The Classics Series: Fleetwood Mac- Rumours

The Classics Series:

 

 

Fleetwood Mac- Rumours

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IF turmoil and conflict leads to creativity and focus…

then Rumours is the perfect example of this theory.  Well, perhaps there were other reasons- why the album remains a masterpiece- but it is amazing the album got made at all.  In the years leading up to Rumours:  Fleetwood Mac were on a little bit of a tepid streak.  In 1974, the album Heroes Are Hard to Find was released.  This was the last Fleetwood Mac album to feature Bob Welch:  He was replaced by Stevie Nicks and Lindsey Buckingham soon after.  Before that, Fleetwood Mac had recorded eight albums- from weak efforts like Penguin and Mr. Wonderful to wonderful cuts like Bare Trees- and had produced few lacklustre albums.  There was a general feeling in camp the band was going through a bit of a slump.  Something needed to change:  That change arrived in the form of an American couple who would make their impressions felt immediately.

Heroes Are Hard to Find is not quite as bad as I make out.  In spite of Welch’s departure and the odd duff moment:  The strong moments are truly memorable.  Welch’s She Changing Me is among the album’s most celebratory and upbeat tracks:  Angel and Bermuda Triangle are among the record’s more experimental and psychedelic offerings.  It was Christine McVie that made the biggest impact on Heroes’.  Prove Yourself and Come a Little Closer are grand and lush songs that stop you dead in your tracks.  Ethereal strings and delicate piano augment the songs to impossibly-dreamy realms.  Not just confined to ballads:  Rocker Bad Loser has plenty of dark undertones and kicks (thanks to Mick Fleetwood and John McVie’s rhythm section).  Throughout the album, Fleetwood Mac injected toughness and sensitivity in equal measures.  If Heroes Are Hard to Find is considered a ‘weaker’ effort from Fleetwood Mac:  It shows just what an immense proposition they were.

Following the line-up change, there were some nerves and uncertainties:  How would the two Americans fit into the band?  The group’s self-titled album- the second so named (their 1968 debut was called Fleetwood Mac) - is regarded as one of the finest Fleetwood Mac efforts- one of the greatest albums of the 1970s.  Arriving in 1975, the album would go on to reach number one- it would stay in the top-ten for nine months- and sold over five million copies.  Maybe the fresh blood made an instant impact- or the band as a whole were in inspired form- but you cannot deny the influence of Buckingham and Nicks.  The U.S. lovers were close to break-up when Fleetwood Mac was recorded- the two were hired after Mick Fleetwood conducted a brief interview in an American interview- and that bubbling tension led to some tremendous offerings.  Monday Morning has nerviness and urgency:  Lindsey Buckingham highlighting what an important songwriter he was.  The Californian couple turned Fleetwood Mac from borderline-soppy to a genuine U.S.-U.K. Rock band with huge spirit and gusto.  The album’s opener (Monday Morning) is impossible to ignore and signalled a brand-new sound for Fleetwood Mac.  Although this was the tenth line-up change since their inception- and the most successful one- it was a move of genius.  Buckingham would be a background presence on the album- he would come more to the fore throughout Rumours- with McVie and Nicks contributing gems Rhiannon, Say You Love Me and Over My Head.  Perhaps Buckingham’s songwriting credits are limited but his D.N.A. is all over Fleetwood Mac.  His production style transformed the band into a more forceful, focused and brave brethren.  Pushing McVie to create some of her best work- bringing out the Rock goddess in her- and propelling the group to rarefied heights:  Thanks to Buckingham; Fleetwood Mac was the standard against which all subsequent Fleetwood’ albums would be measured.

Fleetwood Mac was very much the Blues coming to England.  This country has always had a passion for Blues music.  Since the ’40s and ‘50s, the genre was not overly-representing in mainstream music.  Lindsey Buckingham and Stevie Nicks reintroduced that vintage-sounding Blues style to the 1975-album.  Everything sounded authoritative and genuine:  As such, the album resonated all across the U.K.  From the East End to the northern towns:  Fleetwood Mac was in-demand and a very hot ticket.  That scratchy and raw sound can be detected in every track of Fleetwood Mac.  It remains one of those pivotal and transformative musical statements:  An album that not only changed the band themselves but the landscape of British music.  With that impressive gauntlet thrown down; few could have predicted what was to arrive next.  It was not just Lindsey Buckingham and Stevie Nicks whose relationship was going through strains:  Christine and John McVie were experiencing some tough times too.

[youtube https://www.youtube.com/watch?v=462lDlULSBk&w=420&h=315]

In 1977, Fleetwood Mac released their finest (debatable, but true) creation:  The majestic and peerless Rumours.  Today, Rumours is one of the biggest-selling albums of all-time.  It won a Grammy for Album of the Year and has inspired countless modern-day Folk and Rock artists.  Not only was Rumours’ recording fragmented by relationship strife and squabble:  The band’s drug-taking and recklessness threatened to derail the album completely.  More hedonistic and disjointed than they had ever been:  In a rather bad way, Fleetwood Mac had turned into a true Rock band.  Whilst most acts- certainly those in the current climate- would not have produced an album- instead, the band would split- Fleetwood Mac defied expectations and recorded an album of near-genius stature.  Despite the tumultuousness that was encroaching, there was still discipline and focus.  Critics noted- upon the album’s release- the wonderful vocal interplay of the three singers (McVie, Nicks and Buckingham) and the multiple genres represented.  Fleetwood Mac mixed electric and acoustic guitars together:  Rock, Country and Folk numbers sat alongside one another organically.  The incredible production values- Buckingham at his peak as a producer- was also a huge factor in Rumours’ success.

The recording on the album was anything but smooth- as you have probably figured- with the band sequestered at the Recording Plant in California.  Commencing work in February 1976, there was a strange mix of optimism and recrimination.  The band was definitely on the finest form they had ever been:  The intimate relationships of four-fifths of the group was both a curse and a blessing.  With inhospitable studio conditions- small, windowless rooms were not popular with the group- the boys lived together in one part of Sausalito; the girls resides near the city’s harbour.  With Buckingham in control of the album’s direction- he wanted to make a pure Pop album- the discipline and focus started to wane.  The band members would not socialise after recording- given the splits and quarrels that were emerging- and the access to drugs- Sausalito was still in the grip of the hippie movement- the band indulged in drug-fuelled sessions and self-indulgent binges.  The album’s undefined budget meant Fleetwood Mac had an endless fund for narcotics and stimulants:  Rumours was never going to be the most puritanical and healthy albums ever made.  Despite the friction, the band’s best work was being shaped.  Using the best microphones available:  They captured the sublime harmonies of the band’s singers.  Mick Fleetwood- the poor chap caught in the middle of this Anglo-American hurricane- summoned some of his most compelling beats.  Lindsey Buckingham fostered the beauty in Nicks’ music- although the duo was balkanised- and it showed struggle and negativity brought the best from the group.

In terms of the album’s themes:  Broken relationships and hopefulness sat alongside one another.  Chrissie McVie’s You Make Loving Fun was not about her former lover:  It was about the band’s lighting director.  Go Your Own Way is a pessimistic song that leaves little to the imagination- Nicks didn’t need to read behind the lines.  Dreams, conversely, is a more optimistic and bittersweet affair.  With the band’s principle songwriters- Nicks, Buckingham and McVie- writing separately (occasionally sharing ideas) it was a compartmentalised and impersonal writing process.  Rumours was truly a shift away from any other Fleetwood Mac album.  Never had such emotion and strain defined an album’s creation.  The clean, crisp and receptive sounds (of Rumours) was celebrated by critics at the time.  Rumours is one of those albums that has received very little negative feedback.  Not only one of the greatest albums of the ‘70s:  It remains one of the most impressive musical achievements ever.  Few people would have excepted something so authoritative, flawless and smooth from a band on the brink of disintegration.  Maybe the separations- writing in private and lack of socialising- helped avoid a complete capitulation and wreckage.  Maybe the ready access to drugs helped balm wounds and mitigate the pain.  In truth, it was the band’s passion for music that turned Rumours into a classic.  Yes, the recording was delayed and studio sessions were fraught.  Overriding the pettiness and infidelity was that burning desire to record beautiful music:  Without that innate drive, the world would never have heard Rumours (or you’d get an album that was a rather muddle affair).  If you look at the songs one-by-one, you can tell why (the album) made such an impact on its release- and continues to amaze musicians and fans alike.

   Second Hand News kicks off Rumours with Buckingham in the driving seat.  The track was originally going to be an acoustic number.  After hearing the Bee Gees’ Jive Talking; Buckingham added words/melody and set the tone for the album.  The lines:  “I know there’s nothing I can say/Someone has taken my place” defined the record and saw Buckingham accept the reality of his relationship.  The song looks at the pleasure and redemption Buckingham found with other women.  Buckingham wouldn’t miss Nicks because the two had to record with one another.  It seemed like the American was having his cake and eating it:  Finding thrills with transitory bonds but immune from heartache and longing.  Second Hands News is a song with Buckingham in complete control.  He called the shots throughout- instruction bassist John McVie to play a simple, quarter-notes part- and wanted the song to be simple yet euphoric.  The track’s refrain is one of the boldest f***-yous ever:  It was clear Buckingham’s heart was anything but broken.

  Dreams is a more optimistic and softer number that shows Stevie Nicks at her peak.  A gorgeous and stand-out moment- definitely among the best songs on the album- that Nicks wrote in about ten minutes.  Sat on her bed with a keyboard and a simple drumbeat:  The song poured out onto the page.  Drummer Mick Fleetwood was going through a divorce; the McVies were in a similar predicament:  Buckingham and Nicks were ending their eight-year relationship.  The denial and disenfranchisement inspired Nicks to pen one of her most honest and open tracks.  Upon presentation, the band was not crazy about the song:  Nicks has to beg them to record it with her.  Buckingham fashioned three distinct sections from identical chords- giving the sound a logical and distinct thread- on a track McVie (Chrissie) found “boring”.  The fact that it is one of Fleetwood Mac’s most-celebrated tracks is a testament to Buckingham’s influence and Nick’s intuition (and talent).

[youtube https://www.youtube.com/watch?v=6ul-cZyuYq4&w=420&h=315]

Never Going Back is a gorgeous and reflective song that assesses the break-up of a relationship.  Buckingham’s tale of rebound fling- one of the final songs written for the album- was not the deepest song (Buckingham felt it slightly shallow) but the simple chords and beautiful melodies made it a favourite among critics.  The bad-news scenarios were given a prettiness and elegance that transcended its authour’s modesty.

   Don’t Stop is another classic from the album:  Another one of those unimpeachable numbers spoken about in devout tones.  Whilst Nicks brought positivity to Dreams:  Chrissy McVie ensured overt hopefulness came through in Don’t Stop.  Subconsciously directed towards John- although McVie was always a positive muse- it boasts tremendous lead vocals (from McVie and Buckingham) and is among the catchiest songs on Rumours.

None of the band members knew they were writing about one another (when entering the studio).  Go Your Own Way is hardly the most discrete track.  Seen as one of the best songs ever in music- both Rolling Stone and other publications have assessed it thus- it was not a favourite of Stevie Nicks.  The line “Packing up, shacking up is all you wanna do” was a nasty and untrue jab at Nicks.  A line written to push Nicks’ buttons- she wanted to kill Buckingham every time that line was performed on stage- Buckingham refused to remove the line.  Upon initial release, some D.J.s were lukewarm towards it.  Both Buckingham and Fleetwood took the blame.  Buckingham explained how his acoustic guitar part created a foil for the vocals but was divorced from the beat- only when the first chorus comes in does the beat bond with the guitar.  Fleetwood blamed his unorthodox and inept (his words) drumming.  It was a mutated interpretation that Fleetwood never got to grips with.  Whatever the reason- in response to L.A. D.J., B. Mitchel Reed’s criticism- the song went onto to be one of the band’s most successful.

   Songbird and Oh Daddy showed what a consistent and diverse songwriter Chrissie McVie was.  The former is the need for love and trust.  Directed at an unnamed source, the lines “For you, they’ll be no more crying” and “To you, I’ll never be cold” reflected self-sacrifice and the need to stay firm against adversity.  It was one of the album tracks that kept the band together and focused.  A subsequent set-closer, McVie wrote it in the early hours one morning.  Waking- and struck by inspiration- she put down the melody and chords in about 30 minutes.  Arriving in the studio the following day- she was trembling like a lead- McVie knew she has something special.  Whilst other band members were engaged in opium-smoking:  McVie put the song onto a two-track recorded (aided by producer Ken Calliat) - the rest is history.  Oh Daddy was written for Mick Fleetwood- the only dad at the time- and a nod to the band’s backbone and rock.

 You Make Loving Fun and I Don’t Want to Know were some of the gems from (the album’s) side two.  With Buckingham absent during the early record:  Christine McVie was free to record You Making Loving Fun with her sights unblinkered.  The recording itself was defined by excessive cocaine use and corpulent decadence.  Chrissie McVie informed then-husband John the song was about their dog:  Only in subsequent years did he learn the truth (the tryst Christine has with her lighting director).  I Don’t Want to Know is a song Nicks wrote years previous- when she and Buckingham were a Rock duo- and fits seamlessly into the mould.  The song’s conciliatory nature- about the realities of love- naturally slotted into an album with many like-minded songs.  The lines “I don’t want to know the reasons why/Love keeps right on walking down the line” are among the most bare-naked and heart-breaking on Rumours.

   The Chain and Gold Dust Woman complete rumours:  Two of side two’s most memorable tracks.  Gold Dust Woman is a signature song from Nicks that brings Rumours to its close.  The album’s swansong has a rather unorthodox history.  The album’s take was recorded at 4.a.m.:  Following a rather unsuccessful run of takes, Nicks was getting frustrating.  Wrapping a black veil around her head- blocking her senses out to get a more raw interpretation- the song featured strange instruments and sounds- including an electric harpsichord with a jet phaser.  With Mick Fleetwood breaking sheets of glass- like a mad professor banging with a hammer- to add sound effect:  It was a moonlit rhapsody and majestic moment.  In terms of the song’s themes- in 1997, when speaking with Courtney Love, Nicks was unsure as to the originals- Nicks defined it as a celebration of cocaine and dependence:  The acceptance of failed love and trying to get through things any way possible.  The Chain is the only song to feature the entire band as songwriters.  Written in bits- the bass progression was written by Fleetwood and John McVie- whilst Nicks wrote the lyrics alone.  McVie brought together earlier tracks to help bolster the song- music she had written previously- and the final track was recorded across various tracks.  It is one of the album’s defining tracks as it defines Rumours.  Looking at the splits occurring- every member undergoing break-ups- they were being bonded and kept together by music and their kinship (a chain).

[youtube https://www.youtube.com/watch?v=PppUJ_JGq2U&w=420&h=315]

Fleetwood Mac continues to play for years after Rumours- they are still touring as a band- but never topped Rumours.  The album’s follow-up, Tusk, is a near-rival that is a more experimental, dark and bold proposition.  After the enormous sales figures from Rumours:  The band had a blank cheque to go nuts with.  Buckingham was even more in control- the relationships were dead and the mood was even frostier- and the 20-track album was fragmented and messy.  Fleetwood Mac’s equivalent of The Beatles (‘The White Album’); it is a weird and wild record with Buckingham taking most of the songwriting credit- he gave McVie and Nicks’ songs an ethereal quality and sheen.  The album’s dynamic of mellow stretches- that would then explode in a violent burst- did not fare as well as Rumours upon release (a sales disaster by comparison) but has gone on to be regarded as one of Fleetwood Mac’s finest.  It is amazing Tusk came to life:  It is perhaps down to Rumours that it did:  That faith in the music and the bonds that held the band were still there.  It is amazing that the band is still going today:  They are long past their peak but have survived the test of times and inter-band dislocation.  Rumours was an album documenting relationship heartache, but ironically, ensured the band stayed together and stood the test of time.

The influence of Rumours still resounds today.  Acts from Lorde to Death Cab for Cutie have been inspired by it.  Throw in Tori Amos to the agenda and few albums have been as inspiring as Fleetwood Mac’s 1977 masterpiece.  Topping polls and one of the defining albums of the ‘70s:  Few subsequent albums have matched Rumours’ quality and brilliance.  If you look at the Indie/Folk acts emerging in music:  You can tell how many take their heritage from Fleetwood Mac.  The band have created waves of hungry and daring musicians:  Each hoping to record their version of Rumours.  Whilst that album is peerless and unmatched:  The fact so many want to pay tribute to it speaks volumes.  We will never see another album as scintillating and fascinating as Rumours.  It was very much a product of its time and one of the most spectacular recording processes in musical history.  If you have not heard the album for a while- or not listened to it at all- you owe yourself the chance to (re)discover a…

WORK of pure brilliance.

[youtube https://www.youtube.com/watch?v=cMp57bUzOB8&w=560&h=315]

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TRACKLISTING

Second Hand News

Dreams

Never Going Back Again

Don’t Stop

Go Your Own Way

Songbird

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The Chain

You Make Loving Fun

I Don’t Want to Know

Oh Daddy

Gold Dust Woman

DOWNLOAD

Dreams; Don’t Stop; Go Your Own Way; The Chain; Gold Dust Woman

STANDOUT TRACK

Go Your Own Way

INTERVIEW: Lauren Housley

INTERVIEW:

 

 

Lauren Housley

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IT wasn't too long ago I was vacillating over...

Lauren Houseley’s debut album, Sweet Surrender.  The fact that I am still thinking about that album- it was released in August last year- shows just what an effect it has.  Fans and new followers discovering a wonderful artist with a very special sound.  Blending Americana and Soul together:  Housley has impressed critics and is among the U.K.’s most promising young musicians.  Vital and impressive gigs have only been matched by radio play from the likes of Radio 2.

This year will see Housley touring and taking Sweet Surrender to the hungry masses.  With such a momentum behind her- that reputation is increasing by the week- who knows just how far she can go.  A stunning musician whose songs resonate with people around the world:  the next few years will be a very exciting one for the Manchester-based songwriter.  I was keen to check-in and see how she was doing:  what plans are afoot for this year and which musicians inspire (Lauren’s) music...

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How has your week been?  What have you been getting up to?

It’s been great thanks; a very inspiring week.  I’ve been doing a lot of writing recently.  Pretty much writing something new every day which is always a wonderful feeling.  We’re also in the middle of touring so have been playing shows all over the U.K. in the last few weeks:  which has been a really special experience as we’ve had the opportunity to play to a lot of new people.  (You can find details of upcoming shows on my website www.laurenhousley.co.uk/shows)

For those new to your music:  can you tell us a little about yourself?

I’m a singer/songwriter/performer based in Manchester.  I write songs from a place of human empathy and emotion.  My music has been described as “a soulful blend of Blues and Americana”.

So many great artists- solo and bands- are emanating from Manchester.  What is it about the city that leads to such prolific quality?

I think artists are very supportive of one another in Manchester and everyone’s very hard-working!  It’s great to see other people doing well around you (too) as I think it spurs you on to get yourself into gear.

With regards your influences and idols:  which artists have been particularly important to you with regards your musical upbringing?

Lauryn Hill, Gladys Knight, Ray Charles; Eva Cassidy, Elvis Presley, Jeff Buckley; Joni Mitchell, Joan Armatrading.   The Band, Bonnie Raitt, Tedeschi Trucks Band….lots and lots of others!

The Beauty of This Life is your latest track.  It is getting an enormous response online.  What inspired the writing (of the song)?

This is actually a brand new song that’s pretty much only just been written.  We haven’t recorded it yet but are hoping to get in the studio this week to record it.  I woke up at 6am and had an urge to start reading about Bob Dylan and his philosophy behind songwriting.  Then- from feeling pretty inspired- I played a chord on the guitar and stared singing this song.  I wrote most of it in about 15 minutes.  It’s been getting an unbelievable response when we’ve played it on the shows recently.

What can you tell us about the rest of 2016?  Will we see a new album, perhaps?

2016 is looking like a pretty full year:  out on the road playing! (Which is just what I wanted).  People are still discovering Sweet Surrender (debut album), which is a great feeling and it’s still gaining lots of industry attention!  We’re getting to play in completely new parts of the country:  to enthusiastic crowds and passionate music lovers!  It doesn’t get better.  We’ve been in and out of the studio since Christmas:  constantly recording and writing so keep your eyes and ears peeled; lots of surprises in store!

[youtube https://www.youtube.com/watch?v=nKh5qpqhiso&w=560&h=315]

Looking back over 2015’s memories:  which stand proudest in your mind?

Releasing my debut album Sweet Surrender!  It was pretty incredible to see our first single from the album, Ghost Town Blues, make the B.B.C. Radio 2 playlist.  Also, receiving such support from Robert Elms at B.B.C. Radio London- and doing a live session for him- which led to us being invited by Live Nation to play 2 shows at Prudential Bluesfest at The O2 Arena in London.  We also made Robert Elms' 'Best of 2015' list too which was lovely to hear.

If you had to nail down one song- that means the most to you- which one would you select and why?

I'd say Sweet Surrender which is about surrendering yourself to what it is you're supposed to do in life:  washing away fear, self-doubt and all the other manifestations of resistance that tries to stop you from living your true life.  It's a very personal song for me.

Over the last couple of months, the music world has lost some true icons- from George Martin to David Bowie.  How has this affected you personally (and musicians you know)?

It’s been a really tough few months for us all:  losing such influential, inspiring people.  I think seeing the world’s reaction to these losses makes you realise how much impact music has on everyone’s lives. People feel connected to these icons; which is a truly special thing in life.  I feel like they gave it their all in their art and creativity:  it actually made people feel something.   It makes me remember exactly why I do what I do:  I want to connect with people; I want to move people and I want to literally give my all.  When it’s time to leave this life, you should be empty.

Your music mixes Americana and Country- together with Blues and Folk.  Would you say you prefer American sounds/music?

It’s not that I prefer American sounds:  I suppose it’s more so that that’s what seems to have influenced me more.  My dad is a huge Elvis Presley fan so I listened to a lot of Elvis growing up.  I was karaoke-ing Elvis songs when I was a 4-year-old- and the other kids were singing Twinkle Twinkle.

Which current acts are enjoying at the moment?

I’m loving Sturgill Simpson, Chris Stapleton and Jason Isbell:  all talented in their own way.  One of my absolute favourite artists is Hiss Golden Messenger:  the album Lateness of Dancers hits me hard!  I’m also a big Tedeschi Trucks Band fan.

When listening to your music I am always struck by the lyrics: They have a personal touch yet seem to have universality.  What inspires your songwriting process?

Thanks very much.  Lots of things inspire me:  reading, listening music, meeting people; chatting to people… people-watching.  I’m actually quite fascinated by people and how they act/feel.  I actually love people!  When you feel empathy and compassion towards someone- and connect with them personally and emotionally- it’s the most overwhelming, powerful and inspiring feeling in the world.

For those who do not know much about you, could you tell us a secret- something nobody knows about you?

My career choice after leaving school was between being a performer or an artist!  I loved to paint and draw.

What defines music to you- it might be an impossible question, I know.  What does it mean to you personally?  Do you have any advice for any musicians coming through:  those who are not sure if they have what it takes?

Music is a wonderful way to connect with people on a deep level.  It’s a universal language that has the capacity to touch and change people’s lives.  If you have something to say, try to put it down in a song in the most honest, pure and organic way possible.  Use your own unique voice to tell a story that is important to you and people will hear you loud and clear.  You don’t need to fit into any specific category but your own.

Finally- and for being a good sport- you can select any song (and I’ll include it here).  Let me know why it is special to you

Down To Zero by Joan Armatrading is one of those songs that literally reaches into my soul and breaks me... it's such a powerful song.

[youtube https://www.youtube.com/watch?v=y84S4_ThV6g&w=420&h=315]

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Follow Lauren Housley

 

Official:

http://laurenhousley.co.uk/

Facebook:

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

 Twitter:

https://twitter.com/laurenhousley

Instagram:

https://www.instagram.com/laurenhousley/

YouTube:

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

SoundCloud:

https://soundcloud.com/laurenhousley

TRACK REVIEW: Vanessa Forero- Same Boat

TRACK REVIEW:

 

Vanessa Forero

 

 

Same Boat

9.6/10

Same Boat is available at:

https://www.youtube.com/watch?v=YN9oBVceDU0&feature=youtu.be

RELEASED: 12^th March, 2016

GENRES: Indie/Folk

ORIGIN:

Yorkshire, U.K./Colombia, South America

The E.P., From the Uproar, will be available from March 28^th

TRACK LISTING

Heaven Knows- 9.5

Same Boat- 9.6

I’ll Be Wrong Again- 9.5

Raven- 9.6

Anhela (Bonus Track) - 9.5

DOWNLOAD:

Heaven Knows; Same Boat; Raven

STANDOUT TRACK:

Same Boat

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IT is- on rare occasions- I get to review someone based in this...

country who takes influence from other cultures/nations.  Being presented with Folk-Indie artist Vanessa Forero allows me to expand my horizons and discuss something quite exciting.  Not too many musicians mix-up their music and invest in other sounds.  Sure, you get acts that melt Folk and Indie:  Those that tease Pop with Rock etc.  How many musicians have you seen that are inspired by South American sounds?  I have been proud of this blog and the fact I have reviewed artists from all around the world.  In the years I have done this- the hundreds of reviews put online- I have assessed acts from four different continents- Australia, North America, Europe and Asia.  Africa still alludes me- I shall have to rectify that- whilst South America seemed an impossibility.  Although Vanessa Forero is based out of the U.K.:  She has been deeply affected by her time in Colombia and the music/scenes/sights of the country.  For that reason, I am counting this as a victory:  Another continent I can tick off the list!  In larger terms, it is fascinating finding a musician that takes direction from Latin music and incorporates it into a more ‘mainstream’ whole.  A couple of times I have reviewed artists that fall under the ‘World Music’ banner:  There are fewer shades of Folk and more attention on completely capturing the essence of South/Latin America.  Forero is an artist who has fallen for Colombia- and the people there- and decided to take that passion and put it into her music.  When her debut E.P. was released Forero even sung a song in Spanish (Anhela).  I find too many musicians are not adventurous and taking too few risks.  If you look at the mainstream, for example, there is a timidity and limitation that is hard to swallow.  I am not saying ever act need to travel the globe to discover new sounds:  It would be nice to hear music that involves other cultures and expands the palette somewhat.  When Paul Simon visited South Africa- and was troubled by apartheid and the racial segregation of the time- he brought African elements into his ’80s masterpiece, Graceland.  Damon Albarn spent a lot of time in Africa (Morocco especially) prior to recording Think Tank.  Travelling- and recording- in Morocco and Mali:  Albarn vibed from the exoticness and beauty of his surroundings.  Blending these African themes with traditional Blur cores:  You had an album that was a lot more vibrant, deep and itinerant than anyone could expect.  I would love to see more mainstream acts being daring and adding more colour into their music.  Forero is making a name for herself because of the original and bold style of music.  Every track makes you smile but compels you to think deeply about things.  Spanish/Latin sounds infuse inside dreamy vocals and evocative compositions.  In a market with a lot of sound-alike Folk/Indie acts:  It is a breath of fresh air discovering someone like Forero.  The stunning Yorkshire singer is making plans for the rest of this year:  Make sure you follow her and discover some music of the highest calibre.  Before raising another point, let me introduce Vanessa Forero to you:

“British/Colombian singer-songwriter Vanessa Forero is set to release her self-produced EP on March 28th, a collection of 5 songs which came from a place best described by the EP title 'From The Uproar'. Forero is a skilled multi-instrumentalist as well as a producer, composer, arranger and vocalist. After being selected in 2015 by Brit Award Singer-Songwriter Beth Orton to write and perform at her UK show, Forero decided to become her own artist and record her own songs in her distinctive Indie/Folk style with Latino influences.

For her debut EP, Forero recorded and played a lot of native Latin instruments herself, and even sings the evocative bonus track 'Anhela' in Spanish. Her sound is a reminder of her roots and has been greatly inspired by her time spent in Colombia. Forero was first introduced to a whole new music scene whilst filming National Geographic's feature documentary 'Woman Raised by Monkeys', a film based on the bestselling book on her mother's extraordinary life 'The Girl With No Name', a book that she co-wrote herself.

Vanessa Forero has recently revealed the underwater-themed video for her new single 'Same Boat'. This new track is guaranteed to plant a smile across your face and have you hum in no time. So do not hesitate to embark on a journey across the choppy seas to get to know Vanessa's unique world”.

It is near-on-impossible not to fall for Vanessa Forero.  Impossibly beautiful- a cross between a young Kate Bush and Monica Bellucci- she has an infectiousness for music and a burning passion.  Looking at videos on Facebook- specifically, where she takes us on a tour of her home studio- you can tell how much music means to this girl.  From Colombia/South American instruments- only natural being half-Colombian- there are some seriously bitchin’ guitars and keys:  Hefty recording equipment that looks like it should be the International Space Station.  Forero has a keen and sharp wit and a hugely loveable personality:  Someone who is incredibly warm and you would want to come and see live no questions asked- pretty much my idea of perfect.  These ‘assets’ all translate into songs that leave deep impressions in the mind and leave you wanting a lot more.  I know Forero is planning an E.P. at the moment- where she will sing in Spanish and open the listener’s eyes to a whole new world- and that will be one of the releases of 2016.  She has a great team behind her- her P.R. team and representatives look after her very well- and there will be tour dates for sure (when the E.P. is unveiled).  I hope Forero comes down to London- gives me a chance to see her up-close- as she would go down a storm here.  From charming coffee joints to quirky bars:  To the large-scale venues and major halls- she can fill them all.  Having been recording music for just a short time- her debut single, Heaven Knows, was released a few months back- it is very much her time to shine.  The debut E.P.- out in a couple of weeks- will be the vision of a strong woman who has had a fascinating upbringing and is ready to conquer.

Same Boat- Forero’s latest single- has already been warmly received.  It is not hard to see why.  From the opening seconds, you are drawn into a very personal song.  The finger-picking guitars give the song immediacy and energy.  Our heroine looks at boats moored and tied to the harbor.  Looking at love- I would assume a bond with a particular sweetheart- you get the impression of a frustrating love that has been largely immobile.  Perhaps I am overreaching yet I find Forero needing something more exciting.  The two have “fired up” once more:  They are still tied to the dock and not going anywhere.  If he (the sweetheart) leaves in time then our heroine will always remember him.  Even from the earliest moment, you start to imagine what the song is trying to say.  To get a better impression of Same Boat it is wise you check the video out.  It shows Forero sat with her guitar:  Surrounded by lights and decked in bohemian clothing; it gives the song extra charm and warmth.  Same Boat is an appropriate lead-off track from the E.P. as it is the most accessible and direct number.  Forero showcases her full vocal/musical range across the E.P.:  Here, she is at her most concentrated and focused.  Every note sparkles and runs with a gleeful, child-like smile.  Few female musicians are noted for their instrumental skills- a sad reflection on the time- and it would be criminal to overlook Forero’s talents.

As a multi-instrumentalist, she is exceptional and hugely authoritative.  When it comes to the guitar, there seems to be a real simpatico and bond.  Forero lets her soul and heart flow through the strings.  The notes and strings are not just picked to elicit sound and fill gaps.  Every thought and utterance sound essential and utterly beguiling.  Same Boat is a song that bursts with alacrity but has a deep conscience that is uncovered.  Our heroine asks whether she’d be “there in your arms” seven years down the line.  Maybe the sweethearts have been going through the motions- a seasickness that has stifled progress- and things were never meant to last.  I am not sure whether the duo has broken up or has spent time apart.  There is a parting of the waves- pardon the seafaring pun- and two people with two different minds.  They/our heroine experience themselves in the same boat but on “a different tide”.  Situations and obstacles come- to test the love and durability- but nothing ever seems to change.  Perhaps I am running away with my own confidence- thinking I have the song nailed- but such is the strength of Same Boat.  I wonder whether Forero has found true happiness or is contended to keep sailing- damn it! - and find a new horizon.  Intoxicated and aching- the smiles never wane- looking at the video:  The young musician smiles and dances with mermaids (yes sir!).  Our heroine employs wordless vocals to add a sense of dreaminess and contemplation into the balance.  Most artists (when it comes to wordless vocals) lazily toss them about- Coldplay have spent their career doing that- yet Forero does so in search of beauty and narrative punctuation.  Forero is in her boat and wonders whether there is “one road to follow”.  There is a lingering sense of doubt and dissatisfaction.  Among the questioning and self-examination is a determination to move and find personal happiness.  Our heroine fights off hazards and sea creatures- the video’s charm and plot always leave you smiling like a lunatic- and you get sucked into the iridescent nature of the song.

There are more complicated and layered songs within From the Uproar:  None that are as nuanced and populist as this.  Vanessa Forero is a musician that could easily fit into the mainstream.  Her music can find its way across mainstream and underground stations- from Radio 2 to Absolute Radio- and ingrains itself in the brain.  It is impossible to forget and overlook the sheer magic, joy and potency of the song.  Even after the first listen, you want to jump back in and sing along.  The production and mixing are exceptional which allows the vocal to rule up-top.  The composition does not get buried:  Both elements push one another and create a sense of drive, balance and harmony.  Forero is essentially a one-woman band and you can tell how much of her time and energy has gone into (Same Boat).  Maybe our heroine has had her heart broken- she might be in a happy relationship now- but always approaches matters with insight, intelligence and maturity.  There is never a tactical move to gain sympathy- like a lot of ingénue songwriters do- and that is to be commended.  Sounding completely original yet oddly familiar- little hints of Kate Bush and Laura Marling; a bit of Beth Orton perhaps- that makes the music addictive and utterly essential.  I am in no danger of hyperbole when I say Vanessa Forero will have a long career ahead of her.  Given her past/childhood and musical abilities:  Who could possibly resist such a fascinating woman?  If you have not heard Forero then make sure you start now:  Same Boat is the place to start and gives you an insight into what From the Uproar will put forward.  Having heard the entire E.P., I can say this:  That consistency and talent runs throughout every single song.  In a music scene where there are disposable artists and no-hit wonders:  It is wonderful finding a musician who promises longevity and immense promise.

You really couldn’t get a more natural musician than Vanessa Forero.  She was foreign to me up until a few days ago- I was contacted by Charlotte Gomes at Project Light Agency- and have been lucky enough to get my hands on Forero’s E.P. (a little about it, below).  The young heroine grew up in Bradford but her mother was abandoned in a Colombian jungle as a child- rescued by monkeys in the end!  No, you can really not make it up (it certainly beats tales of days out by the seaside with parents in Whitstable!).  Given the fearful and fraught childhood- where the young Forero bonded with her piano- music was the outlet for her.  Most of us do not realise how privileged and lucky we are:  My heart goes out to Forero and the things she had to go through (her mum too!).  The piano was/is a way for Forero to let her voice out and channel her emotions/pains into something constructive and hopeful.  Although she uses the word ‘journey’- a small chink in golden armour; that word is my least favourite for its over-use- it is probably an apt verb (or adjective, depending on your mindset) to describe the last few years.  From the Colombian jungle to the streets of Bradford:  The amazing Vanessa Forero has been in the shadows but is heading into the light.  Forero began composing at the age of nine, but it was an invitation from Beth Orton- The Brit-winning U.K. legend- that compelled our heroine to pursue her goals.  Forero was invited to write and perform at her (Orton’s) show:  An opportunity for a larger audience to discover a special talent.  A published author- The Girl With No Name was a book passaging her mother’s upbringing- with immense passion and dedication:  No other musician deserves as much acclaim and support as Vanessa Forero.  Before concluding- with a mini-review of her debut E.P. - it is worth re-focusing on musical diversity and expanding horizons.

Forero is someone who wants to encourage more women to pick up drumsticks:  Get into the studio and start doing- not my words- “boys’ jobs”.  Traditionally, studio-based roles and drumming- what we would associate with the lads- has been dominated by men.  I know very few women who are drummers- Collette Williams of Rews is one of the few- and fewer who spend their time overseeing studio recordings.  Given the background (Vanessa has had) it is no surprise she wants others to succeed and push themselves.  Forero is embarking on her career and going about it in the right way.  Her official website is clear, concise and beautifully designed.  A one-stop portal that puts everything in order- you’d be stunned to see how many musicians do not have an official website- it has clear information and photos; music links and videos.  On Facebook, Forero keeps in touch with her fans- responding to comments and messages- and ensures her fans are kept abreast of developments.  Amassing an impressive amount of followers- they are in their thousands as we speak- in such a short time; Forero has won the hearts of many.  The fact she has such an original approach to music- bringing South American adage into things- is a testament to a very rare and special musician.  There are not many musicians that take the time to bridge horizons and offer the music world something new.  I love Indie and Folk artists but find the genres suffer rigidity and predictability.  The usual guitar-wielding, soft-voiced acts more-or-less do the same thing.  Unless there is an epic voice- something that takes the breath- among them, I am left somewhat cold.  Vanessa Forero has a voice that buckles the knees but many other dimensions.  The instrumentations and compositions are magical and entrancing:  Your mind is transported somewhere stunning and special.  Her tales mix personal history and something more every day.  I cannot wait to see where this year takes this tremendous musician.  I know a lot of Yorkshire musicians and ALWAYS say the same thing (when reviewing):  This county does things very differently.  Diversity, genre-fusing and originality is synonymous with Yorkshire:  There is no other county that contains so many unique and wondrous artists.  Forero is in great company and will have a wonderful, if busy, future.  A stunning woman with a heart-melting personality:  Backed by music that leaves you agog.

I was hugely excited to investigate Forero’s debut E.P., From the Uproar.  The E.P.’s title is an appropriate moniker that gives you an insight into the stories held within.

