da Corner and A Grand Don’t Come For Free and that is the sort of sound I am going for- vocalists that add a raw and street-level sound- expect for the final track which would showcase a soulful female voice.

There will be the odd sample thrown in but in terms of compositions there is a chance for other musicians.  A lot of the music will be composed by the band/laptops but there will be harder guitars and beats; some liquid and funky bass- bringing some great musicians into the fold.

The Making/Funding

I hope to get the tracks started and rolling in the spring; with the view of releasing the E.P. by the end of 2016.  It would be funded via a Kickstarter campaign- to afford the recording and production- where the backers would be offered rewards.  This would include appearing in the lead music video and lending their voice to the album.  I hope to record the album in London and Manchester; there will be home recording too giving it a D.I.Y. feel.  Because it is an ambitious album- even though it is quite simple- it will involve a lot of studio time (in addition to home recording).

The Tracks

Antifreeze in Summer would be a five-track E.P. that would tackle modern-day concerns.

“The Journey” (5:34)

A track that pokes fun of pious musicians that describe everything as a journey.  Tackling Pop stars with few issues and problems; it is a song that looks at real struggle and real music- cutting down bland bands and acts that sound alike and say nothing new.  The track would marry a hard and heavy beat with electronic fever; tying in some moody and edgy strings- similar in key to Catch Me If You Can’s score- and guest vocals.

Mine’s a Double! (3:32)

This would be one of the most direct and assaulting tracks.  Hard and primal; it would address the drinking culture and the types that numb themselves with alcohol- not giving a damn how much destruction they cause.  Looking at a central figure and his guest to get as drunk as possible; it would mix with contrasting voices- the hero getting smashed and causing trouble; the narrator then tries to talk sense to proceedings.

Amelia (5:54)

A tale that sees the hero goes to K.F.C. at the weekend with his friend Dave.  There is meets a girl called Amelia.  She is very different and has a boyfriend with a B.M.W.  Making brief eye contact in the queue our man is smitten even though they are very different- she has expensive clothes and different tastes.  Later that night the hero and Dave go to a local club where there is chaos and mayhem.  Amelia is there and they are separate all night- our hero unable to break through the crowd but they meet outside.  Going to the hero’s place, they spend the night- our man thinks this is love and the real thing.  Seeing a note left by Amelia; she has just used him and he’s another notch for her.  Taking inspiration from the song Cecilia- the song paraphrases the lines “Cecilia, you’re breaking my heart/you’re shaking my confidence daily”.  It is a love story from different perspectives.  Taking in the sights and sounds of a London night; it has flavours of early-career The Streets.

East End Boys (8:12)

The most ambitious track on the E.P. it would parody West Side Story.  Looking at a gang of girls- in the sense they are social media-obsessed and rather shallow- called The Swifts from Chelsea; an East End gang called The Isle Dogz (they hail from Isle of Dogs).  The song's lead male starts in K.F.C. with a friend when he spots Facebook.  A row and battle starts because of an offensive comment Tina made about Joe.  Tina and Joe are the former lovers; Joe stopped calling her and she was too clingy.  Just as comments are being left on the post the boys decide to confront the girls; the gangs both meet in Camden one evening- after the girls stop by a gun shop on their way.

The lovers lead their gangs and argue in the street- the gang members all taking verbal shots at the other- until the two dance and kiss in the street.  The police have been called and the gangs run from the sirens.  They get to the Banbury Estate (Islington) where things get heated.  Until this point one of the Isle Dogz (the narrator) has been cautious and apprehensive- he is the only one that wants this to stop and not be there.

The second act sees the lovers arguing and trying to keep control.  Both want to escape to Norfolk for a quieter life but are dragged in by debt, drugs and gang loyalty.  Just as the gangs are heated and at their fiercest- after a silly dispute- one of the girls find a gun.  As they rumble, the narrator gets caught in the crossfire- as he slumps to the street.  Just as he bleeds and slips away he regrets not having been honest to his parents- told how much they mean to him.  His mum and dad are struggling but look after him- his depression and issues- but he never said how much it meant.  The narrator dies.  The guilty girl is in shock- “Now I kill too, because now I have love”- paraphrases West Side Story’s immortal line- as sirens blare once more.  As our hero drifts away, the gangs circle his body.  As the stretcher is lead away arrests are made and the story ends- Tina and Joe makes it away in a stolen car and headed for Norfolk.  The final sounds we hear is a voice message on the hero's phone- his mum apologising and asking him to call her- and the satellite navigation setting route for Norwich- as the two speed away.

The song utilises the West Side story The Rumble and a harder rock sound- blending with something orchestral.  It features guest vocals- from gang members to police- but the central sane voice is from the narrator- who watches the madness unfold.  There would be a few parodies of West End Girls- paraphrasing the odd line and borrowing composition snippets- but would look at gun violence and the need to ape the U.S.; the gang culture still faced- how the young feel the need to eradicate one another for respect.  There would be plenty of wit and humour among everything giving the song balance.  The track would bring in previous characters/songs- Amelia is in K.F.C.; the opening line would see us announce the song/band; stating we're having a double (before the tale begins); claiming it to be a huge emotional journey.

Hold On, Don’t Let Go (5:30)

An emotional and redemptive final number that looks at anxieties and depressions- people facing their bleakest days.  The hero expels his own troubles and woes; how people can’t grip how serious things are- and understand what he’s going through.  It has a positive message that implores everyone to hold on and know things will get better.  That honest and raw emotion is backed by the E.P.’s most simple and sparse composition- strings and a piano line; a classical guitar tumble that adds some light and energy- that promises things will get better; giving guidance to those in a similar boat.

As Is Now…

The lyrics are all written so it is a case of getting the compositions sorted and the ‘band/act’ formed.  I am really pleased with the subjects, lyrics and ideas that have come out- I have not suffered any blocks or struggled to get the thoughts down.  I hope it comes to light very soon and that that sound- The Streets and early-‘00s- captures something missing in music.  There are a few good Hip-Hop/Garage acts yet few that actually address subjects away from love and money.  Whilst The Streets and Dizzee are not at their peak- The Streets lost credibility and momentum after the sophomore album; Dizzee is declining- it seems like there is a need and hole to be filled.

Hope that 2016 brings serious happiness and improvement for us all; and some great and

WONDERFUL music.

Track Review: Ted Z. and the Wranglers- Go Find Your Heaven

TRACK REVIEW:

 

Ted Z. and the Wranglers

 

Go Find Your Heaven

 

9.6 /10.0

Go Find Your Heaven is available at:

https://soundcloud.com/ted-z-and-the-wranglers/go-find-your-heaven-radio-edit-1

RELEASED: September, 2015

GENRES: Americana; Folk

ORIGIN:

California, U.S.A.

The album Ghost Train is out now:

https://tedzandthewranglers.bandcamp.com/album/ghost-train

TRACK LISTING:  Hold On- 9.4

Joseph Ratcliffe- 9.4

Go Find Your Heaven- 9.6

Kansas- 9.4

Trouble- 9.5

Bitter Hands- 9.5

Ghost Train- 9.6

Ball and Chain- 9.6

Sam Whitaker- 9.4

Postcard- 9.5

Broken- 9.5

DOWNLOAD:

Go Find Your Heaven; Bitter Hands; Ghost Train; Ball and Chain

STAND-OUT TRACK:

Go Find Your Heaven

____________________________________

WITH the final days of the year upon us; Christmas even closer...

it is worth reflecting on the year’s music and which albums are worth noting; the individuality of some of music’s best- in addition to  the variety of Americana/Folk acts emerging.  The best and brightest albums from this year have been synonymous with acts that have pushed the envelope and injected colour and originality into their sounds.  Kendrick Lamar and his album To Pimp a Butterfly has topped critics’ list of 2015’s best.  The Hip-Hop gem has seen black politics come to the fore and his timing is wonderful.  Now more than ever an album like this needs to exist: something that blends outrage and anger with self-examination and urgency.  Critics and fans have embraced the album and its meaning; that relevant and needed sense of disgust and rebellion- mixed into Deep-Jazz threads and hard Hip-Hop beats.  Elsewhere, Courtney Barrnett emerged with her album Sometime I Sit and Think, and Sometimes I Just Sit.  That collection was celebrated for its humour and anger; the mixes and contrasts delighted the public.  Not a Rock ‘n’ Roll album that reinvented the genre; it didn’t really need to when it came down it- Barnett put so much originality and invention into the music as it was.  In a music world of rather bland and tired Rock acts; Barnett went further and expanded the lyrical themes of her peers- creating something deeper and more compelling.  The final album- that gained recognition and widespread acclaim- was Jamie xx’s disc, In Colour.  The immersive and multifarious soundscapes fluid compositions were unlike anything out forward this year.  Throw in accessibility, heart and dreaminess and you have an album that has resonated with listeners and critics alike.  Jamie xx crafted something minimalist yet widely expansive: an album that grows with each listener and shows so many layers and intricacies.  My point is that these albums are as distinct and original as any.  Critics have not embraced the fetid and asinine releases from Rock heavyweights and chart-friendly acts.  It would be disheartening to see a list compiled of top-40 records and the dross played across Kiss F.M. and Heart.  As the music-buying public has related to the outsiders of music- those that stray away from the pack- it shows 2016 will be a similar year for endeavor and quality I have slated the lack of great bands coming through- the best albums of the year have been largely created by solo acts- yet there are some quirky and bracing bands that are causing excitement.  This is my last review of the year- and the final California-based assessment for some time- so it is fitting we comes to a band that not only portrays that uniqueness and vibrancy music needs; they are a group that does not concern itself with fitting in and mainstream expectations- just making music the way they feel; doing what sounds right to them.  Before I get to them, it is worth looking at the necessity for variation and personality in music.  The artists and albums I highlighted resulted from musicians who have spent time and effort; differ hugely from the chart-friendly acts and those gracing the covers of Pop magazines.  From hard, grizzled and compelling Australian Rock (Barnett) to hypnotic Hip-Hop politics (Lamar) - via the stunning soundscapes of England’s Jamie xx- and you have consistency and contrasts a-plenty.  Each album drips with authority and passion; each stays in the mind and provides nuance and strength- this is what acts should be looking at when crafting their sounds.  There are far too many artists that stick too closely to others; do not delve deep enough and provide originality or anything exceptional.  You do not have to reinvent music to come up with unique music, alas- just put more thought and attention into things.  In terms of the bands of 2015- and focusing on the mainstream here- there have been few truly unexpected treats and wonders.  Whilst it has been the solo artists making biggest impressions; the bands of the underground are more convincing and enduring.  One of these rather special groups comes in the form of Ted Z. and the Wranglers.  Looking and listening to them you may expect them to emanate from Nashville or the Deep South- they have a certain Country flavor; one of the red states’ artists.  The blue state boys hail from California and mix Country flavours of the south with Americana tradition and outlaw Blues.  The mix of sounds and themes has electrified listeners and really struck a chord.  Before I continue on my point, let me introduce you to my featured act:

“Ted Z and the Wranglers, of Southern California, deliver outlaw country-charged rock. Ted's catchy story-songs are fully-realized tales of love, regret, getting older, and getting in trouble. The band stirs up its Americana influences, featuring quick picking and bluesy slide guitar over galloping train beats and swinging shuffles.

The Wranglers are Dan Mages (bass), Mike Myers (drums, vocals), and Ted Z. (lead and slide guitar, vocals). The band has honed its sound on big stages and in biker bars alike. They get audiences dancing and bring them back for more.

Ted Z and The Wranglers were signed to Rip Cat Records in 2015. Their first label release, Ghost Train, was recorded at Yellow Dog Studios in Wimberley, TX and produced by Monty Byrom (Big House, Eddie Money)”.

The good ol’ boys of Ted Z.’ sojourned to Texas to record their album (Ghost Train) to give it that authenticity- find inspiration from the state and create something with its heart very much set there.  What you get from the album is the work of a band that has few limits- they do not define themselves to be Californian or Texan.  The music they offer is from a band who have been around for a while and are in no danger of slowing down- one of the most hard-working and ambitious groups on the scene.  Americana is a genre that is being given new lease of life and motivation lately.  A lot of the Americana artists I have reviewed this year have emanated from the U.K. - acts that have faux Americana accents; yet are keen to provide their take on the genre.  It is one of those musical avenues that appeal to the romantic and daring: people that want to create something memorable and long-lasting.  Americana is not just about Folk/Country blends and rather stilted and defined themes: you can stretch the genre and you have enormous possibilities.  Ted Z. and the Wranglers are inspired by the likes of Jack White and Bob Dylan; they go hard and electric when they need to- Folk-tinged and reflective at other times.  After the release of the album; the boys have been touring and taking their music on the road- this will continue into 2016.  If you have not met these rebel-rousing, fun-having boys then make sure you correct this- they will be an underground band making their way to the surface real soon.

