FEATURE: Radio Infrequency: A New Type of Station

FEATURE:

Radio Infrequency:

 

 

 

A New Type of Station 

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ONE of the things I find about my generation…

is how few people are listening to the radio.  I am not sure whether it has always been a generational thing- those of a certain age do not listen to it- but more and more people are turning to podcasts and other sources for music.  Until a couple of years ago I was turned off by radio: The ‘mainstream stations out there were starting to really annoy me.  I have respect for B.B.C. Radio 2 as it features a mix of new music and older stuff.   Whilst there is a good range of music I tend to find there are a lot of negatives and drawbacks.  The presenters are amiable enough but not really that engaging (or funny): The shows never really capture the imagination and it is not exactly cutting-edge.  Radio 1 prides itself on speaking to the youth of today: That comes at quite a bit cost too.  The presenters on the station (with the exception of a few) tend to be inarticulate, unlikeable and really irritating.  They (Radio 1) are good at highlighting some great under-the-radar music; they tend not to feature a lot of vintage/historical sounds.  Away from B.B.C. 1 and 2, there is not a lot of choice.  B.B.C. 6 Music is one of the best stations around.  They have that knack of mixing brand-new music with older: The presenters are quite engaging and have a certain charm to them.  I find the station does not really go far enough- whether they are constrained by genres/expectations.

My favourite radio station- and one of only a few in the U.K. who come close to being decent- is Absolute Radio.   I listen to the station every day and it ticks all the necessary boxes.  The hosts/presenters are engaging, entertaining and funny- Christian O’Connell, Frank Skinner and Andy Bush are the best in my mind- and have such a passion for music.  The music played is varied- with very few repeats- and you get a good spread of genres and tastes.  With its sister stations- Absolute ‘90s etc.- providing defined and particular music; Absolute Radio has amassed quite an empire.  Whilst one of the best radio stations in the U.K.; there are still problems and limitations.

One of the biggest issues is advertising.  Radio stations need to play adverts to gain revenue I understand that.  The problem is that I- among many people around the world- absolutely despise adverts.  They are hideously unfunny and embarrassing: Often mindlessly stupid and annoying; they are a plague on radio and YouTube- having to sit through stupid adverts before you get to hear/see a video on YouTube is one of life’s evils.  Absolute Radio has an issue of playing similar artists/songs.  I know they broadcast for many hours a day- seven days of the week- and there is always going to be overlap and repetition.  I feel the station is not as varied and diverse as it could be.  There are so many songs available- hundreds of thousands- and they do not really push hard enough in my mind.  Certain artists are played obsessively: There are people in the world (like me) who do not want to hear Foo Fighters endlessly (can’t stand the band) and need to hear something different.  Whilst one of the more cutting-edge and cool brand out there; the station does let a few rather dodgy bands get onto their rotation- Nickleback feature far too heavily in my mind.  Another issue with Absolute Radio is the fact it is under-the-radar (not their fault).  Whilst B.B.C. Radio 1 and 2 are the most popular in the U.K.; Absolute’ are one of the underdogs that deserve more attention.  I feel if they were given the same exposure and audience as B.B.C. Radio 1 and 2- who have far more flaws then Absolute’- then something wonderful could happen.  My point remains this: There are only a couple of radio stations out there that come close to ‘perfection’- doing what a great radio station should do.  What is to be done?

The Internet has a few stations/podcasts that have that potential to rise to the mainstream.  With fewer constraints and expectations; they are free to broaden their horizons and do something unique and unrestricted.  To my mind, there are still not enough stations that push hard enough and leave impressions in the mind (unless I am missing anything).  A lot of podcasts/stations are too niche and singular: Focusing on a particular style of music/genre.  If you do not have to worry about advertising/audience expectations then why confine yourself?  Musicians are free to create whatever music they please: Why then are radio stations becoming so tame and conformist?  The evergreen staples- Radio 1 and 2- are always going to get big audiences of a day.  The younger (or ‘yoof’) market will cling to Radio 1 as it provides the type of music they want to hear.  Radio 2 appeals more to the middle-aged/old-age sector with its more contemporary and mainstream tastes- doing a good job of ensuring bygone music is given a good showing.  It is important to represent audiences and draw age ranges in: Why can’t a radio station appeal to every listener out there?  There are only a few mainstream stations- B.B.C. 6 Music and Absolute Radio- that make an attempt at this.  I get annoyed by how many horrible radio stations there are.  In London you have Kiss F.M., Magic Radio, and Capital F.M.: Stations that ‘rock’ but are as far from cool and rocking as you can get.  They play (predominantly) Pop music and play the sort of music most of us really hate- their main audience is the young females of the nation.  Local radio is- with the exception of very few- a sorry and woeful affair.  With unfunny and cloying presenters; constantly repeated music- the same six or seven songs spun all day- and nauseating competitions- I really do hate most of them.  Living where I do; we have one of the worst local stations (Eagle Radio is tripe; Brooklands Radio is the best on show, mind) I have ever heard.  Aside from the abysmal adverts- some of the worst and more embarrassing you will ever hear- the presenters are off-putting and constantly unappealing/unfunny.  The music is the main concern: The quality and sense of diversity is seriously lacking indeed.  Tonnes of overplayed older songs and chart-friendly fodder.  No edge or any sense of class, alas!

Unless the Internet is hiding some gems- it is often the case a lot of great stations/music are hard to discover- you have to rely on what’s out there.  Too many people are sticking with iTunes/YouTube/SoundCloud for their music: Fewer younger people are listening to the radio and using it as a means of inspiring their mind and tastes.  While the Internet has greatest depth and range- compared to what radio stations produce- I worry radio in general will be obsolete in generations to come.  One of the biggest problems is the choice you have.  So many stations out there but all playing different music: Can you realistic have your demands/tastes met with a single station?  Unless you have an Internet station/application that can draw various stations together then you are in trouble.  What you could do is have something that scans stations and provides music from each of them.  First you can hear a song from B.B.C. 6 Music- based on your tastes this application would go searching for you- and after that you get a song from Kerrang! for instance.  After that you my get some chat from Absolute Radio before a song from Absolute ‘90s arrive.  It seems like an unwieldy and unnecessary way around things: Why not just create something original and new?

Whilst it may not transcend to the big leagues straight away, there is a real opportunity to fill some gaping holes.  I have been toying with the idea of starting a radio station: Starting on the Internet, it would go a lot deeper and further than what is already out there.  I have a very broad taste in music and find it is not being represented and exploited on radio.  It would be great to hear Miles Davis alongside Beastie Boys and Carole King.  I understand a lot of people don’t have such ‘varied’ tastes; that is missing the point: Radio limits itself and is too hung-up on crafting a particular brand or model.  Whilst I hate Radio 1 and find it seriously lacking; they are important when it comes to finding great new music and fresh sounds.  Radio 2 is rather good- if stuffy and too safe- at keeping older music alive and burning.  Even the cooler stations- Radio 6 Music etc. - are not variegated and all-inclusive enough.  A station should exist that takes all tastes into consideration.  You would not need to play all music across a single programme- a D.J.’s three or four-hour slot- but you could compartmentalise.  One D.J. could focus purely on brand-new music.  This would not just be limited to new mainstream music- the sort Absolute’, Radio 1 and most stations play- but artists that have to struggle hard to get their music played- the type that has to rely on local radio.  It would be great to hear songs from unheard-of bands- the sort I review quite regularly- play alongside Elle King, W.S.T.R.N. and Jack Garratt.  I do not understand why it is left to local radio to play songs specific to their locality- mainstream stations are ignoring a huge chunk of music.  I hear so much great talent around the world that does not get their fair shout.

One of the issues is royalties and paying artists to use their music: Perhaps the financial burden is castrating a lot of aspiring stations and dreamers.  It would be great to start a radio station (have it moored and based in London) that drew inspiration from new music fully: Focused on the mainstream’s best new acts in addition to those unsigned and across the Internet.  In the same beat; older music needs to be kept burning bright.  I find a lot of stations neglect genres and artists so many young listeners are missing out.  Why should Jazz and ‘90s Dance music be confined to particular stations; why it the likes of Steely Dan are rarely featured across U.K. music- an act that should be inspiring young musicians.

I do not have a name for it- one of the biggest issues going forward- but have a definite passion and goal.  Perhaps not presenting myself- choosing the music and working behind-the-scenes- I would love to see something take shape.  Getting a range of presenters together- perhaps from across the world- the station would encompass all music and make it easier for music enthusiasts to have their voices heard.  It (the station) would bring in charismatic and funny presenters- the model Absolute Radio has thrown down- and restrict its advertising to the station’s website.  That central website would be authoritative and complete.  Listing all the music played- information about presenters and the station- it would go deeper and do a lot more.  I have mentioned other plans I have- including a London music café and huge music website- that I would love to see happen.  The station’s site would give a link to Psychoacoustics (the music website I have pitched) and would make it a one-stop-shop for every music lover out there.  The station would also bring in charity and make it easier to raise awareness and funds- music events and concerts would be set up- and listen to market needs and the concerns of the audience.  If something needed to be included or changed; we would make that happen for them.

Of course there will be logistic challenges- getting money raised to set up the station; the problems of royalties and ensuring it was popular and heard- but things that can be achieved.  With older music starting to overtake new music- in terms of downloads and popularity- for the first time in ages; it is vital radio stations step-up and do what ends to be done.  It is hard to discover great older music through YouTube and the Internet- radio is the best device to rediscover some fine old tunes.  New music is a sector that will get busier and more expansive as time elapses.  Whilst a few stations promote new music consistently; they tend to confine their sights to those at mainstream level.  We all hear gems across Facebook and Twitter but few are played beyond the boundaries of local radio.  It is hard to represent all the fantastic music across the Internet: A new radio station could dedicate segments to that or sprinkle in songs between mainstream/older sounds.

It may just be me- as an avid and passionate music fan- wanting something better out there: I hate having to rely on social media for great new music.  Whilst I love Absolute Radio, for instance- one of the stations that come close to satisfying my tastes- there are still too many (needless) gaps and avenues unexplored.  I think I am not alone in my campaign and annoyance: I need people to give feedback and see if they would help.  I will need presenters and producers: Plenty of music fans to help make it a reality.  If it will happen I am not sure: It really needs to happen, though!  Just one question remains:

WHAT will the station be called?

The Classics Series: Rage Against the Machine- Rage Against the Machine

The Classics Series:

 

 

Rage Against the Machine- Rage Against the Machine

  

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OVER the next week or two…

I am looking at a range of different musicians and songs- across various countries and genres- and seeing what new music has to offer.  Aside from my reviews and interviews, I will focus on a new series: Looking at classic albums that have changed music.  Starting off with one of the ‘90s most scintillating albums: The groundbreaking and unstoppable juggernaut, Rage Against the Machine.

Released in 1992, it saw vocalist Zach de la Rocha join with guitarist Tom Morello; drummer Brad Wilk and bass player Tim Commerford.  The L.A. group’s Rapcore blends were a breath of fresh air in a music scene that were seeking a mouthpiece against the inequalities and struggles of modern life.  Looking at police corruption, racism and political injustices: The quartet concentrated these angers into a stunning record that inspired a legion of musicians and young listeners.  From that stunning cover- featuring the self-immolation of Thích Quảng Đức- to the sheer consistency and quality throughout: Critics were united in their support and love of a masterclass creation.

Whilst the genres of Rap and Heavy Metal were strangers to one another; Rage Against the Machine were one of the first bands to bring them together- throughout the ‘90s bands such as Beastie Boys would perfect the art.  Few were expecting a band like Rage Against the Machine to arrive.  The U.S. had (up until that point) seen some terrific young rappers come through- and great Heavy Metal bands for that matter- nothing has arrived like the Los Angeles boys.  Led by angry white boy de la Rocha; their Molotov cocktail of rebellion and disgust came together in songs that were surprisingly disciplined, focused and nuanced.

[youtube https://www.youtube.com/watch?v=Lp3kcHchD1Y&w=420&h=315]

Bombtrack is a number that perfectly kicks the album off.  Kicking with tripping and sneaky guitar strings; the track builds into a stunning explosion.  With each player coming-together with aplomb and purpose: the song sees our lead deliver one of his most swaggering vocal performances.  Offering beat-downs and truths: Our hero leads an elite charge against the “power whores and landlords”.  Rallying against the social inequities he sees; de la Rocha sounds completely in control and purposeful.  Brad Wilk provides some stunning double-kick flourishes- rare for any drummer- and is backed by the electricity of Morello and Commerford.  The name of the track uses the word ‘bomb’ to mean ‘greatest’: Rage’s braggadocio and proclamations are evident right from the offset.

Killing in the Name is the obvious standout from Rage Against the Machine: The anthem that remains their most popular song; its chorus tag- “Fuck you, I won’t do what you tell me!”- became the rallying cry for disaffected youth.  A track that looked at police violence and institutional racism; it was one of the most politically-charged and angry songs on record.  A hit-back against the ills of American society it sees de la Rocha build the tension: Those “Fuck you”s start mumbled and teasing- before building into a firework crescendo.  Released six months after the Los Angeles riots; the song perfectly captured the imbalance and problems that pervaded society at the time.  Fiery bass lines and militaristic drumming brutality was at the core: It was perhaps Morello’s guitar work that defined the track (for me at least).  Few guitarists have arrived on the scene- and have since in fact- that have such a range of moves and innovations in their bag.  Ingenious and original riffs sparred with sparkling diversions and firecracker scratches: A player with limitless potential; it was all laid bare in a track that became Rage Against the Machine’s defining anthem.

Away from the obvious anthems; the band created songs which build and mutated: Songs that developed and grew like a blood-baying animal.  Bullet in the Head was inspired by the belief (the band had) the media were controlling people’s thoughts.  Packing in some meaty and gut-punching riffs; it sees Morello open his magic box and produce some of his most scintillating creations.  Take the Power Back is a chant-able beast of a track: An obvious call that rebels against the ineptitude of government; a song that resonated with those listening upon its release.

[youtube https://www.youtube.com/watch?v=jg8zR91tgSE&w=420&h=315]

What strikes me about Rage Against the Machine is how its songs grip the attention from the very off.  Those introductions are so considered and perfect; you are captivated from the very first notes.  Settle for Nothing builds the tension with a moody and twilight introduction: All danger and uncertainty; it leads to one of the band’s most tense and tight performances.  Know Your Enemy starts with that dizzying and head-spinning introduction assault.  Surprisingly direct and to-the-point the song looks at the contradictions the U.S. perpetrates: It is the “land of the free” yet invades other countries at will- a furious attack against the hypocrisy of government.  Wake Up sees Morello employ Led Zeppelin’s Kashmir (and that biblical riff) for his own measures.  Running in at over six minutes long- an epic by the album’s standards- it looks at the racial problems in the U.S.  Putting figures such as Malcom X. and Martin Luther King Jr. under the microscope: Here the song suggests government agencies such as the F.B.I. arranged those assassinations.

Fistful of Steel remains a favourite for me.  One of the finest introductions on the album; it builds from woozy and warped guitars.  From there you get that scuffed and echoed metallic punch; the percussion rifles in- de la Rocha elicits a brief “Hup!” before the band combine in an orgasmic, cool-as-fuck swagger.  With Freedom providing a suitably epic conclusion; you have an album that was- and still is among many- considered one of the finest in all of music.

Rage Against the Machine would go onto create three more albums- 2000’s Renegade was their last- and would never burn as bright as they did on their debut.  Whilst by no means a case of diminishing returns; Rage Against the Machine perfectly captured the anger felt by many: Perfectly assessed across an album that brimmed-over with explosive anger and hard truths.  The partnership and bond between front-man de la Rocha and guitar genius Morello seemed unlikely but worked perfectly.  The former was at his strongest when focused on particular issues- less inspired when widening his scope.  Few artists at the time had any particular political stance: de la Rocha’s leftist anthems saw him mix street preacher fanaticism with militaristic Rap assaults.  Morello brought in a

Few artists at the time had any particular political stance: de la Rocha’s leftist anthems saw him mix street preacher fanaticism with militaristic Rap assaults.  Morello brought in a truckload of wizardry, invention and colours.  Bringing new life into the genres of Rap and Heavy Metal: Marking him as one of the world’s greatest guitarists; the album would have been far weaker in anyone else’s hands.  Joined by some tremendous percussion and bass work- the entire band had no equals in terms of musicianship and quality- Rage Against the Machine remains a peerless and landmark creation.

The sad thing is- showing foresight and prescience by the L.A. band- the album remains crucial and relevant to this day.  Police racism and inequality burns bright and unchallenged.  Across the U.S., we keep hearing stories of police brutality and racially-motivated shootings.  With political lunatics like Sarah Palin and Donald Trump spewing their right-wing insanity and propaganda: Has U.S. politics and society changed since 1992?  It seems insane the country- and the world at large- has not matured and evolved in the past 24 years.  Whilst the music (of Rage Against the Machine) captivated and spoke to listeners at the time: Here is an album that continues to inspire and amaze listeners.  If you have not witnessed one of music’s finest-ever albums; ensure you change this…

AND watch your mind being blown away.

[youtube https://www.youtube.com/watch?v=QNzIKoAy2pk&w=420&h=315]

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TRACKLISTING:

Bombtrack

Killing in the Name

Take the Power Back

Settle for Nothing

Bullet in the Head

Know Your Enemy

Wake Up

Fistful of Steel

Township Rebellion

Freedom

DOWNLOAD: 

Bombtrack; Killing in the Name; Know Your Enemy; Fistful of Steel; Freedom

STANDOUT TRACK:

Killing in the Name

Track Review: Hannah Boleyn- Insignificant

TRACK REVIEW:

 

Hannah Boleyn

 

 

Insignificant

9.4/10.0

Insignificant is available at:

https://www.youtube.com/watch?v=lok6AEkEjVw

RELEASE DATE: February 5th, 2016

GENRES: Soul

ORIGIN:

Leicester, U.K.

LABEL:

Tudor Gate Records

WRITTEN BY:

Hannah Boleyn, Hiten Bharadia & Neil Athale (Phrased Differently)

PRODUCED BY:

Neros

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THE last review for a few days sees me come back to one of this...

country’s blossoming artists.  When reviewing female artists, I have looked at the range of sounds provided: The sort of genres blended and what the scene has to offer.  I wanted to look at the voice (and its importance); the themes that influence a song- finishing off looking at how to get your music to the national radio playlists.  Coming into music requires a lot of determination, grit and passion.  With a lot of musicians feeling the pressure of the industry- and calling it quits after a short time- it is impressive watching artists keep pushing and growing.  In the modern music scene- when it comes to solo artists at least- there seems to be an emphasis placed on the voice.  Every column inch I see- when reviewing a great new artist- tends to pride the voice over lyrics and music.  Perhaps it is what consumers/listeners prioritise- I like the whole package myself- but there is a lot of focus placed on the quality of the vocals.  So many solo artists tend to pass you by: That vocal just does nothing and seems rather lifeless and ineffective.  What really impresses me is discovering a voice that can go huge- create something scintillating and explosive- whilst able to come down into tender territory.  I know it is a big ask, but I discover so many singers that have such a limited range.  The voices that have mobility and range are always going to be capable of more.  What is more important than anything- when assessing a voice and what it can do- is ensuring your sound is original.  Too many artists are emerging that lazily mimic existing artists and put no effort into making their music unique.  When it comes to Hannah Boleyn, there is not a whole lot of information/biography on her.  The Facebook/Twitter accounts revolve around the music, so one has to put the pieces together somewhat- it is good to have some mystique I guess.  What strikes me about Boleyn is her vocal sound: It has such a refreshing and special sound whilst bringing in shades of other artists.  Inspired by the likes of Shirley Bassey, Amy Winehouse (so many female artists are these days) and Lana Del Rey; you have an artist that is rightfully gaining a lot of attention and applause.  It is not just the sound of Boleyn’s voice that impresses me: Capable of presenting any emotion with complete conviction you have a natural singer that ranks among one of this country’s most impressive young artists.  Every time I hear a Hannah Boleyn song you get the same impressions.  No two moments sound the same at all.  Every note and verse have a distinction to it; in no small part due to that exceptional voice.  One of the other great things (about Boleyn) is her refusal to stick to the cliché subjects for music- heartbreak and love etc.- and her broad pen is one of her most impressive facets.  Inspired by real-life events and strange moments, you get a young talent that wants to distinguish herself from her peers.  In a music scene with too many heartache anthems; it is wonderful to hear a young woman who has that originality and autonomy.  Many artists could take inspiration from Hannah Boleyn.  The first instinct of any new songwriter is to recall heartache and broken relationships: It seems to be the staple now, so why buck the trend?  That is all well and good- you need to write one or two songs like this- but so many artists do not stray away from these subjects.

The most interesting and enduring musicians are those that expand their subject matter and dig a lot deeper.  I mention this point because Boleyn’s most recent track (Insignificant) looks at the unimportance of silly things- compared with life-or-death/serious issues.  Dripping with emotion and truth; hardly a surprise the song has been picked up by so many and hit hard.  Our heroine has enjoyed a steady rise over the last few years.  With some special releases under her belt- including the album The Boleyn Affair- it seems like there is no stopping her.  Whist Insignificant is taken from the album- in addition to previous singles Tough Love and Permission to Leave- it seems like 2016 will show fresh unveilings and progressions.  The Boleyn Affair is nary three months old but has already captured the public imagination and some wonderful reviews.  The consistency and quality throughout the album marks Boleyn as one of the U.K.’s most stunning talents.  Backed by that varied and sensationally soulful voice; the terrific range of songs and lyrics- you have an album that shows just what Boleyn is made of.  An impressive gauntlet and revelation; it will be fascinating to see what this year holds in store.  Having gained support from B.B.C. Radio 2- Graham Norton and Terry Wogan- it got me wondering about national radio-play.  A lot of artists have that ultimate goal in mind: Get their music played by the big boys of radio.   Whilst there seems to be no one formula and golden rule to success- and getting music to the national radio stations- I guess you just need to ensure your music has that originality and nuance to it.  Boleyn has a voice/sound that is ready-made for B.B.C. Radio 2; it can also translate to the ‘lesser’ stations like Absolute Radio and Radio X.  Whilst her music is quite populist and universal; it has coolness and bite to ensure it appeals to those who prefer their music edgier and harder.  It is no mean feat getting your music played by the national stations so congratulations must be given to Boleyn.  With one album already released, I suppose this year will see some new music and tour dates.  Given her rate of progression, it would not be surprising to see our heroine taking her music across the globe.  Such a universal and lovable sound; who would bet against her taking on the U.S. and Australia for instance?  That may seem like a dream right now- but hardly a stretch if you think about it- but Boleyn is focusing on the here and now.  Insignificant is another revelation step from a musician that has an inimitable voice- critics seduced by its soulful power and seductiveness- with songs that mix the personal with ubiquitous.

Whilst Insignificant- like most of Boleyn’s previous output- appears on The Boleyn Affair; one can see a difference between songs.  With its songs being recorded at different moments; I was fascinated to look at individual tracks and how they differ.  Before doing that, I wanted to look at Cemetery: One of Boleyn’s earliest and catchiest tracks.  From its endless swing and vivid lyrics, you get caught up in a voice that has such power and rawness to it.  A song that brings in elements of Soul, Swing and Pop; it is such an instant and confident number.  Using cemetery/grave-side imagery as metaphors for love- and burying memories deep down- it showcases a fresh and new take on the subjects of heartache and love.  Throughout, Boleyn lets her voice shine and power through.  A short and memorable number, it stands as one of Boleyn’s most uplifting and smile-inducing song.

    No Hard Feelings- taken from The Boleyn Affair- begins with atmospheric and racing strings.  When our heroine comes in; that bold and brassy voice drips with emotion and strain.  It is clear she has been through some break-up and heartache.  In spite of everything, there are no recriminations and accusations.  It appears like there has been a clean break (of sorts) and nothing to get too angry about.  Reflecting on the awkward conversations and past times- even though there is a definite regret inside our heroine- there is that compromise and acceptance.  The boy was perhaps not part of a long-term plan and agenda.  Not a true love for her; the break-up is being met with acceptance and maturity.  Not sure if it was inspired by a real-life event from Boleyn’s past: There is plenty of conviction and truth to be found in that scintillating and dramatic vocal.

   Tough Love is a song that has gained attention and popularity among social media and reviews.  Such an energy and explosion comes through in the chorus.  Our heroine is fed up with tough love and being told what to do.  Whether documenting love or professional relationships- the control some people try to exert- there is that emancipation and breaking away.  Fed up with others calling the shots; getting away from those toxic situations has enforced the song’s creation.  One of the most sing-along and uplifting choruses Boleyn has created; here is a song that can get crowds and listeners singing proudly and loudly.  The chorus has Pop edges and mainstream appeal whilst the composition (and verses) has its heart in Soul territory.  Rumbling drum beats and orchestral string rises give the song a brilliant mix of raw emotion and upbeat defiance.

   Permission to Leave is another single that has gained a lot of attention.  Differing from previous numbers- and showing another side to our heroine- it begins with a harder beat and swagger composition.  Edgier and more attacking than other numbers; the song soon expands and opens its wings.  Looking at fights and conflicts in love- it seems like our heroine’s sweetheart has caused her anger- the track recounts some fall-out and ruction in a relationship.  The track looks at twisting words and putting tests out there.  A bit of cat-and-mouse takes place- our heroine wants to catch her man out- and the vocal is much more direct and determined than other numbers.  Whilst boasting another big chorus, the emphasis here is on emotion and laying down the law.  Inspired by something more negative and unsettling; the track is given an appropriately focused and atmospheric composition.  Showing how versatile her voice is; Boleyn showcases her full emotional range across a track that seems very personal and important to her.  Clearly not a woman to be taken advantage of; you have an anthem that will appeal to young women: Taking control and not letting their men get away with indiscretions and cheating.  I am not sure the exact origins behind the song- whether it is taken from events in Boleyn’s past- but cannot help but be impressed by the drive and determination in the vocal.  An exorcism of sorts; Permission to Leave is one of The Boleyn Affair’s most stand-out moments.

What you find with Hannah Boleyn is an artist who is restless and varied.  Few of her songs sound the same: Huge range and difference can be found across an album that showcases what a talent she is.  Working with various songwriters has led to music that works across various themes and genres.  What impresses me most- apart from the composition and lyrical variation- is that voice which continues to amaze and impress long after the song has finished.  Whilst a consistent and solid album; there is still a lot of variation and diversity within the songs.  A lot of artists produce an album with songs that all sound similar: It can be off-putting and mean the record does not have much staying power and nuance.  What you get with Hannah Boleyn is an artist with huge range and myriad ideas- it will lead to a very varied and long career.