[youtube https://www.youtube.com/watch?v=-hbeS3oFcz4&w=560&h=315]

Heaven Knows is the E.P.’s opener and gets the listener invested instantly.  The gentle and resplendent guitar playing reminds me of Nick Drake’s finest work.  The strings dive and swim in the ocean:  It is a spine-tingling and tender passage that causes the soul to smile.  When our heroine comes to the microphone; her words look at posing questions and looking for safety.  “Where do we go from here?” is the first conundrum, and one that is delivered with sensitivity and heightened beauty.  Maybe (the question) is about her childhood- feeling lost and seeking something secure- or the depths of a relationship- where she feels unloved and unmotivated.  Our heroine is hungry and is looking out for hope:  You can tell there is desperation to change life and some scrap of happiness.  Augmenting her vocals- you get multi-tracked bursts to emphasise the mood- there sits intensity and beauty in equal measures.  “Would this bleeding…”- as it is laid out there- “bring you closer?”  You get lost in the transcendence of the vocal and the sweetness of the tones.  Assessing some rather harsh times- the struggles and inequities of love- your heart goes out to her in every moment.  Wordlessness- chirped and echoed vocals- tumble with racing strings and get the listener curious and excited.  With nary a warning, the song explodes into life and the vocal gets hotter and heavier.  My impressions changed as lines like “You own your soul” are introduced:  It seems like the song is directed at a larger audience, perhaps.  The themes of loneliness, uncertainty and changing ‘fate’ are slung in with a furious passion.  A stunning and hugely memorable song kicks off From the Uproar with immense promise.

   I’ll Be Wrong Again boasts another noble and chocolate-smooth vocal that shows just what a proposition Forero is.  “What have you learnt about love?” is a question that burns on our heroine’s lips.  Maybe it is a query directed at herself- or perhaps a friend or someone anonymous- but is a new approach to songwriting.  Usually, you get songwriters being direct and un-nuanced.  Forero turns the tables and compels the mind to speculate and imagine.  It is clear Forero has had her heart broken- she has made an unwise decision or two- but is hopeful things can turn a corner.  As she says herself, she will be wrong again and go through a familiar feeling.  The city has life and promise in her- even though our heroine has been hurt- and it makes me wonder whether love is being described.  Maybe Forero is looking for a place to call home- uprooted and a migrant in her younger years- and is looking for somewhere she can bed-down and ensconce herself in.  In a wider sense- and more akin to my intuition- is a heart looking for a parabond and equal.  You get impressions of Folk legends when Forero lets her voice rise and climb.  Elements of Joni Mitchell and Laura Marling combine in a gorgeous and sense-lifting delivery.  Light strings and percussions blend to give the song a drive and incessant kick.  I am not sure which instruments went into the mix- South American elements included- but would be fascinated to know.  Love will ache and rule with fear:  In the midst of the aging and struggle, it will always be there and remain true.  There is a wisdom and maturity to the words:  Intelligent and deep so that every listener will have their own interpretation.  One of the E.P.’s most impressive and direct numbers- certainly in the ‘top two’ songs- it compels repeated listens and scrutiny.

 Raven begins with trickling strings and aching tones.  Your mind is put into the jungle- into the depths of South America- and it is the first real exploration of Colombian/South American influences.  From the clattering and pulsating percussion- to the waterfall strings that cascade- there is spirituality to be found.  There are accents and suggestions of modern Folk acts- Laura Marling comes back in- with a little air of Kate Bush.  That boiling pot of accessible, quirky and transcendent reminds me of Bush at her most arresting and immediate.  Raven has its caution and troubles at its beating heart.  Maybe looking at a particular lover- someone who is not watching where they are going- our heroine is looking for control and equal footing.  After the early notes- where you are transplanted somewhere paradise- something more spiked and ominous threatens to replace the mood.  Given the song’s title, it is perhaps not a shock to find something jagged and afraid come into the song.  A heartfelt and soulful performance ensures every word and line hits the mark.  Bringing wordless gallops together- the song has such vibrancy and tribal energy- the track expands and hurries towards the closing moments.  Forero puts in one of her most intense and impressive vocal performances across the E.P.  The composition brings together all her other elements and talents into an explosive song.  Distorted and stumbling strings- including a jumpy electronic moment- takes you by surprise and comes out of the blue.  The final moments return to the ideals of the introduction:  Vocal snatches and sounds of the South America; delicate strings and a romantic lushness.

   Anhela brings the E.P. to a close (technically it’s a bonus track) and does not suffer language barrier issues.  Whilst the song is sung in Spanish, its beauty and sublime passion transcends borders and stands on its own merits.  When the E.P. gets an official launch, I hope some lyrics are included:  It would be fascinating to see what the song is about.  Anhelo means ‘yearns’ in English:  One would assume the song regards a lusted-for love perhaps?  Gorgeous keys and one of the most tender and unforgettable compositions you will hear:  You need to listen to the track and take it all it has to offer.  You get so many details and heart-stopping moments:  Such beauty and divinity runs through the E.P. and is a hallmark of Vanessa Forero.  The four-track (five if you include the bonus track) shows such confidence and conviction from someone so young.  This is Forero’s first exploit into music- on her own terms anyway- and most artists would come in unsure and slight.  What From the Uproar shows is bravery, passion; conviction and a sense of control:  Every track explores, explodes and exploits:  A rapture of soul-bearing wonder and personal revelation.  Forero puts her heart on the line but never asks for pity.  She is an immense talent who is unafraid to let vulnerability sit alongside overt strength and motivation.  South American strands sit with more traditional Folk elements in an E.P. that will reach a wide audience.  If you like Folk and Indie as it is- in the mainstream and dependable- you will find much treasure here.  If you prefer World elements and something more exotic in music:  Vanessa Forero has created an E.P. for you.  From the Uproar is an E.P. that belongs to everyone but emanates from a unique heart.  One of the most accomplished and impressive releases I have heard in 2016:  I cannot recommend Vanessa Forero enough.  I only hope my words have done her justice.  If not, I can only advise this:  Snap the E.P. up upon its release…

AND arrive at your own conclusions.

[youtube https://www.youtube.com/watch?v=YN9oBVceDU0&w=560&h=315]

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Follow Vanessa Forero

 

Official:

http://www.vanessaforero.com/

Facebook:

https://www.facebook.com/vanessaforeromusic

Twitter:

https://twitter.com/vforeromusic

Instagram:

https://www.instagram.com/vanessaforeromusic/

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Music

https://www.youtube.com/channel/UCp5sraGz9oD50xRHngGmKRg

 

TRACK REVIEW: Kano- 3 Wheels-up (feat. Giggs)

TRACK REVIEW:

 

Kano

 

 

3 Wheels-up (feat. Giggs)

9.4/10

3-Wheels Up is available at:

https://www.youtube.com/watch?v=79ZP946eNVQ

RELEASED: 8^th January, 2016

GENRES: Grime; Hip-Hop

ORIGIN:

London, U.K.

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NOT often do I focus on a mainstream artist for review...

yet it is hard to ignore the effect Kano is having on the music world.  I shall go into more detail- introduce the London Grime star soon- but he (being an actor-turned-musician) gets me thinking about the theme:  The rise of Grime and the artists out there; the necessity for something edgier and more direct in music.  When you think about actors who have turned to music- as a second career- you often shudder and look at some of the more disastrous attempts- Robson and Jerome for instance.  Ben Drew (A.K.A. Plan B) has managed to transition/balance music and acting:  He is also a talented director who has a bright future in filmmaking.  Whilst there have been some notably laughable attempts- for actors to become musicians- there have been a few that have managed to pull off the feat.  From U.S. actors Jamie Foxx and Juliette Lewis; across to Zooey Deschanel and Jenny Lewis:  There have been some laudable creations from the aforementioned list.  In this country, there are fewer actors turning their hand to music.  Whether it is a nervousness- given the ropey and tragic attempts of the past- or the need to concentrate on one profession:  I would like to hear more actors bridging into the music world.  Actors possess a discipline and sense of performance that (should in theory) transition into music.  If you have a good team behind you- writers and producers- then it can lead to something exceptional and memorable.  Let’s hope this year sees more of our brightest and best actors turn their hand to music.  From the likes of Gemma Arterton- who has impressed in plays like Made in Dagenham- to Idris Elba:  It will be interesting to see who comes through.  This is a subject I shall expand-upon in future reviews.  For now- and with Kano rising through the ranks- I am reminded of the best Grime/Hip-Hop artists this country has produced.  I am a massive fan of Dizzee Rascal and The Streets:  The two finest- and most distinct- Grime/Hip-Hop acts this nation has produced in the last 15 years.  Whilst artists like Wiley, Stomrzy and Skepta have made big impressions on the scene:  It is Dizzee who remains in my consciousness.  Ever since his debut album- Boy in da Corner arrived in 2003- exploded onto the scene:   Dizzee Rascal has been the leading light in Grime/Hip-Hop crossover.  The confidence and slickness; the ambition and maturity that came from that album- from someone who was a teenager at the time- was staggering.  Following that up with the equally-impressive Showtime:  A musician that seemed unstoppable and peerless.  The intelligence and wit of the lyrics was only equaled by the sheer confidence of the vocals.  Backed by electrifying and varied compositions:  Dizzee Rascal transformed the Grime scene in 2003.  Over the last few years the Bow resident has been a little quiet.  In a recent interview (Dizzee) explained how little inspiration he has right now.  Unwilling to get into the studio and record the same old thing:  He is seeking fresh inspiration and relevance.

His most-recent album (The Fifth) was received with tepidness and unenthusiastic reception.  The problem with the album- and his work running up to that- was the thematic shifts.  When Boy in da Corner dropped:  It was the story of a young man trying to get out of the estates.  Dizzee was documenting the reality of street life and the everyday dangers faced.  Promiscuous characters (perfectly laid out in Jezebel) and gang conflicts resonated with young audiences and showed how real and raw (Dizzee is).  Following on from his debut success:  Subsequent records become less sincere and accessible.  As Dizzee grew richer and more recognisable:  He could not write the same songs as seen on Boy in da Corner.  Subsequently, the braggadocio-cum-boastful nature of the music put off a lot of listeners.  It is debatable whether Dizzee will return anytime soon:  The Streets have certainly had their day.  Mike Skinner arrived with force when Original Pirate Material arrived in 2002.  Unlike Dizzee; Skinner was a more conversational M.C.:  Someone who focused on similar day-to-day woes but with a more relaxed delivery.  Like Dizzee Rascal; Skinner’s growing fame saw his music become less appealing and majestic.  From the dust of The Streets and Dizzee Rascal acts like Skepta and Giggs have been making a charge for glory.  While Skepta has a sharp sense of humour and clear wit:  He is not as memorable and distinctive as Dizzee Rascal.  Giggs has fared better and with distinct authority to him- having a prison record and growing up in Peckham- the music carries much more weight and conviction.  Hooking up with Kano:  3 Wheels-up is the sound of two of our finest Grime artists bonding their talents.  I have been impressed by Kano for a while now.  In 2005, his album, Home Sweet Home took critics by surprised and showed real promise.  Perhaps not his finest work- too much thrown into the mix- that need to create a stunning crossover album was slightly lacking.  Subsequent albums like London Town (2007) and Method to the Maadness (sic.) didn’t quite show the potential Kano displayed.  With Made in the Manor released:  Kano has started to open more to the audience and find that crossover golden spot.  Collaborating with the likes of Damon Albarn (Deep Blues) and Wiley (3 Wheels-up) has not diluted the focus and attack.  The thirteen-track album is the best album Kano has produced since his debut:  A strong statement that will see him regain attention and cement his place as one of Hip-Hop’s biggest names.  The U.K. Hip-Hop/Grime scene has variable quality:  Too many chancers thinking they have what it takes.  With Kano- unlike so many wannabe M.C.s- you get that realness and focus.  Among the sharp beats and tight delivery the compositions and vocals display nuance and room to breathe.  Things are not too claustrophobic and suffocated:  As a result, the album has layers and plenty of room to breathe.  3 Wheels-up is the highlight off an album that brims with life, adventure; wisdom, wit and innovation.  Kano name-drops Wagon Wheels, T.O.W.I.E. and fish and chips with enormous charm and impression.  Oozing panache, drive and maturity- Kano is now in his 30s- you have an album that puts British Grime back into focus.

Made in the Manor has been hailed as a breakthrough from Kano.  Perhaps Home Sweet Home resonated because it was released around a time when The Streets and Dizzee Rascal were ruling.  That inspiration and excitement propelled a fairly unknown M.C. to prominence:  Critics noted the instancy of tracks and the rule-breaking nature of the album.  Maybe that initial explosion whimpered on subsequent releases, but the fact remains:  Kano is definitely back to his very best.  Maybe not quite as accomplished and original as Home Sweet Home:  Made in the Manor is a natural companion to the debut gem.  If you are a new listener- and not familiar with Kano- I would suggest you investigate his debut album first before arriving at his latest album.  For transparency and a full impression it is worth listening to his subsequent albums- or a selection of tracks- to see how the Londoner has progressed and evolved.  What you notice now- on his new album- is the kinks have been ironed out and weaknesses eradicated.  Some critics were unimpressed by Kano’s songs of sexual lust and strippers:  Seedy underworld and obnoxious brags.  It is the sort of thing you get from U.S. Hip-Hop artists:  It seems rather gaudy and untraditional when coming out the mouth of a British rapper.  That grit and dirt has not been washed out entirely:  Made in the Manor still drags its feet to some darkened corners once in a while.  Happily, there is a lot more focus and street-level testament this time around.  Kano still plays the bad boy- and can brag with conviction- but has rediscovered his humour, humanity and heritage on Made in the Manor.  In terms of compositions, everything is a lot tighter and more concise (than previous attempts).  Instruments and genres are not slung together for the sake of things:  Everything has its place and sounds natural.  In that respect, Kano’s choice of cohorts- in terms of producers and collaborators- is a lot smarter and considered.  There are not mainstream-pleasing decisions- Dizzee Rascal fell prey to that when Maths + English arrived- and Kano brings the best minds into the album.  From Wiley and Giggs- exceptional throughout 3 Wheels-up- to Damon Albarn:  Here’s a musician that has a lot of respect and support.  This leads to a confident and assured album that shows Kano has few Hip-Hop peers.

Kano begins with bracing and jubilant horns.  The edgy and atmospheric opener gets the song underway with conviction and injects energy and abrasion into 3 Wheels-up.  The brass blast summons edginess and swagger into a song that has nothing but confidence and urgency at its beating heart.  Within the early seconds, you are captivated by the flair and sass of the introduction.  It makes the head nod and arms move in an arrhythmic sway:  You feel helpless to resist the sly charm and neon-lit drive-by.  Those doubting Kano’s rude boy credentials are given a needed poke in the opening lines.  With 3 wheels-up, our hero is the definite article.  You envisage the M.C. riding through Peckham- or borough of south-east London.  The night is beckoning and our boy is  rallying his crew and cursing the streets with little intention.  “That means I’m a direct rudeboy”- “2 2 yats of my own”- our hero lets it be known.  Maybe a retaliation to critics and peers- those who doubted his staying power and status- or just a brag in itself.  Whatever the inspiration, you cannot deny how alert and authoritative Kano sounds.  Our hero strikes against fake rudeboys and those claiming to be the real deal.  If you carry a “side bag” and “stoney”:  That does not make you a “direct rudeboy”.  By the time the next verse comes into the mix:  Kano has laid down his thoughts and spits against the boys and fakers.  The horns keep blaring and riding a hypnotic crescendo wave.  “Pu*** and rum” are on the rider of real M.C.s.  Although Wiley and Kano have had a dust-up in the past:  The fact it happened- and they are brothers again- means Kano’s M.C. status should not be undermined.  The violence, chaos and reality of the street:  Our man bares it all and comes through it strong.  On estates where “Man don’t care ‘bout fathers” and “Man just care if it’s blinging” Kano lays his claim.  I am unsure whether that observation- the no-goods that have no feelings- are being slapped down or casually represented.  It is clear (Kano) has heart and knows the realities of modern life.

There are a lot of wannabe M.C.s that think they are the real deal:  Unless you have lived the life and are genuine then you are wasting your time.  Before the chorus rides back in:  Kano ensures his rhymes are spat with intensity and intention.  One of his most urgent and direct statements since his debut:  3 Wheels-up sees our boy in rapid-fire form with a lot to get off his chest.  Clearly, he is angered and feels aggrieved by a wave- either musicians or local kids- who think they have what it takes.  The ferocity, excitement and energy never relent throughout the song.  Whether Kano is in the midst of another verse- or the composition rules with a swaggering little nod- there is no escaping the braggadocio and confidence on display.  Kano keeps things at boiling point- “In the jungle I move with original nuttahs (sic.)”- and is deposing fraudsters and fly-by-night kings.  Giggs is keen to jump into the mix and arrives with an equally assured performance.  Not quite as jagged and fast as Kano- there is a soulfulness and deep-voiced husk to his vocals- the lyrics are no let-down for sure.  Whilst Giggs is a “gangster and a gentleman”.  Money demands, rollin’ with the boys and gunshot drama are suggested but it is the music that is in the forefront.  Giggs looks at “those chimps” and laughs at their words.  Whilst there is that blend of musical confidence- the strength of the flow and authority of the beats- there always lingers imminent danger and conflict.  Giggs delivers his part with utmost authority and resonance.  Having collaborated with a number of Grime and Hip-Hop acts:  He sounds completely comfortable and natural alongside Kano.  Whilst Giggs is in “the matte black 350”; Kano will take “this pen to your neck”.  East and south London and changing and evolving:  There are some features that remain the same.  While areas are becoming gentrified there are still kids that “push prams to Westfield” and “runs from pigs”.  Within the dizzying lyrical assault, you start to picture the scenes unfold:  The chaos seems very tangible and real.  The composition remains fairly simple and straight- as not to distill the vocals- but adds to the intensity and vibrancy.

The entire song sounds compulsive, essential and commanding from start to finish.  Kano has experience some unsure moments in past albums.  Perhaps losing focus or trying to stretch his sound too far:  Here there is a more direct, stripped-back and focused track.  Whilst the composition offers plenty of drama and nuance, it is the vocals that remain in the memory for days.  Kano has not sounded as dominant and imperious since his debut album dropped.  It sounds like he has not dropped a step and has that youthful energy and ambition that has been sadly lacking.  Those fearing 3 Wheels-up would be a commercial sell-out- a watered-down attempt at Hip-Hop- will be in for a pleasant shock.  It is very much business as usual and a middle-finger-up to those who have written him off.  3 Wheels-up delivers its tide of anger with a surprising amount of control and maturity.  Whilst the lyrics draw you into the slam of the streets- the kids evading the law and posers being shot down- each listener will come away with something different.  Other tracks on Made in Manor are a little more radio-friendly, yet 3 Wheels-up has that underground grit that means it will struggle to find too much mainstream air time.  That said:  I can see the song being featured on Radio 1- if it hasn’t already- and will surely inspire new M.C.s looking for guidance and a hero.

3 Wheels-up is another stunning song from a musician who is regaining fine form.  With such an impressive debut arriving in 2005:  Kano has been looking for that spark and sense of identity.  Previous albums- prior to the recent release of Made in the Manor- have lacked the killer blow and dignity required.  London Town arrived two years after his debut.  Gone were the immediate smashes like P’s & Q’s:  In its place were tales of strippers and booze; the fun was gone and the sense of decency- N.M.E. noted the puerile nature of some songs- was eradicated.  140 Grime St was Kano’s third album and showed little improvement following a sophomore slump.  2010’s Method in the Maadness stopped the rot truly setting in:  The album saw the young M.C. keeping his soul guarded and pushing the audience away somewhat.  The Grime all-rounded regained foothold on Method’.  Gone were the crowd-pleasing collaboration and in its place was more logical partnerships- Boyz Noise and Hot Chip added to the album’s flair and excitement.  The East Ham M.C. was at his angry best, here.  Playing a certain villainous role- a bit of a Captain Hook figure to critics- Kano assessed gang violence and bus-hogging hooligans; rude boys with too much ‘tude:  A cornucopia of misfits and knife-wielding thugs united into an exceptional album.  Often derided for being too experimental- just for the sake of being diverse- it was a gamble that was tempered slightly on his fourth album.  Whereas Dizzee Rascal’s debut nailed experimental and focused- compositions and melodies ranged from music hall sing-along to jagged vitriol- Kano seemed less authoritative and assured.  It was a long time since his debut:  Method to the Maadness put critics on an even plateau and showed that original genius.  I was excited to review Kano because Made in the Manor is being talked about in fevered tones.  Fans and reviewers are noting that Kano is back to his best and penning tunes that are instant, memorable and focused.  The anger and scorn is still to be found.  Social consciousness and wit remains in an album unafraid to experiment and take chances- the chances taken come off for the most part.  Frequent collaborators like Damon Albarn are back on board:  Clear signs that show what faith people have in Kano.  Tracks like Deep Blue have smolder and seduction:  An introspective song that sees the author chiding himself for his extravagant ways.  New Banger is as apt and instantaneous as its title suggests: A track that could easily have found its way onto debut.  Whereas previous Kano albums have seen instruments slung together with little regard- a lot of songs sound crowded and lackluster- here there is a lot more attention to detail.  My Sound brings horns and grumbling bass into one of album’s highlights.  The flow and purpose are back:  Kano is reestablishing himself as one of Hip-Hop’s leading lights.  Kano was one of the earliest proponents of Grime:  The fact he has survived and continues to work demonstrates that passion and dedication for his art.  Before clocking things off, it is worth recalling those early themes of Grime and actors-turned-musicians.  Having appeared in Top Boy (between 2011-2013), Point Blank and Tower Block:  The young M.C. has deftly managed to mix acting and music.  Focusing more on the latter these days:  I am sure the acting world has not seen the last of Kano.  Acting requires dogged determination, discipline and determination:  Characteristics needed to succeed and pervade in the music industry.  I am certain there is a correlation between acting and music:  A winking bond that makes the transition seamless and natural.  Of course, a lot of actors have not hit their stride and been consigned to the bargain bins of history.  If you get it right- as East Ham’s finest has- the results speak for themselves.  Lesser musicians- who did not have the patience an actor displays- might have called it quits after a few bad reviews.  If Kano has abandoned music following London Town- some critics hoped he would- we would not have him here today.

I opened by looking at Dizzee Rascal and The Streets:  Two acts who were torpedoed by their eventual fame and loss of identity.  Both made huge debut statements because they were struggling artists who assessed the reality of the streets and communities they lived in.  When the money and airplay arrived; they were less convincing and appealing.  The inspiration waned and the quality started to deteriorate.  I guess Grime can be a short-lived venture.  It requires a certain struggle and hard upbringing.  If you keep your messages on point- make sure you are focused and attention-grabbing- you can get the ears of critics.  The wrinkle arrives when money and airplay starts streaming in.  How genuine can you be- rapping about scraping around for money- when you are being invited to award ceremonies?  Kano has always managed to keep his feet on the floor and- despite his latest album being celebrated- still hovers under-the-radar for many.  British Hip-Hop/Grime will never truly capture the mainstream imagination- dominated by Pop and Indie acts- so I feel he has many albums left.  His passion and flair have certainly not exhausted themselves.  Made in the Manor is ripe and over-furnished with memorable lyrics and repeatable moments.  Not all the songs work out- there are still problems with economy and concision- but for the most part, the album is a return to form.  It looks like the young M.C. has regained his Grime crown and is in no mood to surrender it without a fight.  3 Wheels-up is an arresting and intense track where Giggs adds his talents into the mix.  A song that demands a lot of spins- some lyrics and ideas may race by upon first listen- it is refreshing seeing a British talent getting better and more authoritative with each passing years.  Too many musicians are suffocated by the brevity and capriciousness of the industry.  Pop stars arrive and Pop stars dissolve.  New bands come along with brighter smiles only to fade away after the first album.  Music fans want to find artists that are capable of longevity and profitable returns.  Kano’s fan-base have been loyal since his 2005 arrival.  Over a decade on, the fan numbers are expanding and new listeners are discovering something exceptional.  I just know the future is going to be bright for the 30-year-old M.C.  With critics back on his side and early form being rediscovered:  Here is a confident young man…

EVERYONE needs to obey.

[youtube https://www.youtube.com/watch?v=79ZP946eNVQ&w=560&h=315]

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Music

https://www.youtube.com/channel/UCX0eAghP7jrWHWfYBAhrnVw

 

FEATURE: In Defence of the '80s

FEATURE:

 

 

 

In Defence of the '80s

_________________________

IT is somewhat unfair the 1980s gets such a bad...

reputation.  It is true; there are some horrendous aspects to the ‘80s:  The fashion was hysterical whilst the ‘technology’ looks rather tragic through current eyes.  There was a lot of naff-ness in the 1980s and I am happy to give the decade a kicking (in that respect).  I was born in the ‘80s (in 1983) and entered the world surrounded by dodgy haircuts, huge computers- Amstrads and other such pathetic boxes- and some notable events.  The Internet was on the cusp of creation while M*A*S*H viewed its final episode:  One of the most-watched T.V. events of all time.  Star Wars Episode VI:  Return of the Jedi was released in cinemas:  The 1980s wasn’t as awful and soulless as many portray.  I guess it depends on what you look for from a decade.  If you judge it solely on fashions, technologies and haircuts:  The ‘80s can be judged to be a monumental joke.  If you are a film buff, then you cannot really judge the 1980s to be a failure.  The point of this feature was to leap to the defence of one aspect of the 1980s:  The music that arrived at this time.

Having been born in a month where Michael Jackson’s Billie Jean- number one in the charts when I entered the world- sat alongside New Romantic artists like Spandau Ballet, Duran Duran and Culture Club.  I will always be a devotee of the 1990s:  The finest decade for music and an untouchable time for creativity and inspiration.  From ‘Britpop’ to Grunge:  The ‘90s was the zenith of music and is rightfully celebrated and heralded.  I can appreciate fans of the ‘60s and ‘70s- where The Beatles and The Rolling Stones ruled (‘60s); bands like Led Zeppelin hit their peak (‘70s) - but I suppose it- deciding which decade is best- is a subjective thing.  I have never really been bowled over by the 1960s:  There were some legendary artists emerging- from Bob Dylan to Jimi Hendrix- but there were exceptions among a rather dismal period.  The 1970s was a bit more consistent and prosperous:  Still, there was too filler and trash music coming out.  When people mention ‘80s music, there is that collective snigger:  Everyone has images of Hair Metal and New Romantic bands:  The ludicrous hair and nauseating songs come straight to the fore.  It is true, there was some woeful artists stinking up music.

Heavy Metal enjoyed some success in the ‘70s and ‘90s- Judas Priest and Metallica found new lease in the 1990s whilst Black Sabbath was among the masters of ‘70s Metal- but rather stagnated in the 1980s.  Tesla, Def Leppard and Poison mixed cheesy lyrics with banal riffs and God-awful power ballads.  Black Sabbath was starting to decline:  1983’s Born Again marked the period of fallowness that was never rectified and recovered.

While Europe- and the vastly overrated The Final Countdown- Chris de Burgh and Starship were among the worst offenders of the ‘80s- hardly giving the decade a good showing- there was a lot of great music- nay, terrific music- to be discovered.  With every decade, you are always going to find some rubbish and depressing crap.  I think this decade has produced fewer wonderful moments/albums than the first half of the 1980s.  The ‘90s had plenty of one-hit wonders- who were feeble and forgettable- and obnoxious Pop.

I view the 1990s with some rose-tinted spectacles- I grew up in the decade and had some very happy memories back then- and concede it wasn’t a flawless time for music.  If I had to compile a list of my ‘Favourite Music Decades’ the 1980s would come third- behind the 1990s and the ‘00s.  The ‘80s provided so much genius and wonder- that gets overlooked and mocked by many people- that we should never forget,  My earliest music memories arrived in the 1980s:  My first memory of music was hearing Tears for Fears’ Everybody Wants to Rule the World; Michael Jackson’s Bad was my favourite album from the decade.  Whilst I have mentioned some of the horror from the ‘80s- there is more to be found but I shall not dampen this piece- we cannot ignore what the decade gave to music.  The 1980s was not a rubbish and horrible time for music:  It produced some tremendous moments and paved the way for the glory of the 1990s.  Let’s have a look at some of the best albums/bands from the time:

In spite of Heavy Metal suffering a recession, bands like Judas Priest were starting to turn into genuine legends.  From 1980’s British Steel to 1982’s Screaming for Vengeance:  Two albums that were packed with Metal onslaught and head-banging albums.  Metallica’s Kill ‘Em All arrived in 1983 against a backdrop of Hair Metal acts like Mötley Crüe and Quiet Riot:  The U.S. legends were not interested in crossover and remained true to their ethics.  As such, Kill ‘Em All become of the most successful albums (of the band’s careers) and spawned a host of followers in its wake.

[youtube https://www.youtube.com/watch?v=C1DQbdg7DpA?list=PLPf69IGxwfBEYCzFwsiJ_EBE_6Cb7bysD&w=560&h=315]

Following the death of AC/DC’s Bon Scott:  The band released their finest statement- in my view at least- in the form of Back in Black.  If the title track does not move you- you must be clinically dead- throw in stone-cold classics Shoot to Thrill and Hells Bells and you have a stunning album of near-perfection status.

[youtube https://www.youtube.com/watch?v=pAgnJDJN4VA&w=420&h=315]

Guns N' Roses were one of the defining bands of the 1980s and added Appetite for Destruction into the lexicon of ‘80s Metal albums.  Whether you see it (Appetite for Destruction) as a Metal album- if it faultless in any genre- you cannot deny the explosions of Welcome to the Jungle and Paradise City.  Guns N' Roses were at their peak at this time (1987) and never sounded as essential and together- squabble and conflicts would lead to the band calling it quits.

[youtube https://www.youtube.com/watch?v=kr8-E8may2Y&w=420&h=315]

Metallica’s Master of Puppets arrived in 1986 and was perhaps the band’s defining moment.  Endless touring had sharpened the band’s music and this inspiration and energy was funneled into the album.  An eight-song record with endless scope, firepower and rawness:  The band would never hit the heights displayed throughout Master of Puppets.  Whatever your views on Hair Metal- a noxious throwback or something genuinely special- you cannot deny the brilliance of Heavy/Thrash Metal at the time.  So many of today’s examples take their leads from the ‘80s’ best.  Was it not for the likes of Appetite for Destruction, Master of Puppets and Back in Black:  What would modern Rock/Alternative sound like?  One thing is for sure:  It would be a hell of a lot poorer.

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

If you look at one of the worst aspects of ‘80s music; the Pop genre might be at the precipice of your mind.  We shall overlook the rampant slope of mind-numbing/stomach-emptying Pop stars of the time- lest I never sleep again- but how can you deny the likes of Michael Jackson and Prince.  While today’s Pop/mainstream acts are variable at best- the last couple of years has been a little spotty- some world-beating albums arrived in the 1980s.  Again; we can erase the memories of some terrible albums- the ‘80s had plenty of ropey Pop for sure- but cast your mind back at the great albums from the time.

Michael Jackson’s Thriller arrived in 1982, and is arguably, his greatest album ever.  Gone was the boyishness of previous albums- Off the Wall for example- and in its place was a determined and gutsy young man.  Tracks like Wanna Be Starting Somethin’ tied some of Jackson’s previous work- Off the Wall and The Jackson 5- with new purpose, maturity and edge.  Thriller, Billie Jean and Beat It was an unbeatable trio that ruled the charts and marked Michael Jackson as a genuine star.  If Off the Wall showed what Jackson was capable of:  Thriller laid it bare and elevated him to the level of global megastar.  Thriller has gone onto become the best-selling album of all time and untouchable blueprint for modern Pop music.  Jackson would follow-up his success five years later with the release of Bad (released in August, 1987).  Whilst not as hard-hitting as Thriller:  Bad took the basic formula and stretched it in various directions.  Smashes such as Leave Me Alone and Dirty Diana showed Jackson at his most visceral and stunning.  Bad was an album of mood pieces, stunning scenarios and ear-catching hooks.  A Dance/Pop album with eccentricities and huge character:  To many people; (Bad) topped Thriller in terms of quality and scope.  Even Bad’s ‘filler’ material- Speed Demon; Liberian Girl; Dirty Diana- was stronger than Thriller’s mis-hits.  Enforced by a period of personal turmoil and heartache- Jackson was battling demons and challenges- Bad remains one of the 1980s’ defining statements of intent.

[youtube https://www.youtube.com/watch?v=4Uj3zitETs4&w=420&h=315]

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

[youtube https://www.youtube.com/watch?v=ZPmo7owRU6o&w=420&h=315]

Prince was another artist hitting his peak during the ‘80s.  Purple Rain was released in 1984 and went on to collects awards and accolades:  Hardly surprising given the songs that appear on the album.  Prince moved his Funk/R ‘n’ B jams into new territory.  Embracing Dance, Metal and Rock:  From the eerie When Doves Cry to the Rolling Stones-esque riffs of Let’s Go Crazy:  Purple Rain remains one of music’s finest-ever albums.  Prince did not lose his sensual, sexy and grinding ways:  Tracks like Darling Nikki and Computer Blue oozed sweat, libidinous intent; robotic jam and lust.  Prince had a successful string of albums during the 1980s:  Sign o’ the Times almost matches Purple Rain for quality and genius.  Perhaps the best album of 1987; Sign’ saw Prince at his most consistent and gripping.  The one-man band tricks and multi-layered vocals were matched with stunning lyrics and memorable lines.  Prince was a fearless artist unafraid to address social concerns- alongside empty relationships and sex.  Tales of abandoned babies sat alongside AIDS with hopefulness and God-fearing pride.  A messy album that showed enormous confidence and multi-genre clashes:  If the 1980s would whimper and collapse soon after- fewer great albums were produced late in the decade- Prince ensured we would dance and jive the troubles away.

Aside from the aforementioned Pop legends:  Plenty of other decade-defining albums were crafted.  I shall not go into too much detail- will wrap the piece up soon enough- but there are some important albums that cannot be overlooked.

   The Joshua Tree (from U2) remains one of the 1980s’ best Rock/Pop albums and remains an influence for many modern-day artists.  Mixing the molten lava Rock of previous albums- with lush and spirituality- that blend of anger and conscientiousness resonated with critics and fans.  U2’s best-selling album ever:  It is often voted as one of music’s most celebrated records in addition.

[youtube https://www.youtube.com/watch?v=3FsrPEUt2Dg?list=PLQDse2HMV0kwJtJq2D6kUBUKH-gCVx2lw&w=560&h=315]

It Takes a Nation of Millions to Hold Us Back was an urgent statement from one of Hip-Hop’s leading lights.  Public Enemy delivered a sensational cocktail of political anger and violent sonics.  Compressed beats, genius rhymes- Chuck D on inspired form- and wondrous sampling went into an album that remains essential and landmark.  In addition to many subsequent bands sampling Public Enemy:  The band’s fearless vocal layering and social awareness was revolutionary in 1987.

[youtube https://www.youtube.com/watch?v=n5AYMiAdqhQ&w=560&h=315]

Club Classics Vol. One united African music with Chic and Hip-Hop.  Back to Life is one of the 1980s’ most recognisable moments and is a song that always gets my singing along proudly.  With the radio stations of the late-‘80s with unspectacular U.S. Dance artists:  Along came British rivals Soul II Soul arrived and delivered a great send off to the 1980s- the album came out in 1989.  A hugely influential album that fearlessly mixed African influence- Dance and Holdin’ On- with entrancing House music.

[youtube https://www.youtube.com/watch?v=TB54dZkzZOY&w=420&h=315]

With Grunge looking towards the horizon- Nirvana would arrive in the late 1980s- nobody can ignore the influence of Pixies’ finest album, Doolittle.  An album that single-handedly inspired Nirvana- and Nevermind’s quiet-loud dynamic particularly- it created waves back in 1989.  A half-hour of sheer excitement, noise and dynamic chaos:  Bands like Smashing Pumpkins and Nirvana pricked their ears up and took notes.  From the disturbing imagery of Debaser- slicing eyeballs and all! - to the demented Tame:  It showcased a tight and exhilarating band who could ably mix danger with tenderness.  Beside barking tracks like Crackity Jones and Wave of Mutilation lay heart and common sense.  Doolittle was an album that showcased tremendous musicianship:  None rocked as hard and memorably as Pixies’ bass player extraordinaire, Kim Deal.

[youtube https://www.youtube.com/watch?v=XycBLF6kWuY&w=420&h=315]

One of my favourite albums of all-time is Paul Simon’s Graceland.  Arriving at a time of racial segregation- apartheid divided South Africa at this time- Simon made some very risky moves.  By collaborating with South African musicians- especially Ladysmith Black Mambazo- he defied conventions and rules:  He would face backlash and criticism from a lot of commentators at the time.  In spite of the political strife and controversy of the time; Graceland has almost-literacy status.  The characters, scenes and minuets are charming, nuanced and phenomenally original.  What is most astonishing about the album is how undated it sounds.  Even with the glossy production throughout, the album still sounds as essential and modern in 2016.  Life-affirming tracks and insatiable choruses can be heard throughout Graceland, You Can Call Me Al and That Was Your Mother.  Stunning harmonies throughout Homeless- Ladysmith Black Mambazo’s biggest contribution- effortless pair with underrated gems like Under African Skies and All Around the World or the Myth of Fingerprints.

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

Say what you want about Madonna- most tabloid newspapers have over the years- but she was one of the most important artists of the 1980s.  Sturdy, relatable and catchy- Madonna tuned in her best vocals to date- hits like Papa Don’t Preach and La Isla Bonita show Madonna at her songwriting peak.  Fun and frivolity spar with maturity and focus.  Few Pop albums of the time were as strong as True Blue.  So many of today’s mainstream Pop artists take their lead from Madonna’s concoctions of fun-cum-melodic Pop.

