TRACK REVIEW: Scout Killers- Rip Me Apart

TRACK REVIEW:

 

Scout Killers

 

 

Rip Me Apart

 

9.4/10.0

RELEASE DATE: March 28th, 2016

GENRES: Rock; Alternative

ORIGIN:

Bristol/Bath, U.K.

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FOR today’s investigation I get to come back to a band…

that provided much excitement in 2016.  I have been searching for great bands this year- among the throng of rather bland ones- and seeing which ones will be making big moves this year.  I have been reading a lot of articles that make predictions about new music.  There is a fear the best of the ‘new acts’ coming through- those on the ‘ones to watch’ lists- are rather unspectacular and overrated.  When I look around the promised artists for this year:  There is a bit of suspicion there will be some disappointment and familiarity.  I feel the media is too quick to proclaim artists based on rather shonky foundations.  Rather than looking for forward-thinking and ambitious artists- which sound different and rebel again the middle-ground- the press tend to look at acts that fit into pre-defined moulds and expectations.  While the likes of B.B.C. have tipped a couple of good acts:  There is still a depression lack of genuine musicians coming through.  Another report I read- cannot remember the website- stated Rock music is well and truly dead.  Whilst there is some truth in the fact- it is not as explosive and stunning as it once was- there are some great new acts emerging.  I think the problem arising when you look at the sheer number of artists out there.  Given the music that has come before- the huge array and invention- it is harder to create something truly original.  Rock and Alternative are genres that have so many participants- each of them doing their own thing- it is very difficult to reinvent the wheel.  You can find some quality but when it comes to doing something truly unique:  How easy is it going to be to find that?  We (as music lovers) have high expectations of our new musicians.  It is unrealistic to expect something world-beating from every musician you come across.  If you lower your expectations to realistic levels:  There are some artists poking through that are going to shake music up.  I mention Scout Killers- no muted praise at all you understand- as they’re an act that are gaining a lot of momentum.  Within the sardine can of the Rock/Alternative market:  These boys rank alongside the best and brightest groups coming though right now.   Scott Cox, Beau Stevens, Julien Morrez; Josh Ellis and Chris Phillips are the scout-killing boys that have been playing for a little while now.  Looking at them- and the fact they originate from the Bristol/Bath areas- gets me thinking about the geography of our best bands.  I have been spending a lot of time- as I will this and next week- investigating London acts and how well they are doing.  Whilst the capital is spawning some tremendous solo artists, there are few stand-out bands coming along.  I find the best U.K. bands are stemming from parts other than London: The focus has shifted to other parts of the U.K.  Away from Manchester and Liverpool- two areas that are still giving us so many good bands- the likes of Bristol and Bath are showcasing some terrific talent.  Looking at Bristol- and the great artists playing there- the likes of Spectres, Idles and Trust Fund are definitely worth watching.  Rebecca Clements, Turbowolf and Groan Dogs make up a list that sees variation and ambition in spades.  Last year I had the chance to look at Stand Your Ground:  The five-track E.P. saw our heroes create something enduring and hugely exciting.  Focused, tight and bursting with epic tunes:  It showcased maturity, depth and musical intelligence.  There has been a bit of a gap between recordings:  Glad to say the boys are back with a new single.  Before I get to that, it is worth looking at what the future heralds.  With the likes of The Family Rain- a promising band coming out of Bath- growing in status:  More eyes will train themselves the way of Bath and Bristol.  London is still that nirvana for performance and critical attention:  I hope the quintet will come and play here and give the crowds a chance to witness their music in the flesh.

At the moment I am formulating a radio station:  The intention being to play brand-new music alongside classics and lesser-heard gems.  Inspired by a lack of radio variation- few stations champion unsigned acts- I feel the likes of Scout Killers deserve greater exposure.  Away from social media and the like- SoundCloud and YouTube- there are scant chances to hear their ilk across the airwaves.  Perhaps it would be too subjective playing new musicians on radio:  You have to draw the line somewhere and so many acts would still miss out.  That said, there is a chance begging I feel:  Our best and most inspiring bands are not being given a platform to get their sounds heard by a wider audience.  Those problems may not be reconciled quickly:  For now we just have to appreciate chance discoveries and ensure we keep promoting great acts.  Scout Killers are going to be releasing their new album this year and it will give audiences a chance to see how they have developed and progressed.  Having cemented a solid and crowd-pleasing sound across previous released- their E.P. and singles- I would not expect too much change.  What you get from the Bristol/Bath collective are well-defined songs that have universality alongside personality.  Those central performances- well rehearsed and compelling throughout- prove just how passionate the band is and how much they want to succeed.  Too many bands arrive and do not put the necessary graft and work in:  You start to wonder whether they want to inspire and stick around in music.  Scout Killers have an honesty and hard work ethic that singles them out as serious players this year.  If you want a divining rod that leads you to water- rather than the arid desert that some media outlets guide you to- social media still has some potential.  Not as disciplined and organised as it should be- another issue that gets me ranting freely- it is a good way of discovering great artists.  Scout Killers will be busy this year releasing material and taking it on the road.  If you are a fan of the best Indie/Rock/Alternative has to offer; ensure you take time to check out these guys.

Scout Killers have been performing for a few years now and already produced an album and E.P.  In terms of their evolution, one should look back at Stand Your Ground- their latest record that was unveiled last year.  The title track shows those atmospheric and magisterial vocals soar over a nervy and building composition.  Militaristic drums keep the pace and intensity at fever-pitch.  The guitars wail with carnivorous intent whilst the band evoke memories of early-Oasis and the vocals reach exhilarating highs.  A song that crawls and bays at will:  Few listeners can deny the intent and ambition from a band completely in control.  Defiant and against-the-world:  It is an anthem that inspires fists-aloft proclamation and chorusing.  Elsewhere, Time and Again provides Acoustic blends and lightness into the E.P.  After an intriguing introduction you are witness to one of the most cinematic and memorable tracks from the boys.  Gorgeous and romantic in places:  The vocal comes in and shows our hero at his most sensitive and restrained.  Looking at pain, splits and heartache:  That darkness and weight is on his mind throughout the song.  Being Scout Killers, you never know how the song will develop.  Keeping things just below the level of ‘combustible’:  It is a track that has U.S. strains to it- the likes of Counting Crows and Pearl Jam can be heard- that will appeal to a wide audience.  Those Eddie Vedder-esque vocals come out in the finale, Cease and Resist.  Judas Priest-esque guitar squeals back a track that is the band’s Hell-fire mandate.  Animalistic and savage:  You have a song that is packed with meaty riffs and spectacular noise.  In the grip of an out-and-out epic; you get lost in the impassioned performance and immersive lyrics.

Rip Me Apart unites the band’s previous work- more in common with their E.P. rather than earlier album- and takes their music a step further.  The intensity of Cease and Resist is in there:  The boys incorporate subtlety and emotion into a song that has a lot of layers and fascination.  Our lead’s voice is more developed unique- fewer touches of Vedder in there- but still retains that gravel and potency.  The band themselves seem ever more bonded and unified- such a tight and hypnotic performance- whereas the song mixes urgency and nuance.  The first play hits you hard and true:  You need a few spins before all the components and sides coalesce truly.  Scout Killers seem imbued with ambitions of success and longevity.  They have not created a new song that sticks to their sound and does not move it along.  The five-piece have infused new lyrical bents into the mix- whilst keeping the subjects of heartache and pain in there- whereas the composition is among their most inventive and festival-ready.  At the heart of everything is the originality and desire.  I have mentioned bands like Pearl Jam and Oasis, although to be honest, there are the faintest of touches.  If you like your bands to be their own boss- and owe a debt to no one- then keep your peepers on Scout Killers.

Rip Me Apart is a six-and-a-bit minute of fascination.  The warped and echoed electronics- sort of an ultrasonic cosmic sound- gets the hairs standing up right from the outset.  Almost tripping into Electronic territory- that would be an interesting avenue! - our front-man is teed-up by a percussive smash and guitar strike.  Keeping the composition supportive and guiding- rather than an immediate blitzkrieg- it gives the vocals a chance to shine.  Those inimitable and chocolate-rich tones- Eddie Vedder still has influence yet our man sounds more himself here- give importance and emphasis to the lyrics.  Initial feelings look at “endless lies”, broken ribs and blackened eyes.  That violence and chaotic unfolding provoke instant images and speculation.  Our hero looks for meaning- the “truth untold” will never be known- with anxiety and uncertainty here.  That vibrating and echoey vibe keeps the song dangerous and unnerving.  Ensuring every listener cannot escape the unfolding drama- and the soul-weighing predicament our hero is facing- the band unify and sound completely in-step.  The percussion has tribal elements and a bellicose undertone.  There are pattering beats and pulsating electronics entangled in a rapturous seduction.  Riding a charge, our hero is being eaten alive and feeling the force of some harsh premonitions.  There is a girl that is at the forefront:  Whether a former girlfriend or a current love; our man is trying to escape hurt and pain.  Maybe there has been some breakdown and a parting of the waves- a rather harsh and acrimonious split- where he feels “that rage again”.  Walking into the “lion’s den”; there are epic images and huge emotions at work.  Clearly, there are some big issues and problems between the two.  I started to wonder what is being assessed- these visions and predictions- and start to pick the lyrics apart.  Ensuring the lyrics resonate and get inside the head:  Our hero produces one of his most entrancing vocal performances.  Keeping his emotions in check, they soon expand to biblical heights.  Proclaiming “This is the end!” you get a sky-scarping performance that turns the volume up to 11.  The band combines in an orgy of metal, skin and fire:  A startling and head-splitting commingling that comes as a shock.  Properly evoking the intensity of emotions- and the fracturing of relations- you have that explosion and howling execrating.  One of the most immediate and unforgettable musical gestation I have heard in a long while.  Just as you think the song will collapse in a breathless heap; the mood dips down and the calm arrives once more.  Whether sarcastic or plain fed-up, our hero directs his words:  “Hello there, good to see you again” as his thoughts turn to the regretful and accusatory side of things.  It is clear this girl has caused scars and irreparable damage.  In his mind now and again:  Our boy is glad she got hers- maybe justice or a new lover- in the end.  It is a fascinating few lines that make me wonder how the girl is faring.  Maybe life has caught up with her and she is being punished- getting a taste of her own medicine- or maybe there is genuine intent in the words.  Perhaps our hero has been self-immolating and not been free from culpability.  Maybe his sweetheart has moved on and has a new life:  This is causing him some peace at the very least.

Given the intensity that preceded these words:  One suspects there's some cynicism and irony in the lines.  In need of answers, that quest for truth keeps coming through the mist.  Living “a lie” there is that need for détente and reconciliation.  Lying awake by unanswered questions- why things broke up and what went wrong- our hero cannot keep “asking why”.  Maybe he has kept his distance and being restrained so far.  When the composition erupts and that vocal ignites:  You cannot help but hear that pain and torment come to the surface.  Wanting to march to her house and demand explanations:  You start to sympathise with his plight and feel recrimination towards the heroine.  The girl made our man a boy- that regression to a fearful and uncertain state- and has taken so much.  Making him choose avenues he did not want to explore- and breaking his heart into the bargain- the issue of deceit is given fresh voice and new initiative.  I love how the song has a quiet-loud dynamic that runs through it:  Reminding me of Grunge masters like Nirvana, Pearl Jam and Soundgarden; you are transported to the ’90 and that heyday of rebellion and leadership.  Scout Killers sound like a genuine article:  They do not copycat any band; instead, they evoke their memory through their own spectrum.  Our hero wants to change places with the girl:  Give her a chance to see how he feels and how she has put him in the ground.  The deathly hallows and haunted spirits hover around:  There is no retreating from the anger and vitriol emerging.  Being ripped apart like a carcass in the noonday sun:  Every time that demonic vocal brims with pain; you feel helpless to resist its power.  The band is consistently impressive and gilded throughout.  Those rifled percussion notes are backed by concrete and lightning-strike guitars.  The bass drives the song and keeps everything disciplined.  That warping and pulsing electronic beat keeps its voice heard:  The combination of instruments and ideas gives Rip Me Apart endless wonder and depth.  Few bands go in heavy and hard and do so authoritatively.  By the closing moments- as that chorus comes in again and the final words expelled- you start to wonder how things worked out.

The boys of Scout Killers have created their most combustible and astonishing moments to date.  Bringing in all their previous sounds- from their album to E.P. flairs- you have a song that highlights their core strengths:  That unique and fire-brand sound; the originality and innovation alongside the tightness of the band.  Our lead has his velvet and atmospheric voice at its very peak:  Recalling painful and regretful unfolding; you have a song that would sound much weaker in anyone else’s hands.  Able to softly inspire and seduce:  That voice explodes and roars with intensity and huge passion.  Few singers have such a breadth and quality to their voice.  A vocal capable of making everything sound fascinating and compelling:  I can think of few other singers that leave such an impression on the mind.  Kudos goes to the rest of the band who are at their finest too.  The guitars mix intense rage with something settled and composed.  Perfectly bonded and intuitive:  The guys have that connection and passion for one another that translates into a mesmeric jam.  The percussion provides bullets, storms and beating hearts: A cornucopia of emotions and colours; the drums add so much spark and nuance to the song.  Ensuring the bass guides proceedings and ties it all together:  You have a performance that augments the song’s qualities and inspires the band to up their game.  Altogether, Scout Killers are at their most adventurous and stunning.  The production on Rip Me Apart allows all the elements and ideas to come together.  Never mixing anything low or missing anything out:  Here is a production that perfectly bonds the cinematic and emotional polemics into something focused and dramatic.  Whether Rip Me Apart will be an album lead-off- or a song lower down the mix- it is sure to have some serious radio play and fan support.  Huge congratulations to a phenomenal band that becomes stronger and more amazing by the year.  It is clear 2016 will be a year that will see them ascend to some rather giddy heights.  Do not be surprised to see the lads gracing the stages of Glastonbury and Camden Rocks Festival very soon.

