TRACK REVIEW: Toothless- Terra

TRACK REVIEW:

 

Toothless

 

 

Terra

 

9.4/10

Terra is available at:

https://soundcloud.com/toothlessband/toothless-terra/

RELEASED: 23^rd March, 2016

GENRES: Alternative

ORIGIN:

London, U.K.

LABEL:

Transgressive Records/paradYse Records

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IT is quite exciting looking at a new act that has been formed from...

an existing one.  In the case of my featured artist:  Toothless stems from the mind of Bombay Bicycle Club musician, Ed Nash.  I will come to him soon, but for now, I wanted to look at the solo artists making their mark; the way the music industry is shaping up- completing with a bit about atmospheric, dramatic sounds.  With the end-of-year lists already out there and being digested:  there seems to be an oversite, from what I can see.  A lot of (these lists) focus heavily on the bands and they produce.  Over the last few years, I have seen a varying degree of solo acts emerge.  Sometimes you get an instant, unforgettable act- someone who sticks in the mind for ages- whereas a lot seem to be rather hit-and-miss.  This year, there seems to be a lot more quality around (compared with last year).  I have grown a little weary of the B.B.C. and their predictions for the coming year.  There is that leaning towards ‘commercial’ sounds:  what will thrill the mainstreams and provide a sense of safety.  No recklessness or bravery at all:  the artists (selected) have nothing to distinguish themselves from what is already out there.  Tell a lie, actually:  Billie Marten- a young singing prodigy- is a name that should be known by all.  Her golden, tender voice is the only name (from the B.B.C. longlist) that I would recommend.  If we want music to progress- and I think we do- we must embrace musicians that do things differently.  The U.S.A.’s Abra is a magical proposition:  bedroom-made hooks and emotive songs are just what we need to embrace.  Cloves is an Australian (female) solo artist who has a honey-rich voice and a distinct down-to-Earth quality to her tones.  Tinashe is an R&B hotshot whose track B.B.C. longlist) that I would recommend.  If we want music to progress- and I think we do- we must embrace musicians that do things differently.  The U.S.A.’s Abra is a magical proposition:  bedroom-made hooks and emotive songs are just what we need to embrace.  Cloves is an Australian (female) solo artist who has a honey-rich voice and a distinct down-to-Earth quality to her tones.  Tinashe is an R&B hotshot whose track All Hands on Deck surpassed the 26-millin views marker on YouTube.  What you can tell from my examples is the emphasis on female solo artists.  In the past, there has always seemed like an imbalance:  the boys have always dominated the ‘to watch’ lists- whether part of a band or on their own.  This year, the women of music are making their voices heard.  When it comes to the guys, the gas has gone off somewhat:  whether tarnished by mainstream ‘stars’ who do not really cut the mustard; the general predictability of the genre.  It is true:  there are some sensational female artists to watch out for.  The guys should not play second-fiddle:  it should not be assumed there are few gems to be found.  I have grown weary of the placid, somnambulistic sounds being promoted across national radio.  There are some rather drab male artists around which is causing a conundrum.  If you dig hard enough; you can discover some incredible artists who deserve a lot of focus.  Ed Nash- him from Bombay Bicycle Club- already has a name and reputation.  Before I continue on- and highlight his strengths- let me (if you have not heard of him) introduce Nash to you:

“Toothless is proud to unveil a debut single, Terra. It’s released on the 13th May 2016 through Transgressive/ParadYse Records (Marika Hackman/Spring King/Blaenavon) on limited edition 7” vinyl/digitally.

Ed Nash is Toothless, a brand new project from the Bombay Bicycle Club musician. His opening statement here, Terra, was self-produced and then mixed by Beach House/TV on the Radio’s acclaimed producer, Chris Coady (with some additional production by Jack Steadman).

Toothless will make his live debut at Moth Club on 17 May. Tickets available via. DICE”.

Although backed by a rich and compelling sound:  Toothless is very much the work of Ed Nash.  In a culture where there are more Ed Sheerans than James Blakes:  we need to be promoting acts that are genuinely fresh, promising and original.  I am proud there are so many female artists getting due recognition:  they are showing the guys up; good for them.  Nash is a musician who does not need to prove himself:  his work with Bombay Bicycle Club is exemplary and captivating.  Going out alone, Toothless is anything but:  there is plenty of bite, gutsiness and snarl to the music.  That is what’s missing from the mainstream:  there are few artists that grab you by the senses and drag you into the music.  So much pacificity and laziness.  I think we have reached a point where love songs hardly prove surprise.  The acoustic guitar-strumming Pop stars have pretty much covered all of the bases over the years.  I am getting a little tired of the sickly, who-gives-a-crap nature of music:  where are the musicians who want to do things differently?  Nash’s latest carnation has certainly got inside my head.  Terra is a song that compels and grips you from the first listen.  Building, growing and campaigning:  the song lusts, lunges and swells with orchestral spelndour.  I cannot wait to hear what he comes up with next.  If he keeps this sound/style consistent- songs that have the same dynamics and style- then he could be among this year’s most talked-about solo acts.  The boys need to make their stamp- the girls have no such problems- and overturn the current malaise.  With heavy focus being paid to bands- they ALWAYS hold the majority vote- the male solo artist is in danger of slipping away and being a minor pawn.  This does not seem just or right.  If we want future generations to come into music:  we need to make sure there is balance and inspiring musicians.  The only way this will happen is to clear-out the beige, boring acts- that are not going to stay in the mind- and augment those who have drama, emotion and variation to their music.  The boy doth protest too much, huh?  Perhaps so, but I feel justified:  I want to feel music’s future is in safe hands.  The way things are; I cannot make that proclamation.

As the bass player for Bombay Bicycle Club:  we did not get a lot of opportunity for Nash to take centre stage.  The future of the band is quite uncertain- they are taking an indefinite hiatus but may be back sometime- so Nash is stepping out solo.  Bombay Bicycle Club’s last album, So Long, See You Tomorrow saw the band go out on a high note- if indeed that is to be their last statement.  Not overbearing or too powerful:  it is a beautifully captivating and emotive swansong.  Nominated for the 2014 Mercury Prize- and no small wonder- it showed the band in peak form.  The thoughtful, engaging melodies were inspired by trips around Europe and India- lead singer Jack Steadman was inspired by his travels and recorded a lot of sounds/influences whilst there.  Whilst there were some heavy and unforgeable softer moments:  it was the playful and friskier elements that resonated most with critics.  The Bollywood-esque touches were not too intense and liberal- peppered sporadically for maximum impact- and as such, the band sounded more focused and disciplined.  Luckily, there are some strands of B.B.C. in Toothless.  That swooning and hypnotic sound is all here and correct:  Nash has ensured he does not replicate the music of his former band.  Whilst Terra has melody and softness at its heart; you can hear a definite defiance: a man breaking from the shadows and showing what a prospect he is.  The kaleidoscopic, colourful moments are all there:  what you get is a revitalised musician who has his own personality.  Toothless has few comparisons in the modern music world.  I mentioned the likes of James Blake earlier- someone who can combine moody and melodramatic with huge conviction- but Toothless is a very unique force.  That is a refreshing thing in the modern age:  few acts sound new and unlike anyone else.  If you are a fan of Bombay Bicycle Club, you will be able to empathise with Toothless.  New listeners- not familiar with Nash’s past- need not worry:  Terra is a song that welcomes you in and seduces you with aplomb.  How Nash grows and develops will be exciting.  Whether he employs some of his Bombay Bicycle Club past- the softer side with Bollywood touches- or keeps consistent, will be fascinating to see.  I would love to see an E.P. come forth:  a full exploration of what Toothless can provide.  As debut singles go:  Terra is going to be a tough one to beat!

Terra begins with heavy breathing and a real air of mystique and tranquility.  Those intense breaths are replaced by something throbbing and evolving:  an electronic parable that feels like an ocean trickling in the moonlight.  Evocative and spellbinding; our hero soon approaches the microphone.  Allowing his words to flow and elongate:  Nash has finally arrived where he wants to be; cradling terra.  Whether the title refers to a sweetheart or something else, I am not sure.  In Latin, terra is the name for Earth.  The dreamy, relaxed nature of the vocal leads your mind in various directions.  On the one hand, there is a certain romance and revelation to the delivery:  a proclamation or declaration to someone treasured and special.  On the other, our man is floating in the atmosphere and seems to be at one with his surroundings.  The cosmic-cum-spacey sound gets my thinking about Earth (and the bond he shares with it).  Now that the “wait is over”:  it seems like they are united- whether a girl and Nash; the Earth and our lead- which got me thinking once more.  As the lines are delivered, the percussion builds and heats.  A militaristic roll adds energy and gravity into the surroundings:  juxtaposing with the floaty, eerier weightlessness of the opening.  This central idea- the wait being over- makes you wonder and speculate, somewhat.  It is a curious thought that could have multiple interpretations.  After the serene and soothing introductory stages:  the composition has transformed into something skyscraping and hard.  Almost like the waves crashing down- or fires burning- you can feel that shift and rawness make its presence felt.  Our hero remains graceful and soothed above the chaos:  almost at peace with what is happening around him.  If some words do get lost in the composition- as the electronics and percussion reach their height; the words get slightly compressed in the mix- the sentiments and codas are clear.  Our man is holding on and seems keeps the mystery strong.  At every stage, I detach myself from love and towards something less personal and more universal.  Given the song’s title; I am curious what inspired its creation.  Pushing against modern/boring themes- heartache and the same, cliché sentiments- Nash ensures Toothless’ debut cut transcends expectations and categorisation.  The vocals have an inimitable personality and colour to them.  Never too unconnected or intense:  you get a brilliant balance between raw emotion and floating-to-the-skies etherealness.  Similarly, the composition could only come from someone who has put his heart and soul into it.  It would be impossible to rush Terra’s composition:  I can hear the detail and discipline that has gone into the making.  All of these points stick in the mind as the song gets more urgent.  Orbiting (the Earth) “forever” you wonder whether there is imminent doom- our planet being struck by an impending downfall- or whether (the words) are metaphors for something else.  Maybe Nash- when writing this song- felt the need to disassociate himself somewhat.  Maybe inspired/harrowed by the unfolding events around the globe- terrorism and political corruption- and wants to get away from all of it.  Whatever the genesis behind Terra:  you cannot deny how the song involves every listener and makes you jump inside.

A lot of tracks can be played in the background and never elicit any emotional reaction.  Here, that couldn’t be further from the truth.  I hear little touches of Bombay Bicycle Club- although they never sounded as meaningful and nuanced- and bits of Beck, too- when he was at his brooding, experimental best (Mellow Gold and Modern Guilt are two such examples).  Thinking of Beck’s twin (aforementioned) albums, a compound comes to mind:  mellow guilt.  Those words could well be a definition for the song:  there is a degree of mellowness- stuff what is happening and submit to the Earth- but an underlying feeling of stress and culpability.  Perhaps I am over-reaching but the song does that to you:  everyone will have their own interpretation and take-away.  I have mentioned B.B.C. and Beck:  there are some little touches of David Bowie too (during his Ziggy Stardust regency).  Nash pulls from the ‘70s, ‘90s and ‘00s to create something classic and of-the-moment.  This song could have easily fitted into those decades and sounded completely natural:  it is a track that defies genres, ages and tastes.  Those who like their music modern and current will be swayed by the tremendous production and utilitarian lyrics.  The experimental, psychedelic touches will resound with fans of Bowie and Beck:  those who like their music more cutting-edge and imaginative.  In truth, few listeners will be able to quibble with Terra’s majesty.  By the closing moments, that clawing heat starts to cool a little.  The composition deconstructs and strips itself piece-by-piece.  The light comes back up and the song ends on soothing and tender notes.  Wordless vocals echo and rebound; the electronics trickle and bubble:  a perfect way to wrap things up.

Congratulations must be given to Ed Nash who has truly stepped from the sidelines of Bombay Bicycle Club.  Always a potent force in the band- the backbone that made their sound so elemental and stunning- he shows no nerves on his debut cut.  Toothless is a great name but one laced with irony:  few musicians have sounded as canine and impactful.  Terra is a song that will hit you immediately and cause a certain fatigue.  It is an intense and busy song that demands you pay attention and surrender to its mandate.  That said, you will want to come back (to the song) and let it soothe the soul.  So much detail and colour go into a song that- on the surface anyway- seems relaxed, detached and Space Age.  Kudos must go to the producer- whether it was Nash or someone else- who has ensured things are not too polished and clean.  Some elements do get buried- one or two of the lyrics lack decipherability- but overall, you have a production that seems epic and hypnotic in equal measures.  Nash shows what a stunning and original voice he is.  As a singer, he sounds everyman yet betrays a debt to no one.  You get emotion, sleepiness and calm; force, passion and soul:  all wrapped inside one another and eliciting different responses.  I would love to see Toothless create another Terra; the song deserves huge applause and attention across the country.  If we hear more artists/songs like this:  music could well get the lifeline it sorely deserves.