Differing itself from many of The Boleyn Affair’s tracks; Insignificant gets underway with a gentle piano line and something quite tender.  In other numbers, Boleyn gets songs underway with a brash and brassy composition: Fusing Soul and Pop into something direct and hard-hitting.  Given the importance and significance of the track; we get something more restrained and light early-on.  Right from the first words you understand just what the song is trying to say.  Our heroine doesn’t sweat if she misses the bus: Willing to stand in the rain; there are more important things to concern herself with.  Letting her voice pack emotional punch and soul- whilst keeping itself restrained and tender- our heroine documents a variety of situations.  If her clothes get wet then there is nothing to worry about.  If she loses her job then there are no concerns (I would be pretty stressed personally); against the focus of larger issues, these minor things seem insignificant.  It is hard not to think of Amy Winehouse when the opening lyrics come to play.  That distinct and smoky sound mixes with something powerful and vulnerable; a vocal blend that gives the words such a weight and passion.  When our heroine looks at the troubles and concerns of everyday life- being late for work and the commute stress- they pale when compared to the bigger strifes and horrors.  I know Boleyn was inspired to write the song after a loved one of hers was admitted to hospital.  After that event happened, everything else seemed rather small and pointless.  Few artists take a hard and challenging time and funnel it into music and something positive.  Not only does Insignificant deal with concerns and life philosophy with maturity and intelligence; it also showcases one of Boleyn’s most accomplished and stunning vocals to date.  The song originates from Boleyn’s horror upon learning the news- that a close relation was sick- and in that moment realised nothing else matters.  Every other stupid annoyance took a back seat to something more urgent and important.  Plinking strings and haunting strings support the vocal which continues to impress and captivate as the seconds tick.  The listener is drawn into the soul and heart of a song that has a tear-stained sense of perspective and reflection.   That refrain of “I’m losing you” is delivered with such a shiver and haunt; it is impossible not to be personally affected and troubled.  Those words make the listener look at their own lives- similar times that they have experienced- and it is impossible not to evoke some sort of reaction to Boleyn’s emotive performance.  Insignificant is a song that recounts a traumatic time and shows bravery and huge strength.  Those that are familiar with Boleyn’s previous work will be surprised to hear a song that sounds like a bit of a shift.  Few of her previous tracks have such a stillness and emotion to them.  Many of The Boleyn Affair’s songs have gutsy and big compositions: Vocals that are energised and full-bodied.  It would seem rather inappropriate to employ those traits to a song that calls for a particular delivery and sound.  That is what impresses me most about Boleyn: She can tread any subject and idea and put them all together in and album that sounds consistent and natural.  Gathered on the underground- tears are streaming down her face- that devastating news is still large in the mind.  Perhaps not in the right place at this time- having to battle commuters to get to the hospital- you feel that tension and emotion rise.  If we were in the same situation, how would we react?  It is only natural there would be sadness and unexpectedness: The way Boleyn articulates her feelings into the song is hugely impressive.  Such a clear and tangible set of lyrics means the listener can transport themselves in the song.  Perhaps our heroine has encountered bad news in similar situations- “Just another breakdown in a public place”- but this seems the most fraught and unsettling.  I am not sure exactly who is the core of the song- whether a family member or a boyfriend- but is something that compelled and inspired a wonderful song.

Through the early stages the composition remains supportive and comforting.  Not just letting the voice do all the work; the polished production and effective backdrop- hard and elliptical beats with delicate piano- emphasises that sense of loss and heartbreak.  When that news first came to Boleyn, the words got inside her and caused an instant reaction.  That sense of numbness and distress is represented in words that see flying birds and drowning emotions combat one another.  By the time the chorus comes around the second time, you still find yourself rooting for the heroine and everything she is going through.  The chorus provided that centre and mantra that tells what the song is all about: In a way you want more verse to see how things play out.  Before we are given more insight; our heroine documents how the new hits you “without warning”.  Being unaware and going about life as normal; she has received this random phone-call that has bowled her down.  Leaving her “cold on a sunny morning”, that chilling and head-spinning conversation is well explored and represented.  At every moment, the vocal has that combination of power and soul which will lead to some serious radio-play and critical acclaim.  Towards the closing moments, the backdrop beats get firmer and more persistent.  Perhaps representing an accelerated, anxious heartbeat; it is impossible not to be completely drawn into the song and its layers.  That central voice never fails to impress- whether uplifted and huge or emotive and tender- and keeps the listener seduced and invested to the very last second.  Boleyn shows how effortless and authoritative she is in every single territory.  Already demonstrating how strong she is when letting her voice fly: When taking things down you get a comparably huge emotional punch.  The very dying seconds see that percussion beat come in to represent a final fling: Those tears and distressing feelings that must have been in Boleyn’s mind when she heard that news.  At the very end, you wonder just how things worked out.  Did she get to the hospital on time?  Was her loved one okay at the very end?  Perhaps those questions will be answered in time: What you have is a song that keeps the listener hooked and leaves some mysteries at the very end.  Insignificant is one of The Boleyn Affair’s prime cuts and showcases just what an agile and impressive talent Hannah Boleyn is.

Joining forces with Hiten Bharadia & Neil Athale; you have a song that demonstrates a lot of heart and emotion.  Perhaps a subject not often explored- more songwriters should think like this- Insignificant breaks away from songs of love and minor issues to address something much more vital and important.  Not only is the song a stand-alone gem: It will speak to people who put too much stock in silly and unimportant things.  For those of us that get aggravated by train delays and social media content then take note: There are huge things that can come out nowhere that make everything else seem stupid.  Hannah Boleyn shows why she is one of the most heralded and important emerging voices in British music.  With so many of her contemporaries vying for market share it is impressive to see a musician who has already achieved so much.  With the likes of B.B.C. Radio 2 enamoured of her many talents; it is only a matter of time before the London-based singer becomes even bigger.  Insignificant is available across YouTube- its official release is next month- and a song that possesses huge emotions and personal heartache.  Given that premise, it might sound rather off-putting on paper: The truth is, the song is embracing and all-encompassing.  Intended as a guide/warning to people who let tiny matters consume them; a singular musical moment that should inspire many other musicians.  Neros’ production allows the vocal to be given free reign up-top.  Ensuring proceedings are not too polished and fake you have a production that perfectly blends the instruments and vocals together.  The composition is not mixed too low; allowing the haunting piano and strings to work closely together- an accomplished feat from one of the best producers out there.  Where Boleyn goes from here is anyone’s guess.  Insignificant is a song that is anything but: A big statement from a rising name in British music.  Combining ‘60s and ‘70s Soul voices with modern-day chanteuses: Few listeners and music fans will be able to ignore the exceptional talent we have in our midst.

Insignificant is another confident step from an artist that is shaping up to become one of Britain’s most promising artists.  There is a whole host of solo artists emerging, so the challenge is making sure you stick in the public’s mind.  It is no good coming in with vague ideas and a voice that sounds like everyone else- so many do unfortunately.  Given the height of competition and the masses of musicians coming through; there seems to be no excuse to arrive in music and simply expect the success to come.  Hannah Boleyn is an artist who has worked tirelessly to ensure her music stands aside and reaches as many ears as it can.  With some impressive radio patronage under her belt, it is clear she has a future ahead of her.  I often feel tepid about some solo artists- their first moves can be quite shaky- but there are no such fears when it comes to Boleyn.  Everything seems fully-formed, confident and original right now.  From The Boleyn Affair’s filler-free quality to the praise Insignificant is picking up: Clearly her music has the quality and passion to win the public heart and minds.  Insignificant is a song that sees Boleyn looking at what is really important in life.  Forgetting the petty quibbles and minor qualms, we get hooked-up on; focusing on what matters most is what really counts.  We often get bogged down in minor concerns and silly things.  Insignificant is a song that taps into those oversites and explains the importance of prioritizing your focus and attention.  Drawn from real-life events and happenings; you get a song that has inspired a lot of people and resonated clearly.  So many artists are coming in with their lyrics of love-gone-wrong and misery-inducing break-ups.  That is all very well- a majority of songs out there look at love in some form- but I am always impressed by music that steps away from such well-trodden themes.  Not only do you have more flexibility and potential in terms of lyrics: The song itself will stand aside from the crowd and seems a lot more original.  Whist Boleyn has written plenty of songs about love and the desires we feel; she is a talent that digs deeper and explores lesser-heard subjects.  If last year is anything to go by- an album release and a great leap forward—surely this year will be stronger still?  With a couple of gigs booked for London- there will be plans for more dates- the year is shaping up to be very busy indeed.  Right now there is a real proffering of female singers that have big/soulful voices: The likes of Amy Winehouse feature heavily in the tones of our new songstresses.  It is understandable the legacy of Winehouse burns bright: Those distinguished and stunning pipes have a haunting and mesmeric effect on the senses.  A lot of young musicians are trying to instill the essence of Any Winehouse in their music.

That is laudable but so long as the overall vocal sound differs significantly: If we have hundreds of Winehouse sound-alikes, then there is no currency to your music.  Hannah Boleyn is someone who takes Winehouse as an inspiration/starting block and expands on it.  With embers of ‘60s/’70s Soul queens in the mix; some elements of Lana Del Rey in there too- you have an artist with a terrific sound at her disposal.  At the heart of everything is a unique voice that betrays a debt to nobody.  The same can be said for the songwriting too: Hooking up with some terrific writers and producers; Boleyn has a clear direction and ambition that sets her aside from her peers.   For any upcoming songwriter reading this; there is a lesson to be learnt from Insignificant.  Too many musicians have little in the way of mobility and diversity when it comes to their songwriting.  They see others on the radio and think THAT is what should be done.  Whilst there are some genuinely impressive artists emerging; still too many replicate and mimic others.  It is a subject I shall drop- thankfully, you’ll be relieved- for now; my point is that Hannah Boleyn should be focused on more.  The Boleyn Affair was an album that gained positive feedback and support for many different reasons.  Not only is there a huge consistency and diversity to be found; there is an immense amount of confidence from an artist who has a desire to succeed and develop.  With many singers crumbling and fading after a few years; I know Hannah Boleyn will be playing for many years to come.  Insignificant is a song that shows just what she is all about.  2015 was a banner year for the young artist; if anything this year can be even more prosperous and impressive.  Make sure you investigate an original voice who is gaining a lot of momentum and attention right now.  Insignificant is another bold move from a musician who…

IS impossible not to love.

[youtube https://www.youtube.com/watch?v=lok6AEkEjVw&w=560&h=315]

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Follow Hannah Boleyn

 

Official:

http://hannahboleyn.co.uk/

Facebook:

https://www.facebook.com/hannahboleynmusic/

Twitter:

https://twitter.com/thehannahboleyn

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Music:

https://soundcloud.com/hannahboleyn

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Videos:

https://www.youtube.com/channel/UCFCZA17o6e1VHmT0o8JOvFw

Track Review: Mãs- Higher Spirit

TRACK REVIEW:

 

Mãs

 

 

Higher Spirit

9.5/10.0

Higher Spirit is available at:

https://soundcloud.com/givememas/higher-spirit

RELEASED: August 9th, 2015

GENRES: Electro.-Pop

ORIGIN:

London, U.K.

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AFTER a run of great female artists I get the chance to….

feature a terrific London two-piece.  Before I come to my featured act, I wanted to look at duos once more- something I have touched on- in addition to uplifting sounds and the importance of creating music that one can lose themselves in.  I am sticking with London this week- two London acts coming over the next few days- and a great duo that have a stunning sound at their disposal.  Having featured duos on this blog before- quite a wide range of shapes and sizes- I am thrilled to concentrate on another.  What I love about duos is the connections they have: The simpatico and bond the two musicians have for one another.  The solo artist has to do all their own work and has to rely on their voice and opinions.  It can be quite a lonely existing, and as such, the music can quite be limited.  I have seen quite a few solo artists who have an amazing inventive sound.  Too many (in my opinion) do not leave that much of an impression.  While the music they produce can get inside the heart and speak to a listener; I find the tunes lack that necessary spark and sense of fun.  Of course there are solo artists that can produce something exhilarating, yet it is the duos that do this best.  A lot of the duos I have reviewed have been in relationships- maybe accounting for the closeness they share- but quite a few are good friends.  While bands can suffer break-ups and friction; I find duos are much more cemented and compelling.  There is just something about the chemistry that amazes me: How the duo work with one another and the music they come up with.  If you look at the end-of-year polls and declarations from critics- which acts are going to own 2016- few of the aforementioned are duos.  2016 will see a lot of promising and diverse solo artists coming through; some exciting bands will be emerging- what of the great two-pieces we have out there?  Perhaps it is a musical dynamic that will gain appropriate support I years to come: I find too few people are taking note of some wonderful duos out there.  If Mãs are anything to go by; we should all be spending more time checking out the duo market.  What the London-based boys do is produce music that has Funk edges and a definite kick.  They make music for the outcasts and the dreamers: Sounds that the artists, poets and lovers will revel in- a veritable Molotov cocktail of colour, hypnotic swagger and smile-inducing beauty.  It is hard to really pin-down and define their sound: A unique and stunning act emerging; they are musicians you definitely need to study closely.  Before I continue my points, let me introduce Mãs to you:

“We are Mãs. We make party hymns for outcasts. We are an Electro/Pop duo formed in London in 2015. The music we write is influenced by the hooks of Michael Jackson, the grooves of Prince and the atmospheres of Daft Punk. The result is an avant-garde pop you would love to lose yourself to. Currently, we are working on the production and recording of our Debut EP, which is planned to be released in spring 2016”.

So many duos tend to be Acoustic-sounding and Folk-inspired- quite wistful and romantic- or go in with a lot of force and intent.  What Massimo and Marco do is create music that has shades of classic artists- Michael Jackson, Prince and Daft Punk are influences of theirs- and inject their unique brand of fun and uplift.  It is always wonderful hearing musicians that get the listener upbeat and excited.  I find too much new music is quite sonorous and introverted: There is that missing magic and fire that can get the crowds unified in a dance of delirium.  With their debut E.P. not far away, Mãs are a duo that are going to be on the lips of many reviewers and critics.  Considering myself an archetypal ‘outsider’- someone who is never really understood and has big dreams- the music Mãs summon not only connects with me but makes me feel less misunderstood/alone.  The boys are keen to ensure their brand of sound you can immerse yourself in and surrender to.  Our duo creates a polemic against the rather serious and self-indulgent brand of music that many new acts are providing.  Many will read this and have the same thought: If their music is ‘fun’ and merry then it is not going to have a serious message or any real solidity.  Massimo and Marco have a solid and unflinching friendship that has resulted in some terrific music: Every note and moment has that passion and quality to it.  The boys are not your simplistic upbeat-making musicians that are concerned with compositions alone: Every element of their music has depth and intelligence to it.  If you consider the early days of Michael Jackson- Off the Wall and Thriller- you get those Disco hooks and funky-as-hell feet-moving lines.  Perhaps not as blistering as Jackson’s early work, the London two-piece have their own brand of Funk and Pop.  Combining electronic elements inside soulful layers- little bits of Prince’s early work comes out too- and you have a duo with few comparisons.  Electro.-Pop is a genre- or sub-genre I guess- that has quite a few patriots and players.  A lot of the music created (by Electro.-Pop artists) tends to hit you upon first listening and perhaps not linger in the mind.  Mãs are masters of the nuanced sound: Penning tracks that hit you instantly and then never escape the brain.  Inspired by some of music’s colossuses- the Jacksons and Princes- you have songs that hark back to ‘80s Pop whilst providing plenty of atmosphere and modern-day urgency.  They are not an act that keeps their minds in the past: Everything they produce is forward-thinking and progressive.  Being a sapling act in music- they were only formed last year- the guys have made big strides over a short period.  In a city that is hugely competitive and busy the Mãs boys are going to be working hard to get their names heard.  London has quite a few great duos working at the moment: For my money, none are quite as unique and distinct.  In a cold winter and uncertain time we all want to embrace music that warms us and allows some escapism.  For that reason, I feel like this year will be a hugely beneficial one for Mãs: Their E.P. will get a lot of attention and their fan numbers will climb rapidly.  Right now the boys have a small (but loyal) following that has promoted and supported their music since its inception.  Higher Spirit is as evocative and uplifting as its title suggests: A rapturous and serotonin-producing slice of Electro.-Pop that is a panacea against the sloganeering bands and easy-on-the-ear music of solo acts.  Possessing depth, mystique and wonder; I think more people should take Mãs to their hearts: When you do the rewards will be huge, believe me.  With spring seeming like a far-off impossibility- it is fricking freezing- Higher Spirit is a music that warms the heart and brings sunshine to the fore- who would readily overlook that?!

Over the past year, Mãs have produced some stunning songs.  Last year- and perhaps their first song they made public- Tiger was released into the wild.  Starting with finger clicks and bubbling beats: The track has a delicious unique start.  Romantic mystique and tiger eyes (in disguise) are laid out.  Our hero is hearing words he will “never hear again”.  His sweetheart is not holding his hand- although that does not matter- and there is that building mystery and intrigue.  The composition continues its endeavor at every stage: Never overbearing or too slight you get sucked in by those racing beats and chugging electronics.  Little shades of Daft Punk come through- that moodiness and atmosphere blends- alongside some cool-slung Prince.  Blending Soul, Funk and Electronic together results in a track that has a constant energy and racing pulse.  Never relenting and drawing breath there are cute touches- the song’s title chanted at intervals- and wonderful diversions.  The song looks at two lovers with perhaps some different ideals.  Time and separation has caused some pulling-apart.  A mesmeric and stunningly realised first effort; you get blown by the confidence and authority that comes through.

Dancing With the Tides was released soon after (Tiger) and begins with instant swagger.  Those Daft Punk elements come to the core as we get some funky and sassy electronics.  Sassy and hip-shaking: This is one of the most urgent and instant tracks from the duo.  A dance-floor filler; it is impossible to ignore the gravity and brilliance.  The duo combines voices to draw the listener fully into the song.  Looking at more positive sides of love- traveling deep into the ocean and escaping from the city- there is that hopefulness and passion that radiates bright.  Constantly catchy and engaging; it shows just how tight and consistent Mãs are.  Most acts tend to take time to warm up: Their first few songs see them finding their feet and looking for their sound.  No such quibble with the London duo who arrive fully-formed and solid from the very off.

Maradona begins with vocals- something the duo has not done before- and begins quite sparsely.  Romantic and longing, you pay attention to the soul and sweetness of the vocal.  Almost a Gospel number; our hero looks at the sun (in the morning) and the moon at night.  His eyes do not want to close- there is transcendence to the track- and the elements are brought into the song early on.  A song that speaks to the outsider- our hero is not alone and how someone on his side- you have a departure from the duo.  One of their most unique songs- a switch from their most effusive and busy numbers- the key is on that emotional and bare sound.  The voice is allowed to shine and do its work: Lyrics look at battling the odds and holding onto someone who means a lot.  A champion call to those that need direction and focus: Maradona is a song that will resonate with many listeners.  The song does start to build after a while and rises into a glorious vocal harmony.  As the song’s title is repeated you get a hugely spine-tinging chorusing.  Reminding me of Michael Jackson’s early days; I get glimmers of Off the Wall’s mixture of introspective balladeering and the funkier side of things.  Combining ‘80s Pop with something modern and fresh: Here you have a song that hints at a very bright future.

The boys have developed and grown in confidence since their debut cut.  With every moment you get a new perspective and sound emerging.  Not a duo that sticks with one sound- and rings it to death- it is wonderful to hear the progression and consistency they offer.  The production values are consistently wonderful whilst the performances from the duo are exceptional.  I can see Mãs producing an E.P. that brings in their best moments- Maradona, Higher Spirit and Dancing With the Tides- and expanding on this.  Higher Spirit fits nicely into their catalogue and marks as their most immediate and nuanced song so far.  A young act with a lot of spirit and talent: Who knows how far they can go this year.

Having gained a lot of attention and praise already, I was excited to get down to studying Higher Spirit- just what the boys had on offer.  Their most slinky and seductive groove to date: The introduction wiggles, dances and steps its way into the light.  I have mentioned the likes of Michael Jackson and Prince: Apt comparisons given the quality and addictiveness of those early notes.  You could throw in Nile Rodgers into the mix too.  Sparring Disco of the ‘70s with ‘80s Funk-Pop- via a bit of modern-day Electro.-Pop- and the listener is already excited and moving.  Funky spandex strings are cool cats that are walking the streets with swagger: You start to picture the song unfolding and just what could come next.  A confident and exciting first few seconds; no listener will be immune to the movement and power Mãs provide.  When the vocal does arrive the words are delineated with pace and consideration.  Ladling out the lyrics carefully; the listener is afforded the opportunity to understand and feel everything being song.  An hitch-pitched and soulful vocal; our hero is directing his words towards an anonymous heroine.  “We can do the twist” are words that beckon images of abandonment and fun.  When the words “Touch me like a stranger” flow forward I get the impression our man is on the dance-floor: Perhaps in the arms of a mystery girl and in the grip of a mesmerising song.  That is the beauty of Higher Spirit: The words give different possibilities and ideas; it is hard to get a clear truth from them.  It may sound like a negative yet the listener is allowed their own interpretation and views.  In the early phase, I was captured by the smooth and rich vocal: Reminding me a U.S. Soul great; perhaps tones you would not expect from a modern-day London-based musician.  As I try to get to the bottom of the lyrics- and just what the duo are saying- the track accelerates and increases its urgency.  A hollering of “Lighting me up” comes through backed by pulsating and rampant percussion.  So much unfolds early on- in terms of the composition and ideas thrown in- it is a dizzying experience indeed.  It seems like our hero is lost in the dance and under the spell of a very special woman.  Each listener will let their mind wander, although from my perspective, I saw the two alone and in the heat of the summer sun.  Enraptured and overcome with desire, there is that explosive possibility: Two hearts coming together and two bodies surrendering to one another.  Maybe over-sexualising the lyrics- or letting me own mind wander too far- it is impossible to resist the allure and potency of the music.

That seduction and come-to-me spell-cast is wonderful to hear.  Such a confident and direct vocal that gives gravitas and authority to every word that is sung.  Our hero knows the girl wants him- he sure as hell wants her- and the two convey to the dance-floor.  Like Michael Jackson and Prince; our boys manage to keep their lyrics and sexual desire clean and intriguing- without descending into smut and profanity.  The idea of the song is quite simple: Our hero’s spirit and soul can lift the two higher if they dance together.  It is at this stage- as the chorus comes in- that I started to wonder whether this was a first-time encounter or not.  Maybe our hero is in a relationship with the girl and wants to get lost in a romantic and paradise scene.  Perhaps this a chance meeting between stranger- a calling-out from across the dance-floor- as the two meet in the middle of a packed club.  That sweet-cum-saucy blend takes your mind and consciousness in different directions: The heartfelt and soulful vocals conjure romantic possibilities; the sweat-dripping falsetto takes your thoughts somewhere hotter and harder.  The guys throw in some neat little details throughout the track: sassy bass notes and crest-of-the-wave percussion give vibrancy and constant electricity to Higher Spirit.  Our hero is a fool for the girl: Whoever she is has cast her spell on him hard.  Fans of the older Funk/Disco/Pop masters- Jackson, Prince and their ilk- will find a lot to recommend in the track’s authority and affection tribute.  Massimo and Marco grew up listening to those legends so it is no surprise they evoke their memories with such conviction and authority.  That said; Higher Spirit has a very modern and contemporary vibe to it: The likes of Pharrell Williams would definitely approve of the song.  The twin vocal assault- where the duo get to overlap and combine- gives extra weight and attack to the song.  One of the most impressive facets of Mãs is how committed and dedicated they are to the subject matter: Every one of their tracks has such urgency and passion at every turn.  Even towards the closing moments, that seductive coo never silences: Our lead is intoxicated by desire and the charms of a jaw-dropping woman.  Whether Higher Spirit was inspired by events from the lives of Mãs- perhaps a late-night club encounter- I am not sure but that does not matter.  The song is that which can be understood and appreciated by all listeners.  Accessible and direct- whilst retaining some mystery- there are no limits to Higher Spirit.  Here is a song that could be a radio staple- I imagine it will be very soon- and is perfect for every climate and location.  It does not isolate itself or become moody at any point: From the introduction to the end you have a song that smiles and welcomes people in.  Only the stoniest of listeners will be able to stop their feet from moving in time to the music.  The guys have composed a song that brings so much vitality and dance together: One of the most memorable and impressive songs I have heard from a duo at any time.  When I was assessing Stockholm-based duo Sameblod- who make similarly intriguing and assured music- I was stunned at how confident and tight the music was.  Mãs have no nerves or limits when it comes to their music: That marks them as one of the most promising acts to emerge in 2016.  As the final notes of Higher Spirit play- and the chorus is reintroduced to keep the listener dancing- it is not a song you want to end.  Keeping mouths watering and eyes bright; the London duo has crafted a song that speaks to all ages and tastes- a hugely impressive feat.

Kudos must be given to Massimo and Marco who show no signs of quality dip or slowing.  Since their formation, they get more confident and bold with every new release.  Bringing in new compositional ideas and influences; their music is at its most arresting and universal.  That is not to say the duo is playing it safe at all- quite the opposite in fact.  The stunning duo has a sound and talent that few of their peers possess.  Higher Spirit is a song that will certainly get crowds united and arms waving aloft.  With that being said, there is huge potential to crack the radio-waves and the press: An impossible-to-dislike song, it has definite mainstream appeal and underground credit.  I have seen a lot of duos come along that make similar music: None has the same effect and magic as Mãs.  Bringing in the best elements of Michael Jackson, Daft Punk and Prince- funky jams with sexuality and sensuality at its heart- with cutting-edge and impressive production values- you have a song that unites genres, decades and moods.  A sun-worshiping track that brims and explodes with desire and lust: Perhaps one of the most enticing and scintillating cuts of 2016 so far.  Let us hope Mãs capitalise on their promise and momentum when it comes to their E.P.  When that is released- and where Higher Spirit fits in the mix- it is sure to capture the imagination and attentions of the music press.  Perhaps the boys have been under-the-radar so far: This year they will not be such a well-kept secret.

My congratulations to Massimo and Marco who have created a duo that is among music’s most promising.  The duo do not simply stick with tried-and-tested Electro.-Pop sounds: Our boys mix in elements of their heroes- Prince and Jacko hooks with some Daft Punk atmospherics- to create music that not only exhilarates the feet and arms- it gets inside the soul and digs deep.  Musicians that leave lasting impressions are few-and-far-between in an economy that shows quick turnover and disposability.  For that reason, we should invest in artists who have definite staying power and originality to them.  Mãs might just be starting their careers- their initial moments are hugely promising- but the boys will be going on to big things.  Higher Spirit- their back catalogue for that matter- has a sound that radio stations cannot refute.  So full of life and energy; wonderful sounds that get inside the head (and stay there for a long time) - who can ignore such a force in music?  I am not sure when the boys are going to be playing live this year.  I guess there will be London tour dates and some local shows- perhaps they want to focus on their E.P. - but I would love to see them live.  Hearing that music in the flesh is going to be a terrific experience.  With a collection of stunning songs under their belt, it seems like Mãs have plenty of material ready for their E.P.  Before tying this all up, I wanted to come back to the issues of duos and bringing the fun back into music.  Whilst critical minds and attentions seem obsessed with bands- they are still the hottest property and marketable dollar- there is a swing towards the solo artists.  Having seen the ‘tips for 2016’ lists that have come out- including B.B.C. among them- the solo act is coming into view firmly.  What critics are favouring at the moment- as opposed to previous years perhaps- is music that has that distinct spark and originality.  A lot of female solo artists are being given some impressive nods: Those special and emotive voices- mixed with songs that have huge originality- are getting plaudits and a lot of respect.  Mabel (a soulful Pop storyteller), Izzy Bizu (sunny Soul with an incredible voice) and Frances (atmospheric piano Pop) have been lauded because of their fresh sounds and depth.