It seems Scout Killers grow in confidence and commitment with every fresh release.  Although Rip Me Apart is not accessible to the public for a couple of months:  People should prepare themselves for something quite special.  If you are an older fan of the band- and have followed their progress from the early days- there will be familiar touches and pleasing consistency.  Not changing-up their sound too much- instead bringing in new subject matter and urgency- you will be excited to hear the guys at the top of their game.  Anyone new to the five-piece will find that blend of ubiquity and uniqueness.  A sound that could easily slide into the festival rotations- and find itself played across mainstream radio- their songs dig deeper and sound like nobody else.  I started by contemplating the state of Rock music and the proclamations made by the media.  Whilst the likes of B.B.C. are hardly gospel when it comes to the up-and-coming best:  They do provide a useful guide to what this country is producing.  This year- when it comes to said lists- has not seen too many bands feature across them.  I am not sure whether there has been a dip in interest- people starting to turn to solo acts- but there is a little fatigue for sure.  Maybe the sheer number of bands coming through has exhausted public attentions.  The mainstream has hardly given us too much this last year:  The best music from last year was (largely) created by solo acts.  Aside from the likes of Blur and Royal Headache- creating two of 2015’s finest albums- it has been the likes of Kendrick Lamar, Courtney Barnett and Jamie xx were the big hitters.  Perhaps our newer (mainstream) bands were too caricaturing and generic:  Sticking to familiarity is not the best way to gain reputation and longevity.  Even the new solo acts coming through- the sort tipped for greatness this year- seem too honed-in and safe.  Perhaps there is trepidation and a need to fit into boxes:  If you have a radio-friendly sound- that can get you airplay at least- it is wiser than being too unique and original.  I don’t know, but what I do now is that music needs more progression and boldness.  The solo acts I mentioned- Jamie xx etc. - made immense albums that showed individuality and incredible talent.  More musicians need to follow their leads- not literally; more a guidance- and make albums that impress those who prefer their music with colour and nuance.  In the band market, we still find too many acts who do not want to do anything nee.  Scout Killers are going about business a little differently.  Taking tried-and-tested Indie/Alternative sounds as a basis- they have some clear influences- they make music that is very much particular to them.  I can see them doing some good things this year.  Whether they will be touring across the U.K. - or keeping things fairly local- I am not certain.  What is clear is their musical development and intentions.  Rip Me Apart is their latest (and brightest) statement that will inspire other bands coming along.  Whilst their best days are still ahead of them- they’re a band constantly improving- all the signs are very encouraging.

Tight and measured; catchy yet emotive:  The five-piece have nailed all the key considerations (with regards penning a great song).  That anthemic quality lingers within introspection and anxiety:  Here is a group that understands what it takes to connect with an audience.  Before I get this review completed, I wanted to circle back to the Bath/Bristol bands coming out.  I have stated how hegemony belongs to London- when it comes to the best of new music- and a lot of attention is focused here.  If you want to discover the freshest and most impressive bands about; you’d do well to look further north.  Whilst Bath and Bristol (the latter especially) have birthed classics band such as Portishead, Massive Attack and The Cortinas:  The cities are seeing a new breed coming through.  Perhaps not as experimental as the listed- not with regards Trip-Hop/Electronica at least- there are some fantastic Rock and Alternative bands compelling me.  I have been looking around the radio and the Internet for a band I can invest in:  Something special that offers potential for long-time output and curiosity.  I have grown tired- as have many others- of the mass-produced bands coming out.  Every one of them seems to be tipped as ‘The Next Big Thing’ and is frankly quite depressing.  I understand how much competition there is out there- and how hard it is to stand out in a packed music industry- but the media needs to calm down slightly.  If you look at Scout Killers, you have a band that has that potential:  The guys have the ammunition to be performing for many years to come.  The boys do not seem too bothered- at this stage, it seems- with getting their names in every magazine and on every station.  They are forging their music and making encouraging steps.  It may be a few years down the line, but I can see Scout Killers being a festival proposition.  Against the charge of riff-heavy artists coming out- that provide little soul and depth- you have a group that have more emotion and sides to their art.  If you have not heard Stand Your Ground- go back and listen to that E.P. - you should be excited for Rip Me Apart.  It is a glimpse into their album- I think there is one due this year- and shows new confidence and inspiration.  Stronger than they have ever heard:  I can see the guys featuring across Radio 6 Music very soon (as a permanent fixture).  In the modern climate, that is a…

VERY impressive feat indeed.

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Follow Scout Killers

 

Official:

http://scoutkillers.com/

Facebook:

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

Twitter:

https://twitter.com/scoutkillers

Instagram:

https://www.instagram.com/scoutkillers/

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Music:

https://soundcloud.com/scout-killers

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Videos:

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

TRACK REVIEW: The Updraft Imperative- Pieces of My Past

TRACK REVIEW:

 

The Updraft Imperative

  

Pieces of My Past

9.1/10

 

Pieces of My Past will be available soon.

GENRES: Christian-Rock; Rock; Alternative

ORIGIN:

Brisbane, Australia

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THIS is the second time I am with the Brisbane-based...

Christian-Rock band.  In the first review for the band- when assessing their debut album Chair- I was impressed by the quality and sound of the music.  Far away from what I expected it was not what you’d call ‘typical Christian-Rock’.  My previous exposure- like a lot of people I guess- comes from television and media examples.  The odd band here and there that would be described as Christian-Rock.  The music being played by these bands is defined by its optimistic and faith espousal:  Never really winning you with its sound or hardness; the music is often bland and segregated- not designed to capture non-believers; more designed for the converted and confirmed.  That is all very well- making music for Christians- about your love or God- but it doesn’t have to be that way: Christian-Rock does not have to be just faith; foreign to those who think differently.  Take me, for example.  I am a confirmed and committed atheists (no human, event or circumstance will change that) and will never believe in God yet I am a huge fan of The Updraft Imperative.  Having listened to other Christian-Rock bands- mainly based out of the U.S. - I was off-put and cold.  I forget their names- there was a tortured pun or church-related name involved- yet the music was always the same:  Acoustic-based and overly-gleeful; subjects don’t stray far from belief and its power.  It is great having faith and holding onto something you believe in:  If you’re a religious musician- and have that platform and aim- then why not aim further and wider?  Beyond the churches and Sunday concerts; past the clandestine venues- when do we hear Christian-Rock bands?  Perhaps it is a societal fault:  There are some snobbiness and discrimination while people are not willing to embrace the music without even hearing it.  Perhaps that is true; yet there is an opportunity at hand:  Playing electric guitar- and infusing Rock and grit into your sound- does not betray belief.  It is not an affront to anti-religious sentiment.  Keep the messages true and you are not offending anyone or selling-out the Christian faith.  Before I end this point- and mention Australian music- let me introduce our featured band:

“Formed in their school days in the country town of Dalby, Queensland, Josh and Murray's friendship spans over 20 years.  In the time during and after high school they both honed and refined their individual and distinct musical styles.  In 2009, having both moved to Brisbane, the pair decided to get together to write a selection of songs, encompassing both their unique musical styles and their passion for honest, challenging lyrics.  Known simply as 'Updraft', the pair recorded a rough 10 track EP, 'Reflections'. Recording took place in Murray's garage on an old analogue recording desk and an even older, more unreliable free computer - with Murray both recording and playing guitar, bass and drums.  Laura (Murray's wife) commented that the resulting demo "sounded much better than it should" due entirely to the low tech facilities available to them at that time.  By late 2012, Josh and Murray had been joined by Pete on drums.  With the full support of their families, the trio made the brave decision to self-fund the professional recording of an album - using some tracks from the earlier demo 'Reflections' in addition to some new tracks written as a three piece.  While recording 'Chair', the band decided their name needed more impact. 'Updraft' was a direct reference to Isaiah 40:31 - '... but those who hope in the Lord will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint.'  To stress the bands shared belief that as Christians, we should always be seeking and working towards something higher, a name that gave a strong reminder of this was agreed. And so, 'The Updraft Imperative' was born.  The 10 track album, 'Chair' was recorded over a four week period and produced by James North.  The band credit James for both his brilliant recording and production skills, but perhaps more importantly for his understanding of what the trio wanted to convey through the album and his direction in how to achieve this while also reflecting and capturing their unique style.  'Chair' was released in December 2012.  With their significant background of support through live performance and leading worship, The Updraft Imperative album tracks were included for airplay on local stations in Australia.  In June 2014, the band were offered support in promoting their music in the UK.  A whirlwind of airplay, radio interviews and album reviews has ensued, not only on the UK, but worldwide.  The storm of media attention happening overseas has stirred further interest back home.”

I will return to the band at the end of this section, but for now, to end my point- with regards the rigidness of Christian-Rock.  There is this fear about the music:  If it is too Rock/Alternative-based does that water-down its aim?  The design of Christian music- and anything that plays in this genre- is to promote faith and belief by giving thanks and praise to God- without trying to preach and judge.  Faith is a powerful thing yet there is power to be gained:  By making the music more captivating and popular- thus drawing in more ears and eyes- you are likely to succeed and certainly get more listening.  Unless you are Bob Dylan, an acoustic guitar (and a voice) leaves you restricted- something the modern music scene is forgetting.  It is 2016 and you have to go further.  Even Dylan understood ‘going electric’ was the way forward.  You cannot be stuck in the past (Christian music has this stuffy and middle-aged image still).  What impressed me about The Updraft Imperative- aside from their cool name and the quality of their music- was its contemporary sound.  They are not stuffy or boring; they are not insanely happy and saccharine- acts like The Polyphonic Spree can come across as such.  Chair is an album that is very faith-orientated- promotes the effects and redemptiveness of belief- and very true.  Its music and projection go further by rivalling the best of the Rock scene.  Masters of music’s finest components- a catchy and big chorus; tight and compelling performances; nuanced songs- the album stunned me.  The only reason I marked it ‘low’- or lower than most reviews- is its religious messages.  Those messages promulgate strength and joy; giving and togetherness.  The God-directed effuse- the faith-will-conquer-all mandates- were not quite potent enough to change my thinking and get into my heart.  That is a minor flaw:  The album and the band are filled with majestic layers and plus-points.  Arriving with new material (insights into what their new L.P. will contain) it is great to have them back- I shall reflect on that soon.  Before I get to the band- and their past work and current movements- it is worth mentioning Australian music.  Being based in Brisbane- one of the hottest and most fervent Australian music hub- it is worth looking around.  In terms of the Brisbane music scene past and present; some great bands have surfaced:  Powderfinger and The Saints; The Go-Betweens and The Veronicas; The Riptides and The Grates.  Away from the Queensland city it is Melbourne that leads the way:  They are producing some fantastic and varied sounds.  From The Temper Trap to Nick Cave and the Bad Seeds; there are some fantastic sounds happening there.  In the U.K. and outside Australia, a lot of our exposure to the Australian music scene comes from T.V. shows like Neighbours and Home and Away.  Totally Mild are one of Melbourne’s best current bands:  Their dreamy Electro.-cum-Pop blends have captivated critics; they are one of the world’s best bands.  Over in Sydney, Rock bands like Royal Headache are emerging.  The city has produced acts like INXS, AC/DC and The Vines.  Australia is showing itself to be the secret diamond:  The country producing the best new music and the finest new sounds.  Totally Mild and Royal Headache are perfect examples.  With The Updraft Imperative revitalising and showcasing Christian-Rock’s potential- and a wealth of great Alternative acts coming through- the country is really shining; mixing-it-up with the U.K. and U.S.’s best.  There is clearly a great mood and wave coming through; a rich vein of form- more eyes should be trained here.  Too many media eyes are focused on Britain and America and ignore less-obvious areas (their folly!).  The Updraft Imperative have shown- not just in Brisbane terms, but globally- how good they are and what diversity can be found- they are the finest Christian-Rock band on the scene.  After a terrific debut album, I was keen to investigate their new sounds and see what is in their mind.

The boys’ previous work (Chair) is the best comparison piece:  I wanted to see how they have evolved and changed and how the new material stacks up.  The album was a bold and brave testament:  The band mixed U.S. Rock elements- hints of Bruce Springsteen and Queens of the Stone Age- with some Classic-Rock elements.  There were some ‘Australian elements’ to the music- local bands and native sounds- yet it was mainly U.K./U.S.-based Rock bands that came through.  When it comes to the sound that was laid-out on the album, there were heady and weaving riffs with strong-armed percussion work.  Compositions changed composure and delineation and caught the listener by surprise.  So much depth and originality; a lot of flair and passion, the performances were consistently electrifying and tight.  You could hear the kinship and closeness:  The songs were well-rehearsed and solid.  Everything sounded immaculate and not overdone and polished.  The lyrics mixed Christian themes with the universality of love.  What defined the album- in my mind anyway- was that mix of doubt and hope and the uncertainties of faith.  In a lot of ways- when it comes to the new track- the boys are back in business.  All the motifs and components remain:  They have not radically altered their sensibilities to fit into market expectations and moulds.  The greatest leap is their confidence and performances.  The new song sound bolder and more assured.  The boys are even more confident and I am not sure what has caused this.  Maybe motivated by momentum- and their wave of support- there is an extra layer/level at work.  In that same sense, the performances are more emphatic and developed.  The guitars fuse genres and sounds- they did on the album but do so more abundantly here- and pull it off with aplomb.  There is Grunge and Desert-Rock licks; great little ticks and lines:  The best guitar work of the band’s career.  In addition, the percussion work is more rhythmic and potent with more fills and emotion- perfectly augmenting the track.  The vocals are full-bodied and more determined:  That sense of campaign and convert comes through like every word is utterly crucial.  You cannot deny that force in every note.  This bodes well for a future album as the music is at it most exciting- the boys get better with age and time.

