TRACK REVIEW: Eric McGrath- Always the Same

TRACK REVIEW:

 

Eric McGrath

 

 

Always the Same

 

9.0/10

Always the Same is available at:

https://www.youtube.com/watch?v=5KamjtlS2p8

GENRES: Folk-Jazz

ORIGIN:

Dublin

The album, Far From Here is available at:

https://itunes.apple.com/ie/album/far-from-here/id1044540966

TRACK LISTING:

These Are the Good Old Days

Always the Same

Let You in on a Secret

You Mean the World to Me

Sweetest Tasting Kiss

Ripples into Waves

Somebody

Let’s Get Curious

Far from Here

Carousel

RELEASE DATE:

30th October, 2015

LABEL:

M:89 Records

____________________________________

IT is sometimes hard to talk about new subjects….

When presented with a review subject.  Today there are no such obstacles:  Eric McGrath is an act I would not normally have stumbled upon- I was brought to his attention via McGrath’s management company.  Before I introduce you to the singer-songwriter I wanted to talk about Dublin musicians- looking at heritage and nationalities- exploring Jazz and Folk blends- completing with a bit about slow-burning/non-instantaneous sounds.  When reviewing musicians, I am always curious to see from whence their roots were planted.  It is rare to find artists that stray too far away from predictable locales.  From the Londoners across to Yorkshire- two of my most commonly assessed areas- I feel hometowns/location affects a sound and style.  Maybe it is the wider music community (in that area) that enforces a particular sound.  Dublin is a city I have not been to (in musical terms) for a long while now- I cannot remember the last review to come from there.  Having spent a lot of time in obvious realms- the U.K. and Australia; Canada and the U.S.- it is nice to put my mind back here.  Historically, the city has produced some of music’s best bands:  From U2 and My Bloody Valentine; there have been a wealth of interesting acts to emanate from the city.  Away from some of the dodgier examples- The Script and Boyzone hardly do the city any favours- it is the new musicians of Dublin that are more fascinating.  Sleep Thieves are a mixed-gender three-piece that has been playing for a few years now.  On the rise, the band is making their marks on the musical landscape.  Away from them, Indie duo Darling mix heavier influences with ‘80s acts like Ultravox.  SPINES are a four-piece Punk band of girls that are making all the right noise.  Kingdom of Crows and Leaders of Men are attracting attention from across the water (the latter has been played on U.K. radio) and there are some hidden treasures to be found in Dublin.  The Republic of Ireland, in general terms, is an attractive musical landscape that is more than its history suggests.  I feel music media in the U.K. negates cities like Dublin- for the life of me I am not sure why.  Whilst Eric McGrath has settled in Austrailia- having had an nomadic background- it seems a shame so many Irish musicians are relocating- perhaps they do not get exposure they deserve at home.  When interviewing acts- and asking why they move to the U.K./change locations- it all comes down to that lack of attention and proper backing.  I think people assume- looking at Dublin acts like The Script- the music of the city will be rather mainstream and pedestrian.  It is true- as is the case with other cities and areas- there are some rather lukewarm artists.  Dublin is a bustling and musical city that is seeing a lot of homegrown glory created.  It is just a shame there is not a stronger communication to the U.K. - and the press here do not spend much time here.  Before I raise a new point, let me introduce you to my featured act:

“Folk-Jazz singer, songwriter, and musician Eric McGrath was born to a Spanish mother and an Irish father in Dublin. Having spent his childhood growing up in Spain and Ireland, and the past few years living in Melbourne, Australia, Eric’s international upbringing is reflected in the style of music he writes and performs today. With a strong love of Latin grooves, 1920's North American song craftsmanship, and 1960's Surf harmonies, it wasn't long before Eric began to blend his diverse inspirations through his own unique compositions.

After completing an honours degree in Chemistry at University College Dublin, Eric finally succumbed to his true calling by obtaining a Masters in Music from Trinity College Dublin.

Recently signed to the prestigious Metropolis London Music Ltd., Eric has partnered with some of the world’s leading musicians and producers to craft his latest record ‘Far From Here’. Eric’s instantly catchy harmonies, unusual chord progressions, and breezy instrumental arrangements can again be heard throughout his latest record, which is already turning heads through regular international radio play.

A wider audience awaits...”

McGrath has had a busy and interesting life so far.  That mixed heritage- the Spanish roots with Irish blood- is not a mixture I have encountered in a musician.  McGrath has traveled wide and seen some fascinating countries and people.  It is this never-sit-still attitude and zeal that has translated into music that is rich and original.  Whilst the core of McGrath’s music can be seen as ‘Jazz-Folk’; that is not to say it is a one-dimensional sound.  Those Latin grooves and ‘60s harmonies sit alongside modern Folk influences and bygone days Jazz motifs.  I was a little skeptical reviewing McGrath for a bit:  On paper, I was expected someone who was closer to Jack Johnson (an artist I do not like at all) than I would like.  The truth is- it is an influence of McGrath to be fair- that is doing him a huge disservice.  Our hero has his own style and range:  A breed and chemical mix that has seen his latest album (Far From Here) catch the attention of international media.  It is that adventurousness/cross-genre pollination that has led to such acclaim and recognition.   People may balk if they saw the words ‘Folk’ and ‘Jazz’ appear next to a musician.  Considered still- in this day and age- as minor genres; it would be naïve to overlook acts that go way from the mainstream and dig deeper.  If you are not a fan of Folk and Jazz- and variations upon the themes- that is not to say you should ignore a musician like Eric McGrath.  Not every musician that plays these genres will sound the same and be exactly similar:  You need to take a chance on music and allow something new to come into the consciousness.  I am not a fan of Country music yet am always willing to investigate artists that play in this genre.  Once in a while, you can become surprised and pleased of the endeavor.  Luckily, Jazz and Folk are genres I am not a stranger to:  It was without fear I approached the shores of Eric McGrath.  His music can be described as quite gentle and slow-burning.  You do not have devilish riffs and slamming sounds emerging from the speaker.  What you do get- something much more impressive- is music that reveals beauty and wonder after multiple listens.  Upon the first study, you have sounds that elicit charm and easy-listening appeal.  The older days charm and candour of the music- you imagine an artist that would be at home in the 1920s- puts you back to a simpler and easier time.  There is modernity and grit to the music; plenty of uplift and passion can be found- a blend that music listeners crave and demand.  The young artist has found patronage among B.B.C. Radio 2 and has struck a chord with the wider world.  Not a hometown secret, the Dublin-born artist has a gilded and busy future ahead of him.  His album, Far From Here, is as inoffensive and hard-to-not-love as you could get from any musician.  If you are hesitant and thinking it will be too effete to really get inside the skin:  Take time with a musician that digs deep and has much more than meets the eye.  If we should learn anything from music- 2015 was a rather spotty affair with regards great acts- we should take chances and give artists time to flourish and seduce.  Whether Far From Here manages to unite fans that prefer their music heavier and harder- tending to stick rigidly to Alternative sounds- I am not sure.  The music on offer (throughout the album) has plenty of appeal and heart to it.  I know McGrath will be playing around the land and meeting new fans as the year continues.  Having caught the eyes and ears of some influential stations- the media are starting to champion his latest work- you have a young man that could go a very long way.

If you want a full impression of Eric McGrath’s talents; it might be worth checking out some of his ‘older’ numbers.  A few years ago, McGrath started to put music on SoundCloud give the public an insight into his musical mindset.  While some of the tracks released a few years ago feature on the new album- including Carousel and These Are the Good Old Days- there are some tracks that do not feature on Far From Here.

Let’s Get Curious is gentle and boasts a vocal that is calming and has its mind across the waters.  Letting that voice stand out front- it is sharp and has a bracing quality to it- you have a song that has playfulness and romance at the heart.  The hero and his girl are alone together- time to get curious- and the song is a beckoning call in a sense.  The guitars strum and fire; there are brief blasts of horns and lyrics that go deeper than most.  Our hero does not want to play possum and there is wisdom and maturity in a song that implores taking chances and making the most of life.  Whilst some of the guitar sounds do recall Jack Johnson; there are elements of Norah Jones’ entrancing vocals and musical blends.  That said, McGrath has a unique style and Let’s Get Curious is a song I would love to see more exposed and played across radio.  It is one of those songs that could inspire upcoming musicians and has an enormous amount of nuance- I kept coming back to play it!

   A Lost Romance is perhaps the most Jack Johnson-esque track- the guitar/ukulele sound especially- whilst the vocal is perhaps less direct than Let’s Get Curious.  There are relaxed vibes and something borderline Reggae across a song that has a breeziness and casualness about it.  The track looks at growing old and missing chances- the lost romance is the most heartbreaking and haunting- and it is another song that has relatable and universal colours.  Another song that could make it onto the album- there was room only for the select few- it showcases a broad talent that has many sides to his art.  Regrets are common and lamentable- we all have to deal with this- and you immerse yourself in a song that will resonate with many.

With a rare piano appearance; Before You Left has touching and unexpected opening notes.  The introduction builds and creates something semi-symphonic and Classical.  The vocal is quite affected and haunted- words that can be tied to many of his songs- and that swirl of electronics and piano have spectral echoes and something troubled.  The brooding beauty and sunlight poke through- mixing Spanish and Irish sounds together- and you get a song that has so many working away.  Vocal snippets- not sure what it is from exactly- creates dialogue and storyline whilst the composition continues to impress to the final notes.

Since these days- and the first recordings put out there- McGrath has grown in ambition and confidence.  To be honest, the consistency and talent was all evident years ago.  I am surprised just how authoritative and formed McGrath is in these sapling cuts.  What we have in Far From Here is a continuation on a theme- some of those earliest numbers are now album tracks- and an increase in subject matter and variation.  The songwriting is perhaps deeper and more impressive than some earlier numbers; again McGrath was always pretty assured and unique back then.  Whilst no sonic leaps were needed; it is good hearing some non-album tracks and other sides to a mercurial musical talent.  The rate of progress and passion signals a musical future with many more records and possibilities.  It will be good seeing where the young artist heads and what direction he takes.  Given the strength of his current output:  There is going to be no huge need to change things and really alter what is already out there.

Always the Same mixes some tender percussion with some lightly strummed guitar.  Right from the off you get that sun-kissed vibe and something quite tranquil and romantic.  This blend of charming beats and smiling strings elicits early positivity and smile that is hard to ignore.  You get those reminders of Jack Johnson- only the merest of touches, mind- and what you get is an introduction that is scenic and deeply involving.  You cannot just listen to it and not have your mind taken somewhere.  Provoking some gentle feet tap and finger-clicking action; the early words see the hero in strong voice and with clear intentions.  It seems that tip-toeing around the issues- whether it refers to troubles in romance- has never been beneficial or solved the problem.  The vocal is breezy and cool- McGrath has that natural warmth and effortlessness to his tones- and you get swept up inside the gracefulness and passion of those vocal.  The lyrics are presented with plenty of heart but there is always a causal disassociation and detach.  Whatever has inspired the song- if it regarding a blossoming romance or strife- our hero wants everything to be kept cool.  This casualness and lack of commitment leads me to believe our lead has been through the mill and experienced too many splits and needless arguments.  Perhaps he has learnt lessons from love- the way things go if you plunge in too deep- and wants something more pure and different.  This girl he has is perhaps not exciting him quite the same as he’d imagined.  The conversations are empty and rather wasted.  Tired of shooting the breeze- that small talk and awkwardness is evident- is starting to take its toll.  Sure; the girl feels blue and alone now and then:  This is not ignored or overlooked by our hero.  What he wants- aside from the openness and bond- is conversation and an actual connection.  It seems there is this pattern that has been repeated time and time again.  Unable to extricate himself from the monotony of a rather predictable love- and a day-to-day existence that is stilted- you start to yearn for our boy to find something good.  Perhaps the girl herself is a nice and perfectly pleasant person.  You get the feeling it is a rather listless love and maybe the two are not as matched as they once imagined.  Away from love possibilities- it may just be a friendship that is feeling strains- you start to wonder how things will resolve and develop.

McGrath is always light and lacking anxiety when he delivers his voice.  There is no spite and accusation when speaking of dissatisfaction and lacking inspiration.  You get involved in the energy and tenderness of the song- the composition boasts some skipping strings and light beats- and start to speculate as to the truth of the matter.  Things are always the same and this isn’t a casual fling being documented.  McGrath has been with his sweetheart for a while- you sense history and a lot of tribulation- and there have been mistakes and problems in the past.  Accounting that this bond is “forever”- showing commitment and a desire- there needs to be some fix and patching-up.  Unwilling to talk away and find someone new; you have a song that pledges its allegiance to a love that could go the distance.  Those minor issues and humdrum days- the sort of bland conversation he wants to get away from- seem like they can be fixed and repaired.  That loyalty and commitment is there- the hero stands by every word he has said- yet there needs to be some separation and breathing.  Maybe the duo has been too involved and under one another’s feet.  Every day seems to bring pain and a predictable clash:  The hero wants to get away from that crap and foster a healthier and less fraught love.  The suggestion is this:  Having some distance (for a while) whilst both can unclutter their minds and come back healthier and happier.  Whatever they have right now is not really working out for the best.  The love burns and goes deep and you just know they will go the distance.  I guess every relationship has its stumbling blocks and quandaries:  How you deal with them and move on is the test as to its purity and promise.  Ensuring the song remains uplifted and positive:  The vocal and composition has a smile and effusiveness that hooks the listener and makes proceedings light and casual- probably befitting of the song’s nature and desires.  As the song reaches its latter moments; you get more into the story and the fates of our duo.  The hero always saw this relationship being unfaltering and rock solid.  It is perhaps a bad time for the two- one that is going to have to be addressed- and that regret and sadness does start to creep in.  To ensure balance and romance; you get pitter-patter percussion and impishness from the strings.  Your mind has one foot at the beach and sunnier climbs.  That near-the-waters vibe and tranquility is an asset that few musicians employ in their music.  Whereas contemporaries like Jack Johnson have little besides that sound- his lyrics do not really leave marks in your mind- McGrath is a songwriter with a lot more depth and quality to him.  The rich and silk-smooth voice looks at the results of this new type of love:  The heroine will come running back and want things to be the same as before.  As has been explained- a mantra for the song in fact- is pain will always come through.  Whatever happens during that day; the two will quarrel and end up at each other’s throats.

Eric McGrath has produced a song that stands up to a lot of listening and scrutiny.  Always the Same is a song that showcases the songwriting chops and skill that run across the album, Far From Here.  It is great to discover an artist that has such a sense of identity and purpose so early on.  McGrath has that boy-next-door charm and a songwriting talent that does not sit still and sound predictable.  Covering various themes and ideas; you have a musician with a busy mind who wants to appeal to a wide range of listeners.  Always the Same seems very real and personal:  A song that recounts a time in his life (maybe it is still there) and that need for something different and care-free.  McGrath is not an artist that plays too safe and honed.  Unlike Jack Johnson- who likes his style and does not often push beyond it- our Dublin lad has more diversity and spit to his music.  Among the warmth and tenderness, there is enough to suggest something more rebellious and impure lingers.  Never a bad thing- it could lead to some rather exciting sonic developments later down the line- the main strengths lie with McGrath’s voice and songwriting.  That voice is rich, warm and soothing:  Qualities that ensure his tracks bring positivity out of the darkest situations.  Compositions melt surfing scenes with ‘20s Jazz ideals; something rooted in traditional Folk and of-the-moment Pop.  I cannot wait to see how this young and vibrant talent develops in the future.  Always the Same is an impressive statement from an album with plenty of firepower and quality.

Far From Here is an album that has plenty of great moments and standout numbers.  Always the Same is perhaps the highlight- it is for me at least- but there are a lot of instant and memorable tracks to be found.  These Are the Good Old Days has already been featured across the airwaves- being picked up by B.B.C. Radio 2- and has enjoyed minor celebrity early on.  Away from these tracks, there is plenty to suggest that the restless musician will be one of our big names in years to come.  It would be great to see Far From Here collect more reviews- there is a criminal lack of them I can find- as the album is testament to a hard-working and passionate musician.  McGrath makes music that calms the soul and eases the strains of everyday life.  Described as ‘soulful’ and ‘uplifting’ in various reviews:  How could you ignore an album (and artist) that has such an attract set of qualities?  I am not sure; what I do know is there will be a lot more music from McGrath.  Into 2016, the hero will be taking the album on the road and seeing how it is received in the live setting.  The music is slow-burning- but reveals huge promise as you listen more- but is guaranteed to put you in a more positive mood.  Those compositions blend the wisdom and drive of Folk; Latin grooves and harmonies that take your mind somewhere special- topped with Jazz iconography and elements.  Before completing this review- and imploring you check Eric McGrath out- it is worth coming back to my earlier points- relating to Dublin, gentler music and the blends of music available.  Artists need to be adventurous and thoughtful when it comes to their music.

It is not good enough- unless you want to be forgotten about quickly- to just produce songs that have a similar sound and are predictable.  I know it is very tempting- a lot of bands and artists do this- to replicate artists and produce music that is well-worn.  There are far too many acts that try to fit into moulds and what the critics/mainstream want.  Those that push further and are more ambitious- tying different genres together- are always going to gain more appeal and support.  It is a hard trick to get right, really:  If you do not get that blend correct; it can backfire and put listeners off.  McGrath has a love of ‘20s artists and Jazz ideas; Folk core and modern-day Pop.  He brings all this together in music that will unify ages and all music lovers.  There are no borders and constraints (on McGrath’s music) and it is only right his fan-base increases.  At the moment, the social media numbers are growing and McGrath’s reputation is increasing.  Having originated from Dublin- he may still live there; I am only assuming he resides in London- it has given me a chance to revisit a wonderful and captivating city.  Many speak of Dublin in fevered tones- I am desperate to go visit the place- and always say the same things.  The warmth of the people is only matched by the wonderful streets and vibrancy.  You have so much to see and do; Dublin has such a warmth and friendliness that it’s hard to refute its joy and magic.  It is unsurprising musicians hear leave impression in the mind and have that comparable set of attributes.  Whilst Dublin has/is producing some great Rock bands- those with genuine nuance and originality- they have always been better when it comes to more adventurous/unexpected artists.  The artists in the city- that play heavier strokes- are mixing in other genres to create a more full-bodied and exciting palette.  The Folk-cum-Pop artists- a regular staple on the mainstream scene- are impressive and studied.  The development of McGrath- from his earliest cuts and experiments- is wonderful; the young artist has grown and matured into a musician with clear site and direction.  I cannot wait to see how McGrath’s career develops and expands.  Having uprooted from the home-only appeal- translating into the international realm- it is only a matter of time before more radio stations and countries are conquered.  That slow-burning bliss- that sits on McGrath’s debut album- fuses with emotive performances and uplifting vibes.   It would be good to see some London tour dates from McGrath- I am not sure what his diary is looking like so far- and the crowds here would embrace the gentility and captivation of the music.  Far From Here is an appropriate title for an album:  Our hero has traveled wide and has that heritage few others possess.  With Irish and Spanish blood- the nations and people he has seen- you have a set of D.N.A. that goes into music that is just as mixed and fascinating.  If you want music that puts you in a positive frame and smile…

FEW acts do it as effortlessly as Eric McGrath.

[youtube https://www.youtube.com/watch?v=5KamjtlS2p8&w=560&h=315]

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Follow Eric McGrath

 

Official:

http://www.ericmcgrathmusic.com/

Facebook:

https://www.facebook.com/EricMcGrathMusica/

Twitter:

https://twitter.com/_ericmcgrath

____________________________________

Music

https://soundcloud.com/ericmcgrathmusic

_______________________________________

Videos

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

 

TRACK REVIEW: Night Wolf- The Tailsman

TRACK REVIEW:

 

Night Wolf

 

 

The Tailsman

 

9.5/10

The Tailsman is available at:

https://soundcloud.com/nightwolfuk/the-tailsman

RELEASED: February 8th, 2016

GENRES: Chill-out

ORIGIN:

Bedford, U.K.

____________________________________

VERY few artists come across that differ from the pack…

and present something genuinely new and fascinating.  Of course, there are some terrific artists (past and bygone) that demand fond investigation and admiration.  What I am talking about are those acts that go the extra mile and unveil music that sounds completely fresh and exciting.  Before I come to Night Wolf- and the man behind the moniker- I wanted to look at Chill-out sounds and instrumentals; putting listeners into a song- and the key producers/collaborators emerging right now.  Away from the heaviness of Rock and Alternative; through to the seductiveness and sedate Folk motifs:  There are a great range of genres for every listener out there.  Whatever your tastes and preferences you are pretty much sorted.  I have had the privilege of reviewing so many different acts- covering most genres in modern music-and am always amazed when I happen upon something genuinely new and unexpected.  Whether it is Jazz or Pop:  If an artists does something new with the genre; it makes the listener experience that extra bit rich and rewarding.  Chill-out/instrumental music is not often heralded and focused in the mainstream:  It tends to be something that plays in the underground and not often uncovered.  I am not sure why genres like Chill-out are not played and represented more across radio and music in general.  From the ‘90s club classics to the ambient soundscapes that take your mind somewhere else- there is a wealth of magic to be found here.  It does not have to be an instrumental track either:  Adding a vocal to Chill-out/Electronic compositions can result in a wonderfully rich and evocative song.  I feel there is still too much emphasis on the voice- and creating mood and texture- that compositions seem to be second-best and overlooked.  Some of the best bands and artists are synonymous with their compositional innovation and talent.  Too many listeners go for immediate impact and something familiar:  They are overlooking sounds that have so much more nuance and longevity to them.  Songs that leave the lyrics/vocals out- and compel you to imagine your own scenes and possibilities- have so much potential.  If you have lyrics and vocals left in, you know what the song is about really- or have fewer outcomes to choose from.  By setting-aside those dynamics; you can elicit far more and leave songs completely open to that individual.  What I love about Chill-out- sounds that are dreamy and dig into the soul- are what they do to the mind and body.  It is great being jolted and struck into life:  Music that relaxes me and gets my mind working; that will always mean a lot more to me.  Ryan Wilcox is the man behind Night Wolf and has always amazed me with his production and composition talents.  From harder and more slicing cuts- that have dark undertones and bite- to something dreamier and more luscious:  The man can pretty much do anything he sets his mind to.  Before I continue on my point, let me introduce Night Wolf to you:

“I am a composer/producer/artist working with MusicJar (UK) + SumSerious Music LLC (USA) + Sky Rocket Records (Europe) + GungHo Music Group Ltd (China). Started out in rock bands as a drummer, had classical piano training at the age of 7, gave up after grade 3 to concentrate on my own music. Alongside solo projects I work with my partner Centrist (Mike Ziegler) From Dekalb Il. We formed into Harmony's Descent around 1 year ago. Please stay a while and sit back and browse over some of my work, please leave feedback as its always welcome, I am always on the look out for new artists, accapellas and producers to collab with”.

Night Wolf is an artist I have been following for years now and always amazed by how stunning the music is.  What is most impressive is how each song draws the listener in.  It is not music that boasts egos and showboats at all.  You get compositions that are for the listener and bring them into that experience.  Wilcox writes tracks that are for the mind and soul:  You cannot just listen to one of his tracks not take something away from it.  Emotive and dramatic- romantic and symphonic- you get a range of genres and styles thrown into an exhilarating boiling pot.  He is a producer that has attracted a great array of singers and collaborators.  Keen to work with a promising up-and-coming musician:  Names and artists have all been eager to share their talents with Night Wolf.  I am stunned more artists have not come through and wanted to appear on Night Wolf material.  Every time I hear a new composition (from Night Wolf) I think about the vocal possibilities and all the potential you can get from that track.  Those amazing production values- the musical innovation and wonder- and you have limitless songs that demand stunning vocals and a passionate talent.  Wilcox recently launched his Songs of Travel blog.  This is a venture that sees our hero travelling Europe and writing a new song in every country he visits.  Looking at the blog- the people and sites Wilcox visits- you have songs that reflect the country’s geography and multiplicitous joys.  Away from Songs of Travel, Wilcox is writing music for films too.  Uncle Sam Needs Money and Jester Hill are two new songs- both amazing and different- that showcase a rare talent with a big future ahead.  From the E.P. days- and the development and evolution you get from each one- Night Wolf has new inspiration and ideas.  The Tailsman is a track that will please existing fans and sure to bring new people in.  I will be excited to see what is next from a producer that seems to have no limitations.  Constantly inspired and in love with music:  There is no telling just how far Night Wolf can go.  I hope the social media numbers climb and more people discover one of our finest composers and musicians.  I love discovering musicians that are anything but predictable and samey.  Each time I come across a new Night Wolf composition, you get something new and genuinely fascinating.  With so many new endeavours and plans under his belt:  Who know just what this year will have in store?  I can see an album arriving perhaps.  Maybe Night Wolf will unleash something that goes back to his Moonlight E.P. (released in 2013) or a series of travelogues from his adventures.  There is so much going on with him now- writing for film and looking for hook-ups- I would like to see an array of singers lending their talent to the music.

When looking at The Tailsman; one must look back and see how far Night Wolf has come.  The new songs being out right now- there are several on SoundCloud- have a lot in common with previous offerings.  With Night Wolf, you never get a total departure and about-face.  The producer does not want to put off existing fans and constantly have to reinvent himself.  Even from the earliest days, the songs had such depth and variation- hard to compare two songs to each other- and the evolutions and steps lie elsewhere.  What you get now- from the earliest days perhaps- is that huge confidence and nuance.  Night Wolf’s early cuts had plenty of passion to them, but if anything, the latest offerings showcase an artist with renewed direction and intention.  Perhaps travel and time has led to this step-along and improvement.  The Tailsman digs even deeper than songs across previous E.P.s and seem tighter and more focused.  You get the same amount of joy and bliss but the music is more concentrated and disciplined.  That said, the consistency- the songs will keep existing fans happy- is the most important aspect.  Night Wolf never drops a step or produces weak songs- not one since the creation of his act- and right now you have a talent that can get even better and bigger.  The fact Night Wolf is so in-demand- having his music featured across T.V. and film- can be attributed to this consistency and growth.  Artists that leave big gaps between releases tend to lose a bit of edge and quality.  Night Wolf has never really been out commission, and as such, keeps honing and developing his craft.  The Tailsman finds the young artists in new form and finding inspiration once more.  In the past I have known what various tracks are influenced by- whether political stress or social issues- but here things are less direct and more open.  It is a song that has no set meaning- or not one I can see- that means every listener will have their own ideas and mindset.  If anything, Wilcox is becoming more diverse with his compositions and finding fresh angles and influences.  Traveling across Europe- part of his Songs of Travel adventures- that scope is wider and bolder.  This rate of progression and curiosity is a positive sign that can lead to a wonderful E.P. or album.  I know Night Wolf has enough material and new steps to fill an album- let’s see if that happens in 2016.  What existing fans will find is the quality rising once more.

It has been a little while since I have reviewed a new Night Wolf song.  Not knowing what to expect-if I would hear something that recalled the early days- it was fascinating sitting down with The Tailsman.  The first notes see some rising strings/synths that have edginess and a haunt to them.  Mixing intrigue and curiosity to them; bringing in some passion and romanticism to the fold- a song that gets inside the mind right away.  Tense and taut beats come to the fray to create a building atmosphere that takes the song in another direction.  The composition keeps building and you get a real sense of aesthetic and drama early in The Tailsman.  In the early exchanges the focus is on beats and the way they tumble and work.  Almost finger-clicked and tumbling:  There is a stunning mix of pitter-patter and direct slams.  Tumbling, swimming and dancing:  It is hard to overlook the beauty and magic of those notes.  As I have said before- in the introduction about depth and nuance- every listener will have their own ideas as to what the composition is trying to say.  It is an instrumental track that will see thousands of different visions and storylines.  It is quite rare to discover artists that create instrumental tracks that possess so much emotion and possibility.  Most music has vocals and lyrics, so when faced with something that contains neither it gives you a chance to arrive at your own conclusions and decisions.  Those slamming and cutting beats then start to fuse more with the electronics.  Compelled and driven by that constant sound- the swooning and swaying electronics- you have a beat that jumps and moves with a restlessness and sense of purpose.  My mind was imagining a shadowy man lurking in the dark of a huge city.  The neon lights might be buzzing and there is a strange sensation in the air.  Perhaps there is a mission or job to be done- here is a spy or government figure- and a definite target in mind.  With nary another body on the streets; you get drawn into an adventure or mission that is sure to build in intensity and force.  Listening to The Tailsman and it seems like a track ready-made for T.V. and film.  It is a song- even in the earliest moments- that could score a tense drama like Luther.  In that same spirit, I could see it soundtrack a big Hollywood scene or inside a low-budget Indie film.   I get little flecks of past Night Wolf work, although to be honest, we have such a leap and new sound at work.  Whilst existing fans will find a lot to recommend- it does not completely negate that solid core- you have so many new ideas and possibilities.  There is a catchiness and addictiveness to the beats that get your head nodding and the feet tapping.  Joining that exciting percussion are twitchy and spacey electronics that spark and elicit a quirkiness and odd charm.  My early impressions- regarding spy-in-the-cold-danger- start to mutate and alter as the song progresses.  There is romanticism and chill to the track that gets me thinking about love and something more relaxed.  Reminding me of acts like Massive Attack- who could deftly fuse the dramatic with romantic- and here’s a song that keeps blossoming and providing fresh promise.  Captivated by that insatiable beat- that seems to provide new story-line with each moment- the listener will have their own ideas as to what the song represents.  Thinking about it, I get remembrances from dreams and something quite abstract.  The Tailsman has that dreamy quality that takes you somewhere strange yet safe.  The composition remains fairly accessible and light- previous Night Wolf numbers have been more carnivorous and attacking- and that sense of calm is always there.  Part of me sees the song as a travelogue and glimpse inside a foreign land.  There is that sense of movement and energy that got me thinking about passing landscape and new cities.  That nervous energy and passion could be the representation of new discovery and foreign scenes.  As I said, everyone will take something different away from the listening experience.

   The Tailsman is a song that showcases new promise and ambition from one of the U.K.’s finest talents/producers.  A vibrant, rich and atmospheric track here:  We have a song that never allows the heart and mind to become involved and immerse themselves in a strange and beautiful number.  It is also a song that could be given new life were a vocal to be attached.  I know Wilcox is looking for artists to work with and it seems like The Tailsman would suit a female voice and soulful performance.  It is a song that could fit some great lyrics and be backed by a committed and rich vocal turn.  Whether that is the direction Night Wolf will take- or if it remains an instrumental track- what we have is a song with so many possibilities and potential.   The production values and superb which allows all the notes and ideas to come out with clarity and naturalness.  Having a few other new songs out there- I will give an overview below- it has been a creative and fertile period for the young producer.   It has been a while since I have heard Night Wolf so excited and dedicated to the act of music-making.  There is new passion and a lease of life that translates into The Tailsman.  Here, we have a song that could fit into a variety of situations and places.  It has the potential for radio play and will surely be picked up by stations that have championed Night Wolf previously.  In addition, the track could find new followers and it will be exciting to see if it features on upcoming films and T.V. productions.  Congratulations to Night Wolf on another step forward from an artist that becomes fascinating and promising by the year.