Not your average Pop star with committee-penned songs; this year we are going to see some talent and stunning young solo acts emerge.  Jack Garratt and his Electro.-Pop soulfulness- tied to some head-slamming beats- sits alongside Alessia Cara- her candid and cool R&B sounds have enticed critics.  Publications and the press are heralding acts that bring important emotions and sides to music: Cool and atmospheric; harmony and sun-kissed bliss; conscientiousness and dreaminess- blended into big beats and nuanced compositions. Gone are the days we are promoting artists that are merely ‘a voice’ or sound like someone else.  There is a definite seismic shift that means the likes of Mãs are very much in vogue.  They have that blend of sunshine and cool: The emotion and dreaminess is already there as is the terrific beats and sexual electronics.  While some terrific solo artists have caught the eye of some big names- I missed out the wonderful Jack Garratt- the bands are still getting quite a lot of attention and patronage.  What is missing is a nod to the tremendous duos that are coming through.  Perhaps not as widespread and numerous (as solo acts and bands) they are a growing economy that are among music’s most spectacular and promising.  It is a rather baffling over-site considering what I have said up-top: The fact duos have a solid bond and longevity potential.  Solo artists are alone and have to work hard to raise money and interest.  Their own P.R. and publicity machines; the lone stars have a hard struggle to make ends meet- let alone making a name for themselves!  The bands are going into a busy market and often sound samey and unfocused: Too many new bands lack that originality and spark.  Solo acts provide the unique sounds and cross-pollinating innovation.  Bands give those riffs and big sounds: Solid and festival-ready music for the masses.  If you find a duo that can do all of this then they should not be easily ignored.  Many duos are sweethearts and lovers- the boy-girl duo is largely composed of lovers- and close friends.  It is clear Massimo and Marco has a deep connection and a tremendous love for what they do.  Music that promotes fun and uplift is rare in the music industry and few new artists manage to perfect this.  Mãs are a multi-coloured partnership that unifies ‘80s Disco and Funk through a modern spectrum: The resultant explosion is music that takes you somewhere special and safe.  Every listener and music lover need to find something that allows them escapism and something transcendent.  Making music for outsider and dreamers; our intrepid duo should be applauded for their accomplishments so far.  They have caught the attention of fans and followers- the best days are still ahead.  With an E.P. scheduled for a spring release, the London two-piece is a tantilsing proposition with a tremendous sound.  Higher Spirit is a song that will bounce around the brain long after the final notes.  On a cold and uncertain day, let yourself get lost inside music that…

WARMS the heart and inflames the senses.

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Track Review: Lydia Baylis- ANYWAY

TRACK REVIEW:

 

Lydia Baylis

 

 

ANYWAY

9.5/10.0

ANYWAY is available at:

https://soundcloud.com/lydiabaylis/anyway-1

RELEASED: January 16^th, 2016

GENRES: Pop; Alternative

PRODUCER:

Ross O’Reilly

ORIGIN:

Salisbury, U.K.

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THIS next few days will not only see me featuring some of...

The best female artists around the country; it also affords me the opportunity to focus on artists I have reviewed previously.  Coming up I have the likes of Eliza Shaddad and Hannah Boleyn- two acts I wrote about last year- but for today I concentrate on one of my favourite musicians from the last few years.  Having reviewed Lydia Baylis a couple of times already; I am keen to interview her in the future and see what this year holds.  Before I come to her- and where her music may take her- it gives me the chance to look at female-produced solo music in addition to the ‘dreamier’ side of music- finishing off with a bit about longevity in the music industry.  Every time I review a female solo artist I am amazed by the differences I hear: Such a range of styles and vocals come through.  Although I have reviewed some great male artists I tend to find their music is less ambitious and original compared to their female peers.  I am not sure whether the girls of music set their sights wider- they are more daring when it comes to mixing genres- but they certainly have the most arresting and memorable music.  In previous posts I have highlighted how hard it is to be wide-ranging as a solo artist: You are one musician alone and often have to make all the sounds yourself.  Perhaps my assessment is a little short-sighted as it appears the bands are the ones lacking behind.  Of course, a solo artist can have a band/producer behind them: Extra bodies that can add those necessary elements to ensure the music has a distinct and stunning edge.  There are some male acts that push the boundaries and subvert expectations: The girls are still leading the charge and showing how it should be done.  At the centre of this quality hurricane is the voice: So many tremendous sounds coming from the females of new music.  From hard-slamming Punk vocals to sweet and mature Pop offerings: It seems like there is something for every listener taste out there.  Whilst there is an insistent/trend to project power and soulfulness through vocals- a lot of female-driven music has an emphasis on power- I always love witnessing an artist who possesses a gorgeous and soothing voice.  It may seem like an odd point to raise but a musician that can buckle the knees with the voice is a rare commodity.  A lot of new musicians have defined and amazing voices: Those that can overwhelm the senses without resorting to histrionics are the most impressive (to me).  I find when solo artists (not always but in a lot of cases) tend to write tender/gracious songs- those that have sensitivity to them- their voices come off rather effete and boring.  Maybe clichéd and sickly-sweet; something leaves me a little cold.  Lydia Baylis is a musician I have been following since her early days: I remember hearing Into the Water- released a couple of years ago- and being amazed by what was on offer.  Such a sensuous and spine-tingling voice came through that it was hard to put my emotions into words.  A stunning young act that has matured and developed; Baylis keeps getting stronger and more impressive with each release.  It is not just that captivating voice that stuns but the depth of music and lyrics.  An artist that is keen to bare her soul and inner-hurt; Baylis writes songs that speak to the wider audience- it is no coincident she has amassed a loyal fan-base.  New music is quite a cruel and indiscriminate mistress: If you are not good enough to remain it will often chew you up and spit you out.  I have seen a lot of great artists come through- with a bold debut song- only to take their foot off the gas.  Maybe they take too much time between releases or show a discernible weakening across time.  Whatever the reason, so many musicians have fallen at the first hurdle.  It is a tough industry to crack; that is why I am always keen to follow artists that remain and keep on getting better.

Baylis is an artist that has been flying under-the-radar for a while and has a very loyal core of supporters.  In a busy world of female singer-songwriters she certainly stands clear of her contemporaries.  That luxuriant, heartfelt and chocolate-smooth vocal possesses such a tremulous quality- capable of reaching delirious heights and seducing without warning.  Backing that voice are compositions that are atmospheric, dramatic and symphonic.  When I was looking at Into the Water I mentioned how the haunting lyrics- a tragic heroine perhaps meeting an untimely end- was supported by sparse but hugely effective notes.  Whilst the vocal was incredibly entrancing; the composition summoned such an immense force and black beauty.  Not an artist to rest on her laurels; Baylis has kept her core in-tact and sounds even more confident now- ANYWAY is her latest (and perhaps greatest) effort.  It will be interesting to see what this year holds in store for Baylis.  Another tremendous British talent, I am sure there will be some great gigs coming up.  Next month she plays London’s The Strongroom Bar: A chance to bring ANYWAY into the live arena.  Whilst Baylis prefers to more intimate gig settings- she has played in coffee shops in the past- I can see her transcending to festivals in years to come.  Venues and fans are starting to embrace voices that stray away from the belt-it-out-as-loud-as-you-can singer and those with subtlety and huge nuance.  Baylis has a talent and sound that is perfect for the late-evening festival crowds.  Whatever she has in mind, I cannot wait to see where 2016 takes her.  One of the most spectacular and consistent musicians I have heard; she deserves a lot more support and critical attention.  It is a shame so many promising musicians call it quits- whether affected by the demands of the game or lacking staying power- but those that keep on plugging and playing should be applauded.  Music is a career that many are drawn to- with all its allure and promises- and many are disenchanted and given a reality-check down the line.  Lydia Baylis has ensured her music is strong enough to keep her in the mind: In addition she has made sure she gets out there and wins over the crowds.  I find a lot of musicians rely too much on social media and the Internet: The reality is you need to push and campaign hard to get your music heard.

Before I got down to reviewing ANYWAY, it was worth looking back at Baylis’ career to see how she has progressed.  Into the Water was unveiled a couple of years ago: One of the earliest tracks from Baylis, it shows immense confidence and passion throughout.  That vocal is incredible soothing and beautiful throughout.  The lyrics take their inspiration from classic literature and poetry: A central subject has been dropped in a hole and is struggling against the tide.  With our heroine documenting the scene she implores (the hero/heroine) to “Please keep coming up for air”.  Intelligent and original lyrics- that are much more studied and considered than a lot of her peers’ work- you have a deep and fascinating song that provokes clear images and story.  Inspired by Virginia Woolf- who killed herself by loading her pockets with stones; she walked into a lake- the song’s heroine suffers a similar fate.  With the strains of the day and life on their shoulder- unable to escape the suffocation of reality- there is perhaps an inevitable conclusion.  Baylis ensures the song never sounds too morbid or depressive: Her stunning voice and the exceptional composition gives the song a needed gracefulness and level head.  For a song that looks at suicidality and an ill-fated historical figure- whose doubt is evaporated with one action- you would expect a song that weighed the listener down a little.  Baylis not only ensures the song is highly memorable- keeping it in the mind for all the right reasons- but pens an intelligent and hugely effective set of lyrics.  Superbly deploying her words and building the emotions- putting sympathy alongside haunting moments- you have a track that showed a remarkable young talent.

The same stunning production values that went into Into the Water- making it such a force of nature- have gone into ANYWAY.  Before her current single, Baylis released Hold On (came out last year) that showed a step aside from Into the Water.  More romantic and uplifted than Into the Water; here Baylis sounds more comforted and less anxious.  Whilst struggling against some issues and realities; you have a song that gives our heroine a chance to look at love and relationships.  From song-to-song the compositions change course and sound.  Throughout Hold On you have a beat-driven backing that is quite tender and sparse- whilst managing to perfectly augment the foreground.  It is here Baylis shows how enticing and sweet her voice can be: Packed with passion and emotion; you get plenty of heart and beauty resonating throughout.

Having reviewed Life Without You before, I am amazed how much diversity and versatility Baylis possesses.  Life Without You looked at the breakdown of a relationship and the differences before and after: It seems like the break-up did not really affect our heroine.  An original take on break-up reflections; Baylis shows wit and humour among more anxious and reflective moments.  Whilst her voice remains compelling and familiar with each new track, Baylis has a wide subject matter and does not stick too heavily to any particular topic.  From love dissolution investigation to a poet’s tragic end- via the joys of being in love and songs about self-investigation- Baylis has a wide array of inspirations and motives she channels into her music.  Whilst a lot of her peers tend to focus too heavily on narrow themes- being jilted or heartbroken; purely in love and intoxicated- Baylis stretches her imagination and stands aside as one of music’s most original and impressive songwriters.

The biggest difference/development you can hear- from the earliest numbers to present-day- is the confidence and production sounds.  With Ross O’Reilly helming ANYWAY- a producer she has worked with before- you get the most fully-realised and atmospheric track I have heard from Baylis.  Having such a bond and friendship with O’Reilly; that connection and understanding has worked wonders in this track: You get production valued that bring everything to life and mix each element- vocals, instruments etc. - perfectly together.  Baylis sounds more comfortable and assured as she has at any other stage: A singer that grows in ability and intuition by the year, her voice is at its peak her.  The same could be said for the songwriting which takes in new concerns and demonstrated that established and stunning lyrical ability.  This bodes well for the coming year which promises new music: Whether an E.P. or album will be produced I am not sure.  Given her rate of progression and the consistency she shows- the passion she has for music too- any future release will be met with huge anticipation.

It has been a little while since last I reviewed Lydia Baylis.  For that reason I was thrilled ANYWAY has been dropped into the ether.  Hooking-up with producer Ross O’Reilly- the two have a great history and connection- I was thrilled to hear what the results were.  The opening notes of ANYWAY sees tripping beats and a strange sensuality welcome things in.  Slight crackle and pause leads to our heroine who comes in with an emotive and stunning vocal.  The early words- “Seems to me that you didn’t know that I didn’t care”- get me curious and fascinated.  It seems the hero has been hiding her/a subject beneath the stairs.  At this early juncture I am thinking about romance and deceit within a relationship.  Perhaps our heroine’s boy has been lying and leading a double life.  Maybe a cheater and no-good, our heroine is wise to his foolishness.  That opening line- that looks at not caring given a situation- sees some aloofness and spiked tongue.  There is clear friction and fracturing within the relationship: Whatever has happened between them has taken its toll and the song seems to document a particularly fraught realisation.  Whilst our heroine burns all his letters my mind starts to picture and wonder.  That idea of letters being exchanges between lovers- seems a charming anachronism in the modern age- has its heart in fiction and older times.  A traditional love story- one that has turned sour no less- that has hit the rocks; you are invested in this song and following our heroine’s plight.  Baylis’ voice has such a purity and beauty to it before.  Sounding more unique and transcendent than ever before; it is a soul-bearing tone that gets inside the heart and causes it to miss a beat.  Backed by a stunning production and atmospheric sound- everything is crisp and clear; the sparse back-beat creates edge and tension- and the song begins with huge promise and punch.  Whilst there has been dishonesty and break-up, our heroine is not completely emotionless and happy: Burning letters and the past makes her hurt and feels immense pain.  That sense of loss and anger comes through in a voice that drips with soul and heartache.  Projecting her words with pace and consideration, it gives the listener a chance to get hooked into the song and imagine the scenes unfolding.  Whilst there is pain and sadness- burning old letters and purging the bond- it has to be done regardless.  In past songs, Baylis has looked at a variety of subjects- tragic heroines and the lack of emotion following break-ups- but here she shows a new maturity and development.

The composition is a different stroke for Baylis: Taking in new elements and ideas; it is a very modern and of-the-moment sound.  In past tracks, Baylis has looked at the heartaches of break-up: Never has she sounded as overtly affected and haunted as she does here.  When our heroine returns home and revisits past scenes, she hates the people and sights- because not one “was you”.  That central refrain- the pain arising from burning love letters- shows a tender soul that has lost a big chunk.  Damaged and terrorised by the cessation of a once-glorious bond; you cannot help but empathise for Baylis and what she is going through.  Never allowing her voice to be overwhelmed and insincere she shows huge strength and resolve in spite of the sorrow she feels.  A lot of singers would back such a song with needless sound and weight: On ANYWAY you have a composition that perfectly supports the vocal whilst projecting its own story in the process.  Those beats crackle and sparkle in the back; there are aching strings and whooshing electronics.  All slung together and you have a song that is hard to ignore and refute.  Powerful and endlessly dramatic, Baylis seems at the peak of her powers.  As the song develops and progresses, our heroine poses a few questions.  Asking whether her man has made her strong enough to cope- tough enough and able to ride this storm- he also said how big and bad the world is.  Reflecting and recalling the past- whether her former sweetheart did all he could to fight- you start to wonder why the relationship broke up.  Clearly there are residual feeling and questions from our heroine: Perhaps there was not mutuality behind the decision; the lovers may have had different ideals.  Whether the boy was cheating and in the wrong- keeping a dirty little secret stashed away- or if there were other reasons, you start to dig and look inside the lyrics.  Baylis’ voice is constantly stunning and clear throughout- perhaps her most assured and memorable vocal to date- inside a song that is perhaps her most heartbroken and personal statement yet.  Whilst her previous songs have hinted at loss and relationship implosion; none have dealt with the subject with such raw emotion and effectiveness.  The final notes see Baylis lost in her thought and surrendering to the realities of the situation.  Not willing to let go completely and forget everything that has happened; you get a real sense of a young woman struggle to contain her sadness and anger.  In every note and second you are affected by how ANYWAY affects you.  Whilst a very personal and meaningful song (to Baylis) every listener can relate to the words being poured forth.  With a universal heart and core, ANYWAY is a song that will be a live favourite and standout for Baylis’ fans.

I have been following Lydia Baylis for years now and was excited to see ANYWAY arrive.  It appears our heroine has no desires to slow down and relax: If social media scuttlebutt is to believed; 2016 will be one of the busiest and most productive yet.  In the past, Baylis has shown what a range and diversity she has at her disposal.  No two songs sound alike and the listener is always treated to something new and original.  Becoming stronger and more confident with every release there is no telling just how far the young artist could go.  Ross O’Reilly helms a track that has terrific production values and brings every detail and thought to life.  Allowing the vocal to be clear and concise up-top; you have a song where every note and element fuses together perfectly.  Each aspect is mixed together to ensure ANYWAY hits you upon the very first listen: You are compelled to keep coming back to the song and let it work wonders.  Baylis wrote the song with O’Reilly- one suspects most of the lyrics are Baylis’; most of the composition O’Reilly’s- and this combination results in a wonderful track that should be a staple among radio stations around the country.  I know a lot of stations that would love to have ANYWAY on their playlists so Baylis should be very proud.  One of the strongest and most compelling tracks I have heard this year- I know it is a young year but I have heard a lot of music- I cannot wait to see how she progresses as the year continues.  It would be great to see Baylis and O’Reilly work together more closely as they have a great simpatico that leads to stunning music.  Baylis herself seems to have found fresh inspiration and subject- perhaps reflecting on a relationship that she was sad to lose.  That dependable and arresting voice seems ever more transcendent and beautiful than ever: A head-spinning blend of power, emotion and sweetness; truly one of the most special singers this country has produced.  If you have not heard Lydia Baylis and what she has to offer, you are missing out on one of music’s finest artists.

It is great to feature Lydia Baylis again on these pages.  I love investigating brand-new musicians but revisiting acts/bands always gives me pleasure and inspiration.  There are so few long-lasting acts in the underground- so many bands and solo artists call it quits early- it is impressive and important we pay tribute to those who keep on burning.  Baylis is one of those artists who has a very distinct sound and a very clear future ahead.  Whilst most of her touring/gigs have been in smaller venues I can see the young star going onto to huge things.  Her music has huge emotions and atmospheres: Perfect for the festival crowds that want to unite in a musical moment of passion and captivation.  Not a musician that writes shallow and easy songs- hook-laden and basic choruses- Baylis has an intelligence, depth and knowledge few of her peers have.  When I reviewed her a while back- looking at Life Without You- I was impressed by her background and upbringing.  Her father served during The Falklands War and experienced hardship and horror during the campaign.  After coming back to England, it was a few years later that Baylis was born- in the Hampshire town of Aldershot.  Within the environs of Surrey and Hampshire, Baylis was only 2-years-old when the family relocated to Germany.  In fact, Baylis’ early life was a little nomadic and born of frequent relocation.  Having spent time in Russia, Lydia returned to England where she studied (until the age of 18, when she left school).  It was not too long until Lydia was on the move once more, and spent time in New York: she was lucky enough to perform in theatre productions; whilst there she fell in love with the city and has made frequent trips back there.  The second-born Baylis child eventually went on to study history at Christchurch College, Oxford (I studied history up in Cambridge, so can appreciate her fascination with it).  That itinerant background ad prestigious education has moulded a young woman with a huge knowledge of music, literature and poetry: These are all combined and mixed into songs that take the breath away.  I hear whisperings- from her social media pages- there is more music mooted for 2016.  I cannot wait to see what comes next- whether an E.P. or album is forecast- as Baylis is one of the most stunning musicians working at the moment.

Every song she produces shows new topics and sides: A restless and hard-to-pin-down artist; it is amazing how much breadth and depth she has.  In every track you are entranced by that voice: A startling instrument that deserves a lot of attention and focus.  Whether our heroine will be playing a lot of gigs this year- or concentrating on new music- it is not clear.  ANYWAY is a track that shows where Baylis is in 2016: A consistent and original talent the music world should embrace and encourage.  Before wrapping things up here, I wanted to circle back- perhaps with greater relevance- to the points about female musicians and longevity- in addition to the importance of beauty in music.  Over the coming weeks- and the last couple of weeks past- I get the chance to revisit some wonderful musicians; take in new talent and see what 2016 music is coming up with.  Among the female musicians I have reviewed lately- from Dolores Haze to Jasmine Branca- you get so much variation and difference.  Whether it is something in the composition or vocal- maybe the lyrics they produce- I am amazed by how many unique and wonderful artists are coming through.  The boys are doing a good job but for my money the girls are so far ahead right now.  It may take ages to get to the bottom of the truth- why they are so far ahead- but I am just pleased to see so much great talent emerge.  The mainstream media- and blogs focusing on new music for that matter- still concentrate too heavily on bands.  I think the male-driven band market gets too much focus and write-up- there should be more commitment to female solo artists- and that is shifting focus from the best music has to offer.  Lydia Baylis is one of those talents that keeps growing and developing as time elapses.  A stunning voice and wonderful musician; few artists are as compelling and original.  So few musicians stand the test of time- or struggle to meet music’s rigorous demands- so it is always impressive finding a talent that last through the years.  Baylis is a stand-out name for a number of different reasons.  Not only are her lyrics diverse and fresh- she sounds effortless whatever she writes about- but the voice behind them sounds utterly entrancing.  Baylis is natural and effortless when singing about tragic poets or the transgressions of love: Everything she touches leaves impressions in the mind and soul.  ANYWAY is a song that shows an evolution from a young artist that has a big future ahead.  It is always unwise making big proclamations: Baylis is a musician you just know will rule the airwaves very soon.  If you are looking for a solid investment and a beautiful artist with an unstoppable talent- Lydia Baylis is someone you should spend some time with.  Whilst she has toured coffee shops and smaller venues, I can see her going onto big stadium gigs and summer-time festivals.  In a music world that sees a lot of its participants struggle and fall, it is great to see a musician that shows no sign of slowing down.  Make sure you check out Lydia Baylis and ANYWAY: A wonderful young woman…

 

THAT is a household name of the future.

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Facebook:

https://www.facebook.com/lydiabaylis/

Twitter:

https://twitter.com/lydiabaylis

Instagram:

https://www.instagram.com/lydia.baylis/

________________________

Music:

https://soundcloud.com/lydiabaylis

 

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Videos:

https://www.youtube.com/channel/UCUvsl2a3LnrjN4BwenA1eHQ

 

Track Review: FORTE- Goosebumps

TRACK REVIEW:

 

FORTE

 

 

Goosebumps

 

9.4/10.0

Goosebumps will be available from 12^th February.  Teasers from the track can be heard here:

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

RELEASE DATE: February 12^th, 2016

GENRES: Rock; Alternative; Indie

ORIGIN:

London, U.K.

____________________________________

THE last couple of days has seen me assessing…

two London bands just starting out at the moment.  It is great witnessing a fledgling act making their initial steps into the world of music.  Whereas Duke of Wolves- yesterday’s review subject- had their single out in the ether; my featured act are providing teasers at the moment.  Next month the world will get a chance to hear their debut single in full.  It has been garnering radio play and some serious praise from the media in the meantime.  Before I get to that- and come to the subject of FORTE- it is worth mentioning a few subjects: The importance of radio play early on; the male bands emerging onto the scene- finishing off with a bit about the importance of the debut single.  A lot of musicians will be starting their careers in 2016 and going in with high hopes.  Perhaps they will have their social media pages set up and ready: Facebook and Twitter primed waiting for people to discover them.  I find a lot of acts do not really push themselves too hard when they first arrive in music.  There is an assumption that so long as you are visible online; that will get people listening and sharing your work.  What I have found first-hand- when it comes to some of my reviews- is that people do not share things they should be- this includes a lot of the musicians themselves.  Social media is useful to a certain degree I am finding.  So long as you support/follow some genuinely nice people- those that will spread the word and promote your work- then you are going to struggle to find necessary backing.  So many people follow a band/act- maybe commenting on a song and loving it- without spreading it out to their followers.  It is one of the downsides of social media: People are not as sociable as they should be.  Being such a massive, compartmentalised and random system, it is incredibly difficult relying it on at all- the musicians themselves have to take charge and create their own chances.  When you come onto the scene, it is vital getting radio stations involved and playing your stuff.  There are a lot of available stations out there- from national to local stations- that you can hit-up and email.  Whilst stations do get tonnes of requests for airplay, it is always worth putting your music out there and seeing what they say.  I have seen so many acts get new fans- get gig bookings and progress heavily- simply from the result of radio exposure.  Social media will only help you so much- when people can be bothered to do their part- so you need to reach out to the media.  FORTE are a band that have enjoyed some pretty notable radio attention so far- this week their debut single would have been played across eight B.B.C. stations throughout London and the south.  The boys have not been resting or sitting back in their early days: Digging deep and putting their music out there, they are a band that understands the importance of radio patronage.  When it comes to my featured band, FORTE are a five-piece with a little bit of mystery to them.   Their social media pages are a little bare at the moment- more photos and information will arrive in time- but what we have at the moment is a group with some dedicated and excited fans.  The London quintet are known as A.S., D.C.; H.P., R.B. and J.J.  Cool-as-crap purveyors of heavy sounds, it is not shocking the boys are getting some speculation and awed feedback.  When I was looking at Duke of Wolves yesterday- a similarly heavy band that could sit alongside FORTE- I was staggered by the confidence and quality of their debut cut.

Not many bands come in so strong and authoritative: What we have from FORTE is a similarly ambitious and assured effort.  Whilst teaser clips have been offered to the social media world- radio stations are the only others that have heard the full single- I get the chance to hear Goosebumps in its entirety.  When it is released in a few weeks, the world will get the opportunity to hear one of London’s freshest and most electrifying bands.  What I find baffling about a lot of bands is how weak they enter the scene.  Having reviewed quite a few new bands- who are not culpable of the point I am making- too many groups produce a limp and under-produced debut effort.  Even in the mainstream you get so many artists limping hobbling into music: If you are not prepared to go in hard and meaningful, what is the point?  Maybe there are nerves and uncertainties that early- not sure what the public wants and what your true sound is- but musicians should be doing more.  I think there is too much urgency and pressure put on artists these days.  Having so many different musicians out there; so many artists rush releases so they can be among the pack- fearing they will be ignored if they take too much time recording music.  FORTE are boys that have taken time to craft their debut track: You can tell how much effort and practice has been put in.  The results speak for themselves and the London band have a big future ahead of them.  There are a lot of male bands emerging at this moment- as has always been the case- and many of them are producing the same kind of sounds.  Tending to favour the heavier side of music- Alternative, Rock and Indie sounds- there are many male groups playing along the same party lines.  Whilst the best male-produced band music of last year- in terms of the mainstream at least- tending to push the boundaries of Rock- the likes of Tame Impala and Young Father showed that- there is still a huge demand for straight-out Rock and Alternative sounds.  Whilst FORTE (on paper at least) might seem like your workaday Rock band, they are so much more than that: The lads have exceptional musicianship and tease in other genres to create something quite special.  I mentioned the likes of Tame Impala- who usitlise electronic sounds and Dance music into a hypnotic blend- that is a direction I can see FORTE heading into.  There seems to be a shift-when it comes to Rock bands- to bring in other avenues and sounds (to make their music more diverse and dance-able).  Whilst Goosebumps is a direct and gutsy song, it shows a band with plenty of nuance, layers and ideas.  I would be fascinated to see where future songs take them- whether they open their sound up and bring new elements in- but I know the London clan will be a name to watch.  With so many bands coming into music, the new players have to distinguish themselves and make impressions.  Too often artists coming in and sound lifeless and unoriginal: Sounding watered-down idea-less, they are always going to have a short shelf life.  FORTE are getting adulation and predictions that could see them being big festival names of the future.  As London is housing so many sensational new bands, do not be shocked to see our FORTE boys playing Reading and Leeds in the coming years: They have a sound and confidence that is ready-made for the big stages.