Ghost Train shows the band at the height of their power.  The most compelling and complete work they have ever produced; it sees them embrace all their idols and influences- from Elvis Presley to Jack White- in an album of heart, granite; passion and wonderful American vignettes.  The band’s 2014 release Like a King showed the boys increase their confidence and scope to create something that topped their early promise and work- songs like Rather and Afraid of Dying.  The band steps up their game and sound tighter and more additive than ever.  The title track has a relentless wave and drive to it; the vocal yearns with soulfulness and intention- the lyrics show that unique and distinct Ted Z. and the Wranglers flair.  Virginia is one of their most impassioned and romantic numbers up until this point.  Chasing rivers downtown; our man is love-sick and cannot get over it- that yearning and pain comes to the surface.  Tomorrow ends the E.P. with reflectiveness and some need for love.  Investigating dreams and the future; it is a song that has sensitivity and honesty.  The band have improved and stretched their sound since their last E.P.  Ghost Train takes the softer and more introspective moments and broadens the horizons and genres.  There are more Blues-Rock jams and harder sounds here; the band has become more adventurous with their themes- taking their pen across the country and through strange avenues.  The music is more nuanced and the volume turned up; there are fewer weak moments and the group infuses more colour and weight into their music.  The likes of Elvis, Dylan and Jack White make appearances in different forms- the previous work was more restrained and defined- and Ted Z.’ have created an album that builds on early promise and develops it impressively- without losing their personalities and core sound.  With that rate of progression and ambition it will be great to see what the Californian band come up with in the next year.  I can see another E.P. created that reflects their current malaise and desires- something that continues where Ghost Train left off.  Their current album is one of the most immediate and bold I have heard in a while; so much depth and diversion to be found- something all bands should look towards.

Go Find Your Heaven is perhaps the truest reflection of Ted Z. and the Wranglers’ sound.  It brings together all the themes and threads of Ghost Train- marrying a variety of genres and sounds.  The introduction mixes Blues and Acoustic strands to elicit something romantic and upbeat; calming and reflective- something both complicated and simple at the same time.  The listener gets drawn into that beautiful and soul-pleasing sound; making you wonder just what is coming next.  That initial intrigue builds and flourishes from the initial seconds.  The electric guitar becomes more prominent and hard-hitting; it twangs and drives with determination and pride- infuses electricity and feet-kicking energy into the mix.  With our hero’s voice committed and solid- reminding me a little of Bruce Springsteen- it is 3 in the morning; the girl beside him looks familiar (“she looks just like you”).  In a God-forsaken town- that seems to be dragging her/our hero down- there is that need to go find Heaven and something more idyllic.  Those yearning and heart-rending vocals are among the most impressive and pure the band has ever come up with.  The percussion remains committed and propulsive in the early moments- supporting that vocal and making the emotions and lyrics more urgent.  The girl has been forced into a shotgun wedding- with whom we are not made aware- but you start to dive into the song and the scenes being projected.  The band have always had one part of their mind in the past- no surprise given their make-up and look- but this song has the feel of ‘40s/’50s America; perhaps somewhere down south- a simple town with rather old-fashioned and immoral ideals.  With its heart and images torn from the pages of classic literature- that forced-love and suppression-against-the-tide- and you have a song that seems familiar and relatable.  With “angels of mercy” and cowboys into the song, you get something that definitely places its heart down in Texas.  The central figure (the heroine) needs some salvation and an escape from her life as it is.  Our hero will wait for the girl- as he implores her to go find her truth and Heaven.  As seasons pass, there is that need to break away from the entrapment and suffocation.  The song never becomes too heavy-handed or forceful; never slight or too tender- a perfect blend and balance of emotions.  The band remains supportive and tight throughout the track; ensuring the lyrics are given a chance to shine whilst providing plenty of atmosphere and evocation.

Our man is not right for the girl (“I’ll never do”) and that sense of letting-her-go-for-her-own-good shows some maturity and class.  Maybe that sentiment is a reflection on the town and culture of the times- and indicative of the south many decades ago- whereas the land offer happiness and hope.  Perhaps the heroine needs to go to the big cities or California- somewhere safer and moral-driven; where something happier lies.  Our hero comes to the microphone yet his heart is heavy- Nashville is making him feel blue- and there is that sense of loss and heartache.  The man has taken the paychecks and spent it all on booze; there is that old-time charm to the song that makes it constantly engaging and fascinating.  With its novel-like development and feel, Go Find Your Heaven is an original and compelling song from one of the U.S.’s most original acts.  Whilst our man is trying to move on and find something new- his girl just won’t do; they are too different- he seems unable to move past her.  His new girl looks like the last; he has subconsciously chosen someone like her- clearly unable to get past the separation.  The track shows two different people from two different worlds.  Whilst the heroine seems destined for the city and a wealthier life- where things are done differently- the hero seems prone to stay in the south among the loose morals and strange figures.  It is a testament from a hero who wants the girl badly yet knows they are not right for one another.  The lyrics have simplicity at heart yet compel deeper thought and interpretation.  That chorus seems more relevant and haunting with each interpretation- as the full weight of emotions becomes clear.  The final moments see the band unite and express that loss and hope in a rhapsody of acoustic strings and Americana reflection.  The compositional coda offers some closure to an extent although there are mysterious and questions unanswered- you wonder how it worked out for the duo.  The band come together beautifully to showcase some fine finger-picking and tenderness; plenty of emotion and soothing undertones.  By the final moments you hear that chorus once more and become engrossed in that endlessly-compelling and beautiful sound.

Across Ghost Train, there is so much range and depth; a variety of moods and themes explored.  Among the softer and romantic moments stands Go Find Your Heaven.  A song that looks at miscast love and heady desires; it shows a vintage backdrop against ever-relevant and relatable heartache.  The band come together wonderfully to present a song that is the album’s best.  Dan Mages’ bass keeps the song level and focused; ensuring all the themes and sounds are held together perfectly- not allowing anything to become undisciplined or loose.  Mike Myers lets his sturdy and impassioned percussion whip up a lot of emotion and force- giving the song its needed urgency and grit.  Our front-man Ted Z. stands out front with a dedicated vocal performance- and some superb guitar chops- to give the song its heart and conviction.  Backed by a wonderful and polished production; Go Find Your Heaven is a song that will linger in the mind and gives you a true impression of the band.   If you have not heard Ted Z. and the Wranglers do what they do best then you need to start here.  It shows a songwriting progression and confidence that will see them do great business in 2016.  Few bands are deft and able spreading themselves across multiple genres and themes.  Having been together for a while- and having such a close bond- the Californian boys demonstrate why they are so popular and loved.  I hope their music gets more exposure in the U.K. as it will not only create new fans and admirers; it will motivate other bands to rise up and follow their lead- a new scene and sense of fun in this country.

Ghost Train is filled with songs that stick in the mind and compel the imagination.  The work of a passion for music; a love of many genres and artists- they have few limits and boundaries when it comes to their sources- it golds together in a creation that brims with passion and fun; there is emotion and reflection too- everything the modern listeners desires and demands.  The boys of Ted Z. and the Wranglers have a great sense of humour and have crafted a band that have an everyman appeal and a knowing wink to them.  If you hop to Facebook- and see their biography- their interests are listed as hop-making and metal-detecting; academia and latex clothing.  It is an insight into the minds of men who want to embrace the public and let their personalities shine.  So many musicians are stuffy and insular; they do not reach out and provide anything human and impressive.  So many bands sit and write music; they get into the studio and release the songs- it seems procedural and robotic to an extent.  The Californian band had a ball making the music and wants to keep that degree of fun and frivolity burning bright.  The next year will see them perform in California and bring their inimitable Americana blends to their state-mate folk.  It would be great to see the U.S. band hop a plane and come play in the U.K.  We have so few bands like them; it would give people here a chance to encounter something fresh, ambitious and hugely impressive.  We have some rather offbeat and quirky acts that evoke Americana sounds and sensations of bygone days; it seems rather forced at times and not as authentic as you’d hope- hardly a wonder when you consider they are British.  Our Americana boys are authentic and pure; their music is the result of shared passion and ideals- I would love to see more from the group into the next year.  Before closing it is worth looking at the best from this year and Ghost Train- the latest album from the Californian band.  With Hendrixk Lamar and Jamie xx providing some of 2016’s best albums- their mix of raw emotion and expansive dream-scapes- the music world desires artists that go further and stray away from the predictable.  So many bands this year have come and gone without leaving much of an impression at all.  The critics’ end-of-year lists have revealed what is making them tick- and what the general public wants- so it is worth looking at artists with a similar ambition and personality.  In 2016 I think we will shy away from bands that have an Indie/Alternative sound- and look to Foo Fighters and Nirvana for influence- and see the rise of the solo artists and duos.  The band market is still relevant yet the solo artists are doing things differently and creating more nuance and surprise.  When it comes to the hopes of the band realm we must look to the underground and their brightest shining through.  Ted Z. & the Wranglers are not your average guitar-slamming Alternative players that sounds replicated and insipid- they are a bona fide band who do things different and have a very unique personality.  Ghost Train is a collection of songs that mix Blues-Rock riffs and Garage undertones; Country romance and Folk introspection- plenty of interesting characters and sights; wonderfully lines and stunning choruses.

   Hold On begins with a familiar and bracing introduction- a little like Cocaine (Eric Clapton’s version) - but then mutates into something smooth and flowing.  An upbeat and uplifting song that has a redemptive and inspiration message: keep holding if you have no hope or feel alone.  Joseph Ratcliff boasts sparkling Blues guitars and a merry swing: a song that swaggers and dances.  The lyrics look at a giant called Joseph Ratcliff- slayed by our hero in his garden.  The quirky and vivid images tie in romance and pennies in wishing wells.  Kansas is another racing and itinerant track that pays tribute to the state.  There is a central romance and the need for embrace- there is fever in the morning and Hell burning through the night- as you get drawn into that effusive and gripping vocal.  Trouble is one of the album’s most contemplative and calmer numbers.  A little of Dylan comes through- the vocals are quite scratched and strained- and you get a semblance of ‘60s-‘70s Folk.  Perhaps the most accessible number on the album; it has a radio-friendly kick but retains the unique take of Ted Z. & the Wranglers.  Bitter Hands has a bulldozer and delirious opener that see echoed and distorted strings marry a racing, train-like beat.  That Americana core is emphasised- money woes and relationship troubles against the backdrop of the wonderfully varied land- which shows the band having a ball in the studio.  Catchy chorusing and united vocals highlight a song that is indelible in its appeal and nuance.  The title track is a calm and reflective thing (to start with).  Looking at music’s lost- the ghost train full of stars- we see the likes of John Lennon paid tribute and assessed.  It is an original take on a delicate subject- the legacy these great musicians and figures have left- dealt with affectionately and with great heart.  With the likes of Ricky Nelson and Jim Morrison riding that train- he has “whiskey on his mind”- it is a vidia and terrifically evocative song.  Ball and Chain is a rousing and merry track that has a definite Blues kick to it.  One of the most electric and impassioned vocals on the disc; there is a little element of Elvis to the vocals- a stunning mix of Rock ‘n’ Roll heritage and White Stripes-esque Blues.  A feet-kicking, hoe-down stomp; it is a tremendous band performance that is tight and utterly stunning.  Sam Whitaker is a more modern take on the Blues.  You get that stomp of Jack White with a bit of The Black Keys.  Making it more accessible to the younger generations; it manages to take its lyrical heart to more traditional areas- that will appeal and spike the (slightly) older listeners.  It is one of the album’s most energised and rousing tracks- it never relents its charge and kick.  Postcard returns to that more traditional Americana/Folk sound; it has a quivering vocal- sides of Elvis come back into the mix- and themes of romance and vintage ideals.  With its heart in the 1950s, you imagine yourself in an old novel or black-and-white film.  Among the romance and purity is wit and humour scenes- dentures flying and chaos in the fold- as the band seem at their most assured and effortless.  Another catchy and nuanced composition backs the track wonderfully.  Broken is one of the most distinct songs on the record- perhaps the softest and most reflective.  A heart-bearing and haunted track it sees the hero bare his soul and show his scars.  Reminding me of early-Dylan and Neil Young it showcases a very mature lyrical voice- some of the finest lines across the album- as philosophical questions and inner-pain is explored.  A wonderful album from a band...

WE all should take to heart.

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Follow Ted Z. & the Wranglers:

 

Official:

http://www.tedzandthewranglers.com/

Facebook:

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Track Review: Even in Arcadia- Electric Thumb

TRACK REVIEW:

 

Even in Arcadia

 

 

Electric Thumb

9.3/10.0

Electric Thumb is available at:

https://soundcloud.com/xeveninarcadiax/even-in-arcadia-electric-thum

RELEASED: September, 2015

GENRES: Alt.-Rock

ORIGIN:

Glasgow, U.K.

The E.P. Blue Prints is available at:

https://soundcloud.com/xeveninarcadiax/sets/blue-prints-ep

TRACK LISTING:

Electric Thumb- 9.3

City in the Dark- 9.2

Weave a Web (Acoustic) - 9.2

STANDOUT TRACK:

Electric Thumb

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ON this rare occasion…

I get to review a band from an area of the U.K. I have not visited for a while: that would be Scotland then.  Before I reach my featured act, it is worth bringing Scotland into the mix; in addition to looking a Grunge/Alt.-Rock sounds- plus the need for some escapism in music.  I have not had a chance to review a Scottish act for some time.  I believe the last time I did it was the fellow-Arcadians, Echo Arcadia (wonder if the two bands know each other; should have a special Arcadia-related party) - so it is great to be back in Scotland.  Having finished another L.A.-based review, one can see the huge shifts going to Glasgow- not just in terms of geography (the L.A. of Scotland, maybe?) but the musical styles and acts coming through.  What I love about Scotland is there are so many D.I.Y. acts emerging: unconcerned with record label approval; there is a more honest and hard-working bunch of musicians coming through.  In Glasgow and Edinburgh (other parts of the country too) there are a lot of bands emerging that play the heavier side of things- as opposed to solo artists and duos for instance.  I am not sure whether it is a ‘Scottish thing’ yet there seems to be a predominance of Alternative/Rock bands coming out- each bringing something new to the table.  The thing that amazes me most about the bands of Scotland is that work ethic and honesty that comes out in the music- the emotion and raw touches that few other areas do so well.  I am not sure whether it is down to the people- and particular characteristics indicative and exclusive to them- or something else; whatever it is (is) leading to some fantastic music.  In addition to Echo Arcadia- a band that plays dreamier Alternative sounds- I am close with Universal Thee- a Grunge/Alternative band in the mould of Pavement and Pixies.  Perhaps the closest comparisons with Even in Arcadia, I was interested to see what the band was about and what they could offer.  Being female-led, it also reminded me of the aforementioned Scottish acts- each of who have a female lead/joint-lead vocalist.  There seems to be a different dynamic and way of working in Scotland- greater equality and originality; stronger bonds among bands which is resulting in more natural brilliance and surprise.  One of the main reasons I have slated a lot of bands this year- the last time I shall bandy this feathered bow about in 2015- is the cessation of originality and emotion; the music is either predictable or copycat or lacks any depth and memorability- leaving you rather annoyed and underwhelmed.  Bands that come through who are new and fresh; who leave impressions on the mind- leading me to my featured act.  Before I continue with a new point, let me introduce Glasgow’s Even in Arcadia.