There are five new songs out there that Night Wolf is keen to share.  Jester Hill has enraptured violins and echoed vocals that create an odd and trippy opening.  Bonding with hard-hitting beats- it races and gets underway with intensity- you get drawn into the drama and emotion poured out.  A dangerous and busy opening few seconds; the combination of elements- violin and beats together with vocals- then leads to something symphonic and driving.  A sound collage that could easily score T.V. and film scenes a-plenty- no listener is immune to the drama and racing heartbeats that come out.  The song mixes various different genres into the pot.  There are Dance and Electro. elements joined by classic guitar- Flamenco and Salsa tangos inside the notes.  Dancing piano and juttering strings give the song an edginess and anxiety; mixed with the grand passions and lust and the song gains new majesty and life with each passing moment.

  World of Delusion has spoken vocals- with dancing pianos and strings- that gives a different angle to other songs.  The addictive and mesmeric composition brings strings and piano together in a peculiar and powerful dance.  Teasing and hissing beats provide energy and uncertainty around a mind that is besieged by contrasting thoughts and emotions.  Differing percussionary notes- sounds of a tabla or bongo lurk underneath perhaps? - are interrupted by vocal snatches that have me wondering about the origins. While the compositions remains fairly grounded- repeating its ideas and consistent as it goes- it is those vocal passages that perhaps get the mind guessing.  I am not sure who spoke them but you get various different snippets come out- “Your mind is what there is” for one- that ends with a very clear message:  The necessity of remaining in a state of delusion.

Uncle Sam Needs Money is edgier and recalls past work of Night Wold.  Vocal snippets- Uncle Sam needing money- reminds me of the work of The Avalanches.  That experimental and cut-and-paste freewheelin’ sees the track constantly on edge and fascinating.  It is a song that is breathless and is constantly pressing.  The beats tumble and slam with intent whilst those jagged (and wordless) vocal snippets create an odd sound that gets inside the brain.  You cannot escape the sense of suffocation that comes through through the track and the urgency that pervades.  So many ideas and so much life is put into a song that doesn’t even top three minutes.  It is a testament to the talent an ability of Night Wolf that Uncle Sam Needs Money seems like one of those epic tracks.

These new tracks show different sides to Night Wolf that unite the past and embrace the future.  Continuing the ideals of political unrest and anger (Uncle Sam Needs Money) you get dreamy soundscape and entrancing music nestling together.  I can see these tracks sit alongside one another on an E.P. and it will be exciting to see how they fuse with one another.  It is clear there is a lot more potential and music inside Ryan Wilcox.  If you have not heard the new music then make sure you do not overlook it- some of the finest sounds he has ever created, for sure.

Night Wolf is one of those acts that never seems to tire and pause for breath.  In a music world that sees so many short-stay artists do their thing- play a few tracks/E.P.s and then fade away- it is encouraging to see a musician that gets better and bigger.  It is not just the passion and energy that impresses me:  That variation and evolution is stunning to hear.  Having that potential and openness- not bound by particular genres and vocals- you get such rich and variegated sounds.  Every new moment (from Night Wolf) takes you somewhere special and wonderful.  Following the Songs of Travel blog- and the songs that represent each country Wilcox has visited- you imagine all sorts of scenes, streets and people.  Vibing from the beauty and uniqueness of each country:  You get an aural representation of every sight, sound and flavor from that nation.  When listening to his E.P.s; I was amazed by the boundless invention and talent that was brought into every song.  Whether inspired by financial woes and political issues- or problems in love and relationships- our hero always injects so much potential and passion into everything he does.  The Tailsman is another side to a composer/producer that differs from early work- in terms of the sound and inspiration- but retains that distinct and Night Wolf-esaque reach.  You have a composition that encourages the listener to immerse themselves inside the song and imagine what is unfolding.  I am not sure what the exact origin behind the song is- I prefer to leave that to my imagination- but listened to it again and again.  Every new play reveals hidden beauty and possibilities:  A song that evokes a wealth of emotions and ideas.  I have loved reviewing and discovering the past work from the Bedfordshire-based talent.  Wilcox is one of those humans that does not like resting and allowing too much time to past.  Influenced and motivated by everything around him- from different countries to news events- you are guaranteed to hear more Night Wolf work throughout 2016.  With his film scores and work- there are examples being unveiled at the moment- I am sure we will get a new E.P. or album.  What form that will take- maybe a series of numbers based around Songs of Travel or something that harks to past E.P.s- it will be interesting to see what direction Night Wolf takes.  Before ending things here, I wanted to circle to the original points around Chill-out and immersive music; the great producers that are coming through right now.

It might be a bit narrow to call Night Wolf’s music ‘Chill-out’- there are so many genres he mixes into the music- but you certainly gets music that elicits emotion and a response.  It is quite daring presenting music that is compositional and encourages the listener to think deeply.  The modern scene has that fixation with great vocals and band music:  Night Wolf seems like a renegade that is making music that balks trend and seems more credible for doing so.  There are so few genuinely wonderful musicians emerging that separate themselves from the mainstream and go much deeper.  What Night Wolf does- and has been doing for years now- is create soundscapes that have that chilled and ambience to them.  You get emotions and passions coming through:  There are energy and raw emotions that provoke all manner of thoughts and scenarios.  The Tailsman is another insight into a fascinating talent with no limitations.  The reason I have followed Night Wolf so closely is the originality and variation he provides.  Each Night Wolf song takes you into the music and allows your mind to drift and imagine.  I hear so few musicians that involve the listener and really provide that depth and detail.  Night Wolf tracks have that colour and majesty in every moment.  If you are looking for something that distances itself from the disposable nature of music- those artists you know will not stick around long- you need to get involved with Ryan Wilcox’s alter ego.  He is one of the finest producers around and stands above his peers.  There are some near-genius producers working across music- from the club D.J.s to those scoring films and T.V. - but Wilcox seems to have his own niche and sound.  Having appeared on B.B.C. Three Counties several times; various artists lending their voices to the music:  Just what can the rest of this year give to Night Wolf?  Well, it is sure to be another busy and productive one from our hero.  I hope those social media numbers get themselves rising- he deserves a lot more attention and supporters- and will be enthralled to see where this rare and special talent goes next.  The Tailsman is on SoundCloud now and is joined by Jester Hill and Uncle Sam Needs Money.  With each song title, you can probably arrive at your own conclusions.  When you listen to the music- and let those compositions get inside the head- you might change your views or discover new potential.  That is the mark of a truly great musician/producer:  Someone who can keep surprising and prompting you to revisit the songs time and time again.  Ensure you investigate The Tailsman and let its beauty and power get inside the mind.  Once you do…

IT may never get away.

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Follow Night Wolf

 

Facebook:

https://www.facebook.com/nightwolfuk/

Twitter:

https://twitter.com/SongOfTravel

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Music:

https://soundcloud.com/nightwolfuk

INTERVIEW: Dexter Krenal of Meat Loving Vegans

INTERVIEW:

 

 

Dexter Krenal of Meat Loving Vegans

 

THERE are a lot of quite false and fake artists playing at the minute…

that all sound alike.  So many musicians are playing very samey and uninspired sounds- that clone others and show such little personality.  In interviews, some artists give very little value and fascination.  Meat Loving Vegans are a London-based band that cannot be accused of being boring and predictable.  Fusing some classic Punk sounds with British and U.S. contemporaries:  You have music that is sure to elicit a very positive response.

The boys are preparing to release a new album- following on from Lost in Fiction- only a few months after their debut.  Promising new direction and familiar strands:  I was keen to catch up and see what was in store.  Frontman Dexter Krenal gives us a glimpse into the band’s unique chemistry; the plans they have for 2016- which artists and bands inspire Meat Loving Vegans…

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

Cheers Sam mate.  I’ve been busy as fuck – 3 gigs, 2 rehearsals; a day recording demos with the band- working my botty off in my bar job (the worst was a 13-hour shift yesterday!).  Not for much longer though (my last shift is this Saturday).  Boozing and not sleeping much.  I’m paying for overdoing it, though.  I’m buried in sheets in my girlfriend’s attic/room gorging on tea, smoking roll-ups and feeling like death.

For those new to the music of Meat Loving Vegans:  Can you define it?

Bit of a toughie that really, coz it’s a massive blend of loads of stuff.  I add the hard-hitting British, working-class, Punk-Rock/Alternative vibe:  James (keys) is a Jazz fiend; Sam (drums) comes up with some really cool, weird shit (the Eno of the band); Matt (bass) comes from a Classical background which helps us hold it all together.  I think left to me, James and Sam it’d be the musical equivalent of an epileptic fit… On steroids.

Looking back at 2015:  Which memories stand in the mind as particular highlights?

Finishing the debut album (Lost In Fiction) – mostly by myself (although I did have some help)- putting the band together and doing loads of shit gigs.  Now I listen back to the record, I hear what I wanna do differently next time.  Same looking back on the gigs:  I know what needs to happen to take it up a notch.  Was (overall) a real good time honing our craft; doing what we love.

Meat Loving Vegans’ sound has echoes of Blur, The Clash and Punk greats.  Which artists and musicians were important to you growing up?

Too many to mention!  The first proper run-in I had with music was my grandad playing his old Jazz records- he mainly got them from New York when he was in the navy.  The music would really piss my nan off, which I thought was hilarious!  Then in school, I had to sing David Bowie’s Life on Mars in assembly, which I loved too.  But what really got the ball rolling was my mate James.  We’d skive off school, smoke fags; drink some vodka we’d nick off our parents; listen to Guns N’ Roses and try to play along.  Was fucking great!  Then, I found the Sex Pistols a bit later on which made me realise you don’t have to be the prettiest player/singer:  What REALLY matters is the message and the energy.  Was no stopping me from there!

On that note:  Which modern-day artists are inspiring you?  Any you would recommend to people?

Yeah.  I’m actually getting into quite a lot of newer stuff at the minute, which is cool.  For ages, I couldn’t find fucking ANYTHING that I liked!  I played with these two bands- Sleaze and Sex Cells- at the Windmill in Brixton last Friday.  They were both really cool.  Slaves, Misty Miller, Black Honey; Tess Parks, Fat White Family; King Krule, Mac Demarco.  The Brian Jonestown Massacre keep pumping out amazing new albums- although they started in the ‘90s...

I love the past work of Meat Loving Vegans.  Can we expect some new music sometime soon?

Ya sure can mate!  We’re working on our next album now.  We don’t have don’t have release dates yet but it’s looking like we’ll have a couple of singles out in April- and the album should be out in May.

In terms of your new material:  What subjects/themes have defined its creation?

Well, there’s a lot more depth to the second album.  We’ve tried out some really heavy, crazy stuff.  We’ve also gone further the other way and done some really quiet, dark, trippy stuff too.  It’s all about life in London the way I see it, more-or-less.  Roughing it, drink and drug addiction; the wealthy shitting on the poor; sticking with those that matter (to pull through the dirt).

With reality shows like X Factor dying out- having been removed from the schedules- do you think music is starting to embrace ‘real’ musicians more?

Hurrah!  Let Jah be praised!  Let’s hope that’s the case.  I’d LOVE for that to happen, but I doubt it.  When one crap thing like that’s extinguished there’s normally some wanker with another crap idea and a huge wallet in line ready to fill the gap.

We might end up with a super-charged version of X-Factor blended with Take Me Out.  One where a bunch of contestants desperately run around a room singing Pop cover songs at the top of their voices, half-naked- with the aim of getting a shag whilst simultaneously trying to impress record company executives to give them a multi-million-pound contract.  In fact, I’d watch that.  That actually sounds brilliant!

You live in London- formally a member of the Camden community- and are in the heart of things.  Do you think it is easier for musicians in London to get exposure and gigs?  What are the benefits of living in the capital?

Well, it’s AMAZING and BRUTAL at the same time!  I grew up in this little place daay’n saaa’f (sic.) called Gosport (next to Portsmouth).  Proper community vibe there; everyone mucks in with each other to make the music happen- and some of the stuff people are doing there is really good.  But there’s NO exposure:  Hence, I came to London.  Otherwise, I would’ve been the best guitarist in my bedroom and that’s it.  Here, it’s totally different.   You see incredible guys busting their arse and not getting anywhere; other people you see doing well and think "how the fuck did you get where you are?"’  There are just so many people trying to climb the ladder; everyone’s falling over each other.  But what are the benefits of living in the capital?  If you look for it, there’s some mind-blowing stuff going on- and it makes all the crap that comes along with it worthwhile.

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

Don’t do it!  Save yourselves!  Hahaha.  No, do it!  No, on a serious note:  I love making music.  It’s rarely easy but it’s so worth it.  So my advice would be:  If you love making music too; forward march brothers and sisters.  Troop on, and shine your light onto the darkness!

You have a good band behind you- James, Sam and Matt play with Dexter - and a tight bond comes through in the songs.  How did you guys meet?

We went to this music college called I.C.M.P.  That was my ticket out of Gosport and up to London, so I took it- although, we didn’t start playing together ‘til we’d pretty much finished.  The four of us are a pretty unlikely mix, to be honest:  James and Sam are like a loving, married from Newcastle; I’m a southern nutter from a council estate and Matt can be quite an argumentative (yet passionate) French/Italian fella.  The common ground we all have is to make great music; so it works.

If you guys could put together a ‘dream line-up’- of acts and musicians past and present- into your own festival; who would appear on that list?

I don’t know if anyone would show up if we put that on; it’d be mental!  I’d have a bunch of in-your-face Alternative/Rock/Punk; Lo-Punk/lo-fi bands like Slaves and The Brian Jonestown Massacre.   James would follow that with some Jazz guys like Charlie Parker (if he had resurrecting capabilities).  Sam would shake it up even more with some experimental stuff:  Like having Eno play discordant stuff on a synth with his photography being projected like strobes.  Then Matt would confidently stroll up to headline, armed with a bloody orchestra to finish it!  We’d get killed!

I always love to find what inspires musicians’ songs and creative spurts.  What inspires Meat Loving Vegans when it comes to writing new music?

It can be all sorts, really.  It’s so cliché but it’s true:  You never know what’s going to come into your head or when.  Sometimes, I’ll be listening to a lot of a certain artist and end up having an idea come into my head that’s a similar vibe.  Other times, I’ll be thinking of something and a tune will just arrive.  I’ve woken up at stupid hours of the night with a song and had to jot it down before I can get back to sleep.

It usually starts with me writing the basic track then taking it to the band:  They put their stamp on it and we go from there.  I’ve written a couple of the band’s ideas recently which is new.  I’m always late to practice (sorry guys) which gave them a chance to jam this really cool, trippy idea- it ended up becoming Purple Shores on the new record.  It made me think of being a teenager:  Slightly stoned/merry on the beach back home with my mates.  It ended up becoming what the song was about.  Another was when James went to the toilet for …business… and that made me think of all the shit stuff that happens in London.  Out came the song Only in Bloody London (again, going to be on the new album).

Music means a lot of things to different people.  What does it mean to you (and the band)?

Sanity!  Without it, I’d lose the plot.  I was always looking for a way to express myself when I was younger; I had all sorts of weird hobbies.  One was writing poems onto parchment paper with a quill:  Dipped in Indian ink and sealing it with wax and a stamp (as if I lived in the early 19th century).  A nutter from birth!  So lucky I found music (or that it found me).

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

Nice one geeza!  Since we mentioned Gosport earlier, let’s go with The Ballad of Gosport.  There ain’t nowhere like home…

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Follow Meat Loving Vegans

 

Official:

http://www.meatlovingvegans.com/

Facebook:

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Twitter:

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YouTube:

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TRACK REVIEW: Yui Karlberg- Seasons in a Day

TRACK REVIEW:

 

Yui Karlberg

 

 

Seasons in a Day

 

9.3/10

Seasons in a Day is available at:

https://www.youtube.com/watch?v=bAt4jm7c8uo&feature=youtu.be

RELEASED: November 20th, 2013

GENRES: Folk; Pop

ORIGIN:

Bournemouth, U.K.

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IT is not often I get to look at serious issues when it comes to musicians...

When reviewing acts, I spend a lot of time investigating the artists themselves- rarely does anything away from music come to mind.  Today, and with regards my featured artist, it raises new themes and something important.  In addition to looking at transgenderism and how it addressed (in the music world) I wanted to look at inspiration and how the voice can change everything- finishing things by looking at musical transformations and developments.  Over the course of several years- the length of writing this blog- I have always just reviewed a band/act and left it at that.  Even if the music has been great- which it often is- that is where it is left.  I never look at anything deeper or discuss social themes at all.  Yui Karlberg is a transgender artist that has had to fight to get her voice heard.  In a world where it is difficult enough getting the music heard and favoured:  Talking about subjects like transgenderism is even more challenging.  In a so-called ‘modern world’ there are still conversation points that are seen as taboo or awkward.  People are not nearly as open-minded and accepting as they should be (not everyone, but a lot) and it can create a lot of anxiety and upset (for those affected).  When it comes to transgenderism, a lot of people tend to skirt around the subject.  It is always really depressing and angering watching people close their minds and not embracing humans the way they should.  It baffles me why areas such as transgenderism, race and sexual orientation still have to fight stigma and repression in 2016.  We have come a long way in some respects- with regards technology and science- but when it comes to emotions, human development and awareness:  Are we as ‘human’ as we could be?  Far from being unusual or strange, transgenderism should not be an issue at all.  If a person wants to change their gender and become who they are supposed to:  Why should there be any problem with that?  Perhaps the general population are scared by something that is slightly different or foreign to them.  Maybe we all get used to a perspective of ‘normality’- or what we define it to be.  Anything hat rests outside of that definition scares us.  It is a problem of human-kind that we are not as accepting and loving as we should be.  Whether transgenderism is wholly accepted and embraced in society- unfortunately, we may have to push a lot harder- I am not sure.  Where it shouldn’t be a problem- and should actually be seen as a massive positive- is when it comes to music.  My featured artist has shown bravery and a lot of courage in her life.  Looking at transgenderism, it is not something that is being addressed by music media and the press.  While there are quite a few artists in new music who are transgender:  The only mainstream role model we have is Antony Hegarty.  We should valorise musicians who are transgender and not see it as an embarrassing thing to discuss.  It is hard enough having to live and succeed in life as it is:  If you have to fight against people’s narrow-mindedness and prejudices, it makes things a whole league worse.  Hegarty is an artist who has come out in the press and stated he is a transgender artist.  In early interviews and features, Hegarty started how she struggled to identify herself and has wrestled with demons.  Hegarty is a female artist that has a distinctly male voice:  This is something that scares people and they cannot understand it.  Maybe it asking too much for humans to fully change their perceptions and ideals of normality:  I plea that in years to come we will see transgenderism addressed and discussed in very positive tones.  With the likes of Hegarty inspiring legions of musicians coming out, we have something terrifically starting.  By talking about the topic (transgendrism) it is seeing other musicians come through and talk about it.  Yui Karlberg is someone inspired by Hegarty and his fight.  Not only compelled by her (Hegarty) amazing voice and distinct sound:  The way Hegarty has embraced and realised who she is has motivated Karlberg to talk more widely about transgenderism and how important it is.  I shall not labour the point too much- we are here to talk about the music, alas- but I am pleased something other than music comes to my attention.  Before I move onto new topics, let me introduce Yui Karlberg:

“Sometime way before March 2012, Yui had heard 'Skinny Love'. A song written and produced by Justin Vernon aka. Bon Iver. She then purchased his debut album 'For Emma, Forever Ago' and she was hooked...

She had been playing songs and performing under the stage name of Miss Interpreted for about a year and then in January 2012, she thought she wasn't getting anywhere and called it quits.

For 2 months, she was mentally somewhere else...in a zone searching for the 'new sound' referring to an episode of hit UK comedy 'The Mighty Boosh'.

She was tired of singing in a voice that everyone else around her seemed to be doing. She was tired of playing guitar like most other people do too. It was time to go back to the drawing board.

Then she remembered a song of hers called 'Unspoken' that she wrote back in 2005 in DADGBE tuning (standard tuning is EADGBE).

For those of you who don't know and it's not such a big deal , but it is relevant for this biography...is that Yui is a transwoman...which means she was born male but lives, talks and does anything else that most women of her own age do.

So bearing that in mind, she remembered about Bon Iver's vocals and used that as an inpiration to sing 'Unspoken' in a falsetto/high voice.

After a few singing lessons, she tried it out at a local open mic and people wanted to hear more.

She was astonished!

Shortly after, she worked out how to play chords in that tuning and wrote 'Endless Journey' ....

Her debut album 'YUI' was released mid 2012 via iTunes. It has sold over 200+ copies.

Since then, she has recorded a second album 'Beauty Within the Beast' which is by far her most popular yet and this is what transformed her from an ambient folk artist to the electro-pop artist she is today”.

As Karlberg is inspired by Antony Hegarty; it brings to mind the relevance of having a stand-out voice.  The voice is not just an audible representation of your music:  It is the dynamic, personality and spirit of the music you are performing.  While lyrics and composition hold a great cache:  The voice, to me at least, is the most vital aspect of music.    A lot of musicians still undervalue the vocal and do not give it enough originality and power.  Karlberg has been compelled by a range of artists but Hegarty is someone very important to her.  By that same token, Bon Iver (Justin Vernon) has also been vital with regards moulding her sound and music.  If you consider those two musicians, you have deeply atmospheric and bold vocals.  Hegarty has that operatic and transcendent low:  Capable of rising to a delicate high, it has enormous grace and peculiar allure.  Hegarty is seen as one of most singular voices in music history:  Karlberg possesses some of Hegarty’s wonder and etherealness.  When I Am a Bird Now as released- the 2^nd album from Antony and the Johnsons in 2005- critics noted how metaphysical and otherworldly the record was.  The multi-octave vibrato tackled themes like love and loneliness with new life and light:  Few artists before have made these themes sound so new and heartbreaking.  Karlberg has that ability- to turn everyday themes inside out with a powerful voice- but plenty of beauty and tenderness too.  With Bon Iver’s lead being an idol- and that unescapable voice defining every song- you get themes of isolation and struggle being addressed.  Whilst the aforementioned artists address darker themes and battling the odds; they do so with unique beauty and wonderfully rich and engrossing songs.  Karlberg is perhaps a little less haunted than some of her idols:  The songbooks contain a little more celebration and positivity.  That said, she is keen to make the songs stand out and get inside the head.  The voice can make any song sound essential if you get the blend right.  A lot of artists either come off too powerful and wayward- those Pop idols whose force of nature approach can fatigue quickly- or ridiculously slight and passionless.  Karlberg is one of those musicians that has a perfect blend of sky-scraping and intimate.  Having begun as a Folk artist in the early days- no doubt enforced by the likes of Bon Iver and the sound of For Emma, Forever Ago- Karlberg is playing Electro.-Pop with less introversion and more layers to it.  While those early years showcased songs with intense emotion and a stunning originality:  What we have now is perhaps something more layered, accessible and uplifted.  That is not saying the music has taken its heart away from beauty to embrace something commercial and insincere:  Seasons in a Day is perhaps Karlberg most arresting statement and demonstrates a songwriter with an arresting voice and plenty of years yet to come.

Having spoken about how Karlberg has developed and changed as an artist; it is worth looking back at the early sounds and how the music has come on.  Yui is a song released a couple of years back- when Karlberg was starting to make her first impressions- and showcases a wonderful musicianship and tones.  You get a mix of deep and beautiful vocals- that come together beautifully and purely- and a song that has plenty of punch and drive.  A personal statement and summation of musical influences- Thai sounds and Pop music alongside Folk- you have a performance that is engrossing and stunning.  Personally open and with some familiar tones- you get a bit of Antony Hegarty’s wonderful timbres- it is a solid and confident song.

  The Ghost of Love is one of Karlberg’s most celebrated songs- the debut single from her- and demonstrates new direction and purpose.  The vocal has a huskiness and depth that gives the subject and lyrics the emotion and relevance required.  Needing instruction and guidance- how to love and be “your lover”- there is that calling-out.  Whilst friends are procrastinating and not helping; our heroine sings to Romeo and puts her heart out there.  The track has an addictiveness and catchiness- that Pop energy with a chorus that cannot be ignored- and you have a song that is short but very sweet.  It is no surprise the track has gained popularity and a cult status among fans:  It draws genres together but its central themes of desire and acceptance are relatable and very human.  It is an honest and heartfelt song from a musician that shows a step forward and natural evolution.

  Restless Mind is another track that shows a jump forward and sea change.  Whilst Karlberg has always been an artist with innovation and quality in spades:  Here, we get a song that seems to be one of the most urgent and direct tracks to date.  Released last year, the song’s title is repeated over hard beats and a Dance-cum-Electro.-Pop composition.  While earlier numbers have been more Folk/Pop-driven:  On Restless Mind, we get something that could be destined for the club dancefloors.  It has that pounding and relentless energy that gets people united in dance and voice.  A pumping and daring- bangin’ and hard-hitting- you get drawn into the vibrated and echoed vocals.  Tender piano notes mix inside quivering electronics- a daring mix of ideas and sounds- to create a song that has so many layers and nuances.  A bona fide club classic- something that has the drive and ambition from ‘90s Dance music- it is a song that stunned me upon first listen.  Such an authoritative and confident song- Karlberg sounds completely lost in the beauty and headiness of the music- you have a song that demands multiple listens.  The quirky-cum-accessible composition drives a vocal that documents a restless young woman who is struggling to overthrow anxiety and troubles.  Perhaps my favourite song from Karlberg- one of those that just hits you and does not escape attentions- it proves what a varied and stunning artist she is.

That range and forward-thinking approach will make any future E.P. a tantilising proposition.  It would be great to see songs like Restless Mind kick things off; a bit of The Ghost of Love with Seasons in a Day.  With those three songs you get a varied lyrical bent- love and anxiety sits with uplift and hope- whilst the compositions switch between tender introspection and out-and-out swagger.  I cannot wait to see Karlberg release a solo effort this year- I know she is busy with band music and performances- but there is so much promise and variation.  The music has universality and it would be wonderful to hear the songs played more widely across radio.  Tracks like Seasons in a Day and Restless Mind could alternately play across Radio 1 and 2- the former being suited for that audience; the latter for theirs- but the truth is, the music could easily slot into any radio station.  There are no walls and divisions in the messages and compositions.  Seasons in a Day is one of Karlberg’s proudest achievements and one of the most personal statements from an artist with a clear sense of identity and strength.

Seasons in a Day has gained a few listens across SoundCloud and YouTube- to my mind, it deserves more attention and views- but the social media crowds have been keen to highlight a track with a terrific consistency.  From the early notes you get recollections of a young Nick Drake and his haunting refrains.  The acoustic guitar finger-picking and notes put me in mind of Five Leaves Left and Bryter Later.  With its pastoral/Folk elements, there is a nod to Karlberg’s earliest days and her love of acts such as Bon Iver.  Without a word being evoked, you are transformed somewhere scenic and befitting of the song’s title.  The seasonal and changing sound- the introduction gives impressions of summer’s warmth and the grace of autumn- puts your mind in a better place and makes you smile.  Not only is the guitar playing exceptional and original- few guitarists give new ideas and room when it comes to acoustic introductions- but it is impressive to hear Karlberg completely in control and lost in her music.  There are doubts and questions in the early stages of Seasons in a Day.  The central character- whether Karlberg is using herself as the heroine in the song- has been walking road for years and trying to find who she is.  Filled with doubts and concerns- her mind struggling to find truth and happiness- there is that quest to overthrow negativities and discover happiness and truth.  With friends around her- who are meant to eradicate the doubts and fears- there seems to be a lot of confusion and fear early on.  Perhaps Seasons in a Day refers to the way a single day can go through various stages- the cold and uncertain to the positive and light-baring- and that balance of beauty and heartache is perfectly represented early on.  Karlberg has said- when she began music in 2012 and had doubts about it- the need to break away and show a voice that differed from the masses- she grew tired of singers sounding like everyone else and not being original.

That passion for individuality and personality shows itself in a vocal that has enchanted beauty and wonderfully rich harmonies.  Whilst the elliptical and arpeggio guitars have Folk tones- and can be easily compared with masters like Nick Drake- the vocals draw in the Chamber-Pop of Antony and the Johnsons with the intrinsic transcendence of Bon Iver.  The mix of sweet and low notes fuse together naturally and augment and emphasise the lyrics.  You get swept inside the wave-crashing harmonies and the stillborn beauty they contain.  At every turn, I get the impression the song is autobiographical- or at least has a lot of Yui in it.  The girl- the central figure of uncertainty- is trying to find a voice and a sense of satisfaction. Seemingly a “bit distant”- perhaps struggling to find acceptance with some and fighting hard- there is that heart and determination that comes through.  Ascribing some loneliness and soul fallowness- a heart that is not beating as fast as it should- it is an emotional performance that compels the listener to surrender themselves to its purity.  That mix of low and higher notes creates an odd sort of beauty:  You do not hear many singers with such a range, so as such, it may take a few listens for the vocal to truly resonate and seem natural.  Karlberg is a singer that can inject the soulful beauty- everyone from Antony Hegarty to Jimmy Helms- whilst having that sweet and agile side to the vocal.  If you take away preconceptions and embrace the vocal in all its wonder:  You will find so much joy inside Seasons in a Day and what it offers.  As the song progresses, more insight and storyline is revealed.  The heroine- in spite of the distance and aloofness at times- is okay and doing fine.  The song seems to look at the way some people can change moods and attitudes within a day.  Some days can throw so many obstacles and unexpectedness:  We all have to face uncertainty and difficult times.  At the end, everything will be okay in spite of the troubles and strife.  With that calming and trance-like vocal swimming and calm against the ocean; the consistently impressive guitar work keeps the heart beating and the soul enriched.  The blend of fast and consistent strings- against the slower and more emotive vocal- gives Seasons in a Day a wonderful contrast and identity.  That sense of not knowing whether “she’s coming or going” is reintroduced and highlights the confusion the heroine feels.  Perhaps some friends have not been supportive as they should- some people not truly understanding- but it is those that are loyal and loving that eradicates the confusions and loneliness.  Seasons in a Day has a lot of Karlberg in it- that desire for acceptance and belonging- but has such a universal and open-ended potential.  So many of us feel distance and struggle- whether depression or anxiety or feeling lost- and we all seem to go through a rigour of emotions.  The track assesses and highlights the desire for comfort and safety:  Overthrowing those negative people/thoughts and finding a more assured and safe tableaux.  The breath-defying beauty of the song keeps pervading until the final notes.  Such gentility and softness partners with a deep and conscious song that wants you to think deeply and understand what is being said.  Whether I am off the mark- with regards the origins and true nature of the song- it struck a chord with me and really seemed to speak for me.  With that heroine in the spotlight- whether it is Karlberg herself or a friend- you look at someone that has some bad times and shadows- in the end, she will be okay and find her way.