Pieces of My Past is instantly memorable:  The initial notes and moments hit the mark and get right inside the mind.  The opening moments are a cascade of flowing strings and teasing percussion- the introduction settles in and builds the atmosphere.  There is an underlying sense of funk and dance; something quite toe-tapping and exciting.  Mixing Jazz and Funk elements with some Rock and Pop sounds- it is a complex and mesmeric beginning.  Building from these simple (yet hugely gripping) notes, the song expands as our hero comes to the mic.  It is unclear who he is talking to- as the ‘you’ in the lyrics could be a friend or lover; someone offering advice- yet it seems like there is some conflict.  Given the song’s explanation- and what Josh has disclosed- it seems to fit right in:  There's a doubter and detractor:  Someone who is putting pressure at our hero’s feet.  Our man needs to find his own way and he will win his own battles.  There is a lot of doubt and hardship ahead:  Some testing times and need to find answers; find God’s grace in their own manner.  From the new Christian’s point-of-view, there is a lot of judgement and expectation:  They do not realise it is not that easy to find answers and sort things out- they need support and not judgement.  The opening lines reveal these concerns:  “You look at me/and you say that I need to change things in my life/so I can be free”.  It is not as easy all that:  As our hero explains- they want him to “pull out the bad” and put good in its place- that is an over-simplification.  We are hearing the subjective voices- those that seem naïve and judgement- those resonant and disappointed tones come through.  The vocal is alive and determined; soulful and spiked cleverly layered and punctuated to add maximum effect.  The hero- from the point of the recent Christian- has a broken spirit and wants to be able to see the light- he is not able to reconcile these issues at the moment.  There are self-doubts and hesitancy; introspection and examination:  The need for God to guide the way and find his love and grace.  Before you start predicting where the song might head and where the composition leads, there is spectral and (rather Doctor Who theme-sounding) snake; something that slithers and weaves- tied with a rushing and funky guitar line.  The combination is hugely effective.  Instantly bonding Rock hardness with something spiritual and haunting here is the sonic representation- those doubts and conspiring thoughts- unleashed in a multifarious and wonderful moment.  Vivid images and metaphors are unveiled- never employing cliché or faux-emotion- as our hero lays his heart out in the spirit of the song’s subject.  There are pieces of the past on the floor that he cannot sweep up.  With too much to sort out- before he can obtain transcendence and deliverance- epiphany is not that simple and easy.  Our man is on his knees; he wants to find answers and a light:  He is struggling to battle through the darkness whilst desiring a higher plain.  The past is a powerful force and its ghosts linger on.  It is hard to rebuild your life; simply change everything.  Non-Christians can find relatability and familiarity:  We all have been in a situation where we need to find change and transformation- the battle is always hard.  Pieces of My Past is troubled and doubtful:  Our man looks inside himself and does not need “another voice” in his head.  There's too much chaos and chatter; he needs peace and solace so he can find direction and peace.  The song really showcases the band’s musical flair.  Not contented to lay-out a simple and generic coda, the guitars rapture and yowl:  There are jump riffs and scratches whilst the drum skittles and punches.  Compacted and dangerous; psychedelic and entranced, the composition mutates and variates.  All of this keeps the song alive and unpredictable.  Amidst the scenes of pain and doubts- our man confesses every day is a struggle; a battle in a sense- the guitars trip and vibrate; the percussion hisses and swaggers.  The band are not your average Christian-Rock band- I know they are influenced by the likes of Rage Against the Machine and Queens of the Stone Age- and show this diversity and Rock love.  Keeping the song urgent and dizzying- that will appeal to fans of the above- they do not lose sight of the core:  Those doubts and fears with the need to discover God’s light and find direction.  You can sense that desperation and desire:  The need to find God and meaning is almost a sexual frustration; an aching passion comes out.  In the closing stages, the vocal becomes more dramatic and wracked:  Our hero is bleeding-out his heart to the full.  That soulfulness-cum-restraint is a stunning blend.  Supported by his brothers-in-arms, the song never loses its passion.  Little shades of Crowded House comes out- whether consciously or not; the vocal has a Finn-esque quality- as the track concludes and leaves you impressed.

  

The music world is in need of a shake-up:  Getting out of the traditional mindset and embracing something different and fresh.  A lot of modern bands tend to be young- early-20s-mid-30s- and play certain genres (ordinarily Alternative, Rock, Indie; and variations on these genres).  The Updraft Imperative are a good case in point:  A band that are distinct and new; are not the tried-and-tested formula.  The boys aren’t exactly ‘getting-on’ in years- they are still gazelle-like in energy- yet are over their younger days (phrased that as diplomatically as I could muster).  This maturity and experience work wonders; comes out in their music- their combined years create rich and instructive tracks; inspirational and deep moments- that we can all embrace.  Not concerned with media expectations and conforming to an ideal; they are fun guys having a ball- making music they love; paens to faith and its power- they should compel many up-coming bands.  Re-writing the rules of Christian-Rock, they have the cross-border appeal:  Strong enough to break through barriers- faith and music- to reach new audiences.  Their latest cut shows they have lost none of their drive:  That common touch is still firm; their endless endeavor and quality is here.  Perhaps a step-up from Chair’s best- the boys sound more confident and tight; inspired and motivated- they have been driven by success and support.  The media attention and fan-love has spurred them; lead to creative explosions- this duo of songs is just the beginning.  What amazes me about the band- and continues to do so- is their balance of sounds; their integrity and passion and how much music means to them.  From following them on Twitter and Facebook I know how much they love their fans and how productive they are- radio interviews and new gigs; fresh writing sessions and jams.  The boys have affection for their fans and a great manager behind them:  The music reflects those elements of trust and joy; ambition and urgency.  Having spoken with Murray (the band’s guitarist) in a brief- but technically fraught- video chat; he is pumped and ready.  The band have experienced some upheaval- including a split with their long-time drummer, Pete- and had to stay strong.  In the face of adversity and uncertainty, the boys are looking ahead:  They have re-hired and galvanised- looking to get into the studio and unveil their sophomore album.  On that subject:  The irons are still in the fire whilst the songs are being penned.  We shall know more in time.  With Pieces of My Past forthcoming, they both continue- and subsequently break-away from- Chair and its terrific sound.  That album mixed hard-hitting compositions with multi-part messages- faith and God’s love; broken love and relations; simple homespun pleasures- but here they are venturing into new territory.  Those compositional elements are all there:  That fantastic genre-fuse and cross-pollination, yet the boys sound like stronger songwriters.

Buoyed and driven by their previous success they are clearly on a natural high.  Whilst their latest track is more emotional/passion-led- and play a slightly softer side- that is not to say their upcoming songs will be like this- Chair contained calmer moments and I'm sure their new album will, too.  It is left for me to end on two notes:  Those touched-on in the introduction (Australian music and Christian-Rock).  Australia is the world’s most surprising musical country:  Not in a bad way; it just seems like a revival happening- cities Melbourne and Sydney are producing some stunning bands.  Not just your generic and tired acts (the Melbourne/Sydney bands) are more ambitious and substantive; varied and spectacular- going deeper and further than their peers.  In the Rock and Punk arenas; some young and hungry bands are emerging- Royal Headache (not so young) are the leaders.  When it comes to Electro.-Pop and synth-led sounds, some tremendous female-led artists are popping-up- normally found in Melbourne.  I am not sure what it is about the cities and why you find certain music in each, yet I am glad there is such fervency- in Melbourne, Sydney and the bigger cities- as it is setting the music world alight.  The media are being forced to take note; widen their scope and sights- and give their respects to Australia.  Away from the more ‘obvious’ locations, the likes of Brisbane are starting to emerge and showcasing some of music’s most hard-working and forward-thinking musicians.  The Updraft Imperative are on a noble charge; they are improving by the release- their new track show just that.  Pieces of My Past possess plenty of emotion and softness; some openness and vulnerability- those emphatic and spirited riffs/compositions take charge.  That is why I love the band- well one reason anyway- and their music: they subvert expectations; seamlessly blend Rock swagger with words of faith and love; hope and heartache.  I think a lot of people have preconceived notions of Christian-Rock and have been misled by its big players- that idea of sappy and uninteresting songs; rather cliché image/make-up.  The Updraft Imperative are not your sweater-wearing, guitar-totting ‘preachers’:  Strumming aimlessly and grinning aimlessly with no real point.  The Brisbane boys are a genuine Rock band:  They have that authority and desire; their niche is the Christian message- it is not preached or heavy-handed; it is blended into the mix- so you would barely notice.  That is the biggest asset the band possesses:  On the one hand they appeal to fellow Christians- and have a sermonising edge to the music- yet their music digs deeper and unites all.  It goes beyond the borders of religion and belief.  Months ago- when I reviewed Chair- there was no hyperbole; just shock and stun:  I knew a great band was upon us; something very special indeed.  I left my atheism at the door and did not go in single-minded:  That openness led to great revelation and joy through music I would not normally have uncovered.  Whilst my religious views are not changed- you do not need to be a Christian to understand the music’s appeal- my musical outlook has been radicalised:  I have been compelled to dig into the genre and unearth fellow Christian-Rock gems to see what else is out there.  The Updraft Imperative should foster a surge of like-minded bands:  Those unwilling to follow their example are foolish indeed!  The band’s social media ranks are growing as their fan-base is expanding- their media portfolio is looking mighty fine.  The boys may be seeing a membership switch- and losing their drumming comrade- however the music sounds at its most exhilarating: Pieces of My Past is their best statement; phenomenally assured and compelling- a song that demands repeated plays just to get to the bottom of them.  There is some secrecy at the moment- as to when the new album will be ready- but one thing is for sure:  There will be new music and it will be fantastic.  Staying close to Chair’s hallmarks- the mix of sounds and themes; those incredible performances- there is a notable quality increase and a bit more passion and energy.  The band have never sounded as alive and ready.  I know the future holds interviews and gigs; recording sessions and plans- an exciting time to get involved.  The Updrafters- the name given to the band’s fans- want your recruitment and are looking for your love.  On the evidence put forth- and with Chair’s wonder still winning hearts and minds- why would…

YOU refuse them?

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Follow The Updraft Imperative

 

Official:

http://www.theupdraftimperative.com/

Facebook:

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

Twitter:

https://twitter.com/TUI_Official

 ___________________________________

Music:

https://soundcloud.com/theupdraftimperative

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Videos:

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

TRACK REVIEW: Oxygyn- Corrode

TRACK REVIEW:

 

Oxygyn

 

 

Corrode

9.2/10.0

Corrode is available at:

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

RELEASED: December 23rd, 2015

GENRES: Indie-Pop

ORIGIN:

Malta

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FOLLOWING a rather exhaustive review of London-based Reggae artist...

Natty: I now find myself assessing an act at the other end of the spectrum.  Just starting their life in music; their progression has just begun.  Whilst Oxygyn have a little bit of information on social media, it is their new single that will do the explaining- I shall come to this later.  Before I do, I wanted to discuss the Pop end of the market; acts comprised of siblings- completing with a bit about international sounds.  One of my biggest disappointments from last year was the lack of genuinely impressive Pop music emerging from the scene.  When it came to the mainstream, there was really not a lot to recommend.  Although they are seen as mainstream favourites- and influence my featured act- the likes of James Bay and Ed Sheeran were still being played to death.  Whilst I appreciate those artists have cache and respect: I find their music to be as flimsy and unspectacular as any around.  Not delving deep and offering anything original and enduring; it was quite a fallow year for the Pop artists.  Away from those examples, there was a bit more luck.  In the underground, a few great acts emerged: Likely to translate to the mainstream soon, there was a little bit of hope.  Away from the solo artists of Pop, I find duos and (Pop) bands to be more effective and nuanced.  Perhaps capable of creating more depth and quality in their music: I feel there will be a shift towards these acts this coming year.  Whilst 2016 has started quite promisingly- a lot of great new artists to see- the past year was a little bit ho-hum.  Pop is a commodity that is always going to be a staple of radio and the charts: It accounts for a large market share and appeals to younger music lovers.  Whilst Pop may be losing some of its past glory, if you dig hard enough, you can find some terrific acts.  I think what is lacking- with regards the vague and meagre Pop artists- is they stick to the same subjects and do not really expand their horizons.  Whilst the majority still concentrates on love and the vicissitudes of life- drawing from their personal experiences and day-to-day- it is the vocals and compositions that trouble me most.  So few voices out there stun you and offer anything more than a mouthpiece for their words.  The compositions occasionally stray into ambitious territory: Predominantly you have music that does not stick in the mind and seldom demands repeated listens.  My featured act is a young proposition that play the good side of Pop.  Whilst they have influences like Bay and Sheeran: Their sound has more in common with Daughter and Broods (much more credible and quality-assured artists) that has interested me hugely.  Before I bring up a new point, let me introduce them to you:

Oxygyn is a band composed of sibling duo Kurt and Katia Abela. The songs released by the band are written by Kurt and composed by Janelle Borg. They are inspired by the likes of Ed Sheeran, James Bay, Daughter, and Broods; due to the intense emotion they portray using their music.  Their dream is to share their experiences and emotions through song and this band is the medium through which this process will occur. Follow for info about upcoming new songs, music videos, and more.