I have been quite negative towards some solo artists, but with good reason:  there is no room for poor quality and sameness in the music industry.  There is nothing wrong with being daring and trying something new.  It might not work out the first time- and you need to go back to the drawing board- but that is the wonderful thing.  Artists that last longest- and influence others hugely- are those that do not follow the pack.  I seriously doubt the boys will overtake the girls this year:  in terms of solo acts; they are beating us comfortably.  I would hope there can be some redress and levelling-out over the coming:  some of the chaps coming through with original and thought-provoking sounds.  Ed Nash has always been ‘on my radar’:  I have followed him since the start of Bombay Bicycle Club.  Whilst I loved the band; I sort of waned a bit towards the end:  favouring their earlier work and yearning for that kind of surprise and stun.  Luckily, Toothless is an act that has the potential to change ways and compel other artists to change things for the better.  Terra is a song that announces Nash’s arrival with confidence and nuance.  You get hooked into the song and are helpless to resist its strength and dominance.  Future listens see new layers unpeel:  a song that needs a few plays to get the most from it.  Of course, there is plenty more with that came from- let’s hope, anyway- and this is the start of things.  I am sure Nash has plans for this year already mapped out.  Whether an E.P. is coming in the spring/summer- it would seem the logical next step- that would capitalise on this early promise.  Being a prolific and seasoned musician, I can only guess what is to come.  Touring, promotion and radio interviews will all be forthcoming:  after that, the world seems like his proverbial.  I try not to get too carried away with a single song:  it is just one moment and not indicative of an artist completely.  After hearing Terra; I feel Toothless can grow even sharper and more impressive.  Maybe, emotionally speaking, new ground will be ventured:  the sound might get tweaked and taking in a new direction.  What I hope is- and surely what will happen- is that quality remains of the highest order.  Toothless show just how ironic their name really is:  one suspects Nash had a smile on his face when concocting that name.  The truth is, there are plenty of artists (of the male variety) that are just waiting to get mainstream approval.  From Rap artists Mozzy and Nef the Pharaoh; Hip-Hop’s Allan Kingdom and R&B artist Daniel Caesar are just a few musicians to watch closely.  The male artists promulgated by the likes of the B.B.C. are not my idea of what the music world need.  Sure, they have a radio-friendly sound and a bit of vigour to their music:  when you listen hard; they sound bereft of real originaility and potential.  I suppose it depends on your tastes:  if you love current Pop; you’ll no doubt love what is already out there.  I just have this feeling in the pit of my stomach:  the solo realm will see the boys battered down and a real minority.

As a songwriter, I do not want to look at the past and keep drawing influence from musicians either dead or retired.  I need to support something contemporary and of-the-moment.  As I scan the Internet, radio and social media; I find few male solo artists I get excited about.  Either there is that need to replicate someone else- fitting into expectation moulds or too limited to forge their own sound- or the musician just doesn’t have what it takes.  Luckily, there is a small band of artists who are starting to make their first steps.  Ed Nash does not need to rely on his cache to ensure Toothless gains support.  The music is very much speaking for itself, right now.  Terra has been shared and spread across social media:  fans are backing the song and ensuring it gets itself about somewhat.  If anything, more people should investigate Toothless:  get on Facebook and Twitter and throw their weight behind (Toothless).  Every time I hear a musician- either current or past- bemoan the state of modern music; I get this uneasy feeling in my stomach.  On the one hand, they make pertinent arguments:  things are not as good as they used to be.  We have to face the fact:  music reached its precipice in the ‘90s:  those days are gone and we will never see the likes again.  With that cemented, we need to start being more positive:  with passionate enforcement; music can improve and grow.  It will take a long time to do this- and a lot of changes need to occur- but we can get there in time- and revitalise the scene completely.  I shall leave with a bit about Toothless and the significance of the music.  I know so many people who all say the same thing:  “where are the musicians that stand you to attention and recall the masters of old?”  Okay, the question isn’t phrased that way, but the sentiment is unchanged:  we want to discover modern musicians who have the quality and originality of the past.  Toothless is a tanker of steel that cannot be overlooked and downplayed.  These are the early days but I have high hopes for Ed Nash’s latest project.  Gaining experience from Bombay Bicycle Club; this has been brought into a fascinating song:  the mighty Terra.  If he can follow this- and there is no reason why not- then that will be...

SOMETHING to witness.

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Follow Toothless

 

Official:

http://www.toothlessband.com/?lf=697f5f7cf3dc9a7751867ea061a15b7b

Facebook:

https://www.facebook.com/toothlessband?lf=9a8eb963f3859b5e08d888a3beb54df0

Twitter:

https://twitter.com/toothlessband?lf=8575df8d5a59df8b7d7f5a78accb6950

Instagram:

https://www.instagram.com/toothlessband/?lf=1f1363f426f279e324fcbe3d997f5678

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Music

https://soundcloud.com/toothlessband

INTERVIEW: Gary Hector of Jointpop

INTERVIEW:

  

Gary Hector of Jointpop

 

_________________________

THIS is the first time I have featured music from...

Trinidad and Tobago on my pages.  A Facebook contact recommended I check out the music of Jointpop:  the most celebrated band to hail from the islands.  Gary Hector is one of the most influential and impressive songwriters in the world and has been lauded by media and fans around the world.  This Is Radio TNT is a four-track E.P. that blends exceptional, detailed compositions alongside singalong choruses and terrific band performances.  Across the quartet of songs; the listener is treated to a heady blend of Punk; Indie and Rock ‘n’ Roll:  all delivered by a band at the height of their powers.  Jointpop are planning a tour of the U.K., and with the E.P. available to the public, there is no excuse to overlook them:

“JOINTPOP are a band from Trinidad and Tobago led by Gary Hector. They are easily the most influential band to come out of TnT (not playing the local flava: calypso) and have an international following, having toured the UK several times (100 Club, Dublin Castle, Hope'n'Anchor among many others) and the USA (CBGB's, The Mercury Lounge, etc.). This new, previously unreleased E.P 'This Is Radio TnT' was produced by Paul Kimble of legendary US band Grant Lee Buffalo. Paul is not the only person to have recognised the potential of Jointpop as they have had continued support from Tom Robinson (BBC Introducing) and Jim Gellatly (XFM Scotland/ Amazing Radio)”.

This is what they say about Jointpop: “They sound like The Clash being molested by The Beatles while smoking with Bob Marley”

 (The Guardian)

Jointpop are:

Gary Hector: Vocals, Guitar

Damon Homer: Guitar

Dion Camacho: Drums

Phil Hill: Keyboards, Backing Vocals

Jerome Gidharrie: Bass

Fascinated by the band’s progress and plans:  I caught up with Gary Hector to see what this year holds.  Few of us are familiar with the music of Trinidad and Tobago; it is an area not often covered by mainstream media.  Jointpop are putting the nation on the map and inspiring many up-and-coming bands.  The band’s lead/songwriter chats about the bands that inspired him; how the band remains so active- what they do when afforded a chance to kick-back…

________________________________

Hey Gary.  How are you?  How has your week been?

Hello to you Sam.  Yeah man.  All good here in Trinidad and Tobago.  We actually just headlined a cool weekend festival here called NEW FIRE Festival.

For those who have not heard your music:  can you tell us a bit about yourselves?

Well, we are just a five-man Rock ‘n’ Roll band- born and raised in Trinidad and Tobago (The Caribbean). We write, record and try to tour (and make a holy noise).

You are based out of Trinidad and Tobago.  What is the music scene like in the country?

Yes we are from Trinidad and Tobago:  the music scene here is cool at times; crazy at times and (mostly) terrible at times.  We are a Rock ‘n’ Roll band so that makes it even harder to be part of the local music scene- but we just do our thing.  The music of T. ‘n’ T.  is Calypso and Soca- and that is how it will always be.  We have no dreams to change- that, as it’s very indigenous to the country- and like any style there will be good and bad; so it’s all just fine.

Your new E.P. was released a couple of weeks ago.  Can you tell us a bit about the songs and inspiration behind it?

Yeah, March 2016.   The London-based Indie label Flicknife Records released the E.P.  This Is Radio TNT by Jointpop.  It includes four songs and was produced by Paul Kimble of Grant Lee Buffalo.

The songs are really social snapshots of our country but maybe they tell a similar story in other countries of this world. The four songs are:  Reality and T., Trinidad's Burning (a cover of London's Burning by The Clash); Simply Beautiful and Down to Me.

You can get the E.P. online at top download sites worldwide.

In terms of the musicians you guys grew up listening to:  which bands and artists were important to you?

Bands like The Clash, Sex Pistols; The Beatles, The Stones; Bob Marley, David Rudder; Grant Lee Buffalo , David Bowie; The Carpenters, Blondie… and lots more.

Everyone from The Guardian to B.B.C. 6 Music has celebrated and hailed your music.  What is the secret behind your success?

Yeah, we've managed to get the music out there in the U.K. and get some support which we are thankful for; and we just keep building a vibe in the U.K. over the years.

[youtube https://www.youtube.com/watch?v=LBrasuzg9Gw&w=560&h=315]

In the last 20 years, you guys have recorded six albums (quite un-Trinidadian in terms of work rate).  Do you think it is important to keep busy and putting new music?

Well, just for our sake to stay active and involved as a band.  We like to write songs and feel the sensation of it coming together.

In your 20-year career, which memories/gigs stand out in the mind?

I’m sure we forgot some along the way (haha) but mostly when we tour; we got some great memories. From playing legendary venues like CBGB in New York to the 100 club in London- and just moving around as a band in strange places around the world.

Jointpop has played all around the world- including the U.S. and U.K.  Are there any plans for you guys to come and play in Britain any time soon?

Well, with the E.P. released now, we are working on a U.K. tour in 2016 to support it. Of course, it’s easier said than done- with us coming from Trinidad and Tobago- but that’s just our story. We’re trying to hook-up with U.K. booking agents and management to help the process.  But we MUST tour the U.K. this year.

Your music mixes Punk, Indie and Rock.  The lyrics look at social issues and deeper concerns.  What inspires the song-writing process?  Do you look at the news for inspiration or relationships closer to home (or a mixture of both)?

Whatever bothers me and whatever fascinates me.  We just let it flow.

Which current-day artists- either mainstream or local- would you recommend to us?

To be honest I’ve been shut-off recently with new music for whatever reason.  It’s not planned:  I’m just not checking.  Have to start again soon…

What advice would you give to new musicians coming through, inspired by your music?

I would advise them to not take any advice.

With so many musician legends passing:  do you think we have lost the true icons and characters from music?

Yeah man, but that’s just part of us being humans, but the music lives.

The band is in-demand performs regularly.  Do you have a lot of time to kick-back, and if so, how do you spend that time.

Oh yeah, because in T’n’T. is very small so we have to space out the gigs.  So lots of time to kick back; but when we tour it’s less kick-back time, so it’s (sort of) the best of both worlds.  But I’m into sports, so either I’m playing it or watching it- football, cricket and golf.

Finally- and for being good sports- you can choose any song and I’ll play it here…

Thanks man.  The single off the E.P., Reality and T.

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

__________________________________

Follow Jointpop

 

Official:

http://www.jointpop.com/

Facebook:

https://www.facebook.com/profile.php?id=25241271136&fref=ts

Twitter:

https://twitter.com/jointpop

YouTube:

www.youtube.com/jointpop

SoundCloud:

www.soundcloud.com/jointpop

The Classics Series: Pink Floyd- The Dark Side of the Moon

The Classics Series:

 

 

Pink Floyd- The Dark Side of the Moon

 

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I am not sure whether it is a good thing that the best albums...

(from all time) are from a certain period.  Depending on which polls you look at- the range is usually from the early-‘60s to the mid-late-‘90s.  You would be hard-pressed to find an album (on said lists) that originate from the past 15-20 years.  Perhaps the best music ever created has already passed:  maybe there are some classics yet to come- we will see some genius in our lifetime, yet.  Whatever the solution/answer; there are certain albums that will always come out on top.  Music is a subjective thing that can create pitched battles and debate.  For me, personally, my top-5 albums would run, thus:  1) The Bends- Radiohead; 2) Grace-Jeff Buckley; 3) Superunknown- Soundgarden; 4) Graceland- Paul Simon; 5) Rubber Soul- The Beatles.  Inside the top 10 you can add Kate Bush and Miles Davis:  my tastes are quite ‘varied’ I guess.  Whilst my assertions are solid and unwavering; I will always have a special room reserved for Pink Floyd.

Here is a band that influenced and changed music radically.  Up until their formation- 1965 and prior- there was nobody quite like them.  The London-formed Psychedelic/Progressive-Rock band arrived into music with a huge bang:  although, that said, their first couple of albums were quite modest (by their standards).  Pink Floyd were founded in 1965 when students Syd Barrett, Nick Mason, Roger Waters and Richard Wright met.  Led by Barrett, the group gained notoriety touring the capital in the late-1960s.  The band’s debut, The Piper at the Gates of Dawn, was received with immense critical praise.  With songs being written and composed by Syd Barrett:  the music world had never really witnessed anything like it.  In 1967, the Psychedelic-Rock genre was just coming into effect:  Barrett was the proponent and master that inspired others to be more experiment and ‘out there’.  If you needed any proof- as to Barrett’s unique talents- you just need to look at the songs themselves.  Gnomes, fairies and interstellar space travel sat alongside one another.  Barratt’s lyrics saw a childlike humour and abandon sit with something experimental and strange.  Charming, short tracks were balanced with longer, experimental passages from the band.  With The Beatles recording Sgt. Pepper’s Lonely Hearts Club Band at the same time- they were just down the hall from Pink Floyd- the London group would drop one of the greatest debuts ever.  Barrett would subsequently suffer a deterioration of mental health:  he would leave the group in 1968.