When Crowded House addressed similar themes- in their track Four Seasons in One Day- they address how contradictions can occur within a day.  The bed could feel cold while the blood can run hot.  Whether personal relationship- or struggles with the self- are in the fore:  You can go from elation to sorrow; change to numb and angered over a single day.  Karlberg’s seasons-of-uncertainty track has more personal relevance to it yet has an openness and need to connect with the listeners.  Looking back at Karlberg’s tracks- her early recordings and head-rush anthems- you have an artist that is always moving and has a restlessness.  Karlberg has released some tremendous albums over the years- including YUI and Beauty Within the Beast- and seems at her most assured and stunning here.  Whilst I love other songs she has done- Restless Mind is a song that deserves huge acclaim- Seasons in a Day seems to tie together Karlberg’s past and present together with her musical passions and ideals.  On a lyrical basis, you get insights into a human that is on a path to discovery and seeks happiness.  Whilst a day can see seasons change- friendships and support capricious and nights cold- there's a well-being and security to be found.  When we look at the vocal, you have the inter-gender range and beauty of Antony Hegarty.  The hit-you-in-the-gut lower notes elicit different responses to those high-pitched and angelic notes.  When blending together, you get a mixture of debut album-era Antony and the Johnsons with more current and contemporary Pop sounds.  Bon Iver is an idol of Karlberg and you get that intimacy and frozen beauty that can be heard across For Emma, Forever Ago.  Whilst Seasons in a Day is not as isolated and hermetically sealed as Bon Iver- the oblique lyrics and little concern for personal insight and narrative- Yui Karlberg is more direct with the lyrics and a more confessional musician.  With 2016 promising productiveness and new music:  Seasons in a Day is a confident and memorable song from one of music’s most important stars.

It has been a good review for me, because I get to look at things besides music.  While Yui Karlberg is a great artist with a big future, she has made me connect more deeply with transgenderism and how important it is.  Not many people talk about it and it is not one of those areas that is addressed in the media.  Whilst others fight to have transgenderism discussed and accepted- in should already be; such is the way of the modern world- the music media needs to do more.  I shall bring Antony Hegarty back in- she seems the most relevant artist with regards this point- and how transgenderism is being fought and highlighted.  Back in 2012, Hegarty was interviewed by The Independent and explained his shock with regard’s the attitude of the press.  She stated how interviewers talked (euphemistically, in her words) about the anatomy and were very forward and insensitive.  Whilst it is great to hear about the person behind the music:  Hegarty feels the media does not take golden opportunities to address bigger issues and talk about transgenderism in a positive and human way.  That de-humanisation and (often, degrading) way of speaking seems callous and hugely immature.  Like schoolboys snickering in the playground:  It is shocking that such normality is seen as taboo and abnormal.  While it may not be widespread- with regards the amount of transgender people in the country- that does not mean to say it should be overlooked and derided.  Hegarty explained how she had become accepted- not the case with a lot of peers and friends- and how there is confusion between transgenderism and transsexuality.  With terminology and definition being muddled and confused:  Is it any wonder transgender artists feel such anger and alienation.  Hegarty explained how that alienation (for her at least) can lead to positives:  Make you a stronger person and that growth-through-pain experience leads to great things.  Karlberg has brought transgenderism to my mind and given me a platform- however small or under-subscribed- to address this point and ensure other people open their minds.  There are over 10 million transgender persons on the planet- that number is growing as communities and countries become more accepting- and it is vital musicians promote transgenderism and transfeminism to de-stigmatise it.  In a later interview- recorded in 2014 by Flavorwire- Hegarty spoke candidly about how the word ‘he’ was an invisible pronoun.

By calling (Hegarty) ‘she’ it gave validation and identity:  Something that is lacking and shows ignorance in some people.  Yui Karlberg is an upcoming musician that is keen to keep the topic burning and ensure it is discussed.  Not just having the words ‘transgender’ and ‘transfeminism’ on her bio; she promotes it and compels other to discuss it too.  That is a brave and noble move from a musician that wants people to think deeply about something that is important and very personal.  There is still that reluctance to ‘accept’ transgenderism:  Karlberg is going a long way to ensuring attitudes change and we all become more open-minded and human.  When we look at the music; there is so much to recommend and point to.  Whilst Karlberg has been performing a string of intimate gigs- smaller venues and crowds- that is not to say she has niche appeal and a small fan-base.  Those fan numbers are growing and spreading by the week.  That loyal core promotes her music whilst new appreciators are coming in and discovering a rare artist with a definite future.  Seasons in a Day is a perfect representation of what Karlberg is about and how effective she is.  I am not sure what the plans are for 2016:  Whether there will be a new E.P. or a string of singles will be unveiled.  Inspired by Thai music- not surprising given Karlberg’s heritage- and modern artists like Sanitgold and Rhianna:  You have an artist that is very unique and should inspire many others.  That central voice has the depth and glorious power of Antony Hegarty and Justin Vernon but is capable of a special intimacy and universal passion.  Those distinct contrasts and blends feed into music that is affecting a lot of listeners.  Based in Bournemouth, it would be great to see Karlberg perform a few gigs in London- and travel around Britain- and amaze the crowds here.  I feel Karlberg will have a prosperous year and showcase a lot of great songs.  Before completing it is worth readdressing the importance of evolution and vocals in music.  If you have a very special and powerful voice- which Karlberg does- you are much more capable of reaching a wider audience and ensuring your music is remembered.  The mainstream has too few genuine singers who stick in the memory.  There is too much disposability and featherweight vocalists around so it is always pleasing discovering a singer with a lot more depth and ability.  Karlberg is a musician that wants to get people talking and ensure the music is allowed exposure and consideration.  An artist that is difficult to compare with anyone else- one of the most unique I have encountered- that success and evolution is no happy accident.  From the early days as a Folk artist- and compelled by heroes such as Bon Iver- the music has transformed and grow into stunning Electro.-Pop moments.  Those Folk elements still remain:  The songs are broader and more urgent; the vocals more assured and affecting- everything has improved and grown.  That growth may have resulted from confidence and acceptance- lots of fans and supporters embracing Karlberg and the subject of transgenderism- but I feel like she wants to get more people converted and talking.  Take some time to discover a musician that possesses a fantastic sound a consistent songbook.  The pleasures and moments you can take from Yui Karlberg make it all worthwhile.  She is an artist that addresses the wider world- universal subjects come into the music- but is keen to look at personal growth and feelings.  In a world where there are still too many narrow and close-minded people; we all need to do more to ensure attitudes change and acceptance reigns.  Whilst transgenderism may be a subject that will take more time (so it is properly accepted) one thing you cannot ignore…

IS the power of Yui Karlberg’s music.

[youtube https://www.youtube.com/watch?v=bAt4jm7c8uo&w=560&h=315]

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Follow Yui Karlberg

 

Official:

http://yuikarlberg.wix.com/yuikarlbergmusic#

Facebook:

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

Twitter:

https://twitter.com/YuiKarlberg

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Music:

https://soundcloud.com/yui-karlberg

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Videos:

https://www.youtube.com/channel/UCn_ebkcntYmnEL0vMIAGiLA

TRACK REVIEW: Robert Lane- My Love's in Deep

TRACK REVIEW:

 

Robert Lane

 

 

My Love’s in Deep

9.6/10

My Love’s in Deep is available at:

https://www.youtube.com/watch?v=N64Z9YFRBzE&feature=youtu.be

RELEASED: February 4th, 2016

GENRES: Pop

ORIGIN:

Birmingham, U.K.

The extended E.P., Ends and Starts is released on March 26^th.  It can be pre-ordered via:

http://www.fishrecords.co.uk/robertlane/robertlaneendsandstartsextendedep.html

TRACK LISTING:

My Love’s in Deep

Feels Like 5000 Miles

Break My Heart Blues

Willful Independent

Teardrop Tattoo

Alone Now

Mary’s Theme

Launch Date:

Birmingham Museum and Art Gallery on the afternoon of the 26th of March

E.P. tour dates:

06/02 Albion Brewery Bar, Northampton

13/02 Busk Love Folk Festival, Southport

24/02 Bury Songwriters Circle

25/02 Speakeasy, Sunderland

26/02 Launderette Sessions, Durham (supporting Bob Fox)

27/02 Suddabys, Malton

21/03 Stafford Gatehouse (Supporting Kelly Oliver)

26/03 Album launch Birmingham Museum and Art Gallery

01/04 Foley Arms, Malvern

03/04 South Hill Park Arts Centre, Bracknell

08/04 Kontra Roots, Finnedon

09/04 Old Cock Inn, Droitwich

14/04 Southside Blues, Birmingham

27/04-03/05 Tour of Germany

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WHEN considering today’s featured artist it provokes me to...

Look at a different type of solo artist; the importance of character and charm in music- in addition to the discipline of being an actor and musician.  I will start off with the little point which is an interesting one to raise.  A lot of the upcoming musicians tend to focus predominantly on music itself.  Rarely do you come across a musician that exists as an actor- or has another discipline to their name.  It may seem like an irrelevant point to make, but it interests me to see how acting translates into music itself.  I have reviewed a couple of actors- who are musicians too- and always find the performances and songs that little bit more special.  Perhaps it is the skills involved within acting- projection and performance- that easily leads to some rather accomplished music.  I am not sure, but what I do know is the actor-musician label should not be one open to derision (it can often get a bad reputation).  If you look at some T.V. stars that have made a stab at a music career- I shall name no names here- their attempts can be summed up as ‘mixed’.  You get a few actors who can deftly amaze in music- bringing their skills and personality to great songs- but many come off embarrassingly short.  In modern music, there are a lot of singers/musicians going into acting; the reverse is also true.  Perhaps the two areas have a closer link (than I imagined) or there is something inherently attracting about a music career- something an aspiring actor cannot refute.  I raise the point because my featured artist mixes acting with music:  A talent that is making in-roads in both fields.  If you have not heard of Robert Lane- he is one of many making their way through right now- then yu will do soon enough.  One of those honest musicians toiling and crafting their current sounds- trying to get as many as possible engaged and listening- this year will see his extended E.P. dropped.  That seven-track record showcases a unique talent with a different way of working.  I have mentioned Pop music a lot recently- and the much-maligned attempts from our current crop- but it needn’t be that difficult.  Before I carry this point on, let me introduce Rob Lane to you:

“Robert Lane is a singer songwriter based in Birmingham.

Robert’s musical path began with liberating his brother’s guitar from a bedroom cupboard. “He’s eleven years older than me so he had all the cool toys, including this guitar. I asked if I could have a go or even borrow it, he always said yeah sure tomorrow. So in the end I went into his room one day when he was at work and sat on his bed playing it. I did this for a week or two, having to put it back in his cupboard before he came home. I couldn’t re-string it as a left handed person should do as that would give me away. By the time he lent it to me legitimately I had learnt too much to start again left handed and so to this day I play the wrong way round.”

Inspired to write and perform by the likes of The Beatles, Pete Townshend, Rufus Wainwright and Ron Sexsmith, Robert played with various bands as a guitarist before taking the decision to perform as a solo artist.

Robert was chosen by the LG Arena to perform before concerts by Dire Straits front man Mark Knopfler, BBC Sound of 2010 winner Ellie Goulding and international superstar singer/songwriter John Mayer. In May 2013 he returned to the Forum Live to play before Eric Clapton’s main stage appearance. In August 2013 he was one of 15 songwriters selected to attend a song writing retreat/course with Kinks front man Ray Davies. Robert has appeared at Beverley Folk Festival, The Edinburgh Fringe Festival, Birmingham Artsfest and The Tenby Blues Festival as well as venues including Birmingham's Glee Club and Jools Holland's famous venue The Jam House. He has supported a wide range of performers including Nell Bryden, Polly Paulusma, Gary Knock, Lotte Mullan, Paul Liddell, Alice Gold, Cattle and Cane, Jazz Morley, Edwina Hayes, Dan Wilde, Jess Morgan, Steve Gibbons, Jay Leighton, Dan Whitehouse and Steve Ajao.

As well as writing and performing Robert works as a guitar teacher and workshop leader for musicians of all ages. “I’ve learnt an awful lot whilst teaching. Sometimes you have to find new ways to explain things you haven’t thought about for years, and in doing that you get a new understanding of them.”

He’s worked as an actor, comedian and shoe salesman. “I’ve performed in some very strange places…a shed, a tree house, busked on the street, art galleries, in a glass box for 6 hours on BBC3…strange but wonderful.”

Robert’s work as an actor and teacher has brought new skills and realisation into his music.  His exposure and work with musicians/actors has enforced realities and truths about the industry.  These realisations come through in the music which distinguishes itself from what is out there.  So many Pop crop wannabes are throwing the same old jams out there:  Those love songs with a few chords to their name.  Away from the derisory and ill-fated attempts at Pop:  There are artists that are doing something different and exciting.  Robert Lane- to be fair is not a pure Pop act- plays Acoustic, Rock and Alternative sounds- infuses them around a Pop base.  What impresses me about him- and one of the reasons for assessing his music- is the charm and charterer that emerges from the music.  Maybe that stems from his natural acting ability- an issue I will have to explore more in future- but you hear that smile and depth emerge in every word.  Not someone simply going through the motions:  The songs he puts forward stick in the imagination and showcases a natural talent who wants to keep making music.  It is often hard bringing new light when talking about solo acts- I have been doing this for so long now- but Robert Lane is an artist that subverts preconceived expectations.  Over the years, he has performed at a string of festivals- and supported an array of great musicians- and has grown in confidence and stature.  He is an artist that manages to balance his many endeavours- from acting to teaching- whilst ensuring the music is stronger for it.  Lane takes some well-worn/traditional themes- love’s strife and the unfairness of relationships- but ensures there is much more originality and diversity across his sounds.  Quirky tales and wonderful charterers mix with songs about wit and confessional moments.  It is clear to me Lane has gone to great lengths to ensure his music has its own mark and distinction.  Not an average Pop singer:  An artist that has a unique flair and voice that should be fostered and encouraged.  His E.P. is available to order and shows what a proposition he is.  The consistency and breadth across the E.P. mixes the themes of heartbreak alongside charming tales and songs filled with imagination.  Birmingham is perhaps not a region that has produced a lot of current masters- Mike Skinner was the last great musician from here- but there have been some legends who hail from here.  Everyone from Jeff Lynne (E.L.O.) to The Beat; Duran Duran to Black Sabbath:  There have been some terrific musicians that call Birmingham home (or hail from nearby).  Lane wants Ends and Starts (his new E.P.) to inspire people and get fans talking.  Having collected some dedicated followers across social media- all attracted to that very special type of music- you would not bet against those numbers swelling and expanding.

Seeing as I am a fairly recent fan of Robert Lane:  It was apt to have a look-back and investigate his earliest moments.  Having been performing music for a while now, I was expecting his sapling songs to be a little under-formed and slight.  Well Adjusted was unveiled six years ago and shows how confident he was from the start.  Catchy and memorable- I get touches of Oasis, The Beatles and Bob Dylan at various intervals- it is a song that showcases a terrific and emotive composition.  Our hero holds a line he cannot cross- he feels lost and disconnected- he speaks to a heroine that thinks he does not care.  Unable to bare the tensions and realities of the situation- hoping there is more than this- no-one does it “like I do”.  The well-adjusted star boasts incredible vocals- the lead performance is emotive and passionate throughout- bringing in huge backing vocals to enforce the lyrics and add to the mood.

  Lost But I Can’t Care is another song that showed Rob Lane’s many sides and abilities.  A softer and tenderer vocal- compared to a track like Well Adjusted- we go into more Folk/Soul territory as the young musician shows his adept ear for melody and a catchy chorus.  Few artists craft such melodic and memorable tracks so early in their career.  In the earliest cuts, I was swept in the graceful and gorgeous moments; the strong and nuanced lyrics- everything hangs together and Lane sounds completely natural.  Giving the impression he has been playing for decades:  Such an assured and confident artist grows in strength with every release.

More recent tracks like You Want It Both Ways and One of Those Guys demonstrate that evolution and Lane’s ability to craft classic-sounding Pop- the likes of The Beatles keep coming to mind- whilst throwing wit, intelligence and mature into the mix.  Those big and memorable choruses can be found once more- You Want It Both Ways’ is particularly stunning- whilst the compositions have retained that mix of Folk, Pop and Alternative blends.  What you get- comparing the earliest sounds with the songs produced a couple of years back- the consistency and quality.  Lane does not sound fatigue or lacking any inspiration:  If anything, his songwriting is more ambitious and he brings new ideas and sounds into the frame.

  My Love’s in Deep is perhaps Lane’s most assured and stunning cut to date.  The composition employs more grit and gristle- some scratched electric guitar strings- and boasts Lane’s most soulful and direct vocals ever.  It is a song that marks new life and direction whilst retaining his identity and sound.  I will be fascinated to see if the E.P. continues the themes of My Love’s in Deep- it may stray away and concentrate on other areas.  What I do know is how confident Lane appears right now.  You can tell his years of performance have strengthened his music and given him fresh inspiration.  This will mean future records carrying this trajectory on and building on these exceptional foundations’.

My Love’s in Deep is Robert Lane’s latest single, and- judging by the feedback across social media- it has connected with a lot of people.  The opening strings race and hustle into life.  Sprightly and ready for action:  You get a boisterous and invigorated introduction that gets the listener involved and ensures their attention is focused.  Unable to sleep- with his love being in deep- you get Country-esque twangs and Folk threads coming out in Lane’s vocal.  With perhaps a touch of early days-Dylan in the delivery- that acoustic guitar sound reminds me of his earliest work- the song starts off with a solid and impressive flourish.   Having lost his “last chance to leave” I began to wonder whether the hero was in a rather struggling bond.  Maybe the relationship has felt strains and seems beyond the point of repair.  Most songs that deal with love both address break-up and its heartache; some look at casting blame and pointing fingers when necessary.  As the lyrics start to unfold, I realise my early interpretation is a little wayward.  The hero continues his story and looks back at when the two first met.  That vintage/classical storytelling- the superiority of the ‘60s songwriters against the grain of some modern-day cliché- boasts a terrify narrative and charm.  The duo- you start to picture what the girl looks like- met by chance it seems.  Perhaps the heroine is someone Lane knows- or has seen around- but he always wanted to see her one-on-one.  That cute and almost teenage-like meeting- perhaps it is a recollection from an older bond- see the girl inviting our man to see a band.  The hero becomes god-smacked when the girl takes his hand- enforcing that innocence I get from the song- and the bond starts to blossom.  As they go and see the band- that feature’s the heroine’s best friend- you start to explore possibilities and various images.  Our boy cannot sleep and it seems like this girl has made a huge impression early on.  Having lost that chance to leave- you wonder whether he wants to leave or feels he needs to- there is no turning back.  Perhaps this is new territory- or the romance is moving along too quickly- but you get some nerves and hesitations early on.  With the initial stages laid out- the hero letting his voice campaign and explain- a beautiful compositional punctuation adds evocation and atmosphere.  Blue-inspire guitar soloing sits with energised and heartbeat percussion to move the song on and give the listener a chance to reflect.  Lane is one of those artists that is capable of inspiring various parts of the body.  The lyrics and vocals get in the mind and heart- that mixture of thoughtfulness, romance and intelligence- whilst the composition ensures the feet and arms are activated.  I love the layers and different genres Lane can bring into a song and make everything sound consistent and completely natural.  That authority and bravery emerges throughout My Love’s in Deep.  Following that chugging motif, we hear more of the story.  The two- our boy and his girl- sojourn to a party after the gig and that is when the first kiss arrives.  The hero did “not stand a chance” and is taken unaware.  Recollections of early-days Beatles- the songwriting style of Paul McCartney especially- comes through in a song that never fails to put a smile on the face.  As they are at the party- and that kiss has been planted- the two go for dinner (the girl would not let our man pay).  The heroine is used to having her own way and there seems to be differences in this relationship.  As things have continued and flourished- from those early days they are now more settled- there is no guessing where things are headed.  Those nervy and quick-moving moments are in the past:  What we have now is a love that seems serious yet has uncertainties.

Lane has a beautiful knack of storytelling and narrative- perhaps not surprising given he’s an actor- that moves things forward but ensures the listener can envelop themselves in the lyrics.  The coming-together/bond has been, in the words of our hero, an “unqualified success”- almost as quirky as The Streets line in Let’s Push Things Forward:  “I wholeheartedly agree with your viewpoint” against scenes of disagreement and argument- showing a distinct Britishness and distinct pen.  With so many songwriters being overtly direct and blunt- their choice of language and words lacks imagination and surprise- Lane has a distinct dictionary and a great turn of phrase.  Unable to sleep- in the grip of this deep love- the hero seems invested and stuck (perhaps not the best word) in the relationship.  That infectious and rousing chorus is reinterpreted to emphasis the points and get the listener singing along.  One of the most catchy and unforgettable choruses I have heard all year- an out-and-out stomper- the song’s final moments are a riot of uplift and addictiveness.  The guitars chug and spark; the percussion rifles and smatters- that voice continues to climb and strike.  A coming-together of all Lane’s strengths and assets:  My Love’s in Deep is his most accomplished and impressive song so far.

   Ends and Starts’ lead-off song- and perhaps one of the most upbeat that will appear in that collection- shows just how confident and accomplished Robert Lane is.  I have heard his older material- and how assured he appears on those cuts- but his latest revelation is the most memorable he has ever produced.  The lyrics bring together childlike innocence- a love story that could be taken from 1950s Rock ‘n’ Roll- with something modern-day and contemporary.  With that in mind, the composition has a great blend of Rock, Blues and Alternative.  Robert Lane is an artist with one mind in the past; the other firmly planted in the future.  The way they come together (on his latest track) will appeal to a wide range of listeners and those who love their music with depth and nuance.  I find myself revisiting the song and becoming entranced by the storyline and that final coda.  There are so many strands and little touches that reward a devoted and passion listener.  In the solo world, it is so challenging discovering an artist that differs and really sticks in the mind.  Robert Lane has shown how he can negotiate and overcome hurdles- an artist that has continued to play for years- and this is a good thing.  My Love’s in Deep is a stunning number from a songwriter that ranks himself among the most talented and able we have in this country.  Do not let him pass you by.

Ends and Starts is a collection of songs that showcases what a talent Robert Lane is.  Not just reserved to narrow themes and tastes:  The width of genres and subjects explored across the record are hugely impressive.  At the heart is that consistency and core which will ensure his existing fan-base go away very happy.  With every release Lane seems more assured and confident.  As an actor and teacher it is only natural the musician would be able to project and inspire- one of the most credible and respectable actor-musicians working in the U.K.  Bringing influences as wide ranging as Kate Bush and The Beatles into his songs:  You have an artist that has a great love of the legends of the past.  Of course, there is a contemporary edge to Lane’s music- it is very much the sound of here and now- but those older/classic touches mean his music resonates with older generations and more mature listeners.  I got hints of Paul McCartney when listening to My Love’s in Deep:  One of those lovely tracks that could easily have slotted onto Sgt. Pepper’s Lonely Hearts Club Band.  It is a track that has a charmed smile and plenty of character.  Lane is an artist whose lyrics get inside your head and paint pictures and vivid scenes.  Few songwriters are capable of stepping away from cliché and providing music that has character and nuance.  If you have not heard Robert Lane then check his previous songs out- available on his SoundCloud account- and get to grips with one of the rising stars of British music.  With people seeking what London and the big cities are providing music- Birmingham is a part of the U.K. that is showcasing some great artists.  While not on the same level as London, there is evidence to suggest here is an area that could grow (as a musical hot-stop) in years to come.  Robert Lane is a fascinating example of what can be achieved when it comes to music.  Having his fingers in a few pies- as a teacher and actor- you would see him on paper and maybe think this:  Here is another actor who is trying to become a musician!  Truth is, music has always been a key love for Lane:  Acting is just another area that interests him and he loves to do.  You can tell how vital music is and what a passion he has.  From his compositions- that mix Acoustic and Blues together with Pop and Folk- you have a musician’s musician that wants to inspire others.  That will not be hard to do- I know others that have latched onto Lane’s music- and it will be exciting to see what this year has in store.  Lane is going to be traveling across the U.K. in support his new record:  A chance for fresh listeners to come see him and hear those songs in a live environment.  I hope he gets to come to London and give the capital a glimpse into his stunning music.  For now- and with his extended E.P. dropping- it is going to be great seeing just how far Rob Lane can go this year.  I can see more music arriving and the young musician making plans for festivals.

With a ubiquitous and much-need sound at his disposal, it seems like Lane has the ability to translate abroad and have a career there.  It would not be an exaggeration to say he could gain plaudits in the U.S. and Australia.  I mention these two nations- as I have done in a lot of reviews- as they are the most popular and notable nations for new music (Australia to a lesser extent).  The point is, Robert Lane has the ability to get his music heard far and wide- marking him as one of the brightest talents around.  With Birmingham recently voted as the third happiest place to live in the U.K. - a recent survey showed areas of London to be the least happy- fewer sniggers should be leveled here.  It is clear the atmosphere and lack of anxiety in Birmingham works wonder for musicians.  Take away the jokes and clichés- the accent gets a bit of a ribbing- it will be interesting to see if this honorific achievement will reveal similarly exciting songwriters.  I always find it interesting London- with its anxiety and bustling environment- showcases so many unfettered and great artists.   I feel London will relinquish some of its dominance as its boroughs become more compacted and overly-populated.  The sheer numbers flocking to the capital is exciting for music- the range and mass of artists to be found- but a lot of the young artists are feeling the strain.  I talk to many artists from London who all tell me how difficult and challenging life in London can be.  It appears other parts of the U.K. are stealing focus and producing treasures.  Robert Lane is promoting and campaigning hard- with the release of Ends and Starts- so keep your eyes on him.  The solo market is producing a depressing amount of robotic and faceless acts.  From the boring and lifeless acoustic guitar-strumming Pop example; through to the big-choruses-and-uplifting-messages female solo acts:  I get rather red when looking around music at the moment.  Those musicians that strike against the conformity and sheer averageness of music- and the worst traits of the young coming through- should be commended and congratulated.  Not only does Robert Lane stand aside with regards quality and consistency:  The individuality and personality of his music makes him a very relatable and warm artist.  My Love’s in Deep is Ends and Starts’ lead-off song and a great representation of Robert Lane’s music.  Possessing all his traits and ingredients; it is a track impossible to ignore and guaranteed to put a smile on your face.  An exciting and original musician that deserves a wider fan-base; let Robert Lane become a part of your music rotation.  Few truly unique and memorable solo artists are coming through so here is someone…

WE all need to follow.

[youtube https://www.youtube.com/watch?v=N64Z9YFRBzE&w=560&h=315]

___________________________

Follow Robert Lane

 

Official:

https://twitter.com/robertlanemusic

Facebook:

https://www.facebook.com/robertlanemusic

Twitter:

https://twitter.com/robertlanemusic

_____________________________

Music:

https://soundcloud.com/robert-lane

TRACK REVIEW: Hunting Bears- Sweet Anthony

TRACK REVIEW:

Hunting Bears

 

 

Sweet Anthony

9.6/10

 

Sweet Anthony is available at:

https://soundcloud.com/huntingbearsband/sweet-anthony

RELEASED: December, 2015

GENRES: Baroque-Pop

ORIGIN:

Leeds, U.K.

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WITH the raft of Hard-Rock bands that fill my...

daily playlists- I am a guy who likes his bands to be a bit heavy- I am always pleased to review new music- bands that differ from my usual rotation.  In my day-to-day I tend to immerse myself in a range of music- with Rock and Alternative being at the heart- and love to dip into a spectrum of sounds and genres.  When it comes to new music, perhaps the assortment of music is not as varied as you’d always hope.  It is true, there are some fantastic artists fusing genres and crossing boundaries:  Musicians that are rallying against predictable and obvious to provide the public with something genuinely innovative.  My featured artists are a Baroque-Pop band that has opened my eyes to a whole new possibility in music.  Before I come to them, it is worth talking about that genre:  Moving onto investigating consistency and evolution among musicians- concluding with a bit about embracing music that is outside our comfort zone.  Leeds has once more produced another wonderful act- a catchphrase of sorts for these pages- and I never cease to be amazed at the breadth and quality of the musicians that play here.  I shall not wax lyrical (once more) on this subject but it is great to see the city so fervent:  Where else in the U.K. do you get such a range and consistency of music?  Maybe London is boasting the same variety and ingenuity:  Leeds is a constant hotspot that many should look to if they seek something special and fresh.  Bereft of sameness and fatigue:  I can see 2016 showcasing a whole wave of phenomenal Leeds-based musicians.  Pop music is a style and genre that has enormous possibility yet seems to have few true pioneers.  In the mainstream, we still hear too many power ballad-producing artists (normally female) that are aiming at a very specific audience.  It is essential to have a few examples of this type of music- to provide inspiration to young women- but there is a suffocation and over-reliance on rather bland and unoriginal motifs.  The most standout artists- in my view anyway- are those that take that Pop core and mix in other genres.  Whether it is Rock or Electronic ideas; something Folk-based or pastoral:  There are no limits to how far you can stretch Pop to create something sensational.  Baroque-Pop fuses Rock sounds and is commonly played by artists from the U.S. and U.K.  During the 1960s, artists like The Beatles, The Beach Boys and The Rolling Stones brought the style into public prominence.  By the mid-1970s, the popularity (of Baroque-Pop) started to fade due to the rise in Disco and Punk-Rock artists- and the explosion of Punk music for that matter.  With that said, the genre never truly died and gained resurgence during the 1990s.  With acts such as Belle and Sebastian- Regina Spektor and the Divine Comedy displaying immense talent- revitalising the genre:  That has influenced modern artists to keep the torch burning bright.  Designed to be less commercial and more mature- less edgy than Rock- Baroque-Pop incorporates Classical elements and instruments to mix the popularity of Pop with something more cerebral.  Hunting Bears have a little in common with the likes of Regina Spektor and classic acts like The Beach Boys.  Being relatively unfamiliar with Baroque-Pop, it has been great looking into the band and how their sound has developed.  The orchestral Folk-cum-Pop blends of the quintet from Leeds has enthralled and stunned critics and music reviewers.  There are few acts like Hunting Bears which got me thinking about how difficult it is to be consistent in a music scene that sees so much brief fling and beauty.  I have often stuck to a band that seemed promising and amazing upon their first release:  With my heart seduced, said band/act would crumble and feel the pressure of the industry.  It is always sad to see a genuinely promising artist feel the pinch of a jam-packed music climate.  Those artists that can pervade and remain in music are those that deserve a lot of applause and respect.