Vocals - Hazel Gore Guitar - Christopher Garvin Bass - Chris Gore Drums - Blair Martin

“Even in Arcadia are a female fronted rock band from Glasgow formed in 2014. 

Intricate guitars, thought provoking lyrics, powerful female vocals and a hard hitting rhythm section blend together to give a distinguished sound. It is hard to class the band in one genre but they have been described as "New Wave vocals meet Punk Rock guitars". Influences are varied across the band and include; Patti Smith, The Ramones, Nirvana, Blondie, Siouxsie and the Banshees and Blue Oyster Cult.

Despite only being together a short period of time, the band have already featured on radio stations across the globe. In 2014, Even in Arcadia released their debut EP "Weave A Web". The EP can be heard on their various social media sites.

In September 2015, the band released their new EP "Blue Prints”.

Just looking at the band’s influences- the likes of The Ramones and Patti Smith gives you an insight into their music and feel.  Not confined to a single genre- essentially creating their own sub-genre- the band have distinguished themselves as ones to watch; a group that should be making some significant moves in 2015.  When you are forming a band you decide what sort of sound you want to present- dependent and influenced by your idols I guess.  There are so many bands that do not cast their attention back and look at the legends of music.  So many young musicians have such ignorance of music; their attention spans do not go beyond the 1990s- as a result, you get a lot of predictable and immobile acts.  My generation have the warped opinion music is at its best now- it has been on a slide since the heydays of the ‘90s- and tend to concentrate on the established acts on the scene at the moment.  The best bands take influence from older-day acts and those that have already left their mark- making their own music much richer and rounded.   Although music has declined over the last couple of decades, there are plenty of great acts that are standing out and making a real difference.  Even in Arcadia have only been together a year but are showing signs they are one of those bands for 2016- that we all will be hearing more of in time.  Their latest E.P. capitalises on their debut work and ups the game: the group sound more essential and confident than ever before; honed and completely in control.  Grunge and Alternative genres are those that have been well-represented over the year; a popular choice for young bands as there is plenty of chance for raw edges and emotion- music that is exhilarating and hugely evocative.  Being a fan of Soundgarden, Pearl Jam and Nirvana- ‘90s legends when Grunge was taking off- it is great to hear an act that evoke a little of their spirit- whilst showing so many more sides and ideas.  Being winter- and with Christmas looming- we need some escapism as the days close in; let music do its work and take our minds somewhere else.  Already saturated and exhausted by the constant and mind-numbing array of Christmas-themed songs- the same tracks played over and over- I have been seeking music that differs completely and affords me the opportunity to find something genuinely new and great.  The guys and gal of Even in Arcadia are an act who I will be watching as we go into 2016; keeping an eye on what they are all about- seeing how Blue Prints resonates with music-lovers.  So far they have been getting great feedback with regards the E.P. - it was released a few months ago- and has seen their fan-base rise.  The next year will see the band do some touring and prepare some new music- whether they choose to release another E.P. - and let’s hope they are afforded the chance to tour beyond Scotland- come down to the south and enthrall the crowds here.

It is great to hear the latest sounds from Even in Arcadia.  They show a band with a lot of potential and future ahead of them.  If you want an insight into how Blue Prints differs- from their original work and how they have come on- then it is worth looking back at the earliest moments from the band.  Stuck in a Current was released last year and starts with a shimmering and subtle arpeggio.  That raw Punk sound and its sparse production makes the track sound live and urgent.  You do not get a lot of polish or sheen making the composition and vocal sound immediate and unfettered.  Whilst some of the vocals get a little lost in the mix; the song looks at being stuck in a current state of mind- the heroine is coasting and seems entranced in an unsettled mindset.  Reminding me of Patti Smith and Siouxsie and the Banshees, you get a clash of U.S. /U.K. Punk of the ‘70s.  The song has that sound of a jam- although a lot more rounded- and is built off few lyrics; repeating the central messages to get that claustrophobic and walls-closing-in sense.

   Weave a Web is the band’s debut E.P. and matches Stuck in a Current alongside two other tracks.  The title track begins with glistening and upbeat guitar strings.  Sounding more polished and rounded then earlier cuts; it has a sensation of ‘90s Grunge with a distinct sound of the Glasgow band.  The song looks at entrapment and struggling in a web.  Whoever has weaved the web- whether it is a lover or friend of the band- and causes intrigue and speculation.  The vocal has that reliably impassioned and cigarette-smoke allure to it that draws in the listener; impressed by that energy and raw edge that comes through.  With its heart between ‘70s Punk and ‘90s Grunge, you get a great mix of sounds that shows the band at their peak- as tight and compelling as they ever have.  The band’s distinct chorus work- that sees key words elongated and repeated into a mantra- mixes with a bold and energetic performance.  Our heroine is tumbling and falling.  Whether there is emotional discourse or something haunting her; some romantic ideals and intentions- you get the feeling of someone on the edge and losing some emotional ground.  The vocal is as strong as any on the E.P. whilst the band presents a different dynamic and blend- mixing Punk and Grunge yet injecting something softer into proceedings.  The entire E.P. shows confidence and commitment from a group with a great knowledge of music and its past.

   Blue Prints sees a development and step forward for the band.  Whilst they keep their Punk core and live sound intact; the production values are stronger and more polished- making the songs clearer and more decipherable.  In past tracks, the band has suffered some clarity and intelligibility issues: vocals get dragged too far down and there is problems understanding some of the lyrics.  The vocals are more assured and nuanced than before; showing greater emotional depth and ideas- more distinction and originality into the bargain.  The band has created an E.P. exploring different scenes and progressing their sounds.  It is a natural step that has brought in new listeners and made their songs more accessible without losing their grit, originality and live-sounding aesthetic.  Many bands tend to slavishly stick to their original sound and do not show any evolution or change- meaning their lifespan is limited and they have limited careers.  Even in Arcadia get stronger and more confident as time progresses; more inspired and assured- even though their debut E.P. is a stunning and hugely memorable effort.

I wanted to focus on Electric Thumb as it is the best representation of the band’s current sound ad direction.  Whilst they have not altered (or needed to) their core sound; they have shown some new sides and subjects- all brought brilliantly to life on Blue Prints.  Beginning with more kick and upbeat energy than any other track (the band has produced) you get some Pop melody and softness in the early exchanges- making it perhaps more accessible to some than other numbers.  The band come up with something full-bodied and catchy without expending needless energy and cluttering the sound- they craft an addictive little riff that brilliantly fuses with bass and percussion.  With some funky edges and a spirited heart, you get initial lyrics that look at knife-bearing deceit and something quite double-cross.  Whether the song’s title refers to online attack or has its origins elsewhere; you get the impression of someone attacking the heroine- although she cannot see the knife/their face as it is perpetrated.  The lead vocal has that distinct Even in Arcadia tone; although it sounds more trembling and anxious than I have ever heard.   These electronic weapons- bombs and knives being dropped and sharpened- give that initial impression of cyber warfare and vengeance.  With static I.P.s and sinister anonymity, you get a song that has an original and distinct side.  Even in Arcadia like to craft songs that stray away from the predictability of love and its perils- what 99% of other acts do to death- and dig deeper.  In these early moments you get a modern-day concern and ill uncovered and testified- an issue we can all relate to and understand.  The band infuses one of their most heady and scintillating compositions so far.  Putting their own stamp on Grunge and Punk flavours; you get a composition with more diversity than light than you’d expect.  My initial impressions develop as our numb heroine starts to withdraw and retreat.  Unable to feel the night and the light, there is some ambiguity and mystique to the lyrics.  Whilst there are one or two clarity issues still- it would be good to have the song’s lyrics on SoundCloud- you get drawn into that electric and wracked vocal that shows some vulnerability and pain.  Whether affected and struck by an enemy or central figure- or just enveloped by life, there is a relatable anxiety to the track.  The entire track seems to be about anxieties and fears of the modern age.  Whereas songs like City in the Dark explore drinking cultures and the binges and chaos around Glasgow- the early-hour scenes and characters that define it (for better or worse) - here you get something more personal and detached.  With the heroine letting her voice fully explore and delve into the emotion you get a little semblance of Wolf Alice- the same sort of lyrical ideas and vocal sound comes out in spots.  The band have stated in interviews how this song is related to physical anxieties and stresses; the strains and dangers of modern life- inspired by the likes of Foo Fighters and Pixies.  While it has the sound of those bands; there is a classic Indie feel to it- recalling other influences like The Cure and The Smiths.  Throughout the E.P., the Glagow band unites the ‘80s Indie/Alternative sounds with U.S. Grunge and Rock- via some ‘70s Punk.  It is a layered and deep sound that makes songs such as Electric Thumb so compelling.  You can hear the attention and details flood and strike as those central lyrics and themes- feeling numb with fear spreading through the veins- is reintroduced and isolated.  Even in Arcadia are a band that taps into modern-day concerns and issues relevant to the listener.  Not making the song too morbid or suffocating; you get plenty of light and melody in a composition that runs a gamut of emotions.  The band is at their tightest and more insistent here; they always sound urgent and essential- this is perhaps their finest moment.  It is no surprise the song is a live favourite as it has that sing-along chorus and a familiarity that will get many moving in time and dancing- evocative and reminiscent in equal measures.  As the track gets towards its closing moments, you get that chorus-heavy ride that ensures those key themes and ideas are punched into the mind- the building tension becomes palpable.  Our heroine never explodes or collapses under the weight of these emotions; she remains firm and buoyant to ensure the song has a dignity and composure to it.  Employing few lyrics- they repeat lines and the chorus predominantly- you have a track with an economical sense and knowledge of its strengths.  Were there too many lyrics it would distill the effectiveness and potency.  The vocals remain gutsy and on-edge throughout; making that tangible sense of anxiety more real.

It is great to see what Even in Arcadia have come up with.  Blue Prints continues to gain ground and wins new fans and support by the week.  The guys have toured the songs around Scotland and play King Tut’s Wah Wah Hut in Glasgow tomorrow (that has hosted the likes of Oasis) and will be a great chance for those songs to be heard by a new set of faces.  Electric Thumb is the band’s key cut from the E.P. that will go down really well among the new fans tomorrow- and see them gain fresh respect and support.  Having recorded the E.P. live- hence that live sound and feel to things- it gives Electric Thumb a really direct and emotional sound.  Gore lets her stunning and evocative voice hit its peak throughout the track.  Expertly letting the song’s anxiety themes bleed into the vocal; you get an emotive and nuanced performance that compelled me to repeat the song- to hear that vocal do its work.  It manages to summon up so many possibilities and ideas- bringing to mind the great Punk icons Patti Smith and Joe Strummer.  You get so many different sides and genres coming through- from ‘80s Indie to ‘90s Grunge- whilst retaining a distinct accent and originality.  Garvin ensures his guitar summons enough emotion and electricity to do the song full justice.  Mixing hard-hitting fears with something lighter and more introspective- you get melody and heart among the barbed-wire intensity and bite.  Never encroaching on the vocal or stepping too far out front; you get a performance that superbly lifts and drives the vocal- providing the song’s edginess and danger.  For a song that looks at smothered emotions and uncertainty; Garvin projects so much colour, emotion and riffs into the agenda- whilst offering something more soothed and contemplative when required.  Chris Gore ensures his bass keeps the song controlled and disciplined.  Given the weight and importance of the foreground, you need a bass player who can tie everything together and keep the sound stable- Core manages this with expertise and intuition.  Melodic and light when the song reflects; striking and viper-like when the volume is notched up- again, the instrument is used to drive the song and propel that lead vocal.  Blending wonderfully with his band-mates, you get an accomplished and nuanced performance- from someone who has been vital in shaping the band’s sound.  A player with a clear identity and determination; it will be great to see how this talent blossoms across future releases.  With Martin providing a stunning and masculine backbone; you have a drummer that has the strength and intensity of the Grunge legends- the Dave Grohls and Matt Camerons- but with an Indie/Gothic sensibility.  Because Electric Thumb ventures between genres and decades- going into Punk and Alternative grounds- you get a song that invokes Pixies and Foo Fighters; The Cure and Patti Smith- Martin handles everything with ease and produces a commanding and dramatic performance.  Backed by an assured and wonderful production value- it is a live-recorded song that has polish to it- you get plenty of clarity and energy coming through.  The highlight of Blue Prints; Electric Thumb is a triumph from one of Scotland’s most scintillating and promising young bands.