When it comes to FORTE, it is hard to compare Goosebumps with anything else they have done- being their first stamp on the world of music.  What I discovered from the band is how original and different they sound.  Upon hearing their single, it was tough to bring other names to mind.  Perhaps those with sharper ears will be able to hear elements of other acts- if they were really digging that deep- but upon initial investigations, who does FORTE sound like?  If I were to put money on it, I would say the London group has gone out of their way not to sound like anyone else at all.  Too many bands- that are inspired by other artists- make their music sound like their heroes’: What you get are songs that are easily comparable and too unoriginal.  It is great having influences and idols- every musician in the world does- but you cannot just make your music sound just like theirs.  Well, you can, but the trouble is your careers will be short-lived: Why listen to a band that is a second-rate version of one that is already out there?  The trick is to incorporate little shades and sprinklings of other artists- either in terms of the music or vocals- and ensure the abiding impression is one of originality and freshness.  FORTE have a sound that is both universal and unique.   On the one hand, Goosebumps is a song that could easily inspire singalongs and unified crowds- it has a familiar feeling to it- yet I cannot find another act/band they sound like.  Perhaps a shrewd and wise move by the boys- who want to remain distinct but not too alien- they have produced music that is tailored for the radio stations of the U.K.  It is perhaps no fluke the boys have already enjoyed that impression radio attention: It seems they have cracked a tough nut early on in their careers.  Whilst a lot of bands I review- cannot name any names you’ll understand- produce a so-so debut; here the FORTE clan has come in impressively strong.  The question is how they develop and capitalise on their debut strength.  I think the guys will look to put an E.P. out some time this year- they may have other ideas- that will be a three/four-track release.  Obviously Goosebumps will be high up the track listing; the lads will probably keep their sound tight and focused.  With such a defined and exceptional sound already crafted, perhaps they do not need to stretch and widen it too much: Perhaps they will become a bit more experimental and genre-hopping a little way down the line.  It will be exciting to see what this year brings for FORTE: Whether they have any tour dates planned or are going to be heading back into the studio.  If you are a fan of the best Rock music has to offer-newcomers such as Royal Blood; older acts like Foo Fighters- there are some comparable shades within FORTE.  What the quintet does is to use Rock’s templates as a starting point: Their music has plenty of emotion and dimensions; subtlety and softness among the hardness- diversity and directness in equal measures.  Those that like their music nuanced, soulful and kinetic will definitely have to check FORTE out.

Making sure Goosebumps registers instant promise, the early drumbeats get the listener stood to attention and hooked.  A big and tribal percussion slam- that compels people to clap hands and get their voices ringing- the boys go in hard and confidently.  As that drum beat slams and drives away it is met with a grizzled and bristling electric guitar sound: One that is shimmering shivering; emotive and reflective in equal measures.  Letting the introduction work and extend, you become invested in the moves, motifs and colours it projects.  An evocative and dramatic opening salvo, FORTE has ensured that the listener is brought into the song and imagines what is to come.  Too many bands and artists either jump straight in with vocals- worried people will get bored if they do not- or produce an introduction that is wandering and unfocused.  FORTE provide so much story and possibility with their earliest notes that you wonder what shape the vocal will take- and what the initial words will speak of.  “Pick a star and rearrange the sky” are the first words and ones that make you wonder and speculate.  Oblique and non-specific, there are so many possibilities when you consider that line.  Delivered with passion and gusto, the listener instantly takes their minds to the skies and what is being attested.  Perhaps a romantic proclamation or a shout-out to the dreamers- you can do anything you want if you aim high- I was compelled to dig deep and see what was behind those words.  Part-poetic and part-direct, one star shines bright in the eye of the heroine.  Whether the band’s subject (early on here) are looking at a sweetheart, female or male subject I am not sure- the fact our hero has goosebumps suggests a lover is being attested.  Delivering the words with a soulful heart and plenty of compassion, I was fascinated and interested early on.  After that stunning introduction and intriguing words, it is impossible not to let your mind imagine and suck yourself into the song.  Throughout Goosebumps, there are grand proclamations and heady praise.  Our boy’s girl (having seen the video is an intoxicating and captivating muse) is able to part the clouds with the slightest sigh/breath.  Someone who has clearly captured his heart and seduced his mind; the emotions, passion and lust drips from every note.  Keeping the composition light and restrained at this stage- the band create a suitably atmospheric and powerful canvas for our hero- it allows that voice to reign and rule in the foreground.  Whist the girl runs her hands down the spine (of our lead) you get a tender and touching scene unfolding.  At every stage that voice is in awe and completely star-struck: Imbued with intensity and trembling knees, it is one of the most direct and impressive vocals I have heard from a young band this year.  Perhaps these ideas and proclamations are dreams and intentions- the lyrics suggest our man is fantasising to an extent- and the girl in question may be a soon-to-be lover.  Maybe she is with another man at the moment- or is somewhere overseas- but you can sense that need and desire that comes out.  We have all been in the situation when we have lusted for someone we cannot have- or belong to someone else- and let our minds wander into fantasy territory.  From the lyrics/vocals laid-out I get the sense there is some history and back-story to the song.  Perhaps our lead has already been with the girl or they have been involved: That need to rekindle a flame and become more involved.  That is the beauty of the early lyrics: You have a two-sided interpretation that will get listeners guessing and interpreting.  As the chorus blazes into view the band augment the composition and let the volume rise. The lead vocal rises to an impassioned and burning roar: Raising to the heavens it is an immensely electric and committed performance that gives the words such authority and meaning.  The band combines to provide a staggering backdrop of sounds and colours that gets inside the mind and provokes a huge reaction.  Our hero is at the height of his desires as hero asks whether he “was good” and doing it right.  The chorus shines more light and truth to Goosebumps: It seems like our duo are in the throes of passion and wrapped inside one another’s arms.  Maybe our man is in the midst of dream conspiring although the direct and to-the-point vocal suggests he has got the girl he desired.  Whether a current love- or a past romance that has inspired this song- it is clear his lover means/meant a huge deal.  It has been a long time since I witnessed a vocal with such a flair and power to it: As the chorus unfolds the intensity becomes almost head-exploding as our hero becomes overwhelmed by the power of the romance.

His sweetheart makes him feel better “on the inside” and has brought a lot of safety and light to his life.  Perhaps lonely and lost before meeting her; it is clear this bond has enriched his life and has seduced his soul.  Before the next verse comes into view, the composition is allowed to step into the spotlight.  The guitars remain rapturous and inflamed whilst the bass guides the song forward- the percussion tight and sharp in its attack and motivation.  Conversations and past events are replayed as the lead comes back to the microphone.  Feeling tongue-tied and confused, it seems like there has been some break-down of communications.  Although, upon deeper investigation- and our man still receiving goosebumps- it may not have been fraught or pained at all.   Maybe our hero has said something nonsensical or regretful: Maybe he is trying to convey something hard; it seems like his girl gets him and knows exactly what he means.  That connection and understanding runs deep: A bond that seems a perfect fit and natural, it is one of the few love songs I have heard recently with an overtly positive message to it.  In a world that is suffocated by uncertainties, horrors and violence; perhaps it is no surprise Goosebumps has been received with such warmth.  A lot of tracks are too negative and sorrowful: Here we get a track that brims with admiration and purity; it is a love song that pays tribute to an extraordinary soul.  As our hero lets his voice strike and emote- recalling just how much his girl means- the band throw in little sparks and beats that give the song a constant intrigue and energy.  Whether it is a spiky little riff or a drum fill- or the bass pushing the song forward- your mind is pulled in two different directions.  The impressive composition has its own life and appeal: It combines seamlessly with the foreground and pushes the vocals to fever-pitch.  When our boy is at his lowest ebb and down in the dumps; it is his girl that can raise the spirits and get him back to normal.  At every stage you cast yourself in his mind and watch the scenes unfold.  It is probably not a shock Goosebumps has received positive feedback: The song’s subjects have a relatable edge that many can understand and appreciate.  With a hard and urgent core, the song has accessibility and mainstream appeal.  Whilst it (I hope) will not be picked up by the bland Pop stations of the capital; it has plenty of potential to be spun across the most impressive airwaves of the capital.  Endlessly emotive, passionate and dramatic; you cannot ignore the intensity and purity that comes out.  As the chorus comes swinging back into the foreground- and its words gain new meaning and relevance- that combination of vocal and composition sounds ever more vital and impressive.  As the song reaches the final minute, we get echoed vocals and something quite spacey.  In the midst of a full-blown trance, our hero is in a fever of passion and desire.  My early interpretations looked at dreams and bygone bonds: It seems like this relationship is very much alive and burning bright- an intensity and firework display that is unlikely to stop any time soon.  So many modern love songs are negative and anxious- looking at break-up and deceitfulness- so it is refreshing to hear a song on the flip-side.  A positive and outright tribute to a pure love; you have a musical moment that subverts music’s worst instincts.  Given how sad music-lovers have been recently- following the deaths of two of its biggest names- we are embracing music that makes us feel better and reflect too.  Goosebumps has that positivity and urgency that cannot be ignored without it distancing listeners in the process.  It is a song that wants people to get involved and feel something inside- catchy and compelling enough to get people singing aloud.  In the final moments my mind started to look at the composition and how it works.  The percussion has a static charm to it- a heartbeat that gives the song blood-flow and punctuation- whilst the guitars seem faster and more vibrant.  Not only do they work together perfectly; the guitars are the bloodstream and shiver our man feels- as though the band is employing instruments as senses/metaphors for emotions and feelings.  The bass is fluid and commanding throughout: Perhaps representing a solid and unflinching soul; it also unites the instruments and pushes the vocal on.  The final seconds give that chorus another chance to say its piece- sounding even more relevant and captivating here- as our lead lets that voice get lost in the moment.  With some rapturous strings and punchy beats bringing the song to its close, FORTE wrap up a hugely impressive and compelling track.

Filled with nuance, phenomenal production values and emotion: Goosebumps is a track that is already warranted acclaim, radio-play and positivity.  Given its pure and positive messages, I am not surprised so many listeners have related to the song.  With the band being referred-to by initials, it is hard to get insight into the quintet- there is a bit of mystery to the lads.  What I can say is what a tight and impressive band they are.  It sounds like they have been playing together for years- that confident and assuredness sounds like a band with a rich history- and they will be playing for many years to come.  At every stage FORTE are completely connected and exhilarating.  That lead vocal is endlessly commanding and strong throughout.  Not sounding like anyone I have heard- there are a few shades of others but nothing too obvious- it is such a passionate and soulful weapon.  Bringing the words to life and giving them such gravitas: Here you have a singer that could make the phone book sound interesting.  Dealing with words that have a huge personal relevance; they are delivered with such heart and affection.  The guitar work from the band gives the song its injection of lust and shiver.  I said a bit earlier how the guitars sound like racing pulse and bloodstream: It seems like the band are using the guitars to summon up those racing heartbeats and spinning heads.  With the lead being caught in the blizzard of a huge love; the guitars are hugely important backing the words and making sure the vocal is given the support it needs.  On that note, the bass drives the song forward and promotes the voice too.  Keeping all the threads together and showing discipline- you are guaranteed Goosebumps stands up to repeated listens and closer investigation.  That drum does not idly stand in the back making little impression: A tangible and evident heartbeat; you have a performance that gives the track a huge hit and sense of drama.  Altogether the band unites supremely across a song that is an impressive and nuanced gem.  It has gained attention from radio- and will gain a lot more play in time- and is a song you need to get.  Although not officially released for a few more weeks: Ensure you check out the teasers on the band’s official Facebook page.  Blending Rock and Indie cores with something more mainstream and Pop- without compromising the intensity and integrity of the track- you have a song that will appeal to the die-hard Rock aficionados- that like their sounds hard-hitting and gritty- and bring in lovers of something more passionate, restrained and tender.  Filled with depth, desire and praise; few listeners are immune to the charm and treasure of Goosebumps.  Phantasmagorical it is not: Here is a number that recounts an intense and wonderful love.  If you want to find something that will get you singing- and stick in the memory for a long time- and moved; you need to check out the debut from one of London’s finest new acts.

It is hard to say how far a band will go off the strength of a debut single.  Given the rewards and praise the boys have already gained- that radio play and great attention over social media- the lads have a great momentum in their corner already.  Having spoken with the band’s guitarist Jesse James (J.J.); there is excitement and fond desires among the band- they want to succeed and go onto bigger things.  The boys have already secured B.B.C. Introducing London and B.B.C. Introducing Three Counties (for spot plays)- a great start for a band who have only been around for a few weeks!  Goosebumps is a solid and confident statement from a band that wants to remain in music for many years to come.  Those ambitions and dreams do not seem too far-fetched as they have a sound that is very much their own.  Not keen to be compared to any other act out there, the guys have drawn from their personal experiences and lives to create a song that has got many people very excited.  Having has a very busy start to their career; I am not sure what direction the next year will take.  Obviously the boys will be touring, although I am not sure whereabouts they will be playing- keep your eyes on their social media pages.  With regards new music, I am sure an E.P. will be in their minds: Again, it is up to them when that is going to be released.  For now the band are focusing on Goosebumps and seeing how the public react to that.  One of the golden rules- and cardinal sins on the flip-side- is the issue of getting radio play: So many bands and musicians do not contact radio stations early in their careers.  In the opening I looked at the mixed benefits of social media- how it is not always as helpful as it should be- and how too many acts are hoping it will do all the work for them.  Given the pacificity of many social media users- how few will actually share music and support acts- it is vital to take action and control your own career.  Radio stations will get loads of requests by the week: They will always make time and space for the acts truly worthy of radio play.  If you send a tweet or contact stations directly, you give yourself a much better chance of getting exposure and attention.  FORTE have been played on B.B.C. London and across the Home Counties: Here is a young act that has already resonated with a lot of people.  On 11^th February the boys will launch their single- supported by Foam and special guests- in north London.  I can see Goosebumps making it onto the playlists of London’s credible mainstream stations- Absolute Radio and ‘6 Music- and avoiding the lesser/rubbish ones- the likes of Heart Radio, Capital F.M. and Kiss F.M.  As there are so many male bands coming through- many playing in the Rock mould- only the brightest and most original will succeed.  So many bands are either desperately slight or unoriginal- being too similar to someone else out there- or go in rather insincerely on their debut song.  FORTE have ensured their first move remains in the memory and sets them up for a prosperous and long career.  It is dangerous making predictions early but is it is clear this London five-piece will be on the scene for years to come.  London is a busy music centre and is welcoming all manner of musicians into the world.  Bands are always going to a popular and in-demand commodity; for that reason, those coming in need to make their early music really count.  FORTE have managed to keep their core hard and heavy- whilst ensuring there is plenty of depth and emotion when it really counts.  Not your workaday Rock band, the lads dig deeper and come up with something much more rewarding and layered.  It is just left to me to congratulate the boys and let’s hope 2016 will be a diamond year for them- I have no doubt it will be very special indeed.  Goosebumps is an apt title for a song that has registered a lot of praise among the legions of social media followers (for the band).  Take time to discover a band (and song) that is worth…

 

A lot of love and attention.

_________________________________________________________

Follow FORTE

 

Facebook:

https://www.facebook.com/theforteband/

Twitter:

https://twitter.com/theforteband

Instagram:

https://www.instagram.com/theforteband/

Track Review: Duke of Wolves- Hollow Eyes

TRACK REVIEW:

 

Duke of Wolves

  

Hollow Eyes

 

9.6/10.0

Hollow Eyes is available at:

https://soundcloud.com/dukeofwolves/duke-of-wolves-hollow-eyes

RELEASED: 16^th January, 2016

GENRES: Rock

ORIGIN:

London, U.K.

PRODUCER:

James Billinge

RECORDED AT:

Whitehouse Studios, Reading

____________________________________

FILL next couple of days will see me focusing on a couple of acts...

that are brand-new and starting up.  My featured artists are in the stage of getting publicity photos sorted- it is a review when I will be duplicating the photos they have- and putting their biographies together.  The last few months has seen me investigate musicians that have already crafted a few tracks: Been out there for a while and been playing for a little while.  It is exciting to see a band/act at the very beginning: Seeing their first move put to record gives you an indication of just what they can achieve- and exactly how far they can go.  Before I talk about the London-based band, it is worth mentioning new bands and the Rock market- in addition to the growing number of musicians coming onto the scene.  With a cold and bitter winter upon us; so many people are looking to music to offer some warmth and comfort.  It is always difficult getting a hold of all the music coming through: We have to employ our best judgment whilst trying to be bold and adventurous.  One of the great things about music is the sheer range of sounds available at the moment.  Depending on your tastes and preferences there is going to be something out there for you.  I have been featuring a lot of solo acts recently so it is good to go back to bands and see what is happening.  Whilst I believe the solo market will be the most prosperous- when it comes to consistency and outright quality- some of the fantastic young bands coming through and capable of rubbing shoulders with the best of them.  When it comes to bands, there tends to be a narrower focus in terms of genres and sounds: The majority of bands tend to either play Alternative/Rock sounds; perhaps variations/sub-genres of Pop and Indie.  Some of the most interesting bands of the last few years- the likes of Everything Everything stand out- mix darker lyrical themes with bi-polar sonic blends and a huge adventurousness and colour.  I find a lot of young bands tend to get too rigid when it comes to their music: The emphasis is on riffs and noise rather than nuance and emotion.  If you look at the Rock market- which accounts for a large percentage of the new bands coming through- there is perhaps not the diversity and variation one would hope.  Luckily my featured artists are among the most nimble and ambitious Rock acts of the moment.  Whilst they have some clear influences under their belt- the likes of Queens of the Stone Age and Rage Against the Machine- they do not wear it indelibly on their sleeves.  What the guys have is a solid bond and an incredibly tight sound: They will be one of the most hotly-tipped bands in London this year.  Before continuing, let me introduce you to Duke of Wolves:

Ben (Drums&Backing Vocals)

Jim (Lead Vocals&Rhythm Guitar)

Orlando (Lead Guitar&Backing Vocals)

Sara (Bass Guitar&Backing Vocals)

The band name alone summons a blend of ferocity and regal-ness: A hard-hitting sound backed with class and a sense of dignity.  Knowing Jim Lawton- the band’s lead and singer- and his previous work with Crystal Seagulls (a fantastic young band that sadly called it quits a while ago); I know just how seriously Lawton takes music.  His new band of brothers (and sister) are a hot proposition that are surely going to be going on to big things.  At the moment there is a little mystique to the band.  Their social media pages contain a couple of photos and a bit of contact information- the official photo-shoots and depth will come soon enough.  Whilst it is hard to put too many photos into this review- a bit of creative license needed alas- it is fantastic seeing a band that are working hard early on.  Their debut single is out there whilst the guys have set up a Twitter and SoundCloud account.  So many acts are quite lazy and naïve off the blocks: They tend to think they can take time and not worry about such concerns- they pay a heavy price for their ignorance.  The band sector is the most populous and in-demand in all of music.  I can see the attraction of forming a group and making music: That bond and excitement tied with the possibilities of what is to come is a tantilising draw.  What I tend to find is so many young musicians just rush onto the scene.  Thinking a speedy release will be met with acclaim and fandom- regardless of what the songs sound like- not enough attention and originality is being put into music.  What you are left with is a scene with variable quality and some rather insincere and average bands.  If the best bands out there have shown anything it is what can be accomplished within well-worn genres.  Although Indie sounds account for a lot of music’s output; there is so much potential to produce something fantastic and different.  Duke of Wolves are a band that mix Indie and Rock ideas: They have a lot of energy and commitment coming through.  From the earliest notes you can tell how much music means to them.  One of the most urgent and passionate bands coming through, it will be exciting to see what lies ahead for the quartet.  With the end-of-year polls favouring solo talents- the polls that give their tips for the year ahead- the bands out there have to step things up.  Whilst I have bemoaned the insistence (of bands of the moment) to play very close to established artists- Foo Fighters are one of the most popular- there are some artists that are original and capable of something unique.  Duke of Wolves bring their shared musical experiences to the new venture: The players have such a connection and relationship; I can see them performing live quite a lot this year.  Although Hollow Eyes is the debut single from them, it will surely lead to an E.P. sometime in 2016.  London is one of the most fertile and prosperous band centres at the moment: The new acts coming out of the capital are demonstrating a hell of a lot of intensity and versatility; so much range and excitement.  London is growing by the year- when it comes to their music output- and Duke of Wolves are going to attract a lot of support.  The group will want to remain level-headed at the moment; they have a huge potential and chance to go pretty far.  Due to the sheer weight of bands emerging right now- by the week you get a huge wave of them emerging- it is really difficult to find which ones are worth long-term following.  Duke of Wolves will be a tantilsing band to follow and are showing a huge amount of early promise- their debut cut is one of the sharpest and most compelling tracks I have heard in a while.

When it comes to the Duke of Wolves gang, you have a band that is just starting their music careers off.  Although the various players have been in other acts- and bring their shared experiences to the table- Hollow Eyes is their first shared endeavor.  In terms of their influences and heroes, the below are key musicians:

Led Zep, QOTSA, The Beatles, Rage Against The Machine; Muse, Wolfmother, Cream, The Kinks

As you can see from this list, the London band tends to favour their sounds on the heavier side of things.  What you get from them is a bit of ‘60s/’70s Hard-Rock- the likes of Led Zeppelin come through at times- tied with the of-the-moment guts and grit of Wolfmother.  That said, Duke of Wolves have a subtleness and melody to their music.  Unlike Wolfmother- who tend to be harder and heavier- our guys have gentler sensibilities and a desire to mix sensitivity and restraint with outright attack and emotion.  Having a love of ‘60s legends and modern-day Rock acts; you get a little bit of each- the acts listed above- in their debut single.  It will be interesting to see how their future songs take shape.  I can see more subtle and emotive tracks taking shape.  Being familiar with Lawton’s work with Crystal Seagulls; as a songwriter he is capable of producing epic songs of emotion and heartache- that concentrate on lyrics and vocal power rather than riffs- in addition to big stadium-sized singalongs.  The musical talent within Duke of Wolves is evident so I would imagine any future E.P. will have a lot of range and variation.  Of course the band themselves will reveal more in time- they are focusing on promoting their debut cut- but they have the potential to create something spectacular.  Given their influences and individual talents; you just know future cuts are not going to stand still- not just replicates of Hollow Eyes.  Too many bands find a particular ‘sound’- that is predictable and unoriginal- and do not show any motivation and original ideas.  The London four-piece have a lot of ideas and colours in their palette: Expect to see some terrific tracks forthcoming from them this year.

A crunchy and buzzing riff heralds in Hollow Eyes.  With an evocative and motorcycle-revving sound to it, you get caught up in that energy and youthfulness.  Raw and edgy- whilst being disciplined and restrained to an extent- the early stages tee the song up and get the explosions started.  After that early guitar riff-age there is a militaristic percussion drum-roll: An insatiable and scatter-gun pummel that adds another layer of urgency and masculinity.  That brutal and late-night danger feeling to the introduction recalls a mix of early-days Nirvana and Queens of the Stone Age.  There is definitely an ear of the U.S. legends- a blend of Grunge and Stoner-Rock- and you get a mix of Bleach (Nirvana) and Songs for the Deaf (Queens’).  That chug and hard sledgehammer attack gets the senses captivated and ensures the opening moments are not easily forgotten.  When our lead comes to the microphone, his voice is in determined and unsympathetic mood.  When delivering the opening line- “Tell me what you want to hear”- that is a sense of fatigue and annoyance to the tones.  Maybe he is in the midst of a relationship with an odd power struggle.  Perhaps the girl has tried to call the shots or is being somewhat difficult- our man a puppet that has to jump to the beat of her drum.  The guys create a claws-out and D.I.Y. sound that recall the Sub Pop days of Nirvana- whilst retaining a very unique take and flavor to their music.  It seems like our lead is not wanted and excessive baggage- he wonders if his subject wants him here- and ever-more you get ideals of love and relations-on-the-rocks.  Unlike Nirvana’s debut there is an emphasis on structure and song-form- in addition to memorability and vitality.  In a Rock scene that shows a few acts with proper guts and intelligence- as opposed to a mass that seem devoid of both- Duke of Wolves do not simply throw together riffs in the hope that something sticks.   You can tell throughout- even in the earliest stages- a lot of attention has been paid to the composition and vocals.  Whilst the lyrics are quite broad and universal- detailing love and the struggle to find connection with someone- you get a distinct songbook that shows a very personal anxiety.  Our man is looking at his girl and searching for truth: Those hollow eyes seem empty and rather lifeless as the hero tries to discover meaning and emotion.  It is intriguing what inspired the song and its particular angle.  It is clear this bond has been fractured- probably to the point of no return- but maybe there is some hope of some consolation and connection at least.