Day-to-day- speaking with musicians on social media- I hear about their daily woes:  The struggles to get gigs and earn money; the disappointment of underwhelming radio play and patronage.  It is heartbreaking to find great acts so disheartened and despondent.  Passion and purpose go a long way to ensuring musicians survive and prosper.  Away from that, it is the originality of music and the evolutions of music that create footholds.  It is great having an induvial sound- one that has commercial promise but is unexpected too- but you need to keep evolving and provide the listener with new ideas now and then.  Even the legendary acts of old- The Beatles, Led Zeppelin etc. - did not stick to rigid sounds in their music.  From each album, you get new ideas a definite progression.  By the same token, modern-day artists must ensure they keep their music fresh but consistent.  Hunting Bears are looking to create their third E.P. - rumours it will surface this year- but do not doggedly stick to a narrow sound and stretch it across the E.P.s.  Every song has a definite personality and sense of purpose.  While their debut E.P.- 2011’s So Long- was a confident and immediate release; Brother Sister (unveiled in 2014) was a step forward and showed new ideas.  As 2016 is here, the Leeds five-piece will look to keep consistent but ensure their third E.P. has new endeavours and sounds.  Too many music listeners get caught in a ‘comfort zone’ and do not often seek anything that does not conform.  I am sometimes guilty of ensconcing myself within the sounds of ‘90s music and Rock.  I love most genres but do spend an inordinate amount of time coming back to the same artists and sounds.  With bands like Hunting Bears emerging, I have been compelled to broaden my horizons and find like-minded acts.  The recollections Pop past- The Beach Boys’ harmonic, Baroque music for one- sits with of-the-moment Pop and Rock to create something involving and romantic.  The five-piece are not one of these niche bands that will be playing specific festivals.  The guys have a sound that can transcend boundaries and has a universal appeal to it.  All the ingredients we look for are there:  The immediacy and nuance; songs that look at love and relatable figures.  Importantly, the passionate performance and exceptional musicians cannot fail to impress anyone who listens.  I love the E.P.s they have produced already- having gone back and seen what they are about- so am looking forward to finding where they head next.  The Leeds collective has a very popular and marketable sound- the likes of Joanna Newsom showing what can be done (she is more avant-garde but mixes Classic elements together with Folk and Pop) there is no telling just how popular Hunting Bears can become.  Many listeners and music fans are looking for something deeper- that makes them think but ensures it speaks to the heart- and you get that in spades from Hunting Bears.  Let us hope a new E.P. does arrive and the band come and play down south- it would be great to see them arrive in London.

A lot of bands I review tend to have a very small back catalogue- or the song I am reviewing is their first- and that virginal timidity makes it hard to discover how they will mature and develop.  Luckily, Hunting Bears have a couple of wonderful E.P.s under their belt:  I can see how they started out and whether their music has changed at all.  So Long is nearly five years old and is a four-track release that shows immediate conviction and originality.  Mother City is a gentle and immersive song that is awash with gorgeous strings and passion.  The vocal interplay looks at chasing streams to the hills:  An idyllic and riparian scenery unfolds as the percussion adds race and clear movement.  Compiled of live and early-career cuts; So Long is an insight into a tender and young band making their first step.  You get so much atmosphere and live-sounding tangibility in every recording.  Despite the fact, these are early recordings’ it does equate to a lack of development and authority.  The band sound completely formed and tight in every track.  Mother City boasts a range of wonderful vocals and evocative lyrics:  The band create a song that lifts your spirits and makes you imagine what is being sung and unfolding.  Holes In Your New Shoes ends the E.P. is one of the most emotive and reflective tracks across the E.P.  The lyrics see the leads ask the question:  “Who says I’m to blame” for a static surrender?  Creaking stairs and confessions- “I’m the oldest man I know” show a unique lyrical bent and a charming sense of storytelling.  Colours are being turned black and blue- the old man has holes in his new shoes- and the song seems like a fable or nursery rhyme.  Differing across the E.P.- in terms of the production sound and quality- you have an E.P. with plenty to recommend so many different ideas.  The E.P. has a little bit of a two-sided sound- live tracks and early recordings but this does not affect the consistency and overall tone.  If anything, it provides precious insights and revelations from a band that sound stunning from the offset.

   Brother Sister was recorded after a three-year ‘hiatus’- the band working on new songs and performing across the country- and does not lose anything at all.  You might think that gap would see a slight dip in quality- the band unsure of what direction they are taking- but the performances between E.P.s leads to a stronger and more confident E.P.  Julia opens things and is a crisper and more affecting song.  Right from the off, you become entranced by those haunting and ethereal vocals.  Choir-like and beautiful:  The heroine has a knife in her back and is feeling the strains of the world.  Looking at characters and figures- rather than making their songs first-person and love-based- makes the music more interesting and original.  It is here we get more musical ideas and tighter performances.  The band bring more strings and elements together- violin, harp and piano- to fuse Folk, West Coast harmonies and Pop into a rapturous blend of sounds.  The production is sharper and more polished allowing all the elements and notes to radiate through.  Her Velvet Dress is one of the most arresting and stunning songs the band created (to this point).  Pin-sharp vocals present redemptive vocals and the need to defeat the odds and remember a wonderful velvet dress- when things were perhaps a little better.  Tears are being fought and the hero is struggling to look at life’s positives.  Maybe the sweetheart has broken up or moved:  That longing and remembrance is truly affecting and memorable.  You can picture the scenes and there is something classical and old-time about the song.  It seems like a literary chapter and has its heart in a classic text.

The band have developed and improved between E.P.s.  Their debut was confident and showed what they were capable of.  If anything, Brother Sister is a sharper; more layered and nuanced E.P. that fully exploits their shared talents and genre ambitions.  You get more ideas and a crisper sound (compared with So Long) and that shows a natural evolution and step.  This means a third E.P. could take another step forward and bring in yet more sounds and ideas.  Whether we will get a Brother Sister-sounding E.P.- that continues where their last record left off- or a reinvention, I am not sure.  Sweet Anthony suggests there will not be a big departure.  You have a band that has fresh influence but keen to keep their well-formed and unique sound intact.

Sweet Anthony has been claimed to be bolder and more experimental than before- the assessment from the band after a recent interview.  The band stated- in that same interview- with each song/E.P. they bring in new ideas and show a natural shift.  With Sim on keys- a new dynamic change- their latest offering shows fresh insights and moves from a band constantly changing and improving.  I can feel the new-found hero/heroine influences from Joanna Newsome and Sufjan Stevens- artists Hunting Bears have been digging recently.  Bringing the U.S. giant into a British palette- the storytelling and sensibility of the lyrics- shows a fresh story with a new central figure.  Whereas previous characters like Julia- from their E.P., Brother Sister- we have new perspective and incentive.  The opening moments launch straight into a wordless vocal.  Instantaneous and unexpected- the band’s past songs would suggest a building composition- you are taking aback by the vocal force and urgency.  That tone continues and is backed by soulful and atmospheric keys.  Right from the opening notes, you sense new direction from a band that are probably revisiting past Soul masters and U.S. idols.  I know the likes of D’Angelo have been name-checked by the band- one of their new songs has that vibe to it- and I get the impression they have shifted away from The Beach Boys/Bob Dylan avenues- for a few songs anyway- to embrace artists that are perhaps bolder and bracing.  The band has not betrayed their roots for one moment:  Sweet Anthony is an updated version of Hunting Bear’s established sound and is a song that (probably was) cemented after some experimenting and science in the studio.  It seems “Hell this peace we’re chasing” and seems to look at a distant relationship that is causing strain and anxiety.  I know the band’s member find themselves in a long-distant relationship- their new material is more personal and intimate- so Sweet Anthony seems to be the reflection of a very personal and current malaise.  Whether the lyrics were penned by one particular member- or it is a collaborative effort from the group- you know each musician finds relevance and truth in the words.  The song is almost a call-across-the-oceans:  A desperate cry to try and bond too-far-apart hearts.  In past releases- especially Brother Sister- the band have relayed stories from people close to them.

The songs came from heartaches of friends and close ones:  Now, we have something more particular to the band and ‘traditional’ perhaps.  As the song continues, the fight seems to be “our own creation”.  The schoolyard tricks and infantile games have caused a separation and the distance between them.  The lush and harmonic vocals- that sway and intertwine like the rapturous flight of birds in the summer sky- you get confessions and honesty from the heroine.  It seems like her man has been pushed apart but it may not be so one-sided.  Too in love to play politics and be dishonest:  Maybe things- the way they sit right now- are for the best and the only way they can be.  Whatever the reality and circumstance- where the hero may be right now- it is causing a lot of strife and upset.  The band’s stunning and soulful harmonies- the staggering vocals perhaps reveal the best any band has to offer- provide candour, tranquility and strange beauty.  The tetchy and heartbeat drums add Soul edges to the track:  The instrumentation sees traditional Folk ideas mix with something more experimental and mind-altering.  Unlike any previous song- or quite with the same effect- the lyrics and notes are bent and elongated to create something heavenly and transcendent.  With musicians like Joanna Newsom and Dirty Projectors counting as influences:  You get Newsome-esque harmonies (with those wonderful love songs) and something innovative and genre-splicing.  ‘60s Folk and ‘70s New Wave combine in a marriage bed that gives Sweet Anthony huge nuance and repeatability.  Upon the first spin, it is those immense and captivating vocals that hit me.  Later on- when I replayed the song- composition touches and lines of the song find influence in my brain.  The heroine has demons and the Holy Ghost breathes down her neck.  The hero has given a lot and means a lot to our lead.  That need for “mutually-assured forgiveness” comes out and mistakes have been made.  It is rare to see a singer cast blame on themselves and perhaps confess to transgressions and immaturity.  Whether there has been a communications breakdown or some petty argument- the hero may have run away to try and find space- you wonder what provoked the current situation.  My mind being romantic and purist:  I see a love that exists with few arguments but obstacles to overcome.  Perhaps the duo is in communication but find them separated by seas and land rather than ideals and party lines.  The emotions are raw and revelation-spilling:  Whether that openness can lead to reconciliation and togetherness is uncertain.  Before the 3:00 mark- and after the vocals bid to sweet Anthony- you get glitch and quirky guitar sounds that fuse elements of Vampire Weekend and their ilk- to my mind at the very least.  The bond of twiddling and racing strings- going to stick with Vampire Weekend- produce a call-and-response with the violin, that mixes Classic with Indie into something contemporary and traditional.  The band produce one of their most interesting and developed composition that shows them embrace new influence and show fresh confidence.  While the group has mentioned Sufjan Stevens, Talking Heads and The Punch Brothers- when chatting to The State of the Arts- Hunting Bears are no less experimental and impressive.  You got little hints of other acts/genres but all presented in a unique way.  Caught in the breeze and wave of the strings- joined by aching violin towards the latter stages- it is impossible not to fall for the song.   Darker and haunted strings fuse with hissing percussion and starlight guitars:  The resulting excelsior is a potent one indeed!  Not only does the compositional conclusion please the senses:  You get narrative and fill in pieces of the jigsaw.  Whereas most of the lyrics are portrayed within the opening half- and set out the realities and circumstances of the situation- now you get fresh revelation and possibilities.  With final harmonies- that sound graceful and heaven-reaching- the band leaves the listener wondering how things worked out.

Whether Sweet Anthony sees a satisfactory conclusion- the lovers make it to one another or open the lines of communication- it is an engrossing song that shows the band at the peak of form.  They have stated how they are keen to experiment and progress as a band- not stand still and trot out the same songs.  Sweet Anthony is a wonderful glimpse into their upcoming E.P.  A song that is insistent and memorable straight away- they go in harder and more assured than ever- it marks a progression and confidence they have not shown before (not to this extent, anyway).  The composition seems to have brought in new elements- the keys stand out as do the string sections- whilst the entire band interplay shows a terrific bond and affection for one another.  The performances are tight and the intuitiveness borders on telekinetic.  How the song truly began- and whether rehearsal saw it bloom and form- it is clear a lot of work and passion has gone into its creation.  The melodies, vocals and harmonies have surpassed anything Hunting Bears have attempted before- in terms of range and beauty- and the five-piece sound as essential and mesmeric as ever.  Sweet Anthony marks a shift from impersonal narratives- bringing in friends’ experiences to their songs- towards a more personal and self-reflective tone.  While a lot of bands would look at these themes- distant love and the need for a happier bond- with cliché and rather lipid presentation; our band demonstrates a rare talent that shows immense power and beauty.  Congratulations must go the Leeds outfit shows they are one of the most promising and consistent bands working in the U.K. right now.

So Long and Brother Sister showed how confident and unique Hunting Bears are.  The development and consistency between the E.P.s highlighted a band with a lot more years ahead of them.  I am excited to discover a quintet with beautiful and nuanced sound.  Sweet Anthony is their latest offering a tantilising glimpse into what 2016-music could reveal from Hunting Bears.  If you are a fan of the ‘60s masters like The Beach Boys and The Beatles- who took Classic and Folk elements and sprinkled them inside Pop- you will find a lot to love about Hunting Bears.  Whether they go to create their own Pet Sounds or Sgt. Pepper’s in years to come remains to be seen.  What we have right now is a young band with plenty of ambition and ammunition.  They have a great following across social media and are being touted and promoted across a range of media sources.  Interviews and reviews are getting their music out there:  The band’s profile is building and that can only be a good thing!  Of course, it is the music they play that is speaking to those who like their music with depth and emotion.  Ensuring listeners are not divided or exclude:  What you have with the band is an all-encompassing and warm sound that has so much passion and tenderness to be found.  Leeds has once more- hardly surprising to me! - pushed a band forward that puts the city right back in the focus of the music press.  London’s dominance and ruler-ship seem to exist out of convenience and sheer numbers- close to the majority of the nation’s press and with a larger population- but Leeds is not exactly inferior when it comes to quality and diversity.  The mark of a great city is one whose musicians do not trot the same sounds:  They show innovation and the desire to separate themselves aside from the masses.  L.A. and New York boast an enormous amount of possibilities and artists:  Each doing something different; here are cities that are restless and hugely impressive.  London too has that sense of character and work ethic:  Leeds can be mentioned alongside those much-heralded hubs for musical excellence.  Baroque-Pop is a genre (sub-genre) I was only familiar with via my association with bygone acts- The Beatles and those that popularised the genre throughout the ‘60s.  Whilst we saw a slight dip in the 1970s- musicians influenced by this type of music- the 1990s and 2000s saw that slump conquered.  Of course, it would be narrow and foolhardy to mention Hunting Bears alongside The Beatles and The Beach Boys.

Not in terms of quality- the Leeds bands are exceptional- but our five-piece have so much more to them.  Influenced by West Coast melody and Gospel-tinged harmonies:  They fuse ideas and genres into a sound that is very much theirs.  Reminding you of the legends- whilst having a very contemporary relevance- there are so many ideas and layers inside their stunning music.  You find yourself coming back to the songs and finding things you missed the first time around.  This nuance and authority stand them in very good stead.  Too many modern acts are so thread-bare and unexceptional, you crave something with more substance and meaning.  With so many of their peers falling at early fences- the strains and demands of music are too much- this Leeds quintet is here to stay.  Whilst they have had a slight change- they started as a six-piece- that has not compromised their music and integrity.  This year, we will see another E.P. drop- Facebook suggests the guys are recording at the moment- and that can only mean tour dates and performing across the U.K.  I hope festivals and venues snap these guys up and ensure they make it onto their stages.  I feel too many of us- I include myself with this point- tend to get too safe when it comes to our music tastes.  When we see a unique and unusual act come along- that strays from what we are comfortable with- the noses turn up and the eyes turn away.  It is true, there are so much rubbish acts and waste in music- acts that deserve very little acclaim- but there are a huge amount of acts that deserve a lot of acclaim.  If we all broaden our horizons and embrace something new; that can lead to a broader and more educated musical palette.  Hunting Bears are accessible and by no means an acquired taste.  Sweet Anthony is where they are headed but have a look-back and see where they came from.  A restless and innovative band that could ensure for many years to come- add to their fan-base and discover something fantastic.  Consistency is a hard thing to obtain in modern music.  The level of competition- tied with the over-crowded population of musicians- means it is harder than ever making a lasting impression on the scene.  So many new artists find the realities too daunting:  They will make a few good songs before tiring under the lash of demand and day-to-day work life.  It is a hard graft ensuring fans and media appreciate your music.  Not only do you have to campaign and ensure people listen to what you have produced:  There is that demand to keep your music consistent yet evolving.  It is no good sticking with one formula and repeating things- people grow tired and will look for something new- and the challenge of originality and evolution is scaring a lot of people.  I am looking forward to seeing where the Leeds five-piece are headed next.  It is sure to be exciting and- if Sweet Anthony is any sort of guide- it will lead to a lot of new fans coming aboard.  If you are (currently) not one of them…

SORT yourself out, sharp!

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TRACK REVIEW: The Ronaynes- Panic Attack

TRACK REVIEW:

The Ronaynes

 

Panic Attack

 

 

9.5/10

Panic Attack is available at:

https://soundcloud.com/the-ronaynes/the-ronaynes-panic-attack-mp3

RELEASED:

2015

GENRES: Grunge; Rock ‘n’ Roll

ORIGIN:

Glasgow, U.K.

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IT is challenging being in this line of work and coming up with anything...

new to say.  Not in a bad way:  I just encounter so many bands, it is near-impossible putting a different spin on things.  Whilst The Ronaynes play music with plenty of life, quality and originality:  I find myself (briefly) back in Scotland.  I am splitting reviews for the next week- a lot of them feature artists from Scotland and Yorkshire- so it is good to start things with a look into one of Glasgow’s best kept secrets.  Before I come to them, it is worth revisiting the music emerging from Glasgow; the importance of mixing genders into a band- looking at the genres of Grunge and Rock ‘n’ Roll to complete things.  So many music fans are looking around searching for those quality bands:  Those that can play heavy and hard but make sure there is nuance and repeatability to be found.  With so many brief and disposable bands coming through- that drop a great album only to disappear from view- the challenge is finding an act that can endure and improve.  With the sheer amount of competitors flooding the market, the question is this:  How do you make sure you are in the public’s attention years down the line?  The simple answer is ‘you can’t’.  Music today is such an overcrowded and unpredictable thing:  You never know which artists are going to go the distance.  That said, I can always detect an artist that has that potential:  Early sounds that have the potential to lead to long-term success and acclaim.  Away from the obvious avenues for new music- those big cities of England- it is great to see Glasgow producing so many terrific and unique artists.  Historically, the city has produced a wide range of artists who have made their impressions on the music world.  From Franz Ferdinand’s arty Rock to Primal Scream’s legendary music:  Glasgow is a city that has not exactly slouched when it comes to those legends and leaders.  Throw in Marmalade, Mogwai and Belle and Sebastian:  Softer ‘middle-of-the-road’ acts such as Deacon Blue and The Fratellis call Glasgow home.  I often speculate- when assessing a city or area- what causes the type of music and quality that emerges.   Glasgow prefers to play with that core of Rock:  Throwing in Electronic and Dance elements; that primal and exciting core seems to mandate a lot of the output.  Whilst areas like London have more Pop and Soul artists:  Glasgow has a tougher edge and more grit than elsewhere in the U.K.  This can lead to some homogenisation- you have to dig deep to find great Pop, Electro.-Pop and Folk singers- but the Rock bands they are producing rank among the best of the moment.  I have listed a few legends- some of them still playing today- and that is just the tip of the iceberg.  Rock (or Rock ‘n’ Roll) is one of the hardest genres to make new and original.  There is mobility, but due to the sheer number of bands doing the same thing, separating yourself from the pack is extremely difficult.  I encounter so many bands that are cut from the same cloth:  At the end of the song, you hardly come away overly impressed or surprised.  Luckily, The Ronaynes have taken the time to ensure their music leaves the listener wanting more.  Whilst they do wear a few influences on their sleeves, the music they are coming up with has enough verve, passion and invention to stand them in good stead.  Here is a band that is building slowly and ensuring their music has plenty of nuance and appeal.  I think so many acts are nervous they need to put out music:  You get rushed and hurried songs that possess no depth and intelligence.  The Ronaynes have grown up listening to Grunge, Rock and Indie artists- from the ‘70s/’80s legends to the upcoming acts via Nirvana and their Grunge peers.  With so many boy-only bands out there- I am stunned there are so few mixed-gender acts- it is always a nice surprise finding a band with a female lead.  It is 2016 but there is that depressing over-reliance on the 4/5-piece band with only men among the ranks.  I guess it is not their fault:  Diversity and difference always leads to stronger music, mind.  With male and female members (in the band) not only will the vocals have a greater range- the music and lyrical content will have different angles and possibilities.  The Ronaynes understand how important it is to distinguish themselves and not just be your run-of-the-mill band.  Before I continue my point, let me introduce them to you:

Debi Mason - Singer

Guitar - Steven Mcauley

Guitar - Jamie Reid

Bass - Mark Mcguinness

Drums - Jenny Tingle

“A filthy breed of classic rock, glam and grunge with a controversial twist has the music world talking about the Ronaynes”.

The band’s description of themselves (above) is a pretty apt summation.  There is no room for relaxation and Pop cliché in the ranks.  With a powerful female lead- and an equally assured female percussion section- the boys’ strings nestle together in songs that have that familiarity to them.  Those who love the past masters of Grunge will find a lot to love inside The Ronaynes.  The Glasgow five-piece do not simply replicate the past:  Their fusions of Rock and Glam are the perfect blends that make the feet move and the hairs stand to attention.  Authoritative yet melodic; direct and developed:  A band that hits you first time but ensure their notes stay in the head for a very long time.  I am not sure what they are planning for the next few months- a new record or single- but it seems like they have enough material for an E.P.  Maybe the guys have already been in the studio- recording that E.P. - but it will be interesting to see what is coming next.  Having completed a series of great gigs, the band are looking forward and keeping their fans abreast.  Keen to connect with their followers- keep them in the loop with regards developments and plans- I am going to be following their progress and what they have in mind.  Panic Attack is a stunning insight into one of Glasgow’s best upcoming acts.  They are not an act that simply throws songs about love into the ether.  They investigate common and diverse concerns; they have a social coincidence and are a relevant band.  In a tumultuous and uncertain time, you need musicians that are speaking for you- not those that are obsessed with their own heartbreak and misery.  An honest and vintage-sounding band with modern attitude and impetus:  This year will surely see them make their way into the public forum.  With a loyal fan-base and solid sound:  Who would bet against them taking the festival circuit by storm?

Panic Attack was originally released a while ago:  It is one of the band’s newest cut and something that represents where they are at the moment.  Capturing their live energy and those wonderful performances- together with a sturdy and professional production- I was keen to look back at their earlier works to see any changes and alterations.  Johnny Jones mixes a Rock backbone with an emotive and impassioned vocal from our lead.  The band comes together in a performance that has soulful edges and something quite melodic.  When called for, the mood lifts and the harder edges come through.  What the band does is have Grunge and Rock working in the back but give it a controversial twist.  The emphasis is very much on distinguishing the sounds aside from expectations.  Those vibrant and full-bodied vocals have huge soulfulness- and could be straight out of Motown- whilst the composition brings some gravel and pummel into the mix.  The songs look at issues of love and relationships but give the areas new meaning and potential.  When It Comes Around is another song that shows the band are not your average and predictable players.  Every track has those captivating vocals and a rounded and multi-genre composition.  It would be good to see the group stretch their subjects out across a future E.P.  Whilst they tackle everyday love and relations with new angles:  There are other subjects and concerns that would benefit from their chemistry and shared talents.  Political unrest and modern-day social issue are not often tackled by a lot of bands.  That gritty and hard-rocking music could inspire young listeners to become more involved in social and political issues.  Whether The Ronaynes are settled on their current themes- tales from their lives and something more relatable- I feel they have that potential to broaden their horizons and address lesser-heard themes.

The band released the E.P., No Courage Without Fear- that brings all their previous songs together in one record- and showcases their full talents and abilities.  I hope the band have another E.P. in them and continue their sterling work throughout 2016.

I love that the band has already put out in terms of quality and sound.  That inimitable lead vocal and core sound has meant they are building their fan-base and growing in reputation.  It would be good to see the band exploit this on future recordings and perhaps expand their palette.  Having such wonderful musicians- and incredible singer- at their disposal could see them own anything they touch.  Perhaps something more pained and angst- like the classic Grunge anthems- could come in or maybe something overtly Glam-Rock and danceable.  It is not my job to suggest the band’s angle but I love the music they have already offered.  So much confidence and authority already exist:  I just know they can achieve some great things and really expand their influence.  With each new release, you get something a little different and unexpected.  Panic Attack takes love and day-to-day but gives it a new angle and attention.  It would be great to see the guys step aside completely from relations (for a few more songs) and fully exploit their abilities and hugely powerful music.

Panic Attack begins with a rampant and meaningful charge.  Reminding me a little of Elle King’s Ex’s & Oh’s- that same chugged momentum and sound- you have a track that has that Blues rooting together with a blend of Detroit Rock and Amy Winehouse-esque soul.  Everything comes together in those initial moments but remains restrained and controlled- the band does not explode out of the gates too soon.  The firepower and potential come out right from the start.  Our heroine starts with advised a man to “keep on running”.  That vocal is well-paced and ensures every word is delineated with care for emotion and setting the scene.  Whilst the composition has those Blues-cum-Rock blends, the vocal is a lot more soulful than you’d expect.  This is a good thing as it gives the lyrics of chase and anxiety a charm and beguiling allure.  Perhaps the song looks at two lovers with very different agenda or perhaps an overall warning against panic attacks.  Whilst so many of us get those feelings in our veins- a caution that is laid out on the song- maybe there is panic inside a bond that has hit the skids.  You cannot ignore the confidence and passion that comes through in the vocals:  It ensures each lyric has that quality and urgency desperately needed.  In previous numbers, the band has experimented more with Grunge and Rock edginess.  Here, that is done to a lesser degree:  What you have is a song that marries Rock ‘n’ Roll of the ‘50s and ‘60s with something modern and contemporary.  Tying these older and modern threads together- ensuring the track has its heart in the 21^st century- will mean a multitude of listeners and music fans will appreciate the song.

Interpreting the song, we see a man that is not who he used to be.  I become curious as to what has happened and compelled the song.  You cannot shut this man “out of the door”.  There seems to be control and something dangerous coming out.  The man is hard to shift and there is that air of suffocation.  When the heart “skips a beat” it is not in a romantic thing:  That fear and attack has Grunge sensibility but is delivered with beehive swing and revives the swinging ‘60s Soul sound.  Few bands mine the territories of Rock, Soul and Blues inside songs that investigate unsavoury characters- it works wonderfully here.  Whether this song is written in the first-person- our heroine is recalling hard times from days past- or it is fictional, I am not sure.  The Devil stands over her and there seems to be no room to escape.  Inside the domestic unrest and entrapment, you get a song that plays a catchy and addictive beat.  The percussion keeps slamming whilst the strings have groove and dance to them.  From my “front to my back” that panic attack is making its feeling known.  With some backing vocals- that add to that intensity- you get a song that ensures the issues and lyrics have accessibility to them.  The Ronaynes are a band who has shown how hard-hitting and unique they are- the themes they explore and the sounds they unite- and here they have probably created their finest track.  At every stage, Panic Attack showcases what a tight unit they are.  The performances are consistently committed whilst that lead vocal ensures the right balance of light and grave danger.  It is rare to find a band that deal with well-worn cores- relations and love- but push it out and tackle different sides.  The desperation and need for escape keeps coming up for breath.  Our heroine asks whether we heard her scream:  That hopelessness and need for salvation is one of the most haunted and electrifying pleas you will hear.  If the delivery lacks that necessary scream and Grunge roar, perhaps the soulful and big-bodied alternative works even better.   Spooky and ill-fated, our lead seems to pray to the heavens and look for a savior to lead her away from her tormentor.  Themes of domestic abuse and stress might not seem like a goldmine for musical revelation:  Such is the rarity of its exposure The Ronaynes sound utterly fresh and new.  There is no other band that treads the same lines with that blend of sounds and elements.  The composition never relents its campaign and urgency:  The percussion slams with sweat whilst the guitars and bass keep the blood flowing fast.  The rough-and-tumble nature then explodes into something demonic as our heroine unleashes a single scream- the summation of her pains and harrow.  The chorus remains catchy and memorable- in spite of the subjects it broaches- whilst the band ensure the final notes are as compelling as the first.  At every stage, you wonder whether you have the song licked and have interpreted it right.  That central figure- who started out/in the past was so nice- has now turned and showing a different side.  I wondered whether the song was a personal revelation from the lead or something that distances itself from personal revelation.

The mix of ‘60s Soul and Rock/Grunge undertones makes the track such an instant thing.  In future cuts, I would love to see the band ramp things up and let their Grunge animal out a little more.  The lam-cum-Blues sounds unite inside Panic Attack.  The testifying Soul and Rock swagger bonds surprisingly effective and ensures there is fire and rumble throughout.  You cannot refute the emotion and conviction of that central performance.  Debbie Mason has a mature voice that stands her apart from her contemporaries.  Singers like Amy Winehouse are inspiring a wave of new artists of the moment.  The combination of grit and anxiety- together with Soul power and something utterly exposed- means artists like Ella King are getting a lot of attention.  Perhaps an unsurprisingly sound- given how much Winehouse meant to people- it is nice to see a female singer step away from that obvious idol.  You get a bit of Winehouse but the abiding sound is a singer with native accent and love of ‘60s Soul.  On Facebook, the band markets themselves as a blend of Rock ‘n’ Roll, Grunge and Glam.  Whilst there is some Grunge barbed-wire and undertones, you get more Glam and Rock ‘n’ Roll emerge.  Those ‘50s Rock swings- unusual for a modern band to be influenced by that genre- is given a retro. twist and lease of life.  The Ronaynes are a band that take existing genres/styles and give it vitality and fresh lease.  Steven Mcauley and Jamie Reid allow their guitars to give the song Rock nervousness and plenty of layers.  It is not just about raw emotions and directness.  With the guitars, you get danceable swing and something tender in places.  The duo combines well and propels the vocal- ensuring the pained lyrics are given appropriate support and drive.  Mark Mcguinness ensures his bass keeps things disciplined and ties all the threads together.  With Jenny Tingle providing sturdy percussion- that pummel and constant drive- you have a drummer that perfectly injects a tormented heartbeat and spades of urgency.  Together, the band ensures Panic Attack lingers in the mind and reveals its true potential over repeated assaults.  Given the subject matter and nature of the lyrics, everything is dealt with maturity and intelligence.