In the ensuing years- with their leader no longer part of the band- Pink Floyd struggled to find their sound and edge.  Consistency and quality eluded them to a degree:  they were never able to match the dizzying heights of their debut.  It was until Meddle arrived- in the autumn of 1971- that the band started to regain focus and grab attention.  The group were transitioning between the Syd Barratt-led psychedelic sound (of the late-‘60s) and something more progressive and traditional.  Unlike earlier albums, Meddle saw each band member contribute to the song-writing.  The album was recorded between touring commitments- at studios around London-and saw the band arrive with very little direction.  Arriving at Abbey Road Studios- equip with 8-track recorders- the band relocated to AIR and Morgan in West Hampstead- which they found more conducive to their visions and demands.  After settling on studios, the business of material proved quite tricky.  Sessions would often begin mid-afternoon (and last to the early hours) and see very little music being committed to tape.  Although the band would start with simple guitar riffs and ideas:  eventually they were able to craft an album that was seen as more cohesive and appealing than its predecessor, Atom Heart Mother.  David Gilmour really came into his own as a guitarist- a fact that did not escape critics at the time- and the entire looked like they were getting things together.  Experimental, epic tracks (the album closer, Echoes, runs in at over 23-minutes long) blended with more focused, shorter numbers.  If Echoes allowed the group to combine and flex their muscles; the album’s first side was marked by fearlessness, attention to detail and inspirational song-writing.  Struggling with Barrett’s departure; Pink Floyd were starting to regain form and identity:  playing with sonic textures and mood.  Gilmour assumed a lead role- he dominated the vocals on the album- and would help shape a new era for Pink Floyd.

Following from the success of Meddle; the band followed it with Obscured by Clouds.  Based around their soundtrack to film La Vallée:  it marked a downshift for the band and a dip in quality and consistency.  Having already started work on The Dark Side of the Moon; the band would sojourn to Paris and begin recording.  The band’s drummer Nick Mason recalled how hurried and fraught the sessions were.  Constricted by deadlines; the band managed to create a 16-track album that did not impress critics and fans at the time.  A lot of the instrumental tracks seemed aimless and too light:  never engaging enough to grab attention.  The more successful numbers on the record- Blues rockers like The Gold It’s in The… and Free Four- were to provide a glimpse into The Dark Side of the Moon.  Those songs- investigating death and life; the haunting and beautiful- showed Pink Floyd were not completely spent.  In fact, Obscured by Clouds has gained retrospective acclaim:  in no small part due to its influence on their soon-to-follow masterpiece.  Acting as a soundtrack- and really not a typical Pink Floyd album- it, at last, showed the band were busy and full of ideas.  After the rather ‘spotty’ creative period of the early-‘70s:  few people would guess where the band was heading next.

[youtube https://www.youtube.com/watch?v=mrojrDCI02k&w=420&h=315]

The Dark Side of the Moon is considered Pink Floyd’s greatest accomplishment.  Although Barrett was long-gone and departed:  the 1973 album (the band’s eight) explored mental illness in addition to time, space and greed.  Whereas early Pink Floyd albums saw long instrumental passages:  The Dark Side of the Moon was a more lean and tight album.  At the time, studios like Abbey Road were more equipped to deal with the group’s desires and ambitions.  Prior to recording the album, the band met to discuss their future sounds and themes.  Keen to recognise Barrett’s legacy and mental health- coupled with the stresses of touring and recording demands- The Dark Side of the Moon would address themes that made people mad:  a singular creation that was more direct and unifying.  Previous Pink Floyd albums were marked by varied themes and rather oblique lyrics.  Waters was keen to record something that deals with a single issue- explored in a number of ways- and ensure their words could be understood and interpreted by all.  Waters would record early demos at his house in Islington:  every band member participated in the album’s recording; ensuring it was one of their most together and unifying work.  Knowing they were going to push the limits and produce something epic:  the band got very serious about recording equipment and hardware.  A 28-track mixing desk was purchased with a new P.A. system.  This was the first Pink Floyd album recorded on tour- the band would hire three lorries to transport their kit around- and it was to prove a masterstroke.  Whether inspired by the cities and people they saw; maybe the band was more together and focused:  whatever the reason (Pink Floyd) were at their peak and in tremendous form.  Although their tour of North America and Europe was lengthy; there were few interruptions to the recording process.

The Dark Side of the Moon is charcaterised by the transition from experimental instrumentals- defined by Barrett’s writing and leadership- to music that was more honed and less psychedelic.  Despite the band abandoning Barrett’s musical template and ideals:  his legacy and influence can be heard throughout the record.  From the philosophical deep lyrics to the addressment of mental health deterioration:  Barrett, essentially, was an uncredited writer/producer.  Each side of the album is marked by a continuum:  the songs flow into one another and acts a concept piece.  Early songs like Breathe and Speak to Me contrast the mundane nature of life with the ever-looming threat of madness and disintegration- the need to live life and show empathy.  Transitioning to the airport-based On the Run highlights the stress of travel- made more personal by Wright’s fear of flying- while Time shouts against those obsessed by life’s mundanity and insignificances.   Ending with a flourishing, heavenly evocation of death and transition:  The Great Gig in the Sky stands out as the album’s defining moment.  Not just the most curious creation by Wright- coming into his own as a songwriter- but Clare Torry’s extraordinary, peerless, vocal performance.  Over the course of one side, the band had covered so much ground and addresses a myriad of concerns and themes.

If listeners were unmoved and motivated by the opening half- that compelled people to stop fixating on the unimportant; lend more credence to life’s importance and brevity- the second side would leave no doubt.  The change-rattling opening to Money focused on greed and corruption.  Mocking consumerism and greed that pervaded society:  it stands as one of the album’s most celebrated (and, ironically, most commercially successful) moment.  Us and Them is a harrowing investigation of isolation and depression.  Any Colour You Like is an ironic track that highlights the lack of choice (one had at the time) in modern society.  Brain Damage is the most Syd Barrett-related track across the album.  It is a testament to their brother’s breakdown and disintegration- looking at the wider issues of depression and mental health.  Eclipse looks at alterity and unification:  encouraging people the commonality and togetherness of mankind.  An album defined by dichotomy, duality and conflict:  The Dark Side of the Moon was the band’s most extraordinary and vital work.  Few albums at the time had addressed such vital themes:  capitalism and greed; embracing the beauty of life; stop focusing on the stupid, unimportant things in life.

[youtube https://www.youtube.com/watch?v=cVBCE3gaNxc&w=420&h=315]

It was not just the lyrics that resounded with critics at the time.  In terms of composition, the most advanced recording equipment of the time was used.  Abbey Road’s 16-track mixes allowed the band to let their minds run wild:  as such, The Dark Side of the Moon is one of the most vivid and sonically ambitious records in their cannon.  From the tape loops and sound effects of Money; the metronomic effects of Speak to Me:  this was one of Pink Floyd’s most daring and imaginative albums.  Clinking coins and tearing paper (Money); the chimes of antique clocks (Time); the bass drum simulating a human heart (Time, Eclipse; On the Run and Speak to Me) are memorable sounds from a defining record.  From the instrumental and sonic experimentation:  the band was equally daring when it came to vocals.  The band employed more harmonies- Wright and Gilmour could harmonise their voices; they had very similar tones- and Clare Torry’s contribution is perhaps the defining moment of the album.  When Torry arrived in the studio; Gilmour took charge of directing the session.  Trying to explain the concepts of The Dark Side of the Moon; Torry improvised a wordless vocal run in the booth.  Backed by Wright’s emotive piano line:  Torry was initially embarrassed by her ‘flair’ in the recording.  Wanting to apologise to the band; Torry was surprised to find they loved the performance.  It is really not hard to see why:  the end result is one of the most breath-taking vocals of all-time.  If Torry’s singular performance was hard to top; the group were much more daring and bold when it came to vocals.  Waters wrote a series of flashcards with questions printed on them.  Handing them to staff and occupants of the studio:  their answers were recorded and used throughout the album.   The Irish doorman, Gerry O’Driscoll provided the immortal words:  “I am not frightened of dying. Any time will do: I don't mind. Why should I be frightened of dying? There's no reason for it – you've got to go sometime”- appears on The Great Gig in the Sky.  Elsewhere, answer snippets were peppered throughout the album:  giving it a real human touch and providing some of the quirkiest and most noteworthy moments.

Whilst some critics were tepid towards the album’s release- lambasting cliché lyrics and an imbalance between sides one and two- the sales figures told another tale.  The Dark Side of the Moon stayed on the Billboard chart for 741 weeks; it has gone on to be the seventh biggest-selling album of all-time- behind Michael Jackson’s Thriller- and certified 11-times platinum.  If some reviewers (when the album was unveiled in 1973) were a little unsure of the album; subsequent reviews have isolated just what a milestone (the album) was.  The most focused and dense albums of Pink Floyd’s career:  it would provide the band’s members with extraordinary wealth and opportunity.  As a creative piece; The Dark Side of the Moon changed Rock music and ranks as one of the most influential albums ever.  Radiohead’s OK Computer is seen as a ‘90s version of The Dark Side of the Moon:  both albums address the struggles of the modern world and themes of isolation and loss.

Two years later; Pink Floyd would create another masterpiece:  the staggering, Wish You Were Here.  The five-song album saw a sort-of return to the lengthier, experimental tracks of old:  Shine on You Crazy Diamond bookends the album and- both parts combined- top-in at 26 minutes.  After the celebration and applause lent to The Dark Side of the Moon:  the band’s bond and unity were starting to fray.  Some critics had addressed The Dark Side of the Moon in sour tones- the band did not employ a publicist to filter the bad reviews out- and there was a feeling of negativity in the ranks.  Whereas The Dark Side of the Moon assessed the vitality of life and societal issues:  Wish You Were Here documents the band’s weakening and a critique aimed at the music industry.  Shine on You Crazy Diamond nodded to their fallen brother, Syd Barratt:  the group remember him fondly and feel the hole he had left.  Pink Floyd had found extraordinary wealth and the fulfilment of childhood dreams:  they had reached their goals and became drained by touring demands.  Although the group struggled with new material- Waters began to conceive the album’s concept soon enough- Shine On’ became the album’s celebrated centrepiece.  Welcome to the Machine and Have a Cigar are attacks on the music industry- pouring scorn on the fat cats and idiot up-comers who would ask inane, clichéd questions- and showcase an angrier band who were tired of the pressures they faced.

[youtube https://www.youtube.com/watch?v=cpbbuaIA3Ds&w=560&h=315]

Again- and like The Dark Side of the Moon- Wish You Were Here was met with muted praise.  Some critics found the album lacked imagination and the depth of its predecessor.  Some were, perhaps fairly, sensitive at the attacks towards the industry at large- feeling the band were taking pot-shots at critics in the songs.  Wish You Were Here, if anything, is heled in higher esteem by some critics:  noting how its clear soul and sincerity was a testament to a band that could create magic against the backdrop of turmoil and uncertainty.  Whichever side you fall on- or whether you prefer albums like The Wall- you cannot deny the strength and influence of Wish You Were Here.  I am shocked Pink Floyd managed to produce the album at all.  Given the success and money that arrived with The Dark Side of the Moon:  the band became jaded, worn and directionless.  Few modern-day groups could produce such a wondrous turn-around.

Absolute Radio listeners just voted The Dark Side of the Moon their favourite album ever- for the second time- and it shows what a legacy the album has.  The texture, melodies and depth (of the album) spurred the band to up their game and become more adventurous.  Who knows what music would sound like were it not for The Dark Side of the Moon.  In the ‘70s it transformed the scene and marked Pink Floyd as one of the world’s most astonishing and bold acts.  Just have a listen to modern music and you can still here the album resonating and striking.  The band are still playing but have never reached the giddy heights of the early-mid-‘70s.  The love The Dark Side of the Moon receives shows (the record) is not just a product of its time.  The themes explored are relevant and vital today:  as the world becomes more obscure and dangerous; the tales of isolation and embracing the good seem ever-pressing and vital.  Whether you escape in the ambience or let your imagination surrender to the compositional brilliance:  there is something for everyone within The Dark Side of the Moon.  As much as I play the album, I can never get the bottom of the multi layers and ideas.  It is a record that always reveals something new and suits a multitude of moods.  Few albums promise that, and for that reason, Pink Floyd’s masterpiece remains one of music’s…

MOST timeless wonders.

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

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TRACKLISTING

SIDE ONE:

Speak to Me

Breathe

On the Run

Time

The Great Gig in the Sky

____________________

SIDE TWO:

Money

Us and Them

Any Colour You Like

Brain Damage

Eclipse

______________________

DOWNLOAD

Breathe; The Great Gig in the Sky; Money; Brain Damage

STANDOUT TRACK

The Great Gig in the Sky

ALBUM REVIEW: Chess Galea- 1869

ALBUM REVIEW:

 

Chess Galea

 

 

1869

 

9.5/10

1869 can be streamed at:

http://www.chessgalea.com/

OFFICIAL RELEASE (digital platforms): 18^th April, 2016

GENRES: Soul; Pop; Alternative

ORIGIN:

Surrey, U.K.