There are a lot of acts coming through at the moment; each one provides something a little different from the rest- it can be daunting deciding who the worthy ones to follow are.  Even in Arcadia have a great local fan-base yet their popularity stretches beyond Glasgow and Scotland.  Having been inspired by the likes of Blue Oyster Cult and Blondie- in addition to Grunge legends and Punk heroes- combined with their own voice and sense of style.  The combination works wonders in their music; sounds and sensations that have enthralled fans and lead to some big predictions- I can see the guys being festival headliners a few years down the line.  Ensuring their keep consistent and busy; Blue Prints is a confident and assured statement from a band on the rise- I shall review the E.P. below.  Scotland is a country that has always been synonymous with musical endeavor and quality- the likes of Belle and Sebastian, Primal Scream; Idewild and Orange Juice call Scotland home- yet few critics and media types focus their attentions here.  In addition to modern acts like Chvches and Young Fathers- the latter of who won the Mercury Prize last year for their debut album- are showing what pedigree and force Scotland has,  Whilst there are some great solo acts out of Scotland, they are more synonymous with their bands.  I am not sure whether it is a personality/community thing- Scottish musicians find inspiration when surrounded by others- or something else; it is a part of the U.K. where more people should focus.  Most of the Scottish bands I have witnessed tend to play harder Alternative sounds- as opposed to Pop and Folk for instance.  Glasgow is a cultural epicenter and a city that is showcasing some of music’s most tantillsing modern prospects- from Chvrches and Prides through to Catholic Action and Tijuana Bibles- all the way to the Synth.-Pop of WHITE.  It is not surprising Even in Arcadia sound so confident and ambitious given the sort of musical community and contemporaries they have.  Less bustling and compacted than London; Glasgow is nurturing some fantastic artists that we should all behold- set our sights away from the likes of London and Manchester for a while.  A lot of Even in Arcadia’s contemporaries have a sense of predictability to them- not showing great originality or presence- yet our featured act have distinction and clear personality.  Creating music that you can escape to and get lost in- a perfect antidote to Christmas sounds and the overly-gleeful parade of carols- and discover something wonderful.  Those female-fronted vocals give the music a depth and richness that few other bands possess- the likes of Chvches and Happy Meals boast tremendous female vocalists- and create lasting after-impressions.  If you go into the market and want to create Grunge/Alternative-Rock sounds, it is vital to create that balance of tradition and originality: have something that evokes a sense of the past yet sounds fresh and personal.  Too many acts replicate Nirvana or Queens of the Stone Age; have little ambition or ideas when it comes to things.  The acts that will succeed and flourish in the New Year are those who show something distinct.  I can see Even in Arcadia doing some good things in 2016.  It is clear they have more music up their sleeves; they want to tour as far as possible- maybe making their way down to London at some point?  Blue Prints is a stunning thee-track release that shows why so many people are following one of Glasgow’s best new bands.

   City in the Dark is the E.P.’s sophomore track that keeps the pace of Electric Thumb going.  Beginning with a primal thud and a carnivorous bassline, you get a song that evokes images and thoughts from the very first seconds.  From its raw and killer-on-the-loose beginnings, the introduction evolves and grows into something more harmonious and balanced- eliciting light and heart after a while.  Portraying the transition from darkness to light; the band have spent a lot of time crafting an opening that gets you to attention and readies you for what is to come.  In the city is the “darkest hour”; our heroine wants to be joined (she does not mention who) as you begin to immerse yourself in the lyrics and what they offer.  The composition remains support and light; it does not needlessly tumble and strike- allowing those vocals to come to the forefront and the lyrics to be heard.   Looking at souls “avoiding pain” once more the band emphasise a central message/coda to get inside the head- creating an unnerving wave and sense of unease.  The band step the composition up and provide necessary weight and urgency.  The percussion is especially notable; exploding and pummeling with insistency you get a track that builds in stature and emotion as the seconds progress.  One of those songs that seems destined for arenas and live performances- one that could unite and captivate the crowds into song- it has a catchiness and familiarity to it.  Recalling Punk masters and mistresses of the ‘70s; taking in modern-day (Scottish) acts lie Chvrches- you get a rounded and fascinating track.  Being one of the E.P.’s longest songs, it is given time and chance to develop and mutates- that central vocal has its own endeavours and ideas.  Building in intensity and precision; you get caught in the whirlwind of emotions and desires.  Whilst the song looks at the city’s darkness and the haunted figures that linger; there is some mystery to it- you wonder what has inspired the track and how it came to be.  One of the most rounded and emotive songs from Blue Prints; City in the Dark is one of those songs that could gain serious radio play very soon.

Weave a Web (Acoustic) shows a new angle to the debut E.P.-era track- giving it new life and meaning.  The lyrics are more decipherable and there is greater clarity on this recording- making the lyrics more relatable and tangible.  Our heroine seems trapped and is waiting in a safe haven; there seems to be a danger nearing in and you can sense that anxiety.  What you get from the song is more bare emotion and live-sounding flair than before- the song is less gritty but more haunted.  If you consider Nirvana and their live recording for M.T.V. - where they were unplugged and incredible- you could hear new meanings and nuance in their classics.  Stripping back their album tracks- they performed a few covers among the set-list- you got a chance to see a hard and vibrant band take things back and reveal some sensitivity.  Weave a Web works wonderfully when propulsive and granite; it has a new appeal and relevance when the guys take it back to basics- making it sound like a new and original number.  Our girl is in the web and waiting to trap her prey- her voice sounds even more gripping and dramatic on the original cut.  You start to wonder the origins of the song- who she is battling and what has caused this- and naturally you go to relationship grounds.  Backed by bouncing and flowing strings, you get a more honest and soul-bearing vocal- impossible not to think of Patti Smith when it is in full flight- that gives the song new dimensions.  One of the lesser-heard tracks on the E.P., it at least shows how adaptable the band are- reinventing their own material and offering a different sound.  Whilst they are an electric guitar-based band who plays harder sounds; it is nice to end with a song that has some emotional outpouring and something less busy.  Bringing Blue Prints down to an impressive close, you feel compelled to go back in and revisit moments; take in stuff you missed first time around- those layers and details that may drift by first time.  If you want to discover a great young band with a distinct sound and a sure future ahead, then spend some time…

 

WITH Even in Arcadia.

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Follow Even in Arcadia:

 

Facebook:

https://www.facebook.com/weareeveninarcadia

Twitter:

https://twitter.com/xeveninarcadiax

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Music:

https://soundcloud.com/xeveninarcadiax

Track Review: REL- Before the Storm

TRACK REVIEW:

 

REL

 

 

Before the Storm

 

9.4/10.0

Before the Storm is available at:

https://soundcloud.com/r-e-l-music/before-the-storm

RELEASED: 13^th October, 2015

GENRES: Evoca.-Pop/Alternative/R&B

ORIGIN:

L.A., U.S.A.

Written/composed by Arielle Sitrick & Travis Bunn. Produced by Travis Bunn & Bill Burke

Artwork by Juan Ándres Rivera.

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OVER the next few days I will be wrapping up reviews for this year...

and winding-down L.A.-based artists.  It has been great seeing what the city offer but it is time to step away to other locations and see what is around at the moment.  Before I pack up my U.S. bags- Wednesday will see the last U.S. review for a while- it is back in a city that has provided much speculation and promise this year.  REL (or ‘rel’; it varies now and then) is my featured artist and someone who has made big waves with her unique sounds and daring blend of genres and ideas.  Before I come to her, I wanted to look at female solo artists in L.A.; genres such as R&B and Pop- in addition to the importance of social media and music-sharing websites.  L.A. is lining some terrific solo acts for the following year.  When it comes to the boys the likes of Evan Mellows- and his dark-sexy R&B mixings- is going to be one to watch for sure.  It is worrying that it’s so hard to actually find out the names to watch into the next year.  A Google search shows few promising results; you have to be very specific with your search terms.  There is not a website that is dedicated to showcasing new artists and narrowing them by city and genre.  If I want to find out L.A.-based female solo artists to watch (for 206) then where do you go?  It is alarming that in 2015 there is no website focused on music and all it has to offer- something huge and all-encompassing.  It is a pity because I know L.A. has a lot of great solo acts right now- that will come to the public attention in dribs and drabs it seems- especially when it comes to the girls.  There are some great girl groups coming through in L.A. - Punk and Hard-Rock treasures- but it is the solo sector that seems to be most promising.  Like New York; L.A. specialises in ambitious, genre-mixing artists; those that provide something dreamy and passionate- with darker edges and plenty of power.  When it comes to genres- those that are going to be played and represented- there are a going to be quite a lot of R&B/Pop acts emerging.  These genres are well represented yet few artists mix them together and experiment with what is possible- exploiting the emotional and sonic ground on offer.  Each genre has potential and flexibility in its own right yet when you splice and blend them- same goes with any two other genres- you get a richer and wider sound; something that packs a bigger emotional punch.  My featured artist is someone that deserves a lot greater attention and needs big recognition in 2016- her music warrants serious investigation and respect.  Before I continue my point, let me introduce you to one of L.A.’s hottest female solo artists:

“r e l/20 years old / 20 years wise/full of dreams and poems and love/curious, passionate, compassionate. r e l is a 20 year old artist based out of Los Angeles. r e l ’s music radiates emotion, embodying what she calls “evoca-pop”– music that makes you think and feel– and what has been labeled by music-tastemakers and fans as dream pop/alternative r&b.  This past May she released her debut self-titled EP containing the upbeat, ever popular track, “Plateau”. r e l ’s music has been featured on notable blogs such as MTV Iggy, Hilly Dilly, BaebleMusic, Crack in the Road, and Impose Magazine. r e l has played at several historic venues throughout the Los Angeles area including The House of Blues, Room 5, and The Mint, along with playing industry showcases including the DL at Dirty Laundry and BMI’s Acoustic Lounge. She has been working nonstop on new music and visuals for her upcoming EP”.

REL is an artist of-the-moment who displays huge ambition and love for what she does.  When it comes to marketing your music and connecting with fans, social media and music-sharing websites are pivotal and crucial.  Over the past year, the L.A. star has produced a string of wonderful songs and moments; dazzled with her self-titled E.P. - gaining the eyes and ears of some very high-profile publications.  It is the way REL utilises social media and other sites- the likes of SoundCloud especially- that has connected her music with a wide range of people.  I still find so many acts that negate the importance of social media and the music-sharing websites.  A lot of bands and acts limit themselves to Facebook and Twitter- some stick to Facebook alone- and do not put their music out there.  It is all very well having a great sound and a promising talent: if you fail to make your music readily-available and widespread then you will not pick up the fans and they will look elsewhere.  It is not to say you need to be on every music website and flood people with updates.  Too many acts are being cagey and naïve with regards their music- foolhardy considering how competitive and packed the music industry is.  REL has a great team behind her for sure- ensuring her music is put in the right hands and gets exposure- but the L.A. artist’s stunning sound and distinct blends have done a lot of the talking.  As we go into 2016, it is clear she is going to make a name for herself- there will be new material and tour dates on the agenda.  It is still the early days for her so it is wise to remain realistic and not leap ahead.  From what she has produced already there are clear signs of an artist who does things differently- someone that has a singular voice that needs to be encouraged and loved.  Getting more assured and confident with every song, it signals a very bright and busy future for the young heroine.  Just how far she can go is anyone’s guess.

Taking Before the Storm into consideration, it is worth tracking back to REL’s previous outings- seeing how her music has developed and shifted.  Love Your Neighbour was released a year ago- before her self-titled E.P. - and showed a very distinct lyrical style.  Backed by ghostly and sparse backings- something quite unsettling in fact- the heroine looks at twisted shadows and blood splatters on the wall.  Taking us into a song that looks at knife wounds and haunted dreams, you get some vivid images and a compelling story.  Whereas the chorus implores loving your neighbour (“as yourself”); the verses take us into troubled and disturbing avenues- presenting images that will linger in the mind for a while.  REL’s vocal remains impassioned and firm throughout- barely changing course and projection from start to finish- to give the song quite an edgy and emotional sound.  We look at a man with red in his eyes and a lustful hatred burning deep.  With his meat cleaver by his side, there are yearnings for chaos and murder- the neighbourhood is about to get a rude wake-up.  The song focuses on the troubled minds and peculiar figures that can lurk behind doors; taking us into very unique and murky waters.

   Heading for the Sun featured on REL’s self-titled debut and changed course from Before the Storm.  Whereas that song was more dark and haunting; Heading for the Sun is a more upbeat and fast-paced song.  REL lets her voice roll and rap- as opposed to the more static delivery of before- to create something that takes us into R&B territory.  The heroine’s voice is lighter and more impassioned; images of space exploration and solar flight and “all systems go”.  Using these lyrics as metaphors for love and relationships- I may be off the mark but that is the way I interpret it- the song boasts one of the most accessible and memorable choruses REL has produced.  Across the E.P. the L.A. musician mixed that accessibility and relatable themes with something more singular and dark- ensuring her music crossed boundaries and unites a lot of new fans.

  Plateau is one of the mist memorable and celebrated tracks from REL- a song that has garnered a lot of attention and focus.  The song was featured on various blogs and music publications because of its upbeat composition and consistent energy.  Whereas the backing is quite uplifted, the lyrics look at time slipping away- personal concerns and reaching the end of the road.  As the title suggests, there is little room to manoeuvre and compromise.  It seems like a particular relationship is being investigated and explained.  That need to turn the clock back and do things differently; it is clear there are struggles and need for resolutions.  REL employs a very distinct lyrical style that is more image-provoking and dream-like than many of her contemporaries.  Whilst many go for simple phrasing and language, she ensures her words have an idiosyncrasy and intelligence to them- delivered with a tumbling and impassioned weight.  Throughout the song you get to focus on the vocal and lyric- the composition adds urgency and emotion yet is second nature to the foreground- and the confessions of a young woman who wants change in her life.  The song repeats the chorus and central mantra- more so towards the ending- ensuring those words and sound stick in the mind.  Boasting a contemporary sound and relatability- there are shades of Rhianna and other Pop-R&B crossover acts- meaning it success and popularity is no surprise.  Whilst not as individual and unique as some previous outings, it shows new confidence and a change in direction- whilst retaining those original lyrics and stunning vocals.