It is always a nervous experience- for me anyone- coming up with something new to say about a band.  Having reviewed hundreds of acts across the last few years- and having a very set style and way of writing- it is getting harder finding new angles and topics.  Whilst Glasgow- and the words written about them- have become familiar and a little worn- the acts emerging from here are anything but.  Having previously reviewed The Fables- a couple of great local bands coming shortly- it is the music and sounds that are the most important things.  With the next few reviews being a challenging thing- new ways to write about Glasgow, Rock and bands in general- for today I have been captivated enough with the music on offer.  The Ronaynes have only been playing for a short time but have made in-roads and created a name that has seen them amasses some loyal and dedicated fans.  It is no surprise (this has happened) given the mix of sounds and the way they perform.  Their songs are not predictable and the same as other acts- heartbreak tales and overly-familiar stories- whilst every performance bursts with energy and commitment.  The tight-knit connection of the members can be heard in every single note.  Having two female members (and three boys) in the band has resulted in a rare chemistry that allows their music to showcase depth, diversity and layers.  So many bands are filled with boys and you get limitations and predictability.  That strong and to-the-bone vocal is backed by incredible compositions that have instantaneous and epic status.  There are Grunge bones and gristle inside Glam stomps and Rock ‘n’ Roll swagger.  That blend of cool-and-spiked makes the Glasgow band a fascinating proposition.

Rebelling against the worst instincts a lot of bands show- stadium-sized songs with no depth and originality- you have a five-piece that is grittier and more real than a lot of their peers.  With 2016 shaping-up to be a rather unsettling and unpredictable one- in terms of the political turmoil and violence that rages- there is anger and fear in the minds of many.  The Ronaynes are a band that reflects a lot of this uncertainty inside songs that strike against the normal yet document universal feelings.  Away from that, there is plenty of personal insight and familiarity:  They are not a band that is too singular and restrictive.  I am curious to find where the quintet is headed and what their next move is.  They have unveiled a few tracks and it seems like there is definite scope for an E.P. or album.  Having has a run of gigs under their belt, they will be more confident and assured than ever.  Having gained that live experience- and made sure their songs have been rehearsed and well received- surely will compel them to not only record some new tracks but put the existing tracks together with them.  In 2016 it is important our bands and musicians separate themselves and try and make their music as long-lasting as they can.  I am worried there is that tendency to rush into making music through fear of missing out- as a result, songs seem half-baked and under-cooked.  While too many bands are sticklers for Indie and Alternative sounds- they are popular so why not? - there are so many other avenues worth exploring.  Dance and Electronic sounds can be thrown into Rock music- like Primal Scream did across Screamadelica- whilst Punk and Grunge are always there for the taking.  The Ronaynes have ensured they are not a divisive band:  By the same token, they do not want to be too familiar and predictable.  While a lot of their peers make music to get the feet moving; here we have music with a much more ambitious intention.  Those Glam-cum-Grunge minglings get the brain inspired and make the heart pump.  The feet and arms move; the voice shouts and supports- songs that get the entire body activated and united.  Glasgow has once more showed what it is capable of.  There is a thriving local scene which sees bands and artists support one another.  I was lead to The Ronaynes by a Scottish photographer- other Glasgow bands have pointed me to home-town favourites- so there is that desire to get the city on the map.  The truth is; Glasgow has never stopped impressing and producing great acts.  It is just the media and largest attention is trained to other parts of the U.K.  Being so far away from the capital does not mean the music deserves to be overlooked.  Maybe there is not the number of great solo artists you’d hope for- there is a tendency towards bands largely- but the groups on offer have that energy and originality the music world craves.  If Punk and Grunge is not your bag then there are more subtle and studied alternatives.  If you are a fan of something more artful and Pop-based then you have plenty of options available.  Our Glasgow quintet has a future ahead of them and need people to support their music and help it spread.  With Panic Attack currently on offer…

NOW is the time to get these guys the attention they deserve.

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____________________________

Follow The Ronaynes

 

Facebook:

https://www.facebook.com/The-Ronaynes-257182377807275/

Twitter:

https://twitter.com/theronaynes

_______________________

Music:

https://soundcloud.com/the-ronaynes

TRACK REVIEW: Ursa Major- Dusk

TRACK REVIEW:

 

Ursa Major

 

 

Dusk

9.4/10

Dusk is available at:

https://soundcloud.com/ursaspeaks/dusk-1

RELEASED: January, 2016

GENRES: Psychedelic R&B.

ORIGIN:

Toronto, Canada

PRODUCERS:

Noah Barer and Cavewerk

____________________________________

ONCE again I get to come back to Canada and view a new artist…

who has crafted quite a special sound.  Before getting to Ursa Major, I wanted to have a look at Canadian music; the genre of R&B- talking a bit about the great young acts emerging right now.  Canada is a country that keeps producing some rather special talent and artists to watch.  Like Australia, it is one of those well-known countries that we don’t instantly turn to for new music.  The U.K. and U.S. press are desperate to make sure their home stars are proffered:  Canada is missing out on a lot of deserved attention.  Existing/established acts like Broken Social Scene, Drake and The Weeknd all call one place home:  Toronto.  To my mind, it is the most fervent and exceptional part of Canada (for new music).  Legends like Neil Young call the city home.  Such a prosperous, diverse and exceptional city:  So much great music is stemming from here at the moment.  Last year, artists like New Fries, Jazz Cartier, STACEY and Dilly Dally were highlighted- each representing different genres and areas of music.  I know the likes of London, New York and Los Angeles etc. have that reputation and well-known artists.  Most of us would probably not look to Toronto if we want to discover the best the music scene has to offer.  That is a shame, as the city is boasting some tremendous young artists.  Ursa Major hails from Toronto and ranks among one of the best artists to hail from here.  When looking at the 19-year-old, I was completed to look at the city and see if there were any like-minded performers.  Other parts of Canada- Ottawa and Montreal etc. - have some terrific bands, but to my ear, Canada’s best solo artists are playing in Toronto.  I am not sure what it is about the place- the communities and heritage the city has- but so many bright and ambitious musicians are making their names heard.  Take away the likes of Drake and The Weeknd and you have a wide range of genres and sounds being fused exceptionally.  Ursa Major describes his sounds as ‘Psychedelic R&B’:  Not something I have ever heard a musician say.  Ursa Major’s lead wants his sounds to recall the masters and mistresses of the past- the R&B/Soul greats- and bring it clearly into the future.  There is a stunning mix of older sounds and modern-day urgency across music that will very little social media details; it will be interesting to see how he develops.  Dusk is a track that was almost destined to spend time collecting dust and potential.  Recorded in dorms., basements and bedrooms:  The song’s D.I.Y. aesthetic was handed to producers Cavewerk and Noah Barer and brought to life.  Together, the trio has created something that is very much a song for 2016.  The dark and troubled lyrics talk of struggling to move on from love and heartache:  The troubles and obstacles faced when trying to move on and face uncertainties.

Those pained utterances are supported by a composition that fuses the passion and sexuality of R&B whilst giving it a Psychedelic twist.  That coming-together creates music that stands among the most original out there right now.  The teenage has scribbled the lyrics- worked on the music and ideas- between classes; whilst ensconced in dormitories and facing the troubles of youth.  If you look inside Dusk you will find much you can relate to.  The track is not just confined to our author:  The themes and moments explored can be understood and speak to everyone listening.  There is a lot of pressure put onto artists, and with Ursa Major being so young, let’s hope he manages to overcome the hurdles and expectations and keep making exceptional music.  The media loves a fresh-faced and hopeful young artist.  Few terrific teenage acts are performing in the world of music:  Ursa is a rare commodity and someone we should all keep an eye for.  I know Ursa Major has performed a few songs before- hooking up with other artists- yet Dusk seems the most personal and individual track he has created.  I can see 2016 being filled with possibilities and more music-making from the Toronto native.  That sound he has perfected is such a beautiful thing you cannot escape its wonders and nuance.  It is great to hear a young musician that has such a sense of identity and purpose so early in their careers.  Too many artists struggle and take time to discover who they want to be.  You get no such qualms with Ursa Major:  A star that is already shining and seems sure to burn bright for a long time to come.  I hope a trip to the U.K. is planned- I always say this with every artist I love- but there is such a great sound laid out.  So many fans-in-waiting would welcome him in and be keen to pay tribute to one of the most original artists currently working.  If an E.P. or album is planned for this year, I am not sure but it seems like Ursa Major has plenty of inspiration and potential in him.  If Dusk is anything to go by, it will be a very exciting and deep record:  Something that will pick up a lot of fans and new support.

If you want to know how Dusk’s author has progressed and matured, you will need to look back at his past efforts.  Being such a young and upcoming act, there are a couple of songs out there- a little window into what he is about.  Night Sounds was unveiled a month ago- performed by Jules Mercer- and features contribution from Ursa Major and Erez.  Those blended and diverse voices come together to create something harmonious and atmospheric.  The lyrics mix images of ashes being scattered by the ocean and the yearning of our heroine.  It sounds like lovers’ conversation and has such a relaxed and cool vocal that mixes with the edgy beats and wonderful atmosphere.  The composition sees darting thuds and vibrating electronics sit with sound effects and a great R&B.-cum-Electronica fuse.  A great input from Ursa Major- who provides a contrast to Mercer’s soulful voice- it is a wonderful collaboration.

  Indigo was recorded with False Mystics and is a softer and more contemplative affair.  Acoustic strings and echoed electronics being the track in- the energy starts soon enough.   Chilled and boasted some confident vocals:  It is a song that has catchiness and huge effectiveness.  The performances are brilliantly realised and bring life to the track.  Colours of indigo- and moments of years ago- "laugh like a child".  The Psychedelic elements- and some wonderful electronic guitar work- give bristle, emotion and spark to the song.  You can get lost in the words and allow the song to seep into the mind.  Showing different sides to Ursa Major- who can bond with any other artists seamlessly- you have a talent with huge mobility and diversity.

   Dusk is the first chance for Ursa Major to step out alone and create a track with his voice alone.  What you have is elements of other tracks- where he has collaborated- but a much more unique drive and a sense of personality.  Rather than joining forces and being a back member:  Here you have a song that is a testament from a young man affected by love’s heartaches- keen to burn the past and move on.  As a songwriter, there is a lot of depth and originality to be found.  This progression and mobility means Ursa Major is an artist that has a long career ahead.  Most solo artists either do well on their own or hooking with other artists.  Occasionally you get someone who seems effortless and natural in all arenas and dynamics.  If an E.P. is due- either this year or later- it will be interesting to see if there are any collaboration to be found- maybe just solo songs.

Dark and vibrating electronics spar with clicked beats to begin Dusk with an appropriately unsettled and nervy opening.  Right from the off you are immersed in the force and black majesty of the introduction.  Putting me in mind of ‘90s Trip-Hop- acts like Massive Attack came to mind- you have a song that is so fascinating and meaningful within the initial seconds.  Atmosphere, drama and images are summoned as you surrender to the building momentum.  The production values allow those compositional elements to come through sharp and clear.  When our hero gets to the microphone, his words are unsettled and show some restrained anger.  “Dark haze right before my eyes/when I was numb, I succumbed to your lies” show a young man that was in love and got his heart broken.  Maybe too invested to see the truth- the real motives and calculations of his girl- you can feel that disappointment and unhappiness come out in the vocal.  Looking back at events and a hard time for him; you have these strained and harrowing recollections we all can relate to.  We all know the type of vixen that is being ascribed:  Maybe the heroine was cheating or making false promises to keep her man happy.  Maybe the past was better and filled with some more prosperous times.  Wrapped inside a lonesome existing- “Smooth winds make me reminisce”- you have a subject that cannot help think of love and scars that have been left.  Although there are recriminations and accusations emerging- looking at the dissolve of a once-pure bond- our man has some fond memories and a part of him still yearns for the girl.  That soft skin and beauty is in the mind- maybe a desire to rekindle the better days- and a new-found lust can be discovered in the performance.  At all stages, that composition keeps pervading and inspiring.  The mix of beats and electronics create something haunted and spirited; R&B-influenced and dangerous- the loud and soft contrast with fast and slow.  Our lead ensures his voice has those same characteristics and qualities in them.  In the first verse there is some pace and consideration:  Making sure the words resonated and are given true passion; an emotive and leveled projection.  As darker subjects start to come in; that voice races and accelerates the tempo.  Looking at drinking and drowning sorrows- given the realisation the bond is broken- Ursa Major wants to numb himself and forget his troubles.  I am not sure what caused the relationship to crumble.  Maybe there was no communication or the girl was feeding too many lies.  In spite of the demolition and mistrust; you can tell there were some great days and a true connection.  Without her soft skin and tenderness, our hero wonders what he will do.  Such desperation and anxiety comes out; it is impossible to ignore that suffocation and sorrow emerge.  Being a teenage musician- and others who tread this same ground- most would deal with such issues with a lacking maturity and clichéd lyrics.  What you get here is such wisdom, maturity and intelligence come through.  While the lyrics do look at bleak possibilities; you cannot deny there is a need to change things and expunge the past.  Ursa Major ensures the lyrics are universal- and do not disconnect listeners- but have enough personal history to make Dusk an authentic and authoritative track.  It appears the girl only calls when she is drunk and things are going bad.  When the tears run and the walls are closing in:  That is the time when our hero receives a phone call.  Once upon a time there was a natural love that seemed like it could endure any struggle.  Now, there are those late-night calls and something rather pathetic.  Maybe the heroine was a support for Ursa Major- when he was struggling she was there for him- hence the reason she is missed.  On the one hand, you get a young man that seems to want to get rid of her influence- and all the troubles and heartache caused.  On the other, there is that longing and need to reset things- capture those glory days and how things used to be.  The boy is inspired by soft keys and piano melodies.  Perhaps recalling the origins of the song- turning that pain into something productive- you get some recall and a story progression.  In his room or basement- wherever that music and lyrics came together- memories still tumble and make their way onto Dusk.  Remembering “beer-stained perfume” and broken glass:  All those elements and shards are put together in a musical collage that keeps pressing to the final moments.  Changing his voice up- the pace and way the words and presented- gives the lyrics such energy and unexpectedness.  The composition bubbles, burbles and vibrates to soundtrack a heart that is feeling the effects of a rather tumultuous past.  The hero is merely stated words and saying how things were in the past.  Now everything is over, he is making decisions and seeing how he will progress.  A chance to change life and make a new plan:  The influence of this break-up cannot be understated.  In the final seconds you are caught in the drama and wonder as to the song’s true nature.  Of course there is a lot of pain and unsettled recollections.  That obvious, you wonder whether everything is that clear-cut.  Maybe there were some great times that have made Ursa Major the artist and man he is now.  That girl- whoever she happens to be- has been important whatever way you look at it.

A terrific and assured song from a Canadian artist that can speak and connect with any listener.  Noah Barer and Cavemen have ensured Dusk sees the light and is given the exposure it deserves.  Helping with the composition- and producing the song- you have a number that is among the most affecting you will hear.  Fans of Drake, The Weeknd- and other natives of Toronto- will find some familiar strands within the track.  The abiding impression is a song that is very much the work of a musicianship keen not to be compared with anyone else.  The subjects of love and regret are hardly groundbreaking:  The way you address them can determine how far you make it in music.  Ursa Major has not simply employed the same clichés and ideas as his peers:  You have an artist with a very distinct pen and a new way of covering the topics.  Among the shadows and hard realisations, you have a hopefulness that comes out.  Wanting to escape the bad days and focus on a better future:  Dusk is a song that has many layers and ideas working away.  A track that does lose its appeal over time- a song that gets better in fact- it is a hugely impressive effort from the 19-year-old Canadian.

It is great being contacted by new artists and hearing what they have to say.  Usually- and the last few weeks especially- I have been reviewing U.K.-based acts.  In fact, they will make up the next couple of weeks of reviews.  It is always good investigating terrific acts from Britain:  It is nice to take a trip out once in a while and expand my horizons.  A lot of media sources are not really looking beyond home when it comes to promoting the best music around.  It is a shame artists like Ursa Major seem to be confined to Canadian attentions.  Of course, the 19-year-old has fans throughout the world- despite some social media anonymity- but it would be good for press sources here to recognise his ilk and what they are capable of.  It is not surprising to me to discover another treasure from Canada.  Throughout the country there is such a wealth of wonderful and varied music.  Every artist that comes through has such passion and potential:  I can think of few other nations that are so consistent and diverse.  Toronto is a city that a lot of us will only ever visit as tourists.  As much lovers, I think more people should turn their attentions here.  Away from the obvious likes of London and New York:  You can discover so much untapped gold across Toronto.  I have highlighted- in the top of this review- some of the bands and acts heralded last year.  They will continue to plug throughout 2016; there are a whole host of new upstarts that are just starting to come to critical attention.  Whatever your tastes in music- some sexy R&B or ‘60s-sounding Rock bands- you are pretty much covered.  Toronto is a part of the world that has been in my thoughts for a few years now.  The music that comes from here never fails to surprise and surpass expectations.

Ursa Major is- I am going to avoid any star-based puns and jokes- a talent that deserves a lot more credit than he has.  To be fair, he is hard to locate across social media and the Internet- just a SoundCloud account- I hope the youngster gets an official website together and ensures many more people discover him.  The music is certainly affecting those who have heard it.  Looking at the SoundCloud comments- the feedback for the single, Dusk- there is plenty of love and admiration to be seen.  Dark and heavy; passionate and intelligent:  A musical insight into a man who wants to dissolve his past and move into the future.  As we surge further into 2016 there will be a lot of people wondering who they should follow and invest in.  With the band market getting attention and biggest focus- rather unfairly I think- I am looking at the great solo artists emerging.  In this country there are some stunners to be found for sure:  Each with their own ambitions and objectives.  Being a passionate music lover, I find myself looking at other countries for inspiration.  The U.S. has always been good and reliable:  So many cutting-edge and amazing acts play here.  Canada needs to get more people behind it; supporting the music they house.  Whilst their native media sources are doing this; why are more people not getting behind them?  You cannot accuse the country of lacking quality and consistency.  In terms of cities, few match the reach and splendor of Toronto.  Whilst Ursa Major- and the producers behind the track- have Montreal roots; it is Toronto that comes under the microscope.  I will be spending a lot of time this year keeping my eyes focused on the city to see what comes next.  I am not sure who the city’s media are highlighting (to watch as the year progresses) but Ursa Major must be among them.  Such tender artists- Ursa Major is not even 20- tend to start out rather uncertain or take the time to mould their sound.  The maturity, direction and confidence are already there with our young star.  There is no precociousness and predictability with regards the music.  A lot of younger artists focus on love and heartbreak but do so with little flair, depth and grit.  You want someone that take meaty and troublesome issues and delivers them with some punch, nuance and effectiveness.  You do not have to scream down the microphone or throw everything into the pot.  What Ursa Major does is take some dark issues- moving on from the past and making a better future- and creates something intense and hugely memorable.  I have been seeking solo acts that I can stick to and promise great future returns.  Ursa Major will be releasing new material very soon- let’s hope so anyway- and there is such a unique and special sound already cemented.  R&B and Psychedelia are not genres you would ever imagine could come together.  The sensuousness and sexiness of the former marrying with the latter’s edgy, druginess and hardness make a wonderful couple.  It is said opposites attract and this seems to be the case for sure.  Not only do they match but they better one another.  The R&B shades of Dusk are augmented and given fresh life:  The ‘60s/’70s-recalling Psychedelia is given modern vibe and sounds completely reborn.  At the centre is that voice that sounds unlike any I have heard.  Making sure those personal and harrowed lyrics are given hope and memorability:  You have a performance that is filled with life, heart and soul.  A long career for Ursa Major awaits so do not miss Dusk and…

THE first steps from a brave and bright young hope.

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________________________________

Follow Ursa Major

 

Twitter:

https://twitter.com/j_chusid

_______________________________

Music:

https://soundcloud.com/ursaspeaks

 

TRACK REVIEW: Scott Quinn- There For You

TRACK REVIEW:

 

Scott Quinn

 

 

There For You

9.4/10

 

There For You is available at:

https://www.youtube.com/watch?v=xKTOgZEHiO0

RELEASED: January 21st, 2016

GENRES: Electro.-Pop; Soul

ORIGIN:

Harrogate, U.K.

____________________________________

BEING in the middle of planning a new radio station...

I am looking about for some great solo artists that could (theoretically) be featured.  I find myself going back to band music and older sounds.  When it comes to modern artists, there are still far too few great acts emerging- those that do things differently.  Before reaching my featured artist, it is worth looking at the value of radio these days; the continuing output of great Yorkshire artists- finishing with a bit about male solo artists.  To begin, it has come to my attention how few people (my age at least) are invested in radio these days.  It seems the Internet- SoundCloud, YouTube etc. - is a more popular option when listening to new music.  Most people prefer to stick to their own song selections:  Few actually take the time to listen to the radio and investigate what they have on offer.  If you think about the mainstream radio stations playing from London- Capital F.M., X Radio etc. - do they really reflect the tastes of the general public?  I know stations have a target audience and have to conform to those guidelines- it seems there are few options for those who like their music more cutting-edge.  Away from the more Pop-friendly stations, there are few genuinely fascinating radio stations.  Absolute Radio is my favourite for a good reason:  They play a great range of music and have presenters passionate about the songs they play.  You have to look at the ‘lesser’ players- the up-and-coming stations that have fewer confines- to get a better spread of music.  One of the biggest drawbacks of modern radio is how little-unsigned music is featured.  Sure, some of the smaller stations dedicated time to the under-the-radar acts:  Commercial stations tend to stick to the mainstream and popular.  It is harder for a musician to get their songs heard across the airwaves- local radio is an option I guess.  There are some phenomenal new bands and solo artists coming through that struggle to get their songs championed.  Whilst there is a mass of acts coming through- how do you get to focus on the most worthy artists? - there needs to be more done to showcase some of the best out there.  Scott Quinn has management behind him and has established a dedicated fan-base.  To my mind, Quinn should get his music spread a little wider and further.  It is great to see an ambitious young artist come through that overturns my skepticism about the solo market.  I have heard too many artists that do not stay in the mind and do not simply install enough originality and passion into the songs.  Quinn (on paper at least) might strike you as your average solo artists:  When you dig deeper there is a much more to him that meets the eye.  From the unique and impassioned voice; the songs that tackle love in a new light- there is something fresh about our hero.  It is no surprise to see Yorkshire produce yet another wonderful musician.

Recently, I have been immersed in London and the musicians coming forth- I will be in Yorkshire and Scotland for the new week of reviewing by-and-large- so it is great to come back to a very prosperous county.  Although London is leading the current charge- when considering the most diverse and stunning acts around- Yorkshire by no means a slouch.  I have often speculated the reason behind Yorkshire’s consistency and quality.  Perhaps there is less stress and hustle (compared to London) or a lack of expectations.  When interviewing bands from the county, I asked that question.  When answering, you get a clear conclusion:  Less anxiety and a supportive network of musicians results in a prosperous scene.  What I love about Yorkshire- among many reasons- is the sheer range of music that you can find.  Other parts of the U.K. are diverse:  Yorkshire acts go a lot further and take more care to ensure their output is as original and surprising as possible.  The bands have that extra urgency and variegation; solo acts revoke the wonders of ‘30/’40s Swing- into a retro. blend of Pop and Electro.- whilst the Rock/Pop-led solo acts distinguish themselves from the pack.  I always take a deep breath when it comes to a new male solo act:  It is a patchy affair and often challenging finding one that differs from the James Bay/Ed Sheeran blandness of the mainstream.  If you are talking about love and heartache- themes musicians need to move on from and expand their horizons- it is here you get some rather samey and forgettable moments.  Luckily, and showing true promise, Scott Quinn has very in little with the maligned Pop stars of the charts.  Quinn’s subjects often look at love, heartache relationships:  He tackles these issues with enough personality, difference and urgency to ensure he does not fall into the traps of his lesser peers.  Having a look back at his previous work- his Lust Game E.P. for instance- you have a young man who wants to stay in music for years to come.  In each track, you cannot escape that commitment and soulfulness.  Being compared with some of the best, older solo acts- a talent to keep your eye on.  The main reason Quinn appeals to me is the way he backs up his lyrics and vocals:  Those highly-charged and atmospheric compositions are a scintillating mix of beats and electronics.  I think that is a way to elevate and improve songs about love and loss:  Add those crackling and edgy backdrops and ensure the vocal has enough heart and soul.  Quinn is a performer that sits alongside the most impressive and notable young talents emerging right now.  His lyrics reflect universality and a shared pain:  Issues that deal with break-ups; wondering where home is and assessing the world around him.  Not willing to stick to tried-and-tested subject; there's wide-ranging reach and something irrefutably special at work.

It wasn’t until I started getting into There For You- I thought this was the debut song from him- that I noticed Quinn had already released an E.P.  I had to go to his SoundCloud page- I would highlight this across Facebook more- that I got to check his previous offerings.  What struck me about the E.P.- his Lust Game E.P.- was the conviction and confidence right from the start.  The title track spares no time in getting to work and evoking some stunning compositional sounds.  Whirring and machine-like sounds boast a vocal that brims with heartache and passion.  Many will be reminded of Sam Smith- the soulful and Blues concoctions- but Quinn is very much distinct.  A catchy chorus- that looks at losing the heart of the girl- sees our man confused and lost.  That drive and wave- the vocal has a restless energy and wonderful projection- ensures the song gets into the mind and provokes sing-along.  Our hero wants his girl back and misses her touch.  Whatever has caused the break-down burns hard and has left its scars.  A wonderfully accomplished song that is endlessly memorable and impressive:  That ambitious and edgy composition is the perfect backing for a lush and heartfelt vocal.  Changing course and throwing surprises into the mix- you can never predict where it will head next- it is a wonderful track.

The City and Guess This Could Be boast more of the same qualities.  The former has that rushing and head-spinning introduction.  Pining for a girl once more- when she is all alone our man should be in her mind- we look at the cessation of a relationship.  Maybe there is blame and recrimination- some issues that have not been worked through- there is imbalance and mixed motives from the start.  Our hero is running through the city looking for answers.  A Gospel-cum-Soul backing vocal- putting me in mind of the best harmonies I have heard- enforces that urgency and attack.  The ghost of the girl lingers and is still in his soul.  Guess This Could Be begins more gently and has a charming introduction.  The vocal is more relaxed- backed by finger-clicked beats and a sparseness- it is one of the most soulful and honey-dripping vocals from Quinn.  Recalling Michael Jackson, Boyz II Men and Marvin Gaye:  A match for the best male voices over the last few decades.   The backing vocals- whether Quinn alone or joined by other singers- augments the lyrics and sends shivers to the back of the neck.  The song looks at the possibility of love- this feeling that is inside- and sees our man dancing with the girl.  He needs to catch his breath and slow things down.  Showing mature and control- needing to take time and not rush to the bedroom- it shows another side to Quinn.

There For You continues that mature lover-man bravery- a gentleman that wants a true and noble connection- you get more of that insatiable sweat and soulfulness come through.  There have been no big departures from Lust Game E.P.- no need when the material was that strong- but if anything, the quality has gone up.  The production and sound is as rich and polished as ever- allowing edge and rawness to come out too- but the vocals seem even more gripping and rounded.  Quinn is an original voice that has elements of past masters:  On his latest track, he mixes contemporary Pop with Soul of the ‘70s- topped off with some deliciously pure and sweet undertones.  Being a sapling artist, any major shift would alienate and confuse existing sounds.  What we have is a natural step and a reliably strong song and another gem from a young artist with a rare talent/.

Beginning with an atmospheric and night-time vibe- the darkness and sense of uncertainty pervade- lightness emerges to give lease a voice full of intention.  Our hero recalls a girl that came to him- whether a current love or a friend in need- and someone who means a great deal.  It seems like the girl was stuck and needed “space to breathe”.  Perhaps a love was burning bright and took a turn for the worse.  You get that feeling of disappointment and resentment in the early vocals- as confusion reigns and there is a sense of injustice- with that voice reflecting the disenfranchisement.  With a rain-cloud hanging over the girl- backed by a tribal beat and a backing eeriness- you start to picture the scenes and emotions at play.  The sweetheart might be exaggerating things and misinterpreting the situation:  Perhaps there has been a lack of communication in the relationship and the desire to find some solace.  I am not sure what the reasons behind the fracture is- whether the two have different aims or there’s been arguments- but you start to wonder whether they are together still.  In these early stages, that feeling of loss and haunt comes through very strongly.  Whilst the vocal has elements of the Pop mainstream- not quite as soulful and bold as previous endeavours- it is appropriate given the circumstances and subject matter.  The song remains subtle and emotive in these early stages:  Our hero ensures his voice is pure and does not needless explode right away.  It is the composition that provides the most curious initial impressions.  With the girl taking her smile away- the days turning to night- and memories starting to linger- you get a turn in fortunes and narrative.  The hero promised he’d be “there for you” and that is employed as a mantra and mission statement.  The beats get harder as the composition starts to swell.  Reflecting on times lost and the years that have passed:  It seems like the girl has not been in touch and they have drifted apart.  In love, they promised the world and they would be there for one another- that has not been kept by the girl.  Maybe the circumstances behind the break-up have meant communication and connection have not been a realistic option.  You can tell There For You has been inspired by past events:  That emotion and impact from the vocal comes from a soul that has seen too much pain and loss.  The teary-eyed subject is not given a saccharine or overly-emotive delivery:  Every note and idea is handled with dignity and a real composure.  I became captivated by the composition that keeps getting bigger and harder as time elapses.  More urgent and busy than previous numbers- showing a fresh direction from Quinn- you have a song that ensures every listener is roused and involved in the track.  It is impossible to disassociate yourself from the lyrics that deal with an over-used subject- loss, relationship break-up etc. etc. - but ensure it does not devolve into  a boring and predictable territory.  It is vital to have these songs played but they account for an alarmingly large percentage of current sounds.  What Quinn does is make universal issues sound fresh and personal.  You do not have the same worn clichés and predictable stories unfold.  Most songwriters show a lack of imagination when it comes to their lyrics and interpretations.  It is good to hear a song that highlights a common qualm with an uncommon ear.  That central idea- promising to be there for the girl- keeps coming back to bite and remind.  Our hero wanted to keep that promise and ensure she was okay:  For whatever reason, that promise has been broken and there seems to be little chance for repair and togetherness.  The song builds intensity and passion into the final stages.  That voice is multiplied to create a rapturous and heartbroken chorus.  That choir-like vocal adds elements and additional regret to a song that seems like an exorcism, of sorts.  Beats, heady electronics and dark undertones mix with something ethereal and uplifting.  That strange mix of beautiful and disturbed blend supremely in a track that showcases what an agile talent Scott Quinn is.  By the last notes, you reflect back and wonder where that song came from.  If it is a relationship long in the past- or a current one that has a slight chance of rekindling- I am not sure.  All I do know is we have a track impossible to ignore and forget.