TRACK LISTING:

Intro (I’m Ready) - 9.5

Hard to Handle- 9.6

Ready to Roar- 9.6

Perfect- 9.5

Missing Person- 9.5

I Am- 9.5

Because We Can- 9.6

Sold- 9.6

Beautiful to Me- 9.5

#PL- 9.6

Right Now- 9.5

Wherever You Are- 9.5

No, You Can’t Go- 9.5

Sold (Reprise) - 9.4

DOWNLOAD:

Hard to Handle; Ready to Roar; Because We Can; Sold; #PL

STANDOUT TRACK:

Ready to Roar

____________________________________

I have been looking forward to this review, as my featured artist...

was one of my first (reviews).  I have watched Chess Galea emerge, develop and grow:  Her album, 1869, is her first full-length release.  Before I come to that, I am interested looking at the current music scene; the best solo artists around (and what makes them so) - looking at what it takes to succeed.  Yesterday- when reviewing London-based artist Natalie Gray- I was amazed at the vocals and composition laid out (on the track, Little Secrets).  Modelling herself as a Katy Perry-cum-Kelly Clarkson singer- U.S. tones and an overall Pop sound- there are few that are leaving impressions in the imagination.  Gray is an artist capable of making her stamp on the music scene:  I wonder how many others have that potential and ability.  Yesterday, I was listening to an interview with Kate Bush (she conducted with Mark Radcliffe in 2011; promoting her album, 50 Words for Snow).  During that interview; Bush was quizzed about the current music scene:  what her views were with regards its state and consistency.  The reply- even back then- was a bit of a revelation:  it is a mess that is showing deterioration and an abiding lack of quality.  One of the major problems with today’s music is how impersonal and factory-produced it seems.  Songs whip off the conveyor belt and are released into the ether:  songs drop on iTunes/SoundCloud and lack that personal touch.  One of Bush’s criticisms- among many others- was how few albums there are:  you get a lot of songs/E.P.s but nothing tangible and real.  There is that crux between demand- the public wanting something now; else their minds will wander- and the real-world cost of producing an album.  With studio prices rising and technology ruling things- the days of simplicity and home-recorded albums are waning- musicians are being priced out of the market.  Chess Galea is an artist who understands these concerns and responds with aplomb and conviction.  1869 is available via her official website- to stream ahead of its official release- but here is an artist who has a fondness for music’s glory days and the vitality of a physical release- something you can hold and enjoy time and time again.  Knowing Galea, I understand how costly the album’s creation has been.  Enjoying some time abroad- able to pen songs and find inspiration in warmer climates- she has toiled to ensure 1869 is the best it can be.  Having to scrimp and save with determination- affording few luxuries along the way- we have an L.P. that shows that sweat and devotion.  I know 1869 will be released on C.D. but it (is also a creation) that would look wonderful on vinyl- perhaps a limited edition series would be affordable?  Whatever she has in mind, I have been anticipating this album for years now.

Before I carry on- and if you are unfamiliar with Chess Galea- let me introduce her to you:

“Chess Galea announces the release of her debut album ‘1869’ - Official release 18th April 2016

An eclectic blend of old-school sounds and feel-good pop, Chess has penned an album that  touches every emotion. The album is written and performed from the soul - Chess writes about current affairs of the world and pressures of society, as well as bold affairs of the heart. You’ll find songs to dance to and songs to enjoy with your eyes closed.

The UK launch party will be held on 20th May at PRIMO BAR London, Park Plaza Hotel 7:30pm start (support by BR James). The Malta Launch Party will be held on 6th June at 7:30pm at Razzett L-Ahmar (support TBC) Chess started her music career in 2010, with her debut single reaching number 1 in the Maltese radio charts. She’s been nominated for ‘Best Solo Artist’ there, in her home country, featured on BBC Introducing & Best Of British Unsigned, collaborated with DJ’s around the world, sang her heart out in New York and the Caribbean, and she’s now ready to show the world what she really is about”.

Chess Galea is one of the U.K.’s finest young songwriters right now.  After a few years in the music industry- recording songs anyway- the progression and steps she has taken are hugely impressive.  I have been supporting Chess Galea since her E.P. days:  the Babygirl beginnings; the Tuxedo step-up; across to her here-and-now.  Whereas Babygirl showed sweetness among strength- some vulnerability against real-life tales- Tuxedo boasted more maturity, confidence and passion.  Babygirl was a wonderful release, yet Tuxedo was Chess Galea in full flight:  1869 brings her previous work together and shows another leap forward.  With every solo artist I hear, I do wonder how long they will last in music.  Maybe a great song/E.P. will arrive but I worry:  will they ever keep that quality going and endure?  Perhaps Kate Bush had a point:  the honest, real way of working has been replaced by something impersonal, rushed and bitty.  Chess Galea is one of those artists bringing music back to what it used to be.  1869 is a fully-fledged album that shows so much passion and personality:  every song oozes conviction, effort and dedication.  Another factor (behind Chess’ success) is the mix of sounds she employs.  Being a fan of ‘80s and ‘90s Soul-Pop artists- from Prince and Michael Jackson to Freddie Mercury- you get a blend of the older and new.  Kelly Clarkson, Lady Gaga and Christina Aguilera are influences:  there is that leaning towards American sounds but Chess’ sound always retains that unique, British sensibility.  I have seen few artists that are prepared and organised as our heroine.  Her official website- http://www.chessgalea.com/- is gorgeously-deigned and hugely accessible.  You have everything you could need there:  social media links and new music; news and contact details.  Similarly, her social media feeds are up-to-date and detailed.  From her images to logo designs; the website through to the promotion side of things:  I am impressed and stunned by how professional it all is.  Chess has also started up her own label and is taking care of the promotion and album launch:  few other artists are this disciplined and hard-working.  I am getting tired of modern-day acts putting so little graft into things:  they have a manager and P.R. team and see to disassociate themselves with the process of music-making and production.  Chess involves herself from start to finish, and as such, 1869 is a deeply personal work that comes from a very special talent.  I was a little wary when the album came out:  would a 14-track record be able to hold attention and fascination?  Would there be filler material and some bloating?  Well; the answer is a crystal-clear:  she has managed to make a stunning record, that if anything, seems a little short.  By the end, you want to hear more and keep the music playing!  That insatiable mix of sassy, confident vocals- vibing the likes of Freddie Mercury and Michael Jackson- sit with contemporary soulfulness and Pop.

Whereas previous releases Babygirl and Tuxedo are the sounds of a young woman finding herself- both personally and professionally- 1869 is the sound of the woman fully-formed and arriving.  Babygirl mixed redemptive tales and against-the-odds support.  Storm and Breathe had anxiety and struggle at their heart but implored defiance and fight.  The E.P. was very much a statement of hope and staying true to who you are.  Things Take Time left little to the imagination and was very much the perspective of a young musician with her sights set:  knowing success and respect take years to arrive.  Tuxedo arrived and showed Chess inject a more saucy and hard-edge sound to her songs.  In the same way Michael Jackson created Off the Wall- a personal, accessible and confident album- and then produced Thriller- a more direct, authoritative and Rock-influenced album- Chess performed the same feat.

Tuxedo was a more judgmental and angry affair.  The vain and shallow subjects of Vanity were being given a dressing-down and kick to the teeth.  Maybe motivated by night-life around town or people she came into contact with:  this was a record that denounced modern culture and embracing the stupid and vain.  Tuxedo boasted a more rich and gutsy production sound- more raw and powerful than Babygirl- and shifted its focus from soulful strength to kicking against those who bring people down.  If Tuxedo was a Jackson-esque Thriller:  1869 is very much the Bad/Dangerous regency:  the superstar hitting peak form and addressing modern-day concerns with personal struggle.  1869- unlike its predecessors- looks at the plight and realities of the modern world; bringing in something more personal and universal.  I only use the Jackson analogy because Chess shows a similar development.  1869 is an angry album but one that shows plenty of consciousness and heart.  1869 is Chess’ most rounded and complete work.  Addressing societal pressure and matters of the heart:  the album covers so many bases yet has a consistency and focus that is hugely impressive.  This ambition and confidence has resulted from inter-album releases and live performances.  Recently, Chess put out a Covers album:  songs from her favourite artists with that distinct Chess stamp.  The Great Gig in the Sky- a sensational and hauntingly powerful version of the song- sat alongside Jazz standards.  Collaborations, covers and one-off originals have been delivered- the young star is one of the busiest musicians in the world- and all lead to her debut album.  Uniting her previous E.P.s- the mix of emotions and subjects- so much effort and time has gone into the album.  Over the past 7-8 months, Chess has put her heart and soul into the album:  the results speak for themselves.  Mixing Britney Spears with Nelly Furtado- especially when giving thanks and in spoken word territory- there is a contemporary, Pop-based sound that comes in hard and intent.  Announcing her arrival with a stunning opening:  1869 gets underway…

1869 begins with a lovely introduction that gently brings the listener into the fold.  Intro (I’m Ready) starts with wordless vocals that are chorused and emphasised.  Backed by quirky electronics and tumbling beats; you get a list of singers being announced- from Britney Spears to Christina Aguilera; Michael Jackson to Prince- of the artists important to Chess.  Those beats become heavier and hotter and our heroine keeps the list going- James Brown is thrown into the pot.  After the echoed, in-the-background announcements:  our heroine comes to the spotlight and lays down her statement.  She has been waiting in the shadows but her time is now:  ready to conquer and follow in her heroes’ footsteps.  “It’s been a tough, long road” it is said.  Not only a perfect way to introduce the album:  the song stands on its own feet and has its own gravity.  Perfectly highlighting the albums influences- the new sounds and old heroes she hails- it gives fans (old and new) a mission statement from 2016 Chess.

Scatting from the opening notes:  Hard to Handle shows Chess at her most bracing and direct.  With a girlish laugh and Jazz hands-aloft swagger:  there is a blitzing horn sound that notches the song up a level and adds electricity and pizazz.  The song’s title refers to our heroine who can be “illogical” and unpredictable.  A little misspoken and direct:  this is a rare assessment of faults and downsides.  Few artists are self-examining and soul-searching.  The mechanical, snarling horns- mixing beats into a machine-like stride- back vocals that are carefully deployed and delivered with a mix of sensuality and honey-dripping soulfulness.  A brash and hypnotic stunner- where our heroine is a little bit Grace Kelly; “A little bit Grace Jones”- you cannot help but smile and submit that that intense performance.  Chess lays it on the line and just admits it’s “who I am”.  Twisted horns and rushing vocals remind me a little of Christina Aguilera’s early work.  Everything in the track holds together and hits the mark.  The composition is hugely inventive and atmospheric:  backed by tremendous production and the appropriate amount of polish.  The lyrics are never cocky or insincere:  our heroine is confessing and explaining she is human (just like us all).  Hard to Handle is in the perfect place:  up-top and one of the first real ‘hits’ on the album.  Picking up the pace:  the song starts to jog and instill energy.  Bringing in elements of Doo-Wop and Swing- you get echoes of 1930s/’40s groups like The Andrews Sisters.  It is charming hearing of-the-moment production bring in older elements:  ‘90s Pop and close-harmony strands sit together with huge confidence and conviction.  The boy in question- at the centre of things- has been warned and given notice- our heroine has her ‘moments’.  An additive, head-nodding; body-rocking jam:  Hard to Handle shows Chess at her most assured and in-control.  An electrifying vocal and incredible musicianship ensure 1869 lodges itself in the mind at the earliest possible moment.

Ready to Roar is a song that sings its intentions without a note being played.  Jubilant, rushing brass- sounds of ‘70s Soul, ‘00s Pop and old-style Jazz infused perfectly- ensures 1869 keeps up the tempo and (keeps the) sound consistent.  Once more, you get primal, rumbling percussion:  our young star is at her most exhilarating and assured throughout the album.  Whereas previous releases- Tuxedo and Babygirl- have employed piano and more Pop-led sounds:  1869 utilises Blues, Jazz and Soul motifs through a modern-day prism.  Chess is at her most mature and contemporary all at once:  bold, fresh and ready to attack.  The song’s hero- perhaps Galea’s current love- has given her strength and motivation.  Knowing Chess- and the support her boyfriend gives her- I cannot help but think part of this is dedicated to him.  That endless championing and backing has fed through a soul that is more safe and grounded than ever.  Past records have seen Chess wrestle with emotions and the uncertainties of love:  now, she is a woman reborn and in a very good place.  This emotion shift does not come at the expense of soul:  Ready to Roar sees that staggering voice at its most nuanced, layered and exciting.  “Your faith in me has made a different” is no understatement.  Props must be given to Chess and her team (producers) who have fashioned a sensational composition.  You get elements of U.S. idols- Britney and Christina- yet Chess creates something even finer:  music that brings in myriad genres/time periods and ensures everybody will be singing and dancing along.  This generosity- that her man is displaying- comes with no agenda and reciprocity clause.  It is rewarding finding an overtly positive song:  one that celebrates the vitality of a good man and what that can do.  Knowing some history behind the song- relationship transitions and Chess unsure whether she should give her heart so soon- I am thrilled it is being addressed in mature and open terms.  Here is a woman that is at her happiest and most content:  the gambles and trust she has shown has been repaid with affection and loyalty.  Blending echoed/processed vocals with that raw, impassioned core:  you have a song that is agile, constantly engaging and utterly infectious.  Ensuring the track order is bang on:  Chess ensures 1869 begins with passion, power and electricity.  By the third track you are hooked and invested- curious and excited to hear what comes next.

Perfect has been championed by local radio and no wonder.  After the positivity-cum-rousing slam of the previous two tracks:  Perfect takes things down slightly and sees our heroine in more pensive, unsettled mood.  Sitting here “frustrated”:  there is an element of discontent and disquiet that pervades the piece.  The composition remains fairly demure:  there are some hard beats but the soft, delicate piano line keeps things in-check and restrained.  It is the vocal that rides high in the mix:  speaking of perceptions of beauty and false ideals:  Chess openly addresses issues in society and notions of ‘perfection’.  Shifting thematic attention from personal to worldwide:  she handles the subject with grace, emotion and intelligence.  “How can this be a flawless society?” she asks.  Before long, electronics buzz and the percussion tightens and rises.  The song’s chorus directs its attentions to a subject:  maybe the embodiment of fakery and vanity.  Whether addressing models who are airbrushed and unnatural- not representative of what beauty is- or society at its most shallow:  you become curious and interested in the origins.  A “one-way ticket to happiness” is not what we need:  inner peace of mind is more essential; stepping aside from negativity.  In a way, Perfect reminds me of Dangerous-era Michael Jackson.  On that album, Jackson started to address society more- previous albums saw him look inward- and look at peace and positivity:  how negative people were getting him down.  Chess looks at judgmental people and wonders why we need to be this way:  perfection, in a truer sense, is something less tangible and more complicated.  Ensuring the album is urgent and compelling:  the vocals and composition remain intense and pressing to the very last.  A song that has mainstream appeal- easily topping the offerings by our current favourites- but takes its heart away from love to look at something even more profound.  Chess shows what an agile and thoughtful songwriter she is:  ensuring the listener looks at themselves and thinks more deeply about the world around them.