[youtube https://www.youtube.com/watch?v=G333Is7VPOg&w=420&h=315]

Among the upbeat and celebratory music of the time were some somewhat depressive and dour acts.  The Smiths can never be accused of being serotonin-blessed and joyous.  Whether you see the Manchester bands as a too-sad-to-appeal band or genuine legends:  Who can deny the brilliance and influence of The Queen Is Dead?!  The dour and tragi-romantic were foundations with which the band built upon to spectacular effect.  Humour, wit and desperation ran through There Is a Light That Never Goes Out:  Some Girls Are Bigger Than Others is a funny- if somewhat unmemorable sign-off- whilst Frankly, Mr. Shankly is among The Smiths’ most quotable songs.  The album’s title track is a rollicking and propulsive number:  Cemetery Gates and I Know It’s Over are among a handful of reflective and haunting moments from the album.  Songs were crafted and created during marathon writing sessions- during the summer of ’85, Marr and Morrissey sat down and penned some of the album’s best-loved songs- and you can hear the sweat and attention in every moment.  An album that inspired the ‘Britpop’ movement:  The Queen Is Dead is The Smiths’ most-celebrated album.

[youtube https://www.youtube.com/watch?v=FgxEJOi6GtA&w=420&h=315]

I have not even mentioned albums by R.E.M. and Tears for Fears:  Murmur and Songs from the Big Chair are some of the 1980s’ biggest albums.  I hope I have scratched the surface of 1980s music:  Showing how many phenomenal moments were created.  The albums/songs I have mentioned are only a brief representation of what the decade produced.  I will bring in a few more songs before concluding- see below- to showcase what range and variation ‘80s music provided.

[youtube https://www.youtube.com/watch?v=XXUkddrnsXQ?list=PLX6zIVM97wXD17vsT82h4DF0KQhSck3Qa&w=560&h=315]

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

[youtube https://www.youtube.com/watch?v=R-O3kYrDPbI&w=560&h=315]

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

If you are skeptical about the 1980s and the music it birthed:  I hope I have made a little headway in changing minds and consensus.  I am never going to change my mind about music’s best decade:  The 1990s will always be king to me; no other period of time gave us so many world-class albums and monumental bands.  Without the stars and heroes of the 1980s, how many of the ‘90s best would ever have seen the light?  With Madonna inspired a new wave of Pop acts; Pixies laying the foundations of Grunge:  So many of the decade’s musicians enforced the sound of the ‘90s and inspired legions of new, up-coming artists.  In the same way as the 1990s compelled ‘00s music- and still does today- the 1980s is essential and crucial.  I have a lot of respect for those who adore ‘80s music:  Too many people turn their noses up and have narrow memories of a wonderful decade.

Yes, the fashions and styles of the time were appalling and should be buried in the pits of Hell.  The 1980s- society and technology in general- have left negative dents and ridicule and derision runs thick and fast.  If you extract everything and leave the music alone you will find so much treasure and wonderment.  Take time (today) and re-discover the Pop majesty of Prince and Michael Jackson; the boundary-pushing magic of Graceland:  Along to the Metal legends like Metallica and AC/DC hit their stride.  When you really thing about it you cannot deny:  The music of the 1980s left…

ONE heck of a legacy.

TRACK REVIEW: Shan- For You Now

TRACK REVIEW:

 

Shan

 

 

For You Now

 

9.4/10

For You Now is available at:

https://soundcloud.com/shanmusic/for-you-now

RELEASED: 10^th March, 2016

GENRES: Indie

ORIGIN:

London, U.K.

The E.P. Signals can be pre-ordered via:

https://itunes.apple.com/gb/album/signals-ep/id1091667313?app=itunes&lf=1b4703c43fbdf10a8cd85ce2406ec6eb&ign-mpt=uo%3D4

TRACK LISTING:

Starts to Grow

For You Now

Taken

N.O.N.T.K.

Sick & Tired

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IT is a sad fact of the modern music world that...

few artists will endure.  I wonder how many (of today’s musicians) will be around for years to come.  It seems like an odd opener but there is a truth:  Music has so much disposability that few acts are going to be around in future years.  Every week, there is a gamut of new bands/acts emerging, all crisp, new and promising.  When you look into the future, you ask yourself:  How many of these artists will I be hearing down the road?  I am not sure what it is about music- that leads to so few long-term artists- but demands change and the scene is packed and crowded.  I suppose it an inevitability- that this trend has emerged- but the problem is:  Who are going to be the mainstream stars throughout 2017 and beyond?  If you scan what is already out there (in the mainstream) there are a few planted and assured artists:  By-and-large, you have a lot of one-off/short-term acts that seem incapable of holding any fascination.  Part of this issue- the brevity and fly-by-night music- is due to lack of originality and focus.  Once in a while, you get an artist who you hope will overcome the trappings and go the distance.  My featured artist is a London-based musician who is building reputation and acclaim.  I earnestly hope Shan will be around for many years- there’s no reason to doubt that- because he is one of a few acts that thinks outside the box.  The upcoming Signals (E.P.) took two years to produce:  Shan wanted to capture something raw and honest; analogue equipment was used to capture the songs.  I feel like musicians are pressured into getting their music out there instantly:  If not, there will be few ears turned their way.  With so much variety and music out there:  If you are not among the throng; will people lend their support (when the music arrives)?  Shan has crafted an E.P. that shows so much effort, passion and originality.  Too many modern artists produce polished and ultra-modern records:  They are very of-the-moment and do not put your mind back to a golden time.  What Shan has done- throughput Signals- is balance modern ideas with production values that have their heart in decades past.  If you want to ensure and become a mainstream act- which is the intention of most artists- then you need to be doing things differently.  It is no good just coming in and sounding just like everyone else:  Going that extra mile is a great way to have your music spread and reviewed.  I would like to see/hear more about Shan:  His social media pages have few biographical details and I could not find an official page.  With a Google-unfriendly name- ‘Shan’ has A LOT of results- there needs to be some better visibility across social media.  I know Shan is under the charge of Brick (a London-based P.R. company) and it would be good to see all the social media links- Twitter, Facebook etc.- in one place- at the moment, you have to search one-by-one.  In that respect, it would be great to hear more about the man behind the music.  It is great (Shan’s songs) do the talking and fill gaps:  Some background information and personal details- influences and favourite acts- would bring more people in and more accessible.  In an age where there is TOO much competition and little market-share:  You need to be a bit more transparent and less restrictive:  A few lines across social media are not quite good enough.  These are minor quibbles- I hope this get sorted out soon- but gladly the music makes up for some short fallings.  Many of the artists proffered by B.B.C. - in their end-of-year polls- have that shiny and modern sound at their disposal.  You can tell these musicians are futuristic and right in the moment.  Shan is certainly no relic of a past age:  He understands the importance of raw sounds and stripping things back.  Depressingly, the general consensus- when it comes to production sounds- errs on the side of polished and sleek.  That is good- you need professionalism and shine- but how many musician take chances and are bold?!  There is timidity and riskless-ness emerging that is rather upsetting and infuriating.  It seems there is a new band arriving- by the week normally- that sound the same and could have been recorded in the same studio.  As a result, the music will not linger in the mind and you go looking elsewhere.

Shan has taken the trouble to put heart and sweat into music that brims and exudes:  There's a subtleness and softness among the emotions and flow.  It is rather hard to pin/define Shan- he is described as an ‘Indie’ artists- but that is perhaps a good thing.  One of the more promising and exciting solo artists emerging from the U.K.:  I cannot wait to see where the young Londoner goes in 2016.  I am left a bit cold by some of the ‘celebrated’ acts of music- the media put into the spotlight- yet Shan is someone who defies convention and ACTUALLY impresses.   Before I get down to assessing Shan- as he is an Indie artist- it is worth looking at the best Indie artists on the scene.  Last year was a bumper one for Wolf Alice:  A terrific young band that was denied a Mercury’ win (against the odds, somewhat) and define what the genre is about.  Black Honey- a Brighton-formed band whose best days are ahead- are an exhilarating band to watch closely.  The Bohicas have Post-Punk strands and have been linked with The Strokes and The Kinks.  The Carnarbys- perhaps the most promising acts of all- hail from London and mix confessional lyrics with hard-hitting rhythms.  Throw in Superfood- a Birmingham quartet with a definite love of ‘Britpop’- and you have another band that looks set to make waves.  To be honest, there are a lot of promising Indie acts coming through right now.  In terms of London solo artists- that are defined as ‘Indie’- there are perhaps fewer options- Shan is in illustrious company.  The Indie genre is one of the most mobile and open-ended- you can mix Punk, Folk and Rock into the agenda- and as such, critics focus a lot of time (on these artists).  Shan crosses genres and borders, yet at the heart of things, you have a man who matches heart and soul alongside something edgy and pressing.  For You Now has just been dropped and is a tantilsing insight into Signals:  An E.P. that will get mouths watering and critics raving.

For You Now begins with a soulful touch that you might not expect.  Percussion and piano crash like waves:  The opening seconds have such a gentility and swooning passion to them.  The listener is instantly engaged and fascinated:  That introduction is both instantly appealing and slow-burning.  When you detect flickers of strings- a thing a lot of Indie artists do- I get embers of Wild Beasts coming through.  Perhaps more directly related to their Smother/Present Tense work:  That same quality and sensation sparks from the speakers.  That said, Wild Beasts never penned an introduction that married so many different emotions and possibilities together.  By blending ‘00s-modern day Indie with ‘70s Soul:  You have a lethal combination that infuses the brain and mind in a wonderful seduction.  After the promise of the opening seconds, our hero comes to the microphone.  Things need to “sink in” it seems.  Our man needs to say “what’s within” and there appears to be definite tension and struggle early on.  “You”- maybe a heroine or friend of Shan- is “barely breathing”:  Pressure needs to be released so this moment can sink in.  As he does with compositions/introductions:  The lyrics have so many possibilities and layers to them.  Oblique yet direct; it is hard to say what inspired these early words.  Maybe bad news has been delivered or truths have been realised:  The two are revealing themselves and letting their honest come to the surface.

Perhaps a break-up has occurred or- by stark contrast- they are coming together in love.  I always love to investigate lyrics and dig beneath the words.  Shan has a real flair for language so it’s no surprise For You Now packs such a punch.  Shan asks- his heroine or subject- “Why did you come here alone?” with elongated tones and multi-layered vocals.  There is a real urgency to that line- in spite of the relaxed delivery- that requires explanation and answers.  With every new line, I start to think of new possibilities and ideas (with regards the truth of the lyrics).  Maybe it is not about a break-up but something more hopeful.  It is clear there is a sense of loss and distance throughout the song.  The girl is somewhere else- or has moved on- and our hero is pining and yearning for days past.  Things are better when she is around:  It seems like something has happened to break them apart.  Maybe the song is based on real events- a period of Shan’s life- and the vocal conviction makes sure every word drips with emotion and meaning.  After the rather introspective and haunted openings:  The song becomes more light-seeking as the seconds tick.  Whilst the girl “sits in silence”- to let the feeling reach her soul- there is that need to hold onto moments.  Our boy looks back at times (when the two were together) and seems to be a need to revert to better days.  As the song progresses, new compositional elements are brought in.  A fiery (yet understated) guitar adds vigour and shiver alongside percussion and acoustic.  The girl’s “black sky” is being penetrated by dreamy blue eyes.  Maybe Shan is standing aside- and looking at other’s engage and unfold- and recalling the events.  It is impressive if you can pen a song that seems universal yet personal.  The lyrics of For You Now have their direct moments- raw lines that leave little to the imagination- but the entire piece has some mystery and shrouded mystique.  You are never clear whether Shan himself is being mentioned- or whether the song regards a friend/friends- and that adds to the anticipation and intrigue.  I have listened to the song several times and find new meanings- or perhaps some misdirection- coming in that changes my impressions.  Perhaps only Shan will know- what has influenced the song- but it is great to speculate and conspire.  The composition is among the most impressive he has come up with.

If you look into Signals more- when the E.P. is released- you will see that diversity and talent fully exploited.  For You Now changes course and introduces so many ideas.  From those soft and tender moments (in the introduction) you get rush and energy:  For You Now grows and develops into something full-bodied and impassioned.  Our hero has one of the most original voices in music- I could not find a direct sound-alike- and showcases so much depth, emotion and soul into his performance.  To be honest, For You Now is a triumph on fronts.  Whilst it might not hit you immediately:  You need to listen a few times to ensure the song reveals all its charms and secrets.  Signals is an E.P. that shows many sides and ideas- whilst keeping a core identity and sound- and Shan is among the most talented musicians working today.  The fact Signals took two years to complete is no sign or nerves or procrastination:  The workmanship and attention have led to songs that will win over everyone.  There are no in-it-for-the-money motifs behind the music:  Shan wants to remain in music for years and win as many fans as possible.  An honest musician that prides quality over quantity- with regards throwing songs out too quickly- make sure you give For You Now a good listen- you will not regret it.

Over the years, Shan has been a very busy man.  Not just confined to solo endeavours:  He is worked with Ghetts (on the Grime artist’s M.O.B.O.-nominated debut, Rebel With a Cause) and promising up-comer, Matt Woods.  Everyone from the B.B.C. to Balcony T.V. has latched onto Shan and the sensational music he is producing.  Here is a man who is restless and always keen to work with others.  That is not to say his solo material lacks focus and due attention:  If anything, time spent with other artists has made his music more rounded and compelling.  I am not too sure what is in store for the London wonder.  I guess I have been harsh- in opening the review- towards artists coming out today.  It is a hard and unforgiving industry to step into:  Music requires total commitment, dedication and focus.  I am just a little vexed by the surfeit of long-lasting musicians:  We are seeing very few that remains around and keep producing albums/E.P.s.  I often get excited by a particular act/band and look forward to following them closely.  When a new year arrives, said artist has disappeared on gone on hiatus.  Maybe there is too much pressure and that need to keep putting music out.  As a result, the music being produced lacks real quality, depth and originality.

We shall see how things progress this year- whether any of the tipped artists actually make an impression- but it is great discovering a musician that has a different way of working.  Shan certainly has no intention of resigning and slowing down anytime soon.  With every song, you hear a young man who puts his all into every single note.  It is hard to compare him with any other act- a rare feat to be honest! - and I can see him going to big things in a couple of years.  Waypoint- the 2013 debut from Shan- was released to applause and attention.  That emotion, energy and substance were evident from the very start.  Growing in confidence and stature:  Ensuing releases have demonstrated evolution and a lot of progress.  Shan keeps getting stronger and more settled:  Here is a musician that was made to play and perform.  Perhaps the collaborations and hook-ups- from Ghetts to Matt Woods- have helped Shan.  Whatever the formula (and secret ingredient) behind the success, it is pleasing to find an artist who could actually endure and succeed.  I shall not put too much pressure on him, only to advise an official site be launched- maybe there is one, but I could not find it.  With such a ‘common’ name- one that is hard to pinpoint in search engines- it would be good to see a central hub for Shan.  To that end; ALL the social media/music links need to go together (on Facebook, ideally) so it is easier to follow him.  One of the biggest follies- new musicians tend to show- is being a little lackluster with personal details and the social media side.  I know Shan has a great (and reputable) P.R. company behind him:  It would be nice knowing more about Shan and what drives him; who influences his music and having little interview tidbits.  When you get a fuller impression; that will lead to a larger following and tangibility.  If you make musicians accessible- but not too open and revealing- it really adds to the musical experience.  I listen to Shan and love the music I hear:  I would just like to know what inspired certain songs; which bands/acts compelled the writing.  Perhaps a bugbear that is reserved to me alone- maybe I am being a bit picky- it is, at least, refreshing discovering a musician who brings raw, lo-fi music to the fore.  Shan’s music has a lovely sparsity to it without being too naked and unfocused.  You get modern touches and themes- with regards the lyrics and genre-fuse- but the abiding sound evokes something vintage and bygone- something sadly forgotten in today’s music.

Starts to Grow has a grittiness and rush to it:  The song has a constant energy and many different layers to it.  The vocals snatch and mix in the opening exchanges.  Just then, the composition comes in with huge electronics and ideas:  An elongated monster that suddenly rises from the sea.  Working echoed vocals into the ensuing silence:  You have a song that takes you surprise and elicits chills and smiles in equal measures.  Delicate and dizzying guitars- both electric and acoustic- bring grace and pace together in a wonderful bond.  The song looks at our man being stung and disappointed.  A central heroine has left their marks and feelings start to grow.  A lot of the lyrics have an oblique edge to them- the meanings are open to interpretation- so every listener might have a different view.  What hooks you most is the combination of vocal and composition.  That voice remains graveled and passionate- more U.S. than U.K. when it comes to tone- whilst the music keeps diving, growing and bursting.  You never quite know where the composition will go next:  A sensational thing that takes the breath.

   Taken begins with delicate and delicious electronics:  These lead to some echoed/machine-fed vocals that juxtapose the composition.  Soon enough you are inside a juddering and propulsive beat that welcomes in a more open and clear vocal.  Little strings vibrate and strike wantonly- adding to that colourfulness and passion- whilst our man lets his emotions pour forth.  Evocative and atmospheric lyrics- feelings and figures sinking under “the blue abyss”- make the imagination and mind race.  As you try and deconstruct the lyrics- our man behind dragged into the depths- the composition takes the mind elsewhere.  Always kinetic, pulsating and vivid:  The beats crackle whilst bass and guitar marry together in an intoxicating cocktail.  You can tell how much detail has been put into the song and its composition.  Lesser artists just toss notes and ideas together- hoping they will coalesce- whereas craft and obsession can be found in Taken.  This leads to a song that explodes with life, danger; energy and candour.

  N.O.N.T.K. - not sure what the acronym stands for- begins with lo-fi curiosity and faded sounds.  The track builds and develops from humble beginnings.  Darting strings and excitable bursts put me in mind of mid-‘90s Radiohead- you get suggestions of The Bends- whilst the vocal is among the E.P.’s most promising and positive.  In terms of composition, there is no demure or modesty at all.  Everything is just as connective and impressive as before:  Shan changes direction and brings a Hard-Rock flavor into the E.P.  N.O.N.T.K. is one of the more straight-forward/accessible songs across Signals.  Our hero is not being cautious and lost in smoke and mirrors.  There is a lot of anxiety and accusation that emerges from the song.  A devious subject has caused some hurt:  Our man is left to clear the dust and make sense of things.  Whether talking about a sweetheart or friend- not sure if this is a relationship or friendship story- Shan will stand tall and stay loyal.  You get a mix of lyrical ideas- sticking by someone who has done wrong; angry at the lies that have been told- and the composition adds electricity and oomph.  One of the catchiest and most memorable tracks from Signals:  It shows how diverse and varied Shan is.

   Sick & Tired brings things to a close and is perhaps the most emotive tracks on the E.P.  Shan lets his voice reveal its soul.  The composition remains fairly light- in the opening stages- ensuring the voice framed.  Soon enough, the volume rises and the layers are put into the song.  The strings are impressively considered and nuanced.  Our hero is in the here and now and is not “giving up”.  His friends have been dating one another- a sad conveyor belt of predictable ends- with fatigue and annoyance at the core.  In spite of this, the song has a celebratory and redemptive tone:  The instrumentation becomes fast and furious; the passion and commitment reach fever pitch.  Like N.O.N.T.K., Sick & Tired is one of the Rock-inspired numbers that will have mainstream appeal and festival readiness.  You can hear a few Indie bands- bits of Foo Fighters and other U.S. artists- in some moments which mean (the song) could have radio values and mass appeal.  It is not a cynical move- just another side to Shan’s musicality and talent- and it brings the E.P. to a triumphant close.

If you have not heard Shan and are not properly prepared for Signals- take a look back at the previous releases- then make sure you get on it.  Signals is a move away from Shan’s previous work- Waypoint is the best example- and shows boldness and confidence that is hard to ignore.  Whilst Waypoint showed immense talent and originality:  Signals is a step forward and expands upon that initial promise.  On 18^th April, Signals arrives and will be met with acclaim and love.  Ensure you do not miss out as it (Signals) is a stunning statement that shows real intent and diversity.  One of the U.K.’s most promising and stunning acts:  I cannot wait to see where Shan goes from here.  In a music world with too many throw-away- musicians that fade from view after a while- it is refreshing knowing Shan…

HAS plenty of years left in him.

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Follow Shan

 

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Music

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INTERVIEW: Steve Heron

INTERVIEW:

 

Steve Heron

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GIVEN the raft of Scottish-based musicians I have been...

reviewing lately, it is great to revisit with one of my earliest review subjects.  Steve Heron is a prolific and multi-talented Edinburgh musician with a huge following and great respect.  Not only does he promote and foster other acts- from homegrown contemporaries to further afield- but he is marking himself as one of the most interesting and compelling songwriters around.

Having taken a slight break last year:  Steve is back in 2016 and planning new music.  Many artists- when interviewing with me- give quite brief (and snappy) answers.  It has been great hearing the passion come from Steve Heron:  An artist who has an intense dedication to music and a lifelong obsession with its virtues and mysteries.  One of my favourite musicians from the U.K.:  I was keen to catch up with Steve and see what this year had in store; which new musicians he would recommend and what  music (personally) means to him…

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Hi Steve.  How has your week played out?

Thus far, it’s played out like most weeks.  Too much time sitting on buses and at work.  Not enough time sitting with guitar or pen in hand.

For those unfamiliar with your music:  Can you tell us a bit about yourself?

An Edinburgh-based guitarist by trade; singer by accident.  I’ve had a few releases:  I’ve been lucky enough to have been a featured BBC Introducing artist on a couple of show (on a couple of occasions).  I’m also hoping that my new nickname of ‘Snakehips’ catches on (see the bottom of this interview).

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Your songs have such originality and highlights- unique chord changes and emotional ranges- and that has always grabbed me.  What inspires your songwriting process?

I don’t really have a set way of working when it comes to writing.  When it comes to lyrics, I just try to think about stories:  Whether they’re my own or other people’s I’ve heard and see where it goes from there.  I’m not one for just knocking out a set of lyrics in 10 minutes just for the sake of writing something.  I like to take my time with it.  I put a lot of thought into what’s being said and how it’s being said- I try to imagine myself saying the lyrics to someone, depending on the situation.  People have said my lyrics are honest and kind of conversational, so I imagine that’d be why.

Anything could spark it though:  It could be a line in a conversation; could be a film; could be a piece of art…anything.  A lot will depend on what kind of song I’m looking to write at that time, and a lot of that will depend on how I’m actually feeling at that time.  I do find that most of the time I will have a whole song planned out musically and all the parts will be there so all that’s left is lyrics.  So I’ll do a rough demo and listen to it on repeat for a few days (or longer depending on the song) and try to get a feel for what it should be about.  I’ll try to get inside my head and see if I already have something kicking about that needs to be married up to the piece of music.

You have that stand-out voice-and-composition combination that sets you aside. Which artists influenced you growing up?

In terms of listening to certain artists from a young age:  I was brought up on my dad’s music taste– Queen, Rod Stewart, The Beatles etc.– so I think their influence runs through my music in terms of the classic songwriting aspect of it.  From my early teens- when most people start to develop their own musical identity- Oasis were the band to really make a big impact on me as a teenager:  They were more my generation than anything I’d listened to up to that point.  The more I read about them and their influences- the more bands I wanted to find out about- and the more my influences grew.

There has been criticism (stating that) music has been declining- not being as strong as decades past.  What is your view on this issue?

I think it’s probably true that it’s not as strong it used to be in terms of credible artists in the mainstream; but there will always be good original music out there somewhere if you’re patient and willing to look for it.  It’s too easy to look at the charts and the press and get downhearted about the amount of vapid shite that is presented to us music lovers; but there is good music to be found anywhere you want to look for it.  So much ground has been covered in the last 60 years of popular music:  Things are always likely to plateau at some point and people tend to forget that popularity and quality don’t always go hand-in-hand.

For me there seems to be too many fans hung up on old bands reforming (Christ knows that we need yet another ‘90s Indie band reforming for a tour!) so they’re less focused on finding new music, finding new bands, going to local gigs:  Taking a chance of experiencing something new to them that causes them to immediately think that music and bands aren’t as good they were.  I don’t think that’s the case, personally.  I think that most people look at the overall state of modern music and they just naturally feel more comfortable with the nostalgia stuff.

I don’t mean for this to come across as some sort of anti mass-media rant (and all that stuff) because everything has its place.  What I’m saying is that just because it’s on TV or radio doesn’t make it a fair representation of what is actually going on musically in the world, so people need to stress themselves out less about it.  Everyone has their own take on it though and some people will read this and probably think I’m talking a load of shite, but that’s the way I see it.

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Edinburgh showcases so many brilliant musicians and bands.  What is about the city (and Scotland as a whole) that creates so many terrific artists?

It’s difficult to say to be honest.  For all the good musicians we have, I still feel that the Edinburgh creative community lacks the support from the local council to really showcase the creative talent the city has.  I think if it became more widely accepted and encouraged- to make music happen in the city- instead of trying to close down live music venues and cut music tuition in the city- then you would see a lot more talented people coming through.

Overall though, I think it’s a naturally Scottish trait to have a chip on our shoulders about something:  music tends to be an excellent way to channel that productively.  Scotland has produced some of the best authors, artists and cultural figures since awaaaaaaaay (sic.) back in the day so why not try and be the next (big) one?  It’s all relative though, I suppose.

On the subject of Scottish music (and Edinburgh):  which bands/artists would you recommend the reader checks out- maybe acts you have performed with?

At the moment, a few names for you:

Neon Liston, Miasma, Trio HLK, May He Go; Emma Pollock, Black Cat, Bone Roisin; Tuohy, Gigantic Leaves and Snide Rhythms

Of course, I’m sure your readers will be familiar with bands like Universal Thee, Benny Monteux & my buddies from Ded Rabbit too (indeed):  but obviously I’d encourage them to check out everyone I’ve mentioned here and see what else is coming from Edinburgh at the moment.

If you had to select the most important albums to you- from a creative or personal perspective- which five would you choose?

It’s always tough to narrow it down to just 5, but here goes:

• Silent Alarm by Bloc Party – It would have been about early/mid-2004 when I first heard Bloc Party. I came home after a night out and was watching 120 Minutes on MTV2 and the video for Banquet comes on. I don’t think I’ve ever been as excited by a band right from the get-go as I was for Bloc Party (after seeing that grainy black-and-white video).
• Darkness on the Edge of Town by Bruce Springsteen & The E Street Band - It’s a toss-up between this and Born To Run but ‘Darkness just edges it (pun not intended). I got the chance to see Springsteen play the full album at Wembley a few years ago: It was genuinely one of those experiences that you read about people having at a gig, but always seems will never happen to you.  It’s quite amazing to be in a stadium with thousands of people and see so many of them moved to tears by the songs from this album.  It’s an album that is so melancholic but also unbelievably uplifting at the same time.  The title track- and most of the tracks from the album- is a song about loss, but also carrying on.  You’d be hard-pushed to find someone who can’t identify with that in this day and age.
• Grace by Jeff Buckley – From a creative standpoint, Grace is a massive album for me. I was so obsessed with learning all of the songs from album; it became a sort of long-term project for me. Learning them, you get to see how they’re put together and I think it’s a stunning album musically.  Jeff Buckley’s voice is so dynamic:  The altered tunings he uses give chords so much texture that when it’s all put together, it’s almost a (virtually) perfectly produced album.  You could listen to it a hundred times and you will hear something new in each song, every time.  The man was a master musician.
• The Queen Is Dead by The Smiths – Much like Springsteen: It’s hard to single out one album by The Smiths that had the most influence on me.  Meat is Murder and Hatful of Hollow are really close to the top of the list, but T.Q.I.D. edges them out.  Johnny Marr has been the single biggest influence on my guitar playing and this album is filled with some of his best I’d say.  Morrissey lyrics are smart, funny; sad at points and witty. They’re as good as anything he’s done before or since, and each set of lyrics is perfectly matched to Marr’s music. I think it’s almost the perfect album, so it’s one that I revisit often especially when I’m writing because there’s always something new to find in the lyrics and music.
• The Atlantic Years by The Lemonheads – I’d always loved The Lemonheads cover of Mrs. Robinson, but it was this album that really opened my eyes to what a great band they really are and what a brilliant songwriter Evan Dando is. Nothing overly complicated with the music, but it works so well with Dando’s lyrics. If I’m writing lyrics, I usually keep ‘Lemonheads’ songs in mind, and try to write similarly smart, witty, funny and descriptive lyrics (if I can).  From a personal standpoint, a close friendship was formed over a love for this album too so it’ll always be a special one for me.

What advice would you give to new musicians coming through at the moment?

Be open, be honest:  Don’t worry about what others are saying or doing – just worry about what you’re doing, don’t concern yourself with reviews.  Take what you do seriously, but don’t take yourself as seriously as that.  Oh, and if you’re drummer owns a Cajon, it’s time to get a new drummer.

You had a busy 2015.  With this year in full swing:  Is there new music forthcoming?

I took a bit of time off last year.  It had been a solid five years of gigging, recording and doing all sorts of stuff, so it was time for a break.  That being said, I have been working a bit with Neon Liston since last summer- just adding some guitar stuff to their tracks so that’s been good.  Their stuff is different to what I usually do with my own ‘solo’ stuff so it’s been a nice change of style and pace.  I’ve really enjoyed being able to give my voice a rest too.  I’ve been having problems with it since the end of 2014, so I’ve really been able to rest it and focus on playing guitar again, which is what I really love to do anyway.

I’ve still been putting together my own songs though but at the moment I’m taking it easy with Steve Heron’s tunes.  My voice still needs some work and I always like to make sure that I have a good batch of new songs ready before I start looking at getting the band back together.  In the meantime, though, Neon Liston are getting my full attention.  There’s plenty new material we’re working on and there was an E.P. released at the end of 2015.  It’s on Spotify and Soundcloud for those who want to check it out, *wink*

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Last year saw some great artists emerge in the mainstream- from Kendrick Lamar to Courtney Barnett.  Which artists were your standouts from last year?

Father John Misty, Jamie xx, Man Made; Natalie Prass, Mac Demarco, LA Priest.  I’m drawing a bit of a blank at the moment but those are some that caught my attention last year- along with Courtney (Barnett) and Kendrick Lamar.

Music means a lot to different people.  What does music mean to YOU personally?

I think it’s such a hard thing to put into words:  what music means to someone?  It’s like if someone asks you to describe an emotion.  Music is an emotion in itself, and it’s the one thing that I take total comfort in no matter what genre or which artist I’m listening to.  Music means that I can be at a gig and immediately connect with a complete stranger without ever having to engage in horrible awkward small talk and explain why you’re having a wee moment.  It crosses generations:  It doesn’t care who you are, where you’re from and all those things that people tend to be hung up on.  They say music is the only thing that stimulates the entire brain.  Some songs I hear and I can instantly be taken back to certain specific moment- good or bad- and live it all again.

Someone said to me once that music (specifically playing live) is the perfect combination of the conscious and subconscious, which really rings true I think.  How many other things are there in life that offers that kind of experience?  And what else is amazing about music, is that someone will read what I’ve said and know exactly what I mean.  The next person won’t have a clue what I’m talking about because the way music makes them feel will be completely different.  That gives me a lot of heart because it makes me feel like there’s still more out there for me to experience.  Music to me means you can be one of the two drunk strangers pogoing together at a gig- or one half of the couple on the last train home- resting their heads on each other with an earphone each.  It brings me closer to the world and the world closer to me.

Jeff Buckley is a shared joy for us- in terms of inspiring musicians.  With a ‘new’ album coming out (You and I is a collection of unreleased material):  What is about the man that compels so many musicians?

One of the things I always admired about Buckley was his ability to cover a song and make it totally his own.  He took an already great song in Hallelujah and managed to record the definitive version of it.  But I’ve never listened to any cover he’s done and had that sense that it was recorded solely to get attention, or for profit:  I always feel like he’s doing it as a musical education.  When I really started getting into Buckley, I would go away and find out about the people who wrote the songs he covered.  Hearing the Live at Sin-é and Mystery White Boy albums led me to buy some Nusrat Fateh Ali Khan and Big Star albums for example- which I would never have thought of doing unless I had heard them.  Artists that play a big part in your musical upbringing and education will always be special and I think Buckley definitely fills that role for a lot of musicians.  His music always feels very inclusive.

Not forgetting of course that he was also a ridiculously talented musician and the fact that they’re still releasing Jeff Buckley material (19 years after his death) personally just makes me more interested in what we missed out on- and if there are any more performances kicking about.  I always find it interesting to hear another musician’s take on some songs you know anyway:  It can feel like someone is breaking a song down and explaining how a great song works in some cases.  Jeff Buckley was amazing at doing that.  He was always trying to find out new ways of playing the same song.  Listen to all the versions of Hallelujah he recorded:  He never played it the same way twice.  It would get a bit stale playing the same songs on the road every night so the ability to be able to do the same songs in a different way is an exciting thought; both as a musician and a fan.  He made each crowd special because they were getting a one-off version specific to that gig:  Playing different intros to songs, doing longer versions; throwing in some outrageously improvised vocal stuff.  He was constantly pushing the boundaries of what he was capable of doing in the moment as he was playing.  His confidence as a musician & his drive to develop as an artist is what I think makes him so compelling.

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Money is a big sticking point for a lot of new musicians- the cost of maintaining a career; the lack of money earned.  Do you think money concerns are putting a lot of musicians off or does that passion and determination override such issues?

It’s all down to the individual with this.  For me, I would love to be able to make a living from making music:  But if you offered me the choice of playing for cash or playing to a busy venue for free, I would take the busy venue every time.  I’ve never made any big cash from music:  Any cash I have made has just gone back into making more music.  Some people’s passion will drive them on to make money from it, but others will be happy to get up and bang out a few tunes at an open mic for free.

It’s sad that people have to judge how passionate they are about something (based on if it) will earn them enough to live on- but unfortunately, that’s the world we live in.  I do think if being a musician was recognised as a proper job- and not thought of as a ‘hobby’- then that would encourage a lot more talented people to follow it through and see how far they could take it.  The world would be a much richer place if that was allowed to happen…

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

Do Anything You Wanna Do by Eddie & The Hotrods.

[youtube https://www.youtube.com/watch?v=rK8pAfhC4Rk&w=420&h=315]

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Follow Steve ‘Snakehips’ Heron

 

Facebook:

https://www.facebook.com/steveheronmusic/

Twitter:

https://twitter.com/stevejheron

YouTube:

http://www.youtube.com/user/steveheronofficial 

SoundCloud:

http://soundcloud.com/steveheron 

The Classics Series: Kate Bush- Hounds of Love

The Classics Series:

 

 

Kate Bush- Hounds of Love

 __________________________

IF you are not exactly a ‘Kate Bush fan’- which is strange- few can deny the…

potency and beauty of Hounds of Love.  An album that stands up to the test of time:  It is a masterful statement from one of the greatest voices music has produced.  Given the importance of yesterday- International Women’s Day- it got me thinking about music in general.

It is hard to think about gender equality in society without bringing music into the discussion.  There is still an imbalance and inequality in the wider world.  From the workplace- wages mismatch and fewer opportunities for women- there is discrimination, sexism and less respect (for women).  It is troubling that, in 2016 no less, we have to witness such Stone Age mentality and ethics.  Let us hope the coming years see equality come into society and real changes being made.  I am sceptical whether there will be any HUGE shifts- equal pay for women; less discrimination and sexism- but we can all agree on one thing:  By coming together, we can all bring about something positive and progressive.  In the music world, perhaps there is less struggle and imbalance.  Whilst there is that sense of ‘we’re all in the same boat’; women (some at least) are fighting to get their voices heard.

When we think about music- and the musicians that speak for a gender/generation:  You cannot help but ignore the influence Kate Bush has.  At the moment, B.B.C. Radio 6 are running a competition to find their ‘Greatest Female Voice World Cup’- still managing to put something very male (football) into the agenda- where they are seeking to discover the greatest ever female singer.  At the moment, they are down to the quarter-finals- Nina Simone pitching off against Aretha Franklin; Bjork and Joni Mitchell doing battle- with Kate Bush squaring against Harriet Wheeler.  It is very obvious Bush will progress to the semi-finals- most of us do not even know who Harriet Wheeler is- and it seems like Aretha Franklin and Kate Bush will make the finals- that will be a fascinating battle.  To be honest, Kate Bush should walk it:  Nearly everyone I know adores her music and ranks her among their music idols.  For me, it is her entire personality that captivates me.  The way she does business- and remains under the spotlight- and retains her privacy should be a guiding light for modern musicians.  She does not need scandal and column inches to get her to the public forum:  Her divine music remains and does all the talking.

When you look at the best Kate Bush album- I love The Kick Inside (her debut) personally- everyone will have their own opinions.  The Kick Inside was a bold statement from a confident and young woman with a sound like nobody else.  From Wuthering Heights to Them Heavy People (my favourite from the album; most would disagree) you get to hear that magnificent, fairy-like voice flow with agility and beauty.  Lionheart, Never for Ever and The Dreaming formed Bush’s late-‘70s-early-‘80s body of work- where she showed the full extent of her talent and writing ability.  While Lionheart boasted some spectacular moments- Wow and Symphony in Blue among them- Bush herself was dissatisfied with the overall results.  Less substantial and nuanced than later work- losing some spark of her debut- it spurred her to bigger things:  The 1980-released, Never for Ever.  Gaining accolades and plaudits- the album went to number one in the U.K. and resonated with critics- with singles Babooshka, Army Dreamers and Breathing all becoming big hits.  The Kate Bush theatricality and prowess solidified itself on this album:  There were touches of that Wuthering Heights-esque confidence that was lacking on previous albums.  Issues of nuclear wars- concerns assessed on Breathing- and motherly pride- Babooshka- was the reflection of a young woman who could mix seriousness alongside child-like- the vocals remained light, seductive and sensuous.

[youtube https://www.youtube.com/watch?v=wp43OdtAAkM&w=420&h=315]

Following from Never for Ever’s success arrived The Dreaming (in 1982).  Denser and more ambitious soundscapes came through.  An aspect that baffled some critics, arguing the album lacked commercial appeal and focus.  Bush herself admitted the album was quite an angry statement- Get Out of My House is Bush at her most incensed and demonic- and a real surprise for many.  The Dreaming sees Bush fighting against the male-dominated world:  Vocal loops and romantic ideals sit with campy flights-of-fancy on an extraordinary, if slightly uneven, album.  The Dreaming had so much going for it.  There was grit, raw emotion and rebellion.  On the other hand, Bush retained her romanticism and poetic lyrics intact.  It is an album that gained reputation and approval over time- perhaps too intense for critics at the time- and showed how restless and ambitious Bush was.  The Dreaming was a remarkable record but one that was eclipsed three years later:  Hounds of Love took the music world by storm in 1985.