Emotions and intensity are words that can easily be applied to the music of Oxygyn: A stunning duo that has a great sound already crafted.  Whilst they are at their sapling stage, I can hear the promise there and how far they can go.  When encountering them- their composer Janelle Borg brought them to my attention- I was fascinated by the brother-sister bond.  Few Pop acts have siblings among their ranks and it got me thinking.  From Kings of Leon to the Maccabees: Music has quite a few recognisable bands comprised of siblings.  I have mused on the subject before: When looking at duos I stated those in relationships/were close had a truly unique sound.  Maybe it is that natural understanding and closeness that results in stunning music.  Compared to other duos/bands- that do not feature loved ones/relatives- you get something a lot more intimate and engaging.  Oxygyn not only have a stunning sound already formed: Kurt and Katia have that simpatico and history that translates into their music.  Whilst it can be a hard dynamic to sustain- some bands go the way of Oasis when it comes to bickering and turmoil- it can also galvanise the act and ensure long-term success.  Whilst sweethearts and lovers (in a duo) may split and go their separate ways: There is a more indelible and secure bond between siblings.  From the faux-siblings of music- The White Stripes for instance- to the mainstream players like First Aid Kit; there are some wonderful examples to be found.  In previous reviews, I have been lucky enough to take my sights out of the U.K. and investigate some tremendous artists.  Whereas most of my non-U.K. reviews take me to Canada and the U.S.: Now I have an opportunity to go to Malta and the musicians emerging there.  Over the last year, the likes of Dana McKeon and Cryptic Street have come under my radar.  One of the most compelling up-and-coming music nations in the world: More attention and respect needs to be directed towards Malta.  Perhaps the media has its hands full with British and American artists: If they took a chance to expand their horizons they could discover some wonderful music from less-than-obvious sources.  I am not sure what the music scene is like in Malta- compared to here in Britain but there is a great connection and bond between artists.  Keen to support one another and promote the country at large: You have a nation that is producing some of music’s most scintillating artists.  Those Pop wonders- like McKeon and Surrey-based Chess Galea- are now joined by Oxygyn.  The duo’s new single sounds like a science formula starring to develop: Oxygyn and Corrode have a scientific basis and the music offered forth mixes combustibility with a chemical reaction that is hard to ignore.  I know the duo is going to be planning gigs into this year- let’s hope they get to London soon- and it will be fascinating to see how they develop and expand.  With an assured and hugely memorable song under their belt: It is only a matter of time before the siblings are planning an E.P. or album.  I find too few Pop artists go that extra mile and strays far away from the pack: Oxygyn have no such issues and have that early promise that is so rare these days.  With instant appeal and filled with atmosphere and intensity: A perfect unity that marks them as one of the acts to watch into 2016.

If you are new to Oxygyn then it is hard to compare Corrode with anything else: This is their first cut and their fledgling steps into music.  Whilst they are inspired by the likes of Ed Sheeran, Daughter and Broods; the duo very much have their own sound and merely employ faint shades of the aforementioned.  If you are inclined towards any of the above artists you will find a lot to enjoy and recommend.  Broods are a New Zealand that gained acclaimed from their 2014 album, Evergreen.  Bringing Indie shades into their agenda: The album’s textured vocals and brother-sister bond struck a lot of reviews: Many noting how the emotional lyrics and nuanced sounds appeal to those who want music that is more than skin deep.  Whilst a lot of their contemporaries promote wafer-thin compositions and no depth: Broods managed to create an album chock-full of stunning compositions and personally relatable themes.  Oxygyn have that same connection, artistry and sound that the New Zealand duo create.  Daughter and Ed Sheeran are other influences.  Daughter- especially on their sophomore album, Not to Disappear- brings in more assertion and articulation to the fore.  The songs- compared to the debut album- have cross-genre appeal- Indie and Alternative sounds gave the album edge and depth.  Oxygyn have a similar make-up when it comes to their songs: You get the layered sound and personality burning through in addition to sounds that are not just confined to the Pop market.

It is best to use these guides and examples as just that.  Judge Oxygyn on their own merits and discover a duo that is (actually) quite hard to compare with anyone else.  It is clear the duo will be planning an E.P. and it will be fantastic to see what direction they take.  Whether they expand and mix genres together will be anyone’s guess.  What I do know is the quality will be consistent and they will explore new themes and ideas- keeping their core sound intact and ensuring they do not lose their focus.

Starting with an emotive and stately piano: The listener is at once stood to attention and offered something quite haunted and still.  Possessing beauty and passion, Corrode begins with plenty of purpose and directness.  When our heroine comes to the microphone, you get words from a troubled soul.  “Skin grew tired” from voices coming and “creeping in”.  Whether referencing herself- and some internal turmoil that leaves it marks- or someone else I am not sure.  When the words “across my chest” are brought in; the song has that first-hand and personal nature to it.  In these early phases, there is some obliqueness and indirectness with regards the lyrics’ origins.  Whether a relationship has broken down or friends have betrayed our heroine, it is hard to pinpoint an exact paramour in the early exchanges.  The story starts to unfold and you get some vivid images and stark emotions.  It is thanks to Katia’s soulful and impressive performance- few Pop vocalists have the same ability and sound as she does- that gives Corrode such a huge weight and sense of purpose.  The subject matter does not stray too far from the emotive and scarred arena: It is a song that would sound cheap and insincere were there any false emotions and needless light-heartedness.  Because of the raw nature of the song- and the stunningly real performance laid out- it is impossible not to be affected and enveloped by the song (in a good way).  Backed by that intense and gorgeous piano sound: You have a song that sends chills to the spine and gets inside the brain.  As our heroine tries to light a flame- looking for gasoline she comes away empty- you get the impression of a young woman that is struggling to move on and gain what she wants from life.  Perhaps overcome by anxiety and heartbreak; each listener will have their own interpretation and speculate as to the true nature of the lyrics.  Joining with her brother, you have a duel vocal that adds intensity, breathlessness and additional shivers to the foreground.  Having loved like soldiers at war- the scars are bleeding and the wounds fresh- you have big statements and images from a duo that want to make impressions and leave a mark.  While some of the lyrics may stray into the tried-and-tested side of things- other artists have used the same metaphors and ideas- the way Oxygyn present them stands them aside.  Not only are their vocals and performances more impressive and resonant: It is the way they deliver their lines that give Corrode such an intensity and depth.  Whereas peers of the mainstream- the fly-by-night Pop acts emerging- have clichés a-plenty and a lack of grit: We have a duo that has the credibility and talent of the best Indie acts out there.  Ghosts are on the mind and there are memories that are hard to forget.  I get ideas of love and romance as the song starts to move along.  Still plagued by sadness and suffocation- our heroine tries to speak but her lips will not part- you are dragged ever-deeper into a song that recounts a very bleak occurrence.

Keeping events level-headed and hopeful- it is never too depressing or heavy-handed- it means Corrode will have listeners coming back for more- trying to get to the bottom of the lyrics.  Our heroine has had her heart manipulated and thrown away: It seems like a particular man has led her astray and taken a part of her soul.  Ensuring that ‘hero’ is given a dressing-down; the lyrics are impressively mature and memorable.  Having been written by Kurt; it is impressive to hear a male writer pen a song for a female voice.  If you did not know who wrote the lyrics you would assume it was scribed by a female: The fact the lines have such authority and reality are a testament to Kurt’s lyrical abilities.  That said, there is a universality that means both genders- and all ages for that matter- can extrapolate and appreciate the sentiments being poured out.  It is when the duo combines in the chorus- and the soldiers of love’s wars lead a charge- you get the biggest emotional hit.  Eliciting the qualities, directness and emotion of Daughter and Broods- two acts that are influences of Oxygyn- you have a track that surpasses the efforts of the majority of the Pop market.  Keeping that composition simple and background- allowing the vocals to reign and pervade- Janelle Borg has written a backdrop that perfectly highlights the “struggle for survival” and the ghosts that swirl around the song.  Leaving her soul behind: your heart goes out to the heroine as her voice keeps its composition to recall a part of her life she’d rather forget.  Every second that elapses sheds new light and revelations: Keeping those lyrics open-ended enough- simple phrases that have plenty of effectiveness- you have a song that could be documenting struggles we all face.  Making sure Corrode is not too personal- thus pushing some listeners away- there is that universality that all great songs are made of.  The glass heart- that one suspects is shattered- is showing its age and the skin is fatigued.  You cannot escape the suffocation and intensity from our heroine: The way that voice looks for comfort and answers among a gentle and tear-dropping piano line.  Oxygyn are at their strongest and most compelling when their voices are married together: The siblings’ tones complement one another and provide different shades that fully exploit the lyrics’ meanings.  By the closing stages, you still wonder who has caused this umbrage- if it was a former lover or a friend that has been dishonest- and no listener will be able to suppress emotions when they hear the song.  Being a first single, one suspect Oxygyn will expand their sounds and subjects on further releases: Bigger compositions and bring in new instrumental elements.  On a debut release, you need something that has simplicity and honesty to it.  Oxygyn have created a song that could soundtrack a million broken heart moments: There's relatability and personality mixing with passion and the quest for closure.

Ensuring Corrode does all its title promises- a heart and soul that is depleted and damaged- the lyrics, composition and vocals all have to be just right.  The production polishes the song without making it soulless and mass-produced.  Those vocals are allowed to sit high in the mix and ensure none of the lyrics pass the listener by.  That said, the composition does not get mixed too low and is given an opportunity to impress and seduce.  Congratulations must be given to Borg for penning a composition that has great familiarity: Pop and Indie lovers will find much to admire in that mix of grandeur and bare-naked emotion.  There's depth and wisdom in the notes: Spades of fearfulness and yearning that gives the lyrics the rudder and backing they require.  Kurt Abela’s lyrics provide a great and new perspective on the capriciousness of love and the deceit effects: The way a heart can be damaged beyond simple words and easy repair.  While there is universality in the lyrics, they also have a distinctly female perspective.  Few male writers have the ability to write like this: Being Katia’s brother, it is hardly surprising he can write a song that reflects his sister’s pain.  Maybe the song is a passage from Kurt’s life- he is the one who has experienced the troubles- but that is the beauty of the song.  Katia’s lead vocals have an atmosphere, occasion and heartbreak to them.  Sounding completely dedicated to the subject matter: It is one of the most singular and impressive vocal performances I have heard for a long time.  Kurt provides evocative and supportive vocals in the chorus to augment that urgency and intensity.  What you have here is a duo with a very bold first step: A song that shows a lot of promise and quality from one of Malta’s best up-and-coming duos.

One of the best things about reviewing is looking at artists that are just starting out: Helping to support those initial steps is rewarding and exciting to see.  Not being the biggest Pop fan in the world, I am always filled with trepidation when faced with a Pop act: What to say and how to approach the review can be quite challenging.  Whilst it is perhaps the male solo acts of Pop that elicit the weakest response in me: Thankfully, the duos are bands are creating stronger and more immediate music.  Injecting that necessary atmosphere, emotion and diversity into their sounds: What Oxygyn provides is something a lot stronger and nuanced than the majority of their peers.  We need dispensability and throw-away- my words rather than anyone else’s- when it comes to music: The trouble is there’s far too much of it on the current scene.  Too many artists come in safe and into that mould: Sounds that could score a Heart Radio playlist or fill column inches in Q Magazine.  The trouble is; music consumers- those who appreciate great music- want something a lot more daring and adventurous than that.  I appreciate the likes of Bay and Sheeran have their audience but that does not mean the music is going to be any good.  I am a fan of Daughters- an act that inspires Oxygyn- and gladly our Maltese duo has that necessary passion and quality.  I am seeking Pop acts that reappraise my cynicism: Corrode is a song that is got inside the head and ranks alongside the most promising tracks I have heard all year.  The connection and understanding of Kurt and Katia Abela- with composition by fellow musician Janelle Borg- results in music that will appeal to a wide range of listeners.  Not just confined to pure Pop fans- that like things more comforting and familiar- there is plenty to recommend here.  I wonder whether the duo will go and record an E.P. this year: I can see Corrode being a lead-off track and setting out the stall quite wonderfully.  That will be down to Oxygyn but it remains: This duo is going to be making a lot more music to come.  It is so rewarding being on the ground floor with regards an act’s career: Looking at those early songs and seeing how they are likely to progress.  The duos market is throwing some fantastic possibilities into the music centrifuge.  The relations and connection between the players mean the ensuing music has that strength, understanding and closeness to it.  I never get tired of seeing the stunning two-pieces we are witness to: I always come away (from reviewing them) with a bigger sense of satisfaction and hopefulness.  Few brother/sister duos are evident in new music, so it makes Oxygyn a revelation and rarity.

I would urge media outlets, reviewers and radio stations to play close attention to music emerging from Malta.  It may not be the most obvious source for great music, but that would be short-sighted: So many of our future heroes are playing in the country right now.  Maybe Malta- the radio stations and media- is not as extensive as here in the U.K.  I find a lot of Maltese acts are coming to the U.K.: Reviewers assume (therefore) they are British are do not often look at the country they came from.  Boasting some of our best and brightest Pop artists; there holds a consistency and range that has deeply impressed me.  There are Internet radio stations- Channell Radio among them- that are doing their bit to promote music coming out of Malta.  I guess it is hard to focus on music from every country: You have to draw the line and focus more on what is coming out of your home territory.  Let us hope Oxygyn change perspectives and inspire more people to think more clearly and widely with regards their music choices.  Not just because of their origins but the music they are providing.  Corrode is a track that will not rust or tarnish in any sense: It blends honest and everyday emotion with plenty of depth and originality.  In a market where they are ruthlessly efficient artists- keen to tick boxes and fit into marketing surveys- who reveal debts and dues to other stars: It is refreshing to see an act that is very much looking for respect.  Too many musicians have that X Factor-esque sound that is cloying and anodyne: Artists that push the envelope and broaden their scope are always going to gain more approval and adulation.  Let’s hope this year sees more acts like Oxygyn emerge: A brother-sister force that have plenty more songs in them.  Corrode has been played across 89.7 Bay (a Maltese radio station) and is doing great business in Malta.  Garnering some serious views across YouTube; you have a sound that has serious clout and a lot of promise.  I hope they manage to translate across to the U.K. and U.S. this year as their sound mixes elements of Daughters and Cryptic Street- country-mates that have a tremendous sound- into something wonderfully pleasing that stands up to multiple plays.  Check out this Mosta-based act and a Pop act that are worthy…

OF a long and successful career.