Missing Person sees our heroine “right on the edge”.  Her voice is at its smokiest and most emotive as she looks at issues:  solving them before “time takes its toll”.  At once, there is fascination and obliqueness.  Chess wants (the song’s subject) to kiss her goodnight:  I was wondering who inspired the song and what is being addressed.  Clearly there is a sense of longing and dislocation:  yearning for somebody that is estranged and far away.  Whereas previous numbers have been more direct and straight-to-the-point:  here there is that lingering air of mystery and mystique.  This ‘missing person’ is someone escaping Chess’ grasp:  she wishes she could reach out and hold.  Whilst your mind conspires and investigates; you get struck by the vocal and composition.  Less savage and urgent than previous tracks:  here, the sound favours a mix of Blues and Jazz.  Sure, there are tumbling and fast flowing vocals- that get your head into Pop territory- but I get essences of the queens of Soul:  artists that would have inspired our heroine growing up.  Missing Person is another shift that shows how versatile and flexible Chess is.  In terms of emotional balance:  it perfectly counterpoints the opening numbers and gives the album depth and vulnerability.  A paramour has deserted her- and that voice seems haunted and lost- and our girl pines for their return.  Whether a relative or friend:  you fall for the honesty and emotion that comes from the central performance.  One of the album’s most nuanced tracks- you need a few spins for it to hit you- it shows Chess’ histrionic range and full abilities.  Ranging from sweet and seductive coos to a near-explosion belt:  few singers can allow their voice to swoop but keep it controlled and focused.

   I Am is a shorter number (it falls shy of the 2-minute mark) that sees a return (of sorts) to the immediacy of 1869’s opening trio.  After the emotions and turbulence of the previous numbers- from heart-baring thanks to strife in society- there is a chance for a little decompression and brevity.  I Am is a skippy and energised number that sees our heroine assess her development and self:  she has “time to grow” and more things to learn.  Like Hard to Handle, there is a look inwards.  Knowing it will “all come together one day”:  you cannot help but imagine (the song) refers to music development and success.  Maybe these moments- the album and songs- are building blocks and steps forward.  That true goal- a mainstream fixture who can influence the new generation- is what is aimed at.  Chess is not going to betray her intuitions and self:  she is working hard to ensure she reaches her goals.  The idea of what/who I am is repeated as a mantra.  Chess feels comfortable in her own skin and confident of her objectives.  While a lot of singers are needlessly self-flagellating and intense:  here there is a sense of relaxation, comfort and self-appreciation.  She is not perfect but you cannot deny the confidence in the song.  Whether hearing a song on the radio- Chess’ latest release- being repeated and celebrated:  that is when she will start to shout proudly.  Backing the soothing lead vocal- it slinks and purrs with sensual undertones- is a delicious guitar lick.  Blues-natured and Santana-esque:  it gives the song an alluring and Latin feel that adds more colour, contour and dynamic to (an already) compelling album.

Because We Can starts very Moby-esque:  strings and a rush that recalls Extreme Ways (the closing theme to The Bourne Identity).  Those racing and pizzicato energy shifts 1869 back to its former ways:  the energetic and body-slamming propulsion of the beginning.  Soothing, entranced vocals lead to one of the album’s most important tracks:  something that addresses the modern world and asks some very pertinent questions.  In a world “full of sorrow”, our heroine queries, how can we remain silent and motionless?  Given recent unfolding- terrorist attacks around the world- the song seems timely and appropriate.  The truth is- the song would have been written before the most recent attacks- bad and violence seem to be irrepressible and uncontrollable.  It seems we have “become immune to the dangers” of tomorrow.  Chess compels people to stand up and be accountable:  rebel against inequities and evil and take action.  That tense, Dance-via-Electronica backing is the perfect canvas on which Chess can campaign and electioneer.  Bristling with edginess and endeavor:  it is one of the most compelling and immediate songs across 1869.  Rarely has Chess sounded as urgent and arresting as she does here.  If we shift the blame, things will not evolve.  Beauty in the world is being subverted and marginalised:  we need to revert the balance and set an example for the new generation.  That central theme- to “stand up”- reminds me (again) of Michael Jackson.  A cross between Earth Song and They Don’t Care About Us you get that same sound and energy.  Towards the end, you get more of that electric guitar- snaking and buzzing with luster- and Chess lets her voice expand- bringing in some Aguilera-esque candour.  One of the most memorable, proud and meaningful tracks across the album:  it will not escape your head for many weeks to come (let’s hope it is not any longer!)

  Sold is a song Chess has a lot of faith in- a reprise features at album’s end- and arrives at the central point.  Another one of the ‘shorter’ tracks; it spares no time sowing the seeds.  Echoed, multi-layered vocals arrive around a slinky and seductive beat.  Our heroine teases the song in and gives one of her most alluring introductions.  Another investigative/personal track:  it sees Chess looking at success, achievement and capriciousness.  She has been around the cities and the transitory nature of life.  Whilst some are trapped in a 9-to-5 existence- and frustrated they cannot fulfil their dreams- the heroine wants to break free and do what she SHOULD be doing.  For that reason- it carries a very personal tattoo- you get invested in the song and follow its plight.  The vocal, perhaps not surprisingly, is one of the purist and strong across the album.  Showing what a proposition she is:  Chess mingles sweet, crystalline vocals with something red-bloodied and womanly.  That contrasting nature- between a sweet girl and proud woman- is a sensational (proprietary) blend that makes the song such a smash.  Reflecting on her rise- working all hours to get the money together- the narrative gives you a glimpse into Chess Galea The Artist.  Life may be complicated- the road to success is often fraught- but her mind is set.  A proud song of self-actualisation and epiphany:  music is what drives Chess; no other life will do.

Beautiful to Me does not relinquish the fascination and innovation factor.  The smooth and slow-building introduction suggests we are going into romantic terrain.  Purring and sensual- Chess exploring Jazz of the 1960s and ‘70s- you see yet another side to the heroine.  Looking at a particular person- not sure whether a lover or friend- who has a “heart of glass”- that seems consistent whether mad or unhappy.  Maybe (the hero/heroine) has reservations and unsure of their worth:  Chess, in no uncertain terms, finds them beautiful and special.  Asking why this is- the particular reason behind this revere- perhaps the smile and soul-ignite is the reason.  Maybe (in the past) they have shut our heroine out:  masculine pride or a sense of aloofness.  Contrasting emotions and conflict seem to run through the song.  On the one hand, you have a person capable of augmentation and betterment- they can make Chess smile and feel at ease- yet someone with quite a fragile heart.  They are special to her, for sure, but the reasons are not crystal.  A curious and fascinating tale:  you start to pick at the lyrics and dig deep.  Ensuring the words hit the mark:  Chess delivers one of the smokiest and intoxicating performances to date.  Maybe reflecting on her current romance- in the manner of Ready to Roar- there is a sense of safety and hope (among the lows).  Dreams of growing old together come in; that well-being and security:  a love that seems secure, solid and unflinching.  Other tracks (across 1869) have dealt with love/contentment with flair and rush:  here the emotions are laid bare and the lights are dimmed down low.  Close your eyes and let the song drift over you.

  #PL is one of the most contemporary and unique tracks across 1869.  High-pitched vocals- like a drug-addled trip through Chinatown- put me in mind of FKA twigs, Banks and Jessie Ware.  A certain eccentricity and late-night, neon-lit, head-f*** opens the track.  After the dizzying opening, our heroine comes in.  “When times get tough” there is no need to worry:  she is there to comfort the fall and lend support.  A joyous song built on mutual indemnity and respect.  There is a feel-good factor that runs through the number:  set against that quirky backdrop and you will be amazed at how Chess can change dimensions and sound like her.  Few artists are able to take such leaps- genre-to-genre; mix styles and sounds- with such authenticity and confidence.  I am not sure what compelled #PL- or what the hashtag means- but it is a paen to a friendship, copacetic.   After such a sensational opening to the album:  you would expect its mid-way/latter songs to suffer a bit of fatigue.  Chess has balanced everything perfectly so that these songs- that herald the final third- are just as vital and stunning as the openers.  Hooked by the smile and celebration that runs through the song:  our heroine is happy to have such a friend/supporter by her side.  The detail and focus that has gone into #PL really shows.  It is one of the most fastidious and perfectionist tracks yet have a casualness and sense of cool.  A hard trick to pull off; it goes to show how what skill and talent Chess has.  By the final moments of the song- you cannot help but sing along- you are left beaming and hooked on the myriad aspects and sounds.

Right Now continues the self-examining nature (of #PL) but announces itself with a more conventional tone.  Showing defiant spirit and a definite hop in the step:  the track is motivated by a fizzing acoustic jam that perfectly suits Chess’ voice.  Our heroine has been down- that stiff upper lip has been there a long time- and the money supply is looking rather tragic.  Here is another song that falls into the category ‘real-life concerns’.  Listeners will relate to the struggles with money, balancing commitments and finding chances to relax.  In spite of the ‘realities’ of life:  things are better than they would appear. There's a breeziness and chart appeal to the track.  A song that can appeal to lovers of mainstream Pop:  it is an easy song to fall for and is packed with sing-along chorus and plenty of memorable moments.  Messages contained in the song will inspire listeners and get them to think about their own situation.  Her head is “held high” and wings are being spread.  If 1869 marks a new high for Chess- one step closer to stardom- then Right Now is the core song.  It brings all the other themes together and is the definition of the album:  a hungry young star working her way up and around.

  Wherever You Are has a fairytale, child-like innocence to the beginning.  Light, balletic notes see Chess look at someone “set free”:  they have found a place that “no-one knows”.  I get the impression (the song) looks at a family connection or relation.  Home life is investigated- the time the person turned off the T.V. to say they believe in her- and it seems like a thank-you letter to someone who has always been loyal.  Backing our heroine and supporting her dreams:  this loved-one is at the centre and being shown how much they mean.  Underneath the praise and respect is the refrain:  “miss you”.  It is hard to say whether the song’s subject is departed or simply living elsewhere.  I would like to think they are back in Malta- Chess’ mother or brother perhaps- or maybe an older relative who is sadly no longer around.  The earnest and heartfelt performance provokes emotion in the listener:  you cannot ignore how intense and meaningful the delivery is.

No, You Can’t Go is the penultimate number and one of the most haunting introductions.  Tender pianos lead into a vocal that sees our heroine lay her emotions bare.  Making a promise never “to be apart”:  there seems to be a commitment that runs deep.  One of the album’s out-and-out ballads; it gives the closing stages dignity, emotion and revelation.  Chess lays out a supplication:  she does not want to be left and would feel lost (were they to leave).  It is at this point I wonder about the influence of the song:  whether it is about a lover or friend.  The relationship has been unexpected- an unlikely partnership- and the split is being felt.  Letting her soul fly and campaign:  it is impossible not to be affected by the song and root for the heroine.  Mystery and curiosity linger- as to who is being attested- and my mind looked at (maybe) a former sweetheart who has uprooted or betrayed affection.  Whatever the reality behind the song:  we get one of the most impassioned and intense vocals across 1869.  It gives the album vulnerability and shows Chess in a new light.  The composition remains sparse which means the emotions are unimpeded and allowed to come through.

  Sold (Reprise) closes things and is a curtain call for Chess Galea.  It brings back those struggles and questions:  sacrificing time and energy for the pursuit of happiness and dreams.  An appropriate and succinct ending:  it brings 1869 down and closes an extraordinary and accomplished release.

Congratulations must go to the production and mixing of the album.  The professional and glossy sound suits Chess’ voice perfectly and ensures every song shines and blasts from the stereo.  I know Chess has spent a lot of time honing and perfecting every aspect of the album:  from the album cover shoot to the track listing.  That passion and commitment reflect in a record that is among the most personal things she has ever recorded.  I can see a clear development from her early recordings- the E.P.s and collaborations- and am astonished at how confident and commanding she is.  As a singer, the voice has always been her stock and trade.  It is here (on 1869) that it reaches its precipice and full potential:  across 14 tracks you see so many sides and emotions it is hard to take in.  Whether riding a heavy beat- and swaggering with confidence- or tenderly breathing- everything she sings sounds memorable, exceptional and assured.  It is the lyrics and compositions that show the biggest development.  Previous records have seen Chess look at a variety of situations- facing oppression with pride; disreputable people in society- but there she brings all the elements and themes together.  More socially conscious and mature:  this is the most nuanced and deep set of songs she has ever written.  Quotable and highly addictive: her current predicament and state of mind have resulted in her most astonishing music ever.  The compositions mix infectious beats and electronic contortions; blasting horns and delicate piano.  Running a gamut of emotions and ideas:  the eclecticism and variation is truly stunning.  The fact everything is kept in-check and individual- this is very much a Chess record- shows what a talent she is.  I can see Chess growing even more confident and ambitious as time elapses.  1869 is a remarkable record but you feel her finest album is still down the tracks.  As a young artist- who has not been on the scene for a while- 1869 is the best album I have heard this year.  The time, energy and money put into its creation have paid dividends:  here is a wonderful talent who deserves huge acclaim and attention.