It is weird and wonderful; it is sky-scraping and tranquil:  There are contradictions and so many emotions that run through the entire album.  Prior to Hounds of Love; Bush found herself exhausted and overwhelmed.  Executives were concerned about the lack of sales and mixed critical reviews (following The Dreaming).  Since The Kick Inside, Bush had immersed herself in the realities of modern music:  Relentless touring and writing; promoting albums and barely taking time off.  Follow The Dreaming, Bush felt unable to write for several months.  She retreated home- spending time with her boyfriend and family- and enjoyed the lack of pressure and freedom she had.  Not dormant, she built a studio in a barn behind her house- including a 48-track recorded where she could fully exploit her multi-layered approach and restless ambitions.  Rough tracks came together- Bush would work on them before sending them to executives- and took her time recorded overdubs and mixing the album.  It took a full year for Hounds of Love to find shape and meaning:  The results and instantaneous beauty of the album are no fluke.  Tired of feeling angry, unsure and unsure- previous albums found Bush still seeking a paramour and defining sound- Hounds of Love was (remains still) her most compelling, completing and personal album.

Hounds of Love was split into two ‘suites’:  The first, Hounds of Love, sat with the seven-track second-half, The Ninth Wave.  Whilst the album is a little top-heavy- the biggest songs are in the first half- there's consistency and magic from start to finish.  Upon its arrival, critics salivated over the album:  Words such as “dramatic” and “beautifully romantic” (Sounds) and “definitely weird” (NME) were employed to assess the album’s strengths and sounds.  The anger, hate and hurt of The Dreaming was translated into love, nature and spirituality.  Some derided the album’s scope and textures- certain critics felt bored and listless upon investigation- which put a dent in her U.S. ambitions.  If the album received mixed acclaim upon its initial release:  Ensuring years have seen Hounds of Love earn its place as a modern masterpiece.  The defining moment from one of music’s most unique talents:  Hounds of Love inspired legions of musicians and artists.

Carefully crafted with Bush putting in her finest album-length vocal- fewer acrobatics with more concision- a huge range of sounds and ideas went into the album.  High-octane Folk and orchestral Pop married with conceptual pieces and expressionist masterpieces.  Gone was the overly-ambitious ideas of The Dreaming:  Hounds of Love was a more measured and commercial album that still was able to baffle and divide.  True enough, there were ‘quirky’ touches and an individuality that put off some.  The album’s first half (Hounds of Love) was lush and lyrical; sounds and songs wash over the listener whilst its second half looked at birth, rebirth and spiritual longing.  The fact Hounds of Love is so complete, involving and consistent is because of Bush herself.  Gone was the record company interference, timelines and ideas.  The young artist ensured every note was her own; each song was recorded to her specification:  That natural ease and lack of burden leads to broad sweep and ornamented, layered songs- a daring and marvellous accomplishment.

   Running Up That Hill (A Deal with God) starts with that woozy and hugely memorable introduction.  It is impossible to listen to those initial notes and not feel something:  They are divine, strange and captivating in the extreme.  Buh’s voice is superbly controlled and direct from the very start.  In 1992- when talking with the B.B.C. - Bush assessed the song thus:

“…I was trying to say that, really, a man and a woman can't understand each other because we are a man and a woman. And if we could actually swap each other's roles, if we could actually be in each other's place for a while, I think we'd both be very surprised! [Laughs] And I think it would lead to a greater understanding. And really the only way I could think it could be done was either... you know, I thought a deal with the devil, you know. And I thought, 'well, no, why not a deal with God!' You know, because in a way it's so much more powerful the whole idea of asking God to make a deal with you”.

A brutal and painfully honest song:  It showed Bush at her most mature, open and striking.  It is impossible to compare another song with Running Up That Hill (A Deal with God).  It is a perfect opening track that sets out Hounds of Love’s ideas and ideals.  The album’s title track begins with racing percussion and multi-layered vocals.  The lyrics see Bush recall childhood times- whether a dream or reality- running in the dark and escaping (chasing) forces.  Finding tormented foxes and terrified creatures:  Our heroine removes her shoes and runs with abandon.  The images and lyrics provoke myriad images and dreams, whilst the song’s core seems to reflect fear of love and “what’s good for me”.  Whether Bush was scared of love- or pushing away those who were right for her- you get a sense of a young woman unsure of her own heart.  The Big Sky completed a remarkable 1-2-3 with its hugely evocative and dramatic vocal.  Bush looks at the lost pleasures of childhood:  Sitting and watching the sky and clouds pass by.  Perhaps caught in a whirl of adulthood pressures- recording music and responsibility- there is that yearning for something simpler.  The multi-track vocals and rumbling percussions all remain:  Together in an intoxicating song that draws you in and puts you right in the song.  Cloudbusting completes the first side with a huge impressions and effect.  The song was inspired by the relationship of psychologist Wilhelm Reich and Peter.  It is told from the point-of-view of Peter and the building- and subsequent use- of a device called a 'cloud buster'.  This patented rain-making device bonded father and son until Wilhelm’s arrest.  Peter- distraught at the fact he could not protect his father- realises adults are fallible and imperfect.  In addition to the song’s fascinating and narrative nature; you get that cello-driven melody and that conflict of safety (and comfort) with danger.

[youtube https://www.youtube.com/watch?v=GOlkRP6zNlY&w=420&h=315]

Hounds of Love’s first half spawned successful singles and huge critical acclaim.  In resulting years, many modern artists would tackle numbers like Cloudbusting, Running Up That Hill (A Deal with God) and Hounds of Love.  The second half (The Ninth Wave) is a more experimental and haunting.  Under Ice looks at a frozen river with our heroine alone on the ice.  She is speeding and racing past trees and leaving impressions on the ice.  You get Bush backing herself on vocals- showing some of that intensity found on The Dreaming- and a vivid and unforgettable track.  Waking the Witch is a scary and unsettling track that still manages to bring beauty into the mix.  Fragmented vocals and sees The Devil and The Ghost Jury in conversation.  The oblique and mystical; the ghostly and terrifying will leave marks in the mind and remain long in the memory.  The Morning Fog ends the album with some breath and redemptiveness.  Bush falls through the sky and the morning:  When hitting the ground she is filled with more love and clarity.

What can you really say about Hounds of Love?  It is an album that remains of the ‘80s very best:  In fact, it is one of the greatest-ever albums to grace the music world.  Whilst Kate Bush has never produced  finer moment, you have to wonder:  How many other artists have matched the majesty and beauty of Hounds of Love?  It is a timeless album that can suit ever mood and moment.  You do not need to be a Kate Bush aficionado to understand what is being said:  The lyrics and compositions transcend compression and speak to everyone.  If critics were bamboozled by (the album’s) headiness and variations; that is very much their issues.  I’ll admit, a few of the album’s tracks- especially towards the second half- do not stand up to too many repeated listens.  That is the case with many albums:  I have heard few where every single track is perfect and seamless.   Hounds of Love was more than an album:  It was a blueprint for future artists to be more daring and bold in music.  So many modern musicians have been hugely inspired by Hounds of Love and its contents.

With a lot of upcoming solo artists seeming slight, unoriginal and shallow:  I look to Kate Bush and wonder whether we will ever see her like again.  True, a lot of modern artists evoke some of her essence- from Anna von Hausswolff to Tori Amos- but none has the same effect.  Maybe Bush is that one-of-a-kind and unique specimen.  One of the most original and distinctive voices in all music:  She remains an icon that is unmatched and completely peerless.  Having recorded several albums since Hounds of Love- her most recent efforts show remarkable consistency and quality- I hope Kate Bush has more albums in her.  In her 50s now- and perhaps unlikely to tour again- we have not heard the last of a remarkable musician and pioneer.

Kate Bush is not just spectacular because of her music:  Her attitude and personality inspire women (and men alike); her work ethic and infectious interviews- listen to them and your heart will melt- are hugely impressive.  If you want to start a Kate Bush collection- why would you not?!- Hounds of Love is that logical starting place.  It is her finest album and sees all her assets and strengths- the fantastical, beautiful and raw- coalesce into a sweeping statement of intent.  When that B.B.C. 6 Music poll is concluded- the greatest female vocalist ever- I know who will come out victorious…

THAT is such a no-brainer for me.

[youtube https://www.youtube.com/watch?v=pllRW9wETzw&w=420&h=315]

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TRACKLISTING

Running Up That Hill (A Deal with God)

Hounds of Love

The Big Sky

Mother Stands for Comfort

Cloudbusting

And Dream of Sleep

Under Ice

Waking the Witch

Watching You Without Me

Jig of Life

Hello Earth

The Morning Fog

DOWNLOAD

Running Up That Hill (A Deal with God); Hounds of Love; Cloudbusting; Waking the Witch; Jig of Life

STANDOUT TRACK

Running Up That Hill (A Deal with God)

TRACK REVIEW: Ellie Rose- Finding My Feet

TRACK REVIEW:

 

Ellie Rose

 

 

Finding My Feet

 

9.6/10

Finding My Feet is available at:

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

RELEASED: 5^th March, 2016

GENRES: Pop

ORIGIN:

London, U.K.

____________________________________

AMONG a sea of eager songwriters, how does one...

find true gold and quality?  It is an interesting question that is near-impossible to answer.  There are a lot of great singer-songwriters emerging:  that said; there are an awful lot of mediocre ones, too.  One of the greatest joys about reviewing is unearthing a solo artist that sticks in the mind and causes smiles.  Having discovered Ellie Rose a few months ago- I shall go into more detail soon- I am glad to say she is back in force.  Thinking about her has led me to reflect on female songwriters coming through; the most personable and likeable artists; the importance of slow revelation (I shall expand on that when I get there).  I have always maintained you get more quality and originality from the female solo artists on the scene- compared with their male counterparts.  I have wracked my brains trying to find an answer- maybe there is no answer- but there seems to be more ambition and originality.  The guys have passion and originality but it is the girls who are leading the charge.  If you take the vocals on their own:  the female solo artists possess more depth, nuance and urgency.  It is the compositions and lyrics (when looking at female songwriters) that is the most telling difference.  Having reviewed a lot of male songwriters; I am noticing the same thing occurring:  the lyrics tend to stick too closely to predictable avenues.  There are exceptions to be found, but by and large, there is an over-reliance on love and relationship dramas.  Whilst most songwriters assess this subject, the guys are showing less nimbleness and original intention.  The language and phrasing (the girls use) are superior and deeper; the angles employed result in more fascinating and impressive tracks.  Think about the compositions as well:  When was the last time a solo act’s composition rooted itself in the mind?  Well, when I review artists- and I discover a wonderful composition- most of the time it is the girls that produce it.  Whether it is in the Pop milieu- or a hard-hitting Electro. mash-up- I wonder why the guys are not as strong.  Maybe I am over-simplifying and missing the point- there are a lot of great male solo artists- but it is the female singer-songwriters that seem to resonate most with me.  With that being said, I was glad to hear Ellie Rose was back with a new track.  Before I explore my next topics- regarding revelation and personality- I wanted to talk about the featured artist.

On her official website- http://ellierose.co.uk/- there is not a lot of biographical information.  Our heroine likes to keep things a bit secretive; preferring the music to do the talking.  What I do know is that she (Ellie) is one of the most promising and bright songwriters we have in the U.K.  In every performance- and everything she does- you hear endless passion, heart and commitment.  While a lot of songwriters seem to lack that necessary drive and dedication:  Ellie Rose suffers no such weakness; she always puts her everything into the music.  In addition to a distinct love for pineapples- not sure what drove that love and addiction- and you have a songwriter with a lot of charm and personality.  Whilst I shall have to ask her about the pineapple angle- never been much of a fan myself; not taste-wise anyway- it is the radiance and love Ellie Rose shows (on social media) that fascinates me.  In a modern age- whereas an artist can hide behind a screen- you find some artists are rather faceless and indirect.  Too many musicians cower behind digital platitudes and do not engage fully with their tribes.  The only way to succeed in music- aside from having talent- is to win a fanbase and keep them hooked.  An important way to retain membership is by utilising social media to the full:  Connecting with the fans and ensuring you show appreciation and thanks.  After reviewing some less-than-thankful artists- who couldn’t be bothered to toss off a quick ‘thank-you’- it is nice to see a young woman who really adores her fans.  In addition to being jaw-dropping- an unimportant observation, but still…- Ellie Rose is among the friendliest and most appreciative musicians around.  It may seem like a minor point (when considering a musician’s positives) but it is actually a big selling point.  Ellie Rose is not an artist faking emotions and in music for money and fame.  Every song reflects a moment in her life:  the words mean more to her than you could possibly imagine.  For that reason- and keen to have people follow her music- there is a lot of positive feedback heading her way.  The connection she has with her fans is intoxicating and heartwarming.  For that reason, you want to stick with her and follow her music career- just where it can lead her.  I know she is going to be a big proposition because she does not give too much away.  You know a few things instantly about Ellie Rose:  That love of pineapples and a huge smile; a songwriter who adores what she does.  When it comes to personal insight and revelations:  It is the music itself that reveals that and allows the listener an insight into her psyche.  Finding My Feet has just been unveiled and already been greeted with effusiveness and enormous praise.  It will accrue a lot of plays across YouTube because it seems to speak to everyone:  It is not just a personal song that pushes the listener away.  I know how much the track means to Ellie Rose- clearly reflecting on a rather troubling time- and you can hear her soul and heart in every note- I shall go into more depth in the review.  This year will be a banner one for the young songwriter:  I can easily see an E.P. arrive that includes Finding My Feet.  Whilst she is gigging at the moment- taking the music to eager crowds- I know there is a lot more to come from the young musician.

When looking at Finding My Feet it is worth looking back at Ellie Rose’s past body of work- seeing how she has developed and changed.  I reviewed the track Speed Bump back in 2014.  That track was part of a four-track E.P., Speed Bump/Memory Foam.

  Speed Bump is a song that has gained traction and respect since its release.  Ellie Rose performed it at Glastonbury (last year) and it hit the crowd hard.  It is no surprise; consider the strengths of the song.  Reflecting on the fact “Charmers are the dangerous ones”; you have a song that details the perils of bad romance.  Looking at a particular (anti) hero, you have a song that reflects on a particular “speed bump”- an obstacle on the road for our heroine.  While a lot of young songwriters- Ellie was just 17 when the E.P. came out- would show their emotions in immature terms and show little intelligence- here you have a song with maturity, depth and original lyrical angles.  Not only does Speed Bump have original thoughts and quotable lyrics, but is has many other essential qualities.  You have a hook-laden chorus and a beautiful vocal that demonstrates a wealth of emotions and feelings.  The composition is rousing and sprite at times; it becomes more reflective and demure when called for.  A confident and strong number from a songwriter with rare intuition and quality.

   Memory Foam looks at the harshness of rejection and the indentations it creates- hence the title.  No lesser number (to Speed Bump) it is a companion/sister track that shows another side to Ellie Rose.  Its skippy and unique vocal- it is hard to compare Ellie Rose with too many other singers- brings the song to life and emphasises the emotions on display.  The song’s subject- whether the same dog from Speed Bump- has turned down our heroine- made her feel rejected- and that hurt is hard to overlook.  Like a memory foam mattress:  These indentations are there when she sleeps; the uncomforting contours are causing pain and restlessness.  Once more- and given her tender years- you have a surprisingly mature song that demonstrates what a fine lyricist (Ellie Rose is).  You get story and native in the song- picnics on a Sunday; going through the motions to an extent- and false emotions.  The boy pledges his love- saying they will grow old together- but that all changes come nighttime.  The “graffiti” that is being left is indelible and harsh.  Away from the raw images and emotions, you get comfort-at-home familiarity- drinking chocolate milk with her sister; doing handstands- that shows another dimension to the story.  A songwriter that ably switches between grown-up heartache and wisdom:  She can then go to girlish and vulnerable the next moment.

   Off the Record was released a year ago and carries on where the E.P. Speed Bump/Memory Foam left off.  The production seems a little crisper and more modern.  Maybe a bit more polished- than on the previous E.P. - it augments the vocals and composition and ensures every moment lodges in the brain.   You get more impressive lyrics and quotable lines coming through- our heroine being the “ice in your whiskey” for one- but new strengths and revelations.  The lyrics look at a risqué and confidential love- being off the record and secretive- that shows more lust and passion than previous numbers- that have assessed heartbreak and recrimination.  It shows Ellie Rose blossoming and discovering a new side to her whilst still keeping her cores intact- the strong soul and taking-no-bull**** approach.  Perhaps more positive and hopeful- our heroine wants to be a parachute for her man- the entire song brims with sassiness, intention and memorability.  The layered vocals are hugely effective- they stick in the brain and make you smile- while the composition is busy and pressing from first to last.  Exquisite melodies and hooks are balanced by thought-provoking and quote-worthy lyrics from a songwriter who gets stronger by the release.

Finding My Feet perhaps returns to the themes of her previous E.P.  Whilst Off the Record was a fully-charged and joyful Pop moment- recalling the finest cuts of the ‘80s- the latest track is more emotive and reflective.  Ellie Rose is a fan of ‘80s music- impressive, given the fact she was born in the ‘90s- and Off the Record was a pure moment of ‘80s Pop/Dance- with a bit of contemporary magic in there.  Finding My Feet is more modern-day and recalls modern chanteuses like Ellie Goulding, Sia and Adele.  While a lot of modern female singers tend to parrot Adele, Amy Winehouse and Ellie Goulding:  Ellie Rose keeps her voice her own and does not succumb to the worst traits of her contemporaries.  Older fans will find similarities and pleasing consistency.  You get that reliable Ellie Rose brand of integrity and reliably stunning lyrics.  Showing heart, emotion and imagination:  Another song that boasts an agile and intelligent musical mind.  The vocal is at its most raw and impassioned whilst the composition is a tender and soft thing:  One that gets into the heart and reveals its meanings over repeated listens.  Given this rate of progress- and the consistency from someone so young- it is scary just how far she can go.  After appearing at Glastonbury- showcasing her E.P. and what she is capable of- the young London-based singer is on a rise.  A hypnotic and peerless artist that is sure to be a huge proposition very shortly.

New fans and older will find much to love about Ellie Rose’s latest song, Finding My Feet.  You do not need to be an invested supporter to appreciate the song- it hits you impenitently.  A delicate blend of finger-lick and acoustic guitar opens the track up.  Romantic, contemplative and classical- you get a Hispanic and sun-drenched sound to the strings- spikes curiosity and gives the song instant urgency and meaning.  In the early phases- when our heroine clicks her fingers and strums with purity- you are hard-pressed to compare the song/sound with anyone else.  Perhaps there are undertones of Crowded House (their Woodface-era work can be detected in the strings) and a little of other artists, but to be honest, the abiding sound is of Ellie Rose.  With senses and expectations primed, the first words hit you quite hard:  “I’m in a million pieces”.  It is a heartfelt and stark confession from a young woman who has suffered setback and heartbreak.  Whether the song looks at a previous relationship- I believe Ellie Rose is in a happy relationship at the moment- or a hard time for her, that conviction and meaning burns with intensity.  The boy has not picked up his phone- if he did, he’d hear the hurt in her voice- and the separation is causing stress and anxiety.  In the instant phases; there is a slight vocal tweak- on the line “If you just picked up the phone”- that highlights the line and puts the vocal more to the fore.  While the track is quite reflective and assiduous, the vocal has such force and soulfulness.  Ellie Rose shows what a voice she has at her disposal.  Years of heartache and discovery is usual behind such a voice:  The fact she is still so young is an amazing thing.  “God knows where you are” sings our heroine.  It adds mystery to a song that keeps the listener guessing as to the origins and truths.  One would instantly think the song was a tale of heartache and split- the two parties estranged and fractured- but there is more than meets the eye.  It appears there is a “bad boy” at the heart of things that cannot be tamed.  Maybe our heroine has relied on the boy/man before- against her better nature, perhaps- but this time, it has all gotten too much.  In spite of the fact it is not the wisest move- and there are more honest men out there- she needed someone.  That confession and standout thought- “I needed someone”- is highlighted and really pressed.  It seems to be the mandate of the entire track:  Needing comfort (if ill-advised) in the face of some uncertain times.

Backing herself on vocals- given the song a very contemporary flair- that drama and hurt are raised to the skies.  You detect some hints of modern Pop favourites- Ellie Goulding’s sweetness; a little bit of Adele’s soul power- but the composition-and-lyrics combination is very much the result of Ellie Rose.  Every note and line ooze emotion and honesty:  This is not a songwriter that fakes anything or is making a song for the sheer hell of it.  Reverb and multi-track vocals ensure Finding My Feet mixes dreaminess, etherealness and serenity together with drama and edginess.  Perhaps a “curious fool” (her words, not mine) - for wanting to know- it seems like ignorance is bliss.  Ellie Rose always mixes- in her songs and E.P. - maturity alongside humbleness; vulnerability with modesty.  While the song shows that need for human connection and making unwise choices- needed given the circumstances surrounding them- there is also humility and understanding- our heroine admits when she has been foolish.  Our girl is in hell- you believe those words more than anything- but is looking for that man.  Where he is (she does not know) and where he sleeps tonight (God only knows).  If you look at the accompanying video- which Ellie Rose is very proud of- the force of those emotions can be seen on her face.  Near the point of tears; that confusion and sadness are palpable and striking:  You cannot help but want to hug Ellie and ensure she is alright.  Rosining strings and persistent beasts- finger clicks and more subtle snatches- give Finding My Feet a near-symphonic sensation.  It is hard not to think of Kate Bush, on the one hand.  In terms of composition, I recalled elements of The Dreaming (Bush’s 1982, if underrated, album):  That same daydreaming, mystical beauty; the blend of vivaciousness and mood.  Unlike Bush- who is more oblique and unconventional with her themes- the young heroine is much more direct and to-the-bone.  Vocal laments and embracing compositions ensure the song stands up to endless plays- revealing new insights the more you investigate.  That central chorus is particularly pertinent and direct:  You find yourself singing along to it (however misjudged) the second and third times around.  At the heart of it- and barring indiscretions and missteps aside- you must remember this:  Ellie Rose is a young woman who is finding her way.  A teenager that is still growing as a woman:  Why be so harsh and judgmental when older/ (supposedly) wiser women are creating bigger folly?  The crisp and impressive production allows the vocal to reign free and not be fevered by needless noise and compositional emphasis.  The composition works well and perfectly backs/drives the vocal forward.  Uniting ‘80s strands and sounds- the likes of Bush linger on- with 2016 mainstream sounds- Goulding and Adele- ensure the track hits a wide audience and campaigns to a large demographic.  By the final notes- wordless and ghostly vocals pervade- you get that coda repeated:  It takes a long time to a tame a bad boy; maybe he cannot be tamed.  Ensuring those words remains long in the memory- and believe me, they do- our heroine is at her most insistent and determined.

It would be interesting to know what compelled the penning of Finding My Feet.  There is clearly a particular man in mind- whether a past sweetheart or someone currently in her thoughts- and names is never revealed.  That allows the listener to imagine and project their own images of the guy- we can all imagine the type.  Perhaps the two had excitement and love to begin with:  Things have turned a little and caused heartache and upset.  The song keeps pressing questions about the man- where he is and where he is sleeping- and you find yourself invested in the song.  Sympathy and empathy lie with Ellie Rose who shows such bravery and vulnerability throughout.  The boy may be insentient- or misguided to an extent- but our heroine feels like she can tame him.  We have all known someone who finds themselves confronted with mismatched love:  Where one party is hardly approved but has the potential to be pure and ‘good’.  Ellie Rose leaves some mystery and intrigue within Finding My Feet.  It does take some time to tame a bad boy- for that who want to be tamed- but is this line meant positively or negatively?  Maybe our girl is investing time in the hope he’ll change:  Perhaps she knows that it may be futile in the end.  Such an intriguing and curious track from a fertile young artist who always amazes me.  Combining a gorgeous and emotive vocal with some wonderful lyrics- that inimitable blend or mature and open- is backed by cinematic sounds and assured production.  I just know Finding My Feet will form the basis of (an upcoming) E.P.  It would be a perfect lead-off track and sit nicely alongside similar-themed songs.  To that end, Ellie Rose could bring Off the Record into the same set.  In the space of those two songs- both different but spectacular- and you would have fans’ mouths wetted and hungry.  This year will see the London-based wonder grow and build her reputation.  Finding My Feet is a personal and stunning effort from a young woman finding her way and developing her voice- surely it will not be long until she ascends to the dizzying heights of mainstream glory.

Ellie Rose is back and has delivered her most personal and impressive cut.  Finding My Feet finds instant beauty allied with nuanced composition notes:  All of these elements infuse together and deliver a heady scent that trips the senses and makes everyone reflect on their own lives.  Within Finding My Feet is truth and honesty:  We can all extrapolate something from the song that portrays our own feelings.  This is not just a personal song that negates the listeners’ feelings.  Here is a track that seems oddly relevant to me (as it will be everyone) and strikes a chord.  If our heroine is still finding her feet- and finding pressure is getting to her- she is surely not alone.  Penning something with universal relevance means the fans will be more engaged:  The song will hit harder and it will gain a lot of support.  We are all in the same boat as Ellie Rose:  She may feel alone at times yet her fans are all behind her.  It is not a shrewd trick or cynical move:  She has created a song that means more to her than any before.  I am not sure whether relationship struggles or personal discovery has inspired her plight.  Whatever the truth, you can be sure of this:  She will find her way and get the answers she requires.  Finding My Feet showcases a terrific voice whose pen prefers originality over trite clichés.  You get depth and fragility in the lyrics:  That all sits alongside redemptive hope and a lot of real maturity.  Before concluding business, it is apropos to circle back to my original points- looking at female songwriters; personality in music and revelation over time.  Ellie Rose is a young songwriter just starting out- although she has been performing for a long time- and has many more years ahead of her- she will be a mainstream act soon enough.  I have never seen another artist as ready as our heroine.  She seems ready-made for mainstream success and will be playing festivals in years to come.  I have enjoyed what 2016 has had to offer:  So many great songwriters coming through in the underground.  While the guys have shown a lot of hunger and talent:  It is the girls that are creating the biggest impressions to be fair.  While I shall have to speculate another day- as to why this gap has come to be- it is terrific hearing the range of female singer-songwriters around.  With every act, you get a new side and sound to discover:  Whatever your taste, you are catered for.  Ellie Rose has been inspired by her heroines but never wears her influences on her sleeve too obviously.  You have a Pop artist that prefers originality and personality above tribute and sound-alike.  With other artists pouring out their backstories and influences across social media:  Ellie Rose is making sure the music says what it needs; she is not giving too much away too soon.  Not only does her music- and particularly Finding My Feet- speak to the wider audience but it shows a talent that is improving with every release.  I know how relevant Finding My Feet is to Ellie Rose:  You can hear that passion and determination in every note.  Within the music, you get some vulnerability and self-discovery:  There is that need to find some truth and learn from mistakes of the past.  If the music portrays some hard emotions and stress, it seems worlds away from the woman behind the songs.  On social media, you have a bright and engaging woman who has a real connection with her fans.  I hope that bond continues for years, as we have a stunning songwriter who can play on for many years.  Whether there is an E.P. coming- or a series of songs- it will be fascinating to see what Ellie Rose can produce.  If you are new to her music then make sure you dive into Finding My Feet.  It is a great starting place for an artist who is developing her voice and staking her claim in the music world.  Congratulations must go to Ellie Rose who has penned her most immediate and personal song to date.  Its video is a dream-like vision- another facet she is very proud of- that does full justice to a memorable and emotional song.  Having loved Ellie Rose’s previous songs- the immediacy of Speed Bump; the nuance of Off the Record- you have another side to a tremendous songwriter.  Finding My Feet has already garnered a lot of fan praise and approval.  Take a look at Twitter- Ellie Rose’s account- and you get consistencies within the praise:  The strength of the vocals and lyrics; the mix of vulnerable and strong; the way the song speaks for everyone.  It is hard to write music that has that type of effect- and connects with listeners so instantly- but that is what Ellie Rose can do.  From each song, she manages to find new momentum and purpose.  Given that rate of progress- and the fact she is so young still- would you bank against Ellie Rose…

BECOMING a household name in years to come?

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

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Follow Ellie Rose

 

Official:

http://ellierose.co.uk/

Facebook:

https://www.facebook.com/theellierose

Twitter:

https://twitter.com/ellierosemusic

Instagram:

https://www.instagram.com/ellierosemusic/

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Music

https://soundcloud.com/ellierosemusic

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Video

https://www.youtube.com/user/ellierosemusic/featured

The Classics Series: Beastie Boys-Paul's Boutique

The Classics Series:

 

 

Beastie Boys- Paul’s Boutique

 

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FOLLOWING my previous assessment of Rage Against the Machine’s self-titled debut…

it is time to look at another American effort.  From Rage Against the Machine’s Los Angeles-based political statement of intent:  across to a love letter to New York from one of the music world’s most enduring and stunning bands.  Like Rage Against the Machine- and their mesmeric debut effort- Beastie Boys’ Paul’s Boutique was a revelation upon its release- although most of its acclaim have arrived retrospectively.  Upon its release; critics were a little muted and not sure what to make of it.

In 1986, the 'Boys unleashed their debut cut, License to Ill.  The 13-track album was self-reverential and celebratory:  a testament of the joys of life; the experimentation of sound and making music that differed from what was out there.  At the time of its release; there was nothing like License to Ill:  nothing that was as daring and instantly memorable.  Not many bands- until this point anyway- had fused Hip-Hop and Metal sounds together.  The way Beastie Boys dropped Led Zeppelin and Black Sabbath into their witty and juvenile jams would have been risky- were it not for their expertise and skill.  Backed by Rick Rubin- whose guidance and experienced helped define the record- Beastie Boys’ comedy, joy and energy ensured the album exploded and resonated.  Regarded by some critics as one of music’s finest creations- as aspersion that is hard to refute- music had unearthed rare geniuses.

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

Three years after their debut arrived Paul’s Boutique:  arguably Beastie Boys’ finest album and a work of art few critics recognised upon its release.  Maybe it was the scope and sheer ambition that scared many:  the plaudits and positives were not as forthcoming (as with License to Ill).  Regardless; time and sensibility have rectified this oversight:  Paul’s Boutique is celebrated as a masterpiece of sound collage experimentation and sheer mastery.  More sample-heavy than its predecessor- the entire album is longer and adventurous than License to Ill- it saw Beastie Boys change direction and refocus.  Licence to Ill had that commercial appeal and was more direct.  By contrast; Paul’s Boutique was more freewheeling with greater creative depth.  Housing themselves in L.A. - having relocated from their beloved New York; exiled from their producer, Rock Rubin- the boys were already been seen as one-hit wonders.  This mounting pressure and sense of dislocation would ruin lesser acts.  It was a scary time for the band (in 1988) but that pressure and lack of expectation saw them come together to create something majestic.

Bringing in Dust Brothers- who went on to work with artists like Beck- and their sample mastery:  there was renewed confidence and intention in the camp of Beastie Boys.  In total- throughout the recording of Paul’s Boutique- over 100 songs were sampled.  The band feared the dense sonic ambitions would not allow room for their patented rhymes and braggadocio.  Songs like Shake Your Rump- one of the finest on the album- had those heavy beats and busy guitar lines.  The boys feared adding vocals would ruin the track- the song was planned as an instrumental- but upon the insistence of the Dust Brothers, rhymes and vocals were added in.  The partnership of producer and band spurred the creative process and lead to huge revelation and new meaning.  After the uncertainty that followed License to Ill- not sure if a second album was required- nobody could have predicted Paul’s Boutique and what it did to music.

If critics were tepid upon its release; the subsequent years saw the album gain legendary status:  it was certified double-platinum in 1999 and is widely regarded as one of the greatest albums ever.  Rolling Stone ranked Paul’s Boutique as their 156^th best album (in a poll featuring 500 albums) of all-time.  A record that celebrated U.S. junk culture and saw a reinvention if the camp of Beastie Boys.  Those slick and sharp rhymes- the wit and genius displayed had reached its peak on this album- were matched with huge beats and impressive braggadocio.  The bravado and swagger Beastie Boys brought to the table was only one side (of an incredible creation).  The sampling was far-flung but everything hung together:  every element and layer fitted seamlessly into the nuanced and hugely addictive music.

In today’s climate- and if a band were in danger of being one-hit wonders- the sophomore album would be a rather nervous affair.  I have seen many bands go through this- where the hell did London Grammar get to?!- and produce a second album that demonstrated fear and a distinct shelf-life.  I do not think there is a band around (today) that are brave and talented enough to pull off a trick like Paul’s Boutique.  The fact there aren’t any bands as strong as Beastie Boys- will we ever see such an immovable force arrive?!- is a rather telling fact.  The New York group were definitely a one-of-a-kind and we shall never see their like again.  Paul’s Boutique could only have been made at a certain time and the fact it got made at all- considering the mess that proceeded it- is remarkable.  What is even more remarkable is the confidence and consistency that runs through it.  Beastie Boys are a band who has made few average/poor records:  Paul’s Boutique boasted sharp lines and compositions that revealed their scope and potential across multiple listens.  Getting into hot water with sampling- artists like Gilbert O’Sullivan took umbrage at being sampled- was just another obstacle that could have tarnished such a magnificent record.

[youtube https://www.youtube.com/watch?v=7vrUTfoUi0s&w=420&h=315]

As it stands- and given the reputation the album has collected- these ‘hurdles’ could never damage such a historic work.  Take the songs on their own merit:  Shake Your Rump is an oft-played and head-spinning assault that shows Beastie Boys ready and primed for the fight.  Sampling Ronnie Laws and Harvey Scales into the jam:  that is only the start of the magic the album holds.  Egg Man showcases Beastie Boys’ observation and knife-edged humour- “I looked out the window and seen his bald head/I ran to the fridge and pulled out an egg”- saw Sly and the Family Stone augment the fury, fun and frivolity of the song.  It is near-impossible to assess all the songs fairly- there is so much packed into every track- and it takes repeated investigation to take it all in.  Minimalism (High Plains Drifter) sits effortlessly with grand ambition (the nine-songs-in-one spectacular, B-Boy Bouillabaisse):  there are no weak moments and you have an album that is still being studied and scrutinised today- some seventeen years after its initial release.

Today’s music culture means we may never see anything like Paul’s Boutique.  Sampling is more expensive and less accessible:  it is easier to put samples into the mix; the litany, litigious and limitations have priced many musicians away from such experimentation.  Whilst some of our best and brightest- Kendrick Lamar; Jamie xx in particular- employ samples and show mobility within their genres:  you imagine they would sound even richer if sampling was not such a minefield.  Granted, Kendrick Lamar and Jamie xx are two wonderful (and hugely different) artists who blend genres, themes and sounds into kaleidoscopic and enormously potent albums.  Perhaps the last sample-heavy album arrived in 2000:  Australia’s The Avalanches' self-titled debut (and to date, their only cut) consisted entirely of samples.  That album took years of obsessive study and recording to get right and reach the market:  the fact there has not been a follow-up perhaps highlights how expensive/problem-laded sampling is.

Since the 2002-2004 regency of British Grime- when Dizzee Rascal and The Streets sparsely employed samples- there have been few artists that have gone as deep as Beastie Boys.  Some of the finest-ever albums- from D.J. Shadow and Beck’s best; across to Massive Attack- have used other people’s songs to give weight to their own creations.  Maybe Paul’s Boutique was a product of its time- something that we can never recreate- and that is a bittersweet realisation.  The 1989-diamond is a wonderful work of art from a band that looked in danger of collapsing.  Hugely influential and inspiring- new musicians are still studying the album like it’s a Bible- I hope we get to see a Paul’s Boutique 2.0 arrive in the 21^st century.  Given the financial boundaries and legal restrictions- it should be so expensive and hard to sample you’d think- that are in place; a lot of creativity is being stemmed and extinguished.

Let us negate and overlook the problems of the modern age:  instead, embrace an album that is peerless and utterly magnificent.  If you need a record that takes you to wonderful places- tracks that take you across New York and down strange alleys; meeting curious people and embracing life- then go out and buy Paul’s Boutique.  It is a record that is even more essential on vinyl:  just lie back and let the L.P. get inside the imagination and elicit a wonderful response.  Paul’s Boutique easily sits inside my ‘Top 10 Albums’ list because it’s timeless and near-perfect.  It may not be the most instant and accessible album- some of the tracks take their time to hit the mark- but that is the very reason it is such a revelation.  Songs get stronger and more meaningful with passing years:  the entire album becomes more impactful without sounding dated and restrictive.  Few record will take the brain and imagination on such a mind-f*** trip.  Take yourself back to 1989 and a time when music…

REALLY stood for something.

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

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TRACKLISTING:

To All the Girls

Shake Your Rump

Johnny Ryall

Egg Man

High Plains Drifter

The Sounds of Science

3-Minute Rule

Hey Ladies

5-Piece Chicken Dinner

Looking Down the Barrell of a Gun

Car Thief

What Comes Around

Shadrach

Ask for Janice

B-Boy Bouillabaisse

DOWNLOAD:

Shake Your Rump; The Sounds of Science; Hey Ladies; Car Thief; B-Boy Bouillabaisse

STANDOUT TRACK:

B-Boy Bouillabaisse

TRACK REVIEW: Savannah Dumetz- Naked

TRACK REVIEW:

 

Savannah Dumetz

 

 

Naked

9.7/10 

Naked is available at:

https://www.youtube.com/watch?v=Eo-Rte6cNF8&feature=youtu.be

RELEASED: 23^rd February, 2016

GENRES: R ‘n’ B; Pop

ORIGIN:

London, U.K.