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

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Follow Oxygn

 

Facebook:

https://www.facebook.com/oxygynmusic/

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Music:

https://soundcloud.com/oxygyn

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Videos:

https://www.youtube.com/channel/UCUCEW-0xjQPUj-vjn8EfB0Q

 

ALBUM REVIEW: Natty and the Rebelship- Release the Fear

ALBUM REVIEW:

 

Natty and the Rebelship

 

 

Release the Fear

9.6/10.0

Release the Fear is available from 29^th February (digital).  The physical release is out on March 18^th.

GENRES: Reggae; Soul; Future-Roots

ORIGIN:

London, U.K.

TRACK LISTING:

I’m Alive- 9.6

SS I Luv U (Reprise) - 9.5

Rainclouds- 9.6

Streetlights- 9.5

Change (feat. Alborosie and Busy Signal)- 9.5

Motherland- 9.5

Stand Up (In Love) - 9.7

King Had a Dream- 9.6

Gaia- 9.6

Things I’ve Done- 9.6

Release the Fear (feat. George the Poet)- 9.8

DOWNLOAD:

I’m Alive; Rainclouds; Stand Up (In Love); King Had a Dream; Release the Fear

STANDOUT TRACK:

Release the Fear

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ASSESSING an artist that has already established themselves on…

the scene is always a little daunting.  Having had some notable backing behind them: It is to me to try and do something different and stand-out.  When it comes to Natty (and his Rebelship), press and critics have been keen to add their praise and plaudits.  I shall come to him soon, but for now, I wanted to look at the genres of Reggae and Future-Soul: Moving onto the subjects of peace and love (in music) and diversification of sounds.  It is not often I get to investigate an artist that mixes Reggae and Soul music together.  My last out-and-out Soul review was Leon Bridges: My Reggae experience does not tend to stray far and wide, alas.  The mainstream has some great Reggae artists working away although few make it to the charts and radio playlists.  Occasionally, stations like Radio 1 and B.B.C. 6 Music will feature a great new Reggae artist: There is still a focus on Indie, Alternative and Rock sounds.  Maybe it (Reggae) is seen as a niche genre and something that is restricted to die-hard fans: This is a mistake, as there is so much joy and potential to be found in the genre.  Perhaps the big festivals and stations do not pay enough attention to Reggae and Soul- not as much as they should anyway- but if you dig long enough; you get to discover artists that are changing the way we perceive music.  I have always adored Reggae for its positivity and hopefulness.  Whilst a lot of the best (and most genuine) Reggae artists emerge from Jamaica and the U.S.; there are some fantastic British examples making their way through.  Historically, this country has produced the likes of Aswad- a great group that still get plenty of airplay- Desmond Dekker and Eddy Grant: A veritable trinity of wonderful acts that have had a great impact on the music scene.  Even bands like The Police, The Clash and Madness employ Reggae vibes and its messages to maximise their own impact.  Those Caribbean sounds have a great reputation and history:  It seems there are fewer Reggae artists playing then at any other time.  Compared to the ‘90s, for instance, it seems like there has been a slight dip.  That said, the likes of O. Rappa, Kiko Bun and Fat Freddy’s Drop are brothers that keep that flame burning bright.  I guess British Reggae is viewed a watered-down counterpart to the authentic Jamaican sounds we all know and love.  Less a strong-rum Malibu cocktail: Perhaps a low-alcohol equivalent that does not elicit the same sort of kick and aftertaste.  Lloyd Brown- when waxing lyrical with Young Voices in 2013- tried to assess the issue:

“Reggae has almost been outsourced to the point that it has been embraced by artists of all races, and I have no qualms with that because the music is all about ‘one love’ which Bob Marley sang about. But within our own Caribbean community here in the UK, I don’t think British reggae is seen as standing shoulder-to-shoulder with the reggae output from Jamaica”.

Before I continue my point, let me introduce the wonderful Natty:

"Hailing from North London Natty grew up surrounded by an eclectic mix of sounds from Neil Young to Bob Marley. Although interested enough in music to write songs from an early age it was while working in Sphere Studios, Battersea that he really discovered his talent. By day he was engineering for some of the biggest names in pop music, and by night this gave him the inspiration to nurture his own sounds.

Soon he garnered a devout following from his open mic sessions and Vibes and Pressure nights which have seen the likes of Ben Howard, Ed Sheeran, Wretch32, Dawn Penn etc perform.

The success of his debut Album “Man Like I” captivated the well-deserved attention of the uk media and press (see attached). It went on to establishing Natty as a well-respected songwriter and festival favourite across Europe and Japan, where had a number 1 hit with the single ‘Badman’.

TV Highlights include performing on Later with Jools Holland, ITV News and The BBC Electric Proms. Collaborations include work with Nitin Sawhney, Roots Manuva, Tony Allen, Busy Signal etc".

Alongside his Rebelship- Bob Marley had The Wailers; Natty has his own backing brethren- you have an artist that is going to give British Reggae a much-needed kick.  There is truth to the fact British Reggae does not get just recognition: There is too much attention on other genres; stations and media sources are not pushing it quite as hard as they should.  Natty has become popular because of his quality and exceptional talent.  Perhaps it is his cross-genre pollination that makes Reggae more accessible and tangible to the masses.  Using Reggae as a base- its vibes and messages- he mixes in Soul sounds and (what he calls) Future-Roots measures.  Music suffers from a lack of overt positivity and redemptiveness.  Too many musicians are self-investigating and heartbroken when they present their music.  Whilst it is important to provide something personal and relatable to the audience- often involving relationship breakdown and stress- the music lover seeks something brighter and more hopeful.  If you think about it hard: How many bands/acts make music that preaches love, unity and strength?  Pop mainstream give a very muted and poor show of it- the big choruses and generic lyrics- so the torch has been picked up by Natty and his contemporaries.  Urging people connect to the world around them and make positive changes: Few can deny what a forward-thinking and original artist we have here.  The north London legend has already produced a critically-acclaimed album and is working on his brand- having parted ways with a major label recently.  Release the Fear is an album that makes you forget the strife and turmoil surrounding the world: Concentrating on hopefulness and love; we have a record that is perfect for the modern times.  Few artists are diverse and wide-ranging when it comes to their sounds and lyrics.  Natty and the Rebelship do not just stick with the classic ‘60s-‘70s revolutionary vibe- although that is a building block they work from- but give it a contemporary vibe.  Free of production tricks and polish- concentrating on a raw and real sound- Natty is a lyricist that has a sharp mind and a pure pen.  His lyrics do not suffer cliché and insincerity: You have a writer in touch with the world who funnels his uplifted soul through the transom of blissful Reggae and sweet-leaf purity.  There is jaggedness and something harder among the sun-kissed atmospheres: A musician who does not confine himself and has an exceptional breadth.  With his ambitions and grasp perfectly represented throughout Release the Fear: Here is an artist that is going to be a huge name in 2016.

Many of you will be new to Natty and the Rebel Ship.  Even if you are a keen Reggae/Soul fan, perhaps our London hero is a new addition to your consciousness.  In terms of his influences and heroes, the list below is a good starting point:

Lee Perry, Jimi Hendrix, Bob Marley, Neil Young, Fela Kuti, Yellowman, Finley Quaye, Prince, Burning Spear, D'Angelo, The Streets, Miles Davis, Sly Stone, Dillinga, Curtis Mayfield, Big Yout, Van Morrisson, Nitin Sawhney, Velvet Underground, Supercat, James Brown, Roots Manuva, Pink Floyd, Common, Slum Village, Bob Dylan, The Clash, David Bowie, Sizzla, Joy Division, Oumou Sangare... and the rest

Quite a wide and varied list from a man who grew up with some of music’s finest names.  Distinct and original, it is hard to compare Natty with anyone directly: Take the names above as a guide and arrive at your own conclusions.  Essentially, we get a compassionate mingling of ‘60s-‘70s Reggae revolution with some modern-day street-level messages.  If you love artists such as George the Poet- who appears on Release the Fear- and Bob Marley then you will find much to love here: The album (and Natty himself) has so many sides and colours few listeners will be immune to what he offers forth.

In terms of progressions and shifts; the ensuing time between albums has seen the young hero grows in confidence and direction.  Release the Fear is the most eye-catching representation of Natty’s Reggae-Soul marriage: More revolutionary and progressive than previous releases; it sees our man at the peak of his powers.  Publications and critics have noticed how sharp and focused Natty is.  On his debut album- subsequent releases in-between- there was that promise and originality: If anything Natty sounds more confident and intent than ever.  Perhaps enforced by the dissolving nature of peace- the recent terrorist attacks have influenced a lot of musicians- Natty has stepped-up and penned songs that implore for peace.  Against the forces of malice and repression we need a musician that gives guidance and comfort: Release the Fear is an album that provides an alternate soundtrack to the dislocation of the modern world.  Mixing political messages against traditional unity and hopefulness: A collection of tracks that shows Natty at his very best.  The Rebelship sound even tighter and more authoritative too.  Having gained touring experience and performance galvaisation: This has resulted in music that sounds more nuances and strong than their debut days cuts.  Natty has separated from the big labels and is working on his own brand.  It will be fascinating to see what 2016 holds for him and how Natty evolves: Perhaps a new E.P. or album will arrive later in the year?

I’m Alive is the leading single from Release the Fear.  Tumbling and rainfall guitar notes give a passionate and tender start to a song that instantly makes you smile.  Patterning and intent percussion drives the song forward as it builds and expands into something quite beautiful.  That blissful and inimitable voice comes into the fray as that composition continues to press and compel.  Lyrics see rude boys on the side of the road- there is “music in the air”- as our man celebrates the simplicity of being alive.  Against the turmoil and unpredictability of the modern world, we have a redemptive and transcendent opener that is overtly hopeful and positive.  Spiritual and faith-inspiring; you get smiling faces and a joyous atmosphere.  Kaleidoscopic voices and hand-claps bring the song up to heavingly heights: The listener will be intoxicated by the sweet smoke and embracing sounds Natty offers.  Backed by his brothers-in-arms- who give the song huge warmth and affection- you transport yourself into the song.  Contemporary-sounding- the composition has an element of modern-day Folk- mixes with the spirit of ‘60s Reggae.  Our hero promotes dancing and peace; togetherness and a sense of thanks.  The hero goes out marching by day- dancing the night away- and wants to keep the spirit burning bright.  When the sun comes up we are all going to dance: Such a unique and wonderful message that emanates from the speakers.  The harmony and togetherness is needed in this life: Few people take time to reach out and unify their voices.  Our hero knows people fight to survive and struggle: Let us celebrate the fact we are living and breathing.  It may seem like an a worn-out cliché- a Facebook post that we all see on our timelines- but there is a universal truth to be discovered.  Kicking Release the Fear off with a tremendous track: I’m Alive is as pure and celebratory as any Natty track there has ever been.  A catchy and head-spinning chorus melts with a deliriously sun-seeking composition that makes the most haunted souls feel uplifted and better.

SS I Luv U (Reprise) starts off soft and gentle before becoming racier and more urgent.  Our hero wants to take the people on a trip across the globe.  Continuing the soul-freeing messages of I’m Alive: Here we have a song that perhaps speaks to a sweetheart or lover.  A certain girl may be in his mind and inspiring the words pouring forth.  With his voice entranced and deliciously pure; the track is hugely evocative and nuanced.  Away from the stresses of life- away from time and space itself- there is that need to emigrate and go somewhere warmer and more settled.  Maybe headed to Africa or a Jamaican beach I am not sure: Each listener is given the chance to imagine their own story-line.  Urging rebellion to an extent- forget the bank loans and hassles of everyday life- Natty implores overthrown and fighting the oppression of modern society.  Few people have that strength to just throw the bad things away and find something more positive.  I get embers of Bob Marley and Lee Perry- disparate names that seem to come together here- as Natty’s rich and expressive voice brings huge life to the lyrics.  Killers are on the screen and the world seems like a confusing place.  Channeling the needs and fears of many- wanting to get away from all the violence and upset we see- our hero has his sights on warmer climes.  It is here where perhaps Natty’s voice is at its most flying and uplifting.  Wordless chorusing causes shivers and immense purity as the composition offers racing beats and elliptical strings.  A song that perfectly represents what we face today- the fear and lying that pervades society- every listener will take inspiration from the messages here.  On board his Rebelship, our hero wants to take everyone with him: It’s a trip you are delighted to take.