I must congratulate Chess Galea on producing a phenomenally accomplished album.  The Maltese-born star has worked hard these last few years.  From rather modest beginnings, she has blossomed into a strong, defiant and stunning woman:  an artist that has thrown off the pressures of the industry and continues to evolve and amaze.  I remember when she first came through- just before Babygirl was released- and was amazed at how mature and authoritative she sounded.   Every track sounded polished, sleek and from a voice that has few equals.  When Tuxedo arrived; there was no lack of energy and inspiration:  another E.P. that spilled-over with instant tunes and wondrous performances.  Chess is one of the most compelling voices we have in Britain.  Although she wears some influences on sleeve- Christina Aguilera and Freddie Mercury, for example- you cannot deny how unique and original she is.  Having moulded and honed that voice for years- from cover versions to live performances; teaching to recording- the young sensation is at her very peak.  Every song (on 1869) has that Chess Galea stamp pressed all over it:  a singer that explodes through the speakers and grabs you by the throat.  Balancing that ecstatic power and passion is a woman who has a deep soul and pure heart.  Riding alongside that confidence and swagger is introspection, reflection and purity.  This is not a calculated move- to appeal to a wide audience and betray authenticity- but a glimpse into a fascinating and complicated artist.  Chess Galea has seen her pains and experienced heartache:  she is not letting it drag her down; her sights and focus are trained towards success and stardom.  I am a little reticent with regards this year’s potential releases.  Scanning the mainstream, there are few albums that have captured my attention.  Last year, the likes of Kendrick Lamar and Jamie xx created some truly extraordinary works:  aside from that, there was little to get excited about.  This year seems even worse- although it is only March- with Radiohead being the most promising proposition (their new album is long overdue).  Maybe there is too much expectation and demand on new artists.  Given the raft of new musicians emerging (by the day); you have to ask yourself:  will we ever see a return to the heyday of the ‘90s?  Here was a decade when you released a record because a label had faith in you- and thus, afforded you the chance to get into a studio.  Now, music has become more accessible and real than ever:  anyone can arrive and create their own songs.  Music should be an art form and expression of who you are:  complete, rounded and detailed.  Given the exorbitant costs of recording; the disposable nature of music and the short attention spans of this generation:  is music on the decline?  There is some truth and harsh reality in that question:  maybe things will never get near to matching that gold standard.  What we need- in order to balk the trend and restore faith- are musicians that bring music back to the past and do things honestly and right.  Chess Galea adjusts her music for the modern age- 1869 is streaming online; it will be dropped on iTunes too- but she has a deep love of old-style music and the ways of the past.  Her debut album has polished and slick sounds but contains grittiness and bare-naked revelation.  I know our heroine will put C.D.s out- ensuring the fans can hold her album in hand- and I would not be shocked were a vinyl released.

It is only left for me- dispense with moaning- to look at Chess’ future and what is in store.  On May 20^th; Chess will launch 1869 at Primo Bar in London.  Within that sumptuous, modern cocktail bar- on Westminster Bridge Road- our star will hold a loving crowd and show what she is made of.  From there, the album will be premiered in Malta (on June 6^th) and a chance for the home crowds to see their expat shine and seduce.  I have heard little to recommend this year but 1869 is the finest album I have heard this year.  I am not the biggest fan of modern Pop music- the U.S. chart acts and ‘best of the bunch’- and prefer my singers from the ‘80s and ‘90s.  Chess takes the essence of old-skool sounds and modernises them through songs that slam hard and leave entranced.  The confidence and passion of the vocals are only matched by the innovative, busy and uplifting compositions.  Perfect- one of the album’s leading lights- has already been premiered on B.B.C. Introducing:  there is a lot of faith and love for Chess Galea.  I am in no doubt the young Surrey-based artist will continue to impress and develop.  I know finances are tight but she has a hungry audience in the U.S. - she recently performed in America- and would have Australian audiences eating from her palms.  In fact, she could well put together a mini world tour:  taking in Europe (France, Italy and Germany perhaps) with a brief spell in Africa (South Africa) and the U.S. (New York, L.A. and Seattle, for example).  Maybe a lack of money will dictate itinerant desires, but the demand is out there:  1869 is a bold and brilliant statement that can bring huge audiences in.  Congratulations to Chess Galea who has produced her most astonishing and personal record to date.  There are plenty of albums (and E.P.s) in the stunning musician:  how far she can go is really up to her.  I would not rule out mainstream success and national radio play:  from there, she could find herself at the world’s biggest festivals.  If you are in any doubt- and think my words are as a result of loyalty and hyperbole- then I defy you to listen to 1869 and refute my claims.  A dazzling album that can grab, melt and conquer any heart:  here is a modern-day musician that means…

SERIOUS business.

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TRACK REVIEW: Natalie Gray- Little Secrets

TRACK REVIEW:

 

Natalie Gray

 

 

Little Secrets

9.4/10

 

Little Secrets is available at:

http://nataliegray.bandcamp.com/releases

RELEASED: 24^th October, 2015

GENRES: Pop; Rock

ORIGIN:

London, U.K.

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PERHAPS it is the interminable slew of adverts on at the moment…

but I am finding my love of female singer-songwriters starting to wane.  I am being unfair, I guess:  There are some wonderful female artists emerging right now.  What chills the blood are those adverts- from John Lewis to God-knows-who- that have the reedy-voiced artists (usually murdering someone else’s song) who could be the same person- the voice is THAT similar.  I am not sure where they (advertisers) find them- if there is some sort of website- but my heart sinks every single time.  I mention this because we are not seeing female artists represented heavily across radio- an area that should be making strides.  It seems the girls of music are heard more often on T.V. than they are the airwaves.  I listen to Absolute Radio every day and- among the mainstream artists played- there is that tendency to feature the boys.  Perhaps Heart and Kiss are more equal- although they focus on the same artists time again- but what of the unsigned/new artists?  Local radio does its best but we need something national- that is more credible/listenable than local radio- that features more new artists (women especially).  My charming rant- or annoying aside- stems from the quality that is available out there.  I have heard- over the last few weeks- some truly exceptional female songwriters emerge:  I may not have encountered them were it not for my position (as a reviewer) and social media.  Here is a quandary I might never extricate myself from- discovering the best artists more naturally- but that is one for the future.  Whether I can figure out a way to make it so- a bespoke music website that puts EVERY new musician in one place- time will tell.  For now, and with my featured artist in sight, it is great discovering a musician that fires straight out of the block.  Before I come to her, I wanted to talk about powerhouse singers and putting performance into music.  I find there are lots of musicians- both male and female- that resist the urge to let their voices be heard.  Whether they prefer a softer, more subtle approach to music, it is hard to say.  You all know the type of singer:  The sensitive, heart-on-the-sleeve type that tries to soothe the birds from the trees.  It is rewarding discovering artists that do this- and can do it in an original way- but the body yearns for an act that can blow you away with power.  Just this morning- whilst investigating Absolute Radio’s countdown of the ‘Top 100 Albums of All-Time’- I remembered what an album Lungs was.  Released back in 2009, it introduced Florence and the Machine to the world.  Compared with Kate Bush, Regina Spektor and Fiona Apple:  Florence’s Welch’s beguiling beauty was surpassed by her intense performances and extraordinary musicianship.  Those sky-scarping vocals scored songs that left their mark and ensured listeners were hooked.  The machine gun-fire songs- Rabbit Heart (Raise It Up) among them- were backed by bellicose percussion; atmospheric electronics and a woman wrestling with her own soul.  Welch showed she could be seductive and restrained- in addition to being a howling goddess- and mixed emotions and vocal styles perfectly.  The same ambition was applied to the songwriting which brimmed with imagination, daring and memorability.  Natalie Gray has an essence of Florence Welch which is exciting me.  Aside from the flame hair and explosive voice- that can bring soothe and sweet into that ecstatic electricity- you have an artist with a flair that is rare these days.  I have had my fill of wearied songwriters all strumming listlessly.  I desire that kick to the heart and bucket of water to the face.

Before I continue on, let me introduce Natalie Gray to you:

“Natalie Gray is a 23 year old London based singer / songwriter launching her solo career this year (2015).  Growing up listening to acts as varied as Whitney Houston to Guns & Roses has helped to define her strong and distinctive vocal style that has been likened to Katy Perry, Hayley Williams (Paramore) and Kelly Clarkson. After focusing heavily on dance and performance over the last few years, Natalie has recently recorded her debut EP, 'Welcome to the Show' and released her first single Little Secrets which does exactly what it says on the tin. Natalie has featured on Debonair's new single 'Thanks to You' promoted to a wealth of underground stations throughout the UK through Beat 1. If you get a chance to speak with Natalie, perhaps you should ask her about a recent UK tour with The Hoff. Just a hint”.

With her vocals compared to Katy Perry and Kelly Clarkson; I think Florence Welch would be a more relevant name- someone who had more widespread appeal and ability.  Whatever name comes to mind; you cannot deny the personality and passion that emanates from that singular voice.  Given Gray’s performance history, it is not shocking she can belt out a tune with conviction and control.  Maybe that is what’s missing from music:  Artists that need lessons in theatrics and performance.  I feel the music school-produced acts are being moulded, consciously, into pre-existing names.  There is that sense of conveyor belt production:  Stamp out acts that all seem chart-worthy and ‘safe’.  Were something extra-curricular available- theatre course or something similar- it would give musicians that needed gravitas and sense of show.  Natalie Gray is new to my ears, yet her debut single was released five months ago.  The fact it is still gaining feedback and attention shows what an impact she has made.  Endlessly touring and performing- as an actor and musician- Gray is one of the most explosive propositions I have heard for quite a while.  I am not sure what she is planning for this year- if an E.P. or album is planned- but fitting it in will be a challenging.  Given the fact she’s touring- with nary an ending in site- will studio time be a possibility?  Let’s hope so because that voice- whether covering a well-known song or something original- is attracting thousands of followers.  I have high hopes for Gray and am curious to see how far she can go.  I know she is being compared to some heavyweight (U.S.) chart stars, but find it bellies her true abilities.  Having grown up with the grit of Gun N’ Roses and soul of Whitney Houston:  Those names are more fitting for a talent who is a very rare commodity.  Whatever form a future record will take, I can see ‘80s/’90s Rock elements mix with Houston-esque soulfulness; that staggering breath of Florence Welch- topped off with something uniquely special.  I have been suffering a bit of writer’s block- maybe stifled by homogenised charts and a lack of influence- but Gray is an artist that has kicked my mind up a gear.  I am always seeking musicians that going beyond what is expected and cause some real excitement.  Little Secrets is a track that provides a glimpse into a strong young woman with bags of promise.  I cannot believe she has not been signed up- whether that has happened and I am remiss- but Gray deserves record label patronage.  Someone to help guide that variegated talent and foster the burning ambition:  Filter it into albums and tours, one would hope.  I am sure our heroine has her own plans, but right now, ensure you familiarise yourself with a very special musician.

It is rather exciting, thinking of Natalie Gray.  Ordinarily, when I come to review an act, I weight their new material against their older stuff:  A sort of weighted mean assessment of their sound.  With regards the London-based singer; there is more of a challenge.  Having investigated her cover versions- across YouTube- you get the sense of a singer finding out who she is.  In spite of unflinching confidence and assurance, there is that self-discovery occurring.  Gray can sing about scrappiness and fight for survival.  She is a master of assuming the mantle of a lusty, sense-inspiring vixen:  A natural actress that is effortless and sensational in whatever role she plays.  Each cover version shows a different side to the young heroine.  Whilst you get some consistency in each- the stunning voice and impeccable delivery- no two ever sound the same.  The range of artists covered is also quite wide-ranging and surprising.   Little Secrets is a song that blends sauciness and sweat with something quite revealing and open.  Within the track you get a woman who knows what she wants- there is little ambiguity in her come-ons and lusts- but someone who can control her man.  That sort of unabashed revelation- a young woman exploring her body and soul- is a commodity that has always done well.   Whether the mainstream U.S. artists- from Lady Gaga to Rhianna- to our homegrown acts:  Natalie Gray puts her own stamp on things.  What will be interesting is what a forthcoming E.P. will contain.  A lot of pre-existing cover versions deserve a place (on the E.P.).  Little Secrets seems like a natural opener; Gray will have picked up new inspiration and ideas.  Whether compelled by touring- performing in Last Night a D.J. Saved My Life- and the tales of the road:  There will be new songs formulating in her mind.  How these come together and coalesce will be the real challenge.  Gray is just as authoritative playing a hot-bloodied woman as she is the soul-revealing girl.  Whatever the outcome- when the new record does emerge- we are going to see one of our brightest new artists show just what she is capable of.  Possessed of a voice that can blow the clouds from the skies; I would love to see that utilised in new ways and across a variety of tracks.  As a writer, it seems Gray has the potential to rival the likes of Florence Welch, Kate Bush and Regina Spektor:  Fearless musicians who stun across composition, vocal and lyrics.