Before the Storm continues the lyrical themes and idea of the E.P. - presented in that unique way but tapping into common themes- and could well have sat across that work.  It seems like REL has found her niche and sound; there is not a lot of need to change things up much- it will be interesting to see where she goes now.  The self-titled E.P. was a full and frank work that showed the L.A. heroine explore issues of love and relations; stress and strain- composed and presented with a very distinct style and projection.  Over the course of the last year I get hear her confidence grow and little changes here and there.  REL’s earliest work pushed her lyrics to darker avenues and demonstrated a song-writing talent with a need to distinguish herself from the pack.  Whilst her vocals were not as developed and rounded as later work; what you got what that urgency and conviction from the very start.  As time has progressed the music has become lighter and more upbeat; the Pop and R&B genres have been fused more readily and prolifically- that vocal has become more wide-ranging and impactful.  Each song has its own pace and sounds; the vocal can twist and turn- it can rap and roll.  This gives the music much more freedom and mobility- something that we will see more of in 2016.

Before the Storm emerges with an appropriately moody and evocative beginning.  Darker electronics whip up images of clouds and rain; something quite uncertain and dangerous is at work.  On this song, REL sounds at her most upset and troubled.  Due to the discontent and friction in her relationship, her mind is heavy and her heart is burdened.  Presenting lyrics that are among her most direct, accessible and simple- they do not have the poetic edges and obliqueness as before; the need to keep them simple ensures the full force of the emotions gets to the listener- in a song that will speak to a lot of listeners.  The track begins with a vocal flow that gives some light and uplift to a rather unsettled and heart-aching song.  Speaking to her man- the reason behind the relationship disillusionment is not clear- she reminisces about the old times and having fun.  Perhaps things have got too heavy and they tried to run too quickly.  Back when there were fewer ties and they were just having a fling, it seemed to be simpler and more pure- the happiness was there.  Maybe their relationship was solid and defined; something might have come between them and has caused friction- our heroine is expelling her demons and trying to understand things.  It appears there is some resentment and fall-out given what has happened; the lyrics point to someone who has a wrong to right- a lot of pain carried around with her.  Backed by a thumping beat and an emotional sparseness- the composition remains quite bare and uncluttered early on- the vocal remains determined and strong.  The prize fighter is winding up and preparing a whirlwind for her former lover.  “I got a trick or two up my sleeve/You aren’t gonna see them but you’re gonna feel them” suggests someone who has been played and deceived too many times- time to put the man in his place and equal the score.  Soon enough the composition becomes fuller and more driven- a neat and catchy beat meets swelling electronics- as our heroine talks of “The brawl is done, the fight is far from done”- signalling the duo are going to be in each other’s lives for a while now.  It appears like the man has been cheating or telling lies; messing our heroine around and being no-good- something that is a common ill in relationships.  In the beginning REL let it be known she liked it slow- I presume the speed of a relationship rather than sexual preferences- and this has been misinterpreted and abused.

Perhaps the guy has been lazy and inattentive; spent too much time with the boys and sniffing around other girls- assuming the relationship was causal and open.  Whatever the circumstances behind the disservice; you sense that bristling angered and spiked intention.  Our heroine’s voice never becomes too enraptured or strained; there is restraint and focus for sure- to allow those words and sentiments to be appreciated.  The composition remains fairly predictable in a way.  A lot of R&B/Pop acts present a similar mix of beats and electronics; in this case it is the right way to score the song- any other configuration or sound would do it an injustice.  Riding that supportive and hard-hitting beat, you transport yourself into the battle and war.  Amidst the themes of love-gone-wrong and bad fall-out there is enough obliqueness to keep the mystery building- no statement as to what happened to cause the rift.  Maybe there are a lot of reasons and problems that have resulted in the explosion- it is clear the man is at fault.  Our heroine prepares her punch and cyclone; he will not see the attack coming- but he’s going to feel its force.  Empowered and vengeful; you get hooked into the passion and menace being built.  Keeping her language simple and direct- not as highfalutin and unique as before- ensures that emotional resonance rules and she does not bury her feelings.  By complicating the lyrics and making them too detached you would not get that spark and reality- the sign of a songwriter who understands the importance of developing, evolution and change.  A terrific song that will appeal to a wide range of listeners- it blends R&B beats alongside more uplifted Pop moments- and Before the Storm takes effect.  As the song continues a lot of the lyrics are reintroduced- like a mission statement or bellicose chant- but we get some new insight and revelations.  It seems like the man was playing her; fooling around and trying to get the upper hand- it took her by surprise.  Those sentiments and insights see the vocal toned down and isolated- before the composition wave whips once more.  Our heroine has a surprise or two and is determined to get vengeance and justice.  Boasting a contemporary sound that has its heart in the mainstream; there is enough grit and individuality to ensure it has more authority and depth than a lot of chart-based music.  REL has always been an artist with far more grit and appeal than the slew of Pop acts on the scene- the sort that produce rather unforgettable and simplistic songs- but has ensured her sound are as accessible as they are unique.  That composition keeps developing and pushing the heroine forward; driving the words and providing a pulpit for our girl to let her voice be heard.  I am not sure who her lover is/was but one thing is for sure: he is being given a serious kick in the teeth throughout the track.  By the final moments, there is a malevolent laugh and that desire to level the score.  A song that not appeals to done-wrong girlfriends; its messages and ideas can be appreciated and understood by anyone- it is not a song that distances anyone or creates any walls.  One of the most confident and determined songs I have heard from REL; it shows just what she can offer music in 2016.

I am not sure whether Before the Storm marks at the sound of what is to come- where relationship recriminations are in focus- but the language here is more simple and straightforward than before.  A song that required few diversions and false avenues; the messages and words cannot be misinterpreted by anyone.  It shows a songwriter that can ably seduce when going for the jugular- just as she can when in poetic territory.  Every time REL looks at love and its issues, she presents her words and thoughts in a new and very unique way.  Perhaps Before the Storm is the most accessible and everyday representation from her- her previous numbers showcase stunning wordplay and depth- but it is a required move here.  Given the weight of emotions and circumstances surrounding the song- the pains and heartache that motivated the song- you need a set of lyrics that can be understood and interpreted by all.  The power and primacy of the vocals brings you right into the song and makes you side for the heroine- balkanised against the wrong-doing boy and his mean tricks.  Alongside Travis Bunn; REL has created a song that packs a huge emotional wallop.  Whether this will form the basis of her forthcoming E.P. - there is speculation there is new material afoot- it will be fascinating to see what comes about.  As it stands, Before the Storm is a fascinating stand-alone that will keep her old fans very happy- whilst bringing in new supporters.  Retaining the sounds and compositional elements of her older work- whilst developing her songbook and emotional angle- you have a young artists with maturity, range and a huge amount of potential- a songwriter and artist that seems limitless when it comes to the music.  I cannot wait to see where that inspiration takes her next.

There are so many solo artists out there it can be challenging and impossible to find out which ones are worth closer scrutiny into the next year.  I have bemoaned the lack of appropriate websites that represent all of music and making it easy to find musicians by city and genre- surely not that hard an achievement?  If something like that were introduced it would make it a lot simpler to locate YOUR type of music and the likes of REL.  As it was, I came across her via good fortune in a way- a representative for REL contacted me- but chances are I would not have heard her music otherwise.  I know there are tonnes of new musicians coming through but it is possible to narrow it down and organise things- make it a lot easier for the listeners to find the kind of music they want; in addition to stuff they may not have previously discovered.  Our L.A. heroine is making the most of her online portfolio and ensuring she takes her music as far and wide as she can.  With a sea of contemporaries vying for airplay and recognition, REL has developed and honed a sound that is very much hers- few other singers come across the same way.  In the modern musical climate, it is vital you attack publicity and promotion on all fronts.  A lot of new and inexperienced artists put themselves on Facebook and Twitter yet ignore SoundCloud and BandCamp.  I have seen a lot of artists put their music on iTunes only- meaning relatively few people ever hear it.  I understand the need for finance and making money from your songs but with so many musicians giving it away, can you afford to do this?  There is no room for naivety in music as it is so competitive and packed.  REL has made sure she gets her name and words out to the public as effectively as possible- it is no coincidence she is seeing the fruits of her labours blossom and inspire.  Having played at some rather prestigious venues- including Dirty Laundry and B.M.I’s Acoustic Longue- she is sowing the seeds for an assured and prosperous future.  Blogs and music publications have taken the music to heart and been seduced by those rare blends of sound and lyrics- stemming from an artist with originality and intelligence.  L.A. is a musical neighbourhood that houses some of music’s most adventurous and fascinating artists.  Being used to London and the U.K., when I get a chance to travel to the U.S.; I get to see the difference that is happening there- the wonderful young artists that are emerging and playing.  L.A. has a lot of great solo artists emanating; REL is one of the most hungry and distinct of them all- let’s hope she continues with strength and determination.  Songs like Plateau get you thinking and conspiring.  Its lyrics mix romance and something classical- “The candle from the little shop in Paris, our adventure/Wax and wicker sitting on your dresser to remember” with something contemporary and new- “Watching Netflix in your bed/Back when you remembered every word I said”.  Heading for the Sun looked at an imploding romance- sun to burn out in the sun- employing space terminology and imagery (“You're facing Mars, I'm facing Jupiter/Locked inside these bars, but you're still keeping score/I'm losing air, but you're so full of it (hot!)
/This spaceship didn't come with the right toolkit”).

From her days of neighbourhood dangerous and religious symbolism; the salt-themed relationship woes and a unique insight into a young artist on the hunt- REL is developing into one of the most special and formidable writers around.  Her way with words and phrases is intoxicating; the way she lets her voice glide and strike is phenomenal- an artist with a huge soul and passion.  There are few artists out there who have such a sharp pen and a way with words.  Too many musicians stick with clichés and platitudes; keep language simple and do not give that much depth- meaning their music does not stay in the memory for long.  Picking apart REL’s words and thoughts gives you an insight into her mind and music; it makes the whole listening experience that much richer and more rewarding.  2016 is a year that should see a change in musical fortunes- there were few genuinely great acts in the mainstream- so let’s hope new music’s best and sharpest will transcend from the underground to give music the spark it desperately requires.  If you have not heard the stunning L.A. resident do her thing; make sure you check out her music and watch a rare talent come to life.  Getting stronger and more fascinating by the release- she is one of those artists that will be playing for years to come.  I say this about every artist- and it is a point that needs repeating- but let’s hope REL comes and plays the U.K.  It would give the nation a chance to see one of the U.S.’s finest solo talents take her unique blends and sounds to a new audience- her music has no limitations and every listener can appreciate what she says.  With there being so many straight-ahead Pop and R&B artists around, it is great to see an artist invent her own genre (Evoca.-Pop) and fuse different sounds and blends into a wonderful whole.  Congratulations to REL and what she has created in Before the Storm.  That lyrical individuality and intellect is intact; the heroine keeps those mandates of love and separation intact- it is a musical consistent that is always going to be in vogue- and gives the subject new life and twists.  Those evocative and poetic words show a young woman with a fertile and hungry imagination.  The passionate vocals and intuitive sense of dynamics and mobility result in a song that never loses its fascination and sense of the unexpected.  Take some time today to discover a new artist that has cut herself from the pack and is showing a huge amount of potential.  With so many of music’s new and ambitious starting to wane and fade, it is great to see an artist…

IN no danger of fading any time soon.

[youtube https://www.youtube.com/watch?v=OeIrkerR4UA&w=560&h=315]

_____________________________________

Follow REL:

 

Official:

http://www.rel-music.com/

Facebook:

https://www.facebook.com/therealREL

Twitter:

https://twitter.com/music_by_rel

Instagram:

https://www.instagram.com/musicbyrel/

 _____________________________________

Music:

https://soundcloud.com/r-e-l-music

_______________________________________

Videos:

http://www.rel-music.com/#!videos/ca0z

 

Track Review: Mayflower- Sienna

TRACK REVIEW:

 

Mayflower

 

 

Sienna

 

9.5/10.0

Sienna is available at:

https://soundcloud.com/wearemayflower/sienna

RELEASED: 28^th September, 2015

GENRES: Rock & Roll

ORIGIN:

Manchester, U.K.

____________________________________

THERE are contrasts to the reviewing world that see...

experienced and established acts sit alongside brand-new artists.  Before I get around to mentioning my featured act, it is interesting to see the new bands coming through.  I have stated how there is unreliable quality control; a lot of acts seem to be determined to just come along and play for the hell of it- not enough distinction to really appeal to the listener and fans.  I have come across so many acts that either sound like someone else or have so little about them- just the mere suggestion of something good.  I wanted to mention new bands in general- it seems apt as we head into 2016- and just what they can offer music.  All of my cynical words aside- I am a bit down when it comes to band at the moment- I have seen quite a few bands that could make an impression into the next year.  The bands that stay in the mind are the ones who inject plenty of originality, diversity and nuance.  Of course, it is hard to be truly original and distinct these days- even the best bands have an essence of others to them- but there is plenty of room to maneuver and appeal.  I think a lot of the issues arise when bands look at the media and what is being expected of them.  The groups that are highlighted tend to play heavier sounds- Rock, Alternative etc.- so that is that inclination to compose and replicate those sounds; in the hope that this will lead to approval and success.  Solo artists have a lot more mobility when it comes to their music.  Hip/Hop-Rap, Electro.; Pop or Country- you name it; they have fewer limitations it seems.  You do not get that same genre-diversity that solo acts portray- there is more predictability at work.  Even if you work in slightly narrow confines, that does not mean you are limited and in trouble.  From the subject matter to the vocals; along to the compositions- there is so much potential for wonder and originality.  Those acts that are sticking in the imagination- causing a little of fevered praise and excitement- need only make a few tweaks to the recipe to create something sizzling and delicious.  When it comes to our featured artists, little is known about them at all.