   Rainclouds begins with a rousing and emotive piano line that puts me in mind of Carole King’s Tapestry: I half-expected to hear I Feel the Earth Move or It’s Too Late play.  Whereas previous tracks have used Reggae-vibed guitars and percussion to kick the songs off: Here we get something more soulful and emotional.  A gorgeous and immersive introduction sounds leads to a pulsing beat- like a heartbeat that gets inside the head- and an urgent vocal.  Natty looks at the generational gaps and misunderstandings.  The older people feel like the young’s (ways) are wrong and “aren’t real”.  Perhaps looking at the war and hatred that is unfolding- how the world is becoming more oppressive and fraught- there is that desire to regress to simpler times.  Maybe this generation is leading the world down a bad path- not employing the ethics and morals of past days- and our man cries for peace.  Bringing some Pop and Electro.-Soul elements into the fold- there are touches of James Blake in the vocals and compositional sound- give the album a new direction and side.  Searching inside his soul; the hero looks up and sees rain clouds: The sun is sorely missing from the sky it seems.  Wanting something more positive and hopeful; you get lost in the building mood and compelling vocal performance.  Perhaps the most heartfelt and affecting vocals on the album: This is a song that sees anxieties and fears brought vividly to life.  Never allowing the song to become morbid and depressive: The backing vocals and insistent beat ensures those Reggae flavours add positivity and dance to the mix.  Presenting important issues and concerns- the world is moving too fast- we all need to take more time out and slow down a bit.  Packing another irresistible and sing-along chorus- that is sure to be shouted by festival crowds across the world- Natty fears the world is becoming too crowded and fast-moving.  We do not take time to “read between the lines” and look out for our fellow man- a vital declaration we should all take note of.

   Streetlights starts with some tenderness before exploding into life.  That fast-paced and charged composition gives the song such urgency and impact.  Our hero waits for his girl to go “downtown” and see the sites.  Purity and passion is at the forefront once more: The desire to take his sweetheart dancing and reconnect with the world around them.  As is familiar in Natty’s songs: There is a fear technology and the modern world is taking away human connection and spirituality.  Few of us take our eyes from phones and social media: If you get out into the world and get back to life; you will get so much more from it.  A racing and frantic vocal shows just how meaningful and important the words are: Streetlights is the album’s most bracing and (perhaps) important moments.  Hard-hitting and swaggering; there is such an immense force and weight to the music.  Once more the vocals are enraptured and highly captivating- the backing vocals are especially commendable- as the song gets stronger and more assured.  The beats and electronics are harder and street-wise than previous numbers- straying away from ‘60s Reggae sounds to offer something more contemporary- that will bring in more young listeners and a wider audience.  Natty offers an intriguing proposition: For one night, let’s rally against convention and change things for the better.  If we pull down the road signs- would people get in their cars? - and disconnect cables would we all still talk?  Perhaps modern life has taken away the joys of simplicity and pure communication.  Inspiring people to sit under the stars and unshackle the constraints of modern life: We are too dependent on unimportant things and rarely reconnect with fellow man.  If we watch the sun rise and “talk about life” it would make things so much better.  Whilst it may be impossible to switch modern life off completely- and lead an almost Aboriginal existence- it is possible to embrace the simpler elements of existence.  A song that is free from cynicism and doubts; you have a musical moment that perfectly represents Natty’s mandates and political ideals.  Few modern artists keep Reggae’s purity and hopefulness alive- there is too much negativity to be heard- so it is refreshing and stunning to hear Natty and the Rebelship burn so fiercely.

Change brings Alborosie and Busy Signal into the mix as the song looks at changes being felt.  The seasons change and pregnancy brings new life into the world.  Everywhere we look there are transformations and reconfigurations to be found.  Bringing in new voices and aspects gives the album some variation and collaborative spirit.  It is wonderful to hear Alborosie and Busy Signal’s varied tones breathe new life into the album.  Whilst Natty is stunning when leading the charge: Change is a good thing and this applies to the music itself.  Whilst not bemoaning the fact things change; the song states obvious facts we cannot ignore.  Change doesn’t come in a day- as the chorus lets it be known- and it is another song that promotes positive thinking and progression.  Whilst the world is not ideal and perfect, we can all affect some change for the better: It may take time but every time the world spins round something changes.  The celebratory horns mix with ruffled beats to give the song such a fervent kick and sense of endeavor.  With new days “on the horizon”, you are spellbound by the fast-flowing vocals and blissful composition.  A song that is perfect for summer festivals and uplifting the crowds: You find yourself captivated by the song’s spirit and start to sing along.  Hardship is attested and brought in: Our leads look to change the world and bring about equal rights.  Politically and socially aware; we have a song that wants to make positive changes in the world.  We need to be patient and embrace the small transformations that occur daily.  It is here where we get one of the most unexpected and mobile compositions.  Ranging from calm and collected lows to rapturous highs; the music stops, starts and swoops: A sensational and wondrous sound that keeps the listener invested and hooked throughout.

Starting with intriguing strings and a slow build: Motherland returns the album to the pure roots of Reggae.  Our man wants to escape the small world and ignite a fire.  Feeling trapped and smothered by the way life moves- the stresses and miseries we all face- the future maybe looks a little hazy.  Being called lazy by some of his friends and contemporaries: It seems like the hero wants to return to Africa and build a protective vest.  Wanting something more homely and familiar, you are caught in a vocal that has such a peaceful purity to it.  Maybe the rabble of British life is causing some anxiety and heartache: Setting his sights back to the homeland you have a soul-baring anthem that has its heart in Babylon.  The composition has a unique voice and charm to it: Slight clatters and odd motifs give the lyrics such a drive and perfect backing.  Supportive vocals give a choir-like/gospel grace to the song and make it such a stunning sense of purpose and pride.  Motherland’s proclamation repeated- this world being small and uncertain- is something that becomes a mission statement for Release the Fear.  We all experience the walls closing in and feeling so insignificant: If we could go anywhere we wanted; we perhaps wouldn’t stay where we are.  I am not sure what Natty’s lineage and heritage is- there are African roots for sure- but there is that need to return to the continent and life a simpler life.  Providing a thought-provoking and sensational centerpiece to the album: Few songs across the record leave such a huge impression.  Its simplicity and memorability ensure that it will be another one of those fan favourite tracks.

Delighted beats and hazy strings welcome Stand Up (In Love) and give the positivity back to the album.  A blackbird is outside Natty’s window: Everything seems pure and beautiful against the site of a new morning.  A merry and transcendent that shows our hero let his voice reign with love.  Whatever happens and wherever he is his girl’s face is right there.  We have all felt the spell and drunken power of a great love: Few artists represent it with such a candid and uplifting sense of wonder.  The celebratory and life-affirming core of Reggae expands and explodes in a song of delight and thanks.  Our boy does not want to control the girl and control: There will be other men but nobody gives her what he does.  Happy and contented in his skin; there's that comfort and pride that is an irresistible force of nature.  Whereas Motherland was a song that looked inside a haunted soul: Stand Up (In Love) transposes those emotions to give something hugely positive and free from constraints.  Expansive, open and proud you get dragged into the delicious blend of sounds and voices.  A riotous celebration of life’s purity: Here is an anthem that recalls the greatest artists from Reggae’s past.  Natty’s soulful voice gives so much richness and emotion to a song that forces smiles and compels the listener to move their feet.  Such a delightful and festival-like song: Nobody will be able to refute the glory and cheer that comes through in every note.  A short (and very sweet) song that I would definitely recommend as a single release.

King Had a Dream is perhaps the most political moment from the album.  Starting with soft and passionate strings- one of the most memorable and beautiful introductions across Release the Fear- it is stunning to see such an about-face.  After the festivities of the previous number; Natty shows how inventive and diverse he is- each song sounds perfect alongside one another and there is never a sense the album is unfocused and scattershot.  Building from its proud and noble standing: The composition begins to settle to allow the vocal to come.  Our man will be “walking in the street tonight” and evoking the messages of Martin Luther King.  Whilst it may seem like an unrealistic ambition- to connect fully with every human you meet- Natty is determined to give peace and connection a chance.  In a world where there is so much inequality and bigotry we all need to reconnect with people.  London has a reputation for being a little cold and distant- stranger will not talk to one another for example- and perhaps Natty is feeling the pinch.  Affected by the impersonal and inhuman nature of the streets: He needs to feel like humanity can rule again and change the world.  Sitting alongside a hero of his; Natty wants to fly across the U.S. (and the world) and follow those immense footsteps.  If one man can do so much for the world- his effect and leadership affected huge change- our London hero wants to make changes too.  That nature of change and betterment are themes that keep coming through across Release the Fear.  Representing the voices of people everywhere- who feel like they cannot effect movement and improvement- Natty stands tall and sets his gaze across the globe.  With a child’s voice adding to the poignancy and inter-generational togetherness- not sure if it is Natty’s child on record- you have emotion and beauty that is impossible to escape.  Natty wants to see Babylon’s brotherly spirit and peace emit its bliss across the world.  Natty dreams of a time when guns are silenced and hosepipes are turned off- against innocent people and protesters.  Everyone from John Lennon to Bob Dylan has yearned for a world that promotes peace and love: Will we ever live to see a day when it becomes a reality?  While there may be rampant gun violence across the U.S. and other parts: The hero is fed up with the bloodshed and hatred that we see on the news on a weekly basis.

  Gaia is a surprise little beauty that fades in and instantly evokes something hugely uplifting.  The sun is on the horizon and there is moonshine “in our eyes”.  Immediately our hero feels “high” and holy: Up there in the sky here is another song that sees our lead caught in the blizzard of purity and love.  Perhaps entranced by a new love and connection- a girl is definitely in the mind- you cannot help but get lost in a song that channels such positivity and affection.  Gorgeous guitar licks and rousing brass gives the Soul-cum-Reggae blends such a conviction and nuance.  “You got to summon up the spirit now” is repeated like a bellicose chorus: Imploring people to look inside themselves and be who they are meant to be.  Too many people are limited and confined because of life: Here is a song that brings back the early days glory of Eddie Grant, Curtis Mayfield and Bob Marley.  On some album tracks that is such a modern vibe and contemporary relatability: Songs that will appeal to young listeners and chart-hungry music fans.  On Gaia you have a song that will resonate more with older/wiser listeners: Those that have affection for Reggae and are familiar with its golden history.  Contrasting these tastes and diversity across the album does not make it weaker or suffer:  There's a distinct consistency and personality that comes across in every song.  Was the album too samey and one-directional you would be bored after the half-way mark: As it is Natty ensures every track offers something unique and daring.

Things I’ve Done is a penultimate track that begins with a skip and echoed introduction.  Part-moody, part-skipping; you are fascinated to hear what will come next.  Growing and flowering by the second it is one of the most intriguing and assured introductions on the album.  Natty wants his child to listen to the story with an “open heart and mind”.  The best of him; the hero is given strength because he is a lover and father.  Having been living blind, he now “wants to see”.  Ills and crimes of the past have been a black mark that he is trying to erase.  Confessional and open; you have a song that shows the scars and is impressively earnest.  Natty wants to redeem himself to an extent and get absolution.  With that voice raw and direct the song will get inside the head and make every listener reflect.  Perhaps life throws obstacles and challenges to Natty: The way he dealt with some of them are not to be applauded.  Lies and heartache sit alongside fights and running with the boys.  A soldier “fighting for his life”; Natty needs his girl by his side- a compatriot that can help make his life better.  Few artists tend to put their soul out there in such an affecting way: Things I’ve Done is perhaps Release the Fear’s most open and personal statement from a man trying to better himself.  Once more you get some wonderful backing vocals and wonderful set of lyrics.  Amazingly consistent and focused, the composition once more stands aside: Such a wonderful thing, you get gentility and tenderness among something much more flowing and ramshackle.  Tying all the heartache, concerns and apologies together: Natty shows what a pure and open soul he has and how he is willing to make up for the mistakes of the past.

George the Poet- a London-born Spoken Word genius- comes to join Natty on the final track.  The title track gets underway with passionate strings and a real positive mood.  Cool-edged and intent; Natty looks at the sun and sea early on: Wanting to wash away his sins there is that need for improvement and shedding old skin.  There is uncertainty to be heard- not sure what is below or above- but that need to release the fear is paramount.  Perhaps the past has been a struggle and there have been too many setbacks: Now our lead has ambitions to the horizon.  “Ships go by without a sound” and feet are planted to the ground.  Our hero might be too timid to dive in and grab life by the shoulders.  Here we see a musician that is castigating past hesitancy and embracing a more daring way of life.  It doesn’t matter what has happened in the past- quite a set of stories to hear I am sure- but the focus is on the present.  Wanting to be a better man and see more of the world: The entire album’s themes are concentrated and reflected on a song that ends things with a massive high.  So relaxed and controlled, it is a song that seeps into the soul and rattles around the head.  George the Poet adds impressive backing that ensures the song always has that immediacy and quality throughout.  Embracing his faith and escaping the fear: Natty seems at peace and completely dedicated to what is to come.  Perhaps signaling new music and direction- will we see another release this year? - perhaps there will be less anxiety and more positivity across a new record.  Transcending from a boy to a man; you feel that evolution and growth as the song comes to its close.  George the Poet adds his vocals to give narration: There is a lot we can’t control; George is a pastor that gives guidance and pure truth.  It will be exciting to see where this energy and inspiration takes Natty next.  If Release the Fear’s title track points in any direction it is this: Plenty of life-affirming music will come.  Being the longest track on the album- a 10-minute symphony that is a masterclass in expression and motivation- you get Jazz calm (embers of Miles Davis’ Kind of Blue) sits with experimental Reggae and Soul.  It stands as the album’s highlight because it carries its weight and potency from beginning to end.  The extended and inspired composition gives so much weight and atmosphere to a track that constantly drives and aims for a higher truth.  Being a Miles Davis fan I love the Jazz interludes and that evocation of Kind of Blue/Birth of the Cool.  The song dips and rises to give it unexpectedness and mystery to the final bars.  Growing in intensity and motivation; no listener will be able to step away: Hooked into the drama and busy composition that becomes more wonderful by the moment.