Fans of Quinn’s previous work will find much to love in his latest single.  Carrying from where Lust Game E.P. left off:  There For You sounds like it could have been included on that record.  The production and sound remain central to ensuring each note and lyric are given huge support and naturalness platforms.  Quinn is impressively restrained in a song that deals with some harsh realisations and a lot of anger.  That voice employs some of the soulful touches in the E.P. - although not as many as perhaps you’d like- and will bring in new listeners and followers.  Whilst the subject matter does not stray from the familiar and every-day:  The way it is addressed and represented shows Quinn to be a rare talent intent on originality.  Fans of Electro.-Pop’s best will discover a new artist that ranks among the very best the genre has to offer.  There For You is not a disposable number that does not demand interpretation and multiple listens.  It will hit you on the first listen but you come back to try and assess what is being sung.  I was wondering if the girl ever came good and got in touch with our hero.  It is perhaps a mystery that will never be answered in a song that has an enormous amount of courage, nuance and positives.

There For You is another stunning cut from a British artist with an impeccable talent.  Electro.-Pop and Soul fusions are a popular and appealing blend- Jamie xx beautifully exploited them in his album In Colour- and if you get the dynamics right; it can result in something simply breathtaking.  I am not sure what is in mind for Quinn this year- if a new E.P. is going to be on the horizon- whether There For You is going to be a sign of future sounds.  Lust Game E.P. was a compelling and nuanced release that marked Quinn as a definite artist to watch.  I am staggered his social media numbers are not higher- there are lesser acts that have amassed more followers- so let’s hope this year that imbalance is rectified.  There are so few artists that have that originality and quality at work.  In a scene that is seeing an indeterminate amount of good musicians emerge- this is especially true of the mainstream- we should all take more time to celebrate those that go the extra distance.  Maybe it is relevant to bring back the subject of radio-play and the way radio stations operate.  I understand how commercial stations have a certain brand they need to conform too.  By the same token, local stations and newer stations also have to confine themselves to an extent.  With 24-hours in every day:  You would think more time could be dedicated to a wider selection of new music.  I am fearful the bright and restless best we have to offer are struggling to get their voices heard.  Musicians coming through- that are original and impressive- are needlessly struggling for the smallest crumbs of affection.

The amount of graft, grit and electioneering involved- getting the music heard and promoted- is damn near killing them.  I hope commercial radio- in years to come- dedicated more shows the underground stars that are showcasing so much more vibrancy and ability than a lot of the mainstream’s best.  Quinn seems contented to perform and record for now:  He will set his horizons on the festivals and big venues soon enough I am sure.  If he were a weak and unoriginal artist, I wouldn’t care too much how his future shaped up.  As it stands- being a performer that deserves acclaim and exposure- I am hopefully his following and music will get rewards and following.  He should be proud of the fact he has distinguished himself from the pack and is capturing the ears of the music press.  Another week and another fabulous Yorkshire-based artist under the microscope.  A county that continues to stun me- that variation and quality- it is perhaps not that surprising someone like Scott Quinn should be discovered.  That county sure loves Electro. blends- making sure honest and human emotions are elevated to the highest plateau- but Quinn surely ranks among the most impressive from God’s county.  As London seems to be taking a lot of the top honours- when it comes to critics’ tips for this year- I think eyes and minds should highlight what great music is emanating from Yorkshire.  Quinn is a new proposition and a musician that is just taking his first steps into the (shaky and hard) world of music.  He understands the realities, expectations and capriciousness that he faces:  The fact even the most intuitive and special have to fight needlessly hard.  As this year unfolds for me, I hope to get a radio station started:  Something that dedicates a lot of time to artists like Quinn (from all around the world) and gives more attention to those who would otherwise struggle.  I am hopefully Quinn will bring his sensational blend of sounds down to London and seduce the audiences down here.  There are plenty of places he can perform and contemporaries he could share the stage with.  London is producing lots of agile Electro.-cum-Pop acts:  It seems to be the in vogue sound that is rightfully getting acclaim and attention.  Make sure you hear There For You and a direct statement from a musician that deserves a future in music.  As I said, I am not sure whether an E.P. or album is mooted- shall have to speak with his management- but I will be all over it.  A fresh musician to my ears, I am compelled to follow him closely and see were 2016 takes him.  The men of the solo realm are not particularly standing tall in the imaginations of many.  I have spent too much time criticising the likes of Ed Sheeran and their ilk- that represent the lack of energy and originality in music- but it is perhaps unfair.  Those artists have their market and represent the desires of many listeners.  For those listeners seeking something more adventurous, new and edgy:  There are plenty of options coming through right now.  There is fatigue and need for these artists to overthrow the bulk of boring and idea-less Pop artists- hopefully, it will happen soon.  I shall sign off by commending Quinn on his authoritative and stunning track.  There have been few male solo acts this year that have appealed to me:  I am certain Quinn will be continuing his rise and endeavor years down the line.  Let’s just hope the savviest radio stations get their act together and acknowledge a musician with a rare ability- songs that the masses want (and need) to hear!  If you don’t believe me…

LISTEN for yourself.

[youtube https://www.youtube.com/watch?v=xKTOgZEHiO0&w=560&h=315]

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Follow Scott Quinn

 

Official:

http://www.scottpquinn.com/

Facebook:

https://www.facebook.com/scottpquinn

Twitter:

https://twitter.com/scottpquinn

_______________________________

Music:

https://soundcloud.com/scottpquinn

________________________________

Videos:

https://www.youtube.com/channel/UCSp1xGs6WnRZz5U07z8LqfA

TRACK REVIEW: Canou- Last Leaf

TRACK REVIEW:

 

 

Canou

 

 

Last Leaf

 

9.6/10

Last Leaf is available at:

https://soundcloud.com/canoumusic/01-last-leaf

RELEASED: January 2016

GENRES: Folk; Jazz

ORIGIN:

Dorset, U.K.

The E.P., The New Eye-Sky is available at:

http://canoumusic.bandcamp.com/

TRACK LISTING:

Last Leaf- 9.6

Mother Ivey (Swim) - 9.5

The New-Eye Sky- 9.5

Soft Sun- 9.6

Laurel- 9.6

DOWNLOAD:

Last Leaf; Soft Sun; Laurel

STANDOUT TRACK:

Last Leaf

This E.P. was recorded and produced over a period of around three months in Plymouth, England in the autumn/winter of 2015.

Credits:

Released:

January 15, 2016

All music written, performed, recorded and produced by Louis Alberry except for:

Louis Alberry except for:

Carly Bell

Saxophone on Laurel

Michael Alberry

Piano on Soft Sun

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GIVEN the rather unsettling and unhappy January that has…

just gone; many of us are looking for something more uplifted and prosperous in February.  With the passing of so many icons of music- including Terry Wogan- it proves what an effect these icons had and how important they were.  With each new loss, we reflect on music and how these people contributed.  Music is one of those areas that seem to bond everyone.  Regardless of gender, age and location:  All of us seem to have music in common.  As we reflect and look back at a rather strange month:  We can look forward to some great new music coming through at the moment.  Before I look at Dorset-based Canou, I wanted to look at the music coming from Dorset; the blends of Jazz and Folk you can find- in addition to the struggles artists can experience when they start out.  Perhaps not stereotyping a country:  It seems Dorset and the counties of the south-west share a love of softer/Folk-influenced music.  As a reviewer, I have encountered quite a few bands/acts based here:  There appears to be that connection with the more reflective side of things.  Whilst it has not produced a huge rafter of legendary acts:  At this time, there are a few promising artists emerging from Dorset.  I always love to find music outside the major cities of the U.K. and what is being made elsewhere.  I think we all- and raising this point again- tend to focus too heavily on the major areas- London, Manchester etc. - and do not find time to take our thoughts anywhere else.  Perhaps there is not enough media attention being paid to smaller/less-known parts of the country.  This is a shame, because there is so many terrific music being produced in counties away from Greater London.  It is interesting to think about various parts of Britain:  Whether you get a particular type of music depending on where about you live.  Whilst countries like Dorset have plenty of Rock, Alternative and Indie bands:  There seems to be that majority who perform that Folk/Blues blend.  As such, venues such as Royal Portland Arms, Sixty Million Postcards and Finns emerged:  Showcasing the best and brightest Dorset has to offer.  I have perhaps been a bit keen to define Dorset and the music coming out here.   From a country that gave us PJ Harvey, it is unsurprising to see so many hungry and original musicians hailing from here.  With the dominance of London, Manchester and Liverpool still evident- a holy trinity that will always get most exposure- we should all take some time to look around.

Canou is the moniker of musician Louis Alberry.  Hailing from Swanage- and based out of Plymouth- you have an artist who is just making his first maneuvers in music.  A couple of years ago he released the mini-album, In a Window in a Canvas.  That seven-track release was recorded in Swanage and saw the young artist make that first impression.  Looking into the record, you realise what an impression that was.  Mixing together Jazz and Folk elements- together with some Pop and Rock touches- you have music that possesses depth, emotion and spark.  Being the early days, Canou’s social media pages are growing- the fan numbers will increase given time- and there seems to be a loyal following already.  Whether Alberry can transcend to the attentions of the larger cities- or prefers to familiarities and faith of the home crowds- here is music that deserves wider exposure.  Having just reviewed a New York band (Too Many Zooz) that has thousands of fans across the U.S.- but not widely known in the U.K.- here is an act with a unique sound and an army of acolytes.  Canou, by comparison, is a more intimate artist that surely has some golden years ahead.  It is not often you see artists authoritatively fuse Folk and Jazz together- putting in some mainstream sounds within those blends.  Perhaps influenced by the classic Folk artists of the past:  You have a young man who values craft and nuance above mindless power and commercial expectations.  Too many upcoming musicians seem determined to make music that is chart-friendly and critic-friendly.  As such, there are so many mindless songs coming through:  Musicians that are so cloying, you wonder why they bothered in the first place.  In an age of social media and amassing followers- the obsession with popularity and getting ahead- it is refreshing seeing a musician taking time to craft some wonderful music.  Not concerned with how many thousands he can get- in terms of his Facebook page and downloads- there is an honesty and tradition to Canou’s music.  I love the Folk artists of the ‘60s and ‘70s- Bob Dylan and Neil Young; Fairport Convention and Arlo Guthrie- and the Jazz-Folk blends of Tim Buckley.  You get a little bit of these artists within Canou’s work:  The New-Eye Sky is a colourful and introspective work that recalls the masters of old with a great, contemporary twist.  His five-track E.P. shows the passion and talent on display:  A consistently engaging and stunning work that is capable of captivating a new wave of fans.  There are a lot of young artists starting out; all of whom have to face the realities and struggles of the industry.  Recently, reports have been documented that attest this point:  The early stages see hardship and financial struggles for so many.  Unless you ‘make it’ and get your name across the mainstream; how easy it is to make a living from music?  Not to put a damper on anyone’s ambitions:  It just seems a cruel reality for musicians to encounter.  With the number of musicians increasing- all willing to tackle the obstacles and shortfalls- it makes it harder for the individual to make a living and gain recognition.  It is wonderful we have so much music coming out.  What it means- for others artists- is they have to fight harder to get their music out there.  When they release an E.P. - or have a gig to promote- they are battling with thousands of others around.  Against the haunting (and daunting) nature of music, one thing stands firm:  Musicians find it hard but continue regardless.  That passion and desire is always going to see them play on and make music.  Canou is an artist that seems anxiety-free and just concerned with making the purest music he can.  I know Alberry will have the same thoughts and aims as every musician- that desire for acclaim and getting his sounds out there- but you cannot hear any nerves or strain the music itself.  Everything sounds completely impassioned, crisp and stunning.  Let us home he has some gigs lined up for 2016.  Having reviewed his friend Bee Maru- you may remember that from a while back- here is an artist that could get some of the capital’s venues interested.  Whatever he has in mind- and whether he will be taking the new E.P. across the country- we have a young talent to be proud of.

Canou is a brave and bold musician that lets the instruments do the talking.  Weaving textures and stories with that that guitar- and the incorporation of a few other instruments- and you have an act that impresses with instrumentation, performance and musicianship.  Whilst there are very few non-vocal artists along new music and the mainstream- usually reserved for the confines of World Music, Jazz and lesser-heard genres- you have an artist that could have mainstream appeal.  Whilst it is difficult to truly capture people without that vocal lead- many look for a human voice to connect the dots- Canou allows the listener to let their mind drift and let the music do the talking.  Given my reticence towards a lot of solo artists- and the fact their voices sound similar and insipid- it is a simultaneously brave and necessary move, here.  I think the importance of compositions- the feel and wonderful richness you can evoke- is often lost behind the voice and production.  Maybe I am off the mark, but I find a bad vocal- or one that does not inspire and impress- can ruin the potential of a good composition or set of lyrics.  If you have not encountered Canou before ensure you listen to In a Window in a Canvas- the 2013 debut that saw an impressive and wide-ranging compositions sit alongside one another.  Almost three years to the day, the follow-up arrives:  The majestic The New-Eye Sky.  One of the marked differences between the releases is the economy and clarity of the songs.  Whilst In a Window in a Canvas was wide-ranging and lo-fi:  The New-Eye Sky is more honed and polished- without sacrificing integrity and emotion.  There is more concision and concentration on the latest E.P.:  The sign on an artist evolving, learning and adapting with each release.  Having come up with an impressive and ‘non-conformist’ sound straight away, I am pleased to say Louis Alberry has not changed things too much on his latest E.P.  You get those haunting and busy strings elicit myriad possibilities, scenes and soundscapes.  Whilst the number of tracks has been cut down (7 appeared on the debut; 5 are seen here) you get more confidence and nuance from the latest record.  Maybe some inter-E.P. gigs have sharpened the skill-set and songwriting:  The New-Eye Sky seems more affecting and able of translating into the mainstream.  I have stated how it may be hard to gain a true grip within the mainstream- with the lack of vocals to be heard- but that is not to say it will never happen.  Great music should pervade regardless of its dynamics and make-up.  It is stunning just how effective the music is with the limitations inherent.  This rate of progression and development could well see an album appear some time very soon.  I know Canou will want to tour and perform across the U.K. and although the music may be reserved to intimate/smaller venues at first- the local bars and halls- there is a great possibility those songs could find themselves being played in bigger venues soon enough.

Louis Alberry is a one-man production, music and writing machine that needs few outside bodies- aside from two others musicians he brings into the fold.  Having creative control and ownership of the music results in something wonderful across Last Leaf.  If a producer- untested or a friend- to come in; the music might lack that necessary quality and personality.  The same could be said of the music itself:  Why bring in other musicians when you have an artist completely controlled and sure of his direction.  So many new artists have an army of writers, producers and musicians:  The music comes across as hollow, soulless and utterly impersonal.  It not only shows a lack of talent- if you can only sing- and do not have the ability to write your own songs- then there seems little point coming into music.  I always adore a musician that can do everything themselves and showcase enormous promise into the bargain.  Here, you have a musician that has seen his music fruit from the ideas stage to recording:  Making sure every note and passage is as stunning as it could be.  Given the quality and near-genius of In a Window’; there is perhaps some heady expectations for The New-Eye Sky’s opening number.  Any fears or uncertainties are allayed instantly.  We get tumbling and child-like guitar notes that welcoming the song in.  With few fears and endless possibilities- you get images of children and innocent minds frolicking with nary a care in the world- it is impossible not to be seduced by the beauty and purity of the music.  Soon enough, you notice a build and acceleration come in.  Percussion can be heard adding a little thunder and heartbeat into the pot:  A light but stunning addition that adds depth and force into the compositions.  Such is Alberry’s imaginative grasp and lack of limitations:  You have a song that throws a lot into the composition whilst keeping it focused and accessible.  After those dizzying and wonderful early strings- our hero shows how deft and sensational he is as a guitar player- that scuffling and Jazz-like beat adds an extra layer.  Your mind starts to look at the last leaf possibilities:  Perhaps there is that progression into autumn and a certain somberness to the song.  Looking at that leaf drop to the ground- the cruelty of winter will soon be upon us- there is a seasonal change and a sense of wistfulness that bonds together to create something truly special.  Electric string come into the pack- light but their influence can be felt- that says so much.  By not having vocals on the tracks- other cuts across the E.P. have wordless vocals- you have that pure composition doing the work.  The Last Leaf was a poem written by Oliver Wendell Holmes in 1895.  It’s most affecting verse- in my humble and less-than-poetic mind- is:  “But now he walks the streets/And he looks at all he meets/Sad and wan/And he shakes his feeble head/That it seems as if he said/"They are gone!".  I get the idea Alberry had this poem in mind when he was penning the track.  Even if not, you can extrapolate that sense of loss, age and inevitability in the song.  O. Henry penned a short story called The Last Leaf that had a slightly different concept- but was similarly memorable and beautiful- and you get literary ideas and possibilities within Canou’s parable.  So vivid and tangible is that sense of season, age and mortality.  With no vocals or lyrics, it is hard to see exactly what the inspiration behind the song was.  Maybe words and vocals would cheapen and distill the essence of Last Leaf.  As it stands, you have a moment that is inescapably mesmerising:  A song that is personal and poetic; deeply human but fantastical too.  At every moment, I find myself helpless to deny the momentum and atmospherics of the song.  It keeps building, developing and evolving as time elapses:  From its acorn beginnings, it blossoms into a proud and statuesque tree- before seeing its progeny submit to gravity one-by-one.  Last Leaf seems like that universal and ubiquitous soundtrack that could accompany a summer’s day or be accompaniment for a rain-lashed night.  It is a track that does not push you away and refuse your company:  It beckons you in and asks you to take it into your bosom.  As such- and contrary to the nature of much modern music- here’s a song that digs deep and begs the listener to let their mind imagine.  You get a lot of insincere, unmemorable and shallow music that does nothing but produce a quick hit and easy-to-digest moment.  Musicians that go further- giving you something enduring and studied- are a rarity indeed.

Louis Alberry is the modern-day embodiment of the genuine Folk innovators of better days.  If you yearn for a reincarnation of Nick Drake and Bob Dylan- with originality and a modern edge- then you should not have to look further than Dorset’s Canou.  Last Leaf is a track that perfectly encapsulates all Canou’s highs- that stunning craft and ability to summon a variety of emotions- into a tight and focused song.  While other songs across The New-Eye Sky are longer and more experimental:  The E.P.’s opener is a concentrated and shorter song that stands as Canou’s finest track.  The production values here- compared to the debut offering- are sharper and a little more polished whilst retaining that live-sounding feel to things.  Few acoustic guitar players have such a wide and nuanced palette at their disposal.  Canou is a musician that can portray emotions, seasons and changing landscapes with ease.  I found myself repeating Last Leaf and seeing what I missed the first time around.  The song keeps revealing new insights and possibilities each time you come back to it.

While I have focused on Last Leaf- for me it is the most complete and authoritative track on The New-Eye Sky- the E.P. serves up plenty of treats and treasures.  Mother Ivey (Swim) boasts that curious title and parenthetical lake-swimming grace.  You imagine yourself reflected against a moonlight riptide:  Something beckoning but dangerous that lures romantic souls to a watery end.  Perhaps our author had other ideas but you get such a rush throughout the song.  After the elliptical and potent poignancy of early moments:  The song erupts into a symphonic and head-altering cacophony that throws up so many possibilities and hard emotions.  Lacing together some warped and Jazz-inflected sounds together with a solid Folk core and you have something experimental and progressive.  Almost a Prog.-Rock-like anthem unfolds.  Multi-part and epic; it unveils new buds and chapters as the song unfolds.  Every listener will have their own interpretation and idea as to the inspirations behind the song- for me, it has to be two lovers swimming and being pulled under the waves.  Given the title, perhaps something more ecumenical and faith-based is being ascribed.  Maybe wrestling with ethical and religious conflicts has enforced the song.  Who knows, but what I do know is, it’s a track that will compel you to come back and revisit.  That unexpected build- with its ecstatic race and furious dance- is one of the biggest emotional hits on the E.P.  A veritable hurricane and snowstorm in one- you get a gale-force slap across the face- it is a bracing and breathtaking sense awakening.

The title track is the most listened-to and popular song across the E.P.  The track begins with a tender and reserved guitar line that sees some echoed vocals- one of a few vocals that appear inside the E.P.- give haunting and atmospheric ingredients.  Light and breezy, that conflict and juxtaposition- the eerie, spectral voices against the peaceful and becalmed composition- results in a song that has so much depth and fascination.  Again, you get a building anthem that has that epic status attached to it- at over 7-minutes long; it’s the E.P. longest track.  Not a musician to be taken lightly, you get elements of Nick Drake, Neil Young and the Folk greats in that extraordinary finger-picking.  Perhaps Drake is the most immediate recollection as a beautiful and riparian beauty unfurls before your ears.  Pastoral and emotive; you are lost inside the contrasts of lightness and the dark:  Helpless to refute the strange and beguiling power that is projected.  Towards the latter stages, the track hits a stride and increases its edginess.  A catchy and pressing beat steps the song up as Jazz elements fuse with bristling electronic strings- together with those core Folk sounds.

  Soft Sun is no misnomer or false promise.  Early on, you get some gorgeous and entrancing piano notes that remind me of the Jazz greats of old.  The percussion rumbles and crashes like a wave; the piano rolls and weaves with aplomb and a swooning heart.  Bonding together- the song has a great quiet-loud dynamic- you have some wonderfully immersive and escapist.  Here is a song to get lost in and reveal yourself in its bracing emotiveness and romanticism.  Stunned by the authority, musicianship and originality that radiates through- one of the most startling and triumphant cuts across the entire E.P.  The piano work is especially mesmeric:  A performance that mixes dizzying highs with reflective lows.  That energy, fascination and grandeur never releases its grip on this song:  Every minute and passing passage gets inside the mind and will not escape the thoughts.  A song that allows you to imagine the morning sun- it all its resplendent beauty and peacefulness- one of the most evocative and transcendent moments from Canou.  I can tell how much detail, time and attention has gone into the process of making this song.  Whilst Michael Alberry is responsible for those piano sounds; you must give kudos to our hero who has put so much of his soul and heart into a truly wonderful moment.

Laurel ends The New-Eye Sky with more haunting vocals and something strangely beautiful.  The guitars and electronics lead to something (again) that reminds me of Prog.-Rock.  Building into an astral and cosmic sound- weird and quirky at the edges- everything is kept grounded by that consistent and gripping vocal.  While the acoustic guitar ensures beauty, tranquility and romance are always inside that beating heart:  Projecting outwards you get shadows and something more bracing and unusual.  Allowing the guitar to prosper and interject towards the middle- a nice moment that showcases Alberry’s impressive chops, fluidity and range of ideas- against the ghost of a young Nick Drake can be detected.  Such a stunningly impressive player that can mix the grave and affirmative together and make it sounds natural and completely right.  Before you get entranced in the guitars, a soothing and sensuous saxophone- played by Carly Bell- adds mystical sexuality and Blues/Jazz coefficient that stuns the imagination.  Such a gorgeous and soulful sound spars spectacularly with boulder-like percussion and the frantic build-up.  Reaching fever-pitch heights, the song gains fresh impetus and intensity- taking its sound to a wonderful righteous crescendo.

Having investigated In a Window in a Canvas- the curiously-titled debut release from Canou- it has been a pleasure looking into The New-Eye Sky and the most essential cut.  I was keen to review the lead-off track as it gives the fullest impression of the E.P. and what it is about.  The entire collection shows what a talent and ability Louis Alberry’s alter ego has.  Filled with life, love, passions and vivid scenes:  You have an E.P. that is perfect for any mood and time of day.  You get recollections of the ‘60s and ’70s Folk acts alongside Jazz interspersions and Pop flavours.  At every possible avenue I am trying to push out of my comfort zone- Rock and Alternative music- and embrace sounds that provide depth and diversity.  The mainstream’s best Folk-Pop-Jazz mixers are either under-the-radar or hopelessly inept.  There is so much unspectacular and predictable music coming out, it is always a treat discovering an artist that sounds new and promising.  Derision and criticisms have been levelled at B.B.C.’s ‘tips for 2016’ list:  The winner, Jack Garratt, is seen as representing the worst traits of the music industry.  While that assessment is particular to a few publications; there is some truth in the matter.  The Independent- in an article from 25^th January- ascribed Jack Garratt as the definition of blandness.  They were keen to highlight particular issues- the songs have no nuance of durability; the singing is off-key and un-affecting- whilst there seems to be the proliferation of tear-inducing singers with little grit and originality.  The media-trained and disposable artist seems to be the norm. these days- according to The Independent’s writer- and represent the death knell of modern music.  In a similarly scathing article, The Guardian bemoaned the replication of the white-boy Soul singer:  The James Bay-type artists that seem to pollute the charts and radio waves.  There is editorial bias and subjectiveness in these pieces although there is a little truth in the pieces.  Too many similar and zeitgeist acts are coming through with the same husky voices and songbooks.  I am not sure what has inspired the proliferation- acts trying to sound like U.S. Blues/Soul artists- but it seems to be popular with a particular group of music listeners.  Canou is an artist that is not only a genuinely fascinating Folk artist- someone who will never receive a derisory beat-down from a broadsheet paper- but a guanine article.

There is no fakery and forced qualities to his music:  Every note showcases a musician who knows his craft and does not want to follow the pack.  Whilst there is little to distinguish between Ed Sheeran, James Bay and Jack Garratt- besides their facial hair and fashion sense- we need to embrace artists that rebels against the radio-friendly sounds that have a baffling vogue at the moment.  The New-Eye Sky has more in common with the glory days of ‘70s Folk than it does the Folk-cum-Pop artists of today.  This is a good thing, because not only will the music resonate with older listeners- there is that opportunity to give younger listeners something genuinely quality-controlled and nuanced.  A big problem is music is the narrow and homogenised nature of the media and artists.  The aforementioned singers are all London-based (or near enough) singers that produce much of a muchness.  While a lot of genres and acts are proffered, there seems to be that obsession with a certain look and type.  For that reason, too few outlets are concentrated away from the capital and towards something more fascinating.  If you have not heard Canou- a bit of a local secret- then you should reserve some time to get inside the music and magic.  Perhaps not as immediate and hard-hitting as Royal Blood or their ilk:  What you get is music that reveals its peacock feathers upon future listens and gets inside the soul.  The songs do what great and original music should do:  It is cerebral and thought-provoking whilst ensuring it stays in the mind and gets the heart throbbing.  No cliché lyrics and lamentable (boring) guitar strumming.  There is so much adventure, scenery and story within Canou’s motifs you will want to come back to the music time again.  I can see a big future for Louis Alberry in London.  I have stated how there is an obsession with London Folk/Pop newcomers, but that was a parable:  A way to show how positive reinforcements can lead to a more diverse and qualitative music scene.  Too little attention is paid to the purveyors of originality and surprise:  For that one reason, we need to ensure the likes of Canou have their opportunity to shine.  Free from the weedy-voiced depressiveness of so many male artists:  Canou is a comparative supernova that is a proper musician sans cynicisms and box-filling.  It is just the compositions alone (without vocals to his music) that have the work to do- and do so with stunning conviction.  While there are issues with the assessments of The Guardian and The Independent- the troubling ‘white boy’ racism of one piece; the narrowness that is displayed- you can take some truths from them.  Essentially- regardless of genre, colour and location- music that has soul, authenticity and personality should supersede anything inferior and less.  That seems to be axiomatic:  Canou is a Dorset-based act that is sure to see his name and brand expand to a wider audience.  While few new artists successfully blend together Pop, Folk, Jazz and Rock- in the mainstream at the very least- it is impressive everything hangs together so impressively.  With the giant that is Terry Wogan departed-a D.J. that prided himself on championing the best and most original musicians- keep his memory alive and…

ENSURE the likes of Canou gain the royalties they richly deserve.

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Follow Canou

 

Facebook:

https://www.facebook.com/canoumusic

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Music:

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FEATURE: A New Wave- Radio Adage

FEATURE:

 

 

A New Wave

 

Radio Adage

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OVER the last few years, I have documented a few ambitions and desires…

across these pages.  From albums to charities:  I plan on achieving them all given enough time and passion.  Whilst all of that will arrive in time, for now, I am looking at something very much needed at the moment:  A radio station that reflects the needs of all music-loving listening.  I feel radio is a form of entertainment that is declining- or less popular than it was years ago- and too many younger people are relying on the Internet and social media.  How many of us listen to the radio day-to-day?  I bet those who do listen to radio- in the majority at least- are going to be slightly ‘older’.  Music is something that unites us all- every one of us has an interest in it at least- and the most logical medium for fueling that desire should be radio.  It is the most efficient and disciplined way of ensuring a wide array of songs reaches a large listening audience.  The problem is this:  How many truly great radio stations exist?

I have always found local radio a rather depressing fare- I’m sure they are good local stations around- that play a very limited range of songs- with so many negatives and limitations.  Aside from local radio, there are the mainstream boys.  The B.B.C. stations- Radio 2, 1 and 6 Music- very much have a designated and particular audience.  As such, those stations have a particular sound and look:  Often those stations push away a large sector of listeners for some reason.  I have always found Radio 1 great when it comes to mainstream’s new artists- those that are just starting to ascend to the big leagues- but lackluster when it comes to older music and legendary acts.  Conversely, Radio 2 is great at proffering the existing order:  Perhaps not quite as effective when it comes the best and brightest new acts.  While Radio 2 showcases upcoming talent, I find the artists (they highlight and push) are Pop/Folk-based.  6 Music is perhaps the finest (of the B.B.C. stations) when it comes to covering the spread.  Ensuring older music is kept very much alive:  The guys and gals share their passion for music seven days a week.  Quite good at showcasing some stunning new musicians; here is a station with a bit more edge and variation.