The vocal melody has an endless drive that mixes funkiness with attitude: A hypnotic and energetic projection that will have crowds singing along for sure.  At every stage the band do not relent their crusade and musical warfare.  The percussion snaps into life and reaches fever-pitch- one of the most intense performances I have heard- whilst the bass drives the song and ensures every instrument comes together beautifully.  Behind those crunching and easy-on-the-eye riffs you have a commending vocal performance that perfectly mixed emotions- that tiredness and annoyance spars with panache and clarity- and does the song full justice.  A lot of bands lack completion and total authority- either the drumming is too insipid or the guitars too predictable- but Duke of Wolves have that powerhouse built and cemented.  Given the strength of the percussion- recalling the sort of intensity Dave Grohl brings to music- you have a perfect backbone that propels the vocals and song forward.  Whilst the percussion hisses, swaggers and attacks; the guitars blend some beautiful little avenues and ideas.  The riffs do not remain static and stolid instead they slither and move to give the song emotional reverence and story development.  Whilst our hero keeps asking questions of his girl- what is behind her eyes and where are the two headed- that is that implacable need for truth and commitment.  A lot of love songs- that deal with break-up and drifting apart- are needlessly accusatory and self-aggrandising.  Those songs see the lead play the victim and tread into cliché territory.  What you get on Hollow Eyes is a front-man that has had enough but still has a sympathetic side to him.  Not devoid of comfort and heart, there is that stunning mixture of accusation and redemption.  Whilst blood pours from his soul- the lyrics become more evocative and striking as time progresses- our lead is joined on vocals by his band members.  Creating huge drama and atmosphere, you get caught in the whirlpool that is being whipped.  A lot of bands- that play similar sounds- lack any potential beyond the two-minute mark: Much more competent and able when keeping things short and punchy.  Duke of Wolves are a band (on the evidence here anyway) that are capable of short-time attack but effortless when letting the song run.  Brimming with musical and lyrical ideas; the guys are having a great time but keeping things serious.  Before the next verse rolls into view, the percussion provides another nice little side-step- a terrific roll and rumble that punctuates the verses- whilst bass and guitar weld-together to create something electrifying and nerve-shredding.  Into the next verse, our hero wonders whether he is being strung along.  Determined to get clarification- not wanting to let this relationship die needlessly- you get more outright accusation and blame coming into things.  It seems the ‘heroine’ has been having her cake and eating it- or just not properly invested in the relationship- and our lead has had enough of it.  Not keen to be a doormat or do-as-I-say dog there is a definite imbalance in the relationship.  Hollow Eyes is certainly a catchy song that prides itself on its melodic and accessible sides- as much it does those savage riffs and Grunge-inspired dirtiness.  Too many bands either try to create a genuine grubby sound: One that recalls the ‘90s heydays whilst giving it a modern relevance and plenty of potential.  I find acts that go for Grunge/Rock of the ‘90s either stray too close to certain acts- Soundgarden, Nirvana or Pearl Jam- or they are too undisciplined and unfocused.  On the other side of things, many acts are far too polished and mainstream: They are trying to predict what critics want them to sound like and fit into the chart-friendly crowd.  Duke of Wolves have messy emotions among assured and disciplined performances: A beautiful mix of nightmarish dissolving and heart-on-sleeve emotions.  If this is how the band are going to develop they have a very bright future ahead of them- ensure they keep that originality dominant over evoking older sounds.   Those looking to pick apart the song- to see beneath the notes and lyrics- will be fascinated by the range of sounds and ideas the band toss into the pot.  The guitars are endlessly mobile and busy: Not intent on standing still you get some delicious riffs that keep the song fascinating and vibrant.  Lawton is a strong leader who has a voice with plenty of potential to it.  Knowing him from the Crystal Seagulls days he has retained some of that sound- the crisp falsetto and gutsy power- whilst bringing in fresh tones and a new vitality.  Here our man is sharper and more primal- whereas Crystal Seagulls were perhaps a little more radio-friendly- but has not completely departed from his previous band.  It is great to hear a consistent singer who has a voice that makes every emotion sound compelling.  Hollow Eyes deals with a popular currency- the themes will seem familiar to most- given a different perspective and relevance.   Killer riffs remind me of Songs for the Deaf-era Queens of the Stone Age: There are Black Sabbath-esque drugginess and the raw youthfulness of debut-album Nirvana.  Unlike Queens of the Stone Age, the riffs are not two/three-note presentations; like Queens’ Hollow Eyes skews Rock clichés and adapts the worst excesses of the scene (sticking too close with other acts) and perfectly unites iciness and detachment with the desires of the heart.  The guitars effortless unify Stone Age heaviness and primeval lunges with something educated and informative.  Hollow Eyes flows and mutates without losing its focus and heartbeat: Never rif-heavy this is a solid band performance that does not see the lead needlessly dominant.  Although Lawton’s voice and guitar adds a huge amount of force to the song, the entire band has their chance to shine in the spotlight.  Towards the final stages you get more pyrotechnic riffs and licks; some stunning guitar explosions and snaking, biting bass notes.  Kudos must be given to that vocal- in spite of my previous words- as it really grows and stuns into the final exchanges.  Semi-operatic and wracked, it is a huge performance that gives the listener chills.  Able to keep his voice whispered and seductive, Lawton can bring it to the point of orgasm without losing a step- few singers have that ability and talent.  Before the song is done the band throw everything into the mix to ensure the composition goes down swinging.

Congratulations must be given to the band that has come in with a debut single that marks them as future warriors.  Not many bands come in this strong; it is testament to their bond and shared talents that make Hollow Eyes a blinder.  The production throughout is professional and polished ensuring the vocals and lyrics can be clearly heard.  That said, the production is raw and bare enough to ensure the song’s subjects/highlights- those anxious and angry lyrics; the stunningly inventive and hard-hitting composition- are given a proper platform to shine.  Ensuring the lyrics is never clichéd and predictable, you have a song that deals with common issues- the battles of love and deceitfulness- but gives it nee inspiration and angles.  The song succeeds- among many other reasons- in no small part because of the band themselves.  Duke of Wolves are newbies yet seem like they have been performing for years.  Ben is a drummer who has the power and arm strength of Dave Grohl- few bands has such an assured and mesmeric sticks-man behind them- whilst creating plenty of personality and original intent.  Savage and pummeling slams mix with neat drum fills and more restrained moments.  An exceptional performance that keeps the song flowing and attacking; those drumming skills will be put to good use throughout further recordings.  Orlando’s lead guitar is another star that burns with eye-melting intensity.  Snarling and teeth-showing venom blends with psychedelic swagger and Grunge-influenced filth- a gamut of emotions, colours and ideas throughout the song.  He puts the listener into the mix and provides a thrilling sense of drama and magic throughout the track.  Sara’s bass ensures Hollow Eyes remains solid and focused throughout.  Never vague and slight, she manages to put melody, rhythm and rebellion into her notes whilst keeping all the instruments and elements together perfectly.  Bass players are often under-rated and under-noticed: It is hard to ignore the influence and discipline Sara shows throughout.  It would be nice to see that bass out-front on future releases: Get some nice solos and runs mixing with drum and guitar solos.  Jim (Lawton) leads from the front with determination and power throughout.  One of the most agile and impressive voices in Rock; his rhythm guitar has its own wonder and electricity to it.  Presenting a song that will connect with a lot of listeners, it is crucial the vocal is clear and ready for the challenge: Not only is the vocal endlessly gripping it has that original feeling and plenty of nuances.  Able to effortlessly scream into the abyss whilst demurring into pure and romantic territory- it is another key weapon that Duke of Wolves with exploit across their forthcoming songs.  The entire band is tight and well-rehearsed to ensure Hollow Eyes stands up to repeated batterings and investigation.  A song that will get the crowds singing and united, they should be very proud of their first step.  One of the most impressive debuts I have heard in a long time, the London quartet bring in the best elements of Queens of the Stone Age, Nirvana, Cream and Led Zeppelin- those magisterial riffs and unbeatable anthems- there is plenty of original content and ideas to stand them out from the crowds.  With so many great bands bubbling under the surface, I am confident 2016 will see Duke of Wolves do sterling business.  I cannot wait to see if future songs will bring in witticism and humour- to counterbalance the ragged and accusatory songs- and see the guys go into softer territory- perhaps a calmer moment of reflection.  Such is their potential and ability you wouldn’t rule anything out: A bona fide Rock act that are going to be ruling the airwaves before you know it.

Hollow Eyes is a statement of intent from a hot young band that has a lot more to say.  The bands coming through at the moment vary in term of quality: We have some amazing propositions among the indeterminate swathe of so-so acts.  With an air of U.S. legends- Rage Against the Machine, Queens of the Stone Age and Nirvana- you have a debut cut that evokes fond memories and plenty of quality.  The band have their own style and way of working: You should not be too ready to compare them with other bands.  What you have from the London troupe is so much energy and commitment.  Incredibly tight musicians, you just know they can go onto some great things.  It is perhaps too easy for me to stand on the outside and make proclamations and predictions.  I know how hard and fraught the music industry can be- the reality of making music and finding success- so Duke of Wolves will keep their feet on the ground.  The debut song- and those infantile stages- are vital to get cemented and right.  If you are wasteful and insincere early on then you will struggle to make any impressions and footprints.  Given the mass of musicians coming through, there are no excuses to produce something samey, unoriginal and tepid.  Duke of Wolves know how music can go- Lawton’s band Crystal Seagulls sadly disbanded; they produced some fantastically consistent music- but I can hear so much potential in the young band.  Given the winter we have- where harsh weather and the passing of some legends have scarred us- we all need to discover music and let it heal the wounds.  London has always worked hard to produce some of the world’s greatest musicians.  In the early part of 2015, the capital started to slow down: Dominance was relinquished and other towns/cities started to make way.  Yorkshire and the north started to take some market share from London and show its prowess.  I am not sure what has happened there- maybe just a bad period- but London is starting to recapture that magic and authority.  So many terrific solo acts are coming through here; each with their own voice and way of working.  The lack of quality bands coming through- not just in London but everywhere- started to worry me last year.  There are always going to be a lot of terrific bands coming through- impossible not to given the sheer number of musicians starting out- but the quality was not as high as it should have been.  What I find is too many bands lack that necessary nuance and grit: The genuine passion and force to stick in the mind coupled with the compulsion to revisit them again.  With the likes of Foo Fighters managing to inspire still; so many young acts replicate them and lazily toss-off some third-rate tribute songs.  Lacking necessary uniqueness and personality, what you have is a scene where you have to dig deep to find the better acts.  I mentioned earlier the fact acts like Everything Everything have managed to work wonders within the Indie mould.  Their album Get to Heaven was awash with darker and anxious themes; tied with swaggering and anthemic compositions, you have an album that gave a necessary kick to the scene- was a shame it missed out the Mercury Prize win.  So many new bands tend to be rigid when it comes to their instrumentation and themes.

Concentrating on love and relationship issues- without giving the subjects much consideration- they go for easy riffs and something rather predictable.  I think this year will see a resurgence; more terrific bands emerge.  Rock is certainly not dead- although it is ailing and in need of medication- it just needs its participants to step their game up and think horizontally.  Duke of Wolves knows what it takes to make a mark and have made an impressive early stride.  The guys have some clear influences- you can hear elements of U.S. and U.K. acts in their single- but do not wear it as a suit of armour.  What they do is adapt the Cream-cum-Queens of Stone Age dynamics for their own end: Injecting plenty of personality punch into the cocktail, you have a band that mix familiar with original.  The passion and intensity blends seamlessly with the emotional and introspective.  London has plenty of great music venues so expect Duke of Wolves to feature all across town.  Hollow Eyes is a song for the masses: One that get the voices rallying and the feet hopping; it is a blast of brilliance that is not going to be a one-off.  Whether the quartet have already begun work on an E.P. - such a pushy reviewer me!-I am not sure.  It will be exciting to see what 2016 holds for the London act; it is going to be a busy one that is guaranteed!  Before signing-off, I wanted to mention the bands coming through at the moment- comparing them to the solo market.  Whilst there is more speculation and excitement leveled to the solo artists of 2016; that is not to say the bands should be overlooked altogether.  The mainstream’s best are few and far between- there is a definite weakening at the moment- so we have to look to the underground to see who will ascend to the gilded ranks of critical attention.  Last year there were some awesome bands coming through that excited me: This year is not going to be a disappointment at all.  It is tricky assessing new bands as their earliest cuts might not necessarily reflect what they will sound like down the line.  Acts evolve and change all the time so it is hard to predict what will come next for Duke of Wolves.  The band have come in hard with a debut cut that recalls some idols and influences- the riffs of Queens of the Stone Age are in there- yet there is nothing too obvious about the London band.  They take those influences on board but ensure their music has plenty of originality and personal direction.  Hollow Eyes is an assured and intense debut that has already garnered praise and acclaim across social media.  Whether the gang chooses to expand their social media output- more photos and information among Facebook and Twitter- that will come in time I am sure.  You cannot deny how much the band wants to succeed and play: The tight and impassioned performances are the result of four musicians with love of what they do.  If they do release more songs in the coming months, they will probably not be that close to Hollow Eyes.  I know there will be softer and more intimate numbers among the hard-and-heavy riffs.  If Rock as a whole seems to be near the point of death- perhaps an exaggeration but there is a slacking of quality- then the likes of Duke of Wolves show it has the potential to…

 

RECOVER and keep on burning bright.

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Follow Duke of Wolves

 

Facebook:

https://www.facebook.com/dukeofwolves/

Twitter:

https://twitter.com/dofwmusic

Instagram:

https://www.instagram.com/dukeofwolves/

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Music:

https://soundcloud.com/dukeofwolves

Interview: The Updraft Imperative

Interview:

  

The Updraft Imperative

 

THIS year I am keen to revisit some of my favourite acts: Check in with them and see what lies ahead for them.  The Updraft Imperative came to my attention following the release of their album, Chair.  The last year has seen them perform across Australia; interviews across international radio- they seem unstoppable.  With rumours of a potential album (this year) and a line-up change- their original drummer Pete left the band- it has certainly shown challenges among the triumph.  Excited to catch up with the Christian-Rock band, here's how it went down...

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

Danny: Great!  My wife and I drove the campervan up to Yeppoon and back.

Iain: Doing pretty good.  Christmas and New Year was great.  Spent Christmas with some extended family up in Kandanga.  Went and watched a mates band play on New Year’s Eve, then went and watched the fireworks at Southbank.

Murray: I enjoyed some quality family time and went dancing on New Year’s Eve – confirming once again that I can’t waltz.  I apologise once again to my wife who tried to teach me!

Josh: Had an interesting Christmas and New Year this year.  There was some great times spent with friends and family, but some sad circumstances mixed with some friends also.  In some ways a welcome farewell to 2015.  Looking forward to a new year of….well, whatever it brings.

You have two new members to your ranks (Iain and Danny).  How are you guys settling in?

Danny:  Really well: Still learning all the songs and whatnot but it's pretty easy.  Everyone's getting along.

Iain: Yeah settling in fine.  This is actually my second stint with the band so it's been like slipping back into an old pair of trousers for me.  Hahaha.

Murray: As a founding member (A.K.A. elder statesman) of T.U.I., we are all very comfortable with our roles.

Josh: These guys rock!!

Last year was a busy and transformative one for the band.  What were the highs and lows for 2015?

Danny: In my (so far) short time with the band; playing the carols out at Mount Mee was a decent highlight.

Iain: One of the highs from last year was playing at Moo-fest up at Mooloola.

Murray: So many highs!  There’s a blog on our website mentioning a few of them.  For me personally, the amount of radio play our music has received; the recording of new singles and the diversity and number of gigs we have played.  Lows:  Pete leaving T.U.I. was probably the lowest point of the year but Danny and Iain joining rounded the year off on a high.

Josh: A big highlight for me was finding out we had the funds and support to record some more music.  I would say Pete’s announcement to leave was a low point; however one door shut and another opens (...or another 2 open in our case).

[soundcloud url="https://api.soundcloud.com/tracks/62268205" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

In terms of the year ahead: can we expect a new album down the line?

Danny: There's a fair chance of that: We're gonna try get together and write some new stuff soon.

Iain: I do believe there are plans in the pipeline for a new album.

Murray: My studio is ready and waiting for a band writing weekend…coming soon!!

Josh: We are excited to see how our music merges and develops with the influence brought by Iain and Danny, and yes, we will be sharing it with the world.

With your band undergoing a slight personnel change: Does this mean your sound will change or will it remain the same?

Iain: There have been murmurs about a bit of change in our sound- to a rockier, edgy kind of sound.

Danny: We've been talking about going in a more Rock direction, but we'll see what happens.

Murray: We all bring very different life experiences to the band.  Putting both those experiences and diverse musical influences together it’s a given that a new line-up will equal a new sound.

Josh: I think there will be some changes.  I don’t think it’ll be too dramatic, but feel like it’ll shake things up a bit.

In terms of the band’s history, what has stood as the proudest moment to date?

Murray: For me, it was driving along with the family in the car and hearing our son One Life being played on 96Five…then going on to have that song (and many others) played on stations across the world.

Josh: It’s hard to pin-point a particular moment.  I felt really proud when someone from the other side of the world felt like our music was worth the time and effort to sacrifice a significant amount of their life to it/us.

Being a Christian-Rock band; do you find it is a genre that should be pushed to the mainstream more?

Murray: Short answer?  No!  I know we are Christians, but our sound isn’t a typically Christian band sound- therefore if we pushed it more as Christian-Rock then we would risk pigeon-holing ourselves into a genre that doesn’t represent us.  As a sideline: I’m still not 100% sure what to define our sound as – even after all these years!

Josh: If you’re talking about a genre of music, then I’m not sure.  If you mean: “Do you think the message of Christ (and the stories of our lives) should be shared with as many people as possible?”, then absolutely.

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

Murray: Early in my life, the likes of Bread, America, Cat Stevens and the like filled my ears.  Later it would be Petra, Led Zep., Jeff Buckley, R.H.C.P. (Red Hot Chili Peppers), R.A.T.M. (Rage Against the Machine- when did you want me to stop....?!)

Iain: A few major influences on me that have helped shaped my style of bass playing are: John Entwistle (The Who), Jack Bruce (Cream); John Paul Jones (Led Zeppelin) and Roger Waters (Pink Floyd)

Josh: Queen, Petra, Michael Card; Rob Thomas, Jason Mraz, Josh Groban…..

Chair is an album still being talked-about and celebrated.  Why do you think it resonates so much with people?

Danny: In my opinion (sound-wise) it has a pretty accessible sound and uplifting lyrics throughout.

Murray: Because of its honesty and clarity.  Great music; lyrics that actually say something worth listening to – and hectic guitar riffs!

Josh: Not 100% sure.  I think one is we were trying to fit into a particular genre.  That has its risks I suppose, but maybe it allowed the album to connect on different levels- and I would hope that the message of the songs was encouraging or challenging.

Brisbane has produced some great bands- including Powderfinger, Sheppard and The Saints.  With areas like Sydney, Melbourne and Perth gaining musical attention; do you think Brisbane is an underrated area of music?

Danny: I don't think Brisbane is underrated at all; there are plenty of quality bands here.  People just need to get out and go see ‘em.

Iain: Like Danny, I don't think Brisbane is underrated in the area of music.  The numerous amount of times that I've gone out and gigged in Brisbane: I've witnessed plenty of other talented bands.

With the world becoming less sure and more fearful: Do you think Christian-Rock’s messages- hope and togetherness- are more relevant than ever?

Danny: Any message that speaks of hope and positivity is relevant in this day and age.

Murray: We live in a world where hope is a diminished commodity.  Simply because you cannot put a price on it, that's why it's priceless!  We bring a sense of hope- that we are simply not alone in this world- that we are not just a random accident with no real future outside of that which we see here before we die.

People around the world are connecting with the message and feeling of hope in our music.  We aren't backward in letting our Christian beliefs come through in our music.  So the biggest thing, in both lyrics and music, is accurately plugging into the hope people need to hear!

Josh: The Christian message has always been relevant.   I suppose when we see the uncertainty and fear in our world; maybe it just highlights the fact that we need hope and purpose.  We have hope in who God is and what he has done.  It’s not just hope for the sake of hope.

A question for Iain and Danny here: What was your music background prior to joining The Updraft Imperative?

Danny: Iain and I were in a Rock band together prior to T.U.I.  Other than that, I played in church for years.

Iain: Danny and I were the rhythm section in another band called Maiden May which sadly disintegrated at the end of July 2015.  Here we are both reunited in The Updraft Imperative

What advice would you give to any similar bands following your footsteps?

Danny: Work hard and make sure everyone is on the same page and working toward the same goals.

Iain: Work hard, work together and aim for the same goals.

Murray: Set your sights high...and low.  High for quality of sound and songs and low for the groundwork needed to be done to bring these to punters.  Know your audience, and work on getting a core group of supporters from that audience.  Know your strengths and maximise them.  Isolate your weaknesses and put them in the back room!  ALWAYS be true to yourself and your band-mates- no matter what the apparent benefits are to you of being otherwise.

Josh: Yes, I agree to have goals and work towards them is essential.  Encourage each other as mates and musicians.  We’ve been blessed to have a tireless promotions manager to help with leg work and someone who believes in us as a band.  Get one of those :)

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

Iain: Oooooh, there's so many songs to choose from, but one song I've been really getting into lately is In Any Tongue from David Gilmour's latest album Rattle That Lock.

[youtube https://www.youtube.com/watch?v=L1v7hXEQhsQ&w=560&h=315]

Murray: Being fairly topical here: I’m going for David Bowie, Let’s Dance.

[youtube https://www.youtube.com/watch?v=N4d7Wp9kKjA&w=420&h=315]

Danny: Bumblebee by Kasabian

[youtube https://www.youtube.com/watch?v=hjUA_e0ZG_U&w=560&h=315]

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Follow The Updraft Imperative

 

Official:

http://www.theupdraftimperative.com/

Facebook:

https://www.facebook.com/theupdraftimperative

Twitter:

https://twitter.com/TUI_Official

YouTube:

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

SoundCloud:

https://soundcloud.com/theupdraftimperative

Feature: The 500th Post- The People's Playlist

FEATURE:

 

The 500th Post:

 

The People’s Playlist

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AS I reach the 500^th post…

of my blogging ‘career’, it has been great reflecting on some great musical memories.  Several years ago- when I first started Musicmusingsandsuch- I took baby steps and developed what I do- probably hitting my best a few weeks ago.  It takes a while to get things good- and I have a way to go yet- but am pleased I have persevered and kept going.

Not sure what 2016 holds in store for new music- sure there will be some surprises- but will be exciting to see what comes next.  To honour this post, I have thrown the blog open to the general public (people I know on Facebook) to recommend some great music- included here for your delectation.

It is still open- only have two submissions so far- so get your choices in…

The Dutch Guy- D.J./Journalist/Reviewer

 

Jerusa - Favourite Memory

[youtube https://www.youtube.com/watch?v=eyJMhXnlc3I&w=560&h=315]

Ships Have Sailed- Midnight

[youtube https://www.youtube.com/watch?v=9qSSA_IAFf0&w=560&h=315]

Lexi Strate - Antidote

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

Jonathon Robins - Here for You

[youtube https://www.youtube.com/watch?v=oTS4OhLp0fI&w=560&h=315]

Rachel Lorin - Love Bites

[youtube https://www.youtube.com/watch?v=qtjPu-I7MPI&w=560&h=315]

Shalamar - Slow Dance

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

Track right now:

JJ Rosa - Where is the Mercy

[youtube https://www.youtube.com/watch?v=-cqUx2bYGj0&w=560&h=315]

Lisa Russell- Member of Universal Thee

Teleman- Cristina

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

Foals- What Went Down

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

Ded Rabbit- Scarlet Cardigan

[youtube https://www.youtube.com/watch?v=9B34yZDU3ZQ&w=560&h=315]

Everything Everything- Regret

[youtube https://www.youtube.com/watch?v=SGqL85qxs90&w=560&h=315]

  Courtney Barnett- Pedestrian at Best

[youtube https://www.youtube.com/watch?v=o-nr1nNC3ds&w=560&h=315]

Universal Thee- Hounds

[soundcloud url="https://api.soundcloud.com/tracks/236767186" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

The Baskervillez-Lazy

[soundcloud url="https://api.soundcloud.com/tracks/149467605" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Cate Le Bon- Are You With Me Now?

[youtube https://www.youtube.com/watch?v=8-Vw49KM6JU&w=560&h=315]

  Borns- Electric Love

[youtube https://www.youtube.com/watch?v=RYr96YYEaZY&w=560&h=315]

Yuk- Get Away

[youtube https://www.youtube.com/watch?v=Kz7vyrFhFE8&w=560&h=315]

Eagulls- Possessed

[youtube https://www.youtube.com/watch?v=kk7gwWbvdpA&w=560&h=315]

Cardiacs- As Cold as Can Be in An English Sea (thanks Matt Grieve)

[youtube https://www.youtube.com/watch?v=8OGWYys7YbQ&w=420&h=315]

We Are the Physics- Dildonics (thanks Ross McGowan)

[youtube https://www.youtube.com/watch?v=Sd_kPq8cGvk&w=560&h=315]

“Glad to say many Edinburgh bands make a feature.  Reminiscing I have to say that we had one of the best nights with Be Like Pablo in Aberdeen and Kelburn Festival was such a blast… My ear worm of last year was the Cate Le Bon one; so that's prob. my favourite… New band?  The Baskervillez”.

Get involved and let me know what songs you want included- I shall put them in.  Here’s to the next 500 posts (or near as I can get)…

THANKS.

E.P. Review: Cryptic Street- Stranger

TRACK REVIEW:

 

Cryptic Street

 

 

Stranger

 

9.4/10.0

Stranger is available at:

https://crypticstreet.bandcamp.com/

RELEASED: August, 2015

GENRES: Rock; Electronica; Pop

ORIGIN:

Malta

TRACK LISTING:

Stranger- 9.4

Kull Lejla- 9.3

Fumes- 9.4

Farsa- 9.4

103- 9.5

DOWNLOAD:

Stranger; Fumes; 103

STANDOUT TRACK:

103

____________________________________

LOOMING close to my….

500^th post- the next one out of the blocks- it gives me the opportunity to meet with a hungry new girl group- one of the most diverse and exciting I have heard for a while.  It seems like that musical commodity is a rare one indeed: There are girl bands yet few that really leave impressions in the mind.  Before I get to my featured act I wanted to talk about music coming out of Malta; the girl group sector in music- in addition to the importance music will have this year.  Having reviewed for a while now I have been lucky enough to assess musicians from all around the world- across four continents and many different cities- and Malta is one of those places that pops up now and then.  With everyone from Chess and Aphty Khea- two Maltese artists based in the U.K. - there are some great musicians coming from Malta.  To my ears there is a leaning (among Maltese artists) for a Pop-based sound with Electronica/Rock edges: Whether that is the favoured sound of Malta I am not sure.  What you get from the artists is something vibrant and fresh; music that elicits energy and the desire to move- it also makes you think and dig deep.  Although few Maltese musicians have made their way to the mainstream here the nation has some local heroes for sure: Everyone from Gabriela N. and Kevin Borg have captured the public’s attentions.  For my money there are many more Maltese artists that have the potential to be big names.  I have mentioned the likes of Chess- Beatbox artist Dana McKeon is another great example- but there seems to be quite a few innovative young artists coming from Malta.  In previous reviews I have been keen to get my mind away from the U.K. and U.S.: I spend too much time with familiar places and sounds; tend not to let my mind wander across the waters.  Having recently reviewed artists from Sweden and Germany I am really excited to see what else is out there.  Too much attention is paid to American and British music- it makes up the majority of mainstream tastes- yet so much more can be discovered when you expand your horizons and go looking for something further afield.  If you are looking for great Electronic-Pop and upbeat Pop then Sweden has plenty on offer.  There are some great Hard-Rock bands coming out of France right now- Australia and New Zealand are also fertile when it comes to those genre.  Canada is one of the most diverse musical nations whereas Asia is a continent really showing range and originality: Artists have that spark and certain something lacking elsewhere.  My point is we should be more adventurous and ambitious with our music tastes.  Malta is a nation that is up-and-coming and exciting: It will be great to see what new artists emerge here as we go through 2016.  At the moment Cryptic Street are a band that are getting tongues wagging and laying out a very distinct and arresting sound.  Before I continue on, let me introduce them to you:

Leona Farrugia – vocalist

Janelle Borg – guitarist

Julia Hickey – Drummer

Denise Gilford – Keyboardist

“According to Toni Sant, Cryptic Street is’A new all-girl pop rock group on the local music scene will certainly go a long way to diffusing the testosterone saturated environment.’ Cryptic Street is a band, made up of five friends (Leona Farrugia – vocalist, Janelle Borg – guitarist, Julia Hickey – Drummer, Denise Gilford – Keyboardist & Cheyenne Belle Xuereb – Bassist) who simply love experimenting with different instruments and listening to all genres of music. One probably wouldn’t be able to pin a specific genre to their sound since it is incorporates modern rock elements, with a splash of electronica and experimental, alternative rock.  The band is made up of a myriad of personalities of which compliment together to create music.  Indecisive, the band’s debut single, produced by Peter Borg, is therefore the vibrant result of such a blend of genres and qualities. The song and accompanying video were very well received, and in fact, the video was chosen to be shown on the official website of the famous British band Coldplay, a band that in itself has been highly inspirational to Cryptic Street’s sound at the start. With psychedelic sounding guitars, strong-driven bass, 80’s disco beat, emotional vocals and a keyboard line that makes one nostalgic of the synthpop age, there is an artistic diversity that ignites the song and makes it enjoyable for die-hard psychedelic rock fans and pop fans alike.  With this single, Cryptic Street performed at the Bay Music Awards 2012, and won the Best Newcomer Award. They also landed a nomination at the Malta Music Awards. The single also entered the Official Maltese PRS Music Charts, and secured the number one spot for two consecutive weeks of the Bay Radio Charts. The band’s second single, Retrospect (2013), also produced by Peter Borg, was the result of a myriad of different influences that have impacted the band during that year. Influenced by Orwellian literature, Lana del Rey and Jim Morrison’s poetic lyrics and most of all, different life experiences, it is a positive departure from the first single, ‘Indecisive.’  Retrospect’s neo-80s vibe, which initiated in ‘Indecisive’ and is steadily maturing, along with the eclectic diverse genres incorporated in the song, is targeted towards different listeners. After the departure of the original bassist, and influenced by the hottest bands on the international scene that favour simple yet experimental beats as well as by the melodic playing of the new bassist, Cheyenne Belle Xuereb, the band decided to depart from mainstream sounds and experiment with a more underground sound. This also led to some self-production which helped the band mature in their sound and also opt for a more hands on recording approach”.