Such a confident and spectacular album we have here: Natty and the Rebelship have created their finest work to date and album that deserves an immense amount of attention.  Whilst some media sources have already added their words- and proclaimed its wonder and influence- I was amazed by how deep, varied and consistent the album is.  Already marking itself as one of 2016’s finest albums; Natty has evolved as an artist and is at his most assured and confident.  He has scars and doubts but wants to (and everyone else) to embrace peace and come together.  Release the Fear is an album whose heart lies in the Reggae days of the 1960s: Where there was hope for change and a need to overthrow negativity and oppression through the medium of song.  By no means a distant relative or weaker thing: Release the Fear sounds like it could have been created by Reggae legends of the time.  Ensuring the music mixes in contemporary edges- collaborators and the production values- you have a work from an artist that is among the world’s most impressive and peerless writers.  Few artists are doing what he does- fewer do it as well- and that is to be applauded.  I know Natty will be touring this year and that will be great to see: So many of the tracks are destined to be sung by crowds and get people united.  That is the purpose of the album: Inspire people and get them to think more deeply about the world around them.  Anything that strives for that- and achieves it with ease- should be promoted and shared far and wide.  Let’s hope the media promulgate a work of bliss that deserves to be heard by everyone.

Release the Fear follows from where Man Like I left off: Expanding on that debut promise we have a sophomore release that burns with strength, courage and a call for unity.  Having found myself focusing on bands and solo artists- who play similar sounds- it is great to discover something genuinely new and fresh.  I am a fan of the legendary Reggae artists like Bob Marley.  I love the ‘60s and ‘70s revolutionary acts that paved the way for modern Reggae as it is.  If you take those ‘90s Reggae artists- Aswad among them- they may not have the same reputation and respect as the forefathers of the genre.  Perhaps the heyday of Reggae was during the ‘60s and ‘70s: I feel there is a perfect opportunity to reignite the form and get our modern-day representatives in the spotlight.  It is true there is an inequality and ignorance when it comes to Reggae: Few mainstream sources promote it and people are missing out on something wonderful.  Leading the vanguard; the likes of Natty and the Rebel Ship are showing just what can be achieved.  Among those hypnotic and universal messages are compositions that bring in so many ideas and wonderful touches.  If you were to name three British Reggae artists, you might have the hardest task: There are so many great acts that are struggling to get their name heard.  Maybe it is an issue that will never be rectified.  For now, we have an inspirational musician that is among Britain’s most promising young Reggae artists.  Bringing in Soul and Pop together- to give his Future Roots gospels depth and beauty- it is impossible to ignore the quality and nuance of the music.  Those tunes strike you when you first hear them: The positive messages and stunning performances get straight into the soul.  Upon further listens you discover new insights and layers: Music that demands devoted attention and fond consideration.  For people who prefer their music with upbeat messages and positive ambitions, then look no further.  Natty and the Rebel Ship have already toured some of this country’s big festivals- Glastonbury and Secret Garden Party among them- and joined Ziggy Marley on the U.S. stage.  Radio stations like Radio 1 and 2 have latched onto an artist of immense talent: Our hero has performed on Later… with Jools Holland into the bargain.  No mean feat for a musician that has not been performing all that long- compared to a lot of the legends of music.

It just goes to show what the music does to people: That peerless quality and ubiquitous songbook has been taken to heart by so many people.  It is sad when an artist- clearly adored and respected in music circles- does not get quite the same recognition as lesser contemporaries.  Natty has a great reputation and let’s hope Release the Fear does just that: Critics and radio stations need to stop being hesitant and celebrate Reggae a lot more.  Even if you are not a big fan of the genre; you cannot deny how effective and lovable Natty’s music it: It transcends boundaries and does not confine itself to aficionados.  Bringing the likes of George the Poet into the throng: Natty has created an album that has contemporary relevance but harks back to the glory days of Reggae.  Those revolution messages of the ’60s are given fresh voice by an artist who wants to change things for the better.  The messages of unity and hope-against-adversity are commodities not often traded in the modern scene: We all need to embrace a musician who is offering positivity against a backdrop of uncertainty.  Were it just skin-deep- the lyrics captured the imagination to an extent- it may be hard to fully embrace the music on offer.  Natty’s distinct and soul-calming voice adds another dimension: Throw in a kinetic and mesmeric band performance and you have yet another side to the music.  Compositions that unify Soul and African sounds into a boiling bot of headiness and transcendent smoke: A recipe that is going to give a flavourless scene the spice and sugar it sorely needs.  Natty has grown in confidence and ability since his debut album- that was assured and fantastic anyway- and the extensive touring has brought in new collaborators and influences.  Release the Fear is such a solid and wonderful listen because the band have been performing together extensively throughout 2015.  That well-rehearsed and traveled sound means the songs are alive and stunning throughout: There are no loose ends and weak performances to be heard on the album.  I know 2016 will be a bumper year for the London hero.  Having gained the backing of mainstream stations and festivals; it is only a matter of time before his music gains acolytes and disciples.  There are a lot of up-and-coming Reggae/Soul artists looking for a chance to shine and get their voice heard.  Perhaps looking for an icon they can follow: Natty is an artist that will lead a charge and see Reggae get the recognition it deserves.  Paradigm-shifting and progressive; we have a rare talent that should be given a lot more attention.  It is only left for me to implore people to get Release the Fear upon its release.  Few albums arrive that take the negativeness and fears of the world and reconfigure them into something positive and comforting.  There are fears and anxieties to be heard on the album- as Natty looks at the broken world around him- but the encouragement of unity and togetherness is an impressive and much-needed injection.  For those looking for music that provides direction and purity then look no further.  If you want an artist that has long-term potential and a wonderful vision…

[youtube https://www.youtube.com/watch?v=C5seQxAqZtQ&w=560&h=315]

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Follow Natty and the Rebelship

 

Official:

https://nattymusic.com/

Facebook:

https://www.facebook.com/nattyofficial

Twitter:

https://twitter.com/NattyMusic

Instagram:

https://www.instagram.com/nattymusic/

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Music:

https://soundcloud.com/nattymusic

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Videos:

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Track Reviews: Universal Thee- Speaker / Hounds

TRACK REVIEWS:

 

Universal Thee

 

Speaker / Hounds

9.5/10 and 9.4/10

Speaker is available at:

https://www.youtube.com/watch?v=5s7978-Khaw

Hounds is available at:

https://soundcloud.com/abadgeoffriendship/universal-thee-hounds

SPEAKER RELEASED: 18^th January, 2016

HOUNDS RELEASED:

December, 2015

GENRES: Rock; Alternative; Indie

ORIGIN:

Edinburgh, U.K.

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BY returning to Scottish Rock/Indie band Universal Thee…

I get to see a wonderful blend of Alternative sounds; some perfect kinetics.  Before expanding more on the Edinburgh-based band, I have the chance to look at consistency and development in bands; the boy-girl dynamics- finishing off with the great bands emerging from Scotland.  Being a busy week of reviewing- across multiple genres and acts- I will get a chance to witness a variety of artists.  Some are just starting out whilst others are making their next (impressive) steps.  I have mentioned this in past reviews- when it comes to consistency and development among musicians- but there are still a lot of fly-by-night artists coming out.   It seems that so many ‘heralded’ artists- those held in high esteem by music publications and radio stations- impress you at first: As time elapses, their (once magic) qualities seem more explicable and unspectacular.  I think music consumers- and the press for that matter- become seduced too quickly: If an artist sounds a bit different or special; we are so keen to put musicians on a pedestal and create standards they cannot live up to.  This seems to be a big issue with bands: So many get huge plaudits and are compared to the next so-and-such: Invariably that act fails to meet the expectations that have been set.  I love discovering musicians that overcome the hurdles and keep on playing.  Music is a capricious and unsympathetic industry at times- where the best and brightest can find it impossibly challenging- so any musician that endures should be applauded.  Once bands (and other musicians) get past that debut-album/E.P. stage of their careers; from there they have the opportunity to develop/change their sound- having won the approval of fans and the press.  If you have a truly unique and wonderful sound straight away- few artists manage to achieve this- then changing things slightly can lead to renewed passion and inspiration.  Before I continue on this point- and mention one or two others- let me introduce my featured act:

James Russell (guitar & vocals)

Lisa Russell (vocals)

Robin Spivey (guitar)

Andrew Perrie (bass)

Matt Grieve (drums)

 “Universal Thee formed in 2010 as a trio with a faulty Macbook for a drummer. This remained the case for over two years. Only in March 2012 did they perform their first ever gig with a drummer. At least 8 people were in attendance. Things change however and by the end of March 2014 they had recorded and released their critically acclaimed slacker rock album “Back to Earth”.  With a range of songs and styles, the five-piece, led by husband and wife, James and Lisa Russell, provide a Pixies-esque loud-quiet-loud dynamic, mixing slacker rock, grunge and indie pop. It is James talent for writing catchy melodies delivered by beautiful male/female harmonies, matched with Robin’s ability to create diverse and powerful lead guitar hooks, that ensures listeners will be singing their songs for days. Although their music gives a nod to their many interesting and diverse influences such as Ash, Pixies, Weezer and Queens of the Stone Age (amongst others), fans and bloggers agree that they genuinely have their own new, distinct and exciting sound. The blog site musicmusingsandsuch sought to describe their sound, stating: “as well as melody, there is a great deal of exciting noise; this combination, combined with male and female (lead) vocals, elicits an almost-Grunge/Punk splendour, rarely attempted in the 21st century”.  February 2016 will see the release of their sophmore album “All Watched Over By Machines of Loving Grace” sees the band make a natural progression in their sound, with a more focused, more intense record evolving throughout the recording process as Universal Thee embrace the nuances of a bigger polished production as well as an increased level of complexity to their songwriting.  The result is a record that captures all of their most positive skills as a band, constructing songs with an immediacy which is difficult to achieve, as contagious harmonies are married with memorable melodies and wonderfully crafted musicianship. Album opener ‘Why’ leads from the front, setting the tone for an album that contains ten tracks of glowing, uplifting alt-pop. Harnessing the influences of bands such as Teenage Fanclub, Pixies and current favourites Someone Still Loves You Boris Yeltsin, ‘Why’ features the band’s compelling guitar licks, boy/girl harmonies and ear-worm like choruses. ‘Xang’ and ‘Sail Away’ exhibit a grittier side to their songwriting, while forthcoming single Speaker has the potential to capture the imagination of a much wider audience.  Having all studied at Dundee University, James Russell (guitar & vocals), Lisa Russell (vocals), Robin Spivey(guitar) Andrew Perrie (bass) formed the band in Edinburgh, with Matt Grieve (drums) a recent addition. Universal Thee have been building their name north of the border playing a number of shows supporting the likes of Ded Rabbit as well as an appearance on the pyramid stage at the Kelburn Garden Party Festival. With more tours planned over the coming months, a debut London show in the works and the forthcoming release of their brand new album, 2016 is looking like a year where Universal Thee will spread their wings even further afield.  All Watched Over By Machines of Loving Grace by Universal Thee is out 19th February 2016 via Eventual Heirs Records”

Having spoken to the husband-and-wife team of James and Lisa Russell- the voices behind Universal Thee- I know the band has undergone changes recently.  Currently welcoming  a new member- there has been a change in the ranks- the Scottish band are readying to present their latest album to the masses.  Having been a huge fan of Back to Earth; the intriguingly-titled All Watched Over by Machines of Loving Grace will be unleashed on February 19^th.  I know how much Back to Earth meant to the guys: It was their debut album and a fully-fledged chance to present their music to the fans.  Having spent a lot of time, money and sweat making that record: It gained the plaudits (after some hard graft) it deserved and saw them capture the ears of some very important media outlets.  When it came to their sophomore album the guys have brought in new influences- bands such as Someone Still Loves You Boris Yeltsin (one of the all-time best band names) and embraced old favourites (the likes of Pixies and Teenage Fanclub).  The confidence across the new album shows the five-piece have grown and developed their music: They were fantastic to start but have brought in new lyrical themes and added new dimensions.  Whilst not a total sonic about-face; All Watched Over’ is an album that will draw in new fans and sees new sides to Universal Thee.  Aside from the gorgeous guitar licks and stunning band interplay- one of the most harmonious and tight-knit group out there- you have that indelible bond of Lisa and James.  Being a husband-and-wife attack you would expect there to be a natural connection and understanding: They are one of the most exciting vocal duos I have heard in a long time.  Their tones seem perfect to the subject matter and whilst Lisa provides that mix of sweet-and-strong; James’ unique tones give passion and danger to the songs.  Being inspired by the likes of Pixies there are shades of Kim Deal (the band’s former bass player) and Black Francis (the band’s leader) in the sounds of Universal Thee.  Whilst perhaps not as psychotic and demented as Pixies; you have a band that perfectly blends U.S. Grunge/Alternative of the ‘80s and marries that to a blend of U.K. and American influences.  Few bands have a girl-boy duo up-front- few bands actually have one girl surrounding by boys- so it is refreshing to witness a band like Universal Thee.  Aside from bands I have reviewed- like False Advertising and Shaydes- it is rare to see female tones lead a male-heavy group.  I think music needs to take inspiration from the likes of Universal Thee.  A truly special and original act emerging: Make sure you follow Edinburgh’s finest Alternative act and where they are headed.  With the new album forthcoming- a couple of its songs available to the public- we have a tantilising glimpse into a wonderful creation.  Those changes- in personnel and sound- have not deterred or hurt the band in any way.  Universal Thee sound more inspired and urgent than at any other time: I predict they will be growing stronger and more nuanced with every subsequent release.  Around Scotland, there are some terrific bands playing.  I recently reviewed The Fables: A tremendous band that has the Punk spirit of Sex Pistols and The Clash.  Elsewhere, the likes of Ded Rabbit (who Universal Thee plays alongside frequently) are showing what the country is capable of.  With eyes locked to England for new music (of the U.K.), more people need to crane their necks to this nation’s most promising arena.  Scotland has always flown under-the-radar in a sense: Critics and music magazines tend to be too obsessed with other parts of the U.K.  If the likes of Universal Thee have proven anything it's how wrong they were: Let’s hope 2016 will see a more all-inclusive and unifying patronage.