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THIS will be my last ‘regular’ (daily) review for a while...

as I make a return to the world of (full-time) work.  As I say a goodbye- albeit, temporary- farewell to reviews; I come to an artist who is an exciting proposition indeed.  One of the most interesting and passionate young solo artists emerging from London:  she is going to be someone to keep an eye on throughout 2016.  Before I come to my featured act I wanted to talk about emerging female talent in London; songs that look outwards- and embrace something positive- with a bit about diversity/recognition in music.  As this year keeps ticking; we are looking at the artists playing to see which will be making waves.  So far in 2016 there have not been many huge moves made in the mainstream:  the albums/songs released thus far are far from spectacular to say the least.  When it comes to new music, there are more positive/progressive signs.  That said, if you look hard enough, there are a few worthy talents worth sticking with.  I have mentioned Alessia Cara a lot in these pages- a hungry Canadian solo act who mixes feel-good Pop with charm and energy- and here is a star that is going to be a big proposition we need to concentrate on.  Kali Uchis is a Columbian singer who has ‘60s kitsch and stunningly beautiful songs- another musician to behold.  Anne-Marie is one of the best homegrown artists: mixing Lilly Allen-esque vocals with a very distinct style; this is going to be a great year for the Essex-born singer.  Glaswegian-based Kloe and R&B dream projector Nao are a duo of other names that can be added to the pack.  There are a hell of a lot of great female artists that are going to be shaking things up.  Whereas last year saw a rather limpid and unimpressive mainstream effort- the best artists emanated from outside the U.K. predominantly- this year looks set to show revival and promise.  A wave of British artists is starting to pole through:  all providing different sounds and styles; it is going to be wonderful seeing where they go from here.  It is not just the quality that is amazing but the variation and variegation.  From R&B style queens to uplifting Pop:  there is something for everyone and some fascinating personalities behind the music.  Once more, London is showing how fervent and dependable it is.  A city that continues to produce stunning musicians:  some of the best solo artists from this year will be coming out of London.  Savannah Dumetz is a 19-year-old who is going to nestle among the most promising and prosperous from this year.  Before I continue on my point- and raise a new one too- let me introduce her to you:

“19 YEAR OLD LONDON NATIVE SINGER-SONGWRITER SAVANNAH DUMETZ IS MAKING HER LIFE A WORK OF ART.  Growing up in a household where music from reggae to hip-hop and everything in between rang through the walls, the songstress is now 19 years old, and her passion and vision to celebrate herself, to promote self-love, to break through barriers and destroy limitations with her music, is stronger than ever.  Savannah is passionate about being active in the empowerment of people: "I sing what my heart feels. My music is my message, and that is to claim who you are and stand unapologetically in your own skin. My message is to wholeheartedly embrace every part of you. You can grow, you can be vulnerable, strong, sexy and in control all at the same time. I'm a lady who has taken control of her dreams, I refuse to give up." Soulful and sweet, sassy and powerful, the world of Savannah Dumetz holds no limitations and is welcome to everyone.  “Everything I do is bigger than myself, it’s not just about me, I feel so much joy in connection. I want to be active in change. I just want to empower people, push boundaries, be unapologetic. And even if I have days where I don't feel quite as good, I know that deep down I'm stronger than ever and ready to take on the world. I want people to come to my shows and have nothing on their mind but that moment, when they leave, I want them to feel inspired. I want my art to be the embodiment of limitless expression. I want to connect with people and make my life a work of art.”  Soulful and sweet, sassy and powerful, the world of Savannah Dumetz holds no limitations. "It’s just such a beautiful feeling to see your most genuine, vulnerable, pure moments of expression, unite as something beautiful and timeless.  I have so much to say and I am so excited to slowly start sharing the pieces that make my story!"  Savannah Dumetz’s vision to change the face of music has only just begun!”

 

There are few artists who write songs that are not personal/love-based.  Most artists concentrate on their own relationships and heartaches.  Those that stretch themselves and show more thoughtfulness- connect with the listener and get them to think more deeply- will always impress me more.  You do not get many songs/moments that project outwards and encourage positivity and togetherness.  Maybe a relic of past times- something more synonymous with ‘60s music- the modern-day artist is much more insular and self-absorbed.  Dumetz wants to create music that is deeper and more considerate to what is already out there.  Given her varied background- the types of music she was exposed to- it is no surprise to see that range reflected in her music.  The depth and passion is matched with adventurousness and bold compositions.  Ruling everything is that expressive and rich voice:  making sure every word is as enticing and entrancing as it can be.  The early signs are always a good assessment and hint at what past songs will possess.  Naked is a stunning statement and an original track from a young artist who wants to remain in music for many years.  There’s a lot of competition out there but Dumetz needn’t worry:  her voice/music/lyrics are as strong as I have heard from any solo act this year.  I will keep an eye on her and see if an E.P. is forthcoming:  that will give listeners a chance to hear the Londoner let loose and fully exploit her many talents.  Music- and music award shows- have been critisised for their lack of diversity and fairness.  The lack of black faces being recognised this year has shown there is a real problem within music.  It extends to acting too- and the issues with The Oscars- yet music is facing quite a tough time.  The Grammys recognised black acts like Kendrick Lamar; though it was still too stringent and limited- Lamar deserved more awards than he won.  It is the white artists that still get the majority of kudos- whether they deserve it or not- and some wonderful musicians are being overlooked.  I am not sure whether this issue- the racial inequality and imbalance- is going to be rectified any time soon.  Dumetz among a roster of black artists who will be making terrific music throughout this year.  I do wonder whether artists (like Dumetz) are going to struggle for kudos and award nods:  will the situation improve in years to come?  It is hard to say but the best thing we can do- as consumers and fans- is promote the music and hope things work out.  A damaging and telling sign of the times- how we have not moved on or developed our attitudes- let’s hope things improve soon.  For now- and before Dumetz looks at awards- I am excited to see Naked drop and mark the 19-year-old out as a definite name to watch.

Naked is really the first real original from Savannah Dumetz.  In the past- and leading up to this moment- the young Londoner has tackled other people’s songs.  Having built a reputation as an expert interpreter- tackling everything from Bob Marley to Labrinth when covering songs- it is hard to see how she has progressed.  There is certainly no dip in confidence or quality when looking at Naked.  Having transitioned seamlessly from covers to originals (or original) you do not sense any nerves or slip.  Every cover Dumetz tackled had that inimitable stamp and personality injected.  Naked is a song that keeps that stunning voice firm but shows a real songwriting talent.  Given the progression and impressions from her debut single:  who knows just how good she will sound in future months?  The reviews for Naked have been universally positive to be fair.  The vocal has been commended and the rawness of the track has been commended.  That ode to self-love has impressed critics- fed up with the samey nature of many songs out there- and the track has resonated with a lot of people.  Having amassed thousands of listens across SoundCloud- the official video has obtained over 2,000 views- we have a song that is growing in stature by the day.  Not many artists make such an impression this early on so it is testament to the talent and originality of her work.  Dumetz is not going to be an artist who betrays her voice and integrity- writing songs that sound just like everything out there- so I feel we have a very promising talent on our hands.  Just where she heads next is down to her:  I will be following her plight with passionate eyes.

Given the reputation and applause Naked has received; I was excited to get to grips with the track.  There is a clear interpretation and definition from the song:  the joys of self-love and the need to embrace with the outside world.  Going in with fresh eyes; the initial notes get straight inside the mind and elicit instant reactions.  Serene and romantic strings are the first sounds heard.  That electric guitar is serene and languid; enticing and seductive.  You drift inside the notes and start to let your mind drift and dream.  Such a head swimming and luscious sensation:  one that perfectly introduces Dumetz’s voice to us.  When that voice does arrive, it is filled with intention and raw edge.  “Open your heart/Let me in” are the first words and a real insight into the song’s objectives.  The vocal swoons and gets straight inside the heart.  Even in the earliest moments you have honest and deep words that are filled with intention and direction.  There is no cynicism or objectives:  jut a young woman who wants people to let their guard down.  Whether Naked is directed at a single person- or just a general message- there is that need to stop being so closed-off and guarded.  People need to embrace life more and let others in.  It is clear there are some romantic/relationship inspirations behind the song.  Whether a particular man has hurt our heroine- and lead her to put pen to paper- you can detect a semblance of heartache lingering within the words.  It is clear the song’s ‘hero’ has been reserved and really not let his feelings out- or has said something to end the relationship- which compels the heroine to think more widely about the world.  She wants to trust the man but pain lingers through.  For so long she has been trying to find that trust and believe in the guy.  Whilst documenting the dissolve of the relationship- and the problems that have arisen- the sweet and sensuous voice coasts every word with sugar and chocolate.  Dumetz is one of the most beautiful and gorgeous singers around:  her spine-tingling and shivering voice captivates and draws the listener firmly into the song.

The tears that have been cried have left our heroine drained and dry.  There is that sense of loss and heartbreak has caused a huge amount of damage- some positives have emerged from it.  Given the fracturing of bonds there is that resolution to be more open:  for others to be more expressive and show their feelings more clearly.  Baring her soul- with her heart breaking into the bargain- you sense a rather one-sided love.  Maybe the guy was too stringent with his honesty and feelings:  it has left the relationship scarred and in tatters.  Our heroine is going to be naked and open- against the instincts of her man- and is struggling to connect with her lover.  Whether this love has broken down- and the bond has reached the point of no return- or is still ongoing you have two people with different ideals and personalities.  Backed by Jazz-tinged strings and some subtle bass:  the composition matches the foreground and demonstrates emotion and passion.  This central love has left its marks and caused some reflection in our heroine.  In spite of the dark and damaging days there is a good outcome:  our girl is looking for more open people who are not afraid to bare their feelings.  Scared and uncertain of being a lone soldier- so “you don’t see my fall”- there is that reluctance to let go.  Having hidden her feelings inside for so long; you sense there is an awaiting explosion- maybe those feelings will come out.  The vocal has such a luscious and breathless quality- especially when multi-tracked against one another- that makes the words so scintillating and delicious.  You draw into the song and become seduced by the utter nakedness of the sound.  The heroine lies in the bed naked- physically and emotionally- and you feel the drift and distance between them.  Naked is a song that shows how comfortable Dumetz is in her own skin:  she wants others to feel the same and experience that self-love.  Maybe traditional romance has been fraught and caused too much pain.  Just being happy with yourself is the most important thing:  connect with your feelings and let your soul come out.  People need to embrace themselves more and not be so insular and secretive.  As universal and impressive as the words are I was drawn to that flame-like vocal that is so beautiful and smoky.  You get sweet notes and child-like purity nestling inside the hazy smoke and bold soulfulness.  Towards the final moment, those R ‘n’ B sounds come through- the big vocals and layers augment the foreground- and that vulnerability-cum-confidence mixture is more evident.  Strands of ‘90s R ‘n’ B- from Aaliyah to Brandi- spars with modern-day Pop and Soul.  The end result- once the song has come to an end- is one of amazement and instantaneousness.

I know Dumetz is planning new material and will be headlining The Social (London) on April 15^th.  If Naked is anything to go by- and what is to come in the future- the fans will flock and there will be immense demand.  I cannot wait to see our heroine in the flesh and it will be wonderful seeing her blossom and mature.  The social media numbers and SoundCloud plays are only a small fraction of what she deserves.  One of this country’s most spectacular and stunning voices cannot be ignored and overlooked.  Naked is a song that has some familiarity to it- the issues of love and hiding feelings- but goes much deeper and does a lot more.  There is that message of self-love and embracing your own self.  Feeling good in the skin is not a subject that is touched upon in modern music.  Not only is Naked a song that will inspire others:  it is sure to garner huge radio play and a lot of critical attention.

Savannah Dumetz has come onto the scene with quite a bang, it seems.  Having performed cover versions previously- cutting her teeth and finding her voice- Naked is a brave and memorable song from a musician who stands aside from her peers.  I have stated the problems with diversity- acknowledging the best black artists around the world- and what a struggle there remains.  Maybe the protests and public will affect change:  perhaps it will take years before there is equality and less discrimination.  You would think music would not succumb to the worst traits of society:  that colour and race is not an issue; there would not be that discrimination.  Sadly, there are real problems that need to be overhauled and sorted.  With the likes of Dumetz liable to be award-worthy- if her career continues this way- you wonder whether she’d have to struggle to gain plaudits and awards.  It is a divisive and explosive issue that needs more exposure- I shall save that for another day- but my point is valid and timely.  More positively- and something we can ALL agree on- is the wonderful female acts coming out.  London is brimming with eager artists all ready to make their impressions heard.  I mentioned a few acts at the start of the review- from Alessia Cara to Anne-Marie- and the U.K. as a whole is showcasing some prodigious talent.  I was disappointed with 2015 and the real lack of defining artists:  there were few that stuck in the mind and compelled me to follow them closely.  The mainstream provided some terrific albums for sure- mainly emanating from outside Britain- and I wonder how 2016 will fare.  The underground artists are showing real heart and potential already.  Shaking off the cobwebs of the past year:  there is ample evidence to suggest we are in for a bumper year.  Dumetz is a young artist who has a distinctive voice and a real rare songwriting ability.

Naked shows her at her most impressive and memorable.  A song that implores listeners to think more deeply and connect with the outside world- not another heartbroken song that is introverted- you cannot help but be involved and take something away.  Before finishing off the review it is worth looking at Dumetz and what she is capable of.  Naked is a brilliant song that glimpses into her psyche and soul.  I would love to hear some similar songs appearing on an E.P.  Whether she goes down that route- or choose to release a series of singles- it will be interesting to see how she develops.  There are no immediate tour dates planned- although she has one or two important gigs in the coming months- but that is likely to change.  Many new artists struggle for airplay/longevity because they are too rigid and predictable.  If you have hundreds of Pop stars all saying the same thing- and there are hundreds out there- it is impossible to decipher which ones are worth attention.  Dumetz is still a teen yet mature enough to understand the necessity of originality.  You get some inner reflection (in Naked) but overt passion and that need to feel comfortable in your skin- no matter what life throws your way.  Our heroine has a real joy and love for music that is evident and unwavering.  The social media numbers will start to rise- they are impressive as they are now- and the radio play will arrive thick and fast.  What she does from there is anyone’s guess.  I would love to see Dumetz more as 2016 progresses.  There are so few young artists that come in with that originality and unique edge:  we should embrace those who want to stand out and provide music with something fresh.  Among the armies of solo artists who will be campaigning- and there are legions of them right now- here we have someone who is sure to succeed.  If Naked is any indication of future stock- and the follow-ups we will be witnessing- then we have an artist who…

CAN affect positive changes in music.

[youtube https://www.youtube.com/watch?v=Eo-Rte6cNF8&w=560&h=315]

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TRACK REVIEW: Howlin' Ric & the Rocketeers- Cannonball

TRACK REVIEW:

 

Howlin’ Ric & the Rocketeers

 

 

Cannonball

9.3/10

Cannonball is available at:

https://howlinricandtherocketeers.bandcamp.com/track/cannonball

The E.P., Cannonball is available at:

https://howlinricandtherocketeers.bandcamp.com/album/cannonball

RELEASED: January 11th, 2016

GENRES: Rock ‘n’ Roll; Rhythm-and-Blues

ORIGIN:

Leeds, U.K.

TRACK LISTING:

 Cannonball

Sweet Ella May

Take My Hand

Take That Bottle

If I Didn’t Care

______________________

New from Gin House Records.

Recorded at Chapel FM in Leeds by Adam Richards onto 4-track tape.

Mastered at Ghost Town by Ross Haldon.

Released January 11, 2016

Howlin' Ric- Guitar/Lead Vocals

El Nico- Lead Guitar/Backing Vocals

Adam Richards- Double Bass/Backing Vocals

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IT is hardly an exaggeration to say my featured artist is among the most...

unique and distinct I have reviewed for months.  Brought to my attention via Chris Wallum (of The Holcombe Family String Band):  it is great to discover a musician that differs from everyone out there.  One of the biggest pleasures (from this blog) is finding an artist that sounds distinct from what is already out there.  It does not have to be radically and paradigm shifting:  something that lodges in the brain and shows some originality.  Depressed by the mass of vague and uninspired sounds- one-off bands and short-life musicians that are hopelessly directionless- it is great to find music that leaves impressions.  Before I come to Howlin’ Ric & the Rocketeers, it is worth looking at vintage/1950s sounds; a bit about Leeds and its retro. artists- finishing with a bit about revoking and revitalising ‘older’ genres.  Looking at Howlin’ Ric’ and you get a musician whose heart and soul belong to another time.  There is a modern production value and look to him- he is a man that understands the importance of technology and embracing the 21^st century- but the music stems from decades past.  There is a lot of emphasis (among modern artists) recalling ‘90s bliss and the magic of the time- understandable given the music coming out of the decade.  Occasionally, you get bands/musicians that are inspired by the ‘60s masters- The Rolling Stones etc. - and the best from that period.  It is rare to find anyone who places their music in the ‘50s:  a period that was defined by urgent Rock ‘n’ Roll smashes and Rhythm-and-Blues beauty.  Many people today consider that- the music that came from that time- to be a bit uncool and square.  From Little Richard to Elvis Presley:  you have artists that are trailblazers and defined music today.  While there was not that huge amount of great bands and memorable artists; that is not to say that decade was completely forgettable.  Acts like The Beatles, The Rolling Stones and Bob Dylan- a trio of legends- could not (debatably) existing were it not for those visionaries and musicians  of the 1950s.  Too much of music is being consumed with obvious time period and replications.  So many emerging solo artists have rigid influences and are not as daring when it comes to blending genres/decades together.   Maybe there seems to be a natural stopping point- somewhere around the ‘60s- and if they go back to the ‘50s:  that will distill their music and limit their possibilities.  Genres like Rock ‘n’ Roll, Rhythm-and-Blues and Rock can be blending together- alongside something of-the-moment and modern- to lead to full-bodied and exciting music.  It is hardly a shock to be back at Leeds and mention the county with passion and applause.  If you discover an artist who is playing bygone sounds- from Rock ‘n’ Roll to Swing- you can bet with certainty they are from Yorkshire.  I keep trying to figure out why Yorkshire houses so many musicians who are keen to revoke the glories of the past.   From Little Violet to The Holcombe Family String Band:  Yorkshire has acts that are keen to rebel against convention and present something more interesting.  Those acts have been among my most memorable reviews- the way they do things; the blend of sounds- and Howlin’ Ric a& the Rocketeers joins that list.  Another treasure from Yorkshire- split between Wakefield and Leeds- you have a musician with a passion for 1950s Rhythm-and-Blues and the greased hair masters of Rock ‘n’ Roll.  Just looking at our lead- and the publicity photos he shares- and he certainly looks the past.  Before I continue on this point; let me introduced the man (and act) in question:

“An exciting take on a great American tradition with a sound that channels the stylings of Eddie Cochran, The Johnny Burnette Trio and Little Richard. Howlin' Ric and Gin House Records present traditional Rock & Roll and Rhythm & Blues with a classic and fresh sound!”

Howlin’ Ric’ himself claims how important American artists are to him.  Bringing that vintage U.S. vibe into modern British music can be a gamble and a bit of a risk.  The current scene is largely composed of musicians who rarely dabble with ‘50s artists/sounds.  Howlin’ Ric & the Rocketeers’ lead has the slick hair and handsome look:  the stylish clothing and logos/artwork that takes your mind back to the legends of Rock ‘n’ Roll.  Part-kitsch; part-retro.:  you have a musician that puts his heart and soul into everything he does.  Those of you thinking negatively about the songs- they will be for older listeners- need to investigate our hero and reassess their preconceptions.  I am a fan of The Baseballs:  a German Rock ‘n’ Roll band that can be compared to Howlin’ Ric & the Rocketeers.  The German band mainly performs cover versions- their take on Rhianna’s Umbrella among their most memorable- but are by-no-means uncool and fuddy-duddy.    Our Yorkshire group define cool and have such a wonderfully rich and smile-inducing sound.  Whereas Howlin’ Ric & the Rocketeers have done covers before; their latest E.P.- the exciting and nuanced, Cannonball- is their most confident and personal work to date.  The five-track release sees the band embrace fully their influences- the U.S. Rock ‘n’ Roll legends- and give it a modern twist.  That lo-fi production and slow-burning sound may go against the impulses of modern recording:  what you get is music that reveals new insight and detail over future listens.  Maybe the song will take a few spins to grab attention:  when they do, the effect and reaction is stunning.  Having followed/championed The Holcombe Family String Band before; it is wonderful discovering another band that has similar strands and sounds.

Cannonball is the first E.P. from Howlin’ Ric & the Rocketeers.  Difficult to see how the band has evolved and developed:  the best thing one can do is discover the E.P. and judge for yourself.  I’ll Keep on Trying- a cover of the New Orleans Jazz musician Eddie Bo’s song- was unveiled last November.  A chance to see the band tackle another musician’s work- doing so with aplomb and confidence- you get a great reinterpretation of an old favourite.  Whilst Bo’s original is quite obscure and unheard-of:  here, you get the song given a fresh lick of paint and brought to life.  The vocal/composition remains fairly faithful to the original whilst showing plenty of unique insight and new nuance.  It is a great starting place for anyone new to the band and the genres of Rock ‘n’ Roll/Rhythm-and-Blues.  Cannonball is a brave leap that shows the guys are just as comfortable with their own material.  Whilst songs are built from exciting numbers- Sweet Ella May is a largely instrumental track from Earl Hines; Cannonball (Damien Rice) and Hold My Hand (Hootie and the Blowfish) are familiar titles- you get songs that sound like they were penned in the ‘20s and ‘30s.  I am not sure what has inspired the songs- whether they were motivated by old records or relationship insights- but the five-track E.P. has consistency, plenty of layers and diversity.  Every track has its heart in classic Blues/Rock ‘n’ Roll with a modern twist given to every moment.  There is an immense confidence and passion that comes through in every song from the E.P.  You would expect some nerves and uncertainty to show itself on a debut E.P.:  the Yorkshire clan suffer no such fate and sound completely ripe, ready and assured throughout.  It will be great to see what the future holds and whether they can parlay their sound into a full-length album.

I was keen to single a particular track from Cannonball to show what the band was all about.  On the suggestion of our lead- who wanted the title track featured- it was great to sit down with Cannonball’s most instant track.  It opens proceedings and makes an instant impression on the listener.  Scuffed strings welcome the track in and ensure the energy and intrigue is there right away.  Our hero sounds a countdown- a number run down that calls for unity- and you get a spirited and lustful opening.  The band lend their double bass and guitars together to give a hoe-down and Rockabilly blend that gets the feet moving and looks back at Rock ‘n’ Roll masters of old.  Everything is done with affection and genuine passion for the genre:  the initial moments take you back to the ‘50s (and earlier time periods) and have a real retro. feel to them.  The guys show how tight-knit they are with an introduction that leaves little room for breath and pause.  Our hero wants (the girl) to put her Sunday best on- it seems as though the pair are perhaps hitting the town.  When hurt strike it will be “like a cannonball”, it is said.  Allowing those vocals to press and cut through the mist- they are put high in the mix to ensure they resonate- you get immersed in a song with some mystique to it.  The coda and mantra- pain and split will hit like a cannonball- you wonder whether we are looking at a relationship in trouble.  Maybe there is more innocence at the root but you feel like something fragmented is being talked about.  From those early words of Sunday dresses and hitting the town- you think the couple is going on a playful date- you start to think about something more negative and fraught.  The band combines vocals when the chorus hits- to reinforce the importance and prescience of the song’s title- and you cannot help but be seduced by the drama and passion unfolding.  Howlin’ Ric is a frontman whose voice is hard to compare with anyone else.  You get little impressions of past artists- a touch of Little Richard and his contemporaries- but to be fair, there is such originality and personality in the vocals.  That is a rare thing in today’s scene:  so many musicians copycat others and are far too close to other musicians.  By having that distinct voice and sound:  it ensures Cannonball sounds new and completely fresh.  The band would be betraying their instincts were the song to be completely modern and fresh.

The composition and production have their heart lodged in the golden era of Rock ‘n’ Roll- the production is impressively lo-fi and sparse.  All the best songs have some obliqueness and beg for interpretation.  Gives the themes/mass of Cannonball- songs that have purity and celebrate love- it is hard to extrapolate anything negativity or heartbroken from the title track.  Those gut-hitting sensations keep coming back and make you wonder.  Love will spin you “like a hurricane” and knock you dead:  take you off your feet and cause quite a sensation.  I feel like our hero has seen pain and heartache but is (essentially) celebrating his beau.  There's effusiveness and passion in the performance- without spite and sadness- your mind looks at the positives and soul nourish of love.  The band backs our lead with a catchy and hypnotic composition:  it spirals and twirls with dancing eyes and smiling teeth.  Lighting the fuse and letting it go- whether lighting up love or setting off a bomb of hurt- the vocal grows more rapturous and emphatic as the verses progress.  I always love discovering a singer that is able to switch from tender to wracked.  Howlin’ Ric has that Blues soul, and as such, his voice can reach electrifying heights and really cut like a knife.  Whether Cannonball was influenced by an older song- I have been searching the Internet to see if it is a cousin of another song- but you get something universal and mysterious all in one.  As the notes progress; I start to think more deeply and my mind goes to-and-fro.  Punctuating the pressing and insistent verses:  you have compositional breaks that allow reflection and a chance for the band to shine.  The guys do not throw too many instruments into the pot- mainly guitar and double bass- but that is appropriate given the song’s themes and nature.  Blending the bliss of Rhythm-and-Blues with current Rock:  you have instrumentation that will unite older listeners and young followers.  It seems a lot of time has been expended to make the composition as compelling and catchy as can be.  The notes dive and duck; the double bass scratches and strums- so much energy and pace come through.  Cannonball is a song that will get the head and feet moving whilst ensuring the listener is fully involved and captivated.  In spite of some sunnier weather- the band allowing the instruments to speak- the returning vocal is no less vivid and descriptive.  Being twisted up inside- and contorted by the ways of love- once more you get another burst of pain.  Maybe my mind is over/under-thinking but I'm always conflicted as to the true nature of the song.  It is clear love has an effect and primal reaction- twisting the stomach and hitting the gut- but whether our man is happy or sad?  It is clear his girl is beautiful and firmly in his mind:  maybe there is tension among the love and devotion.  The relationship is knocking him off guard:  you always wonder the origins of the song and what has inspired the words.

A deeply thought-provoking and interesting song:  you cannot help but repeat it and try and get to the bottom.  I know I say that about other tracks- ones that are not that obvious- but that is a good thing.  So many songs are obvious and do not compel further listening.  Cannonball is not only a terrific lead-off song- that ensures the E.P. gets inside the heart- but the title track makes you wonder and interpret.  That is in no small part due to the band and composition.  Our lead has a terrific voice that is so bold and heartfelt.  At once controlled and investigative- looking at the vicissitudes and potential of love- it explodes and hits hard the next moment.  That originality of tone and freshness- you cannot easily compare him to anyone else- it is a stunning performance.  Making sure every word comes to life- and is done full justice- you have to commend that vocal.  The rest of the band is no second fiddle, you know.  The strings keep the song buoyant and constantly mobile.  The E.P. has a lot of different strands and ideas:  the title track is perhaps the most direct and memorable of the five.  Packing so much into a short time (the song is not even three-minutes long); that is a testament to the musicianship and energy of the boys.  They combine supremely and are a tight and intuitive band- that knows each other’s strengths.  Backed by a production sound that strips the layers- and gives it a great, lo-tech rawness- and you can imagine this song filling the dance clubs of the ‘40s and ‘50s.  Uniting decades and genres- from ‘30s Blues to ‘60s Pop- you have a song that has huge ambition but plenty of focus.  Make sure you check out a wonderfully interesting and direct track- from a band who will inspire and impress.

A palette cleanser that washes out the taste of Indie/Rock- the genres I am used to reviewing- it is great welcoming Yorkshire’s Howlin’ Ric & the Rocketeers to the fold.  A band that has a great energy and connection:  the songs recall the swing and cool of the ‘50s; given a modern take and adapted for current audiences.  Whilst that blend of Rock ‘n’ Roll and Rhythm-and-Blues might not gain widespread appeal:  that is not to say the boys will have niche appeal and struggle.  Their music is very much for a particular audience:  that audience/market is growing by the month.  More and more music lovers are looking for something different- sounds that spark and differentiate from the norm. - and that bodes well for future fandom.  At the moment, the group has a small (and devoted) following across social media:  it is only a matter of time before those numbers swell and rise upwards.  In the same vein; I would not be surprised to see the group played across national radio- it may take a while but they can get there.  At this time, the guys are touring and playing around Yorkshire and beyond:  it would be terrific were they to come to London and bring their music right across the U.K.  I feel the scene needs a kick and energy boost:  something that overhauls the bland mass of faceless Rock and sugary-sweet Pop music.  Maybe it will take a few more years for this to happen- and variation to replace predictability- but there are small steps being made.  Once again, Yorkshire is showing how things should be done.  The county has plenty of ‘traditional’ musicians- that do not seem out of place in today’s music- but are expert when it comes to producing quirky acts.  From Swing revivalists to Rock ‘n’ Roll lovers:  barely a month goes by without another treasure presenting themselves.  Like The Holcombe Family String Band- who are friends of Howlin’ Ric & the Rocketeers- it will take a while for the group to gain mass acclaim.  At the moment, the boys are enjoying touring and seeing how the E.P. is received.  Cannonball is five tracks of 1950s-recalling Rock ‘n’ Roll with a sprinkle of the modern day.

   Sweet Ella May is “sweet as apple pie” and drips with innocence and charm.  The passionate vocal looks at the heroine:  someone who needs to “come home” soon; her blue eyes and beauty being recalled in fond tones.  The girl can see through lies and players- someone who gets a lot of attention- and has the heart of the hero.  It is a song that assesses a loyal love and wonderful bond.  With a constant swing and energy to it:  you have a number that is among the E.P.’s most addictive and compelling.  Following from the title track’s majesty and bliss:  Sweet Ella May keeps that momentum going and ensures the E.P. does not suffer any weakness.

Take My Hand is a slower number- with Country vibes to it- and a chance for the band to become more reflective and sensitive.  Another sweet-natured love song:  our man implores to his girl and wants her to take him by the hand.  Whilst there is turmoil and uncertainty in the world:  his sweetheart can rely on him and find security in his arms.  The band keep the composition light and languid- the strings are woozy and vibrating- while the vocal shows plenty of soul, heart and passion.

   Take That Bottle has more rousing spirit and kick than its predecessor.  The vocal is gristly and raw whilst the composition chugs and propels with each passing second.  It is impossible to not get caught in the mood and rabble:  get taken in by the wave of energy and underpinning threat.  Our man wants the bottle taken away- as it makes him blue and down- and needs something more sobering and safe.  Maybe drowning his sorrows or getting carried away in emotions:  this is an invocation to have the temptation stripped away and control his turmoil.  It is hard to say whether a relationship split has caused this drinking:  maybe he is trying to forget the memory of a particular girl.  A song that strays against the lyrical themes of the E.P. - the dedicated passion and burning love- we get another side to the band.

  If I Didn’t Care is the most direct and shortest tracks on the E.P.  Ending the record with plenty of swagger and heart:  you get a return to that positivity and loyalty.  Our hero wants to make things better- whether for his girl or a friend- and offers support and comfort.  There are fears and uncertainties burning:  our boy will balm the wounds and offer strong hands and a loyal heart.  The band combines wonderfully in a rich and adventurous composition that changes course and pace throughout the track.  Ending the E.P. with a huge high:  it shows what consistency and talent the guys have.

Offering an original and tight E.P.:  the Yorkshire group is showing what the music world is missing.  They have few like-minded contemporaries and that is a real shame.  Maybe it takes some time to effect change in the music world.  I hope more bands turn away from predictable sounds- Rock and Alternative- and look at a time period with more innocence and grace.  Whilst the ‘50s may lack the edge and limitlessness of modern music; that is not to say you need to be rigid and tightly defined.  You can start with a building block of Rock ‘n’ Roll and bring other sounds into the mix.  Maybe bring in Electronic influence and edgy guitars- to summon a blitz of genre-fuse and glory- and you have a world of possibilities.  Musicians need to be less static and predictable:  the likes of Howlin’ Ric & the Rocketeers are going to lead the way and hopefully take other musicians with them.  If you want to take a chance on music that mixes the vintage with new:  you owe yourself the opportunity to revel in the potential of a fantastic young band.  Cannonball is an E.P. that everyone can enjoy, and for that reason, it should be…

ON the top of your priority list.

[bandcamp width=350 height=470 album=3948129490 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2599602726]

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Follow Howlin’ Ric & the Rocketeers

 

Facebook:

https://www.facebook.com/howlinricandtherocketeers/

Twitter:

https://twitter.com/howlinric

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Music

http://howlinricandtherocketeers.bandcamp.com/

TRACK REVIEW: Jamie Coleman (Feat. Toni Etherson)- That Goodnight Msg

TRACK REVIEW:

 

Jamie Coleman (Feat. Toni Etherson)

 

 Photo: Pat McGuire/PMG Photog

That Goodnight Msg

9.2/10

 

Photo: Pat McGuire/PMG Photog

That Goodnight Msg is available at:

https://www.youtube.com/watch?v=jC8eNz81WMs&feature=youtu.be

RELEASED: February 12th, 2016

GENRES: Rock/Pop; Blues

ORIGIN:

Glasgow, Scotland

____________________________________

WITH another Glasgow-based musician coming to my attention...

it may be prudent just to mention the city for a bit- not spending TOO much time there.  I have reviewed a lot of Glasgow artists and something new and exciting always reveals itself.  I am not sure what it is about the city that compels such a drive and creativity.  In previous posts, I have mooted the question around Glasgow bands and their dominance- how few solo acts there are by comparison.  Here is a city that very much favours the bands and a particular style of sound.  Whether that is rooted in heritage and the past- Primal Scream, Belle and Sebastian and Del Amitri hail from the city- I am not too sure.   From Paws’ Blink-182 approved tracks (the track Jellyfish was lauded by the Blink’ front-man recently) to Machines in Heaven:  there are a lot of terrific artists emerging right now.  What I am noticing (about Glasgow) is the determination and confidence that stems from musicians.  While I mentioned there is a particular ‘sound’ in Glasgow- a lot of Punk/Indie-inspired bands favouring guitar-driven music- there is also diversity and genre-fuse to too.  Catchy and uplifting bands such as White and Holy Esque are inspiring a wave of like-minded bands to take action and bring their music to the people.  Clearly, community and support are important to Glaswegian musicians.  Across the years; I have assessed a wide range of Glasgow acts- mainly bands to be fair- and always find the same thing:  they will recommend fellow artists and support what they do.  Whereas London (and other huge cities) perhaps have less of this- maybe it is the sheer numbers and stress of the place- Glasgow is showing a lot of thoughtfulness and respect.  This is leading many up-and-coming musicians to come into the music world and take a gamble.  The results are really speaking for themselves:  Glasgow is among the most exciting and prosperous hubs for new music right now.  For those who prefer their music band-made; you have a lot of choice and quality on offer.  If you want something less ‘obvious’ or just a bit different:  there are some great and agile young alteratives around.  Although Jamie Coleman plays with his band The Giants (thus making Jamie Coleman and the Giants) Coleman has been a successful and hard-working artist for a long while now.  Right now, there is a lot of excitement regarding Coleman’s latest song, That Goodnight Msg.  From the modern, short-handed third word (Msg); there is something of-the-moment and current about the song.  Drawing in Blues, Pop and Rock influences- nothing too obvious springs to mind- you have a hungry artist who is keen to make a big impression on music.  Before I raise a new point; let me introduce Jamie Coleman to you:

 “Touring artist Jamie Coleman, a talented singer/songwriter from Clydebank is due to release his single ‘That Goodnight Msg’ ft. Toni Etherson on Friday 12th February through GQ Records, the first in the line of singles due out in 2016 including guest artists such as Toni.

‘That Goodnight Msg’   is available to download from iTunes, Deezer, Spotify and all other media download sites. Toni first performed this song with Jamie on STV Glasgow’s Riverside show “Live”  in Feb of 2015.

Singer/songwriter Toni Etherson has toured Europe, Australia and America as well as recently collaborating with ‘Jack Eye Jones’, by writing and performing ‘Fire in your soul’, and  the title track from their album ‘Summer Nights’.

Jamie’s band ‘Jamie Coleman and The Giants’ are also due to release their first single ‘Day Trippin’ in Mid-March, with an album due to follow later in the year, along with Jamie’s own solo album.

Jamie has already been making a name for himself touring and supporting artist and bands like Alabama 3,  Ocean Colour Scene\ Merrymouth ,  John Power &  Jay Lewis of “CAST/The Las”,             Barry Sutton “the Las”, Chris Helme “The Seahorses” , The Bluestones, The View, Curtis Harding, BrownBear and many more.  Also playing various gigs at Alan McGee’s Creation Sessions from Glasgow to Wales.

An exciting year lies ahead for Jamie, not only as a solo artist,  a collaborator and writer, but working with his band The Giants. The music industry will be seeing a lot more of Mr Coleman”.