The girl band market is one of those sectors that get a bad reputation: We have those ideas of sugary Pop acts and committee-written songs.  Whilst there are a lot of acts that still continue like this- with no discernible talent; all looks and no ability- there are plenty of girl groups that have plenty of potential, passion and quality.  Cryptic Street are not your average Pop act anyway: They mix Rock and Electronic sounds to create something special.  With their E.P. Stranger released last year, the girls are going to be planning new attack during the year. I have been fascinated by the all-girl groups that are emerging on the scene right now.  Having assessed Dolores Haze recently- a Swedish Noise-Rock band- it is great to see so much drive and power emerging.  Even a lot of the Pop girl groups I have loved are far edgier and nuanced than you’d imagine.  There is so much intention and ambitious arising, you should all take notice.  Too many eyes and minds stick with male bands and solo artists: The girl groups coming out are among the most exhilarating and stunning musicians currently playing.  Having seen a couple of music legends pass recently- in addition to actor Alan Rickman- there is a lot of shock and upset around the world.  In a month that has seen a lot of tragedy and unexpected loss- that has resonated with so many different people- we are looking for something comforting and escapist right now.  With sledgehammer blows being levied so early in 2016; it is my hope musicians will rise to the challenge and step up.  Last year was a great year for new music but I found there were a comparatively small number of acts that lingered in the memory.  I think a lot of musicians are still trying too hard to be someone else- copycatting other acts and not showing originality- and it is those inventive and unique acts that will always stand the test of time.  As this year has just kicked into action it may be folly to cast judgement already.  From what I have seen- and the types of acts emerging so far- it looks as though 2016 will be much healthier and more productive.  Cryptic Street have plenty of acclaim and respect in their native Malta.  I think the girls will be translating to the U.K. heavily in the next few months.  Their social media numbers are growing and their reputation is building momentum.  One of the most interesting and compelling groups coming through, I am excited to see where they go from here.

The girls have been playing together for a few years now yet their E.P. Stranger is their first fully-formed original creation.  The girls unleashed the 2012 single Indecisive: It was met with huge acclaim and featured on Coldplay’s website.  Those ‘80s touches and dance beats mixed with huge energy and drive.  Psychedelic touches sparred with Electro.-Pop sounds that give a song bursting with life and vitality.  A relentless swirling and addictive slice of music; it is impossible not to get caught up in the fiery and feet-tapping mood.  Retrospect was released the following year and saw a departure for the girls.  Inspired by the works of George Orwell and Jim Morrison there was a quasi-philosophical touch to the song.  Deep and thoughtful, the song varied its themes (from Indecisive) and expanded their sound.  As we go into Stranger, that sounds is expanded once more.  With every release, the girls bring in new concerned and lyrical themes.  They do not just stay with a tried-and-tested way of doing things: Their debut E.P. shows them at their most confident and assured.  At their most urgent and nuanced, the music across the E.P. unites the sounds of Indecisive and Retrospect.  Those deep and intelligent lyrics remains- as do the emotional concerns and introspectiveness- married to a terrific palette of genre-blend and stunning vocals.  The girls sound completely tight and bonded throughout the E.P. - even more connected then they did across their singles.  It seems the years between- the release of Retrospect and Stranger- saw them perform a lot and hone their sound.  The biggest developments for the girls arrived with their new bassist Cheyenne Belle Xeureb- bringing in new melody and inspiration- where the band started to embrace the underground sounds.  Pushing away from mainstream/Pop traditions the girls present something edgier and more experimental.  Few bands transform and develop their sound as effectively: Fewer manage to achieve this without compromising their core and personality.  Cryptic Street have followed their instincts and are at the point where they sound fully-formed and as they should- an act that have taken time to discover who they want to be.  Any forthcoming E.P.s or singles will see Stranger’s sound being experimented-with again.

If you are new to the girls- and looking for reference points with regards their sound- then the likes of Warpaint and Foster the People have been mentioned (when it comes to comparisons).    Whereas Warpaint are a girl group- Foster the People are a male band- there are worthy familiarities and comparisons to be found.  Although both reside in California, there are differences between the two.  Foster the People have a sunny and optimistic sound that has seen them gain a lot of fans and followers.  Perhaps not seducing critics at the moment- their two albums have not gained overwhelmingly positive reviews- they perhaps lack grit and necessary maturity.  Quite subdued and haunting; Warpaint have gained more critical acclaim.  The girls’ music hits the heart and is a lot more memorable: A better starting point if you wanted comparisons.  The likes of The Smiths, Coldplay and Plato’s Dream Machine are also important acts for the Maltese girls.  If you are inclined towards any of these artists- and favour your music with more depth and intelligence than a lot of the mainstream- then check them out and let their music get inside the head (and not be willing to move out).

 

The E.P.’s title track begins with soft and contemplative strings.  Tender and melodic, it is a subtle and fascinating way to begin Stranger- a song that shows grace and passion within the first few notes.  Our heroine come to the microphone and lets her early words spark some interpretation.  “Don’t let the sun catch you crying/Don’t let the light catch you lying” get your mind racing and wonder what is being assessed.  Imploring the listener/her subject not to let it go- the dying light and the night itself- one gets the impressions of a heartbroken soul looking for connection.  With the vocal measured and emotive- not too heavy or insincere- you have a song that has subtlety and calm in the early phases.  As the second verse unfolds, the sentiments are less oblique and perhaps more direct.  “Dance, dance, dance/Dancing in a crowd of people” injects some urgency and happiness into the song- and you can envisage that rapture and abandon- and the mind become intrigued still.  Wondering whether the song was enforced and inspired by heartache- and the need to reconnect with something more positive- or a concern inside our heroine’s heart (an anxiety and niggle inside her), I am not sure.  Whereas the building composition and vocal alacrity suggest something redemptive; the lyrics point at a heart that is heart and in solitude.  Where she dances like an eagle and soars high; surrounded by people and life- she has never felt so alone and destitute.  That chorus seems even more relevant and clear the second time around- given what has been revealed now- and the backing vocals add weight and emotion to the foreground.  Whilst the composition remains supportive and driving- you get caught up by the bass; something that is prominent throughout the E.P. - the girls have penned their most mainstream song to date.  Not in a bad way you see: The memorability and chorus-repeat makes it digestible and singalong; the lyrics have a relatable feel to the listener.  A stunning and instant-classic sound to kick-off Stranger; you have a song that sticks in the mind and shows a lot of heart and soul to it.

    Kull Lejla opens with a honed and traditional Cryptic Street concoction of tripped-out strings and racing beats.  Part-sneaky, part-suave; the introduction is among the coolest and most interesting the band have come up with.  There is an exotic flair in the notes- a liquid and chic bass line drives the song- that makes the song danceable and urgent right from the off.  Stopping and starting, the composition really starts to earn its pay and evoke emotion and atmosphere.  When the vocal does come in, it is another Maltese-spoken song that is synonymous with its beauty as opposed to translatability.  For the English-speaking listener you have another largely-musical moment that does not lose its effectiveness- even if you do not understand the words.  Fast-flowing and insistent; the vocal shows a pride in Malta and the importance of keeping pure to your roots.  Whilst kull lejla means ‘every night’ (in Maltese) you wonder what the song is portraying.  The words look at falling rain and the notes of the piano- what I could translate through Bing- there is a romanticism and purity to the vocals.  Less anxious and affected than other moments (that will appear on Stranger) you have a song that perfectly introduces the band- their native language and a sound very pure and meaningful to them.  A short and memorable slice from the girls; the song is an addictive and unforgettable sound that has no comparisons- the song has such a unique and unexpected charm to it.

Fumes begins as 103 does (later on the E.P.): That mix of ‘80s Synth. /New-Wave together with urgent and choppy beats.  A composition that makes you smile and speculate the moment it unfolds- the first few seconds are terrific- you are immersed in the song and fascinated without any words being spoken.  The synths. and electronics sound almost intergalactic in their endeavor- you get impressions of being raised to space and floating among the stars- and my mind went to the days of Dark Side of the Moon.  Not as experimental and haunted as that classic album; there is a semblance of familiarity to the introductory notes of Fumes.  One of the most overtly confessional and introspective tracks- less oblique than anything across the E.P.- our heroine looks inside herself and needs change.  Feeling that desire to fly and escape- lost in confusion after a particularly rude awakening- perhaps the title refers to our heroine running on fumes.  Tripping and wordless vocals- a side of their song that recalls Coldplay’s go-to move- adds beauty and intensity to the foreground.  Unlike the previous two numbers, there is a sense of airiness and space to the song.  Less tight and structured than before; there is looseness to the track which means its full impact arrives after repeated listens.  Here we look at quasi-philosophical questions and considerations- whether we are tempered and restricted by times; are we truly living? - and deeper issues of society.  Not strictly confined to personal investigation and concerns; the track shows the girls are among the most deep and intelligent in modern music.  Rather than pander to the proclivities of the mainstream- issues of love and easy-to-digest lyrics- we have something a lot more personal and impressive at work.  The composition remains fairly understated to allow the vocals to really resound and work.  Backed by thudded beats- that arrives at various intervals- and starlight electronics: That mixture of ‘80s Synths. and Warpaint-esque vocal-and-compositional dynamics results in a song that has mainstream potential and huge originality- few other acts manage to achieve that noble feat.  One of the E.P.’s longest tracks- running just shy of three-and-a-half minutes- and you have a track that exploits all the key Cryptic Street colours: Those nuanced and poetic lyrics; those evocative and beautiful vocals; the hard-racing and heartbeat compositional beats.  Where our heroine muses and lets her inner-curiosities speak- questions around her own worth and the possibilities that can be achieved- it is perhaps the composition that shows most intrigue.  As the closing notes come into view- and our heroine implores her subject to “come closer”- and you have a breathless number that is among the girls’ most epic and expansive.  With the initial directness giving clear views- personal doubts and anxieties- the final moments look towards that need for love and answers.  The girls blend the straightforward and complex in a song that is a perfect mid-way point to the E.P.

   Farsa begins life with a primal and heavy beat that quickly leads to a spirited and Blues-influenced guitar sound.  Changing course over a few seconds- ensuring the song has maximum intrigue- you are immersed in the composition and its many sides.  Developing into Salsa territory- there is a definite sense of dance to the sway that comes through- fragmented vocals mix to create something hugely evocative.  Those choppy and wordless vocal snatches move within the piano-and-beats groove to get the senses fascinated and primed.  Whereas 103 begins with ‘80s recollections and promise; here there is something contemporary and of-the-moment- whilst drawing in influences of other genres.  Farsa is a type of opera that was originated in Venice (and became popular in the 18^th and 19^th centuries).  Whereas there are semi-operatic tones to the song, the lyrics are delivered in Maltese: One of two songs across the E.P. where the band embraces their mother tongue.  Although it is hard/near-impossible to get to the root of the lyrics- unless you are quick on a translator app. or speak Maltese- but the sound and intensity of the vocal cannot be understated.  Processed and echoed, the dark and pin-sharp vocal drive develops into something more open and accessible- matching the nimbleness and unexpectedness of the composition.  From Salsa elements in the early stages you now get tumbling beats and a catchy-as-Hell bass come through.  Twirling and spiraling; you are powerless to resist the feet-tapping and brain-enticing sound that comes through.  For most listeners, Farsa will be an instrumental track largely- the vocals add to the effect but are hard to translate- but even so, you get a terrific song.  The girls are not keen to abandon their native language for the sake of their artistry- an impressive move and one that few acts do.  In a way the song reminds me of a Miles Davis composition.  That experimentation and lack of boundaries- that we saw on albums such as Bitches Brew and Sketches of Spain- can be heard here.  Past the half-way mark the vocals build in intensity and passion- clearly a vital development and stage in things- before being swallowed by the composition.  Graceful and haunting backing vocals come into play- supported by a delirious and tender compositional contrast- as the girls ride that hypnotic wave of song.  Unable to appease the bass drive- escape the wonderful mixes of chaos- the song will appeal to all listeners.  Without boundaries or prejudice, you have a musical moment that shows just how original and daring Cryptic Street are.

103 begins with bubbling electronics and a rushing beat that recalls ‘80s sounds- Synth.-Pop and New Wave- that gives the track a strange curiosity and sense of sooth.  Backed by serene and velvety backing vocals, the song develops and expands its wings- eliciting huge potential and speculation in the introduction.  Our lead is speaking out to a subject- or maybe a type of person- and imploring them to “Take a deep breath”.  There is that sense (when it comes to the heroine/hero) there is no point in turning back and giving in: They need to keep going and fight on.  Unsure about the specific origins of the track- whether there is a relationship breaking up or a hard slice of reality working away- but you get drawn into the evocative mood of the song.  The lead vocal has a mixture of veracity and passion; it is soulful and uplifting- retaining a sensitive and sympathetic heart.  Backed by lush backing vocals and a spirited composition- that ties ‘80s elements with modern-day Electro. blends- and you get a song that shines brightly.  As the song develops it seems like the themes/intention made be first-hand.  Our heroine wonders whether she is holding back and being too restrained.  Maybe too shy to be cavalier- and take a chance on something special- you become fascinated as to the song’s origins.  Maybe a person or lover is holding her back- or caused some hurt and self-doubt- but there is that overriding feeling or strength and defiance.  She will not be overcome by such minor threats and emotions- determined to keep going and remain resilient- and the song is a mantra for strength and persistence.  Given the song’s non-specific and oblique title, the origins of 103 are not that clear- allowing the listener to speculate and draw their own conclusions.  Maybe a rally against the music industry- the need for our heroine/the band to rebel against mainstream expectations- you get a sense relationships and friendships are being represented.  Throughout the track those vocals really augment the urgency and emotions being presented.  The lead has a huge amount of power and beauty to it, whilst the backing vocals are heart-achingly pure and soothing- being presented in angelic tones.  The final moments of the track see the girls combine with wordless vocals and stunning harmonies.  As the song comes to its close, I look back and reassess some of the lyrics.  Although there are no absolute truths and nominal revelations, there is the sense of suffocation and confinement.  Our heroine has been pegged back and wants to break away from things- whether a bad relationship or the restrictions of the music industry.  A stunning example of how the band has grown- more confident and compelling than their earliest moments- it shows a big step forward and evolution.

   The five-piece band is one of the most exciting in their native Malta.  In a nation that still retains old drawbacks- racism and a sense of discrimination in society- the girls have created an E.P. that shows huge courage and a determination.  I was impressed they included two Maltese-speaking tracks on the E.P.: It shows they are proud of their heritage and keen to separate themselves from the pack.  Across the E.P. you have so many sides and ideas; it is a record that demands a lot of repeats and digging deep- to get to the bottom of the myriad sounds and ideas.  As progressive and forward-thinking as any the girls have come up with- more confident and assured than any of their previous cuts- the E.P. is still gaining feedback and positivity- no surprise when you give it a good listen.  I know the girls rally against the worst instincts of the modern world- the lack of communication and obsessive nature of social media- and have created an E.P. that promotes human connection and a return to humanity- putting down technology and let music speak to you.  The young quintet have battled sexual discrimination and struggles- as is common a lot of countries- to create an E.P. that is a breath of fresh air.  The compositions are consistently engaging and stunning: At times they recall Pink Floyd’s most astonishing moments and experimental genius.  The vocals are strong and impassioned from start to finish- the backing vocals lush and soothing- whilst the lyrics have poetic potential and look at deeper themes.  The girls clearly have a love of literature and poetry: They translate this into songs that take modern-day themes- struggles against anxieties and a need to feel connected- and give it an intelligent and literary edge.  Stranger is a startling E.P. from a band that have a prosperous future ahead of them.  Few can ignore that tightness and authority throughout the record.  The girls should be very proud of what they have achieved.

It has been great checking out the sounds of Cryptic Street: A group with a definite future ahead of them.  Before concluding, it is worth mentioning the original themes- Maltese music and girl groups; the importance music will play this year- and seeing where the girls fit in.  After one E.P. it looks as though things are going to be bright for the Malta-based act: They have ammunition and a defined sound that mixes their native tongue with something more traditional and mainstream.  What I love about them is the range of sounds and genres on display.  Unwilling to lazily stick to Pop or Electronica sound they are one of the freshest acts I have heard for a while.  Stranger is an E.P. that has done well in Malta and is impressing (the band’s) followers across social media.  The five-song collection is a great declaration that will be followed up this year.  Malta is one of those nations that may not seem obvious when it comes to new music but is somewhere we shall not be ignoring.  My review experience (when it comes to music here) has been the girls predominantly.  There is quite a strong Pops scene in Malta, and as such, a lot of the music tends to have that Pop core.  What the musicians of Malta do is to take that base and expand it: Bring in some harder and cutting edges together with something more experimental and electric.  If you have not properly investigated the music scene of Malta then take some time out today.  We are too reliant on mainstream media to guide us towards new music- this tends to limit our tastes and gets rather predictable.  Whilst this country is showcasing some terrific musicians we need to become a little more itinerant with our views.  I get the chance to travel around the world (metaphorically) when it comes to the newest acts: Those Australian Rock bands and Swedish Electro.-Pop often fly under the radar and are subject to serendipitous discovery.  With this year being a bit of a rotter to begin with- given the deaths of some legendary figures- music is needed more than ever.  With the tremors of David Bowie’s death still being felt, there is a lot of sadness and reflection in the music industry.

It will be fascinating to see how music responds and develops to these demands and events.  I think we will see a lot more originality and intention come through (compared with 2015).  Our girls of Cryptic Street have already collected awards in their native Malta- including a 2012 Bay Music gong for best newcomer- and have been featured on radio and across the Internet.  With their influences stretching from Jazz and Synth.-Pop; taking in Rock and harder elements, the girls are not a predictable and average band.  It is no shock the girls have a solid fan-base and are being talked-about in awed tones.  This year is going to be fruitful for them and will be amazing to see where they go from here.  The girl groups emerging now are among the music world’s most exciting propositions.  Far grittier and edgier than you’d expect- those cliché images of sickly-sweet Pop harmonists are rare these days- it is a sector of music that is showing immense promise.  If you have not discovered Stranger and Cryptic Street then let that mystery and complexity overwhelm you and take you somewhere special.  The girls have no intention of slowing down and it will be great if they came and played in the U.K. soon.  Given the rough start 2016 has provided, we need music to take us somewhere safer and familiar.  Those wounds and scars are fresh and the pain very real.  If you are looking for something honest, nuanced and deeply impressive, then look no further than Cryptic Street: the girls are here for the long-stay for sure.  This year will be exciting for sure- I hope it will be an improvement on the last- and with acts like them around…

 

MUSIC is in safe hands.

[soundcloud url="https://api.soundcloud.com/tracks/221402561" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Cryptic Street

 

Facebook:

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

Twitter:

https://twitter.com/crypticstreet

Instagram:

https://www.instagram.com/crypticstreet/

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Music:

https://soundcloud.com/cryptic-street

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Videos:

https://www.youtube.com/user/CrypticStreet?feature=mhee

FEATURE: The British Hip-Hop/Grime Explosion of the '00s: Time for a Re-ignition?

FEATURE:

 

The British Hip-Hop/Grime Explosion of the ‘00s:

Time for a Re-ignition?

_________________________

IT may seem like an odd topic to bring into the mix…

but I feel like there is an opportunity lacking in music.  If you cast your mind back to introduction of the 21^st century, there was some trepidation about how music would evolve- given the quality and sheer peerlessness of the ‘90s.  The first few years (of the ‘00s) saw some great Dance music continue- with everyone from Spiller to Goldfrapp producing sterling moments.  The bands and acts from the ‘90s were continuing strong- a lot of them anyway- and there wasn’t a huge dip in quality (although there wasn’t that same spark and magic as the ‘90s).  With music-lovers looking for something fresh and memorable- music that represented changing Britain- the first kick of life arrived in the form of Birmingham’s Mike Skinner.

I remember when Original Pirate Material by the Streets was released.  I was eighteen and was at university.  I had never encountered any music like it at all- from a British artist anyway- and was blown away by the freshness and addictiveness of the songs.  Not being an acolyte of Hip-Hop and Rap the album was such an accessible way in.  It was not just the awakening that got to me- having been introduced to something new- but the way Skinner presented his music.  Right from that first track (Turn the Page) you get that kick and vibrancy.  That mock-London voice- perhaps an attempt to sound more genuine; not many Birmingham-based Rap artists- was perfect for songs that looked at love in a very different way.  The Streets were as apt as their name; the music documented street life and working-class love stories- kebab-strewn nights and raw conversations.  Nothing was glamorous or embellished: The vocals have that guy-down-the-pub swagger to them whereas the compositions were perfect soundtracks to those mini-opera gems.  I love tracks like Let’s Push Things Forward: A track backed by Ska horns, it looks at evolving music and pushing the boundaries- exactly what the song/album was doing.  Throughout the album Skinner investigates the drinking culture (the negative effects and problems) through Geezers Need Excitement and The Irony of It All- the latter features a charming back-and-forth between a dope-smoker (who is nice and friendly; he is the ‘criminal’) and a drinker, Terry (who is a lout but has not broken the law- he like to start fights mind).   Employing addictive and catchy horns/Funk touches- perhaps the most scintillating example can be found on Who Got the Funk?- it remains one of those crossover albums: The type of record that unites genres but keeps that Hip-Hop/Rap core solid and committed.

Original Pirate Material looked at modern youth and drinking binges- never showing sympathy it always wagged its finger- and social issues of the day.  No other British album (at that time) was addressing such issues and doing it in an original way.  Skinner’s delivery was more Spoken Word than it was Rap.  Conversational and blokey, it made the material come alive and seem very real- as though you were having a chat with Skinner himself.  Issues of love and depression also came into the album- Stay Positive is a stunning closer that looks at keeping looking ahead if you hit rock-bottom- and such emotional depth and intelligence ran through it.  In 2002 it was such an unexpected arrival- to be fair there hasn’t been an album like it since- and marked Mike Skinner as one of Britain’s first ‘true’ rappers.

Original Pirate Material was an album that spoke about the experiences youth faced and subjects away from love- the majority of Skinner’s peers lazily talked about heartache etc.  A D.I.Y.-sounding album- it was recorded in Brixton yet sounds bedroom-made- it heralded a fantastic young artist with one of the sharpest pens in the world.  Following up Original Pirate Material with the even-more-mesmeric A Grand Don’t Come for Free- a ‘Rap Opera’ that documents the hero losing a grand and his relationship with his girl, Simone.  Bursting with confidence and drama, Skinner was motivated by screenwriting manuals and Hollywood writing guides: These books inspired Skinner’s songwriting for A Grand’ and moulded their creations.

From the opening salvo (It Was Supposed To Be Easy) our hero is down-on-his-luck and things aren’t going his way- he is late to send a D.V.D. back to the shop before losing a thousand pounds.  Jealousy, the club scene and ill-fated trysts are surveyed across various songs: Blinded by the Lights and Such a Twat are the most exhausted and heartbreaking on the album.  Once more Skinner mixed humour and everyday dramas with the tragic and emotional: Dry Your Eyes is the sensitive and harrowing track on the record.  An anthem that many people took to heart, the song looked at our hero regretting his indiscretions and past- apologising for messing things up- and wanting to get his girl back (knowing it is over and he can do nothing about it).  Perhaps even more accomplished and unbeatable than its predecessor; A Grand Don’t Come for Free was like nothing else music had seen (arriving in 2004)- Skinner stood in a class of his own and was leading the noble charge…

Between The Streets’ twin creations of magic arrived a young man from Bow: The irrepressible and staggering Dizzee Rascal.  Just a year after Original Pirate Material was dropped; Dizzee burst onto the scene with Boy in da Corner: One of the most accomplished and faultless debut albums in music history.  Seeing as Dylan Mills (the man behind the name) wrote the album as a teenager; there is such maturity and intelligence in every song.    Arriving a year after Skinner’s stunning debut, Boy in da Corner was perhaps even more assured- an album that showcased a talent with few peers.  Unlike Skinner, Dizzee Rascal was a Londoner through-and-through- having been born and raised in East London- and produced a more ‘traditional’ style of Grime and Rap- fast flows and accelerated beats together with endless energy and emotion.

Like The Streets, Dizzee Rascal took his songs to street level and looked at the reality of growing up in the capital.  With a different background to Skinner- Mills grew up with little privilege and safety around East London council estates; Skinner had a less gritty and harsh beginning- Boy in da Corner was the diary of a young man trying to escape the harsh sides of existence.  Looking at the cheap and nasty girls he encountered- Jezebel looked at an easy girl who was getting it every night- nothing was foul-mouthed and immature.  With every song presented- whether it looked at the party scenes or our hero stating his claim as one of music’s elite- there were so many cerebral lines and stunning inventions.  The way Dizzee used words and presented them- changing course within a line sometimes- gave the music such a phenomenal nuance and confidence.  Like The Streets, the compositions through Boy in da Corner gave even more majesty to the songs.  Fix Up, Look Sharp has that huge beat and samples- taking in the likes of Billy Squier to create that magic.  Ending the album- like Original Pirate Material- with some of the most emotive songs of the time; Boy in da Corner’s swansong cut (Do It!) looked at depression and struggle with redemption and hope- our hero lets it be known anybody can achieve anything they want.