I have been excited about Little Secrets for a few days now.  From the opening moments, you are left in no two minds:  Here is a song that means serious business.  The opening guitars signal intent and arrive with panache and direction.  It is not long before our heroine arrives to the microphone.  When she does, her words resonate and explode with passion.  I can see how her voice has been compared with Kelly Clarkson- there is a familiar, U.S.-based tone to the voice- and her Pop-Rock sound.  “The taste of your lips” is the first line and a window into the ideals and temptations lurking within Little Secrets.  Our heroine is directing her words to a man- maybe a lover or former beau- that is either closed-off or quite emotionally distant.  Maybe not as brazen and revealing as he should be- keeping that flame dim inside his chest- there is that desire to let it out and embrace something exciting and raw.  The opening line- the romance and sexuality- sit alongside oblique intrigue and something quite interesting.  There is clearly some history at work- a song I find based in fact rather than fiction- and that need to revert to a former state.  The guy is perhaps too secretive and not letting (our heroine) in.  By the second verse, we find the duo sat on the backseat of a London taxi.  Gray is someone who constantly burns for that particular touch:  She wants her name screamed:  She definitely wants to spend the night with the hero.  That lack of inhibition and discretion shows an artist who shows little fear and holding back.  Perhaps those U.S. comparisons become more relevant with each passing verse.  Our homegrown stars- by comparison, at least- are a bit reserved and typically-British.  Gray is not someone who wants to keep things bottled-in and play it coy.  The emphatic and libidnous delivered is supported by a composition that keeps driving and pressing.  Never becoming too spotlight-hogging for a moment:  It sits in the background and provides perfect support for the vocal.  The ‘little secrets’ title seems like a coy euphemism, in effect.  Maybe not purely intended:  There is that desire to reveal sexual secrets rather than heartfelt ones.

The man in the frame has lied and been dishonest in the past:  Perhaps playing away and double-crossing our heroine.  Those oversites are being papered-over and there is a chance for transformation and a new relationship.  Whatever has compelled this forgiving nature is quite fascinating.  It is that confidence and single-minded charm that will appeal to most listeners.  A lot of songwriters can be quite prim and buttoned-up:  Gray’s prowling kitten is an animal that will be very hard to tame.  To be fair, there is a lot of sensitivity and maturity that runs throughout Little Secrets.  Whilst the end result might be close to the bedroom; there is a woman who wants (her man) to change and grow.  The past might have produced scars and arguments but the future is now and things can change for sure.  Backing herself on vocals- a sweet and augmentative chorus- you get both sides of the artist:  That sweetness and light; the harder-hitting Rock singer.  At every stage- whether teasing secrets or casting thoughts to the bedroom- there is never a lack of focus and direction.  The song is tight, expertly produced and mixed to ensure every verse and vocal ties together beautifully.  By the final stages- and with that infectious chorus lodged inside the forebrain- you are left with a smile, for sure.

I have tried to decipher the lyrics and reflect on their true meaning.  I am not sure whether our heroine got the boy- or at least coaxed secrets from him- but that unambiguous intention reigns in every moment.  Propelled by a rocky and gritty composition- tied together with softer Pop melody- Little Secrets marks an artist with huge promise.  A singular track that leaves images in the mind; you cannot deny the passion and talent of Natalie Gray.  In future releases, it would be great to see that voice stretched the very limits.  I have mentioned Florence Welch before- and shall temper it- but feel there is that same scope, both musically and vocally.  Little Secrets is a song that could well fit into the mainstream:  It will appeal to fans of U.S. idols such as Kelly Clarkson and Katy Perry.  Gray has that crossover appeal and could easily reach a huge audience.  I know there are many sides to her; so it will be fascinating to see how she exploits that.  Heading into the studio; I would love to hear a creation that mixes Little Secrets-esque numbers with something even more epic and dramatic.  Perhaps aimed more at a ‘younger audience’- the teen-early-20s demographic- Gray could push that even further.  Little Secrets is a confident and stunning song that sparks and explodes with aplomb.  It has a radio-friendly vibe yet possesses a sauciness that marks it as a late-night club song.  Natalie Gray could well blossom into an artist who is among our most treasured stars:  Little Secrets is the first step on the road to glory.

We all have our own tastes and predicaments when it comes to music.  Whether you favour subtlety and sweetness over power and intensity; that is your choice.  I like to hear a balance between those two extremes:  A polemic does not need to be a harrowing thing to achieve.  There are a lot of musicians that aim for that sort of reach- going from the cooing bird to the roaring dragon- but lack discipline and command.  I opened by highlighting our very Florence Welch.  As we speak, she is seducing the crowds in South America.  After that, back to Europe- Spain and Italy are on the agenda- with no time for relaxing and reflecting.  It shows what love and support there is for her.  One of our most consistent and prominent female songwriters:  I can see Florence and the Machine ruling the charts for years to come.  She (Welch) has smashed that blend of honesty and fantasy that creates some truly awe-inspiring music.  The woman behind the Machine is one of the most down-to-Earth and human personalities I have come across.  She is also one of the most eye-catching, fascinating and loveable.  Ticking all the boxes one could desire- and creating her own spreadsheet of frigging boxes- I have yearned for a new musician that has a bit of Welch in her bones.  Natalie Gray is someone who evokes the best qualities of Florence Welch- the scarlet hair is a link that is hard to ignore- but she goes deeper and has her own style.  I bring up the comparison out of flattery; rather than diminishment.  If you can (in all honestly) evoke spirits of wonderful songwriters- whilst staying true to your own vision- then you have cracked it.  Little Secrets is a glimpse into what Natalie Gray can really achieve.  I know how busy she finds herself, and that is a good thing.  That touring- she has just performed alongside The Hoff himself- will go into recording, which I hear, is a distinct future prospect.  Gray is heading into the studio to work with producers:  The nature of these recordings is being kept secret for now.  Part of me hopes an E.P. is forthcoming:  I cannot wait to see what the young heroine can come up with.  I feel there needs to be an explosion in the mainstream.  As I type- and have been playing all morning- is Absolute Radio’s playlist of the best 100 albums ever.  It is soundtracking this review and bringing some fantastic music to mind.  One thing baffles me, mind:  Some rather dubious albums are (higher up the list) than the classics.  Ed Sheeran’s X is, by all accounts, a rather patchy affair.  In the eyes of Absolute Radio’s voters, it is a finer work than Carole King’s Tapestry- and Paul Simon’s Graceland, for that matter.  This kind of mind-boggling insanity is the result of few modern idols coupled with unadventurous record collections.

One suspects- a lot of the voters that put X so high up the list- are of a certain age (the teens and those in their early-20s) whose album collections do not go beyond 2006.  I do worry about the public when you witness such flagrant naivety and poor tastes.  Oh well.  It is my crux and one I shall have to bare for now.  I swore I would step away from London for a few weeks and go on a music detox.  My wagon-jumping ambitions have lasted all of a few days- a brief musical trip to San Francisco aside- and find myself falling from said wagon with a bang.  It is perhaps inevitable the capital will come back to mind:  It is my favourite city and seems incapable of disappointment (when it comes to music).  It is only a matter of time before Natalie Gray is hitting the big stages and a name synonymous with all.  I see so many here-one-moment-gone-the-next artists arrive and then dissipate instantly.  It is alarming there is such a casual disposability in today’s music.  So few artists endure and keep on making music.  Maybe there are factors behind this- financial strains and the stresses of demand- but I think it is more to do with consumer tastes.  Once upon a time, there was that desire for easily-digestible music that never pushes any boundaries.

I feel there are higher expectations now that are not being met.  Take acts like Rhianna and Adele.  Two singers lauded for their consistency and talent:  Their latest albums have been rather mediocre affairs.  It is not acceptable to rest on your laurels- like Adele has- or not make significant leaps of evolution- Rhianna’s Anti promises to spark but rarely does.  As the mainstream tries to sort itself out- some artists are fading whilst others are on the rise- it is the new musicians of the underground that are making the biggest statements.  Inspired by their contemporaries- those in the same boat- and seeing gaps in the market:  I am hearing a lot of potential stars emerge right now.  Natalie Gray mixes commonplace/relatable- lyrics of love and heartache; vocals that contains touches of others- with original spirit, composition and delivery.  The secret to terrific music is blending the bygone with brand-new:  Putting enough of yourself into the mix; together with something universal and comforting.  Whatever your musical tastes and preferences- in terms of genre and style- you will find much to love in Natalie Gray.  On social media, the young singer has an infectious personality and has a connection with her fans.  The multi-talented singer is a seasoned performer who can deliver songs like few others.  The music itself- Little Secrets the most relevant example- shows an artist that has the desire to inspire others and state her claim for stardom.  Someone able to cover songs and make them her own- a rare combination- you have a born talent that should be applauded.  Studio sessions are booked and there is speculation and plans afoot.  Just what the result will be, who knows.  What is for sure- whatever results from these recordings- will signal Natalie Gray out as…

A great British talent we can all love.

[bandcamp width=350 height=442 track=1000145436 size=large bgcol=ffffff linkcol=0687f5 tracklist=false]

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Follow Natalie Gray

 

Official:

http://nataliegray.co.uk/

Facebook:

http://nataliegray.co.uk/facebook/

Twitter:

https://twitter.com/nataliemusic24

Instagram:

http://nataliegray.co.uk/instagram/

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Music

http://nataliegray.co.uk/youtube/

TRACK REVIEW: Jeremy Passion- We Can

TRACK REVIEW:

 

Jeremy Passion

 

 

We Can

9.4/10

 

We Can is available at:

https://www.youtube.com/watch?v=U3-hE_EuHC8&feature=youtu.be

RELEASED: March 14th, 2016

GENRES: R&B; Soul; Gospel

ORIGIN:

San Francisco, California

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CONTRASTS and contradictions are aspects of this job that ensure...

no two days are the same.  Yesterday, I was reviewing a local Country music band:  The exceptional, South of the City.  In their early stages, the band is recruiting a new member:  Following the resignation of their bass player.  That said- in spite of some upheaval- the band sound remarkably assured and solid.  Reminding me of The Shires; the band has a definite future and wonderful sound.  Today, I am investigating an artist who is worlds apart.  A YouTube sensation that has a loyal and devoted fanbase:  My featured artist is among the most talked-about young artists in the U.S.   Before I come to him, I wanted to look at artists of San Francisco; the young Soul-cum-R&B artists around the world- looking at personal mantras and attitudes to life.  When we think about Californian music; our minds naturally drift to Los Angeles.  Perhaps geographical ignorance- a lot of people would struggle to name more than one part of California- there is an exceptional and varied scene in the state.  I have reviewed many L.A.-based artists, but for today, I get to travel to San Francisco.  If you think about some of the bands that emanate from San Francisco- and the Bay Area in this case- you have Counting Crows and The Donnas; En Vogue and Night Ranger.  In fact, if you break it down further- into North, South and East Bay- then you get a full impression of just HOW many legendary acts started out here.  Dead Kennedys, Chris Isaak; Faith No More and Steve Miller Band:  Some of North Bay’s finest.  Hope to the South Bay and you will find everyone from Doobie Brothers to Smash Mouth.  It is clear San Francisco has a golden and notable history (with regards producing musicians).  In the last year, bands Night School, Talkies and King Woman are among a list of hotly-tipped acts.  Whether you favour Shoegaze and Experimental genres; ‘60s Pop or melodic Indie:  You are catered for and some!  Backing these bands are some wonderful venues like Bimbo’s 365 Club and Great American Music Hall; The Chapel and Fillmore Auditorium.  Every year, new bands are springing up with promise:  New bars/clubs emerge to home, said musicians.  San Francisco is a growing hotbed for musical treasure.  While there are some terrific bands in the area- I have just touched the tip- you cannot ignore the best of the solo market.  Whether you have heard of Kendra McKinley and Jordannah Elizabeth:  They are two (of San Francisco’s) best female singer-songwriters.  For the boys, few can rival the impact and ability of Jeremy Passion.  Promoting messages of purity and faith- within a vocal that is smooth, luxurious and soulful- you have a musician that fits perfectly into the city.  Compared with L.A., say; San Francisco seems to have that immense breadth and diversity.  Los Angeles has some great bands and solo acts:  Few that have the same sound/sensation as Jeremy Passion.  Whether it is the diverse cultures and neighbourhoods; the way of life (or something else):  Passion is one of the brightest musicians coming from San Francisco.

Before I raise a couple of points; let me introduce my featured artist:

“Jeremy Passion Manongdo is a singer/songwriter/producer known for his soulful, melodic voice, and delivers his music with messages on love, life and faith. Born and raised in San Francisco, California, he grew up with an immense appreciation and love for music. At age 4, he taught himself to play piano and, at 15, started songwriting. By the following year he was self-taught on the guitar and developed his talents into his signature style today.

Considered a “YouTube sensation” to his fans and musical peers, he is acknowledged as a pioneer of the acoustic R&B /soul movement on the internet. Passion was one of the first Asian-Americans to go viral online with his famous original songs “Lemonade” and “Well Done,” and his acoustic covers of “So Sick” and “Cater 2 U” featuring Melvin Gutierrez, aka, MelvinSings. His subscriber base has exceeded 287,000 followers and has over 37 million channel views.

Passion is an avid traveler as he has toured across North America and internationally in more than a dozen countries. He has performed with artists including Colbie Caillat, Kirk Franklin, Tori Kelly, Bobby Valentino, Jo Koy, Ernie Halter, Alain Clark and Goapele, among others. In addition to his writing and vocal talents, he is also an up-and-coming producer, creating tracks for Taboo (Black Eyed Peas), Slim (112), Megan Rochelle and more.

Along from his love for music, Passion has a heart for people. After doing volunteer work in Ghana in 2007, he was inspired to kick off The Empty Suitcase Project in Tanzania -- a music and arts project with the mission to provide kids with an opportunity to find their own creative passions. Passion hopes to take The Empty Suitcase Project to the Philippines in the near future.

The essence of Passion’s “Music with a Message” is to inspire through personal stories about family, faith and relationships. He values maintaining who he is as a creative artist, even if it means swimming against the mainstream current. Passion believes that music is an international language and has the power to change things. He says,

"IF YOU'RE A SINGER, ARTIST, DANCER OR PAINTER, AND YOU GET 'VIEWS' FOR DOING SOMETHING YOU REALLY ENJOY DOING, USE IT TO HELP OTHERS, TO NOURISH, ENCOURAGE AND INSPIRE OTHER PEOPLE."