Oliver Gaydon: Lead vocals, rhythm guitar

Jacob Calvert: Lead guitar

Mike Cromey: Bass guitar

Jim Mulherin: Drums

“Manchester-based four-piece Mayflower was born in 2014. The band’s early chemistry spawned a host of original material, not restricted to one style, but displaying broad influence and a clear focus on the importance of crafting their songs.

In just a matter of months, the band has headlined Night & Day Café, sold out The Castle Hotel and performed a live session track on the Introducing Show on BBC Radio Manchester.

Mayflower’s second demo, The Dice Man, has received extensive support on the Introducing Show and the group have received praise from Michelle Hussey and Natalie-Eve Williams for the strength of their songwriting”.

They hail from Manchester- a subject I will explore in more depth soon- and are making their first moves into the music world.   It would be good for the lads to put a little biography on Facebook; maybe have a link to their official site included here- a way of letting people know who they are and where they want to head.  At this time they have a new track out (Sienna) that is receiving impassioned feedback and a lot of heady praise.  Before getting down to their music- and what the guys have set in their future- it is great to be back in the north and in Manchester.  It is hardly worth mentioning what a reputation the city has when it comes to producing fantastic music.  During the ‘80s and ‘90s the likes of The Smiths, Oasis and The Stone Roses set the music world alight with their phenomenal sounds- three of the most influential modern acts you could think of.  As we moved into the ‘00s, there seems to be a split of sorts; there were fewer great Manchester bands coming through- other cities and towns were showing the way and producing the greatest artists.  Over the past few years I have seen some great Mancunian acts emerge that have recalled some of the glory-days wonder of the likes of The Stone Rose et al.  It is impossible to recapture and reproduce the wonder of the ‘80s-‘90s regency- music will never get within touching distance of being that good again- but that is not to say we should switch off and concentrate on the solo acts.  Mayflower are one of those acts that seem unconcerned with being pigeonholed and topping critics’ lists.  Their originality and natural personalities have gone into their music to ensure it resonates with listeners and sets them aside from the flock of other bands- contented to dance to the beat of the critics’ drum.  I love seeing an act come through with their very early number- their sapling steps are the most exciting and nervous; that very first chance for the public to hear what they are all about.  Mayflower are one of these bands that pride substance and soul above sheer force and a wrecking ball approach.  I love gritty and anthemic bands; those that can lacerate for a good cause- pen songs that have stadiums jumping and rocking.  The trouble is, there are too many bands that aim this high and fail- it creates a rather depressing state of affairs.  The groups that remain longest in the mindset are those who dig deeper and create something more enduring and emotive.  That is not to say bands need to be overly-sensitive and soft; just realise the importance of depth and melody; soulfulness and colour- when you put all this together you get music with greater importance and longevity.  Our Manchester lads have been excitedly reviewing feedback from fans and reviewers; seeing where they head next- just what the future holds for them.  It will be great to see the boys up their game and create a charge in 2016.  If they can get more music on their official website; give the public some insight into their live and influences- how they tick and where they came from- that will lead to big social media numbers.  Their music- their fifth song at this stage- is doing all the talking and creating a serious wave of excitement and anticipation.  Into 2016 I can see them crafting an E.P.; something that showcases their talents to great effect- a chance for the public to experience Mayflower in full flight.  That is all ahead of them, but for now, Sienna is garnering a lot of love and support- no surprise when you dig down to its core and explore its beauty.

Although Mayflower have released Many Clouds, Mayflower; The Dice Man and Rapa Nui; you have the hardest time trying to locate them- not sure why they have been expunged by the band (except for the odd site here and there).

   The Dice Man is available here-https://amazingtunes.com/mayflower/tunes/337103- and begins with a soft and uplifting coda.  Chiming strings and a determined percussion welcome in the track- such a dream and assured introduction.  Backing away from pure Rock and something harder; Mayflower go for a softer and more studied approach to the music.  Recalling a little of Richard Ashcroft’s verve; you have a song that has swagger and confidence- yet displays a tender heart and sensitivity.  Our hero is galvanising his patience and waiting for calls- seemingly hanging by the phone waiting for a girl to ring.  It seems like a bond has been solidified long ago; the lovers have been through the motions and have a complex history.  Too often they have not waited for the morning; rushed into things and been too hasty- resulting in fall-out and problems.  The song looks at patience and that need for discipline; a mature and intelligent approach to relationships- something that is a defining them in their music.  The composition remains quite lo-key and unobtrusive: it ably lifts the emotions whilst creating something quite tender and semi-operatic.  That central vocal is powerful and inflamed; yearning and burning in equal measures- something that gives the track so much panache and potency.  Memories of ‘90s bands- the likes of The Verve and Oasis- create fond recollections and musical nostalgia.  The lads ensure their feet and motifs are in the present-day; making sure that original edge and direction shines through.

Sienna is the most available and truest sense of what the band are all about.  Whether they felt their previous demos are not up to their best- and wanted to keep their finest work in the mindset- it is a shame as I know how well their previous songs were received.  On the plus side, it has not dampened their potential and quality one bit.  Their latest demo shows a lot of promise and improvement; they have come on strides and sound at their most essential- boding well for future sounds.

I was excited to review Sienna, given the passion and praise it has already received.  Blogs and reviewers have stated its melodic potency and beauty; that central vocal performance- bringing the song’s emotions to life- and the originality the song possesses.  Not as off-to-the-races as their previous tracks- Many Clouds was also noted for its immediacy and harder edges- there is a subtleness and slow-build quality that sees the boys embrace a more nuanced and mature approach.  The initial words see our front-man assess a relationship and the recollection of times past.  Having lost “nothing from those times” where “liberty followed”.  Off the back of an entranced and seducing introduction- nimble and atmospheric guitar notes create a hazy and morning-awake sensation that seems wholly appropriate- and you have a dreamy and reminiscent number.  Our hero is looking at his girl and the times they shared together.  Perhaps they have been through disagreements and turbulence before; the vocal has the sound of a man who has witnessed too much and had too many sleepless nights- that need for something happier and more comforting seems to linger in his soul.  The band ensure they do not distill the song’s message- offering a considerate backing that drips with emotion and subtle shades- perfect augmenting that need for change and improvement.  Perhaps I am misreading those initial concerns and feelings.  Our hero lets his voice drift and hover across the horizon; allowing it to portray sensitivity and longing.  That central figure- Sienna, the heroine- is someone we will all have images of.  If you go to SoundCloud and see the art work for the single; there is an extraordinarily captivating woman/model pictured- unsure who she is; I guess a friend of the band- which comes pretty close to my impressions/views of her.  Someone quite slight and slender she has immense beauty and a wicked side to her- able to make you forget your troubles and strains- someone who is fun and happy-go-lucky.  Once upon a time the morning sun and the new dawn seemed like a remedy for the hero- it was the “only cure” it appears- when his girl as not around.

Whether the two have parted way or they are in different locations; you get the idea our man is sleeping alone and looking out the window- dreaming of his girl and wishing she was there.  I hope the band work the song up and record a video- include the model in the video- as it’s an evocative song with plenty of wonderful possibilities.  You get a cross between Elbow’s dripping emotions and a bit of early-career The Verve: a blend of Soul and haunting Alternative.  That dreamy nature of the song- every review has highlighted this- makes the lyrics and vocals so entrancing.  When the band lead into the chorus you get the most seductive and head-spinning vocal- it recalls the vocal harmonies of ‘60s Power-Pop and is a sensational moment.  Unable to escape the power and soothe of the song; each listener will be carried along and project themselves in the scenery.  In past numbers, Mayflower have looked at the importance of patience and not squandering moments; making the most of the time romance has- it seems like Sienna is a bedfellow to their past endeavours.  Our hero has hazy recollections and swirling snippets of times past- when the two were together at their peak- and seems to be yearning strong.  Having left too soon and maybe made a mistake there is that need to make things right and reclaim what has been lost- have Sienna back with him.  I am not sure as to the origins of the song- whether our hero has based the song on a relationship he had- but you can hear that conviction and rawness come out in the song.  The vocal aches and pains for that sense of emptiness; there is a soul burning and bleeding- perhaps kicking himself for something said or done.  It is not made clear why the two sweethearts are separated or what has caused this distance; what is clear is the emotions that come out in the song.  The band unite wonderfully to ensure there is a constant momentum and beautiful soundtrack.  The strings and percussion act as blood-rush and breath; strings that are pulled to create the most vivid and direct representation of the mood- a vivid and urgent sound that few bands can match.  It appears like there may be hope for togetherness and another chance.  The chorus gives impressions our boy will see Sienna; maybe in dreams or reality there will be another opportunity for the two.  As direct as the vocal is, the lyrics have an oblique nature that means the real truth and ending are known only to the band- whether the sweethearts made it back to one another and who the girl is.  Even though it is a demo-quality song; it sounds like a perfectly mixed and balanced track- raw enough to convey the reality of the song yet professional enough to ensure it sounds slick and accessible.  Fans and commentators have noted how graceful and beautiful (Sienna is); the shades and emotions that intertwine- that stunning and emotion-drenched lead vocal.  The composition goes a long way to filling blanks and pushing the story forward.  With distinct views in my head- the beautiful heroine holds hope her boy will do right and they will be together- you get an itinerant and mobile feel to the composition.  It has a terrific flow and energy that means you picture images and sunlight; flickering night-time rain and images of the players- our man looking out across the Manchester day; our heroine close-by and thinking.  The song has that feel of winter: something that can keep you warm when it is dark and unsure; it is perfect when you are alone and listening in bed- just staring at the ceiling and letting your thoughts wander.  Plagued by problems and uncertainties; when other things let you down and life seems scary- “Sienna’s waiting there”.  It seems like the remedy and rescue for our hero yet could be the representation of solace for everyone- the faithful girl that gives you comfort and hope in spite of everything.  As the final notes chime my mind goes to something more straight-forward and simple: a bond that is still pure; when our boy has a hard day and he needs warm arms- when he comes home, Sienna is waiting.  The beauty of the song is that it says so much with so few words.  It has the feel of a love song with different meanings.  In the early stages I got the sense the lovers were split and a break-up was being mourned.  As you get to the chorus- and the song develops some- my thoughts turned to something happier and more hopeful.  It seems like the hero used to be alone; the only comfort he has was a new day or some small glimmer- now his girl is here he has something stronger and much better in his life.  Whatever the true nature- and however you interpret the song- you cannot deny its immense beauty and purity.  Not shrouded in cynicism or fake emotions it is a song that drips with passion and desire.

   Sienna is a song that definitely needs taking further and exploring.  Although it is a ‘demo’ it does not need any more work really.  Perhaps Mayflower could add a string section- perhaps just a lone cello would add the additional shiver and kiss the song needs- and perhaps a little piano coda towards the end.  That said, the comparative sparseness may be what makes the song so essential and right- any more notes and ingredients may distill it and water-down its majestic sweep.  That central vocal by Gaydon is from a man who has lived every moment of the song.  Whether Sienna is an alias or sobriquet- or is the name of his true love- I am not sure; it is a song that is filled with conviction and jaw-drop.  I would love to see the boys take this back into the studio and really take it that step further.  The song has no rough edges yet shows just how potent and it could be- a very little tweaks here and there could turn the song into something transcendent.  I am not going to be a backseat producer- the boys have shown how intuitive they are- but Sienna is a track that shows a young band in terrific form.  It will be great to see a video for the song- I would love to be a part of that somehow- as there is so much possibility and wonderful concepts you could levy.  Congratulations to the band that are as tight and wonderful as ever; creating their finest statement to date.  That composition brings ‘60s and ‘90s sounds through a modern-day blender to create something dark and dreamy; chinks of light and tenderness- it evokes so many images and intimacies.  Perfectly backing that soulful and powerful vocal; you get sounds that drive the song to impossible heights whilst remaining understated and subtle.  It is a hard trick to pull off yet one the band has managed.  There is positivity and hope in the song- with so many bands offering negativity among hard sounds- so to hear a band provide this (and keep their sounds graceful and melodic) is something music needs right now.  Their latest track is just the catalyst Mayflower needs to get the E.P. juices flowing.  Let’s hope the following year sees them take their wonderful sounds as far as they can.