Whereas The Streets topped their debut with A Grand Don’t Come for Free; Dizzee Rascal’s sophomore album was not quite as scintillating.  Whilst some saw 2004’s Showtime as a more pleasing and accessible listen- the album drew in those lyrical and composition themes together- others saw it a toned-down version of his debut.  Arriving the same year as A Grand’; Showtime showed just what a consistent and stunning lyricist Dylan Mills is.  Mixing modern-day themes and sounds- car alarms and ringtones; songs about one-night layovers and gang violence- there was something traditional and heritage-based too- bringing in more traditional sounds of electronic music.  At every turn our young hero is indignant and angry: Wanting a way out of the streets and away from certain characters- the type that bring youth and Britain down- you can hear that anger and anxiety with every track.  Remaining are those snap-back and insatiable beats: The fast-flowing rhythms and spat rhymes are all in-tact and there.  What Showtime did was to bring in subtler touches and sonic inventions.

It is a shame that given the nature of The Streets and Dizzee Rascal- artists that looked at the struggles of poverty and getting respect- their careers were invariably short-lived and subject to change.  If you rap about the horrors and struggles of the streets- having little money and wanting to find success- your messages become less sincere and authentic when you find fame and acclaim- that was the case with both our subjects.  Mike Skinner became a household name following A Grand Don’t Come for Free.  Whilst he did return to his traditional and debut album-era subjects on Computers and Blues- the final album he was to make- life after A Grand’ was less-than-assured.  Critics felt the inventiveness and genius of early albums lacking.  Becoming more embittered and angry with attention- rallying against the press as opposed to boozing low-lives and cheating girls- The Streets become more gentrified and sour.  Gone were the kebabs and regretful texts to be replaced by something more everyday and preening- with our hero sounding like a spoiled celebrity.  I guess it was an inevitable outcome to be fair: Skinner would never refute attention and turn down the money; by the same token he could not keep writing Original Pirate Material-esque songs with money in the bank and his face on magazines.

Trying to move with his economic situation- and the upturn his life had seen- gone was that spark and what made him special to begin with.  Similarly Dizzee Rasacal became less unique and attention-worthy when Maths + English arrived (his 2007 album was met with less-enamoured critical attention).  Whilst Pussyhole (Old Skool) and Sirens recalled the urgency of Boy in Da Corner- Sirens is one of the most arresting and memorable of all his songs- there were fewer standout moments.  Mills still threw his lyrical mastery into the music- he remains one of the finest writers around- but the quality started to dip.  Choosing to bring in guest singers- the likes of Lily Allen and Alex Turner added nothing to the songs they featured on—Dizzee Rascal was embracing more of the mainstream and becoming more commercial- on some songs (Suk My Dick especially) he was downright offensive and needlessly juvenile.  A case of diminishing returns, Dizzee’s latest album (The Fifth) is his weakest to date: Too many writers and collaborators meant Dizzee stands out less; there are fewer great songs and his subject matters have changed for the worse.  Like Skinner, Mills began to rally against the press and fame- in fact he started to embrace some of its gaudier and more shallow elements- meaning his music lost its spark and point.

I guess it was invariable both artists would only burn bright for a short time.  What they left behind was something that is lacking in today’s music (in Britain at least): Albums that document the reality of modern life and present it in a fresh and meaningful way.  With so many mainstream artists vanilla and focusing on love and petty issues, where are the brave innovators bringing the harshness of the streets- the everyday romantic strife and political issues- to the fore?  The U.S. is fostering some wonderful Rap/Hip-Hop artists- musicians that address what is happening today- yet Britain has fewer great examples.  We have seen terrific young Grime/Rap acts come through since Dizzeee Rascal and The Streets’ debut-days- Wiley and Stomrzy among them- yet none have done what our twin icons achieved.  Maybe it was a zeitgeist thing- when The Streets arrived in 2002 British music has encountered nothing like it- and captured a feeling of the time.

After the ‘90s and all the joy it brought, music had to evolve and come up with something staggering.  I think we are at the point where we need another Dizzee Rascal or The Streets.  Given the political turmoil and horrors we face- from terrorism to global warming- these subjects are not being addressed as often- certainly not with as much force and brilliance as Mills and Skinner.  A lot of our acts and music seems stilted and limited- I am never really blown away- and few British debuts have really captured me.  I think we need to produce an artist that has that maturity, intelligence and authority as Dizzee Rascal; the down-to-Earth and likeable charm of The Streets- producing modern-life sermons and witty insights into life’s realities.  I hope something wonderful happens this year- or before the decade is through- as we need that spark.  Whether it is a Grime or Hip-Hop artist that does it- a Rock band or Folk artist- but I am hoping music gets…

A kick it desperately needs.

_______________________

The Streets playlist:

[youtube https://www.youtube.com/watch?v=sRHm2ce2dQ0?list=PLA542714FD4B69CA1&w=560&h=315]

[youtube https://www.youtube.com/watch?v=KTS6INVmZGI&w=420&h=315]

[youtube https://www.youtube.com/watch?v=2_TSMmwGylU&w=420&h=315]

[youtube https://www.youtube.com/watch?v=dlQva6vzVUo&w=420&h=315]

[youtube https://www.youtube.com/watch?v=kk5Df_lDD38&w=420&h=315]

[youtube https://www.youtube.com/watch?v=B1RxJW2OJ2k&w=420&h=315]

[youtube https://www.youtube.com/watch?v=64gvmHKWaWc&w=420&h=315]

[youtube https://www.youtube.com/watch?v=NHOf3s70w-c&w=420&h=315]

[youtube https://www.youtube.com/watch?v=z2i0Nw3NDBU&w=420&h=315]

[youtube https://www.youtube.com/watch?v=yjM_8W6ZKp4&w=560&h=315]

The Dizzee Rascal Playlist:

[youtube https://www.youtube.com/watch?v=UlAvh1GpVKw&w=420&h=315]

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

[youtube https://www.youtube.com/watch?v=AKn4zz-o51w&w=420&h=315]

[youtube https://www.youtube.com/watch?v=zW0BpMNCjw0&w=420&h=315]

[youtube https://www.youtube.com/watch?v=ST-833o1Wx8&w=420&h=315]

[youtube https://www.youtube.com/watch?v=eBtKk1LoRxY&w=420&h=315]

[youtube https://www.youtube.com/watch?v=L3HMogp86cI&w=420&h=315]

[youtube https://www.youtube.com/watch?v=cTs4fTkhR1E&w=420&h=315]

[youtube https://www.youtube.com/watch?v=eo5EXmhz01E&w=420&h=315]

[youtube https://www.youtube.com/watch?v=x7Y5Y1AM88k&w=420&h=315]

Track Review: Michael Seary feat. Luke Cusato- Can't Say It Back

TRACK REVIEW:

 

Michael Seary feat. Luke Cusato

 

 

Can’t Say It Back

9.6/10.0

Can’t Say It Back is available at:

https://www.youtube.com/watch?v=R9SqGZNWRS0

RELEASED: 5^th January, 2016

GENRES: Electronic; Soul; D&B

ORIGIN:

Liverpool, U.K.

____________________________________

ONE of the last reviews I shall do for a while…

gives me the opportunity to assess collaborations in the music industry; the great male voices coming through- in addition to Electronic fusions happening right now.  It is great discovering bands and solo acts.  Each new act provides something different and special; when you get acts that are go that extra mile and produce something special: that can lead to wonderment and some stunning realisations.  Given the recent passing of David Bowie (that has affected so many people) I have been rethinking music and what it means to be.  Trawling through archived interviews and songs, it has been great to connect with an artist that means so much to people; his music has that enduring affect.  Listening to Bowie speak about music and how it connects with people, it is sad listening to him now; he had such foresight and passion: few artists like Bowie exist now and have that same authority.  The important thing about new music (from a reviewer’s perspective) is spending time on music that matters and distinctions; ignoring those that do not really hit the mark.  With the music world becoming saturated and overwhelmed with new talent, it can make quality control very difficult indeed; lead to a lot of confusion and doubt.  So many musicians are not being daring or original (one of the biggest flaws of music today) and the art of collaboration is being overlooked largely.  I understand musicians need to take control and present their own sounds.  When you bring other talent into the mix- without taking away and distilling your unique talent- you can come up with something truly special; the general public want to discover music that takes them by surprise.  A lot D.J.s and producers bring in vocalists to their music as it gives it flesh and a human voice.  When you get two (perhaps disparate) talents combining forces; this can produce music of the highest order.  What I love hearing is a background/composition that has energy and verve; music that does something to your head and mind- finished with a vocal that does something to the heart and soul.  Before continuing on my point- whilst raising one or two others- let me introduce you to my featured act:

Michael Seary is a 24-year-old musician, producer and DJ that is fast becoming one of the hottest prospects from Liverpool’s underground scene, discovered through Liverpool International Music Festival's Academy in 2015.

Michael Seary’s debut single “Can't Say It Back” is a soulful-D&B infused electronic hybrid, which sees him link with one of the city's best vocalists, Luke Cusato. Both have been heavily tipped for the top by various regional platforms including BBC Introducing, Radio 1Xtra, XFM, The Skinny and LIMF Academy.

“I want people to feel a strong emotion when they hear my songs” explains Michael Seary, “Hopefully 'Can't Say It Back' conveys that musically and lyrically. In this case, the painful feeling of knowing you are going to break the heart of someone special"

Seary is a name that has been producing music for a long time; one of the most respected musicians and producers around the moment- in a city that has its fair share of great talent- his latest cut draws in the silky and smooth voice of Luke Cusato: a singer with a huge range and a desire to seduce the listening audience fully.  I am not sure what compelled the two to come together- whether they are old friends or connected via social media- but there is a definite connection and understanding.  Seary is a very distinct and assured producer/artist; never relents and compromises at all, so he needed someone to come on board that could understand that and fit into that mould.  Many singers out there would approach a song like Can’t Say It Back with nerves and uncertainty- perhaps not do the subject matter justice- and the collaboration would sound forced and ill-fitting.  Cusato seems completely right and natural within Seary’s sounds and drive: the two bond supremely and elicit music that demands a lot of attention and thought.  Last year there were some great male solo voices coming through; each had a distinct personality and appeal to them.  From Sam Smith to Jamie xx; the way through the Pop and Rock annals to the one-off gems you would often hear- there was enough to get your teeth into.  For me a great male voice has some key components: There is a richness and seductiveness at the heart; something raw and impassioned working away; plenty of depth and nuance- backed by originality and the ability to project your own personality.  What I find with a lot of solo acts- when it comes to make albums and E.P.s- is their voice (and its uniqueness) loses something across ten or eleven tracks.  The truly great male voices are those that are versatile and nimble enough to make each song sound fresh and worthy- not forgetting to remain consistent and unforced.  The likes of Sam Smith have faced derision- when it comes to writing and subject matter- because they are too one-dimensional and not edgy enough; meaning their voice is forced to be penned-in and not fully explore.  Cusato has one of those voices that cries out for music that does not sit still and remain tactile; goes a long way and elicits a range of emotions- gives that unique instrument a chance to move and compel.  Saeary is a producer and songwriter that is working in a less-than-approved milieu: with so many genres and types of music out there, the likes of Electronica and Drum and Bass are still not mainstream-worthy.  You get acts like Calvin Harris come along and take on the charts; there is still that desire- among critics and the listening public- to witness something more ‘accessible’ and safe perhaps.  Maybe the genres have a reputation for a lot of noise and force without showing enough depth and quality.  This is a misinterpretation that is being given a going-over at the moment.  If you check an artist like Seary out- and compare it with a voice like Cuasto’s- then you have music that is as arresting and long-enduring as any out there.  If you have an artist that knows his stuff and knows how to captivate an audience; has that determination and passion, you will never be disappointed.  Bringing two special and impressive acts together and it results in a wonderful track.

Being a new collaboration it is hard to compare Can’t Say It Back with any other tracks or moments.  Seary is a producer who has worked with some great names and produced lots of great moments.  I would say he is at his most assured and confident here.  Maybe it is the nature of this bond- not sure if he has that deeper connection with Cusato- but he just seems more alive and nuanced on this track.  I am not sure what the writing process was- whether the music came first and lyrics next; if the process was reversed- but the intuitiveness and connection of our duo (Cusato and Seary).  I know Cusato- pronounced like ‘tomato’ (the British pronunciation) incidentally- will have plans.  There are so many voices out there- from the men especially- that is weak and ineffectual; voices that hit at first but then do nothing as time progresses.  Cusato has one of those voices that has been growing and developing across time- perhaps his peak and best days are still ahead of him.  Taking his (Cusato’s) last E.P. into mind; Backbone showed a lot of power and emotion; stunning highs and insights.  Real Thing is a rousing and emotive song that shows defiance and higher purpose.  Once upon a time our man had love but now something truer and pure has come into his life.  Backed by an impassioned and uplifting composition, it provided the perfect opener.  Blame is a more haunted and introspective number.  Wanting to fix things that are broken- you get the impression a fractured relationship is being attested- there is that both-sides-of-the-story sensation and feeling.  Cusato’s voice is equally powerful when hurt as it is ecstatic- you have an artist with a huge range and ability.  In an E.P. that looked at love and stability; across to fragility and deep emotions it is a four-track collection that showed what a talent Cusato is.  With echoes of a range of artists- from Oasis to Fleet Foxes; to Paolo Nutini and Soul greats- and it is no surprise that E.P. was met with such applause.  I would say Cusato sounds even more assured and scintillating when combined with Seary- maybe a future E.P. will bring in more D&B/Electronica avenues?  Seary has an E.P. mooted for 2016- the 24-year-old will release 4U very soon- that will see him work with a number of different artists.  Being such a variegated and border-less producer; that will be fascinating to see exploited and fleshed-out.  Maybe we will see a Jamie xx-style album- something with the wonder of In Colour- that will meet with mainstream and critical approval.  If you consider In Colour; there are some comparisons you can level to Michael Seary.  Our hero’s work has that same fluidity and confidence.  Capable of producing bangers and hot jams; allowing something moodier and more reflective to show itself, you have a producer with a huge range.  Seary’s collaborations will be diverse- often off-kilter too- that will show different genres tied together.  Complex and pure you have music that has dynamic shifts and reveals itself over repeated listens- new beats and signatures come to the fore; little snatches and hooks come alive.  Seary has proven how impressive and effortless he sounds when combined with a terrific singer.  A composer and artist that has such confidence and ability will get stronger as the year progresses- his forthcoming E.P. will be something to behold.  Both Seary and Cusato are going to go onto to produce amazing works in their own right.  Let us hope they take some time out and perform together once more.

Can’t Say It Back opens with echoes and rushes; the atmosphere builds and the song grows into life.  Without immediate revelation or vague slow-build you get a song that awakens like a morning dawn.  Those echoing vocals manage to reveal emotion and intrigue without too much speculation.  You get hooked into that introduction which teases and shimmers; fluid and entrancing at its heart.  Tender piano notes and fragmented beat-snatch come together to herald the hero in.  Can’t Say It Back is a song that looks at regret and saying the wrong thing.  Maybe revealing too many unwise words- the need to take something back you can’t- the early words show a man with a burdensome and heavy heart.  Cusato comes to the microphone with words that tell of inner-pain: “Laced with confusion/Lost my control”.  The mix of emotional fogginess and emotional abonnement tell of a man who has undergone a harsh split; breakdown and hurt that has hit him hard.  At the first stage you get a composition that remains supportive and under-the-surface.  Perfectly highlighting the emotion and rawness in the voice- whilst creating plenty of candour and reflection- our hero lets his voice seduce and open.  Honest and emotionally drained it seems like this love- that has gone south and seems irreplaceable- has caused such heartache and distress.  On the surface he is fine and carrying on- perhaps trying not to let things get him down- but underneath he is numb.  Dealing with things like the death of a close one- stoic on the outside yet tormented and helpless deep down- you have a young man mature enough to recongise mistakes have been made.  Not a fly-by-night and slight love; this bond has meaning and potential- its disseverment and implosion has caused huge suffering and anxiety.  Our hero is aware of “what I’ve become” (those words are repeated to show realisation and enforce their urgency).  Maybe he began a tender and happy man.  I am not sure what has caused the internal transformation- whether the reality of the relationship has changed his true self- but who is now is met with resigned sigh and a sallow soul.  There is that element of defeatism in the voice as our young hero reflects on the past and how things have changed.  In this early phase it is not sure whether the relationship is still together or just split.  It could be the case the couple are going through the motions- our hero knows he is going to break his girl’s heart- and the bond is not long for the world.  Perhaps there is no love and true affection there anymore- two people with different ideals- or maybe there has been some cheating and deceit?  Whatever the truth here you cannot escape the building mood and insatiable sense of what-is-to-come-magic.  Cusato’s voice is measured and delivered with implacable soulfulness and emotion.  That delicious and honey-smooth sound adds so much emphasis and potential to the words; each lyric comes to life and resounds clearly.  In the background you get pops and off-the-cuff beats.  Those beats trip and patter with childlike glee; imbued with an urgency and uncertainty, you are hooked by the emotions they summon.  It is as though our hero is zombie-like and resource-less- the music video shows figures in black rise to their feet with fatigue- and is searching for meaning.  As the chorus comes to life that voice explodes and yearns.  Our man wants his girl to love him; you can feel that intensity and hurt come through.

The sense of mystique comes out as you wonder what stage the relationship is in.  Maybe there is no distance left to run- the ill-fated lovers have drifted too far apart- but that desire to reconnect is very clear.  Matching the torment and power of the vocal; our hero is regretting words he has said in the past.  Perhaps he has been too quick to criticise and judge- it seems like there have been arguments and set-tos in the past- and you there is a palpable sense of desperation and loss.  With the hero running on empty- and perhaps not knowing what the right words are- all he can offer is apology and remorse.  Perhaps he is the culpable party and wants to be out of the relationship- he has to break his sweetheart in order to set himself free- but that is the beauty of the song.  Those lyrics have deep emotions and will strike listeners that hear the song- there are themes and ideas we have all encountered.  Whereas most producers and composers would lace the song with high explosives and Dub-step beats- making it a drunken and violent buzz of noise- Seary has much more composure and musicality to his approach.  Like the finest producers out there- will be splicing Jamie xx into the mix- he adapts to the singer he works with.  Cusato has a powerful and dramatic voice that needs chance to shine and work- rather than be overwhelmed by beats and electronics- that also possesses nuance and depth.  Seary makes sure the composition remains light enough so the vocal can pervade; it is packed with little touches and driving empathy- allowing the lyrics’ meanings to be fully explored and highlighted.  Injecting colour and commitment into every stage, Seary expertly guides our hero and gives him a solid platform to work from.  I love how the song gets you guessing and questioning at each new verse.  To begin I was sure the relationship has eneded and our hero was mourning the passing of something special.  As things developed I began thinking of a relationship still burning; one that was ending soon and would cause heartache.  As new lines come into play I started to second-guess (third technically) around ideas of a relationship that is just beginning- perhaps the two are mismatched and our hero will have to break her heart. I decided to stick with my gut- and the idea that the established duo were about the split- and that gut is cut and bleeding as our man is mired in doubt.  Not sure what words to say- perhaps he is being too cautious given past events- and patience has worn thin.  I know Cusato and Seary wrote the song together and that got me wondering whether both had experienced this event/similar things- or whether Seary was providing appropriate score for Cusato’s personal revelations.  As the chorus comes back into view, those beats become more tribal and racing- without getting too heavy and suffocating- giving the track added acceleration and anxiety.  Acting like a heartbeat- that is racing to near-fatal levels- you get propulsion and terrific energy.  Seary does not just let the beats work their magic.  You notice- perhaps upon further spins- little details and compositional touches that provide varied emotions and effects.  Such is his confidence and mastery you start to isolate that composition and the nice little touches.  Our hero wants his girl back- and wants her to love him- but something has changed.  Whether confession or necessary truths there are words that cannot be forgotten and expunged.  That regret and pain comes out in a vocal that is positively charged and captivating.  Never ululating and cloying- the likes of Sam Smith have been criticised for the lack of depth and overly-sickly nature of the performances- you get a genuine Soul vocal that could have been snatches from the glory-days of the 1970s.  That vintage and classic vocal blends perfectly with the ultra-modern and contemporary background- the juxtaposition creates simpatico and not separation.  The final moments are dedicated to the music alone.  Those scuffling and tumbling beats fuse with the vibrant electronics to give sonic conclusion and reflection.  A perfect finale/closing gambit to a powerful track; hard to really take it all in upon infant listen.  A track that demands you go back and listen again- to fully appreciate its depths and complexities- it showcases two talents that seem ready-made for one another.

Congratulations must be given to both parties who- although new names to one another perhaps- seem like they are a duo fully-formed.  They slot so well together you wonder when the next collaboration will occur.  Maybe Seary has a busy 2016 ahead- with the release of his E.P. - whilst Cusato will be planning his next E.P. I am sure (nothing firm yet).  Cusato’s voice and conviction is startling throughout a song that drips with heartache and regret.  Whether based on real-life events- our man reflecting on a relationship that meant a lot to him- there is that knowing culpability and pain throughout.  Can’t Say It Back is a song that documents the unavoidable nature of love- knowing you will break someone’s heart but unable to avoid it- and it deals with it in a mature and fascinating way.  The lyrics mix simple truths with personal conjecture and impressive confession.  Never cliché and insincere; the lyrics have plenty of soul, heart and emotion (that trinity of words I love to use).  Seary matches that impressive hand with a royal flush of a composition- recalling the masterful nature of London’s Jamie xx.  It will be fascinating to see how Seary approaches future collaborations.  Knowing he will be working with both female and male voices- taking in varied genres and songs- his compositions will camouflage and suit perfectly.  Such an adaptable and natural composer; I cannot wait to see how his talent is developed on his soon-to-be-released E.P.  If you are unsure about D&B/Electronica music- and have been put off by the Radio One-championed drivel that gets club-goers going- then do not be afraid.  What you have here is something more accomplished and palatable than the dumbed-down sounds that do the club circuit.  Packed with potency and emotion- there is plenty of depth and beauty- you have a song that unites two extraordinary talents- names to watch closely as the year carries on.

It has been great to discover an artist/producer from one of music’s most recognisable and special music cities (Liverpool).  Michael Seary is going to be one of those names that will be on the lips of many in years to come.  Having already gained a lot of social media following; seen his ranks rise and get into the conciseness of many, there is no telling just what he comes up with throughout this year.  Being a new discoverer of Drum and Bass and Electronica- I have always been familiar with the genres but never really sought them out heavily- it has given me fresh perspective; compelled me to check out more like-minded acts.  I think there is still that perception the genres are synonymous with drunkenness and lack of focus (perhaps that is the case with many artists) but that is missing the point entirely.  If you can marry those traditional sounds with something more composed and subtle- Seary does not go for the jugular like some of his contemporaries- you have music that has limitless possibilities.  Over last year I loved discovering great Electronica-based acts; the music they were producing ranked among the finest from 2015- it seems 2016 will not be a disappointment.  It is wonderful discovering great new voices on the music scene.  Luke Cusato is among the most memorable and stunning voices coming out at the moment; power and prowess that takes you by surprise but enough subtlety and romance to get the knees trembling.  Were he to solely put that voice to acoustic sounds and more ‘restrained’ avenues it would not sound as effective and mesmeric.  When combined with Seary you have that partnership that resonate in the mind and sound completely perfect together.  I know Can’t Say It Back has been remixed throughout the Can’t Say It Back E.P. – showing what an affect the song has had on fellow D.J.s/producers- and that is in small part because of the bond of the musicians.  It would be good to see more collaboration happen; this is an area of music that is not being tapped as hard as it could be.  Perhaps in the club scene there are more hook-ups happening; in the mainstream realm there are not as many happening.  It is a shame because- as has been shown here- when you get the right people coming together it can lead to something tremendous.  I know a lot of singers out there with wonderful voices that are in need of guidance and motivation.  There are so many fertile and inventive producers making some hot sounds- needing a worthy other to bring them truly to life.  I am not sure if there is a website dedicated to getting singers and producers together- there must be a few I could imagine- but perhaps there should be.  For my money, there are too many missed opportunities gone begging.  Being a few days into this new year it is hard to say what music will be produced; who will be the artists to watch and keep a close eye on.  I think there is not going to be a radical departure from last year and what was being produced- maybe some new voices will come through- but I think there will be more pairings and collaborations.

I know Seary is going to be bringing an E.P. out this year- I am not sure whether Cusato will be- but that will be good news indeed.  Bringing the likes of Terri Walker into the mix, that forthcoming release will expand upon his latest track and be a tremendous showcase.  Through the years the Liverpool producer has worked with various artists and not quite gained the respect he deserves- the next year will see his name rise to prominence and that adulation come.  I hope Luke Cusato has plans for an E.P.  More attention needs to be paid to that voice that has won and accrued a mass of followers.  In the past the young Liverpool artist has produced some stunning tracks and moments; songs that get into the heart and evoke stunning possibilities.  It will be fascinating to see if he comes up with an album or something similar.  With artists such as Sam Smith- and that similarly stunning and pure voice a hot ticket- coming through it is clear the public want to discover singers that have soulfulness and immense power.  Combining that beauty and falsetto brilliance of Cusato; bring in the magic and authority of Seary and you have a wonderful music moment that is getting people buzzing- I do hope the duo come together again in the future.  You never know just what music is going to come up with at all; whether the artists emerging will be long-term favourites or a fleeting thing- that is the nature of the beast I guess.  I always think I can recognise stars-in-the-making when I see them: those musicians that have that aptitude and talent; can ensure they are in the public mindset for years to come.  With so much music being disposable and short-term- we are not birthing the legends of old- there will be fewer artists around that will last for decades- the likes of The Rolling Stones and Bob Dylan were very much exceptions to the rule.  That being said there is no reason why we should not be excited and proud.  If you have not heard Can’t Say It Back- from two very special young artists- then make sure you give it a listen and let it immerse you.  When it comes to both parties involved here are two artists…

 

WITH very busy years ahead of them.

[soundcloud url="https://api.soundcloud.com/tracks/235119427" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Michael Seary

 

Facebook:

https://www.facebook.com/michaelsearymusic

Twitter:

https://twitter.com/michael_seary

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Music:

https://soundcloud.com/michaelseary

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Follow Luke Cusato:

 

Facebook:

https://www.facebook.com/LukeFrancescoCusato/

Twitter:

https://twitter.com/LukeCusato

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Music:

https://soundcloud.com/luke-cusato

 

Feature: Introducing... The Crypt Sessions

FEATURE:

 

 

 

Introducing…

 

 

 

The Crypt Sessions

____________________________________________

THERE are some great young artists coming out at the moment…

When it comes to deciphering which musicians are worth long-term appeal; it is always worth seeing them perform live- to get a true impression of their talent and sound.  Usually I do not get to see artists (the ones I review) live and have to rely on the occasional YouTube clips and such- most of their music will be on SoundCloud.  When contacted by Carl Mason- the newest member of The Crypt Sessions- I got the chance to discover a great new music venture.  Based in Crouch End; The Crypt Studio has seen some fantastic artists play here.  Before I feature a selection of the performances- from the earlier days to the most recent- a little bit about The Crypt Sessions:

“Music video sites are popping up all over the net like acne on a teen burger flipper. So what makes The Crypt Sessions different? Quality, that’s what. We select only the finest cuts of prime musical beef to lay themselves bare for you, then film and record them to lush, cinematic standards in our North London studio. The result is an eclectic mix of extraordinarily intimate acoustic performances that are as easy on the eye as they are to the ear – lo-def genius captured in hi-def video.