Coleman will be taking the Giants around the country and preparing for the launch of the album.  Having heard previous cuts from Jamie Coleman and the Giants- and noticing the evolution and progression that has occurred- it will be exciting to hear an album from the group.  It is rare I get to feature a female singer in these pages- the last few reviews have been boy-heavy- so bringing Toni Etherson into the mix is very exciting.  Finding herself nestled in the splendour and dreaminess of the L.A. scene- in the Hollywood Hills by the Santa Monica Mountains- it is alright for some people!  I must admit this:  I was a stranger to Etherson until last week.  It has been a revelation discovering a singer with such a terrific voice, talent and passion.  Whilst a lot of her time is spent in the U.S.; she has a lot of support from the Scottish crowds- a lot of Scottish musicians I follow on social media follow her.  Thinking about Etherson- and the dreamy yet direct nature of her voice- makes me think about collaborations and artists hooking up.  You do not need an advanced degree to know what richness can be exploited from musicians coming together.  Too many bands are rigid and rarely bring other singers/producers to the fore.  Solo artists- not all but many of them- are concerned with getting THEIR voice on record and do not collaborate too often.  It is always fascinating witnessing two sole voices come together to create something new and natural.  That Goodnight Msg has an understated quality yet it resonates and produces shivers.  There is something completely RIGHT about Etherson and Coleman’s parabond:  two artists that GET one another and fit like hand in glove.  The two have very different lives- Etherson’s U.S. sunshine and Pop influence; Coleman’s Glasgow base (the sun does come out there sometimes) and harder sounds- but the combination and pairing produces a chemical reaction that cannot be faulted or undervalued.  I for one would like to see more acts sharing microphones and blending their music together.   Some of the most exciting and nuanced sounds I heard from last year arrived from collaborations:  two parties joining forces to give the music world something wonderful and rich.  Of course, collaborations do not always work:  there are unions that are completely wrong and clunky.  That is perhaps a subject I should explore another day- if I am lucky enough to review another joint effort- but I am excited about the future of Jamie Coleman and Toni Etherson.  Whether Etherson has an E.P. or album in her- an artist that seems capable of performing with any artist and elevating their work- only time will tell.  A young and exceptional talent I will be following and seeing how she blossoms.  Coleman is preparing for a new album and will doubtless be hitting the road throughout the spring and summer- let’s hope he heads down London way for a brief spell!

That Goodnight Msg is the latest unveiling from an artist who has been growing in confidence and direction the last few months.  Looking back at Jamie and the Giants’ past sounds- particularly Calm Yourself Down and Day Trippin’- and you get a sense of a musician who is still finding his feet.  Whilst the band’s past maneuvers have been met with celebration and acclaim:  you cannot help but think this year will see the finest work from the Glasgow clan.

   Calm Yourself Down boasts a raw and determined lead vocal that cuts through the mire.  The composition has a rollicking and Blues-tinged drive that gets bolder and bigger as the moments elapse.  Coleman’s gutsy (yet restrained) talks about time being wasted- maybe a girl or friend is screwing our hero around- around a ‘90s-sounding track.  You could imagine the likes of Oasis or Ocean Colour Scene tackling such a number.  Aside from the 1990s flavor; you get a distinct accent and local flavor- Coleman’s accent and pronunciation possesses a distinctly Glasgow feel.  You get caught in the song and the addictive nature of the beats; the wracked and powerful vocals- the kinetic and dynamic energy of the band.

  Day Trippin’ may lead you into 'Beatles territory- with its similarities to Day Tripper- but it is a song that shows a different side to the band.  Coleman’s vocals have raspiness to them- recalling a young Bob Dylan- and the harmonica-and-voice combination that puts me in mind of debut-era Bob Dylan.  A softer and more contemplative number:  our hero is gone (nobody notices his absence) as he trips in the “midday sun”.  Part-sad; part-freeing- a song that has a relaxing and carelessness to it- you get drawn into a song that assesses a particular feeling/mood with effectiveness and memorability.  There is a relaxed and lounging vibe to the song that makes you smile and imagine.  What inspired the song is hard to say:  whether Coleman was reflecting on past memories or writing from fiction.  What you find (with regards this track) is another side to a multifarious and boundless songwriting who manages to retain a core sound but employ different strands/genres to ensure the music remains surprising and fresh.

It will be interesting seeing how Jamie Coleman progresses and evolves throughout this year.  I know there is an album due:  it is sure to feature the aforementioned songs, one would think?  Coleman’s songs have depth and wisdom to them:  I’d like to see a bit more grit and rousing energy across future songs.  Coleman has a voice and passion that is crying out for a volume kick and additional boost.  The band has that talent and potential so let’s hope we will see this exploited when the album arrives.  As it is, the young master should have no fears or concerns.  A songwriter that has immense promise and originality:  you always wish the best and have high hopes for a new Jamie Coleman work.  That Goodnight Msg allows the Glasgow-based music to join forces with another voice- creating something rich, compelling and primed for some serious radio play.

Excitable beats and a real sense of occasion greet That Goodnight Msg in.  Those early percussion notes- punctuated and slam like a punching heartbeat- start static and powerful before mutating into something more open and variegated.  The building introduction sees tender strings join the fold and augment the initial sense of romance and seduction.  The song’s first words (“Here comes a smile”) are perhaps not what you’d expect.  A neat choice of words- that gets the mind racing and imagining from the off- we see Coleman and (Toni) Etherson combine voices to elicit beauty and grace.  A tenacious and perfectly blended vocal performance:  you get heartfelt purity radiating from two very purposeful vocalists.  It is perhaps no coincidence Etherson and Coleman sound in-tune and natural together- maybe they have been fans of one another for a while? - but there is no gamble or risk here.  The duo sounds like a couple in the midst of a wonderful, romantic night.  “Straight out of nowhere” there has been a message delivered to the heroine (or perhaps the same message has been received by both).  The impulsive missive- one assumes it is a text message rather than a letter- seems like juxtaposition when balanced against the composition.  Those aching and old-time sentiments- there lingers a distinct ‘60s Folk vibe-cum-Country sound- has a distinctly traditional/vintage purity to them.  The foreground- the modern love story that unfolds- does not seem out of place or odd at all.  Coleman’s easily accessible lyrics come without complexity and obliqueness:  they are direct and from the heart; there is a university that makes them very amenable and happy-go-lucky.  Listening to the two joins voices and you get a real ‘live feeling’ to the song.  The production is clear and concise yet gives the song a live sound that draws the listener in.  If it were too polished and shiny the song would sound alien and completely fake.  As it is, you have a track that has no borders and boundaries:  it is a direct and all-encompassing number that we all can appreciate.  The lovers (the parts Coleman and Etherson portray) are in the midst of late-night message exchange.  Whatever the text says- a simple platitude or trope; something more personal and meaningful- it has its effect and resonance.  That sense of ease and comfort comes out in the twin vocals.  Each performer is invested in the song and sound completely awed and comfortable.  A lot of collaborations have problems and limitations.  Either the artists sound distant and shoed-in- like the vocals have been recorded in different studios and lazily welded together- or the parts do not blend well together.  There are no jarring issues to be found within That Goodnight Msg.  Each artist commits themselves to the subject matter and you can picture the studio scenes and recording process.

 Photo: Pat McGuire/PMG Photog

At every stage, I was impressed by the simplicity and everyday nature of the song.  There are no sweeping dramas or recriminations:  a lot of songs deal with anxieties and splits; something big and painful.  That Goodnight Msg seems almost mundane and pedestrian if you read the lyrics.  As the song progresses- and the conversation unfolds- you learn a bit more about the messages/texts.  One asks how the other slept- providing some intrigue and another side to the story- and it is something not ascribed in many songs.  If you think about love songs and romance, consider this:  how many strip it down and look at the everyday familiarities?  Here, we get something personal and ubiquitous.  The lyrics’ strengths lie in those lovely details and unspectacular ideals.  Coleman is an exceptional songwriter capable of some rather moving and profound ideas.  By keeping things charmingly simple; you have a song that has widespread appeal and ounces of charm.  Whereas our duo yearns to be in each other’s arms- relying on to-and-fro texts and messages- you wonder why they are separated.  Maybe an ocean separates them- appropriate given Etherson’s L.A. residence; Coleman based in Scotland- or there is a long-distance relationship unfolding.  With the exchanges “Lighting up my phone”; there's purity and positivity in every lyric.  Both seem happy and comfortable in themselves.  The heroine wishes she was not sleeping alone- desiring the touch of her man- and there is an underlying heartache and pain within the track.  As impressed and fascinated by the lyrics as I was; my brain looked at the composition and how it supports the vocal.  The aching strings have those Country elements:  they draw in Blues touches without sounding too outdated and divisive.  There are a lot of people that dislike Country- I am among them to be honest- but That Goodnight Msg has accessibility and a British sound/sensibility to it- thankfully, the song is not TOO Americanised and Nashville-influenced.  Towards the final moments, the duo blends their voices to ensure that connection and intensity continues.  Etherson showcases an immense beauty and a wonderfully adaptable voice- something that augments the lyrics’ beauty and tenderness.  Coleman’s soulful and masculine tones are a perfect blend:  together, the duo elicits shivers and tingles at will.

That Goodnigtht Msg is a departure for both artists- Coleman and Etherson- but does not show any weaknesses.  Jamie and the Giants’ back catalogue is perhaps more personal (songs that shy away from love and more towards personal insights) and have a more driving and Blues sound- here the vibe is more Country-based with U.S. twangs.  Etherson’s collaborations and work have seen her go into Pop and Dance territory.  Fire in Your Soul (her hook-up with Jack Eye Jones) saw something rather bracing and immediate come forward- no wonder it was championed by Radio 1!  If anything; That Goodnight Msg would be more at home on B.B.C. Radio 2:  it has a more mature and softer approach.  The track signals how talented and passionate both performers are.  Not only do they sound completely right together- like they have been recording duets for years- but they both sound committed and dedicated to every word.  There are no false emotions or any weak moments to be found:  the performances are exemplary and packed with emotion.  Supported by a tight and wonderful band performance- that creates a rich and sensual backdrop- you have a song that will appeal to a mass of listener and music lovers.  I know Toni Etherson has a great future and can easily slot alongside any other musician.  She has great potential as a solo artist: there will be some choices and options ahead of her.  As for Coleman:  he will embark on work with his band and see what results from that.  Both artists have prosperous and busy years:  it has been great hearing them combine in a track that is hard to shake off and ignore.

I should perhaps stop acting surprised every time a Glasgow act remains in the memory- lest it is interpreted the wrong way- but once more, I get to witness another of the city’s musicians fare so well.  Like the city itself- which grew from a rural community into a thriving centre of U.K. culture today- the musicians of Glasgow are increasing in stature and ranking among the world’s very finest.  Perhaps the bands of Glasgow are fitting more tightly into moulds- Rock and Soul/Blue hybrids- but that is not to say the music is stilted and unexciting.  There is plenty of pioneer and mobility to be discovered inside Glasgow’s best and brightest.  Jamie Coleman has cemented a local reputation- together with his band he has made big waves- and will capitalise on that reputation as 2016 moves through the gears.  It will be great seeing what an album will contain and how the band develops throughout the year.  Glasgow has such a thriving band scene:  Jamie Coleman and the Giants are one of the more exciting and compelling examples you will hear.  I feel London’s current reign- as the hotspot for musical excellent- may concede defeat to Glasgow in years to come.  Never have I seen a city so prosperous and evolving.  Every month seems to produce wondrous musicians and something unexpected and original.  Certain areas/towns have a very set sound:  Glasgow provides much more intrigue and colour than meets the eye.  If you dig under the raft of Indie/guitar bands emerging you will find all manner of styles, genres and sounds being fused and experimented with.  Coleman is one of the city’s more mature and accomplished songwriters.  Not someone who sticks with the tried-and-tested clichés of the scene- the heartbreak and overly-played motifs of broken souls- you have music with much more depth and intrigue.  As I type this, I am listening to Wild Beasts and the track Sweet Spot.  From the instrumentation- the track featured on their most current album, Present Tense- to the divine and swooning vocals- you have a band that get better by the release.  Their stunningly tight, original and  dynamic songwriting- the band’s vocalists Hayden Thorpe and Tom Fleming are a natural pairing- gets inside the head and provides so much intensity, passion and soul.  The same can be said of Jamie Coleman.  A young artist that is never going to be bogged down and wants to push the music to new heights.  There is a transcendental reach and sonic experimentation (inside Coleman’s work); a perfect balance of emotions and vocals.  Band parts are written to exploit the potential of instruments and timbre:  someone who does not put themselves in the spotlight and neglect the rest of the band.  Maybe I am over-emoting and going too deep:  assessing a songwriter’s strengths can lead my thoughts in all sorts of directions.  The point remains this:  Glasgow has produced another gem and stellar craftsman.  Toni Etherson has leant her voice to a song that taps on modern themes- with a vintage and old-fashioned ethic to it- and puts the listener right into the mix.  Those Blues and Soul influences- that have been the hallmarks of Coleman’s writing- allow Etherson to create a vocal filled with yearning and serenity.  That Goodnight Msg has Country themes and strings that perfectly sits inside a Blues core.  The ensuing track allows Etherson to make a huge impact and showcase a serious talent.  Her social media numbers have been climbing and reaching dizzying heights.  One of the most noteworthy and rising stars in the music world:  make sure you keep an eye on her progress and career.  I am sure there will be album or E.P. very soon.  Having been featured on B.B.C. Radio 1; her voice has captured the public imagination and resulted in a fervent and dedicated fan-base.  I hope Coleman and Etherson combine somewhere down the line.  On paper, you would not imagine the two coming together:  that is the beauty of collaborations.  I find myself in a tawdry quandary at the moment:  trying to unearth genuinely exciting musicians that offer a long-term future and quality.  It may sound like a rather basic concern yet there are few (musicians on the scene) that can promise that.  May competiveness and quantity is always going to lead to indeterminism and once-a-year heroes.  When listening to Jamie Coleman (knowing how good the band is; how strong Toni Etherson is) you get a sense this young artist can be triumphing and compelling for years to come.  Not to place too much weight on young shoulders:  the stage is primed for something rather special to take place.  Not a musician confined to the softer side of music- the tender ballads and aching songwriting- you get rockier and more gritty moments; songs that have drama and force.  Whether my assessments will make him say “shut your geggy” or cause a bit of greetin (my Glasgow slang might need some fine tuning); I apologise.  A musician that is going to be a name familiar to us all soon enough: take a glimpse into a song that promises intrigue and fascination.  I am excited to see where Jamie Coleman head this year.  Whether the album (rumoured to be released very shortly) expands on That Goodnight Msg- more of the same sort of thing- or pushes more boundaries; that is going to be exciting.  For now, and whilst the record is still waiting to be unleashed, cherish a talent who is…

Photo: Pat McGuire/PMG Photog

ON the precipice of something big.

[youtube https://www.youtube.com/watch?v=jC8eNz81WMs&w=420&h=315]

________________________________________________

Follow Toni Etherson

Facebook:

https://www.facebook.com/ToniEMusic/

Twitter:

https://twitter.com/tonietherson

________________________________________________

Follow Jamie Coleman and the Giants

 

 Photo: Pat McGuire/PMG Photog

Facebook:

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

Twitter:

https://twitter.com/Jamie_Cmusic

__________________________________

Music:

 https://soundcloud.com/jamie-and-the-giants

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TRACK REVIEW: Nicky Davey- Been Lovin' You

TRACK REVIEW:

 

Nicky Davey

 

 

Been Lovin’ You

9.6/10

Been Lovin’ You is available at:

https://www.youtube.com/watch?v=1Sz1Xk4Fiec&feature=youtu.be

RELEASED: 5^th February, 2016

GENRES: Soul; Rock; Pop

ORIGIN:

Los Angeles, U.S.A.

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AS I get to feature another Los Angeles-based artist...

it is worth talking more about the city (and its musical culture); fusings of Rock and Soul- a little bit about the Pop mainstream and unsigned acts.  Wandering back into L.A.; it gives me an opportunity to meet one of the most exciting acts emerging from the city.  Nicky Davey produce ‘noise alchemy’ and are mingle beauty and soulfulness with something edgier and Rock-inspired.  Although Nicky Davey are touted as a duo- they do have Bert Gay on bass- their sound suggests something band-made and much larger.  I shall get to them soon:  for now, it is worth looking at the best bands coming from the city.  In a historic sense, the likes of Guns N’ Roses, The Doors and Rage Against the Machine have called L.A. home.  Throw in Hole, Weezer; The Byrds and Bad Religion:  you have an epicenter of musical creativity that has spawned some of the greatest acts of all time.  In terms of Rock acts alone- and artists who play within various sub-genres of Rock- and you have a plenty of options there.  I guess Los Angeles is always going to be associated with a certain sexiness and hardness.  The tough and granite sounds of Rage’ and Hole; the riffs and histrionics of Guns N’ Roses:  many will have clear impressions of L.A. music based on its legends and past masters.  The scene has changed today and is a lot more surprising and varied.  Lord Huron’s sweet-leaf jams (and songs about marijuana parties) have enthralled critics and the local crowds.  In the Valley Below (who hail from Echo Park) pen Indie lullabies and are the epitome of the uber-cool and happening.  The Peach Kings are another duo (like In the Valley Below) who teases ‘70s Rock sounds alongside smoky lead vocals.  If you want something a bit more underground:  The Koreatown Oddity spits his raps and rhymes behind (a creepy-looking) wolf mask.  Los Angeles Police Department thrilled audiences with their self-titled 2014 E.P.:  their melody-driven music has seen them grow in reputation and stature.  Chela is perhaps the most relevant example- when looking for like-minded acts of Nick Davey- and has crafted stunning Pop sounds without compromising her ideals.  Hailing from Australia- ensconcing herself in West Hollywood- here is an artist who blends universal sentiments with ‘80s synthesisers to create music that gets the feet moving.  Los Angeles- and California in a wider sense- are producing some of the most varied and consistent musicians in the world.  Having never visited L.A.- it is something I must rectify in future years- I am not sure what motivates such a drive and sense of quality.  In London, there are some terrific venues a musician can cut their teeth in.  Certain areas of the capital have wonderful enclaves where musicians support one another.  There is that sense of kinship and togetherness that propels creative spurts and inventive writing.  Perhaps that can be said of Los Angeles.  We all assume the city to be over-crowded, bustling and stressful- hardly conducive to great leaps of musical productivity- but perhaps that is a false impression.  Like every major city; Los Angeles is going to have its limitations and repression.  There are a lot of musicians that rebel against the worst traits of the mainstream- the over-produced and committee-written songs; the boring and predictable sounds; musicians that want fame over respect- to present something much more credible and laudable.  Before raising new points; it is worth me introducing Nicky Davey to you:

Nick Green – Vocals Dave Rosser - Guitar, Vocals Bert Gay - Bass, Vocals

“The LA rock and soul duo Nicky Davey just dropped a video for their single "Been Lovin' You". Nick Green and Dave Rosser officially formed the project in 2011. They started out just making records together under various aliases until they carved a sound they could truly call their own.

Their approach to songwriting has always had a strong emphasis on beauty, combined with infectious hooks. Their music features lush vocal arrangements, infused with the melodic honey of the talk box over organic beats. Constantly striving to reinvent the modern pop song, they were given the opportunity to work closely with Odd Future affiliates, The Internet. Lead Singer Nick Green's vocal production on The Internet's Ego Death helped earn it a Grammy nomination for Best Urban Contemporary Album.

Directed by Rich Yodsukar and filmed in the streets of downtown Los Angeles, the music video captures in a light-hearted way the reality of being musicians in L.A "We live and breathe our music and are willing to do anything for it, even walk all the way down to Hollywood Boulevard. to play outside in front of people, that's just the spirit we have". "Been Lovin' You" is the last track on the NOW compilation album that went in stores everywhere on February 5.

Nicky Davey is the only artist unsigned to a major label to be featured on NOW 57. The duo is working on new material and will release a new EP in spring 2016”.

I am glad Nicky Davey have made it onto a major release (Now That’s What I Call Music! 57) but perhaps not something I would lead with.  It is a great achievement but they sit alongside some rather questionable artists.  In the past, the Now’ series has been synonymous with the best of music- until the 1990s at least- but now is a collection of the media-approved Pop artists a lot of people dislike.  While you get a few credible songs in the mix- Alessia Cara is among them- the majority is filler and bland Pop- Coldplay; Justin Bieber etc.  A notable achievement for the L.A. group but it does them a disservice, I feel.  Nicky Davey expertly blend their Soul/Funk influences- Stevie Wonder; Jamiroquai- with lush vocals and stunning hooks.  You get impressions of downtown L.A. and vintage shades of the 1970s- hardly what you’d associate with a modern Pop act.  To be fair, Nicky Davey have more in common with their idols than they do their peers.  Able to transcend borders- and chart positions too- they are a hot proposition.  It is amazing the duo is unsigned at the moment:   let’s hope that is something they cannot claim in a few months.  I guess that is one good thing to come from the compilation inclusion:  it will open record labels’ eyes and start a bidding war before too long.  If that doesn’t; Been Lovin’ You certainly will.  A confident and exciting slice that roots itself in the brain and pleases the senses:  a wonderfully rich and catchy song from a seriously promising act.  Maybe not strong enough to sway my opinions on the mainstream- it will take a lot more than that- it does raise some interesting points.  A lot of us are too concerned with the mainstream and those artists climbing the charts- when it comes to the so-called ‘best’ music has to offer.  I think that notion is rather dated and misleading.  While Nicky Davey are certainly worthy of long-term success; they have an edge and nuance most of their contemporaries lack.  They nestle alongside Coldplay (on the Now’ compilation) but are far stronger than the British act.  What separates Nicky Davey from the crowd- aside from their unsigned status- is the genres they combine and the lyrics they put out.  The songbooks look at universal themes- love and longing; loss and heartbreak- but ensure their songs are a lot deeper and more original than their subjects.  I hope Nicky Davey capitalise on their momentum and nods and keep the flame burning.  I know there is a spring release (for a new E.P.) and the boys will look to tour and take their music out there.  Whether they are stopping by the U.K. - I know how many fans they have over here! - is probably down to them.  Been Lovin’ You is just a fraction of what they are capable of.  A teasing and salacious slice of Blues-cum-Soul-via-Rock:  one of the most arresting and compelling songs from one of Los Angeles’ best.

Whilst the video for Been Lovin’ You was released very recently:  the song has been on the Internet for a few months now.  Last year; Nicky Davey released their self-titled E.P.  The five-track collection demonstrates plenty of variation, personality and strength.  While Been Lovin’ You is the strongest of the set- a natural lead-off track and single- that is not to say the remainder of the E.P. suffers.

   Dreamgirl has that delirious and stunning lead vocal swooning and pervading.  Velvety and soul-nourishing:  you get embers of Michael Jackson and Prince come through in the notes.  Haunting, romantic and luscious:  a song that makes the hairs stand on end and shivers arrive.  Multi-layered vocals and sparse electronics combine to create something rapturous and hugely sensual.  The vocal quality reminds me of Boyz II Men and the best work they produced.

   Rainbows relies less on the choir-like vocals and has a more focused central performance.  “She had bullets in chamber”; in a “pistol full of danger” are evocative words that look at love’s harder times.  Locking and loading; guns and danger are used as metaphors to ascribe a relationship that has its perils and pitfalls.  Edgier guitar and driving beats bring Prince comparisons to the fore.  You get a delicious blend of Funk and Rock around a rich and soulful performance.  A huge and impressive lead vocal pushes the song and ensures every word gets inside the mind.

Hollywood is a driving and sassy number that is fast, furious and divine.  With embers of D’Angelo underpinning that ecstatic drama:  here is a song that is instantly catchy and filled with promise.  Vocal layers and insatiable guitar seduce one another and create something hugely atmospheric.  You get recollections of Prince and Michael Jackson inside modern and polished production.

   Gonna Love Ya is perhaps the most mainstream/Pop-influenced track on the E.P. - maybe the weakest track of the set.  That said, there is plenty to suggest it is more than the sum of its parts.  Dig deep, and you find a song that has more maturity and edge than most of today’s Pop.  Cosmic electronics and a constant energy ensure the track is never boring or passes you by.  Once more, you get committed and chocolate-smooth vocals that vary between scatting and elongated.  Dynamic, nimble and changing pace at will:  the song keeps busy and restless until the final moments.

Nicky Davey released their E.P. with plenty of conviction and quality.  The attention to detail and workmanship that went into its creation is hugely impressive.  Whether there were a lot of writers and producers brought in- or the boys themselves had more control- it is hard to say.  What you get from the quintet of tracks is impressions of 1970s Soul/Pop greats with some very modern and relevant sounds.  It means (the E.P.) is not primed and directed at the Pop charts.  There is enough maturity, quality and depth to distinguish away from the bland and over-hyped releases we have seen the last year.  Nicky Davey is an act that has plenty more to say:  it will be interesting to see how they develop and what their next move is.  Given the reaction to Nicky Davey- and how critics have celebrated it- I would not be surprised to see their forthcoming E.P. get the same attention.  The real test will be whether they keep their qualities and personality shining in the new E.P.  A lot of artists would be tempted to sell-out and succumb to the lure of chart positions and dumbing things down.  I am confident the L.A. boys will keep their sound intact and strong:  not ones to let their fans down and change things now.  Whatever they come up with will be hugely exciting and promising, I am sure.

Been Lovin’ You is the most-played and shared track Nicky Davey has written.  The standout and gem from their E.P. - the most urgent and nuanced song from them- has hit people hard and left its marks.  Tribal sounds and curiosities open the track.  You get electronic click and jungle calls mixing inside acoustic strings:  a build-up that gets more heated and colourful as we progress.  From the edgy and dark recesses of the start; the track opens up and you get something light, breezy and dancing- the acoustic string section reminds me of The Doobie Brothers’ Long Train Running.  After the head-spinning and exciting opening; that smooth and honey voice arrives to give context and explanation.  The vocal rides the acoustic guitar and is enraptured.  Our lead is clearly in the throes of love and has a particular girl in mind.  When seeing her face- or the first time he saw her- you get a sense of an angelic and heart-aching beauty.  With his blood hot and heart racing; there is that desire to get the girl and gain her heart.  Maybe the two are not together at the moment- there is a seduction call and ritual unfolding- and our hero keeps his emotions at bay.  Working hard to get her- through patience and romance- you start to picture the scenes and the parties involved.  In a way, Been Lovin’ You is more classic than it is modern.  Hints of Michael Jackson and Prince- two names that crop up when describing the band’s songs- influence the vocal and direction.  Soul and Pop spar with modern beats to create something instantaneous and classic.  On the one hand, the production and composition have a modernity and radio-friendly vibe that will appeal to many Pop fans and mainstream stations.  On the other hand- and perhaps more pleasingly- is the 1970s/’80s vibe that will draw in older listeners and those with a genuine love for great music.  It is impossible to ignore the beauty and sweetness in the voice:  the acoustic guitar keeps swinging whilst the beats continue to crackle and impress.  Our hero asks for (the girl’s) number and is biding his time.  Ready to explode- he will school her “like a teacher”- and wants a relationship with depth and potential.  Promising to stay true and loyal- unlike the braggadocio and arrogance of some men- there is some honesty and maturity to the lyrics.  The sweat keeps dripping and there is a palpable lust and longing that burns brightly.  You feel our hero is about to explode and desperately wants the girl.  Other guys might rush in and come on too strong.  In order to succeed and separate himself from the clowns; there needs to be some control and discipline.  Upon first listen, Been Lovin’ You is all about that vocal and how aching it is.  There is never melisma and ululation to be found:  the notes and delivery are controlled and in keeping with the lyrical tones of the song.  After future investigation; you discover layers and new joys- the composition and production after the second listen; the lyrics on the third, etc.  When first hearing the song- I have since gone to study the song in a lot more depth- it is impossible to ignore that arresting vocal and the evocative lyrics.  There is so much spark and shiver that emanates from that voice:  the lyrics suggest a young man who has found a rare girl that might be with another guy.  There is some ambiguity in the song that allows the listener to interpret their own version of events.  Maybe the heroine is with someone else- and our hero wants to steal her away- or perhaps the two have just come together and are taking things slowly.  In my mind, the two are single but not wanting to rush into things.  Our man has loved her (whoever she may be) for a while and wants to claim his queen.  Backing the vocal- with layers of voice and delicious compositional touches- and you get a rich, deep and uplifting song that gets into the soul.  Guitars, xylophone-like sounds tie together; the beats remain sparse but effective throughout.

For those who adore the Soul legends and Pop masters of old will find much to recommend and love within Been Lovin’ You.  There is a sense of authority, genuine knowledge and command that makes the song sound so pure and natural.  Nicky Davey has grown up listening to the likes of Prince and Michael Jackson and done them justice here.  Plenty of originality and personality comes out in the song that deserves a lot of respect and radio play.  Too much chart/mainstream music is over-produced, hollow and vacuous.  Too many ‘stars’ have armies of writers working for them:  the music lacks identity and any focus whatsoever.  Worse than that; you have a scene that lacks imagination, intelligence and cross-border appeal.  Nicky Davey has ensured they do not fall into the traps laid by some of music’s least and slight.  Been Lovin’ You has gained a lot of focus and admiration (rightfully so) and shows just what the boys are capable of.  It means their forthcoming E.P. will be met with huge anticipation.  I cannot wait to see what they come up with.

It will be exciting to see what Nicky Davey produce when spring arrives.  Been Lovin’ You is a strong statement from an act that have grown and developed since their inception.  Formed in 2011; the hungry L.A. act have distinguished themselves from the mainstream.  One of the most credible and exciting propositions coming from music:  make sure you check out what these guys are providing.  Nicky Davey are looking to reinvent and push Pop/Soul forward.  In a scene that is still defined by its shallowness and lack of quality- predictable tracks and uninspiring artists- Nicky Davey are on a noble surge.  What you get from the duo (or trio, if you will) is passion and hunger without limits.  It is clear music means everything to the group.  That passion and determination comes through in the music and videos they produce.  It is not about money and column inches with the guys:  they record music to influence others and show their spirit and heart.  I have grown a bit tired of the mainstream and Pop world in general.  Aside from the odd gem you can find; still there are too many one-dimensional and effete artists that all say/sound the same.  What is the point of coming into music is you are not going to put the effort in?!  Maybe there is a degree of lacking talent- said Pop artist just doesn’t have the ability to be different- but there is a worrying trend happening.  Award ceremonies are still highlighting some of the worst and most unspectacular acts music has to provide.  The truly worth/credible artists are those whose musical ability outstrips viewing figures and chart positions.  Nicky Davey haven’t been prostituting their music and hogging red carpets in a (shallow and deplorable) bid for stardom.  They have been grafting and honing to ensure their music reaches as many people as possible.  I love the little touches of Soul legends- Stevie Wonder is a big name you recall- and the ghost of Michael Jackson.  The stunning and rousing vocals beautifully nestle with more modern acts such as Justin Timberlake and Macy Gray.  It seems like the boys are at home in L.A. and feel very comfortable amongst the people.  A huge and supportive crowd follows them and is keen to share and support their music.  It would be great to see the guys come to London and play across the U.K.  There are certain musicians that have wide-ranging appeal and will be in demand across the world.  I can see Nicky Davey playing across Australia, Europe and Asia.  Whether they want to concentrate more on U.S. gigs- and their hometown crowds- I am not too sure.  A new E.P. is mooted and will be snapped up by those who prefer their artists to be obsessed with quality and not fame.  Nicky Davey understand the realities of the city and the struggle musicians have to go through.  Poking fun at the struggles and pitfalls of the game- the video for Been Lovin’ You spoofs it brilliantly- there is happy-go-lucky charm and smile with everything they do.  Too many artists are dour and determined to be as downbeat as they can be.  There is no such danger when it comes to Nicky Davey.  The music world is a lottery that does not seem to have any real sense of justness and balance to it.  I have witnessed too many great artists fall early; so many undeserving artists succeed and prosper.

That capriciousness and unpredictability is worrying for new musicians coming onto the scene.  The first few years are always a real test of durability and strength.  Having been playing for a few years now; Nicky Davey have already jumped the first hurdles with impressive aplomb.  Before wrapping up, I will circle back to the finest L.A. musicians coming through and the importance of blending Soul and Pop.  L.A. had a huge year in music throughout 2015.  This year looks to be even more exciting and prosperous.  Perhaps the finest and most productive city for music:  Los Angeles keeps on giving so much wonder and originality.  Death Valley Girls- Echo Park neighbours of In the Valley Below- fuse Psychobilly and Punk with songs that look at the darker side of life (the occult, for one).  Justin Jay is a master of euphoric and sky-scraping hits:  marimba-like synths. go into songs that compel audiences to chant and come together in an orgy of excitement and delirium.  Swarvy puts old-skool beats and electronics together with Jazz fusions and Rap samples.  Flecks of Thom Yorke emerge in Toy Light:  a daring proposition that adds originality and personality to Electronic music.  I mention other acts- and L.A. peers of Nicky Davey- to show what diversity and excellence is coming forward.  The charts are not really indicative of what real music is all about.  Acts like Nicky Davey are creating disambiguation and given listeners something deep, meaningful and without cynicism.  There are so many artists that are fake and really lack any quality whatsoever.  Some of the musicians being celebrated/awarded at the moment- from Coldplay and Adele to Ed Sheeran- really do not give music a great name.  A trio of artists who have been derided and criticised- Adele and Coldplay’s latest albums lacked inspiration, overall quality and consistency- yet seem to scoop up awards, regardless.  Unsigned and putting out exceptional music:  Nicky Davey deserve more acclaim and following than the likes of Ed Sheeran and Coldplay.  Putting Soul and Pop into a dizzying blender has seen their fan-base climb and their reputation grow in leaps and bounds.  This year will be exciting for the guys and let’s hope they keep their momentum going.  Been Lovin’ You is a song that makes you smile and implores listeners to get involved.  Respect to a musical force that is going to be…

AMONG this year’s most exciting acts.

[youtube https://www.youtube.com/watch?v=1Sz1Xk4Fiec&w=560&h=315]

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Follow Nicky Davey

 

Official:

http://www.nickydavey.com/

Facebook:

https://www.facebook.com/nickydavey?_fb_noscript=1

Twitter:

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

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Music

https://soundcloud.com/nickydavey

TRACK REVIEW: Defeat the Band- Love and How It Got That Way

TRACK REVIEW:

 

Defeat the Band

 

 

Love and How It Got That Way

 

9.5/10

Love and How It Got That Way is available at:

https://soundcloud.com/defeattheband/love-and-how-it-got-that-way-1

RELEASED: December, 2015

GENRES: Indie-Rock

ORIGIN:

Tuscon, Arizona

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AS every day passes I am not exactly becoming...

prouder to be a British music fan.  Last night saw the televisation of the annual Brit Awards.  While the ‘Oscars’ and similar award ceremonies have been derided because of the lack of diversity- the nominees are predominantly white- the same is true of the Brits.  I am not saying we need to fill quotas or employ reverse-racism:  Making sure there are black names on the list, regardless of talent.  There are plenty of talented black artists in British music:  The award categories are too few and broad; they do not reflect the wider music community.  The Brit Awards tend to have that reputation as being white, middle-class and boring.  The ‘winners’ from the night include James Bay, Adele (who picked up four awards) and other musicians who did not exactly set the music world alight.  Adele’s album 25 was a massive disappointment and undeserved award winner.  That album did not depart from her previous efforts:  It packed little punch and range; relying on the same big ballads and tear-inducing tracks.  If this is the ‘best’ album from the past year you have to wonder what is happening with music.  Of course, 25 was not actually the best from 2015.  There are dozens of other more deserving albums:  the Brit Awards has a very ‘type’ of audience and has to configure to mainstream expectations and chart figures.  Last night showed how out-of-touch the Brit Awards is with actual music.  The fact Coldplay won the award from Best British Group- how many people would say they are the best we have to offer?!- speaks volumes about the uncool and tragic nature of the awards.  They do not represent people with an actual passion for quality music.  With no edge and terrible dated ‘humour’- Ant McPartlin wearing a dress was the nadir and death knell of their attempt at humour- you had a ceremony that dripped with embarrassment and stupidity.  The worst and most chart-friendly musicians played and were nominated:  what a terrible time and showcase for British music.  If you want to discover proper music and what it offers:  you need to stray award from the idiotic award shows and look deeper.  Maybe there will be a day when national award shows are more diverse and quality-controlled- I am not holding my breath to be honest- but forget about them.  For me- when trying to unearth great music- I do not rely on such nonsense.  Luckily my featured band has erased the sour taste of the Brit Awards.  Before I get to them, I wanted to have a look at the music coming out of Arizona- where Defeat the Band are based.  It may seem like an odd diversion to many:  I do not get to go to U.S. areas away from L.A. and New York that often!  From Gospel Claws through Jimmy Eat World; along to Dear and the Headlights and The Format: there have been so great artists emanate from The Grand Canyon State.  Given its proximity to California; perhaps it is not surprising Arizona houses so many great musicians.  Over the past few years, the state has showcased some great talent.  Future Loves Past (from Tempe) mix ‘70s Pop and Psychedelia; What Laura Says (from Phoenix) boast a wonderfully sunny ‘60s Pop sound; Gospel Claws (the best from Mesa) are one of the best Arizona has to offer.  A lot of us do not look beyond L.A., New York and obvious U.S. areas:  Arizona has plenty of wonderful bands showing what they are made of.  What Arizona does well is stamp some terrific, original Rock bands out.  Defeat the Band is starting to make waves and recently unleashed their album, Something Unheard Of.  Before continuing my investigation- and raising a new point- let me introduce the Tuscon-based band:

Anthony Winkley- Vocals, Rhythm Guitar Michael Story- Bass, Backing Vocals James Ringstrom- Drums

“Defeat the band is a Pop/Punk/Showtune band based of Tucson, AZ. Founded in early 2013 as an acoustic solo project by frontman Anthony Winkley, it has since grown to a three piece with hopes to add more. The lineup started to build and change as the band started to form in early 2014, eventually settling on James Ringstrom as the percussive backbone of the outfit. Although Anthony is the composer for most of the songs, James brings the aggressive punch necessary to deliver the experience of a DEFEAT song. The latest addition of Michael Story is exactly the boost the band needed. The new record "Something Unheard Of" released December 18th, 2015 an album meant to set the tone for a springtime US tour in April 2016. Please Download the new record atwww.soundcloud.com/defeattheband and if you enjoy the record and want to help us come play near you the donate at www.gofundme.com/defeattheband”.