It is terrific seeing a young band with so much potential ahead of them.  I get irked and depressed by the lack of quality and consistency that is coming from bands at the moment.  Every week, there is a flood of new artists that are touted as being ones to watch- there are few that ever live up to the hype and expectations.  Perhaps we need to lower expectations somewhat- not in a bad way; just stop putting so much pressure on acts- and focus on the minority of stunning bands emerging right now.  Mayflower are starting out their career but the initial signs are very promising and encouraging.  Sienna has captured a lot of attention from music-lovers around the U.K. - something about the track resonates with the public.  Those soulful and direct vocals are backed by a lush and emotive composition- stirring lyrics that show plenty of heart and intention.  Manchester is showing what potential its bands have at the moment.  All-girl group PINS have a hard sound with raw edges and plenty of nuance- a band that has a big future.  Horsebeach- and their sounds that recall The Smiths and Real Estate- have unveiled plenty of singles and albums.  They will continue that charge into 2016 and set themselves up as one of the big names to watch closely.  Blossoms are a lite-Psychedelic five-piece that have already been lauded by the B.B.C.; throw in the ‘80s-cum-Beach Boys blend of Whyte Horse and you have some bands with a lot of potential and power.  It is early for the lads of Mayflower, yet I can see their ship sailing far and wide.  Off the back of their new track, they show translatable mixes that could see them demanded across the water.  Before taking this thing to a close, it is pressing I look at the future for the guys; also reflecting on the importance of those first songs out the traps- ensuring your name and music gets the appreciation and patronage it deserves.  Mayflower have shown how adept they are at those uplifting and stunning melodies- like The La’s but a lot better and less cloying- in addition to impressively mature and soulful vocals.  Too many young bands need to prove they are youthful and fresh- this often means immature lyrics and rather unfocused and rambling compositions.  Not keen to tie themselves to anyone else- that originality and personality marks them out especially- our lads have created music that has personal relevance; it reaches out further to connect with the audience- there is accessibility and familiarity too.  I would like to see Mayflower really take hold of this momentum they have and keep the energy strong.  They have the potential to create an E.P. that will rank among music’s best; deep and varied with plenty of emotion and passion.  They have a few songs under their belt- so have the ammunition and material to come together- so it will be fascinating to see where that takes them.  Already backed and tipped by the likes of B.B.C. Radio 6 and (Manchester’s) B.B.C. Introducing; the lads have gained impressive kudos- setting them up for a huge year.  With a few songs in the ether you get an impression of a band mutating and evolving their sound.  They are growing in stature and confidence; more originality and personality is in Sienna- as opposed their previous cuts- and their intention grows bigger by the moment.  Tight and focused; nuanced and full of spark, this is a band that has a lot more to say.  They have been together just over a year and covered some good ground already- the hopes are high for these lads.  When bands come through- and are at the stage as Mayflower- it is important to remain original and true to your own voice.  I have seen so many acts start off hot; only to succumb to market expectation and sell themselves out- lose that authenticity and do what everyone else is doing.  You would be forgiven for thinking Mayflower are going to follow suit; I know how much detail and thought they put into their music- they are not a band abut to compromise and change who they are.  It is also easy to see the band as a debut-single act- their previous songs are not available on SoundCloud or anywhere else it seems- so it would be great for the boys to dig them out and make them readily available.  When it comes to beating the crowds and forging ahead; it is vital to go in attacking and put as much out as you can- Mayflower have such a great sound; the public want to hear as much as they can.  The lack of musical visibility and history is a minor quibble from a band who are gaining ground by the week.  After national radio-play and attention, it is the start of something fantastic.  Make sure you hear the beautiful Sienna- a gorgeous girl and mystical figure- that has already seduced and buckled knees around the music globe.  The lads have the ability to get their music far and wide; take their songs abroad- who knows how far they will head.  For now, they have their feet planted and are reveling in their recent achievements.  With their new track creating a serious buzz, you have no excuse to…

MISS out on a terrific young act.

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_____________________________________

Follow Mayflower:

 

Official:

http://mayflowermusic.co.uk/

Facebook:

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

Twitter:

https://twitter.com/mayflowermcr

______________________________

Music:

https://soundcloud.com/wearemayflower

Track Review: Sofia Talvik- Starwalker

TRACK REVIEW:

 

 

Sofia Talvik

 

Starwalker

9.6/10.0

Starwalker is available at:

http://music.sofiatalvik.com/track/starwalker

The album Big Sky Country is available at:

http://music.sofiatalvik.com/album/big-sky-country

TRACK LISTING:

Aha-Aha- 9.5

Big Sky Country- 9.5

Dusty Heart, Empty Hand- 9.4

Lullaby- 9.3

A Matter of the Hearts- 9.4

Starwalker- 9.6

Bonfire- 9.4

Jasmine, Rose and Sage- 9.5

Give Me a Home- 9.4

Fairground- 9.3

So- 9.4

DOWNLOAD:

Aha-Aha; Big Sky Country; Skywalker; Jasmine, Rose and Sage

STANDOUT TRACK:

Starwalker

RELEASED: April 14th, 2015

GENRES: Country; Folk; Pop

ORIGIN:

Gothenburg, Sweden

All songs written by Sofia Talvik, except ­“Starwalker” by Buffy Sainte-Marie (Kobalt Music). Vocals and ­acoustic guitar Sofia Talvik, electric and acoustic guitar, dobro and lap steel Marcus Högquist, bass Janne Manninen, drums and percussion Joakim Lundgren, banjo John Bullard, violin Mathis Richter-Reichhelm. Guest musicians on “Give Me A Home” - David Floer: cello, Jozsef Nemeth: piano. All other instruments by Sofia Talvik. The Big Sky Choir Boys: Jonas Westin, Isaac Cheong, Jim ­Magdefrau. Produced by Sofia Talvik. Recorded in Mahoni Studios, Berlin, Recipe Music Studios, Stockholm. Mixed and mastered by Mathis Richter-Reichhelm. Graphic design by Sofia Talvik.

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WITH the days creeping towards Christmas and...

the pressures of the occasion getting to many; music is that elixir and comfort that we all need.  I myself have more stress now than at any point- family and financial woes; job unhappiness and uncertainty of the next year- so naturally turn to music; it is the only thing that really understands and makes things bearable- never asking for anything but attention and passion.  A lot of musicians are going quiet this time of year- preparing their moves for the next year- making an early impression on the scene.  For that reason, it has been great reviewing Sofia Talvik- someone whose music is appropriate and wonderful all-year-round; perfect for this time- sounds that take you somewhere safe and warm.  Before I introduce her and her latest album it is worth mentioning Swedish music; prolificacy and consistency in music and female solo artists of the moment- and the variation of sounds on offer.  Perhaps themes I have trodden before- it is apt they are evoked fully today- Sweden keeps providing wonderful and varied music.  Artists that seemingly have no boundaries and limitations; the Scandinavian artists have a little more adventurousness and passion to them.  It is not just the passion that amazes but the unusual-ness of what comes through.  Looking at the likes of Anna von Hausswolff- and her album The Miraculous- you get a semblance of Sweden’s true magic- the limitless ability and sonic adventure being presented.  It must be something in the air or landscape.  Sweden is noted for its beauty and friendliness; the stunning scenery and the wonderfully rich musical heritage.  Away from the bustle and strains of city life you get artists that are among the finest in all of music.  The likes of DNKL (fellow Gothenburg musicians), Fredo Sundemo and I Break Horses were big names last year- and have kept that intrigue and quality firm this year.  Throw Mapei, NoNoNo and Wildbirds and Peacedrums in there and you can see what a colourful array of young stunners are coming through- check them all out now for a full understanding.  As 2016 comes to view, those artists will make an impact but so many more are too.  Maybe the mystery is that Sweden is just showing better quality and passion- as opposed to conspiracies regarding landscape and the lifestyle- which should give us in the U.K. something to take note of.  I love how many genres are teased and intertwined; my featured artist is one of the most varied and wide-ranging acts around.  In Sweden there is a love of sunny Pop and Electro. sounds; terrific Alternative acts and some wonderfully compelling solo acts.  Before I raise a couple of new points; it is worth introducing you to Sofia Talvik:

“We all know the Swedes can write a mean pop songs – but what about folk songs? Well, one artist is nonchalantly transferring the charm and fun found in most pop songs into sweet, acoustic twang. Sofia Talvik, brings bubbly blonde ambition to this raw and often quiet genre with a captivating breath of fresh air.  Growing up in Sweden her music has always had a special tint of her Scandinavian heritage, making her a favorite among music lovers, but her 16 month, and 37 state long tour, through the USA (in an RV) has moved the new album closer to the Americana tradition. The adventure on the road spurred a lot of emotions, both those of triumph and joy, but also those of self doubt and defeat - all of which found their way into the songs of ”Big Sky Country”.  ”Even though this young lady is from Sweden, I’d place her at the forefront of the American vanguard. One listen will tell you why and how.” - Rob Ross, PopDose.com  Living like a musical nomad, moving from place to place, slowly but steadily building her audience through her heartfelt and personal performances she got to experience the USA in a way few people do. The people she met opened their homes and hearts to her and some of them even made it into her songs. But the new album is not a diary from her tour, it’s more of a storybook of emotions, new and old in which everyone can find their own place.  Recorded in Sweden, Germany and the U.S over the course of four months the album is now being released in the U.S and Canada in April through Caroline/Universal. Although simple and acoustic, the album sounds full but not overbearingly so. Twangy electric guitars and tasteful banjo fills highlights in just the right places, as Sofia’s own acoustic guitar provides the steady base of the songs.”

Talvik is one of the most prolific artists I have seen in years.  Clearly there is a lot of love and support for her music.  Having crafted a series of E.P.s, albums and songs; it seems the young Swede has no signs of slowing and retreating- becoming more potent and amazing with every new release.  Her sounds dig deep into the heart and elicit something truly awestruck and amazed.  One of the best and most intuitive songwriter on the scene; her music takes your mind to the scenes and sights she sings- it is such vivid and raw music that rewards those that love music with depth and soul.  Big Sky Country is as stunning and rich as its cover art: music that covers a wealth of topics and explores love, hope and wonderful characters.  There are few artists that have the prolific and consistency as Talvik.  A lot of new acts start nervously and take a while to release something new- there can be big gaps between E.P.s.  Talvik has a great work rate when it comes to music; constantly writing and recording she has kept fans and reviewers salivating with her staggering sounds.  As 2015 draws to its close Big Sky Country- a mini-review will be near the end of this piece- is a truly awesome statement from one of the music world’s biggest propositions.  The gorgeous Swede could well go onto conquer the U.S. and see her music being adored there- there is no reason why she could not tour the country very soon.  That said, the U.K. loves her music and it would be great to see her come here and play.  With so many great female artists emerging; Talvik ranks among the most talked-about and talented I have encountered.  That soft, swooning and emotive voice ensures every word is brought to life with force; no listener is immune to the wonder and passion.  Some of new music’s female artists are letting the ball drop and come through quite insincere and lacking.  Among the variable quality there are a band of artists that are truly entranced in music and giving everything to it- those acts we should all watch for in the next year.  Talvik is a true talent with immense song-writing ability and a voice impossible to compare with anyone else- how far she can go in 2016 is anyone’s guess.  I can see an E.P. or album emerging; some tour dates too- hopefully she can come and play London.  If you have not heard Big Sky Country; ensure it is at the top of your ‘to-do list’.

When it comes to the 2015 sounds of Sofia Talvik is savvy looking back to see how she has progressed and evolved.  Florida was an album released in 2010 and boasted vivid and bold sounds- just look at the cover art to the album!  Building from her softer and gentler beginnings- that is what her sound was defined as- the album marked a shift towards bigger and bolder arrangements.  Trombones, cellos and orchestral touches ensured the album provided a richer and more ambitious shift- bringing richness and variation into the fray.  The album highlights the drums- Talvik wanted it to be a central figure- and the album marks a love letter to the U.S. - a country the heroine is keen to explore.  The entire album shows a consistency and musical adventurousness: genres and themes are mixed to create a great blend of Country, Folk and Pop.

The Owls Are Not What They Seem was released at a time (2011) when Talvik was preparing a work visa for the U.S. - about to tour the nation.  The songs signal a return to basics and that stripped-down approach.  The album’s aesthetics look at D.I.Y., bedroom-recorded numbers that have intimacy and sparseness.  There is great atmosphere and emotion throughout: you picture yourself alongside Talvik; there is that drama and closeness that brings you into each song- such a wonderfully direct and passionate album.  The album explores delusions, good and evil and love; the inequalities of relationships and the need for compassion- themes and ideas every listener can relate to.  The vocals boasted dreaminess and huge effects- that breezy and passion the likes of Lana Del Rey bring into their music.  In spite of the D.I.Y. approach there is a lot of atmosphere and cinematics to the music- the compositions bring in classical strings and a variety of sounds to create a lush and heart-warming collection.

   Big Sky Country marked a return for Talvik after a little while- the songs were recorded over several months whilst our heroine and once again was inspired by the U.S.  Whilst touring and living there she got the chance to reflect the people, places and landscapes into an album that is her finest work- that creation that blends the big and bold sounds with the intimacy and sparseness.  Combining various (previous) albums together; Big Sky Country shows Talvik at her most impressive, stunning and best.  The horizons and possibilities are explored; that unwavering passion for people and places; the album is that storybook that unites the old and new- into an album that has gained a huge amount of respect and kudos from fans and reviewers.

We have an artist that gets stronger and more impressive with every new release.  It means the next year will be very exciting and interesting.  It would be great to see another E.P. released.  Whether Talvik locates to the U.S.- or records in Sweden- it will be fantastic discovering what comes next; whether an E.P. or an album- a new chance to see another side to the young artist.  Given what Big Sky Country offers, who knows just how far she can go.