Away from the B.B.C. stations- and the downsides most of the stations possess- there are some great (London-based) possibilities.  Away from the Pop-driven drivel (editiorialising a bit) of Magic F.M., Heart Radio and Capital F.M. - surely enough puerile crap for the teenage market- there are more reputable and impressive options.  Whilst X.F.M. has bitten the dust- re-branded as X Radio- there are drawbacks to this station.  I love the official website- eye-catching and informative; impressive and clear- there is some great music played, for sure.  The guitar-driven songs have a lot of quality but, given the narrow confines, lack that diversity and variation.  A lot of attention is given to its ‘star’ D.J., Chris Moyles.  Having ‘left’ Radio 1- the controversy-seeking D.J. was playing on borrowed time- the acquired tones of Moyles have transferred to X Radio.  I have always found him odious and obnoxiously loud:  Do you want your banner D.J. having these ‘qualities’?  Aside from the homogenised music, the roster of presenters on the station is not as appealing as they could be.  That leaves one other option:  The mighty and evergreen Absolute Radio.

There are negatives and issues with Absolute Radio.  They are a commercial station, and as such, have to interrupt the music with adverts- the most nauseating and irritating adverts across all the land.  The station dedicates too much time to the same kind of music.  Whilst Absolute Radio plays some exceptional sounds- across various decades and genres- there is still an issue with regards predictability.  They have a core/desired audience- the young listeners who want the edge of Radio 1 with the heart of Radio 2- and ensure the music played satisfies them.  You get a lot of the same acts cropping up- Coldplay, Foo Fighters and Blur- that conform to public tastes and needs.  The problem is, there is a whole world of music being overlooked.  Absolute Radio has sister stations- Absolute ‘80s, ‘90s etc.- that makes sure various decades are given a thorough investigation.  That is perhaps an issue:  Why create so many sub-stations for particular decades/genres?  There are enough hours in the day to give every decade and genre a good show- and ensure the playlists are not too samey and stilted.

Given my reticence, Absolute Radio boasts a huge amount of highs:  It is my favourite stations for a very good reason.  It is the music itself that impresses me:  You get a lot of depth and variation; so many classic tunes mixed alongside some rare gems.  Based in Soho- arguably the cultural centre of London- you can hear and feel the vibes of the city reflected in the presenters.  Energetic, funny and engaging:  Every day you tune in knowing you will smile and be entertained.  Perhaps not boasting enough diversity- in terms of race and age- you get D.J.s that have a huge passion for music and connect with the listener.  I love Frank Skinner’s show (Saturday mornings from 8) and find him peerless in terms of humour and surprise:  An enormously talented human that is insanely funny and sharp.  Andy Bush and Leona Graham are terrific D.J.s that gives me a good chuckle, too.  My favourite D.J. is Christian O’Connell:  Perhaps the station’s star hosting the flagship show (The Christian O’Connell Breakfast Show).  The team he has- Richey, Faye etc. - have a terrific bond and the banter is infectious.  Playing great music and bringing the listeners in- there are various competitions and phone-ins- it is the perfect way to kick-start the morning.  The way a radio show should sound:  More D.J.s need to listen to Christian O’Connell.  Absolute Radio has been the most influential radio station to me- long may their monarchy reign and inspire.

Aside from the two genuinely great- my view; others may disagree- stations, Absolute Radio and B.B.C. 6 Music, what else is there?  If you want to find a station that addresses the negatives of the aforementioned- Absolute’s lack of true range; B.B.C. 6 Music’s limitations- then you have a hard time.  Internet radio is a massive and busy jungle that offers enough choice.  What I find- when it comes to finding a broad station- is the narrowness and niche nature of the stations.  There are very few stations that incorporate the best elements of ‘mainstream’ radio- whilst stretching it out and bringing more listeners into the fold.  I love stations like Channel Radio- www.channelradio.co.uk- who seem to be leading the way for the underground.  The presenters here have a shared love for great music and diversity- covering genres like Jazz and Rock- and gave me the impetus for my own station:  Radio Adage.

Aside from some Absolute Radio similarities- a station beginning with the letter ‘a’ for one- there will be a lot of differences.  I love Radio X’s website- seems like a strange point- but is so detailed and informative- easy on the eye and great to navigate.  That will be the building block for Radio Adage:  Ensuring the homepage is equally impressive and brilliant.  The aim of the station is to have that mainstream/long-term appeal:  Not just confine itself to digital/underground realms.  Whilst it is important to have a core following- and broadcasting is its own reward- I want the station to have the chance to nestle alongside Absolute Radio and X Radio.  Here’s how I want it to look:

PRESENTERS

 

This is one of the most important foundations and considerations.  The voices (and faces) of radio:  It is crucial to get the mix right and have some likable and popular presenters.  The reason I love stations like Absolute Radio and Channel Radio is the inimitable mix of humour, passion and personality.  Absolute’ pillars like Christian O’Connell, Frank Skinner and Leona Graham have their own qualities and highs- the comedy and wonderfully rich voices (Leona on this one) - and this is something I want to capture (read: steal).  If the presenters for a station are not entertaining/warm; then you will not have a wide listenership and appeal.  One of the reasons I dislike so many stations (local radio particularly) the lack of good D.J.s.  Even X Radio has some great presenters- Absolute Radio and 6 Music are the finest- and it is paramount the people you hear on the station get the listeners hooked and keep coming back.  It is vital- when it comes to Adage Radio- to have diversity and quality there.  Probably starting out with a few D.J.s- I am trying to go for 10; it may be a little unrealistic- it is hoped more will join in time.  I want to find D.J.s that is funny, witty and passionate.  If I can find my own Frank Skinner and Christian O’Connell, then that would be ideal.  Essentially, I do not want D.J.s that is too young and inexperienced:  Personality is more important than age/youthfulness.

One of the things I want to do is have a better spread of races and gender.  Not positively discriminating- and trying to rebel against the lack of diversity in the entertainment industry- but modern radio is too white and ageist.  In addition to younger D.J.s- early-20s to mid-30s- I want to have some older shoulders.  Given the recent passing of Terry Wogan- a stalwart of radio and legend- it would be terrific to have an experienced D.J. on board.  I also want more women on the station.  There are stations that have a few female D.J.s, although not enough.  In that respect, more black and Asian faces need to be heard:  Not doing it for the sake of equality; it would give the station more depth and appeal.  The station will broadcast 24-hours a day, and as such, would probably (in the earliest days) sees some international D.J.s join.  Between the hours of 11pm and 6am (the last evening show and breakfast show) I want Australian and American D.J.s take over and broadcast.  Starting in Brisbane (and throughout Australia) I have a guy in mind:  By the same token, there are a couple of American options.  I want warmth and wit to sit alongside a genuine passion and flair for music.  D.J.s that has their ear to the ground of new music- those unsigned and on social media- would meet with presenters that know music’s history- willing to spin songs from the ‘50s and ‘60s.

MUSIC

 

This is the centerpiece of any radio station:  The music you play on a daily basis.  The reason I dislike some stations- and love others- is what they play.  The reason for getting this station going- aside from the need to fill a gap- is ensuring the best new music is featured- in addition to playing a better range of older material.  Aside from local radio and Internet brands:  Few radio stations feature music by brand-new artists.  I do not mean the acts that are coming through the mainstream- although they will feature too- but those without a record deal or trying to crack their way in.  Throughout the world, there are a wealth of terrific bands and acts that make waves across social media- they have to struggle to get radio play and attention.  It is not fair they have to rely on local radio- and its narrow listener-ship and potential- and there should be a platform for them to get their voices heard.

Aside from the brand-new music- they will get a big market-share of the playlists- it is vital to keep existing music in the forefront.  Whilst a lot of stations have to fit into a mould/target audience; I feel there is a lot of compartmentalisation and limitations.  The big boys of radio focus on guitar-driven music and Alternative sounds.  While you get a lot of great music played:  I find too few stations do not go far enough and negate certain genres.  There are plenty of great Jazz artists and terrific tracks from the ‘90s that are never played.  Why can you not put these on one station?  Some great stations do have sections dedicated to various genres/decades:  This can often mean listeners avoiding certain times.  It would be much wiser incorporating music together to get a more variegated and diverse playlist.

FEATURES

 

Each section/D.J. would have their own brand/sound.  I want each segment to have a very distinct feel and not all sound the same.  From the morning show to late-night shows:  The station will have originality and familiarity bonded together.  It is important new bands and artists are allowed to play/perform live- like local radio stations and Internet radio- in addition to existing artists.  While it may take time for Radio Adage to get clique and a name- thus meaning mainstay acts want to perform- there is no reason why international acts cannot feature.  You never hear many acts outside the U.K. performing on our radio stations.  Whether in the studio- or from their home locations- there needs to be more attention given to non-British artists.

Completions, phone-ins and listener interaction are vital, and because of this, the station will bring them in and involve people in the day-to-day processes.  Whilst 'Adage will start as an Internet-only station- hopefully, it can become digital in time- the listeners will be able to call and join in the fun.  Some stations are slipshod when it comes to range and interesting features.  Radio Adage will go onto the street and highlight great local bars, attractions and things to watch.  I hope Radio Adage will find itself in London have quite a London-centric feel.  Vibing from the cosmopolitanism and diversity of the city:  There would be a good deal of features that brings the city and music together.  I want an annual concert- raising money for charity- to feature the best new acts coming through.  On the charity front, the station- and website particularly- would have charity initiatives and events happening regularly.  I want Radio Adage to be more about music.

BASE

 

With no studio booked/found yet, the early days of the station will be wherever is feasible and economical.  In time, I want to be based in London:  Preferably around Soho/Piccadilly; it would be in the beating heart of the city- not just confined to London.  The hope it to get the brand known across the U.S. and Australia- as far around the globe as possible.  It would be great to have a very modern and large-ish studio to give the station the breath and space it needs.  I understand a reality check and sense of confinement needs to happen in the fledgling days/weeks etc.  In time- and when the reputation is built- it would be great to have an established base in London.

GETTING IT STARTED

 

To get the station started, there are going to be logistical challenges and a lot of planning.  Of course, things like broadcasting equipment, D.J.s and royalties- ensuring the music played has permission and is all legal- will be essential.  I am hoping a Kickstarter campaign can be launched to get the foundations built:  Meaning we can recruit some talent and make sure all the equipment/website/cores required are there and safe.  This year, I am confident we can get the station created- a rudimentary website built- and get broadcasting.  Naturally, it will take years to build that reputation and get among the big leagues- if it happens at all!  Just, for now, it is important to get feedback and see if the idea has legs.  I know so many people are turning away from radio- whether there is not enough range- and either listening to their own music or using social media (to find the best in new music).  Radio is still the logical way to hear all music and keep that passion going.  With digital music starting to be overtaken by physical release- the buying trends are starting to shift- perhaps there is dissatisfaction with the way music is broadcast/available.  I am not sure, but what I do know is too few radio stations have all the necessary boxes ticked- the spread of music and appeal of their D.J.s.

FUTURE AIMS

 

Knowing a bit about business- and the realities you must accept- Radio Adage will not ignite and be a big-time hitter this year- in fact, it may take many years in order for the station to transcend beyond the Internet.  The most important thing (in the early stages) is to get the stations going and get a loyal core cemented.  In time- and with the way radio is at the moment- the hope is Radio Adage will be a mainstream/above-the-parapet station that can keep growing and getting better.  I want a lot of D.J.s- more than 9 or 10 in time- that will reflect various audience sectors and tastes.  Forming into a cohesive and gilded station:  The aim is to create something that fills gaps and keeps music’s passion alive.  Whilst there are some phenomenal stations out there; few go deep enough when it comes to the music itself.  I feel there is room for Radio Adage due to the fact so many people- myself included in the list- for another participant in the pack.  We will have a 'voice' for the station- like Matt Berry for Absolute Radio- and create something both familiar and new.

It would be great to get people views, support and feedback:  See when this can become a reality and ideas the public have.  Of course, getting the bricks-and-mortar stages sorted- the soft/hardware sourced; getting everything in place- will take a long time (and quite a bit of money) so these early days are going to be rather unexciting (if essential).  Let me know your thoughts and help welcome in…

A new face for radio.

INTERVIEW: Nina Schofield

INTERVIEW:

 

 

Nina Schofield 

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AFTER a busy and productive 2015…

Nina Schofield is looking ahead and planning her moves for 2016.  One of the hardest working and most distinct artists in music:  I was excited to learn what was in store and what advice she would give to up-and-coming artists.  This year is going to see a lot of young solo artists emerge:  Each will have their own aims and ideas.  To my mind, Schofield is among the most arresting and distinct voices out there.  Inspired by a wide array of artists and genres- from Coldplay to Lana Del Rey- few others elicit quite the same range of emotions and reactions.  Make sure you keep your eyes on this Surrey-based artist…

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

I am thank you!  It’s been good; I’m excited because my album is being mastered at the end of this week.  After a year of work on it I can’t wait to hear it!

It seems like 2016 is going to be a busy one for you.  What is the typical ‘day in the life’ for Nina Schofield?

I’d say there isn’t really a typical day because every day is different!  Recently I’ve been spending most of the day either in the studio recording final vocals or in a different studio working on the preliminary stages of a project; which is a bit of a secret for the moment!  In the evenings, I’ll be gigging- if it’s a weekend- and if it’s not then I’m probably watching Netflix and baking gluten-free goodies.

The past few weeks has seen some music legends depart. As a fellow musician, how has it affected you?

It’s been a really sad start to 2016.  David Bowie, in particular, was a big inspiration for me.  His song Life on Mars has always been one of my favourites and I’m not even sure how many songs it helped inspire me to write.  Life is short; all the clichés are there for a reason.  But you can look back at someone like Bowie and see how much he gave to music (and is still giving to music), and you can take inspiration from that too.

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Looking back at 2015:  Which moments stand as personal highlights?

Going to Rotterdam and supporting Romeo (the Dutch boyband behind the song Coming Home) on their sold-out comeback show was incredible!  I got to meet another great artist, Alex Alexander and stay in a stunning place.  I felt very lucky.  Then moving forward to the latter part of the year, I was extremely fortunate to go on tour and support brilliant artists like Nell Bryden and Blair Dunlop- and work alongside incredibly talented musicians such as Leland Sklar.

Modern music is defined by long days and hard work- to make ends meet.  How do you keep the passion alive in that situation?

I’ve got to be honest:  Sometimes it’s really hard!  I don’t know any working musician who hasn’t had those days where they just think ‘what am I doing?!’  I am lucky to be surrounded by an incredibly supportive network of friends and family- a lot of whom work in the music industry themselves so they understand what I’m going through.  A quick phone call or text from one of them can turn a bad day around.  You know, there are really bad days and then there are really good days and there’s no balance.  It’s remembering those really good days (or moments) that keep fueling the fire.

I hear you have just finished putting down vocals for your forthcoming album.  Can you tell us something about it?

I can!  It has 11 tracks; its title is related to the front cover of each single I’ll be releasing up until it comes out (not giving the game away just yet).  I think it’s the most creative thing I’ve ever done!

In terms of your new material:  What subjects/themes have defined its creation?

It’s all about relationships but not just with other people:  It explores the relationship I have with myself as well. I hope that will be something others can relate to.  The whole album goes on a journey through 2 different relationships from start to finish… Well actually I suppose 3 if I’m also counting the one with myself!  It’s not all doom and gloom either:  There are happy moments, sad moments and everything in between; there’s even a song about me needing more money on there!

I know you rank Coldplay as influences.  Which other artists- from days past or today- inspire your music-making?

So many!  That’s what’s great about music:  You can keep discovering artists both old and new.  I love Phil Collins, Say Lou Lou:  Jet’s first album was one of my favourites growing up, as was Keane’s.  Right now I love Marina and the Diamonds and Tove Lo.

If you could pick your proudest musical achievement- a particular song or gig- what would it be?

I think that keep changes, but I’m really proud of a song on my new album called HIH which began as a piano/vocal; then a basic production by me and now has been brought to life by producer Jo Pereira.  I think it's the most unique song I’ve ever done and it’s been great to watch it develop.

You are based near London.  Do you think there are more opportunities for musicians in the cities as opposed to anywhere else?

Yes, certainly in terms of the live music scene.  But if you have a computer and social media pages, then these days you can also reach a whole new audience just by going online.  You could technically stay at home for 10 years and have a successful career!  But where would the fun be in that?  There’s so much to be said for the live stage experience and how it moulds your craft.  On top of that, the more people you meet and the more places you go, the more likely you are to be inspired.

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

Keep developing, keep moving forward.  Don’t get stuck in one place, which is really easy to do, and keep yourself open to others opinions whilst not letting them define you.

If you could turn back time and offer your younger self some advice, what would it be?

Probably the advice I just gave above – I’d tell myself not to be afraid of taking risks creatively.  That’s a stage I’ve got to now but I think I had to go through some stuff before I could get here.

Last year you were picked up by Mystic Sons (a London-based P.R. company).  How did they make you feel?

Great!  It’s nice when someone else sees your vision and wants to be a part of it.  I felt like part of the team and I had creative control which is always really important to me.

Apart from yourself:  Which other artists would you recommend people check out?

Here are my current recommendations:  Tove Lo, Frances (Grow), Above and Beyond; Nico and Vinz and Marina and the Diamonds!  Check out all their most recent albums.

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

Tove Lo – Moments.

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

______________________________________ 

Follow Nina Schofield

 

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TRACK REVIEW: Too Many Zooz- Hollagraphik

TRACK REVIEW:

 

Too Many Zooz

 

 

Hollagraphik

 

9.7/10

Hollagraphik is available at:

http://toomanyzooz.bandcamp.com/track/hollagraphik

RELEASED: 26^th January, 2016

GENRES: Brass-House

ORIGIN:

New York, U.S.A.

_______________________________

THROWING a wrench into the blog writing machine was never an option…

until my mind sort of froze today.  Unsure what to review, I remembered a great sound I came across:  That which emanated from New York’s Brass-House masters, Too Many Zooz.  Having caught these guys on YouTube- performing at New York City Subway where they regularly play their music- it seemed only apt to feature the boys.  Before I come to them, it gives me the chance to explore some new themes:  The music and artists of New York; Brass-House as a genre- looking at how some musicians are taking a unique approach to music-making/recognition.  When you want to explore the greatest sounds music has to offer- that are fascinating and stray away from the norm.- then you cannot go too far wrong looking at the major cities.  Most people have assumptions areas like London, Los Angeles and New York are fairly predictable:  You have bands and solo artists of varying sounds; nothing too unexpected to be honest.  The trouble is, the press- and the acts they assess/highlight- are just scratching the surface.  In terms of the most unique music, you have to dig a lot deeper.  Some of the most spectacular artists you will find are in the underground:  Quite literally when you think about New York’s Too Many Zooz.  The U.S. is a musical landscape us here (around the U.K.) hardly get to hear past mainstream press.  Unless you have a finger across all the most cutting-edge blogs around- mine hardly ranks alongside them- it is hard to see what America is producing at the moment.  Last year, I got to discover some great bands coming out of Los Angeles:  The city is always showcasing so many rich and colourful musicians.  A vibrant and fertile music hub:  It is an area of the globe that will continue to astonish this year.  Whilst California has few limits and barriers- the sheer breadth of music there is stunning- New York is even more astounding.  While the bands are about equal to Los Angeles’ best:  It is the less-than-traditional/solo acts that surpass their West Coast peers.  New York’s solo artists have that extra level of grit and passion:  I am not sure what it is; they just have a little bit more magic and passion to their sounds.  Having never been to either New York or Los Angeles- Orlando remains my only contact with the U.S.- I am gleaming and forming impressions based on my previous reviews.  New York is a humongous city that is seeing thousands of musicians try to make their way to public consciousness.  While it is near-impossible getting acclaim and long-term recognition among the mainstream stations and media; that is not to say it will not happen eventually.  Amidst the sheer wave of hungry bands, there are a few that are shouldering above their contemporaries.  Exocomet have been touted by Gigwise as one of the bands to watch closely.  Mixing The Velvet Underground with Bauhaus- how often have those two been spliced? - that forms an original and genuinely pleasing sound.  Elsewhere, High Waisted- having recorded some of their music in a haunted house whilst out of it on acid- are a lo-fi, Surf-Rock band that record on reel-to-reel and have a ‘60s vibe to their aesthetic.

Reputante are a Brooklyn band that are a modernised version of Joy Division- in no small part due to their lead’s deep and sonorous voice- and are causing excitement.  Throw in (among hundreds) Jack + Eliza and there is variation and plenty of potential to be unearthed.  That is all well and good- those acts have commercial appeal and are hugely impressive- yet I think we can go a little bit further.  Take a trip away from the studios and basement-recorded sounds of New York and you will find something even better.  Too Many Zooz may play and seduce the New York Subway crowds:  They are a trio that is more than a novelty act for the YouTube generation.  It is not often I get to talk about Brass-House- a genre fusion that you wouldn’t think would work- but it has got me very excited.  In Britain we had something (or still do) called Acid-Brass music:  The mingling of traditional Acid and Brass elements, it is a strange and wonderful chemical blend.  Too Many Zooz throws away the vocals and studio trickery and seduce with their staggering musicianship.  Having first encountered these guys via YouTube- a short clip of them entertaining the morning commuters- I could not believe what was coming through.  A cartoonish blend of vivid sounds and strange ideas:  The sounds emitting from their instruments are psychotropic and mind-blowing; incredible vivid and insanely catchy.  It is impossible to be within a 100-mile radius of Too Many Zooz and not find your feet involuntarily- and with no regard for dignity and gravity- flailing and dancing to the strange-world symphonies of the New York clan.  Designed to bring sunshine, colour and amazement to the world- few bands have such a universal and thoughtful approach- they have amassed a huge legion of fans.  I have never witnessed a group like Too Many Zooz.  In the U.K., we do not really have an equivalent, so it is hard to see where their competition lies.  Brass-House is a sub-genre that should inspire other acts to follow suit.  Maybe New York has quite a few sound-alike bands- again, the limitations of the media- but I’d like to think Too Many  Zoozs are in a class of their own.  When it comes to authority, genius and variety:  There are no other acts that get close to matching them.  In sheer musical terms- they amaze without vocals and any other band member- the boys shift ideas and tones from song-to-song.  Hollagraphik is a new song I was keen to investigate as it is the here-and-now of where they are.  An exploration into the terrifying, beautiful and mesmeric, it is a song that is extremely hard to define and pin down- just as well I choose it, right!?  As I type this- listening to Absolute Radio online- Bob Dylan’s The Times They Are a-Changing and I could not imagine a group more different:  Could you draw a line between Dylan and Too Many Zoozs?  Whilst a young Dylan enthralled Greenwich Village- his stomping ground when he arrived in the city in ’61- our ‘Zooz boys have their milieu and distinct gig venue.  As this year kicks off, few U.K. sources will be looking at Too Many Zooz:  It is a shame, because the three-piece are amazing musicians that deserve huge respect.

If you happen to be new to Too Many Zooz, you will want to hear where they have come from.  F Note was released a couple of years ago and was one of the first E.P.s from the trio.  Mixing the experimental Jazz sounds of Mile Davis, Charles Mingus and John Coltrane:  Their five-track collection blends in the limitless sway and recklessness of House music.  Bonding romance and texture with drugged-out, drunken abandon and you have a collection that saw them stand aside from their contemporaries.  Noda is perhaps the finest cut from the E.P.:  A circus procession that asks you to stamp your feet and march to the rhythm of the drums.  A call-to-arms and clarion call:  A song that provokes all manner of images and dream sequences.

The Fanimals E.P. was released after (F Note) and shows a continuation of that musicianship and quality.  If anything- marking an evolution between the recordings- the New York group sound even more freewheelin’, kinetic and ambitious.  Perhaps the interim performances- honing their craft and gauging crowd reaction- ensured the E.P. brimmed with quality and nuance.  The production values and musical themes do not stray too far from F Note’s gauntlet.  What you get are additional passions and new genres ideas.  Salsa, Bossa Nova and Latin ideas are tossed into the melting point.  Limbo is a song that is much more danceable and intoxicating than anything they had recorded previously.  A veritable orgy of dark satin and late-night coming-together:  There is something sexual and positively- charged about the song.  House of the Glass Red I is a standout that really takes you in House music.  Reminding me of the anthems of the genre’s heyday:  The boys simulate that sound through their instruments and make the listener cast their mind back to when music had that limitless potential.  Bounding beats and strange vibrations- the sound of a cricket playing a digeridoo- you have a song that inflames the senses and stands as the band’s most electrifying moment (up to that point).  Having quite a defined and specialised sound; it is hard for the boys to take huge leaps- without compromising their uniqueness and core.

Holographik has that hard-to-achieve blend of accessible and experimental.  Perhaps not as experimental as Fanimals E.P. but not as accessible as F Note:  Here is a song that unites the trio’s previous work and updates their music for 2016.  The guys show evolution and development in addition to familiarity and consistency.  Their existing fans will love what they hear across the track- it is has been online for a while but available for digital download at the moment- and enjoy the fresh ideas and themes explored.  I know a new album is planned for 2016:  It will be the first opportunity for the boys to break away from E.P.s and produce something longer and more in-depth.  I am not sure whether existing songs will feature across the album- or if it will be only new songs- but I am confident the resultant record will be immense.  Too Many Zooz are an act that defy quality expectations and have never missed a step.  If their album- the campaign they are launching right now- does not reach its target it will be a sad thing for music.  Since their earliest days, there have been no limits and boundaries to their sound.  An act that immerses the listener and takes them somewhere mystical:  This year is going to be a productive and exciting one for the New York boys.

Having obsessed- perhaps ‘familiarised’ is a more apt word- my ears to the music of Too Many Zooz, I was half-expecting something that harked back to their past days.  I loved the trio’s early E.P.s and thought- as the song was recorded a little while ago- Hollagraphik is a fresh track on the scene that shows where the boys are now.  If anything, the song shows progressiveness and a new stage for Too Many Zooz.  Pulsing electronics open the track and show a slight departure for the group.  Many would expect a teasing beat or slow-building brass coda to open things:  Here we get something direct that sounds like an Electronica/Acid track.  That percussive stamp plays in the background- the hollow taps and heartbeat slams- creating something strangely focused and natural.  After that initial surprise- and how authoritatively Too Many Zooz are right from the get-go-their more ‘traditional’ blends come to roost.  Those tip-toeing and tripping horns swagger in and add colour to the dark carnivore elements.  At this stage, I began to wonder what inspired the song- and where that title stems from- so your mind will race and conspire.  If you listen to Too Many Zooz, you do not have vocals and lyrics to shed life:  They are essentially like a Jazz act whereby the music alone does the speaking.  For that reason, it is quite a different challenge reviewing them:  You have to gain impressions from the music and what it is trying to say.  Instantly, you hear the confidence and tight-knitted bond Too Many Zooz share.  The clear and stunning production values make the instruments crisp and alive- without making them too polished and commercial.  Having released songs like Spocktopus and 20/20 this month, it seems 2016 is shaping to be a very productive one for the trio.  Hollagraphik has so many ideas and strands to it; you need multiple listens just to get to the bottom of it.  As a Jazz fan- and a follower of Miles Davis’ finest creations- you get elements of Kind of Blue and Birth of the Cool blending together.  The former’s lush and thought-provoking introspectiveness sits with the latter’s Bee-Bop cigarette-smoking suaveness.  What the New York trio do is evoke memories of revolutionary ‘50s Jazz and something almost Disney-esque.  The elephantic and trumpeting sound- that has Hip-Hop/Rap swagger- melts with a cartoon-like fantastical phantasmagoria that takes the breath away.  Whilst constrained and disciplined- at this stage anyway- there are so many elements and layers built into the music.  Being Too Many Zooz, the energy levels never drop and you find yourself moving your head:  Helpless to resist the alluring charm and dance of Hollagraphik.  That warping and punctuated brass-and-electronic sound is joined by dizzying brass- the evocative animated sound- and something distinctly Miles Davis-esque.  If anything, Sketches of Spain acts as a bigger influence (than Birth of the Cool and Kind of Blue).  Like Sketches of Spain, here you have something that brims with lyricism and gracefulness.  That album boasted transcending adagios and something akin to modern art.  Vibrant and filled with life- the timbres, tonalities and harmonic structures seems new to Jazz in 1960- you can see parallels within Hollagraphik.  A stunning narrative that has romanticism and exceptional command of the instruments:  I was amazed by how shades of Saeta, Solea and Will o’ the Wisp- from Sketches of Spain- blend into a modern spectrum of Subway grit and street-level electioneering.  Unsure as to the true inspiration for the song, you are taken on a weird voyage of the New York streets.  Colourful and head-spinning- you struggle to comprehend the possibilities and magnitude of the sound- you try to capture as much as possible.

The sound of 21^st century music mixes with ‘60s Jazz in an orgy of the demented.  Romance and passion sit with the (electronic) sound of a barking dog.  A wide-eyed chatter joins wordless vocals- almost acting as characters within the song’s storyline- to give the track some danger and streetlight uncertainty.  Snaking and slippery trumpet lines slither alongside blood-rush electronics:  A modal groove-cum-cutting razor that evokes a myriad amount of dreams and insights.  The chaos, fog and paradoxical nature of the compositional has another influence:  Milles Davis’ Bitches Brew.  I hate to bring up Davis so often- it is apropos here- but that experimental nature can be compared to the Jazz godfather.  Joining Jazz-Rock together with Brass-House and Electronica would be ridiculous in lesser hands.  It is testament to Too Many Zooz’s shared talent- and the telekinetic nature of their performances- that everything comes together so well.  Those shuddering and spectral judders- that cut through the atmosphere like a chainsaw-wielding murder- are calmed by brass which becomes fevered towards the conclusion.  Breathless and evading the law, the brass becomes frantic and terrified:  It tees the song up to deliver a confident and cool-as-crap conclusion.  At this point, I get evocations of ‘90s Acid and the club songs of the time.  Whilst there is modernity and 2016 in the song- a song that could translate to the clubs of New York- it is the elements of the past that come to the foreground.  In addition to Miles Davis- the comingling of his accessible and experimental highs- you have insights into 1990s glory.  Whilst some may perceive Hollagraphik may be interpreted as a voyage into an addled and troubled mind- the song has a very emotional and haunted sound- there is such a busy and itinerant sound to the song.  In my mind- every listener will have their own interpretation- I look at the nighttime sounds and smells of New York.  I saw a lone character- perhaps worst for wear after a heavy night- seduced and suffocated by the neon lights and loneliness of the streets.  Maybe something strange lurks in the shadows:  A hat-wearing killer that is stalking the hero as he tries to evade his fate.  By the closing stages- the most vivid and urgent moment of the song- all the musical elements and genres pollinate into an explosion of near-apocalyptic possibilities.