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Many have noted- that have heard the new material- how evolving Universal Thee are.  The band has not lost their original sound and core: Adding new elements and emotions to the blend; we have a more rounded and nuanced sound across their latest album.  The five-piece are inspired by the following:

Pixies, Metric, Ash, The Cribs, Deus, Dinosaur Jr; Weezer, Cable, Stapleton, Neutral Milk Hotel; Of Montreal, Pavement; Frightened Rabbit, QOTSA and Grandaddy

If you are inclined towards any of these bands then you will find much to love in Universal Thee.  What is the biggest change- from their debut to sophomore album- is the new influences and sounds they bring in.  Whilst Back to Earth had a lot of Pixies elements to it- especially the twin vocals- now the band has expanded and broadened the vocals and sound more original.  The compositions bring in ‘90s elements and the grittiness of Alternative.  Not dropping their sunniness and uplifting moments; the band’s latest songs are even more memorable and sing-along than their debut days.  Whether it was the result of a band huddle- wondering what they next steps should be- but the songwriting is incredibly varied, emotive and impressive.  On their debut they were hugely impressive and confident: What we have this year is a band that is at the top of their game.  This all bodes well for the future of the Edinburgh band.

Speaker is the band’s latest single and sees one of their most memorable and vivid music videos- I believe it was an immense amount of fun to make!  Make sure you check the video out as it is a hugely memorable and captivating one.  The track itself begins with an orgasmic explosion of guitars, bass and percussion.  The band get out of the traps like a greyhound on fire: There is huge weight, speed and catchiness in the initial notes that showcase the new production values.  Both polished and raw; you have an introduction that sounds like nothing they have produced.  An ombudsman between their old and new sounds: Speaker is a vibrant and snaking beast right from the first seconds.  Ensuring the listener is allowed to imagine and speculate as to what is coming next.  Such an explosion and riot of sound; few will be able to ignore the hypnotic and swaggering sound of a band full of intention and direction.  It is said (by the hero and heroine) that they’re in love with a speaker- showing the charming and unique side of their lyrics- which makes you daydream and picture the words as they unfold.  Both Lisa and James join vocals immediately to give a unified charge that sees them at their most together and compelling.  It is said “You know it might just blow your mind” which gets me wondering about the origins of the song.  Whether the ‘speaker’ of the song represents the band’s song- and that tune will blow your mind- I am not sure.  It is fascinating to investigate words that have some obliqueness to them.  Caught gormless by the wonderful video- its speaker-headed lead is on a date that does not go well- I got recollections of Coffee + TV (some of the elements from that video are here) and that creativity and originality translate into the song.  Whereas previous numbers have perhaps started with some nerves or slow-build; that is not the case here: From the introduction to the first verse, the band does not miss a beat or lose momentum.  With the band whipping a wonderful composition- blending melodic Alternative shades with something snarling and attacking- you have a parabond of U.S. and U.K. elements early on.  It is the dynamics and blends of compositional elements that push the vocals and give the song such an addictive and fresh sound.  Little touches of Weezer’s debut album come out- that intelligent songwriting and insatiable sound- that will please fanboys of the ‘90s- whilst recruiting new listeners and younger audiences.   Throughout Speaker the five-piece repeat words- being in love with a speaker for one- that makes it a catchy and impossible-to-ignore song.  Not cynically designed for chanting and easy sing-along; instead, you have a song that recognises and highlights its strengths.

When the band sing “There is more to life than I can see”- among the rapture of notes and that wonderful chorus- it brings in new perspective and meanings.  Being a band that mixes direct with byzantine- making their songs immediate and open-for-interpretation- listeners will have their own perspectives of Speaker.  In the first case, I got impressions of music love and the passion musicians have: How music obsesses the mind and is the most important thing.  When new lines and directions are brought in, my mind starts to broaden.  Words of emergency and late-night rabble blend into a song that is huge on hooks and uplift.  Whilst the song’s nature might look at some seedier and emotive areas; you cannot deny how head-infusing and unforgettable the song is.  That chorus is just the start of things: The wonderfully vibrant and passionate vocals sit with a tight and punchy composition.  This is the kind of song that is likely to be a live favourite.  You can see crowds united in song as the song pummels out of the speakers.  That said, there's universality and melody that means it is going to be in-demand across radio stations around the U.K.  I hope the band ensure they push the song further than local radio- London’s biggest boys will want to hear it- as they have crafted one of their most memorable and stunning tracks ever.  Bringing in elements of early-days Pixies- candid and vivid stories that melt the strange and everyday together- with something uniquely their own.  Here is a band that sounds more in love with music than ever before.  As the final notes play you still wonder what the true meaning of the song is- something I will have to press the band about.  The accompanying music video sees the speaker-headed hero make his way to a nightclub: Promptly vomiting (rather artlessly) into a toilet, it brings all the chaos, drunkenness and love-gone-wrong regret the song suggests.  The video’s creativity and budget show how much faith the band has in the song.  Throwing down a gauntlet- and suggesting how great their latest album will be- it is perhaps the band’s most accomplished and ‘together’ song.  The composition mixes lovely drum fills/runs with some catchy riffs and assured bass work- keeping the song together and driving those vocals.  Up top, you have our leads that sound like they are completely in love with the song: Such refreshing and smiling vocals give the song the authority and performance it richly deserves.

Whereas Speaker is the band’s latest single; Hounds is a song that is available as a download.  Showing an instant diversion from Speaker; Hounds is a song that is equally impressive.  Beginning with a sharp and buzzing guitar riff- one that gets to the point and marks its intentions- the song wastes no time getting people involved.  Words that see our leads feeling paralyzed and helpless again get the mind wondering and guessing.  Perhaps some of the production mix the vocal too low- some of the words are a little hard to capture- but the abiding impression is ensuring that composition and vocal firepower reigns hard and makes its mark.  What I get from Hounds is how confident Universal Thee sound.  Paranoid and cashed-in lies come into a song that deals with tough emotions and something quite personal to the band.  Whether a reference to events in their lives- or something less direct- you have a performance that explodes with giddiness and directness.  Lisa Russell’s yelped punctuation is one of the most addictive and memorable elements of the song- that malleable and distinct voice add loads of nuance, heart and wonder to every line.  When Lisa and James combine you get a confident and scintillating performance from a band that is at their very peak.  Special commendation must be given to the composition that is given a lot of attention and detail.  The guitars employ lots of shades and ideas that give the sound such variety and potential.  Too many bands get hooked on easy riffs and to-the-gut punch.  Universal Thee are among the most intelligent and considerate bands around.  Their music has so many touches and ideas that will leave the listener hitting the ‘play’ button again.  One of Universal Thee’s greatest tricks is repeating lines and vocals to enforce the song’s meanings and catchiness.  Never compromising quality for simple sing-along; once more the band presents a song that has enormous repeatability and radio play potential.  Hounds will appeal to the more credible and cutting-edge stations.  Certain mantras and motifs- the line “Do you what you want to do”- mix inside a song that intrigues and allows every listener to arrive at their own conclusion and extrapolate their own meanings.  Bringing new influences and ideas into their songwriting: Universal Thee are more alive, diverse and meaningful than ever before.  Hounds is a perfect example of what All Watched Over by Machines of Loving Grace will possess.

Uniting the melodic uplift of Back to Earth with a renewed intensity and purpose: I am bowled over by how together and nuanced the band is.  When their album is released next month it will give fans a chance to see how Universal Thee have developed and progressed.  Their polished and terrific production sound allows the wonderful vocal and band interplay to really shine and capture the imagination.  The songwriting is at its most inspired and original and the entire band are tremendously tight and impassioned.  Make sure you get All Watched Over by Machines of Loving Grace when it is released: An album that marks the five-piece as a name to watch very closely.

It is going to be exciting to see what All Watched Over by Machines of Loving Grace sounds like.  With Speaker gaining a lot of attention- one of the best songs the band has created- there is no way the album will not impress and bring in new fans.  The band’s debut album showed just how assured, compact and talented they were: No fillers of weak moments; what you got was an authoritative statement from a hungry young band.  On their sophomore cut that ante has been upped and you get more colour, emotion and subject matter coming through: If anything, the newest material is more immediate and compelling.  Hounds and Speaker are too rare cuts of musical beef that drip with blood, gristle and headiness: A musical experience that will not escape the head in a hurry.  I know- from speaking with the band- how close the guys are and the friendships they have.  Having met and formed in their university days; what we have in 2016 is a band that are among music’s tightest and most exciting.  For fans of the Universal Thee’s earliest work you will not be disappointed: Those Pixies-cum-Teenage Fanclub elements are burning bright yet the guys sound more original and fresh now.  I hope the five-piece have a chance to come to London- I have been meaning to get to Edinburgh to see them- and it will give the capital a chance to embrace a band that would sound at home here.  London has some terrific bands emerging but none sound quite like our Russell-led quintet.  If you thought their album title was fascinating; that only really tells half the story: Delve deep and you discover songs that not only reflect everyday concerns but delve deep into the soul.  Led by the charming boy-girl interplay of James and Lisa Russell- with superb backing from the rest of the band- you have music that is of the highest order.  I have become fatigued listening to bands that tread the same water and seem uninspired: The play-as-loud-as-you-can four-piece that seems directionless and obsessed with stadium-sized choruses.  It is great having arena ambitions: If those huge choruses and energies are not concentrated and say anything worthwhile you will not capture the imagination and get inside the head.  What Universal Thee does is provide music that not only bristles with emotion and passion- two words that are apt under the circumstances- but provide quirky tales and introduce some rather odd characters.  Not just playing the same themes as everyone else- heartbreak and inner-inspections- you have a lyrics book that has so much diversity and wonderful storytelling.

Our Scottish five-piece (across the new album) sees them progress their sound: More complex and focused; it sees polished production give the songs big atmosphere and tonnes of nuance.  Still uplifting and insanely catchy- elements that were evident on their debut album- All Watched Over by Machines of Loving Grace is even grittier and wide-ranging than Back to Earth.  Embracing new audiences and stretching their horizons: What we have is a natural evolution and new ambitions.  I know there has been a London show mooted- shall have to get onto that- and the band are looking ahead to another album- they will want to concentrate on promoting this one before they leap ahead.  I know the Edinburgh band has faced financial struggles and creative doubts- whether their new material was as sharp and mesmeric as could be- and they should have no fears.  Having grown and galvanised over the last year; it seems like 2016 will be their year: I would not be surprised to hear their latest cuts make their way onto the playlists of the nation’s most influential radio stations.  I hear so few bands that break-away from that all-boy/all-girl dynamic (the latter is a rarity in fact) and mix genders.  If you have female and male tones it gives the music more depth, richness and range.  It is all well having a front-man/woman providing vocals; how varied and surprising are the songs going to be?  If you broaden the palette and bring in another voice, you have so more space and potential when it comes to songwriting.  You do not have to make the songs so restricted and singular (by doing this).  Universal Thee is a band that exploit the twin voices they have in music that contrast soul-uplift and something rather haunting and teeth-baring.  Few bands in the modern climate manage to survive years down the line so it is impressive and a relief Universal Thee has overcome the obstacles and natural barriers the industry throws- growing stronger and more inspired as they go along.  I have mentioned how solo artists are being touted and emphasised this year- when it comes to critical acclaim and expectations- so we need those amazing bands to steal back some focus.  Too much stagnation and lacking inspiration have taken the microphone from the bands and given it to the solo players.  Let us hope All Watched Over by Machines of Loving Grace is an album that bands should look at and take note of: It is how a record should be made and how it should affect you.  Hitting the brain, soul and heart: Congratulations to the intrepid five-piece and what they have achieved.  Speaker and Hounds are two sides to a record that surely will not disappoint.  More gritty, hard-hitting and variegated than ever: Our brave and electrifying band are on a quest to gain new ground and fans.  Given the quality they are putting out there; it will not be long until they are on the tongues of everyone.  Get involved with music (and a band) that will…

BLOW your mind and make you smile.

[youtube https://www.youtube.com/watch?v=5s7978-Khaw&w=560&h=315]

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Follow Universal Thee

 

Facebook:

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

Twitter:

https://twitter.com/universalthee

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Music:

https://soundcloud.com/universal-thee

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Videos:

https://www.youtube.com/channel/UC-C70-KSoSJXgNifHO_Ip_A

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

____________________________________

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

_______________________________

Music:

https://soundcloud.com/hannahboleyn

___________________________________________________

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.

____________________________________

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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Follow Lydia Baylis

 

Facebook:

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

Twitter:

https://twitter.com/lydiabaylis

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

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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.

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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.

[soundcloud url="https://api.soundcloud.com/playlists/186093717" 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 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.

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

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

_________________________

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

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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.

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Music:

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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?

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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" /]

_________________________________

Follow Michael Seary

 

Facebook:

https://www.facebook.com/michaelsearymusic

Twitter:

https://twitter.com/michael_seary

_______________________________________________

Music:

https://soundcloud.com/michaelseary

_____________________________________________

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]

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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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