I was keen to explore Starwalker as it represents all the emotions and ideas of Big Sky Country.  Written by Buffy Sainte-Marie- Talvik makes the song sound deeply personal and meaningful- it is a stunning number. Beginning with a couple of electronic strums- eliciting a dark Country vibe with something atmospheric and bold- you get a song that begins with urgency and strange feelings.  A deeply emotional and direct beginning, it soon explodes into a rapturous and delirious wordless chorus- our heroine lets her voice fly and entwine.  From the darkness and twilight danger you get that morning sunshine and awakening- taking the listener through a 180 degree spin within a few seconds.  Captivated by that raw energy and stunning rush; the song builds these wordless vocals together to create colourful strands and contrasting emotions.  There is that mixture of tribal clarion call and spiritual awakening.  Our heroine is letting her soul fly and her emotions soar- it is a bracing and urgent opening that makes the listener stand to attention and become entranced.  Our heroine lets it be known that “Starwalker, he’s a friend of mine/you’ve seen him looking fine”; making you wonder the origins and truth of the lyrics.  Quite oblique and fantastical; there is that sense of dream and detachment.  Whether Starwalker is an alias for a lover or a dedication to the beauty of nature- a natural force that is giving her strength and focus- you are hooked by those special and original words.  It has a literary approach to it that compels you to imagine images and possibilities.  My mind instantly went to a giant landscape or a rolling scene- like the cover to Big Sky Country.  Perhaps enveloped in the night’s air there is that lone light in the sky- something quite mystical and strange.  It is good to hear a song whose origins and nature is not that obvious and evident- something that every listener will have their own view on.  Whilst a lot of musicians go straight for love and relationships- the themes are explored in the album- Talvik prefers a more novel and personal approach to things.  Her songs look at nature and geography; something that strays away from pure emotions and heartbreak.  Whilst the vocals and instrumentation climbs and stuns; my mind keeps digging into those vocals- and what they represent.  The song has a consistent energy and energy that makes the imagery and lyrics come to life and get straight inside the mind- it will remain there for a long time to come.  Propelled and captured by the passion in that vocal; I was looking towards it seems Starwalker is a “straight talker”; it is best not to drink wine- that mystery and unexpectedness keeps coming.  Maybe Starwalker is a truth or personal honesty; if you drink you become more honest and foolish perhaps- maybe I am over-reaching and missing the point.  That is the true beauty of the song: there is no direct meaning (for the listener at least) so you are always trying to find what the song is looking at/saying.  Wolf Rider is introduced in the next verse- a friend of ours and someone who opens doors- that looks at another figure or emotional representation.  Perhaps she embodies opportunity and potential- that spirit inside that makes everything possible and provides chance and hope.  It is said she’s a “sweet grass burner” and a “dog soldier”- those vivid and quirky ideas take your thoughts in another direction.  After that mystical quest and outpouring- taking in the lyrics your head starts to layer images and scenes- our heroine lets that wordless vocal call across the night.  It seems like Talvik is providing a paen to nature and the beauty of the outdoors- embracing it and its captive grace.  As our characters and figures have been paid tribute; the holy light guards the night- our heroine asks it to “pray up your medicine song”.  It seems the richness and medicinal qualities of the night have infused the spirit; caused something quite primal and wonderful in our heroine.  That enticing and strange vocal call has a beauty and serenity to it- in the verses Talvik sounds a little like Laura Marling.  Lightning woman and thunder child are in the mix this time- nominal representations of the meteorological- that embody harsh weather and the change of climate.  You can imagine the country sky exploding and bursting with colour and light.  The clouds build and the thunder rolls; our lady asks them to “aim straight, stand tall”.  Bringing the listener into the song directly- and summoning such an army of wonderful images- you cannot help but get lost in the energy, emotion and raw passion that are created.  That vocal remains firm and rousing from start to finish- never dropping or letting that electricity dim at all.  That combination of elements and figures; the coming-together or weather and nature- leads to a song that is a stunning and vivid creation.  The composition has a terrific percussion that helps to summon that idea of thunder and drive; the passion and pummel the song represents.  Bringing in aching strings to the mix; it sees Talvik create something euphoric, atmospheric and bold- embracing that fuller sound of the past.  The final moments see the vocal come fully into effect and return to that wordless coda.  Our heroine allows her voice to reflect that raw passion and strong emotion- the listener is always guessing and imagining the images and ideas being explored.  By the final notes you get to reflect and breathe- taking everything in and getting to the bottom of Starwalker.

Starwalker is the most urgent and impressive number from Big Sky Country.  A great representation of Sofia Talvik and her various sides; I was amazed by the depth and ambition explored across the song- there are plenty of gems across the record.  That sense of oblique and mysterious continues right across the album.  Aha-Aha starts things with a little more directness and tangible relatability.  Words about sealing your heart with faith; looking in the mirror- it has a more personal and human element to things.  Talvik’s voice is pure and beautiful throughout; ensuring she gives the song the heart and soul it requires- one of the most beautiful and aching songs across the record.  That need for redemption and hope comes out; pushing you and keeping sweethearts close- not losing what’s inside and what could be.  A stunningly assured and strong opener- I get shades of Led Zeppelin III within the composition- there is a nice mix of pastoral Folk and something Country-based.  The title track is the most evocative and heart-aching song across the album.  Talvik’s voice is stunning and tender across a song that looks at the Blue Ridge Mountains and Texas; across the U.S. and the states.  The heroine takes her lyrics across America and the passion for the country; it recounts Talvik’s journeys and travels- and the great people she has met.  Perhaps the album’s most soul-bearing and love-filled song; it is a love song to a vibrant, varied and wonderful country.  Dusty Heart, Empty Hand has a catchy drive to it that puts it firmly into Country territory.  That compelling pace and passion comes out in a song that looks at betrayal and deceived hearts.  With her voice clear and emotive; the song recalls a troubled relationship that ended in pain- the song’s hero let the heroine down; caused her suffering and loss.  One of the most accessible and relatable songs on the album; it is a moment listeners can relate and understand.  Beautiful and sensitivity, you are powerless to resist the track and all its magic.

Lullaby is one of the most emotional-drained songs on the album.  There are images of beauty and a sweetheart’s boots; the purity and possibility of the summer morning.  Everything is good outside yet the hero wishes they were dead- something is missing or there is emptiness.  Matching summer purity with something raw and unsettled; you get a song that shows a troubled heart and some lingering depression- something that remains in the mind and makes you speculate.  It is one of the most naked and honest songs across Big Sky Country.  The vocal is pure and focused allowing those words to get inside the mind and make you think- one of the standouts from the album for sure.  A Matter of the Hearts again recalls a love-gone-wrong parable.  Our heroine has let her man go- and may have been the wiser of the two- but there are recriminations and fall-out.  As things have broken down and the love has gone cold; that is not to say the heroine is cold herself- missing her man and unsure why this is.  The strength of that love has not evaporated and there are those lingering feeling and desires- represented by a vocal that drips with passion and purity.  The composition is one of the most sparse and bare across the record; appropriate given the subject matter.  Bonfire is another song that looks at lust and desirability.  Our heroine’s heart bursts like a bonfire at the seams; it aches and yearns for a particular man- it is a raw and evocative number.  With the intensity of that passion- and the fact her heart and chest are cracked open- there is nowhere else to put that love; the reservoir has run dry.  You get a gentility and purity once more; the vocal is at the centre and allowed free reign to intoxicate and seduce.  A very touching and honest number, it clearly stems from a personal place- a relationship or situation that has caused some pains and lingering emotions.  Jasmine, Rose and Sage could be a Simon and Garfunkel companionship- the second part of the cooking extravaganza- but displays raw emotions and some of the most standout lyrics on the album.  Our heroine implores a subject to “hold her hand, still so small and warm in yours”; and she is drifting away like sand.  Whereas a lot of the songs across Big Sky Country look at love and simple emotions; here we get something a little more oblique and open- a song that once more provokes you to interpret and understand what is being sung.  The vocal and composition are not too heavy-handed and dark; there is lightness and uplift to it that keeps things levelled and buoyant- you never feel depressed or suffocated by things.  A wonderfully-written track that showcases Talvik’s song-writing chops; it is one of the album’s most evocative numbers.

Give Me a Home has a tumbling guitar coda that promotes grace and beauty.  Our heroine pays tribute to the sky- it provides a happier ending and possibility- and wants to be comforting by the stars and their light.  Maybe escaping something tormenting and fearful; wanting to run and get away from things- it is an emotional number that shows the soul bared and feelings come to the surface.  Where the buffalos roam there is always a chance for something new and safe; maybe things at the moment or not ideal or welcome.  Our heroine has been told she will lose faith (as she gets old) but as long as the sky’s there- and the country reaches out to her- she will not lose that hope inside.  Fairground has a merry and uplifted sound that contrasts the lyrics somewhat.  Our heroine has been down the same road she has been before; there is that fatigue and sense of hopelessness.  Maybe life was meant to be better; the fairground lights would shine for her- things are not changing and purpose seems to be lacking.  There are obstacles and pitfalls to get around; a constant danger and uncertainty to life- that need to find something happier and more pure.  You are always sympathising with the heroine and the strain she shows.  A beautiful and sensitive song; it shows that haunted and struggling side to her- something that provokes empathy and self-reflection.  So brings things to a close with gentleness and a stunning vocal.  The song looks at fears and trepidations; the pains and uncertainties.  Whether speaking to a lover or a friend; they (the friend) are regretting things not said and the darkness they feel- things being kept inside and cloistered.  Our heroine loves them for it and shows her support; paying tribute to someone that is going through hard times- yet has a supportive friend in Talvik.  The album is brought to close with something redemptive and hopeful; the feeling things will get better and the darkness will abate- a necessary uplift and sense of purity.

Across the album you get an immense amount of emotion, passion and diversity.  The production values are stunning; it allows the vocals and instruments to resonate and shine- bringing the words to life and giving the music the openness it needs.  Never polished or too shiny; Big Sky Country is a compelling and stunning work from one of music’s finest artists.  The songs tackle a range of subjects, emotions and scenes.  One moment we have a song that pays tribute to the U.S. and its varied geography; we go to haunted emotions and dislocated love- heading towards issues surrounding pain and personal unhappiness.  Love songs deal with real emotions and longing; themes that listeners can appreciate and understand.  Within the 11-track album we get something more oblique and literary.  Strange and wonderful characters tangle with meteorological moments and mystical themes- giving the album a depth and range that few other musicians are capable of.  Talvik shows herself to be one of the most unique and sharp lyricists around.  Deftly able to convey heavy emotions and romantic stress; she is as authoritative when taking her songs somewhere spiritual and oblique.  A singer with a rich, passionate and gorgeous voice; here is an artist with few bounds and limitations.  There is so much quality and wonder to be found across Big Sky Country.  If you are not familiar with Sofia Talvik and her body of work; you will want to check her album out.  A window into a wonderful soul with a big future; you cannot refute the amazement and nuance the album offers.

I predict some wonderful things for Talvik in 2016.  After a prosperous and busy 2015, the next year will see her tour across the U.S. (I would presume) and find new inspiration for recordings.  Each new album has a vivid and wonderful backstory.  A lot of artists record albums and E.P.s because they want their voice heard; they need to get something out there- Talvik is an artist that records when inspiration strikes; distilling her experiences and travels into music that wonderful travelogues and spellbinding stories.  Sweden is producing some of the strongest and most vibrant artists across all of music.  The variation and depth being explored is staggering; the sheer passion and love put into music is not equalled in any other country- you have a nation that should be in closer focus.  The U.K. and U.S. are always at the forefront of attention and expectation- other nations often get overlooked and ignored.  Few would naturally place themselves in Sweden when it comes to the best new music.  If you listen to Talvik and her peers; you get such an amazing difference and way of working- a naturalness and ethic that leads to some of music’s most amazing and long-lasting sounds.  It is the variety and genre-pollination that impresses me most.  The country seems less stressful and anxious; the artists are writing music because something wonderful hits them- not just to fill a gap or ensure they are not forgotten.  Before wrapping this thing up, it is worth looking at consistency and the female solo acts that are about right now.  This year I have been lucky enough to assess some wonderful female acts that provided a little something new.  From Electro. acts to Pop treasures, 2015 has boasted some fine and talented artists.  Few have really done what Talvik is offering music.  One of the most unique and special solo artists in music; her sounds and songs transport your mind across the lands and takes the imagination with it.  There are so many new acts coming out at the moment- the quality is rather unsure to be fair- so it is a pleasure to follow an artists that gets stronger and more assured with each new release.  Big Sky Country shows the Swede at the peak of her powers- more in love with music than she has ever been.  Having recorded and performed for years now; Talvik is one of the most consistent and prolific artists I have come across.  Nobody can deny how special her music is and where she is headed- the next few years will be very prosperous for her.  I hope Talvik comes and performs in the U.K.; spends some time in London perhaps- new inspiration for a future release.  It seems Talvik’s heart and soul belongs to the U.S.: a nation that has inspired a lot of her music; I guess the heroine will be spending a lot of time here next year.  If you are unfamiliar with Talvik then dig into her past and see the progression of a young woman that gives everything she has to music.  That passion and emotion shine throughout.  With every release Talvik describes the recording process and what inspired it; explains the details and gives the listener a direct insight into its formation- how many other acts do that?  Someone who loves her fans and the bond they provide; you would be foolish to ignore one of music’s most special and shining jewels.  Big Sky Country may be a few months old but its effects and wonder are still being talked about- a truly special album from a serious musical talent.  With the last few days of 2015 approaching, it is rewarding to find a musician that will be making big waves into 2016.  Embrace the passion, serenity and contradictions of…

A staggering musical force.

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Follow Sofia Talvik:

 

Official:

http://music.sofiatalvik.com/

Facebook:

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

Twitter:

https://twitter.com/sofiatalvik

Instagram:

https://www.instagram.com/sofiatalvikmusic/

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Music:

https://soundcloud.com/makakimusic

 

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Videos:

https://www.youtube.com/channel/UCrcYavR_4HZ1HpIf2JM5FaA