It is hard to know where to begin with Too Many Zooz with regards to their qualities and genius.  Having been unfamiliar with them until last year, I have been making up for lost time.  Against a music scene that has too much rigidity:  The New York trio are a hurricane of fresh air that pack an enormous amount of mystery, drama, dance and multifariousness.  Hollagraphik is one of the most arresting and immediate songs the lads have ever crafted.  Perhaps their most diverse, atmospheric and accomplished songs:  You will not believe how stunning the song is upon first listen.  Given further investigation, various shades and ideas come to the fore.  A truly nuanced and incredible statement:  If this is the way the trio are going to develop in 2016, I sorely hope their album gets funded.  It is no faint praise comparing Too Many Zooz to Miles Davis:  One of the most iconic musicians in all of history.  The New York trio is renowned for their beyond-the-point-of-believability performances and wondrous connection.  Having seen clips playing across New York train stations- reveling in the freedom of their surroundings and vibes from commuters- many would wonder whether they would sound as pure and natural in the studio.  Never loading their sound with shiny gloss and trickery:  You have the replication of their live performances against the control and discipline of a studio setting.  Sounding live and bare- but with enough shine to ensure there is that additional quality- the boys would not have been able to make this track work if they were playing in the underground.  Bringing all those ideas, instruments and sound effects together required a studio setting:  For that reason, Hollagraphik is one of their most essential and impressive unveilings.  It will be fascinating to see how the song is performed live- whether the guys will bring singers and other musicians in- but I hope the trio comes to London.  I am excited to see where this year takes New York’s master:  Hollagraphik is the finest statement from a group that become more beguiling as time elapses.

If you have not made Too Many Zooz part of your life, make sure you change this.  If you wanted to find bands as starting points:  I guess the likes of Madness and The Specials would be close enough.  That duo has a mix of brass and abandon- wrapped around Ska and Reggae sounds- that have inspired and captivated the music world.  To be honest, it is quite a vague comparison because Too Many Zooz are so unique.  Having digged some of the New Yorkers’ previous work- and what a spectrum and sense of spectacular they have- Hollagraphik will please existing acolytes and draw in new admirers.  It is hard enough finding originality in music; let alone something that is exciting and enduring.  In the U.K., I have been seeking bands that do things differently to the rest of the world.  You know, something that recalls the giddy heights of the ‘90s:  Music that makes you feel wistful but is genuinely forward-thinking.  While it may be a hard ask, the terms of my conditions are quite open:  Just rebel against the conformist and vanilla-dull restraints so many are all too happy to embrace.  Perhaps the likes of me- who review music and proclaim the best and brightest- are not exempt from responsibility.  I suppose we have become so familiarised with a certain musical sound- and desensitised to its predictability- when something new does come about, it takes a while for it to get true recognition.  It is perhaps ironic that New York’s Too Many Zoozs are an underground act- that are making waves across the city- but am performing as far and wide as they can.  Maybe Brass-House is a genre that will take a while to be exploited.  A singular and impossible-to-define act, they are in the process of funding their debut album.  If you go to https://www.kickstarter.com/projects/1013202534/too-many-zooz-needs-your-help-to-complete-their-de , make sure you donate some money to an act that deserve the chance to shine.  While their $100,000 budget may seem a lot:  It is the price you pay to hear music of exceptional calibre and grasp.  In the meantime- and whether they will hit their target- the boys are seeing how Hollagraphik fares.  The guys play Brooklyn Bowl today and a chance for New York’s finest borough- certainly when it comes to the most forward-thinking music- to be cast under the spell of Too Many Zooz.  The trio has produced an impressive- and hugely consistent- body of work that deserves a lot of appreciation and sharing.  Before I come to the end, it is worth revisiting those motifs of New York music, Brass-House and the diversification of sounds.  America’s centre for great music- my words you understand- New York is perhaps the most essential place to find the finest acts around.

I love London to death- and the immense amount of wonderful musicians we have- but New York has an extra edge.  In terms of sheer size- New York could swallow London like a Mento- there seems to be that variety and spice we are lacking.  Hard to explain, New York’s five boroughs- Manhattan, The Bronx, Brooklyn, Staten Island and Queens- are producing as much scintillating music as anywhere else.  While Staten Island and Queens may be lesser gods when it comes to musical genius- there are some fine acts emerging here, mind- it is the likes of Brooklyn and Manhattan that are housing some truly special musicians.  As Too Many Zooz prepares to enthrall Brooklyn, I am determined to spend more time seeking what New York has to offer.  A mind-boggling and Herculean feat:  The rewards of such passionate investigation are going to be huge.  When you get past the skin-deep and easy-to-define mass of acts coming out- even New York has a lot of stereotypical and bland acts- there is so much richness and wonder to be discovered.  You do not need to be a genius to know that originality is what defines a truly special act/band.  I have had my fill- and my brain has been numbed by- so many samey Rock bands and bland-as-butter Pop artists that leave a rather metallic aftertaste.  A man who loves a wealth of genres; the time has come to start proffering the artists that dare to be different.  Too Many Zooz’s brass-cum-House cocktails have seen them gain thousands of supporters across social media.  Their Subway performances are the thing of legends:  Just see these boys play and you will not believe what you are seeing!  The colourful and sense-altering world of Too Many Zooz is a place we all need to visit and remain.  Up until this point, I had not really encountered anyone who played Brass-House.  I love oldskool (forgive me using that world) House and the Acid-House artists of old.  In today’s market you hardly hear many House acts- with that munch quality and endeavor- emerge:  Fewer blend House elements with other genres to be fair.  Matt Doe, Leo P. and King of Sludge are a brotherhood that are going to be conquering the music world soon enough.  So many musicians do not take the trouble to variegate their sounds and stretch the limits of their musical ambitions.  Variety being the spice of life and all, how can anyone not fall for the quirky and feet-moving bliss of Too Many Zooz?  Take the opportunity to donate to their album campaign and ensure the guys have a platform to get their music out there.  I wanted to review the trio to get (or try to) their brand heard in the U.K.  While the guys have British support, they are still really an act with an American majority (of fans).  Hollagraphik is a statement from a three-piece that have a very clear and wonderful future ahead.  If you do one thing today…

DISCOVER this unstoppable musical juggernaut.

[bandcamp width=350 height=442 track=1506956993 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

________________________

Follow Too Many Zooz

 

Official:

http://toomanyzooz.com/

Facebook:

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

Twitter:

https://twitter.com/TooManyZooz

__________________

Music:

https://soundcloud.com/toomanyzooz

TRACK REVIEW: MissDefiant- Venus and Mars

TRACK REVIEW:

 

MissDefiant

 

 

Venus and Mars

9.2/10.0

 

Venus and Mars is available from February 5^th.

GENRES: Pop; Electro.-Pop

ORIGIN:

London, U.K.

____________________________________

I can never claim to be the biggest fan of mainstream Pop music...

but I am always looking for artists that lend credibility and quality to the genre.  Away from the powerhouse/big chorus artists- Katy Perry, Rachel Platten etc.- there are a range of upcoming Pop acts that provide a mix of passion and subtlety:  Songs that do not grab you by the throat at every opportunity.  I shall come to my featured act soon, but for now, it is worth looking at female Pop acts:  Leading into investigation of the general Pop market- finishing off with a word on the importance of upbeat/futuristic sounds.  Being a big fan of the heavier side of music- Rock and Alternative especially- I do not often dip into the Pop market.  I find a lot of the modern, mainstream sounds to be quite particular and basic.  Too many artists process their vocals heavily and stuff songs with easy hooks and inane choruses.  It is a hard graft to pen a catchy song, mind:  If you are able to do so with some intelligence and grace; so much the better.  Far too often we get a new Pop act arrives and the same thing happens:  Their songs are over-produced and mindlessly simple.  That music never sticks in the imagination and you are left feeling a bit cold.  While acts such as Justin Bieber are starting to find form- and gain genuine credibility- acts like Rachel Platten- mentioned above- are displaying the ignorance and worst traits of Pop music.  With music that relies on cliché subjects and a lack of identity.  Whilst the music (and choruses) is big enough to stand an atomic bomb:  Listeners want their Pop artists more rounded and unique.  The songwriters and artists that will distinguish themselves- stand away from the faceless clan that are coming through- are those that mix emotions, sub-genres and ideas into a cohesive whole.  You can have big choruses and something emphatic- it can rally and inspire all listeners- but you need to be smart and offer the public depth and a bit of range.  MissDefiant- on paper at the very least- may sound like your average Pop duo and provoke the same thoughts:  They are going to be Katy Perry/Taylor Swift-esque and only appeal to fans of those artists.

We are quick to judge artists; when you dig deeper, MissDefiant have a lot more to them than meets the eye.  While they have those Pop staples in their stable- contagious sounds and polished production- they manage to present contrasts and surprise.  Their songs do not simply rely on well-trodden subjects- hearts broken and fighting against the world at large- while their music has a great blend of Electronica and Pop ideals.  At the one moment they can be restrained and melodic:  The next, they rise to euphoric heights and sparkle with intensity and purpose.  Jordan Cather and Emily Rose Adams are striking to witness- not just in the flesh but through the speakers- and have a look and sound that is ready-made for the mainstream market.  Venus and Mars is forthcoming and shows what they are all about:  More confident and alive than ever; it is a song impossible to ignore and not be affected by.  The girls’ social media numbers are climbing at the moment- they will increase as their new single is unveiled- and there are big hopes for this year.  If you consider the Pop market- the artists out there and the great duos- you have a few choices available.  I have stated my ’objections’ to the likes of Ed Sheeran and his type:  Music that lacks necessary nuance, range and staying power.  I know he has his fans- and has collected enough awards along the way- but I always look for something less rote and sugary.  There seems to be a calculated effort to make his music appeal to a very distinct market:  The pre-teen girls and everyone else seems exempt.  I may be off the mark, but with Sheeran, the music is too limited and not all-inclusive.  Lyrics that are a bit plodding and over-worn:  Music that lacks depth and necessary inspiration means his albums are for a particular time and place.  MissDefiant are a powerhouse that certainly cannot be accused of soppiness and lacking any depth.  Their compositions and songs are capable of lifting through the atmosphere and eliciting big emotion- whilst appealing more to a teenage audience.  Bringing in club shades and Electro.-Pop- inspired by the likes of Calvin Harris and Mark Ronson- and you have a duo that are rounded, original and ambitious.  Too many new artists forget to create something upbeat and future-looking.  What I crave in music- aside from a lot of other aspects- is music that gets me stood to attention and provokes something positive.  That does not have to come at the expense of texture and quality:  It is easy enough to create an upbeat song that massages the brain along the way.  Our London duo team up with producer Mike Tournier and pen music that not only grabs the club-goers but those who prefer their music Rock-tinged and a little more developed.  The girls are aiming for big things this year and it will be interesting to see if they come up with an E.P. or album.  Their range of songs already out there shows MissDefiant are more than your run-of-the-mill Pop act:  They have the potential to cross boundaries and get their sounds heard by a wider audience.

If you are fresh to Miss Defiant- like I am alas- it is always worth having a look at their previous numbers.  In terms of the girls’ influences, the below artists feature:

Lady Gaga, Charli XCX, Rita Ora, Die Antwoord, Katy Perry, Crystal Castles, Madonna, Tinie Tempah, Lana Del Rey, Ellie Goulding, Havana Brown, Fuse ODG, Mark Ronson, will.i.am, Calvin Harris, Swedish House Mafia

Those balking at the idea of a Rita Ora-cum-Katy Perry sound will take a deep breath:  There are elements of Mark Ronson and Swedish House Mafia that means their music is not a girls-only sound.  Empowerment and defiance are themes that sit alongside sensitive unveilings and lyrics with plenty of heart.  Venus and Mars is their most assured and fascinating number to date:  It builds on their early promise and stands up to repeated listens and scrutiny.

Mess With You was an early number- released last year- that saw futuristic vocals present rather saucy lyrics.  Our girls want to mess with (the hero) and are rather candid in their ambitions and intentions.  Not allowing any double-meaning or doubt to come in:  The lyrics are pretty direct and do not leave much to the imagination.  The composition spars blipping electronics with rushing highs that give the song a constant energy and persistence.

Get Out!  has another strong and memorable chorus that sees the girls speaking to a suitor or subject:  That desire for them to get away and leave it presented with verve and passion.  Like Mess With You, Get Out! contains some processed vocals and relies on a (deliberately) robotic sound to provide urgency and an edginess into the fold.

  Innocent showed another leap forward and the girls bring in something more subtle and introspective.  Not completely ballad-y- the song still has plenty of energy and attack- the vocals are less processed and it allows their voices to sound more natural and free.  Looks can be deceiving and the song’s subject- who has perhaps not been completely free from blame- has been put under the microscope.

The girls seem to be growing stronger with each release and demonstrating personality and originality.  In their earlier numbers, I found there was perhaps a committee-led ambition to have them fit into a particular hole.  While the songs stand in the memory and have quality, the voices were being distilled and there was too much emphasis on the composition.  By the time Innocent arrived, you get a greater sense of roundness and depth.  The duo always sound exciting and uplifting:  Their music never dips into blandness and is always capable of eliciting a reaction.  Innocent was their most authoritative and assured song that has led to Venus and Mars.  Taking another step forward, the music is at its very peak.  Recalling the 'Girl Power' Pop of the ‘90s- and the wave of acts that followed The Spice Girls- there are clear and unfettered vocals.  The production values are still polished but this does not come at the expense of emotion and quality.  The girls sound more open and confident here:  The vocals really flourish and the composition is their most diverse and compelling.  Employing elements of Disco and Pop into Electro.-Pop strands means you have MissDefiant’s defining statement.

Venus and Mars begins with a twinkling and star-gazing sound that is backed by ethereal vocals.  Ensuring the song wastes no time getting into the head:  You have an instancy and magic that means you are curious to hear what comes next.  Before too long- and an unexpected move from the duo- comes in the form a big beat that takes the song into Electro.-Pop/club territory.  Not too imposing- but pressing enough to get the feet moving- you have instant contrast that sends the thoughts in different directions.  Following that breezy and cosmic beginning:  Here is a sound much more urgent and intense.  Reminding me of some ‘90s Pop/Dance acts- everyone from Madison Avenue to All Saints- there is a very modern and contemporary essentialness to the opening.  I mentioned MissDefiant were influenced by hit-makers such as Calvin Harris, Mark Ronson and Swedish House Mafia:  Their influence is felt in these opening exchanges.  Previous numbers from the duos have seen female-heavy influences come to the fore- subjects looking at sexual hook-up and rebelling against no-good guys- but the composition here suggests something gender-neutral and more universal.  Straying away from pure Pop:  That hard-and-heavy blend will hook in the most steely of listeners.  Just as you start to predict where the song will lead, our heroine arrives at the mark with her voice sweet and passionate.  “Hit me like a falling star” shows someone in love and under the spell of a particular man- my interpretation anyway.  Wanting (her subject) to point her to where they are:  Here you have declarative and direct words that see a young heart that is in the grip of passion.  That said- and given the song’s title- my mind was looking at alternatives.  Perhaps the song relates to getting away and escaping life’s stresses:  Using Venus and Mars as far-off destinations one could retreat to.  The first minute-or-so sees that subtle but powerful composition- a steady beat keeps the energy levels high- and key words repeated.  Ensuring the lyrics are easily remembered- and can inspire sing-along chants and accessibility- there is a certainty hypnotic charm to the vocals.  Light and airy on the one hand; there is plenty of urgency and soulfulness at work.  Once more- and catching you off guard- the song suddenly steps up a gear and explodes into life.  Those beats become heavier and the electronic swathes- that were under-the-radar at once- fizz and crackle with life and motivation.  Taking its sound into Dance/Electro.-Pop territory, you get hooked by the intensity and catchiness of the unfolding drama.  Our lead wants that falling star to hit her- the repeated words “Say something” suggests there is a need for communication- and there are frustrations among desire.  Maybe the hero is being too cagey and not letting his feelings out freely.

While there’s that tangible passion and desire- from our lead at the very least- perhaps the lines of communication are blurred and the two parties are on different wavelengths.  Maybe I am over-analysing yet that is the nature of the song:  Its simply-but-complex contradictions inspire deeper thoughts and investigations.  It is perhaps the unflinching and indefatigable energy of the song that will mark Venus and Mars out.  Never overly-powerful or generic in its sound:  The composition bubbles and explodes with smiles and dance-floor ambitions.  Uniting sub-genres and decades into a heady and nourishing blend- that is strong enough to convert Pop deniers and skeptics- those repeatable codas ensure listeners will be quoting the lyrics and singing in unity.  After the snowballing codas- where the vocal has a charming mix of Kylie Minogue and Ellie Goulding- the song expands and offers new lyrical insight.  Our girl wants her heart touched and the man to be more honest with her.  Asking where the two should begin- there is a sense this is a new romance starting to bloom- it is hard not to picture astral and intergalactic scenes- given the song’s title.  With its heart pure and a smile always at hand- despite the frustrations at work- it is a rather innocent and original take on love and finding common ground.  Too many peers employ clichéd words and cloying sentiments inside one-dimensional compositions- topped off with boring-as-crap vocals.  There is no such fate for MissDefiant who ensure every second of Venus and Mars provides something interesting and different.  One who has been nervous assessing a Pop song- and has preconceived notions as to its sound- was hugely surprised and impressed by their talent and ability.  Riding that insatiable and thirst-quenching backdrop; our lead wants to be lifted from gravity and discover a rare intensity.  The song’s title- when you think about it simply- refers to women being from Venus; men being from Mars.  The 1990s self-help/relationship guide from U.S. author John Gray was a huge best-selling work.  Promoting practical ways to improve communication in relationships, the girls have extrapolated ideas and cores from the book:  Venus and Mars sees two lovers with barriers that need overcoming.  Maybe here- through the song; following the arc of Gray’s work- there are problems that need resolving or stumbling block:  The hero might have one idea of things (that calls for action) whereas our heroine might want a talk-based solution.  I am not sure, but one thing is clear:  That combustibility and desire never relinquishes from start to finish.  Eliciting so much upbeat energy- ensuring the song has cross-party appeal- you will not be able to refute the power and urgency of an immaculately-produced Pop gem.  The final moments see that chorus coming back in once more and a tantilsling beat brings proceedings down.  By that final second you never relinquish that smile and find yourself coming back to the song and playing it over and over.

Few Pop acts have that nuance and memorability sorely lacking from the modern scene.  Too many acts are obsessed with heartache and love:  Putting these well-worn issues around vague and slight sounds.  I have been looking around for a great Electro.-Pop act that calms my reticence with regards Pop’s abilities.  MissDefiant have always been a strong proposition- I am glad the vocals are more natural here- and have hit their stride on Venus and Mars.  Gone are the processed vocals and here is something much more appealing and developed.  The girls have honed that knack of mixing universal themes inside compositions that have a nice blend of grittiness and sweetness.  I cannot wait to hear an E.P. as Venus and Mars surely will have a starring role.  Developing and improving as singers and writers:  I feel tracks such as Innocent and Mess With You will feature too.  It not only shows the differences and sides to their music but how they have evolved over the past year.  I have not been excited about Pop music for a while so am glad MissDefiant have arrived on the scene.  Cather and Adams are a duo that has a stunning connection and a tightness that comes through in their music.  I am not sure whether Venus and Mars was penned solely by the girls- or whether there were a few cooks in the mix- but you can hear that identity and honest come through.  The duo is not merely plodding out a committee-approved song that will get chart approval.  Whatever the inspiration behind the lyrics you have to tip your hat to the song’s intensity, consistency and originality.  Balking against the tired and limited nature of some Pop music- that tends to rule charts and minds- you have a song that gives the genre a much-needed kick in the arse.  When the song is released on February 5^th, ensure you take time to discover a wonderful song from a talented new act.

I am glad to have discovered MissDefiant as I had some trepidation at first.  The Pop market is a hard one to crack and there are so many players out there.  The public seem to be rather hard to pin down.  Whilst some artists have risen to prominence without deserving it- shall not mention particular names- others have had to struggle for recognition.  Too many artists pitch their sounds to narrow audiences a particular type of consumer.  The pre-teen market is an important one for sure:  Acts emerging seem to fit in by either sounding juvenile or producing something sugar-sweet and bland.  Maybe that simplicity and lack of imagination speaks to an audience sector who do not look for depth and nuance in their music.  There is that desire to discover something immediate and uncomplicated. Attention spans are shorter; few younger listeners take time to discover what music has already given them- they are all about the here-and-now.  Pop music also provides a sense of identity for a lot of listeners (especially young girl).  Because of this, the likes of Katy Perry and Rhianna have grown in popularity and prominence.  Songs that look at defying the odds and fighting adversity appeal to young minds that struggle with the demands and realities of the modern world.  It is vital we have artists that speak to (and for) young girls and resonate with them.  The trouble is, too many Pop artists play in this arena and tend to push away other listeners.  I do not think Pop is a market reserved for younger audiences- and those that want something disposable- so more artists need to look at what they are doing.  There are too many bland and saccharine acts emerging:  I would happily embrace Pop music were I to hear more diversity, energy and quality.  Perhaps I am being over-demanding:  It is just I grow tired of the milquetoast and timid artist.  Those that try to subvert that image come off as clunky and a little cringe-worthy.  Once in a while you come across a Pop act that provides what you are looking for:  Reaches further and gives music that ticks all the boxes.  MissDefiant started their careers confidently but were still looking for their voices.  The likes of Robot, Mess With You and Get Out! have their charms and pack a punch:  It is hard to ignore the intent and authority the girls have.  Lots of Pop acts process their vocals if they do not have strong pipes:  Our girls have great voices and it is great to hear them unhampered and singing proud.  Innocent was the most intriguing move of the girls’ career that saw them at their natural and stunning height.  Venus and Mars takes things even further and mix all their sounds and elements together.

A tune that has some grit and hardness among the sweetness- that contrast of emotions makes it so fascinating- you are given elements of ‘90s Pop and the current mainstream acts.  Before concluding, I wanted to come back to the Pop market and the importance of bigger, upbeat sounds.  If you are tired of the vanilla and serotonin-reducing crop that come through- we hear them across radio all day long- then you will be seeking acts that do things very differently.  A lot of our new Pop artists focus too heavily on emotions and heartbreak:  This is a tradable commodity but far too many acts do not break from these confines.  If you look about the mainstream at the moment and think:  How many current Pop artists really linger in the mind?  There is a very real danger Pop will start to limit itself to the very young and exclude the more mature.  Our up-and-coming musicians are being too swayed and inspired by Rock/Alternative because Pop does not provide any appealing alternative.  If you look hard enough, there are a band of young artists that are putting more thought and diversity into their songs.  You are not going to balkanise audiences by neglecting issues of love and emotion:  So long as you cover them at some point, you can still win and retain hearts and minds.  The genre needs a credibility boost, so MissDefiant seem to have arrived at the right time.  They have the image and sound that can easily be picked up by teenage audiences.  When you look beyond that, you have a duo that produces well-crafted, fun and imaginative songs.  Their sapling cuts boasted enough sass and force to ensure listeners were never bored and underwhelmed.  If anything, the last few weeks/months has seen the girls up their game and hit their stride.  This all bodes well for a prosperous and exciting 2016 for Jordan Cather and Emily Rose Adams.  I am not sure if there is a new E.P. coming soon- or whether a fresh single will drop first- but we all will be looking to see how the London-based girls progress.  Venus and Mars is a song that you will want to snap up and hold close.  Those who are rather nervous with regards Pop- I can be included in this summation- should not fear MissDefiant.  They have plenty of quality and ambition that means they could well be a feature across festivals and radio stations before too long.  Take a peek into the girls’ past and see a young duo…

WHO is a serious act to watch closely.

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Follow Miss Defiant

 

Facebook:

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

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/missdefiantofficial/

___________________

Music:

https://soundcloud.com/missdefiant

___________________

Videos:

https://www.youtube.com/channel/UC-2ky3QstIV_tG19NbHYqYA

 

INTERVIEW: FiFi Rong

INTERVIEW:

  

FiFi Rong

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THE next few weeks will see me fervently try to interview some of...

the hottest musicians around.  Last year, I was lucky enough to discover the rare talents of FiFi Rong.  Bowled over by her invention and way of working:  This year will see her create more music and unveil a brand-new E.P.  In a music scene that has too much staleness and rigidity:  Artists like FiFi Rong are a commodity that needs to be promoted and savoured.  Keen to catch up with her- and reflect on the year just past- I asked her about music plans and her heritage; who inspires her sounds- and what music means to her...

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

It was great thanks!  It was restful and I just did what I love doing the most throughout the holidays

I believe you a planning a PledgeMusic campaign for your next E.P.  What can you tell us about that?

Yes, I'm running PledgeMusic campaign again for my new E.P. Forbidden Desire as I really loved the interactive experience of the campaign for my last E.P.  The process of making music is the part I enjoy the most and sharing it with people (who like my music) is the best experience ever.  This time, I’m running the campaign for one month only.  I’m adding in some additional exclusive one-off items whilst making some of the items from the last campaign available again- for those who missed it last time and for those who are new to me :)

In terms of your style and image; it is very unique.  Was there any particular person that inspired that image, or was it always a personal choice?

My thinking was to introduce some eastern culture in a western, modernised way:  I merge those Chinese elements in little doses into my imagination and experiment with things.  So I guess it's a personal thing, but I haven't thought about it so much… it just happened.

The music you make also has a very original and stunning sound.  Which artists/musicians have influenced you and were important as a child?

I was born into a Chinese music background with built-in Chinese Opera and Folk music programming.  Whatever I do now I can naturally blend in those elements to any degree.  So I play around with it.  Growing up, I definitely discovered myself liking dark, dreamy and deep music such as Pink Floyd, Cocteau Twins etc.

You were born in Beijing.  How does the music scene in China differ to that of the U.K.?

I have no idea.  When I left, I was close to the underground Rock scene there:  Some great, passionate (but struggling) musicians as opposed to Pop stars on the other end of the spectrum.  I’m not sure what happened after that.  When I go back now, performing there (I think) people accept uniqueness more.  The U.K. has a rich music culture (although it is saturated):  Fast-changing; it is still one the coolest place.  There's certain moodiness about it that I like that makes me want to stay in and make music- more so than other places.

London (where Fifi is based) is a vibrant and busy music centre.  How important is the city with regards your creative process and success?

I'm ignorant of the world outside my studio.  I started off here- since my first production and song- and haven't paid much attention to the changing world as music makes time go fast and make life linear and simple.  It would certainly be harder to focus on music if there was hot sun and beach outside my window.  I also like the freedom that I can be myself here: Straightforward, little judgement; it’s a great environment for me to create.

Congratulations on a great 2015.  Any particular highlights?  Do you think your best music is still ahead of you?

Yes, my last E.P. Violently Silently was definitely a highlight and the first time running a PledgeMusic campaign was thrilling and fun!  The launch show at The Garage was wicked.  The China tour was immense as well.  I have been making my best music in preparation for my next full-length album.  That would be the best so far:  However I need to prepare my audiences with this coming E.P. (Forbidden Desire) first, which is pretty close to what you will get from me.

When it comes to the coming year- in addition to the new E.P. - are there any other plans in mind?

I have a small tour in the U.K. and several good shows booked in E.U.  Mainly, I will be crafting the album just mentioned, and give it my all.

With regards the music you have already produced.  Which song has meant the most to you, either creatively or personally?

I taught myself to produce on my little Mac. many years ago.  I honestly didn't know what I was doing or listening to, but Wrong was mostly done in the first year of my music mileage.   I'm pretty impressed thinking “How did I do that?”  by not knowing anything.  I loved Hurt Outta Sudden, I Need the World to End; Ever Rising Sun and Time.  The beauty I see mainly comes from non-thinking and pure innocence.  I'm also proud of Since When as I tried many (many) attempts at its production.  It is a track of very good balance:  Creativity and conventionality; technicality and experimentation.  There's no shortcut or much luck when it comes to this track.  All of my tracks have their own stories:  I love all of them but once it's released they belong to the world.  I no longer feel attached but I'm more-so (attached) to the ones I'm doing now.

You have studied at university and produce your own music.  Do you think it is important to have that control when it comes to your music, and how important have your studies been with regards your creative process?

I studied Economics and Sociology for my first degree and then Media Management as a Masters.  The little PhD I did was to do with music- but on the sociology side of things.

I don't think I would be doing music if I didn't start off producing music.  It's absolutely critical and defining for me to have control of my sound.  I can't imagine having other's sound on my music.

Music is a basic instinct to me.  Everything seems written in my sub-consciousness already:  I just need to get it out.  Music theory is important with regards arrangement of course but I just taught myself:  It's not rocket science, but I really wouldn't want to study music at uni.  I would have died from frustration.  Nonetheless, my studies in business-related subjects were incredibly valuable:  That how I have managed to hold my own ground.

Are there any other musicians/acts out there you would recommend to people?

Sad-Sic- an artist I have collaborated with- has a unique sound.  When I said ‘unique’, I mean it… It's hard to find these days!  He’s got a new album out and is keeping it low-key.  Still Parade- I came across last year- has amazing songs and sound.  They’re a German band:  Very inspiring.  Island is (a group) I found out about yesterday:  It's not the first time I heard this kind of stuff but I really love the vibe.  Their drums are especially divine.

Your music mixes various genres and sounds- including Electronica and Pop.  Which artists were important with regards shaping your sound?

Like I said, my music comes from an unconscious, non-thinking place.  I don't really think about it although people like to compare me with what they know of.  I love a massive range of music from all kinds of artists but my all-time favourite would be Cocteau Twins and D'Angelo- they are the only ones I can say I like almost all the stuff they did.

I love how unique your vocals, music and lyrics are.  Is there one particular element- lyrics, music or vocals- that are most important or is it the combination of the three?

Lyrics are most important to me as they happen from the effort of my mind.  Whilst my music and vocal delivery come from a place beyond my mind and thoughts; they are probably most unfamiliar to other people who are new to my cross-cultural style of singing in English- with a hint Chinese traditional tonality.

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

The new track I did as a gift to people:  Lost in Space Music

[soundcloud url="https://api.soundcloud.com/tracks/238849707" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Support FiFi Rong’s PledgeMusic campaign (from January 29^th):

http://www.pledgemusic.com/projects/forbidden-desire

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Follow FiFi Rong

 

Official:

http://fifirong.com/

Facebook:

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

Twitter:

https://twitter.com/fifirong

BandCamp:

https://fifirong.bandcamp.com/

SoundCloud:

https://soundcloud.com/fifirong

Instagram:

http://instagram.com/fifirong

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

 

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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

__________________________________

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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Facebook:

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

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Music:

https://soundcloud.com/oxygyn

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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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