Tell us if there’s any act you want to see on The Crypt Sessions and we’ll try our damndest to get them down”.

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

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

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[youtube https://www.youtube.com/watch?v=Gcno4OXV2H8&w=560&h=315]

________________________

Follow The Crypt Sessions

 

Official:

http://www.thecryptsessions.com/

YouTube:

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

Facebook:

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

Twitter:

https://twitter.com/cryptsessions

Instagram:

http://instagram.com/cryptsessions

Interview: Jen Armstrong

Interview:

 

 

Jen Armstrong

_____________

THE past year has seen a lot of great young musicians begin their…

careers with one big step.  Over the last few years Yorkshire-born Jen Armstrong has worked hard and tirelessly on her music- marking herself as one of the most unique, passionate and stunning voices in music.  With her down-to-Earth and heartwarming personality- that pink hair is enough to capture the eye alone- this year will see her plot new music; search for management/a record deal- get the acclaim and credit she fully deserves.  Having toured throughout the world in 2015; Armstrong is now based in London- having moved from Yorkshire recently- and is extolling the benefits and opportunities of the capital- albeit handling the loneliness that comes with it.  Keen to catch-up and reflect on the year past- and what is to come this year- she talks future plans and who influenced her musical career...

https://twitter.com/JAMusicUK/status/683978312037863424

You had quite a busy and memorable 2015.  What are your highlights from the past year?

My two biggest highlights have to be:

1) The song-writing camp I attended in Nashville with U.K.T.I.  It was a thoroughly magical experience; one of which I felt entirely privileged and lucky to be a part of.  I met so many amazing songwriters and producers- many of which I’m still working with now.

2) I got invited to play a song at Bluebird Café in Nashville and it is truly a unique and wonderful venue.  I had the room for the full 4 minutes of my song and they loved it; and I loved them for loving it!  4 minutes might sound like no big deal.  But I’ve played plenty of gigs in my career where you’re competing with wasted people who are definitely not there for the music.  So it was absolutely fab. that not only people listened intently, but they completely got it too.

On that note; what plans are ahead for 2016?

Well – I’m in London, yipeee!  My Nashville plans got a little stalled.  They’re still a possibility, but for now I’m putting my everything into London life.  I hope to start working with management in the next few months; but it’s finding the right team- or rather them finding you!  I’d love to say I have plans to release an album and I do.  But it has to be with a team and the best producer.  Fingers-crossed I’ll find that.

Your fans are captivated by your music and how special it is.  Can we expect a Jen Armstrong album in 2016 or will you be releasing singles/E.P. instead?

It’s always a weird debate: Album or E.P.  I think as I’m relatively unheard of an E.P. is the way forward first- a tidy little package of 3-5 kick-ass songs to blow everyone away :)

What inspired you to take up music to begin with?  Was it something that struck you as a child?

I always loved singing when I was a kid; in choirs at school and music centre.  But it never felt like a passion or something I might one day do as a job!  I played the violin and piano from a young age and really I started my musical journey on the classical route; which I’m extremely thankful for.  It was my mum who suggested I play the violin; my sisters were having piano lessons and I wanted them too!  So really, no burning desire to make music a big part of my life (until I was about 12); when I really started getting in to Pop music. Learning the songs of the artists who really spoke to me, and in turn, writing my own songs. It was only when I was about 16 that I realised I was actually pretty good at writing, performing, singing… and I started to consider the possibility of it being a full-time occupation.

You have recently moved to London (from Yorkshire).  How have you found life in the city, as a musician?

Loving it so far (although lots of late-night walks home on my own).  Being a broke musician doesn’t always mesh too well with the lifestyle!  But you have to put yourself out there.

Your songs are very distinct and unique.  Not just confined to love songs, you look at everyday and quirky themes.  Do you think it is important to be individual and write about what is important to you- rather than what everyone else is doing?

Of course.  I think you should write what you want.  That’s being individual: you need to show your voice because you’re the only one who has it.  Why try to be, do, and speak as someone else?

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You have a lot of support and fans across social media. Is that online connection important to you with regards your musical development?

It’s not that I need an ego massage- being constantly told how great I am-… but online feedback is so helpful and appreciated- especially when I’m working at home on my own so much of the time.  And if people have criticism or suggestions, I listen.  I might not always agree…!  But it’s useful.

In terms of your influences and idols; who are the most important singers/artists to you?

I just watched the documentary about Amy Winehouse.  Man oh man.  If I wasn’t already a big fan of hers, I am now.  So much humility.  It’s rare, I think.  She’s now gone to the top of the list.

But then there are my all-time favourites.  Chris Martin/Coldplay.  The have moulded themselves and adapted to the ever-changing needs of the consumer public; to the point that they are now one of the biggest bands in the world.  That is impressive.  And I still love their music.  Inspiring.

Ben Folds will always be up there too; he’s just a legend.  I love how he doesn’t give a shite about being popular.  And more and more, he’s using orchestral arrangements or acapella arrangements in his stuff.   Having that kind of background myself; it really speaks to me and it’s awesome he regards it so highly.

Sia is another awesome writer/singer who I look up to.  Vastly talented but not bothered about the fame.  In fact, the opposite.  Raw talent.

I know you are not a huge fan of New Year’s resolutions.  On a personal plain, are there any particular goals/aims you have in mind?

Well as you know, I’m forever on a quest to be fitter and healthier!  So that is still up there.  I just want to produce top-quality music for my own artist project; and this year, for people to actually hear and enjoy.  I want to get management too.

With the influx of singer-songwriters coming through, what are the biggest challenges you face?  How do you overcome them?

It’s always been the same, really.  Getting your voice heard.  It was hard at the beginning; it’s still hard now.

What have been your favourite songs and albums from the past year?

You’re going to hate me, but I’ve really got in to Justin Bieber.  Sorry!  But the lad is talented!  (I’ve started to come around to a small extent.  Not a Belieber; but a Justin agnostic- Sam)

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

If they’re lucky enough to know what they want when they’re young; get down to London (or another big music city)!  I enjoyed my time at Leeds College of Music- and I met some life-long friends and invaluable contacts- BUT, if I had known what I know now, I would’ve hot-footed it down to our capital A.S.A.P.  Also, get some basic production knowledge.  It isn’t hard.  I don’t think there’s any excuse anymore to not know the basics about Logic/Pro. Tools.  And if you want to be a performer, PERFORM!  Get the experience.

Having performed around the world is there anywhere you would especially love to play (you haven’t already) or a particular town/country you’d like to revisit?

Japan.  Hella (sic.)  YES please.  Australia…

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

I’ve been part of a project called Red Velvet Rag Doll (by Red Velvet Ray Gun).  The two guys behind the project are so talented and supportive of me.  The album has just been released on iTunes, and some of the songs are bloody catchy I’ll tell you!  I’d like you to play a song from the album – I’ll suggest World’s Wide Open or Guardian Angel.

[soundcloud url="https://api.soundcloud.com/tracks/241374335" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

https://soundcloud.com/redvelvetraygun/worlds-wide-open-1

 ___________________

Follow Jen Armstrong:

 

Official:

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

Facebook:

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

Twitter:

https://twitter.com/jamusicuk

YouTube:

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

SoundCloud:

https://soundcloud.com/jenarmstrongmusic

Instagram:

https://www.instagram.com/jenomuso/

Track Review: REWS- Death Yawn

TRACK REVIEW:

 

REWS

 

 

Death Yawn

9.4/10.0

Death Yawn is available at:

https://www.youtube.com/watch?v=fTWx9nmMU4w

RELEASED: 4^th January, 2016

GENRES: Pop-Rock

ORIGIN:

London

____________________________________

MY promise to focus more on the men of music...

didn’t really last that long to be fair.  Before I come to assessing my featured act; I have been reminded about the great duos emerging; the promise of Pop-Rock acts of the moment- in addition to the subject matter musicians employ; the way acts come together.  Whilst I have spent a lot of time reviewing bands and solo acts; not a lot of my time has been dedicated to the duos of music- an area that is prosperous and growing.  The two-piece band is that area of music that gains the least attention- how many duos can you name off the top of your head?  Over the years I have reviewed awesome female duos say as Say Lou Lou and NONONO- two Electro./Synth.-Pop acts with big songs and bigger choruses.  When it comes to this side of the music; perhaps it is the chaps that exude the most power.  When it comes to the male duos; they tend to play the heavier side of things.  If you take Royal Blood as the stand-out example; in the underground scene, many others are trying to replicate that hard-and-heavy sound.  From Knuckle and Huxtable- two acts I have reviewed before- you have God Damn and their ilk- two chaps that go for the jugular and pen some epic songs.  I am not sure why the male duos tend to play it heavier and more direct- it is the girls that have the most melody, Pop-inspired sounds and calm.  Saying that, acts like Icona Pop have that stomp and power to get the feet moving and the voice singing.  From The Veronicas to Tegan and Sara; there have been some notable duos emerging.  When it comes to mixed-genre duos there are (favourites of mine) Gypsyfingers and Them & Us- there is a huge range of acts you can choose from.  I am not sure why more musicians are not choosing to be part of a duo- it is a market that is relatively untapped.  The bands are always going to be the most appealing proposition; solo artists perhaps the most common type of formation- why are duos lacking the same sort of support and numbers?  I am not sure, but what I do know is that the likes of Rews are making the duo market hugely impressive and memorable.  I guess you have to have a close bond with your ‘other half’- which is why a lot of duos are boyfriend-and-girlfriend couples or close friends- whereas bands do not need quite that solid a relationship.  The London-based Rews are coming through at the moment and setting tongues wagging with their stunning musicianship and everyday-life tracks.  Before I continue on my points; let me introduce them to you:

“REWS is the London/Belfast based high energy pop rock duo consisting of songstress Shauna Tohill and beat-maker Collette Williams.

Shauna was inspired to form REWS following a series of tours with previous bands and an inspirational artist retreat in late 2014. She met the fantastic Collette Williams in March 2015 and they have been a match made in heaven ever since.

REWS aim is to inspire people to be who they are, dance, sing, have fun yet address those deep issues that people face in everyday life. It might just be your medicine!”

Our intrepid duo plays Pop-Rock of the highest order.  It is one of those genres that have many participants but few stand-outs.  When it comes to duos, you get a split between Acoustic/Folk/Pop blends- usually the boy-and-girl formation- and Hard-Rock- the male duos tend to popularise this.  When it comes to the all-girl duo; there is few that play Pop-Rock sounds.  It is quite a hard balance to get right- that mainstream appeal of Pop tied with the heavier, grittier Rock vibe- but those who master it are among music’s finest.  What REWS have are two musicians with a great passion for music; an understanding of their subject matter and how to make an impression- the connection between them is incredible.  A lot of duos (bands for that matter too) have a rather boring backstory and way of working- there are few that stick in my mind at the moment.  With our London two-piece you have a strong friendship that has resulted in songs that everyone can relate to- that stray beyond the well-worn boundaries of love and heartbreak.  It is clear the duo has a fond affection and connection; they are among the tightest musicians I have heard in a while- their music is endlessly playable and repeatable.  So many bands and solo artists do not walk far from those predictable themes and make fascinating music.  It is important to pen universally-themed songs- so that the listener can relate- yet I feel there is a lot of cynicism and a lack of personality.  So many acts are writing what the mainstream wants; songs that will get them the biggest listenership- compromising uniqueness and addressing themes that will gain respect rather than views/listens.  Writing about love is all very well; it is vital to expand your horizons and concentrate on subjects in other areas.  REWS are an act that takes inspiration from strange events and odd figures- their current single has a very distinct backstory.  Of course relationships are on their mind; they go further and look at the more distinct and unusual side of things- whilst keeping it relatable and relevant.  Being a relatively-new formation; I am not sure what the rest of the year holds in store- whether the girls are preparing an E.P.  I know they have been performing live and are excited about the future- let’s hope this passion and momentum results in new music this year.  The girls have been jammin’ and rocking all across the capital- bringing their hard-hitting songs to the people.  Having performed across radio too; they are getting exposure and attention- their fan numbers are increasing; they are really speaking to the people.  I will be fascinated to see what occurs for them next: perhaps an E.P. will come; they may choose to hit the road for a bit- whatever they decide a lot of eyes and ears will be fascinated.  Death Yawn is a song that has been picked up and premiered across media and websites; so many are keen to lend praise to a wonderful song that has a fantastic sound.

Collette Williams and Shauna Tohill started Rews last year and have a plan ahead of them.  Their intention is to release a couple of new singles this year- maybe there will be E.P. coming to- and Death Yawn’s official release is on 19^th February.  The duo’s debut single Can You Feel It? was released last October and showcased enormous early promise.  The song begins with a slamming and urgent swagger.  With Tohill on lead- and letting her guitar shred and conquer- the song looks at letting out inner feelings; being left and hurt- unleashing that pain and hurt.  Relying on some repeated lines and words- to highlight the urgency and emotion of what is being said- it is a song that gets inside the head and demands sing-along and repeated plays.  The girls’ command and musicianship is apparent at every stage.  Williams starts with a teasing and building percussion- it pitter-patters and smashes into the chorus; eliciting huge power and force.  That chorus has a Pop-tinged sound that will appeal to mainstream listeners; gritty enough to get the Rock aficionados grinning.  A song that has a smile at its heart- in spite of the heartache and anxiety of the verses- you cannot help but get caught up in the whirlwind that is unleashed.  Resonating with fans across social media and YouTube- the track has accrued fond feedback and support- it was a stunningly assured and memorable first single from REWS.

  Can’t Keep Up is also available; it starts with a catchy and uplifting wordless vocal- a composition that is tight and intoxicating.  Our heroine cannot keep track with what’s happening; it seems life is causing issues and getting on top leads to headaches.  It is impossible not to let that insatiable chorus do its work and intoxicate completely.  Filled with energy and passion; it is the most immediate and memorable REWS have come up with.  It would be interesting to know what inspired the track and lead to its creation.  What you get throughout the song is that tight bond and understanding present itself.  A lot of newer duos/acts have some nerves and take time to get going- usually hitting their peak a way down the line.  With Rews you have an act that are completely in-line and complete from the very beginning.

Becoming more confident and stunning by the song; I know there are new singles mooted for this year.  With every track you get new shades and sides to the girls.  They do not just deal with run-of-the-mile heartache themes: their music digs deeper and has a wider range than most of their peers.  Producing songs that inspire full-voiced singalong; I would love to see them continue on this path- who knows how far they can go from here.  Being so solid and tight from the offset; you can hear the attention and detail that has been put in.  The duo rehearse their songs to ensure they are as impactful and good as they can be- the music never sounds too rehearsed; it has loose edges and plenty of rawness.

With Death Yawn available via YouTube- the music video was funded using a crowd-sourcing website- the girls are a neologism with big intentions and an even-bigger sound.  Whereas bands and artists are often inspired by relationship cessation and vague stresses- this track has a very unique and unusual backstory.  Writer Tohill was inspired but a rather creepy and off-putting man she encountered whilst in an Edinburgh hostel.  Someone that keep following her and letting his unique ‘charm’ do the work; it was something that stuck with her.  Whilst hostels can house some unusual and strange human beings- I am sure most of us can attest to that- these coming-togethers do not often result in music.  Given the (strange) charming origin of the song; you start to smile as the initial notes are played- knowing Tohill made it out safe and channeled that unease into something wonderful.  The opening notes boast a fizzing and viper-like guitar attack; backed by a hard-hitting and passionate percussion slam- the song has a very urgent and meaningful introduction.  It is clear the track means business; no time is spared to be vague and compromising.  Even though the song kicks off with electric attack; there are Pop edges and some lightness within the notes- marrying Punk and Pop into an exhilarating opening salvo.  With “eyes burning like fire” you are transported into that odd encounter; picturing what is transpiring- Tohill lets her voice punctuate the words and underline them.  Having been affected and embarrassed by the encounter- I am sure she has some fruitier and harsher words- the song has great relevance and meaning to it.  Backed by a disciplined and emotive beat- Williams perfectly elicits a sense of anxiety and tension in her percussion work- the vocal remains strong and clear.  Death Yawn perfectly draws you in and compels you to imagine the story unfolding- that anti-hero and how he looked.

I get impressions a sparsely-populated hostel with a rather dank ‘charm’ to it; a no-thrills place that caters for those wanting something affordable and convenient.  Perhaps lacking social boundaries; you envisage quite a loner-figure man; someone who probably means no real harm- the type of human that we all encounter occasionally.  Being a trusting and warm person I often come into contact with the stranger element in society.  Jeff Buckley- in an interview conducted before his death- stated he has had a similar issue: a “freak magnet” that attracted the weird and plain wacky wherever he went.  In spite of the quasi-lightheartedness of the situation; the vocal and performance has a seriousness and intensity that reflects real fear and anger.  Williams keeps her beats under-the-radar and nuanced- making sure there is an underlying nervousness and danger- whilst Tohill ensures her guitar is appropriately spiky and fraught.  Both girls lend their voices in the words “you watch me/you watch me”- augmenting that sense of discomfort and creepiness.  One of the greatest things about the song- in the early exchanges it is apparent- is how evocative and picturesque it is.  Tohill has kept her language simple but effective; employing her words carefully to ensure you relate to the song and can appreciate what it is saying.  Maybe the song’s villain has ideals and false expectations- perhaps he thinks his sense of allure is working magic- but our heroine has other ideas.  Maybe pegging her for a ingénue and easy-to-conquer woman; we have a strong lead that will not take any of that crap- that declarative and rebellious personality is reflected in the vocal.  Having found herself in a dangerous and unusual situation; other women may call the police or run- some might shout or confront the man.  Our girl is simply flexing her death yawn- a new term that got my curious.  If you Google the term ‘death yawn’ you get some rather humorous search results.  The top few pose questions such as ‘Can someone die by yawning?’- something that worried me as I yawn non-stop.  Another looked at how some people- when they have just died- let out a final yawn.  I thought there was an actually phenomenon known as a death yawn; it is an apt term that mixes boredom and amusement with something menacing.  Whilst Tohill lets her voice become lighter and more open- less tense than during the verses- Williams evokes the sound of said yawn- whilst keeping her drumming avalanching and attacking.  Our lead gives the lyrics such a passionate delivery; her guitar burns and summons plenty of emotion.  Having been cornered and stalked by this man- perhaps he is mentally undressing our heroine- the next verse looks at false expectations and misread signals.  Our lead asks him “What is in your head?”- those words are slowed and stretched to give the impression of anger and confusion- and why he is acting this way.

Perhaps a man who has trouble with women- or has seen a relationship end recently- they may be ideas of a hook-up or relationship in his mind.  The duo project a stunning quiet-loud dynamic that gives the song unexpectedness and contrasts.  Letting her voice climb; Tohill is facing her man down and giving him the brush-off- he thinks he is worthy of her; that is certainly not the case.  The guy claims to be just flirty; that is not what she sees- here is a figure that may not take ‘no’ for an answer.  Getting angrier and less patient with every second; our lead sees it as “just creepy”- she wants the man to “stay the hell away from me”.  The guitar-and-drum combination works wonderfully in evoking that sense of unease and nervousness; the anger and stress that is being felt.  Before you start to guess the next step- and whether our heroine took her anger to the guy; walked away- that chorus comes back in and provides a little relief.  Not one to back away and let the man get the better; that death yawn is unleashed and doing its work.  With the second introduction the chorus seems even more addictive and captivating.  The girls unite their instruments to give a raucous and sparkling whole- that has plenty of bounce and melody into the mix.  At every stage the song sees a strong woman that is not going to let this man get the better of her.  Ramping-up the volume and attack; becoming heavier and more direct- a wordless vocal come through; adding to that sense of unrest and unease.  Our heroine wants the man to go away; the situation is becoming more fraught and disturbing- perhaps the guy has followed Tohill wherever she goes.  Perhaps tolerating his quirks to be begin with; events have taken a turn and there is a tangible danger that has come in.  Before the song comes to its end we get that chorus coming back in: The pop upbeat and Rock grit parabond wonderfully; nuanced and compelling you to sing along with it.  I presume things worked out for the best- Tohill did manage to get away unscathed- but I was curious exactly how a resolution was created.  Maybe the man got bored and got the message; perhaps word were had in the end- whatever it was; it has resulted in a wonderful and hugely memorable song.

You cannot deny the chemistry and bond Tohill and Williams have.  Not having been friends for that long; they sound as though they’ve been mates for years- such is the connection within the music.  Most new duos take time to find their feet and get into the groove; needing months on the road to get that discipline and togetherness cemented- REWS have this already; Death Yawn showcases the musicians at their very peak.  Harrowing and unusual events can cause scars and bad memories; they can lead people to make bad decisions- if they result in great music; that is something almost cathartic.  Tohill may have been keen to flee Edinburgh after her strange encounter; not willing to reflect too much on it- I am glad that fateful day/night has lead where it has.  Healed and comfortable after the fact; you have a musical moment that shows originality and plenty of bite.  Straying away from love and loss; here you have a duo that taps a rich vein and not-often-trod road.  By harnessing and exploiting their misfortune and weird encounters; they are fresh and unique- few other acts can claim that distinction.  The production values on the track allow it to be gritty and Punk-sounding.  It is never polished or too gleaming; the sound allows those ragged edges and Rock rebelliousness to radiate.  Tohill demonstrates herself to be one of the most impressive songwriters around.  As a lyricist she mixes everyday language and simplicity with something personal and original- culminating in a song that simultaneously resonates directly and inspires you to imagine.  As the song was playing I let my imagination run wild; got inside the song and tried to picture the situations as they unfolded.  Although Shauna can best describe her unwanted admirer; each listener is free to drawn their own conclusions and story-line- such is the weight and drama of the song.  As a guitarist she adds enormous authority and stun to the song.  It might even have been nice to see her cut loose during the song; maybe unleash a solo at the half-way point- to highlight that sense of nervousness and distress.  Her performance through Death Yawn is exhilarating and emotional without being overwrought and too heavy.  Collette Williams lends her voice too; backing her sister musician and adding etherealness and passion to the piece.  I would love to hear Williams’ voice exploited more on future releases; she has a beautiful and strong voice- perhaps the duo will link up vocally in future cuts.  As a percussionist Williams adds plenty of oomph, attack and power- apologies my terminology is not as descriptive as it could be- ensuring the vocal and guitar is given appropriate support and drive.  There are few female drummers working in new music; Williams stands out as one of the most vibrant and talented around.  The girls have a simpatico and shared passion that has resulted in a tight and mesmerising song.  Off the back of a rather unseemly experience we have a song that expertly blends Punk and Rock savagery with melody and Pop uplift- a perfect concoction that fizzes, explodes and seduces.

Few people can deny the importance of new music and the artists coming through.  The mainstream has produced some great albums/acts this year- the finest records have come from non-U.K. acts; straying away from Pop and Rock- and has left 2015 with a high.  This year there is uncertainty about the ‘big albums’ coming through- which legendary acts are releasing records; whether any great new acts are unveiling albums.  What I do know is there is a lot of passion and movement in the underground.  So many hot and hungry young acts are planting their flags and making their claims.  The bands are doing what they do; there are some fantastic ones emerging right now- there are also quite a few mediocre and plain horrible ones too.  The same could be applied to solo acts; the quality is variable yet the best of them are going to be names to watch for sure.  What I love about music is the sheer diversity of sounds you can discover.  Whatever your proclivities and tastes; however you like music presented to you- there are options a-plenty; you will never be short-changed.  What is going to be interesting is to see the duos emerging through the scene in 2016.  Always second-best to bands and solo acts- third-best I guess; semantics be damned- there is so much brilliance and quality to be found in their ranks.  Being in the minority they always have to fight harder; allow those gilded and strong relationships to do the talking- critics and the media are always going to favour the bands and solo artists.  With the likes of REWS coming through; I am sure other musicians out there will want to form duos- follow in their footsteps and take inspiration.

The thing with duos is that central relationship has to be rock-solid and unwavering.  Whereas bands have four or more members- there are buffers and safety in numbers to an extent- the solo artist is just them alone- it is harder to break them up and cause dissolution.  With the duos there is less breathing room.  A great deal of duos is either terrific friends or lovers- they have that solid connection that means already stamped.  Our London duo met last year and have been making music ever since; there is a wonderful connection and friendship- it results in some tremendous music.  It is perhaps unusual to see a female duo that play Pop-Rock- preferring the heavier side of things.  I hope that more like-minded duos come along as REWS are among the most arresting and stunning acts of the moment.  With Tohill providing an exhilarating and impassioned lead; Williams that stunning beat-maker- you have a duo that will inspire many.  Before concluding I wanted to come back to themes of Pop-Rock and song subject matter- a bit about what is to come this year in music.  Last year provided some wonderfully rich and diverse acts- I was amazed by the confidence and quality of so many- but this year is starting off with a bang.  I can see some soon-to-be-legends making their mark and making their way through the ranks.  With so much competition and players out there; the pressure at its very peak- who are going to be the musicians making their name heard come December?  If you want something that strays away from predictable mainstream sounds- to give something edgier and more original- then there is plenty to choose from.  With a lot of genres becoming more gentrified; others not up to their past standards- the arena of Pop-Rock is starting to rise and impress.  Marrying the harder and heavier Rock elements together with something more dance-able, let’s say.  REWS are that duo that perfectly blends these sides together.  They make music to dance to and get lost inside; sounds that compel you to lose yourself in the moment- they do not concatenate on getting the sound right.  Their lyrics look at everyday issues; not just focusing on love and relationship strife.  Because of this; so many fans and followers have taken the music to heart- it will lead to a very successful year for the girls.  London is a busy and never-ending centre for great music and intrigue.  It is hard to get on top of all the great London artists coming through; it is the area to watch as we go through 2016.  Our intrepid duo is among the capital’s biggest up-and-coming artists; it will be interesting to see what move they make next.  I know there will be touring and more radio appearances coming through.  Given the strength of the song- and the fact they are have a fond affection for one another- that will surely translate into new tunes and fresh promise.  Listeners and fans are hungry so we shall see what the girls have in mind.  Death Yawn is a song that looks at seedy characters and stalker-type figures that can be found on every street- perhaps a harsh reality but one the girls utilise to stunning effect.  If you have not heard the track then it’s the perfect starting gambit from a duo with a huge future ahead.  Extraordinary musicians and writers with an unbreakable bond; such an original and fresh sound- I cannot wait to hear what comes next.  Death Yawn may produce images of lifelessness and boredom but when it comes to our Irish-English girls, their music is far from it-

 

IT’s filled with life and hugely exciting.

[youtube https://www.youtube.com/watch?v=fTWx9nmMU4w&w=560&h=315]

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Follow REWS

Official:

https://rewsmusic1.wordpress.com/

Facebook:

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

Twitter:

https://twitter.com/rewsmusic/

Instagram:

https://www.instagram.com/rewsmusic/

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Music:

https://soundcloud.com/rewsmusic

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Videos:

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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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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

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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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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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