The boys are doing things honestly and working hard to get their sounds heard and supported.  While the guys wear some of their influences on their sleeves:  they are not a band that wants to be the same as everyone else.  They kick harder than most groups I have come across; stay in the memory and are consistently impressive and innovating.  Among a scene of rather indistinct bands:  it is nice to discover a group that balks against the trend and does things their own way.  Our Tuscon guys are not in music for the money- although they would like to have a bit! - but get their music heard by a wider audience.  Their new album is gathering praise and review but not as much as it should.  That brings to mind how hard musicians need to campaign to get their voices heard.  It is true there are an awful lot of musicians coming through by the week.  It is a huge challenge keeping control and sifting through the silt- to get to the real gold.  I think the busier music gets; the harder it will be to champion the most deserving musicians.  Social media is only effective to an extent- and needs a lot of work- so I am not sure what the answer is.  Defeat the Band has gained reputation and respect in Arizona- and wider afield for sure- but are almost unknown in the U.K.  I hope the boys come play here as there is a market and a real demand for bands (and musicians) with realness and grit to them.  Tired of the mainstream Pop crap- and the vanilla sounds that plague award shows- we need to foster artists like Defeat the Band.  Something Unheard Of is an impressive nine-track release that proves what a force the band is.  I will follow them (as much as I can) as there are few bands that are as hard-hitting and ambitious as them.  I hope their passion and drive pays off very soon.

The band has not been around too long but have already released quite a bit of material.  A couple of months ago; the boys unveiled Sorry for the Weight:  a five-track E.P. that laid out their intentions and sound.  American Grief has Country tones and a reflectiveness to begin.  Aching vocals and plaintive strumming looks at our man in the wilderness and looking at who he is.  A song that looks inwards for answers- someone that has been blinded by city lights- you sense a soul that needs direction.  Blood Habit has a similarly acoustic-driven sound and showcases the tenderness and sensitivity they are capable of.  The E.P. is a live-sounding and raw insight into the band’s pastoral and acoustic side.  It does not have the same directness and attack of Something Unheard Of.  What you get- and a nice comparison to their album- is how diverse and able the boys are.  Capable of seducing no matter how they sound- whether calmer or going for the jugular- their songs are just as effective when stripped down- compelling when meaty and menacing.  Drawing from U.S. Rock bands- it is hard to overlook the effect Foo Fighters have had- they bring in other artists like The Front Bottoms, Pup and The Rifle.  The band was originally conceived as a solo endeavor (back in 2013) but expanded soon after.  Experimenting with line-up and sound:  the boys seem settled now and are an effective and tight-knit trio.  Given the changeable nature of the band- and how they have evolved- you would expect the music to have some weakness and uncertainty.  There is no such fate with regards Defeat the Band.  Whilst front-man Anthony Winkley puts his stamp on the music; the trio is a democracy where every player has their role and place.  This balance and brotherhood result in music that has seen the group grow in popularity and regard.  The guys will embark on a U.S. tour in a short time and take their latest album far and wide.  Given the fans they have accrued already- their social media numbers continue to widen and climb- it is clear the music is resonating and hitting the mark.  The trio employs mainstream and radio sounds together with individual touches- their native accents and intuition overrides everything- to bring us something deep, direct and nuanced music.  I cannot wait to see how the band progress when it comes to this/next year.  They have momentum but are still looking for that defining moment and a wider audience.  I know the guys are seeking money, fans and tour dates:  they are determined to be big names and have lofty ambitions.  If they continue on their path- and bring more of the same- they are not going to be secrets for too much longer.

I chose to focus on Love and How It Got That Way- I do not do a lot of album reviews- because it is the most instant and memorable (in my view) track from the album.  From the opening moments; you hear that passion and intention come out.  The drum trickles, rolls and patters; the guitars elicit punctuation of aching, sensual strings.  An upbeat and rousing introduction that gets the listener standing to attention.  You will not be able to avoid nodding your head- or moving your feet- hearing that effusive and racing introduction.  After the band have set out their stall; our hero comes to the microphone with concerns.  Whether he is in a relationship- or looking back at one that has ended- there seems to be some issues and questions.  The girl in question- the heroine that is being attested- thinks things are ridiculous; there is something teenage and juvenile in places.  Digging into the lyrics and their meaning; the listener will have their own interpretation and what the song means to them.  Maybe the love was/is not so pure.  The song’s subject is leaving our hero restless and up and night:  the memories of their bond is causing some turmoil or consideration.  There is a spikiness and directness to the heroine which have caused their scars.  When our boys lies awake at night; he starts to bring those memories back and replay the times again and again.

While some of the lyrics get buried in the mix- the instrumentation drowns some of them down- you get hooked into the song’s rousing energy and catchy backdrop.  The guitars, drum and bass kick and skip; change course and remain constantly engaging.  Never descending into Pop territory:  you have a song that brings in some Punk and Rock together with Indie and Alternative strands.  That quiet-loud switch the band have cemented appears throughout the song.  Whilst the majority of the song is quite controlled and calmed:  at various intervals, the vocal reaches an intense point and breaks through the mist.  When a new number arrives; I try and see what motivates the lyrics and pick it apart.  Looking at Love and How It Got That Way and you sense a band that have been messed around in love and are assessing something quite shallow and basic.  The heroine is someone who satisfies (our hero) sexually:  there is nothing deeper or more profound.  The girl has defiled the bed- the imagery the band employ direct and colourful language to drive the point home.  Perhaps the two lovers have different objectives and perspectives.  Maybe there was miscommunication or different ideals.  Our man is showing some scars but also maturity.  Perhaps he did not want something long-lasting or permanent but seems a little annoyed.  Whilst one part of my mind looks at the relationship and scenes- the hot and heavy nights and lack of conversation- I am also invested in the composition that keeps driving and impressing.  It has addictiveness and memorability that ensures it gets inside the brain.  The percussion drives whilst the bass and guitar chug, slam and change courses- ensuing the song remains unpredictable and nimble.  Our hero picks apart the wreckage- maybe the two are together but you’d hope not- and assessed the changing nature of modern love.  In past years- something old and vintage- love was more pure and meaningful.  It seems like there is disposability and sexualisation that is replacing emotions and longevity.  Making sure the vocals are arresting and potent; the band unites to chorus “hey” and “ho”.  That boisterousness and rabble injects some ladishness and swagger.  Maybe the two were on the same plain to begin with.  In so much as the ‘relationship’ had its shallowness; there must have been some more fulfilling times.  Our man pines over his girl and what they had in the past.  Whether it is just about sex- and getting that spark back and alive- the damage has been done.  “Until my voice is rotted through” our hero will pine and yearn.  It is a descriptive and vivid emphasis of this loss and lust.  Strangely, you begin to sympathise and wish the two would rekindle.  Maybe the girl has moved on or the relationship met an untimely and sticky (maybe not the right word) end.  By the closing notes, all has been said and you feel compelled to replay the song- hear those addictive and stunning jams one more time.

With another Brit Awards ringing in my ears (like a screaming child on a plane) I am looking for a musical cold shower.  Something that can wash away the stench of blandness and horridness.  Luckily, Defeat the Band have provided a much-needed dose of perspective and reality.  You will not see these guys pandering to the needs of the charts and mainstream radio bosses- dreary Pop with no insight, originality or guts.  In fact- if they were to attend an award ceremony- you’d like to think they would smash a few tables up and causes some chaos.  I shall leave award shows alone- I could go on for days, to be fair- but my larger point is this: the best and most worthy musicians are not represented by award shows and the nominees.  Love and How It Got That Way is a snippet inside Defeat the Band’s latest album.  I know how hard the boys have worked and toiled to get the record ‘just so’.  The U.S. is putting a lot of great bands our way and we should all be a lot more attentive.  Far too many focuses on British music and are stubborn when it comes to trying new cuisines.

Whilst U.S. politics has bat-sh**-crazy lunatics like Donald Trump rising- and moronic voters in Nevada brainwashed by his insanity- at least the music has sanity and truth to it.  Wouldn’t it be so much easier if we could get rid of the politicians- people elected to speak for us- and let music/musicians lead the way?  It would be a more popular democracy and promote peace and unity over… whatever our leaders proffer.  Anyway; let’s all do our best to look beyond predictable and safe options and celebrate music from other parts of the globe.  Before I finish things off, I wanted to come back to Arizona musicians and the impact they are making.  Go to the Internet and check out musicians like Celebration Guns, Factories and The Holy Coast- a trio of acts playing out of Phoenix.  Away from the state capital, you have a variety of agile young artists staking their claim in music.  Between Tuscon, Tempe and Arizona you have a veritable army of musicians that could happily conquer the scene- were they given enough exposure and attention.  I feel the media- and radio stations to a large extent- do not take risks and take their minds away from the larger cities/states.  I am not sure whether things are different in America- and national radio brands are more adventurous- but it shouldn’t be down to local radio/media to help champion the best a state how to offer.  New York and California get their dues and are put right into the forefront.

What of the solo artist from Boise or the invigorating five-piece from Tallahassee? We might never heard of them- unless we are in the right place at the right time- and lose a wonderful opportunity.  Maybe it is just an issue of numbers and size.  With music growing larger and more corpulent by the day:  how hard is it for a modern-day artist to get their music heard?  Arizona is a wonderfully rich musical centre but there is so much competition at local level.  As good as Defeat the Band is; they have had to work relentlessly to get their music beyond state boundaries and to a wider audience.  I guess the best music has to offer will always win out- even if their struggle is fraught and long.  I have been enjoying what Defeat the Band has to offer.  Their entire album- Something Unheard Of- showcases a consistency and solidity that few other acts possess.  Every song has that unity and tight performances coming out.  The boys have been hitting the road and honing their skills:  taking that experience to the studio and delivering some terrific tracks.  At one moment they roar and deliver feral vocals- Don’t Feed the Bears is particularly direct- whereas songs like Ultra Blue showcase depth and musical innovation- the composition is particularly impressive here.  Among the passion and fervent vocals lingers heart and tenderness.  The band switch between anger and control without a moment’s notice.  They are a collective that puts you in mind of the best stadium Rock band playing.  They have a little bit of Foo Fighters- at their most credible and compelling- without sacrificing their integrity and unique sound.  There is something pleasingly comforting about the Arizona group.  They put your mind in a better place and write music that gets in the head and makes the listener warm.  It might sound like faint praise but too many bands do not leave lasting impressions.  Go and support Defeat the Band as soon as possible:  a band who want to bring the listener in and ensure their music creates smiles and fascination.  It is hard to not love the guys and become immersed in their direct and to-the-point tracks.  Nuanced and deep; compelling and hard-hitting:  genuinely one of the most impressive bands I have encountered this year.  Don’t take my word for it…

DECIDE for yourself.

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TRACK REVIEW: Terrorista- Sarah Michelle Gellar

TRACK REVIEW:

 

Terrorista

 

 

Sarah Michelle Gellar

9.4/10

Sarah Michelle Gellar is available at:

https://soundcloud.com/terroristamusic/sarah-michelle-gellar?in=terroristamusic/sets/softpush-ep

The E.P., Softpush is available at:

https://soundcloud.com/terroristamusic/sets/softpush-ep

RELEASED: 12^th February, 2016

GENRES: Post-Punk

ORIGIN:

Toronto, Canada

TRACK LISTING:

Sarah Michelle Gellar

Softpush

Morriseau’s Black

In a Crowd

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FOR the first time this year it is...

back to a band who do things a little differently.  Last year- I can’t remember the exact date- I got to review Terrorista and their split-cassette release (they teamed up with fellow Canadians, Outer Rooms).  That particular record really excited me because it seemed very retro. and unusual.  In this day and age- where everything is digital and intangible- to release something on cassette is a bold move.  Like the V.H.S.; cassettes have rightfully been consigned to the annals of history- they were a terrible and flawed invention that were unreliable and frustrating.  Given the fact C.D.s has arrived, we can look back with fondness and relief- more bands should release stuff on cassette.  One of the good things about Terrorista/Outer Room’s endeavor was the mingling of two like-minded and forward-thinking bands.  The Punk/Post-Punk sounds produced really got into my head and elicited something quite wonderful.  I hear a lot of bands that use Punk as a template:  Splicing in Alternative and Rock sounds to create something modern and direct.  Before coming to Terrorista, it is worth talking about their contemporaries in Toronto; other Post-Punk bands coming through- completing with a bit about the wider music scene.  I have featured Toronto-based musicians before and compared them with the bands coming through in the city.  We all know the hottest U.K. acts emerging- or those relevant to us- but Canada is a bit more of a secret.  If you look at the band Toronto has produced- Broken Social Scene, Barenaked Ladies; Crystal Castles and Cowboy Junkies- and you have a vibrant and receptive musical centre.  There is not just a particular ‘sound’ or scene when it comes to Toronto.  Like all great cities- that promote diversity and variation- you have so many options and alternatives in your music.  The bands are not confined to same-old sounds and similar genres.  Last years, acts like New Chance and Princess Century were among the most productive and stunning Toronto had to offer.  It is not just the sound quality that is amazing (with regards Toronto) but the originality of the dynamics.  In some areas, you get predictable four-piece bands and little variation with regards gender and numbers.  Toronto has some great female-fronted bands coming through at the moment.  Weaves, The Beaches and The Beverleys are just a trio of names that have got critics excited and put their stamp on the local scene.  Away from female-lead acts; you have some tremendous duos doing sterling work- Terrorista are among the finest.  I love discovering an act that is not your four-piece-making-Alternative-sounds type:  The same old band we see shoved in our faces by the media on a daily basis.  It does not matter so long as the quality is up there (with regards the four-piece) but there’s a part of the brain that tires of the sameness and turgid lack of surprise.  When confronted with Terrorista last year- and not knowing their back catalogue- they instantly appealed to me.  It is not just that kinship that gets inside the brain- the boys have a kinetic energy and understanding that enforces their music- but the types of songs they were coming up with.  There is scent social media information with regards the boys- they have no official website or biography- so you have to put little bits together to try and get a full impression.  What I do know about them- it is the mainly the music and their reviews- is how highly the duo is regarded.

Terrorista are not just confined to local circles and have hometown appeal:  They are an act that have translated further afield and are making big waves in Canada.  Softpuh is the first E.P. from trhe band in a while and it is great to hear brand-new sounds from a two-piece who have a big future.  What I love about Terrorista is the attention and detail they put into their music.  The sounds recall Punk masters of the ‘70s; a little sprinkling of Alternative music of the ‘90s/’00s- a dollop of up-to-date Rock.  Together, you have an explosion of sound that digs deep and provides colour, emotion and fascination.  The song titles are eye-catching, to say the least.  Not your average tropes and boring clichés- nothing as pedestrian as Home or I Love You- the boys Hollywood nominals (Phillip Seymour Hoffman) with pithy, intriguing one-worded songs- Canvas and Prig for example.  After the split-cassette release of last year- and their Pink Tape work before that- it is exciting to hear the new stuff from the boys.  Whereas their past body of work has been cassette-themed/base; here is an E.P. that is purely digital and modern- maybe they will release it on cassette?  What does remain is that astonishing confidence and the intriguing song titles.  Sarah Michelle Gellar is a curious title- if Fall Out Boy can write about Uma Thurman; why not write a song about the former Buffy the Vampire Slayer actor? - and Morriseau’s Black compels the imagination- Norval Morriseau was an Aboriginal Canadian artist referred to as the 'Picasso of the North' whose work depicted struggles between Canadian and European cultures; spiritualism and mysticism.  If you look at the Post-Punk bands of the ‘70s and ’80s- The Cure and Orange Juice- their legacy has compelled a lot of modern-day examples.  Canadian Post-Punk bands such as Metric, Viet Cong and Fifth Column have shown there is a market for it.  A lot of listeners yearn for that revival of Punk:  Getting back to basics and producing music that provokes a reaction.  Of course, it is hard to really define ‘Post-Punk’ as it’s a sub-genre that straddles geography, sound and dynamics.  Each band (that plays Post-Punk) employs different instruments and may take a different direction.  For that reason, a lot of media sources are frantically promoting the best of the crop:  Rhythm of Cruelty, Freak Heat Waves and Teledrome are among the most hotly-tipped and exciting Canadian Post-Punk bands.  Terrorista are getting themselves out there and nestling alongside the finest out there.  Softpush is another confident step from a duo that has tremendously conviction, consistency and nuance.  In music- and in the wider sense- there is a lack of diversity and originality- the lack of diversity in music (and award nominations) has been lambasted and criticised.  For music to grow and inspire, we need to highlight artists that have that diversity and difference- put them at the forefront.  The media still has an obsession with a particular type of band and artist.  Until they broaden horizons- same goes with award show panels- we are in danger of seeing homogenisation and a rather depressing state of affairs.  I feel Terrorista are capable of- in addition to their peers- forming a shake-up in music.  Revival, improvement and evolution begin with small steps.  By embracing artists that do things differently (and have exceptional quality) it broadens the mind and leads to positive changes- other races being nominated for music awards; a less discriminatory palette.  That is a hotcake for another day- an argument I am keen to explore in depth- but for now, I am thankful Terrorista are back in force!

When Terrorista released Terror Rooms (the split-cassette offering with Outer Rooms) and the Colour Tape Compilation; there was plenty of quality and urgency to be found.  There have been no radically changes and developments over the last couple of years.  So confident and defined early on; the boys didn’t really need to change things too much.  With a hard and gritty sound; the biggest change has been the confidence and subject matter development.  The production values on Softpush are cleaner and more polished than on earlier cuts:  To that end, the guys have grown in stature and confidence and sound completely in their element.  Collaboration and touring has strengthened their sound and what you have now- across the four tracks of Softpush- are songs that demand multiple listens and reaction.  In their earlier cuts, I was compelled to come back time and time again.  This time around, that fascination has not relented for one second.  If anything, I find myself more drawn to the songs and the steps Terrorista have taken.  Perhaps the tracks are more rounded and accessible than on earlier efforts.  Whatever the reason, you can see clear evolution and improvement from a duo that gets stronger with each step.  It will be great seeing how the boys develop from here.  Whether we will ever see a full-length album from them- or that comes years down the line- I am excited, for one.  A duo that is incapable of producing weak songs:  Make sure you get a hold of the latest release from one of Canada’s finest acts.

Sarah Michelle Gellar is the first single from Softpush.  It is a perfect example of all the ingredients that make Terrorisata stand in the mind:  That instantaneousness and raw passion alongside emotional depth and compositional intelligence.  Concise, clear and seductive strings open the song:  It is a reflective and teasing introduction that gets the listener involved straight away.  The sound of the guitar- hard to explain or tie-down- has a romanticism and gracefulness to it.  Evocative and strong- knowing the duo you expect an explosion very soon- that guitar starts to move and become more ambition.  Recalling Post-Punk bands of the ‘70s and ‘80s; Alternative sounds of the ‘90s- with a bit of Grunge thrown into the mire- and you have a bubbling cauldron of exciting scents and possibilities.  I was bracing myself for something bomb-like and bracing.  That bolt and brace arrives soon enough and takes you by the lapel.  Recalling previous tracks- the sound and force of the vocal- you have some familiarity and consistency to that performance.  Fans of the duo’s older work will be pleased the guys have not made any radical departures.  New listeners will be drawn into the song’s electricity and sense of fascination.  When looking at the lyrics; you get some curious insights and possibilities.  The track’s central figure- not sure who it is in the earliest stages- has their face illuminated by traffic lights.  Maybe the song recalls/accounts a date or romantic endeavor (our hero waits for a perfect moment to say goodnight) and there is clear tension and doubt to be found.  Given the song’s title- and the images that come to mind- I wonder whether the U.S. actor was in mind when the lyrics came out.  Maybe our lead saw himself- in a dream or otherwise- courting Sarah Michelle Gellar or involved in some romantic tryst.  The listener gets caught in the ferocity and passion of the vocal.  Some of the lyrics suffer decipherability issues in these exchanges:  The lyrics get buried among the sheer noise and do suffer some clarity problems.  It is not a major quibble as the song grips you with its exhilarating slam and intensity.  I get the impression the song looks at love and the sheer joy of being involved- the duo may correct me on that.  Inside the explosions and raptured utterances, there is subtly and romantic implications to be discovered.  Those early lyrics (the reflection of the traffic lights against the heroine’s face) has a mix of teenage awkwardness and Indie movie charm.  You picture our lead waiting for the perfect moment to make a move- kiss the girl or leave the date on a high- and there is a great sense of what-if and possibilities.  Terrorista display their talent for quiet-loud dynamics and building suspense.  The heroine smiles and our boy seem in the grasp of a very delirious and soul-capturing passion.  After those near-orgasmic Punk explosions, the boys calm things down and allow reflectiveness and tenderness to come in.  Many would expect a Post-Punk band to be all about anger and rebelling against society.  It is a cliché and oversite that is seeing some great musicians being overlooked.  Terrorista demonstrate how much depth and subtlety you can being together with Punk sounds.  Sarah Michelle Gellar juxtaposes its feral moments with some restrained and reflective instrumentations.  You have a chance to breathe and reflect at various junctures.  The track has a constantly movement and always subverts expectations.  One moment it will jagged and savage; the next it will demure and show plenty of heart and soul.  While some of the lyrics will be lost and trip over themselves, the central decelerations and emotions are clear.  Our man is in the midst of a pure love and with someone who is causing all manner of excitement.  Whether this love is reciprocated, it is hard to say:  It doesn’t seem to matter at all!  That emotion and sheer passion makes everything seem right and positive.  The boy will wait until dawn for that perfect moment:  He wants things to end of a high and get a chance for another date.  Maybe the song is based on an established love- and the bond he has with a girl- or there may be some fictionalisation.  It is always great deciphering a song and seeing what inspired it.  The song’s heroine may have flaws and human aspects:  This reality makes that love more intense and provokes realisation and declaration.  You can hear that lust and affection radiate in a vocal that remains compelling and enthralled from the first to final moment.  Terrorista are a two-piece that sound like a big band.  They have so much power and potency at their disposal it is amazing to think it derives from two guys!  What Sarah Michelle Gellar shows (best) is how consistent and impressive the boys are.  A perfect example of what Softpush represents:  Sarah Michelle Gellar is a memorable track that will linger long in the mind.

Softpush continues Terrorista’s hot run of form and shows just what the boys can do.  The four-track E.P. contains no filler:  Instead, you have gems that get shinier and more precious as time elapses.  Songs that hit you upon first investigation- and reveal new wonder after further study- you have an E.P. that balks against the disposability and un-nuanced bands of the moment.  In a Crowd is a quiet-loud brooder that grumbles the one moment; snakes and crawls with venomous intent the next.  Little hints of Joy Division appear in the quieter moments:  The song suddenly explodes and brings about an intense and venomous delivery.  As “We’re all going to go the valley’s edge” where the dead will be raised- not the most evocative image in a song full of memorable visions- you have one of the most visual songs on the E.P.  That tight and intuitive bond (between the duo) is at its peak on the E.P.’s closer.  Consistently intense and focused:  In a Crowd never becomes undisciplined or loses its direction among the throng of sweaty notes and insatiable anger.  Rising from piranhas’ jaws; death-defying moments and repeated mantras lodge into the brain and create something hypnotic.  The E.P.’s title track has soft and tender beginnings- showing the range and diversity of the duo- that soon shifts to balls-to-the-wall aggression.  Snarled vocals are propelled by granite percussion and chugging guitars.  The boys’ ability to shift a 180-degree sees the song go from restful to rampant with nary a moment’s breath.  One of the grittiest and most direct songs on the E.P. - the best representation of Terrorista’s past sound- it is also one of the deepest and busiest songs, too.  The guitar notes create different impressions and ideas- there is so much depth and emotion portrayed- whilst the percussion mixes bellicose tribalism with something accessible and graceful.

The song changes path and evolves as time elapses:  A perfect example of how nuanced the duo can be at their peak.  Morriseau’s Black starts with rumbling guitars and something quite anxious at the start.  Perhaps as conflicted and vivid as its name-sake influence- the Canadian artist whose paintings inspired the boys- you have a song that looks at conflict and clashes.  The central vocal has such a passionate intensity and attack to it; you cannot overlook or ignore its ferocity.  Among the finest cuts from Softpush:  Morriseau’s Black is a song that will leave the listener guessing and wondering- just what inspired the words.  Upon first listen, you try and take everything in and remember as much as you can.  You will go back and piece new strands together; recalling memories and finding fresh revelation.  Perhaps the strongest and most focused work (the duo has created):  A confident and exceptional release from one of Canada’s finest Post-Punk acts.  Before leaving things, I wanted to (briefly) come back to my Post-Punk points; a word about Toronto music and the emerging acts to watch.  In the U.K., there is not a great deal of Post-Punk bands being proffered.  Since the days of Echo and the Bunnymen and The Cure- two of the most influential bands of the genre- there have not been too many modern examples pushed to the forefront.  That is a shame, because as Terrosita have proved, there is so much potential and excellence to be discovered.  We in Britain have some stunning Rock and Indie bands appearing:   We need some ambitious Post-Punk bands to arrive and create a bit of shake-up.  I mentioned how a lack of diversity in music is creating a negative awards culture.  When we look at the nominations for the Brit Awards and the Grammys; there are few black and female faces among the proliferation of white ones.  Perhaps it is an age-old issue- when were award shows ever synonymous with diversity and equality- and it is particular prescient in this day and age.   If positive changes will occur in years to come- let us hope controversy and protest affect change- I am not sure.  What I do know is music is less homogenised than award shows suggest.  There are so many varied and wonderful artists emerging- Kendrick Lamar’s To Pimp a Butterfly demonstrated that- who deserve great acclaim and attention.  In terms of sounds, a lot of people are not as bold and adventurous as they should be.  The only way music is going to develop and grow is by taking chances and acknowledging a broader spectrum of musicians.  Softpush is a tight and accomplished statement from a duo that do things very diffidently.  From their quirky and original cassette releases:  We have an E.P. that shows such ambitious, quality and consistency.  Canada- and Toronto especially- is hardly foreign when it comes to waves of Post-Punk genius.  Many have a particular view with regards Post-Punk:  The genre is limited and will just be noise with no depth.  That may be true of some Punk bands- who rigidly adhere to particular acts- but Post-Punk has a lot more variation and range than you’d expect.  I am glad Terrorista are back and they show no signs of slowing any time soon.  What the rest of the year will provide- tour dates or another release- is anyone’s guess.  I hope in time they come to the U.K. and play here.  Whether financial restraints hold them back- or they feel there is little demand- it is hard to say but there is a definite need for their music on our isles.  Check our Sarah Michelle Gellar and Softpush and show how music…

SHOULD be done.

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Follow Terrorista

 

Facebook:

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

Twitter:

https://twitter.com/TerroristaMusic

______________________________________

Music

http://terrorista.bandcamp.com/

FEATURE: The Optimism Playlist

FEATURE:

 

The Optimism Playlist

_________________________

AS every day passes; I find so many people taking to social media...

talking about mental health.  Whether going through stress and heartbreak; confusion and sadness:  It is always galling seeing so many people affected.  I guess it is no surprise so many of us are affected by mental illness.  It is estimated 1 in 4 of us will suffer from a mental health condition- I am surprised at that statistic, to be honest.  Most people I have ever known have suffered from some form of anxiety and depression.  I guess that figure (1 in 4) relates to those diagnosed with depression/mental illness.  To be fair, and if you think about it, how many people have never encountered depression or some form of poor mental health.  With so many of going through it- more and more by the day- there are some alarming stories coming from the press.  It seems most of us who seek help- to combat or deal with the effects of mental ill health- is not getting adequate support.  When perusing social media- I tend to do it more than I should- I am witness to statuses and comments relating to depression, stress, anxiety and other mental disorders.  Those of us who have to endure the misery of depression (for example) always find the same thing:  Most people do not understand what we’re going through.

There are great charities out there campaigning for those who have to go through dark and uncertain days.  From SANE to Depression Alliance:  Some wonderful bodies exist in the U.K.  In desperate need for continued donations and support:  I hope the government invests more capital into charities that are under-funded and overlooked.  Cancer and cancer research gets such a spotlight and focus (only right) but it comes at the cost of other charities and causes.  In 2016, mental illness is still seen as a stigamtising and divisive theme that should not have to fight for respect.  Those who are polemic and short-sighted- people with mental illness need to “get over themselves”- need re-educating and a swift kick.  It is shameful (things like) mental illness is taboo and is relegated to the shadows.  Nearly every one of those will feel the sting or depression or anxiety; the struggle of B.P.D. (Borderline Personality Disorder) or anorexia- or just a few days where we are very down and forlorn.

In the past, I have launched various attempts at a viral charity campaign- including pitches for Shelter and Mind- but have found little support and backing.  I am back highlighting SANE and the great work they do.  Having contacted the charity- I am still waiting for their reply- it is hoped they will get onboard and lend their patronage to my idea.  What I am going to do is premiere The Optimism Playlist.  It would involve sharing a playlist from YouTube.  Each listener would go to the site and select between 9 and 16 tracks that make them feel better/optimistic/reflective.  If the song (you choose) makes you reflect or more open; puts a smile on your face or takes your troubles away- put them all together!  Once you have selected your songs; share that list across social media.  Like the Ice Bucket Challenge; you would nominate a few people- not confined to three- to carry on the incentive and do likewise.

Not only does the campaign encourage people to think more about music and what makes it special to them:  They would have the chance to discover new music and artists they weren’t aware of already.  Similar social media campaigns have been met with success- #NoMakeUpSelfie for one- and raised a lot of money.  In my view, there has not been a real attempt to start a campaign for a mental health charity.  On Facebook; the post would look similar to this:

Here is my entry for The Optimism Playlist:  (List link)

Donated (amount) to: (SANE donation link)

I nominate (Person 1); (Person 2); (Person 3).

Twitter would be similar, too:

#TOP entry (link).  I nominate @1^st person; @2^nd person; @3^rd person.  (Mind donation link).

The Optimism Playlist would be easy to do/share and each ‘participant’ would be encouraged to donate to SANE- there would be a central link that allows you to donate (you can do so by text too).  With SANE on board (hopefully) it would give control to the charity and ensure they could keep a track of donations/the plight of the incentive.

The Optimism Playlist would not just be a chance to share music and spend some time checking some wonderful sounds.  The objective is to consider those who suffer from poor mental health and struggle with a harsh reality.  Go to SANE’s website and hear stories of those who live with the burden of mental illness.  It will give us- anyone not aware of the struggles some people feel- a chance to share that pain and feel more empathy and sympathy- to people who seem to be overlooked by society.

If something like the Ice Bucket Challenge- with its simplicity and vague link to A.L.S. - surely The Optimism Playlist can gain similar support?  The important thing is to include SANE and make sure mental health is brought in and put in the spotlight- rather than a viral campaign that ignores it altogether.  It will take some time and involvement- very few people take part in things like this unless it trends on social media- but I want to raise money and support for a charity that helps so many people out- their aim is to ensure everyone with a mental health problem gets the help they need.

It is no bromide of fad thing:  I want to raise thousands (if not more) for people who desperately need support and guidance.  I will officially ‘get the ball rolling’ next week and post my entry.  My choices so far (subject to change) are:

1. Higher Ground- Stevie Wonder
2. Tusk- Fleetwood Mac
3. Go with the Flow- Queens of the Stone Age
4. Up the Bracket- The Libertines
5. Don’t Mug Yourself- The Streets
6. Shake Your Rump- Beastie Boys
7. Mr. Wendal- Arrested Development
8. Step On- Happy Mondays
9. Tender- Blur
10. The Boy in the Bubble- Paul Simon
11. Grace- Jeff Buckley
12. Deacon Blues- Steely Dan
13. Groove is In the Heart- Deee-Lite
14. Carnival- The Cardigans

FEATURE: Jeff Buckley- Me, You and I

FEATURE:

 

 

Jeff Buckley

 

Me, You and I

_________________________

PERHAPS apropos of nothing...

it is to Jeff Buckley I divert my passion.  A man capable of awed hush and frisson:  A true musical angel who remains my music idol.  This feature is not entirely without relevance and timing:  In a few weeks, a new compilation is released- bringing some never-heard-before material and early cuts- that were committed to tape before Buckley recorded Grace- his seminal debut and only studio album.  You and I bring some previously heard material- Everyday People and Just Like a Woman has surfaced on YouTube- will nestle with cover versions (The Boy with the Thorn in His Side; I Know It’s Over) with an early version of Grace.  Before I investigate Buckley- and the true reasons for this post- I implore everyone to get You and I when it is released March 11^th):  It is an album that shows a once-in-a-lifetime talent in his element; showing an extraordinary talent for interpretation.  Buckley is an artist who not only penned extraordinary original compositions but was a masterful cover artist.  From Led Zeppelin- Night Flight- to Poor Boy Long Ways from Home (a traditional Blues number that the likes of John Lee Hooker have covered this); you have a range of tracks that showcase Buckley’s immense voice and peerless talent.  Just listen to Just Like a Woman—Buckley’s affection for Bob Dylan is evident and clear- and you get shivers and start to lose breath.  Whilst purists argue Dylan tackled the song with more grit and directness- perhaps appropriate given the song’s lyrics- Buckley’s version has such passion and soulfulness- elevating the song to the realms of godliness and Heaven-kissed beauty.  The way that voice wraps itself around the words- almost a sermon from a young man who could relate to every word- is just one snippet of what to expect.

[youtube https://www.youtube.com/watch?v=eh-PMHmd00o&w=560&h=315]

There will be those- Buckley fans included- that will argue against You and I’s release.  Many will ask why it took so long for these recordings to come to light- given the fact they are over 20-years-old.  Whilst it would have been easy to unveil this compilation following Buckley’s death (in 1997) perhaps it was never appropriate or right at the time.  Others will debate the reason behind the compilation- for financial gain or a way of getting every Buckley moment into the ether- and question the necessity of these recordings.  If Buckley were alive he would probably not want the record to be released- he was a fierce perfectionist throughout his career- and wants to keep these songs private.  Whichever side of the fence you come on, for me at least, You and I is a window into a phenomenal talent finding his feet- discovering who he was as a musician and singing these spellbinding love letters.  I agree it goes against Buckley’s will and desire- a conscience-troubling greediness I will have to reconcile- but you cannot leave these songs in the vault.  Every recording reinvents the original- Calling You is one of the most spine-tingling recordings from Buckley I have heard—and you feel like you are in the studio with Buckley- such is the intimacy and immediacy of the production.  It is just one man and his guitar:  Allowing the songs to pass through his blood; you feel the chills come and drift away.  I cannot wait to get the album (on vinyl; as the gods of music intended) and allow that wondrous voice do its thing.  Of course, You and I arrives with a bittersweet price:  It is terrific hearing new material from Buckley; the fact he is no longer with us is something I cannot get over…

[youtube https://www.youtube.com/watch?v=6CHwqGCnh7E&w=560&h=315]

Despite the fact I never met Jeff Buckley- I was a 14-year-old when he died- thinking about his death almost reduces me to tears:  Such a beautiful man taken in such a random and avoidable fashion.  En route to the recording studio- Buckley was priming himself to begin recording the follow-up to Grace- the 30-year-old was driving through Memphis.  Having seconded himself in Memphis- he rented a shotgun house and laid some tracks down on 4-track- things were looking very promising.  Buckley was  worlds away from New York and L.A. - the big cities he had called home at various points- and seemed at peace in a tiny house away from the hurly-burly of modern life.  Happy with how things were going- the recording sessions prior to this time saw Buckley dissatisfied with the results- and things were starting to come together.  Buckley went for a swim in Wolf River Harbour (on May 29^th) and I cannot figure out why.  Perhaps the water looked inviting and romantic that evening:  Maybe there was a lure or it was a hot day that required a cooling-off opportunity.  After being dragged under the water- passing tugboats had created waves that dragged Buckley down- the U.S. legend was reported missing- his body was discovered days later by a passing tourist boat.  It is such an unfair and insane thing to happen.  One of the music world’s most promising and prodigious talents was taken from the world in such a strange and unnecessary way!

Perhaps it is fitting of an artist so impulsive and bold that he met with such an ending.  Many will argue with mythology and ‘inevitability’- Buckley’s father, Tim Buckley, died at 28- but the truth is it was a tragic accident that should never have happened.  Maybe if Buckley had decided to drive on- get to the studio and pass by the river- music would have been changed forever.  Maybe the young hero would have retired from music in years to come- dissatisfied with the changing face of the industry.  Would he have embraced social media or seen it as an unnecessary tool that takes away human connection?  These questions will (sadly) never find an answer:  That fact causes heartbreak and immense sadness in me.  It is unusual to be attached and in love with someone who was a sound through the speakers- a human I never got to see up-close and personal.

Some people dislike Buckley and find his reputation and legacy rather shallow- a column published in The Guardian back in 2007- http://www.theguardian.com/music/musicblog/2007/jun/02/jeffbuckleynothankyou- saw the writer (a foolish human!) list her reasons and arguments.  If well-argued- plenty of passion in his disapproval- Jude Rogers- the author of the piece- saw Buckley as too calculated and self-aware; someone who penned only a few decent hits- someone who employed melisma and overly-emotive phrasing too often.  Whilst I would never deny anyone their freedom of speech; I cannot agree with anything in this article. True, Jeff Buckley was a man who knew he was good looking and had a tragic past:  Unavoidable, genetic predispositions that he could not overlook or ignore.  Given the fact he only recorded one studio album; it is unfair to criticise a lack of breadth and consistency in Buckley’s songwriting.  An artist who covered a lot of artist- the recordings that surfaced after his death (that could have featured on his 2^nd album) were by no means artist-approved and complete- you cannot judge a songwriter on the strength of a few songs.  Sometimes Buckley did over-exude when phrasing and delivering lines; some of his songs lacked necessary intensity and quality- Grace’s Eternal Life lacked the rawness and kick it would be given in the live setting- whereas So Real does not demand repeated listens.  Every artist and album contained a couple of less-than-perfect tracks- how many albums ever recorded are flawless?- and it is unfair to see Jeff Buckley as purely the result of Grace.  If you love the album- the vast majority do- or are indifferent to its charms; the American legend had so much more to him…

Why do I love Jeff Buckley, then- and the real motive behind this piece- you might be asking?  Buckley (I’ll start calling him ‘Jeff’) was a lonely man whose childhood was fraught with constant moving and instability.  Having never known his father- Tim Buckley died of a drugs overdose when Jeff was a boy- he was moved between states and cities.  Music was Jeff’s way of making sense of the world; the way for a shy man to make himself heard- a way for him to express what was inside.  So many musicians today seem so anodyne and robotic- you wonder whether there is a soul behind the eyes- you cannot connect with them or fathom why they are in music at all.  No other artists I have ever known seems so at home in music.  For Jeff, music was not just a vocation or thing to do:  It was a calling; the only thing that really made sense to him.  You only need to hear a few seconds of a Jeff Buckley song knowing how much music means to him.  Every song seems like an exorcism of sorts:  That bruised spirit finding peace and purpose in something pure, magical and transcendent.

Listen to the man talk- with that sweet and angel-like speaking voice- and you can hear that passion and love pour from him.  A human who possessed extraordinary intelligence, wit and wisdom:  Every interview I hear (Buckley conduct) teaches me something new about the world.  Not a soundbite-friendly musician who trots through interviews with expressionless fatigue:  Jeff Buckley was a man who oozed charisma, charm and authority.  The ‘90s was a decade that saw so much terrific music emerge:  Jeff was an artist who stood among the best and brightest from that time.  One of the most influential musicians of all-time; you can hear that legacy in so many of today’s artists.

The link below- a retrospective feature on Jeff Buckley- is a recent discovery that compelled me to write this piece.  A passion piece that pays tribute to a phenomenal human being:  New information and revelations came out; new sides to a musician I feel I had all figured out.  The narrators/contributors documented Jeff’s time in the U.K.- the young star was excited playing his first gigs in the capital- and the trials and tribulations he faced.  Having to overcome stupid and ignorant interviews- who unwisely brought up Tim Buckley; against Jeff’s wishes- those tense moments were overshadowed by a hungry artist who wanted to bring his music to as many people as possible.  One of the best parts of this documentary- and what really defines Jeff Buckley to me- is how anger defined his music.  During one London interview- Jeff was pissed-off after the D.J. name-dropped Tim  prior to his arrival in the studio- there was so much tension in the air.  Jeff gave one-syllable answers and was (understandably) frosty towards the D.J.  What followed- asked to perform the song Grace- is the stuff of legend.  That particular performance- against the circumstances and anger inside Jeff- dropped jaws and showed how that music; the voice and that soul can turn anything into awe-inspiring beauty and divinity.

[youtube https://www.youtube.com/watch?v=Jeno5OeURjo&w=560&h=315]

Whatever shit was happening around Jeff- whether it was other people’s stupidity or his struggles with depression and loneliness- it was the music that brought him back to a safe and warm place.  Nothing else mattered when he was lost in the moment.  All the stress and negativity were funneled into something pure and biblical.  One of the great tragedies is the fact I never got to saw Jeff perform live- imagine seeing the legend in an intimate venue absolutely owning it- so have to rely on recorded tracks, interviews etc.  Jeff might not have transitioned well into the 21^st century.  A musician who favoured intimate gigs over stadiums- most bands and artists today do the opposite- he would have hated Twitter and Facebook’s ‘influence’ on people- the way communication and friendships are faked and fed through computers.  He would have despised a lot of modern music and what it is turning into.

What I do know is- had Jeff have lived- is the joy and pleasure he would have brought to the world.  You cannot change the past and the tragedy that claims the finest humans:  We are lucky to have had this man on Earth for the short time he was there.  It is hard keeping my emotions in check when typing this- I hear his voice and picture his smile right now- and am so sad it has been 18-and-a-bit years since his death- how has it been THAT long?!  Jeff Buckley is my idol because he epitomised what every musician should be/do.  There was no calculation and fakery to his personality and words.  Someone who was uninterested in sell-out venue gigs and magazine photoshoots:  He was a pure musician that simply wanted to spend his life showing his affection for something that meant so much to him.  Perhaps it is appropriate he is no longer here- he would seem strangely out of place in today’s scene- and the world is so much sadder for his departure.

I shall leave this piece with a song/moment that (for me, anyway) defines Jeff Buckley- and explains why I idolise this man.  There was no pretense and bullshit; there was just a beautiful man trying to connect and find meaning.  If you have never heard Jeff Buckley’s music- what the hell have you been doing with your life?!- this clip perhaps defines why you should rectify this.  A one-off treasure we will never see the likes of again; I am thankful for any new material that comes to light- You and I will be on my stereo for many months to come.  Jeff Buckley made me connect more with music; he made me feel less alone and lost- a person who seemed similar to me- and I am so fu***** mad he was taken from this planet.  Whilst that anger will never abate; I am at least thankful for what he gave- and what he still gives to us- and the undeniable effect he had on the music world.  For that, and because I don’t need a reason to say this, I will end by saying…

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

THANK-YOU Jeff Buckley.

____________________________

The Jeff Buckley Playlist:

[youtube https://www.youtube.com/watch?v=A3adFWKE9JE&w=420&h=315]

[youtube https://www.youtube.com/watch?v=3MMXjunSx80&w=420&h=315]

[youtube https://www.youtube.com/watch?v=y8AWFf7EAc4&w=420&h=315]

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

[youtube https://www.youtube.com/watch?v=lOFmZ3WlTBE&w=420&h=315]

[youtube https://www.youtube.com/watch?v=cMTslWyj8hg&w=560&h=315]

[youtube https://www.youtube.com/watch?v=sA5UAbl1OWY&w=560&h=315]

[youtube https://www.youtube.com/watch?v=LzgbIaBP9cU&w=560&h=315]

_____________________________

For more information on Jeff Buckley:

http://jeffbuckley.com/

TRACK REVIEW: K-Syran- Heartless

TRACK REVIEW:

 

K-Syran

 

 

Heartless

9.3/10

Heartless is available at:

https://www.youtube.com/watch?v=bNUUFaCoT2c

RELEASE DATE:

March 20^th, 2015

GENRES: Dance

ORIGIN:

Norway

The album, Smoke in My Veins is available at:

https://itunes.apple.com/gb/album/smoke-in-my-veins-deluxe-edition/id1048025201

____________________________________

IN this rare instance I get to look away from the…

usual themes I discuss and concentrate on an artist (and sound) that is new to these pages.  Before introducing K-Syran; I wanted to look at artists coming out of Norway; acts that take their influence beyond music- completing with a bit about Dance music and mixing genres into that sound.  When I get to venture beyond U.K. and U.S. artists; I tend not to focus too heavily on countries such as Sweden and Norway.  It is perhaps a shame, as these nations are housing so many fascinating and compelling artists in music.  Not just confined to Indie, Alternative and Pop music:  There is so much more adventurousness and direction when you assess a Scandinavian act.  When we think of Norway; I guess a lot of us will envisage Heavy Metal and Thrash Metal acts and a darker side to music.  That may be true of Sweden, but as I have shown in past reviews, this is an oversite and ill-judged assessment.  Norway has a lot of those artists playing- they have spawned everyone from Wardruna to Burzum; Immortal to Taake- but there is a lot more subtlety and depth.  If you want to hear the best black Metal the world has to offer, head to Norway- make sure you dig deeper and look at artists with more heart and passion.  Whilst there is a constituently impressive music scene in Norway; few ears tend to spend much time here- assuming there will not be any treasures at all.  If new bands like Team Me have proved- an Elverum-based Indie/Pop band- there are mainstream and accessible acts a-plenty.  Aurora has recently burst onto the scene- her rather cover versions are rather unspectacular and bland- who will impress more when focusing on her own material.  A sweet-voiced singer that has enough heart to overcome her limitations:  Someone who can make an impression in music shortly.  Away from female Pop you have Rap artists- Norway does have a few, interestingly!- Awill; Indie band Comet Kid; Farao and Highasakite are darlings of Norway right now- showing how many different acts are playing in the country.  Throw in some magic from Jenny Hval, Truls and Samsaya and you are rather spoiled for choice!  I guess you just have to dig deep if you want to unearth great musicians.  Norway is a national that does not get a lot of focus from media in the U.K. to be honest:  A sin of omission that should be rectified given the musicians breaking through.  K-Syran is one of the most impressive and multi-talented coming from Norway right now.  A human who is not just content to let her music impress- her charity and ambassadorial work is laudable; I shall mention that soon- has put her in focus.  Before coming onto my next points, let me bring K-Syran to you:

“Norwegian born K-Syran is a singer-songwriter who has received acclaim for her acting achievements on stage and screen, including ‘Voyage in the Dark’ at The Young Vic.  However, her tender vocals always got her noticed and singing in each of her productions.  With a professional drummer as a father, she was deeply inspired by music from a very young age.

Her new album, recorded at the legendary Metropolis Studios, ‘Smoke in My Veins’, is a fusion of Classical, pop, rock, jazz and techno influences together to create her distinctly unique sound. K-Syran nurtured her voice as lead vocalist for a number of groups, but it is as a solo artist that she is enjoying the greatest success.

Running parallel to her catapulting music success, K-Syran has also made considerable waves on the global arts and humanitarian scene. Earlier this year, she took her own play, ‘Breaking The Silence’ to New York. The play was nominated ‘Best Play’ at the Global Summit To End Sexual Violence In Conflict organised by Angelina Jolie and William Hague. K-Syran is also raising much needed awareness for Human Rights Watch through her work”.

It is surprising that someone of K-Syran’s calibre and influence has not accrued more followers across social media (they are in the hundreds at the moment).  I have witnessed a lot of acts- to be fair, fly-by-night examples- that amass a huge following and are talked about in honeyed tones.  Whilst their name will escape the lips of many very soon; someone like K-Syran is going to be around for a long while- as a musician and as a humanitarian.  It is the worst side of social media- and perhaps modern society to an extent- that those noble and worthy receive the least; have to struggle to get their name heard.  K-Syran does not threat over social media numbers and ranks:  Her work is shouting loudly and here is a serious proposition.  Whilst Smoke in My Veins is the latest album from the Norwegian; I wanted to focus on a previous track- a little window into her past work- and how she has progressed musically.  Before arriving at that, it is worth talking about (given K-Syran’s humanitarian work) musicians that do more than music alone.  It might not seem worth discuss- I would respectfully disagree- but I feel a great pride when musicians involve themselves with humanitarian/charity efforts.  K-Syran is deeply committed to promoting human rights and is someone trying to bring about (positive) change in the world.  Too many artists simply arrive and record their music; see how it does and then carry on regardless.  I am not suggesting every new artist needs to involve themselves with other people:  It would be nice seeing more go out their way to make the world a better place.  Not only does it give music a great name; it inspires others to follow suit and continue that example.  K-Syran has that passion for improvement and humanity:  lt is hugely impressive discovering a musician that wants to affect change in society.  Blending Dance music together with Pop, Jazz and Techno; here is an artist with so much depth and endeavor.  Previous efforts have shown K-Syran bring immediacy and passion together in songs that have universality and reflection.  Smoke in My Veins is a bold testament and insight from a musician that has a promising future ahead.  She will surely translate across the land- break from Norway/London and gain plaudit further- and is making huge strides already.  In addition to playing in London (this coming March) I will be excited to see where the Norwegian star is headed.  Her sound (and album) has that ubiquitousness and mainstream appeal; there is subtle nuance and hard-hitting emotions- everything the serious music lover looks for.

Smoke in My Veins is the latest album (K-Syran’s second album) effort from an artist who has been around for a few years now.  Tracks like Heartless and Intimacy show two sides to a hungry and talent musician that will linger in the mind for a long time.  It is hard to compare the Norwegian to any other act- not instantly race to mind- so the best thing you can do is assess the tracks on its own merits.  Smoke in My Veins is a confident and multi-genre release that signals a musician that has plenty more albums in her.  I know K-Syran is a playwright- spending a lot of time promoting human rights- and someone who will not sit still and is always working.  This work rate and itinerant passion will see more music emerge from one of music’s brightest propositions.  Whether any future albums continue along the lines of Smoke in My Veins- blending Dance, Pop, Techno and Jazz together- I am not sure.  The immediacy and confidence are there right from the start; each of the album’s tracks say something new and are synonymous with directness and nuance.  You find yourself being hit and affected upon first listen:  Further investigation reveals new light and sides to the music.

Heartless is the second track from Smoke in My Veins and is the finest track the Norwegian artist has produced.  Reading interviews with her; you get insight into a musician that possesses wisdom, humanity and a great affection for the music itself.  Not an artist that simple turns up and puts the bare-minimum into the sound:  Heartless showcases the depth of imagination and daring genre-fuse that has defined her previous work.  Beginning with teasing beats and something exhilarating.  You get control and discipline in the percussion- it never needlessly explodes and wanders off- remaining tight and focused.  Those hissing undertones parabond with the striking percussion core to get the feet tapping and propels the introduction forward.  Synths. and electronic sounds linger in the background to make the composition richer and more varied.  Lush and emotive colours nestle inside the black-and-white directness.  The listener has no idea where the lyrics and song might lead after those initial seconds.  When our heroine approaches the microphone, there seem to be some recriminations and accusations emerging.  Despair and heartache would have been erased had the subject (the hero or heroine of the piece) looked our heroine “in the face”.  Whether these words look at the splits in a relationship or the breakdown of a friendship I am not sure.  There's certain universality and ubqiutousness to the sentiments; so it is hard to know the exact origins behind the song.  Riding the wave of bristling electronics- those tense and teasing beats continue to play- the vocal has an air of anxiety to it that makes you wonder what has occurred.  Perhaps there has been a lack of trust prevailing; our heroine is going to take her tears and take this person down.  In the early moments of the song- and the sound of the composition- you get recollections from ‘90s Dance acts- the likes of Sasha and Corona- that takes you back to a golden time of music.  Whilst some of the vocals have that processes/machine-fed sound to them- they create a mood and urgency rather that paper over a limited voice- you never feel like you are listening to an average artist.

A lot of Pop/mainstream contemporaries process their voice to deceive the listener.  K-Syran has a fine voice but uses technology to add a certain jaggedness and directness to the voice.  The so-called “heartless man” is not working with our heroine and seems like a deplorable sort.  Boasting an endlessly dramatic backdrop- that mix of ‘90s Dance and modern-day edginess is perfect- no one is immune to the song’s strength and meaning.  I get the impression K-Syran is attesting a past love and somebody who was not right for her.  Maybe there was deceit and cheating- maybe there were some mind games and cat-and-mouse double-cross- but whatever the situation; the man is being given a dressing-down in the track.  That central voice keeps strong and passionate- never succumbing to moodiness and ineffectiveness- and ensures the song remains focused and buoyant.  The future would be so much brighter were this man (to let our heroine) into his dreams.  There seem to be conflicts and some contradictions in the track.  On the one hand, you have that accusatory tone and a lot of anger surfacing.  There is that need to eviscerate a rather unsavoury character:  Digging deeper, there are lingering passion and feelings.  Complexity and conflictions lie in our heroine’s heart; Heartless is a song that evokes a wealth of emotions and possibilities.  That composition is not merely there to boast the foreground.  I love those ‘90s vibes and the floor-filler potential that bursts from the speakers.  The modern-day club-goer will find much to love and will no doubt revel in the ecstasy and attack of the composition.  Others will find classic strands in the music that recalls heady days and Dance artists from the past.  As the song progresses- and before that chorus comes back- our heroine keeps her campaign burning bright.  A heart that is more open and pure will become stronger and more human.  The blend of direct and oblique lyrics never reveals names and situations:  It gives each listener a chance to theroise and imagine.  As the feet and voice rise and sway; the mind imagines and the soul tries to uncover truths and the crux of the song.  Past the half-way mark of the song, there is a chance for calm and reflection.  Our heroine launches through the chorus- seeming more determined and attacking than ever- and allows her voice to really push and pervade.  The emotion and directness that comes through- bite and venom linger within the notes- cannot be ignored.  As the song progresses, your attention- perhaps just me in this case- starts to concentrate more on the vocal and composition.  I have perhaps dug as deep as I can with the lyrics- the ideas of infidelity and dishonesty; that man who is heartless and despicable- and pay attention to beats and electronics that get more direct and strike.  The final moments of Heartless repeat the chorus and ensure the central message is understood and reinforced.  By the end, you reflect on the song just past and what our heroine has had to go through.  An exorcism as much anything- there seems to be little lingering hurt and anger- it is a direct and compelling testament that perfectly highlights Smoke in My Vein’s ideas and sounds.

Smoke in My Veins is just one side to a musician that is a lot more than the music alone.  Concerned with affecting change in society- her plays and involvement with humanitarian work is to be applauded- you have a human that cannot rest and is always looking to make things better.  While it may seem separate from the music (human rights involvement) it gives inspiration for those musicians coming through; people that want to find idols and heroes.  K-Syran’s latest album shows a rare talent that will be on the music scene for a long time yet.  Heartless appears on the album and is just one- the album has 12 originals plus a few remixes- side to a mercurial artist with a terrific voice and direction.  I started this review by raising points about Dance music- splicing genres around this core sound- the nature of the life-improving musician; the great artists coming from Norway.   When I was approached with the prospect of K-Syran- via her management company- and the term ‘Dance music’ was leveled my way- I got a slight sense of unrest.  I am not a huge follower of Dance and have to pick carefully when investigating artists of the genre.  Luckily, K-Syran uses Dance as a core and expands and stretches the sound to great effect.  There is that pulsating and insatiable base- that gets the heart pumping- together with softer Pop moments; Techno savageness and Jazz seductiveness.  A mellifluous-cum-direct concoction arrives from one of Norway’s most stunning musicians.  Few of us look towards Norway when we want to find a great musician to follow.  We all tend to stay in the U.K. and U.S.:  Occasionally we look further afield but are somewhat limited in our horizons.  I am culpable of this and am glad to have been brought to the attention of K-Syran.  Her music has compelled me to look at Norway’s music scene and study the best the nation has to offer.  I stated a few examples above- the likes of Awill and Truls- and there is plenty of variation and quality.  That stereotypical view of Norwegian music pervades:  We assume there is nothing but Death Metal and rather bracing music.  While there’s a great deal- and rich heritage of- Death Metal; it is unfair to say that is all Norway has to offer.  Rap artists are shining whilst some great Pop moments are being produced.  Young Indie and Rock bands are nestling alongside the best from this country:  Norway is a nation we should all be looking to for some seriously great acts.  K-Syran is putting Norway into focus and showing just what excellent and range can be found here.  Her stunning music is just one side to a fascinating character that is making changes in the world and setting her sights high.

A playwright and spokesperson for human rights- committed to using her voice to spread positive messages- a truly modern musician that is going to inspire many others to spread themselves and think more deeply about the world.  If we look at the music itself- the album Smoke in My Veins especially- you have a talent that is getting stronger and more assured with every release.  I have looked at K-Syran’s previous tracks- some of which appear on her new album- but the sense of immediacy and quality is apparent the second you start digging into the album.  I have spent a great deal of time looking at Pop, Rock and Alternative acts these past few weeks.  K-Syran takes a hard and effusive Dance beat and marries a variety of sounds to create something stunningly evocative and blood-rushing.  If you have not encountered K-Syran; Smoke in My Veins is a perfect starting place and a wonderful representation of where she is right now.  That confidence and talent radiates in every song:  You cannot imagine K-Syran slowing down anytime soon.  I know our heroine comes to London in March to play:  Let’s hope there are more U.K. gigs booked- K-Syran resides in London now- as so many here would love to hear that music up-close and personal.  Heartless hits you from the first seconds and does not relinquish its grip until the final notes.  In the midst of the rabble and push is a heartfelt nature and openness from a musician that wants to involve the listener and bring them into the moment.  My next week will see British and American acts come together and appear under my radar.  Having heard K-Syran- and searched for some like-minded acts- I have immersed myself in the Norwegian music scene and will champion some of the best from the country.  If you want something bracing but deep; immediate and nuanced:  K-Syran is a musician that provides all you could ever want.  Heartless is a window into a talent that has a lot more to say.  Snap up Smoke in My Veins and support a fertile young musician who…

WANTS to make the world a much better place.

[youtube https://www.youtube.com/watch?v=bNUUFaCoT2c&w=560&h=315]

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TRACK REVIEW: Sunflower Bean- Easier Said

TRACK REVIEW:

 

Sunflower Bean

 

 

Easier Said

9.6/10

Easier Said is available at:

http://sunflowerbean.bandcamp.com/track/easier-said

The album, Human Ceremony is available at:

http://sunflowerbean.bandcamp.com/

GENRES: ‘Night Music’; Rock; Psychedelia

ORIGIN:

Brooklyn/Long Island/Manhattan, U.S.A.

TRACK-LISTING:

Human Ceremony

Come On

2013

Easier Said

This Kind of Feeling

I Was Home

Creation Myth

Wall Watcher

I Want You to Give Me Enough Time

Oh, I Just Don’t Know

Space Exploration Disaster

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I wanted to review Brooklyn’s Sunflower Bean- without commission or request- because…

their music and way of working really fascinated me.  One of those bands that are doing well in the U.S.- and gaining plaudit and name in the U.K.- they have escaped the ears of some.  It is not often I feature an ‘established’ act- those that have a reputation and cache to their name- and stray away from the unsigned/fledgling acts.  The group’s album Human Ceremony has just been named Rough Trade East’s ‘Album of the Month’- an honour for the New York-based clan.  It seems like their stunning blend of Punk, ‘Night Music’ and Indie has translated to us here and is gaining a lot of steam.  In spite of the recognitions and honorifics:  Sunflower Bean deserves a wider platform and more exposure than they are receiving.  I shall come to that issue soon, but for now, wanted to raise a few points.  Hearing Sunflower Bean- who cover Long Island, Brooklyn and Manhattan in their D.N.A.- give me a chance to get back into New York music; mixing older psychedelia and Punk with new lo-fi; bands that are making impressions in their home countries.  Great as it can be digging the music that emanates from the U.K.; going to the U.S. and seeking the best from their:  That is a pleasure and treat I do not get to do too often.  It is axiomatic saying London has variability and a range of different musicians coming out.  This cultural mix and genre-fusing ambition have made the city synonymous with daring sounds and stick-in-the-brain artists.   It is a claim and fact that has resulted in so many bright and agile musicians locating to the capital and staking their claim in the world of music.  If anything, New York is even more diverse and qualitative.  Given its sheer size and spread- a state that is America’s fourth most populous:  Behind Florida, Texas and California- it is not a shock so many great musicians play around New York.  Whilst California has always been a fond source of U.S. music- a state I go to when I need to discover something warm and engaging- New York has that much-needed grit and excitement.  Maybe living up to stereotypes of the states- California warm and sunny; New York more dangerous and edgy- I know New York will always produce music of the highest order.  Among a busy and no-room-to-maneuver state; I am always surprised musicians can come up with such natural and un-suffocated sounds.  Sunflower Bean is not a band who sounds hustled and strained:  Their songs have room to breathe and a terrific amount of focus and ambition.  Before I continue onto my next points, let me introduce the band to you:

Jacob Faber (drums) Julia Cumming (vox/bass) Nick Kivlen (vox/guitar)

“In their first year, Sunflower Bean has made waves coast to coast. Julia Cumming (vox/bass), Nick Kivlen (vox/guitar), and Jacob Faber (drums), draw from a wealth of rugged lo-fi sounds, adapting the heroic charisma of VU psychedelia and Black Sabbath’s dark rock to fit their own generation’s drowsy ethos”.

Having formed a few years ago, the trio quickly established themselves as one of America’s hottest propositions.  Not just confined to New York and the east of America:  The guys have played all across the land and taken their music internationally.  Recently, they traveled to France and played a gig there (playing Lille on the 13^th) before coming to the U.K. - Edinburgh and Manchester were covered and conquered.  The band is preparing for extensive dates across the U.S. - Canada is part of the itinerary too- and it seems they have little time for rest.  When confronted with a band- and deciphering why they are so popular- I de-compartmentalise their sounds and deconstruct them a little.  It always baffles my brain when certain bands do so well and gain (undeserved, to my view) credibility and gig slots.  There are too many artists pandering to critical expectations and taking risks in music.  The Indie-cum-Alternative bands that toss-off second-rate replications of existing bands- the same suspects are often subjected to piracy- are those culpable.  Whilst it is great hearing a band with passion and desire:  That should not come at the expense of originality and surprise.  Sunflower Bean has their influences and idols but cunningly mix lo-fi Punk with darker strands and Heavy Metal influences- ensuring at heart they remain accessible and embracing.  This is a trio that packs plenty of punch without drawing too much blood.  They have humanitarianism and fight; they possess contrasts and complexities- all found in music that begs for deep study and repetition.  Having enthralled and seduced America- no easy feat; even if you live there- they have deftly intoxicated Europe and threaten to colonise and dominate the globe.  Whilst they have no plans to relent touring and rest anytime soon- their next few months are going to be very busy- it would be great to see the band take some time out and relax.  Human Ceremony will be dropped soon to the public:  An 11-track album that boasts wonderful titles (Space Exploration Disaster for one) and plenty of nuance.  The album has already gained pre-released thumbs-up- including that shout-out from Rough Trade East- and come highly recommended.  Having just played Brighton last night- not sure if they are sticking around the U.K. for a bit longer- the trio is excited to see what their (first) album does.  It has gathered some respect and applause so far:  It is only a matter of time before the group plays our biggest festivals- 'Reading and Leeds' seems ready-made for them!  Being so tightly bonded and electrifying- it sounds like the guys have been playing with each other for decades- you cannot escape the immediacy and intensity of their music.  For those scared off by the pronouns, verbs and damned right proclamations:  Here is a group that welcomes the listener in and sucks them into a wonderful place.  Recalling memories of ‘70s Punk with of-the-moment Rock- via some Led Zeppelin and The Velvet Underground- and you have a group that is ready for the big leagues.

Human Ceremony is the first full-length release from Sunflower Bean.  Although the band has released E.P.s in the past- Show Me Your Seven Secrets was a 6-track cut- they have shown growth and evolution from their initial days.

   Bread was the first release from the band- recording in a home studio in 2014- and showcases some atmospheric and far-off vocals.  Dreamy and drugged- embers of The Velvet Underground echo- you have a song that has that under-produced/D.I.Y. charm and a clear signature sound.  Recalling elements of other bands- but never too obvious with the influence- the track gets inside the brain and subverts expectations.  Changing course and pace at will; the song starts to race before the halfway mark.  Tender notes and sprinting strings melt with cosmic interjections and echoed notes- creating something dizzying and intoxicating.  The band employs few lyrics- the 2^nd half of the song is largely compositional- and creates mood and fascination with the instrumentation.

Show Me Your Seven Secrets was unveiled early last year and saw the band at their moist ambitious.  Past E.P.s- 2014’s release, 2013 was a 2-track cut- were concise and short insights into the band’s current ideas.  Show Me’ boasted 6 tracks and expanded their sound across a mini-album.  2013 starts with racing strings and an air of excitability.  Carefully deployed words- lines come with an ellipsis after them to begin- leads to more heavy and hot projection.  The band showcases their unique dynamics and discipline- changing pace at a moment’s notice to evoke the biggest reaction- and seem at their most confident.  2013 is a song that contains so many details and ideas.  Futuristic and retro. at once- a song that looks back but seems like a prophecy- it has a quirkiness and charm that is hard to escape.  Tame Impala starts with some hooking bass before going straight into some devilish and attacking guitar.  Focused and intense; the vocal has such intensity and ferocity.  Reminding me of Alison Mosshart’s most febrile performances- that same sort of thrust-and-parry can be detected- the song is darker than 2013.  Head-spinning, psychotropic and teeth-baring; there are (again; like other releases) shades of Velvet Underground and bit of Led Zeppelin’s Physical Graffiti.  The blend of Rock and Avant-Garde fuses beautifully in a song that draws you in and demands a reaction.  Ok Mr. Man begins with echo and intrigue before expanding into light-seeking and impassioned compositional charge.  Whilst the vocal seems to be mixed quite low to start- playing the lesser role in the early exchanges- the band demonstrate their innovativeness and spectacular musicianship.  A composition that promotes so many images and possibilities- it drives and saunters down a desert highway- there is mysticism, heart and darkness in a song that showcases the full talents of Sunflower Bean.

Human Ceremony is not such a gamble given the past of a band that gets stronger and more confident.  Show Me Your Seven Secrets was met with critical acclaim and showed they could remain enthralling and essential when spreading their sound out.  The fear was- given this is the first album from them- whether they would sustain interest over 11 tracks.  Sunflower Bean has so much inventiveness and talent they make sure no two songs sound the same.  Human Ceremony is not a grand-natured departure or about-face:  The band keep their core sound intact and show the same confidence and quality they have always boasted.  What is new and unexpected is how assured and nerve-free the trio is across the album.  There are no weak songs and if anything, the New York band showcase their most nuanced and stunning work to date.  Whether it is the touring and honing- having spent so much time on the road- you get tight and stunning songs that remain in the memory and compel the listener to come back time and time again.

Easier Said kicks off with light and breezy strings that evoke summer and something quite pure.  Relaxed and charming; the listener is gently brought unto proceedings.  It is hard to bring other bands and sounds into mind (when considering that introduction) but you get a little drop of ‘60s Pop and Avant-Garde inside Fleetwood Mac-esque vibes.  Once those effusive and serotonin notes have completed, our heroine comes to the microphone.  Allowing her voice to stretch and campaign:  Early words see her “on the outside” trying to look in.  It seems (she) needs to prove herself and has been cast aside for some reason.  Wanting to demonstrate she is in the “right mind”; the brain instantly gets to worth uncovering the origins of the lyric.  Maybe broad interpretation steers towards love and relationship quandaries.  Maybe our heroine has encountered some fragmentation in a relationship:  Trying to get onto an equal footing; there's anxiety and desire coming through in the voice.  Needing that justice and opportunity- to prove herself and redress the balance- unafraid “to take the blame”; you get more intrigue and fascination.  She will take a chance and make things right; concede some defeat and blame perhaps.  Every word and line bring new images and possibilities to the mind.  I find myself looking at the issues of love and relations as each sentiment emerges.  Backed by lilting and graceful strings- that have that summertime Pop and passion to them- the vocal continues to impress and get inside the brain.  Never too haunted or pressing; that control and consideration ensure the listeners are never lead in one direction.  Each person has a chance to interpret as they feel and arrive at their own conclusions.  I scanned Google to see if there were any articles about the song- to see where the origins lie.  The first couple of verse are:  “You try hard to see but I'm lying/On the outside/Give me one last chance to see it/I'm in the right mind/Act so tough, make you prove/Don't be afraid to see it through/And I'm not scared to take your place/It's not your fault, emancipate”.  From those lines, I get the idea of love but also of music itself.  The lines regarding “take your place” and “emancipate” give me insights into a band that are rebelling against the tried-and-tested.

It is the curiosity and obliqueness of the lines that will probably intrigue the listener most.  Whilst the composition-and-vocal combination has dreaminess and Pop sentiments- perhaps the more serene and enchanted the band have been for some time- it is those lines that create the biggest impressions.  When the chorus arrives, our heroine attests she “heard you right the first time”.  At every turn, I grow more curious as to the reality and inspiration for these lines.  My mind is split between relationship battles and something rooted in the music business.  Perhaps Sunflower Bean is fed up with the tired bands that all project the same sound- that blend of Post-Grunge and Alternative.  Being more developed and original; there is that push against the stolid nature of music and the necessity for boldness.  Perhaps bands make proclamations about moving on/growing:  It is easier said than done when it comes to execution.  The best songs have depth and are never too obvious in their meanings.  Easier Said digs deeps and allows the listener to transpose themselves into the mix and extrapolate their own conclusions.  Whether I am near-the-mark- or some way off- it will be interesting to see what inspired the song.  When the next verse swings in; you get the same heartfelt vocal and spirited composition- keeping those warm vibes flowing- and more pieces of the puzzle.  “Trying to ride by our cabin/It's in my head/Should have just stayed home when I'd rather/Be alone instead” are lines that take my interpretations to other avenues and my thoughts start to stray away from love- more firmly rooted in something music-based or creative.  In spite of the near-ethereal nature of the voice; anger and accusation linger in the delivery.  “You’re getting old/So act your age” is delivered with the necessary amount of directness and fatigue.  Every new revelation has that unfettered and natural smile that keeps the song uplifted and positive.  The song’s core and title is a relevant one to all of us.  It is easier said than done when it comes to promises and changes.  Whether representing a friend, lover or music peers:  You get a track that has a lot of truth and relevance to it.  By the closing stages, more truth and insight is revealed.  Mistakes are being made (the same old ones) and it is getting quite sad- certain patheticness pervades throughout.  Buoyed by the light-seeking and Lush-inspired strings; the band unify for one final push.

Easier Said might be a red herring when it comes to Human Ceremony.  Reviewers and press have noted how light and airyated Easier Said appears- contrasting their most recent work and hardness.  Influenced by ‘60s and ‘70s Pop; you have a number that shows new sides of Sunflower Bean whilst keeping their core firm.  Backed by tremendous production- that allows every element to be heard and shine- the trio sound more urgent and addictive than ever before.  A beautiful composition and stunning vocal are only the start of things.  Dig deep and Easier Said reveals new layers and gold with every listen.  Whatever the truth of the song- an enigma I may never crack- it is exciting to speculate and imagine.  Human Ceremony is an album that is defined by range and variation:  Easier Said is a perfect example of the quality and passion Sunflower Bean possess.  The confidence that is lacking from some bands is compensated in the ranks of the New York trio.  Few bands sound as elemental and assured as Sunflower Bean.  Easier Said has hints of '80s Blondie with some U.K. Indie:  A concoction of genres and decades that hangs together supremely.  A stunning glimpse into their forthcoming album:  Make sure you involve yourself in the beauty of Easier Said.

Human Ceremony is an album that comes with expectations and speculations.  After amassing loyal fans and attracting the ear of the media- their previous E.P.s have all been greeted with near-universal approval- many wonder how the band with adapt to a full-length release.  Would their established and unique sound become labored over the course of 11 songs?  Would the guys betray their core- in the face of rising popularity- and go with something safer and more ‘mainstream’?  Thank goodness the trio have answered both questions with a resounding f*** off.  If anything, the New York trio sounds as urgent and meaningful as ever.  The best moments of Human Ceremony- there are many of them- are focused and assured.  No song runs too long and by the end of the album; the listener will be asking for more.  Bringing in new lyrical inspiration and fresh confidence- the extensive touring has honed them and shows in their tight compositions and assuredness- you have an album that explodes with brilliance and potential.  Our favourite new band have not sacrificed their integrity and intuitions and replaced it with something vanilla and watered-down.  Finding gold and new beauty in each number; fans can breathe a sigh of relief.  Those who have followed Sunflower Bean from the beginning will find much to love in their new album.  What is new- and will bring in fresh faces for sure- if how current the music sounds.  Whilst there are those embers of Zeppelin and other idols:  Every moment is so gripping and pure it does not confine itself to any particular group or genre.  Open and honest; layered and complex:  These are the qualities that make Human Ceremony a much-heralded creation.  I would elucidate- perhaps an album review at a later juncture? - although Easier Said is a perfect insight into an album that will firmly place Sunflower Bean on the map.  Before wrapping proceedings up; coming back to my original points would seem pertinent.  Gleaning information from interviews the band has conducted- the guys recently chatted to Paste- and you get wisdom and honesty from a group who know exactly where they want to be.  Whilst talking about the mortality of creative peak- they explained that artists and directors get better with age; musicians seem to hit their stride younger- they seem very down-to-earth and realistic.  Music is so demanding and cut-throat- the group wondered whether they would have a chance to play if their album fell short; not a fate they should contemplate- yet Sunflower Bean seems unlikely to fail.   This trio constantly evolves and grows- taking influence from modern artists like Tame Impala in addition to older idols- and write with contrasts and human emotions firmly in mind.

One of the reasons I raised a point (up top in this review) about their inimitable blend- the lo-fi Punk and ‘70s Rock- is relevant to the band’s creation and sound.  In 2012, there was a lot of Post-Grunge/Art-Noise bands playing- all sounding the same; none that inspired- and directionless-ness and fatigue around Brooklyn.  Straying from that mould; Sunflower Bean took the heart and soul of Fleetwood Mac and Led Zeppelin:  Transformed it into something modern and unique.  The band themselves have already started penning new material- perhaps another album will appear some way down the track?- and are passionate and hungry to get their music into the ether.  With New York’s reputation as the doyenne of music- the finest and most splendid bands hail here- I am not shocked Sunflower Bean have done so well.  They have seen/been put off by the rather predictable sound of 2012- that need to recapture a past movement with no imagination- and displayed the best traits of the state.  Taking guidance from their heroes and influencers- the Rock gods and Krautrock artists of the ‘70s- and you have sensational music that is constantly engaging and inspiring from beginning to end.  I am sure Human Ceremony will do a roaring trade upon its official release.  The fact it has already picked up adulation in the U.K. bodes well for potential festival call-ups.  So many people are fed up with the samey bands who headline our biggest festivals- Coldplay, rather predictably, have been announced as headliners for Glastonbury (*sigh*).  I do not know who will headline 'Reading and Leeds'- probably Muse or someone like that- but there are so many treasures waiting to be discovered.  While Sunflower Bean might not (as yet anyway) be main-stage-ready quite yet:  I wouldn’t bank against them being festival headliners very soon.  If you have not heard Easier Said; ensure you dive into song and prepare to be blown away by one of music’s biggest emerging bands.  They have worked hard and relentlessly to ensure their sounds distinguish themselves from the crowd.  I cannot wait to get a hold of Human Ceremony and see the band in the flesh.  As they prepare to head back to the U.S. - a restless and tiring tour schedule awaits them- it will give the New York trio a chance to showcase the new material and gain feedback.  For those who feel depressed with the under-ambitious nature of some bands- who seem stuck in a rut and rudderless- ensure you give Sunflower Bean proper attention.  Never ones to disappoint; their music digs deep and will take you somewhere…

YOU will never want to leave.

[bandcamp width=350 height=470 album=1281511610 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=3168079846]

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Music

http://sunflowerbean.bandcamp.com/

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