In late 2011, Jeremy Passion teamed up with producer Jesse Barrera (formerly from San Diego-based band, My American Heart) and independently released his first full-length album "For More Than a Feeling,” along with a concept EP entitled "Pixelated."  "For More Than a Feeling" reached No. 4 on the iTunes R&B/Soul charts, and “Pixelated” -- dedicated to long-distance relationships -- reached the No. 9 spot.

Currently, Jeremy Passion is in the process of writing and producing his sophomore LP set to release in 2016.”

Jeremy Passion has a huge band of followers behind him:  Perhaps not a shock when you listen to its music and experience its majesty.  I am not sure about the wider world on this point:  In the U.K., we are seeing a lot of R&B/Soul artists being embraced and celebrated.  I feel there is a general fatigue towards ‘heavier’ music:  The public is looking for something more subtle and engaging.  Sure, Rock/Indie/Alternative artists are always going to have their supporters:  The market share (these artists just to have) seems to be relaxing a little.  More and more, the soulful and beautiful are coming into the spotlight.  In the U.K., artists like Amy Winehouse left a huge impression on the music world.  Not just because of her voice:  That whiskey-soaked and heartbreaking weapon of wonder.  Winehouse was a singer that could captivate without shouting and immense instrumentation:  The way she delivered the words was enough to buckle the knees.  In the U.S., musicians like Leon Bridges are doing the same thing- perhaps not to the same degree.  In a world that is becoming increasingly tempestuous and foreboding:  People are looking for music that provides comfort, direction and safety.  I am not suggesting we are looking for a musical religion:  Sermons and sanctity that takes our mind away from the horrors unfolding.  I am suggesting there is a favouring of more subtle music:  Sounds that pack emotion but allow us to reflect and think deeply.  Whilst there is some derision towards mainstream music- not as good as it used to be; few acts sticking in the mind- our new musicians are ensuring there is plenty of optimism and belief.  Jeremy Passion is clearly hitting all the right notes.  We Can- his latest single- is just shy of 29,000 YouTube views- amazing considering it was released 12 days ago!  Passion is an artist that believes travel broadens the mind.  There is no point staying rooted and wondering about the wider world:  Getting out there and seeing it is the only way to do things.  You cannot really understand people- in a wider sense- unless you travel and explore.  Everything would be distinct and abstract:  Engage with communities and let the world show you what it can offer.  As such, the music Passion produces casts your mind around the world:  It instills wanderlust and huge passion.  I am very impressed by Jeremy Passion as an artist.  He is backed by wonderful teams- I know Urban Soul have been taking care of his digital campaign- and there is a lot of faith in the young American.   People can become very rooted in their hometowns.  I feel we all get a bit ‘safe’ and get stuck in ruts.  It is great having pride in where you come from:  If you travel the world; it will still be here when you get back.  I, myself, have not been abroad for 15 years- financial constraints have dictated this- and I yearn to see the globe- Australia is top of my ‘to-do’ countries.  Jeremy Passion encourages listeners to go and see the world and find just what is waiting.  As an artist, he has performed across the world and has no plans of stopping.  Passion’s crowd-funded sophomore album will be unveiled in the coming months.  Following from his debut, For More Than a Feeling, there is a lot of excitement and anticipation.  It is not just Passion’s mantra- travel broadening the mind- that impresses me.  His official website (and social media pages) are engaging, full and informative.  Passion is not an artist who keeps things hidden- so many musicians reveal little personal insight- ensuring he connects with his fans.  I hate the fact so many artists provide scant biographical information:  It makes them seem distant and stubborn.  We do not need to know EVERYTHING about a band/act:  Giving some personality/background away is not stripping you bare and exposing yourself.  Passion understands- as should every musician out there- that by knowing about the musician:  It is easier to connect with the music and appreciate it in new ways.  We Can is another wonderful release from a young musician who is going to be a globe-straddling mega-star of the future.

For More Than a Feeling mixes Blues, Soul and R&B inside Pop cores.  Greater Than He saw Passion unleash his inner-Stevie Wonder.  That immensely passionate voice looks at faith and comparing himself with God (not in an arrogant way).  Passion looks at himself and what God has given his life.  By letting go of his pride and trusting in God; that is when things can improve and grow.  Maybe enforced by love and personal struggle:  Passion is becoming more mature and open in the face of things.  That devotion to God and his trust- the direction and guidance he will provide- drives a song that packs a kick, mesmeric swing and memorability.  Songs like Survive are defined by their strength-against-the-odds and luxuriant vocals- multi-tracked to the heavens- to ensure they stick in the mind.  Every track (from the album) elicits some sort of emotional respond:  The passion and strength of the performances burst from the speakers.  Songs like Stephanie sees more ‘traditional’ subjects being broached:  Putting trust in a girl; hoping his heart will be safe.  Even during the love songs, Passion sound fresh and original:  The sheer intensity he puts into the music elevates him above (his) peers.  Throughout the album, you get a great blend of self-investigation- especially those conversations with God- and world-conquering ideals.  The young singer has troubles and strife in his life:  The way he tackles them shows maturity and a huge inspiration.  Pairing faith and spiritual comfort with the need to inspire the people- get them to connect with their fellow man- makes For More Than a Feeling a superb album.  Pixelated is an E.P. that shows consistency with For More Than a Feeling.  Both records see that inimitable, passionate voice get inside the brain and soothe the soul.  Whereas the album looks more faith-based concerns- talking about love and the wider world- Pixelated looks more at holding out for love- having faith that it will arrive if they believe.  We Can continues where Passion left off but brings in fresh inspiration.  The performance confidence has grown, here:  Passion sounds at the height of his determination and power.  Forgetting petty disagreements- whether Los Angeles or San Francisco is California’s finest city- it demonstrates that need to break out of narrow confines.  You should have pride in your home but it is not the entire world:  There is a lot more out there to see.   We Can brings together his traditional themes- pushing the mind and experiencing the world- but is his most immediate and thought-provoking composition to date.  With every release, Jeremy Passion becomes more exceptional and fully-formed.  Whether it is the increased fan numbers and tour dates- honing his craft on the road- We Can is the deepest and most immediate song from the American.

We Can opens with a gradual build and sense of intrigue.  Finger-clicked beats and far-off electronics are a soothing and soft way into the song.  Passion does not want to come across to bracing and strong in the early phases.  What we get is a gentle and caressing sound that ensures the listener is engaged and curious.  Given the song’s themes- travelling the world and getting out of the comfort zone- the introduction is almost a flight across the oceans.  Breezy, itinerant and atmospheric:  You take your mind across the world and drift into the beauty the song provides.  We Can is a conversation between two friends.  Passion’s subject is holding onto that rigid affection for L.A.  Unwilling to accept the world beyond California- the heroine seems intent on remaining here forever- our hero explains there is a wider world out there.  Maybe there is a lot of wonder in Los Angeles- a city that can provide inspiration and fulfillment- but it is not the be all and end all.  Letting his voice glide with honey-rich tones- one of the most stand-out performances of his career- Passion ensures his words drive home and stick.  The sun-kissed, laid-back groove emanated ensures every listener is entranced and fully relaxed.  It is hard not to agree with Passion’s mandate.  We all become too familiar and safe in our own little world.  Often ignoring the planet at large:  More of us need to get on a plane and see other countries/cultures.  “Take my hand and come with me to another place” is sung with intention and immediacy.  Trying to inspire the heroine- and get her mind away from stubbornness- you imagine the two running away and seeing strange new places.  At the heart of We Can is that charming inter-state ribbing.  Passion is dedicated to San Francisco and all it provides.  His mate has affections and loyalty to Los Angeles.  The humourous, teasing conversations add a playful cuteness to the track.  Wanting to settle the debate with intelligence and wisdom:  Our hero wants to expand the mind (of the heroine) and get her thinking more widely about her planet.  In previous tracks- across his debut album and E.P. - Passion has worn his influences on his sleeve.  Stevie Wonder is a voice you hear on a lot of the songs.  Here, there is more individuality and personality than ever before.  You get the ‘70s Soul flavours but they are less dominating and obvious.  What we get is the young artist putting more of his own voice into the music.  Whether particularly inspired by the song- that need to engage with the world- has compelled this transformation:  It is encouraging to see this development and change.  Harmonising, multi-tracked vocals augment the beauty and passion of the song.  From Alaska to The Netherlands; across to Italy and Asia:  The two can get away and witness the wonderful beauty out there.  Money worries are addressed (“We don’t even have to fly first class”) and fears are allayed.  Passion lets it be known that home will be there at the end of things:  No matter how long they’re away for; Los Angeles will be waiting patiently.  At times, Passion imbues elements of Michael Jackson’s early-career sound.  It is impossible to ignore that velvety, enticing coo:  Every word drips with a sensuality and seductiveness.  Keeping the composition simple and uncomplicated:  The song allows the vocal to reign high and get its messages across.  Whether they are traveling to Spain or the far reaches of Asia:  They will be safe with one another and happy at every stage.  We Can ensures there are no worries and stresses at any stage.  Rare to find a song that has endless positivity and uplift.  It is that central voice that evokes the biggest reaction (in my view).  Whether building in the background- that mini-choir of soul- or leading the charge:  You are powerless to resist the incredible urgency of Passion’s delivery.  If life is throwing up problems and obstacles then remember this:  There are lands and nations that are yet to be explored.  Our hero is not saying travel is a temporary fix that will take the mind off problems.  He is exploring a notion that has existed for years:   Traveling broadens the mind and makes you more conscious of the world as a whole.  When you travel and see other cultures it changes life and can make the everyday seem very different.  If you are stuck in L.A. and no nothing of the world beyond it:  How can you ever understand how other people live and interact?  So many thoughts and possibilities sit within the song:  It is a track that compels the listener to assess their lives and make alterations.  Towards the final stages, we see the duo board planes and explore the globe.  Maybe these images are theorised and desired- trying to get a stubborn friend to come with him- but you’d like to think they made it.  Whatever the circumstances and outcome:  You cannot deny what a powerful and stunning song We Can is.

   We Can is the lead-off song from Passion’s forthcoming album.  Whether accompanying songs will tread the same ground- exploring the world and broadening the horizons- I am not sure.  Traveling and gig demands have clearly affected Jeremy Passion.  Touched by the cultures and people he has seen:  Our hero knows the planet can provide so much beauty and possibility.  A wonderful, polished production backs a stunning vocal and determined performance.  Balancing soothing, tranquil soul with insistent R&B energy elicits a huge emotional response.  I am a fairly new follower of Passion and will follow his career from now on.  I can see progression and development with every release.

My introduction to Jeremy Passion came via Urban Soul:  I have been a little slack getting this review together (unusual for me!).  I am glad I got things organised and dedicated time to a wonderful young singer.  I am never going to be engaged fully with messages of faith and belief (being an atheist).  I admire Passion bringing faith into music as it is not often explored.  It is those messages of mind-expanding travel that impress me the most.  Listening to Passion makes me want to expand my horizons and see the wider world.  Not only are you seduced by the wonderful lyrics- taking the imagination on a great trip- but the intense grip of the vocals.  Passion ticks all the boxes and ensures his music strikes on all fronts.  I am not sure what form the forthcoming album will take.  If it is anything like his debut- the sounds and themes are likely to be similar- then his fans will be very satisfied and fulfilled.  Passion is a musician that is drawing new fans by the week:  New acolytes unearthing something tremendously fresh and beautiful.  I am sure our hero will be traveling the globe promoting his new single:  When the album is released, he is sure to discover new countries and people.  Jeremy Passion has a love for people and wants his messages to connect and resonate.  The U.S. musician performs volunteer work- he launched the Empty Suitcase Project in Tanzania; helping children find their own creative process- and is not going to stop there.  I opened by looking at the music coming from San Francisco and R&B/Soul artists of the moment.  Having spent too much time with L.A. artists- when it comes to U.S. music- I discovered another jewel in California.  The state keeps on producing wonderful music and inspiring artists.  There is a lot of attention expended to the bands and what they summon- always an obsession with their dollar- and not enough focus on solo acts.  Over the past week, I have been ensconced in London and seeing what the capital’s musicians are up to.  It is great promoting home-grown acts and putting them out there:  Every once in a while, it is refreshing to come to the U.S.  I know Jeremy Passion will have a busy year ahead.  That much-anticipated sophomore album is in-the-works.  Following from the much-lauded debut, For More Than a Feeling, there will be many eyes and ears trained in his direction.  There is no question (Passion) is one of the most tantilising prospects in modern music.  A young man who writes music FOR the people- not someone who pushes them away or becomes selfish- it is a rare thing to see.  So many artists are obsessed with their own love lives and eliciting sympathy:  When an artist does things differently, it can have a wonderful reaction.  I am sure we will see some heartbreak and relationship quandary emerge- on his new album- but that is not the way Jeremy Passion does things.  He is a young man who things more deeply and wants to promote positivity.  Whether embracing spirituality or changing views:  Getting the likes of you and me to go see the world and not be so rigid.  Music has the power to change things- a philosophy that Passion himself expounds- and it is something we should all be aware of.  Not enough musicians are utilising music to change views and affect change.  There is that obsession with the self that is galling and endless; few artists are actually using music as a platform for change and improvement.

I know Jeremy Passion will inspire others and start a mini-revolution among the ranks.  It is great/relatable hearing about love’s struggles- it is a currency that should not be scrapped- but where is the originality?  Luckily, the San Francisco resident has a bit more wisdom and passion than your average musician:  One of the reasons he has amassed such an army of followers.   With his YouTube subscription numbers rising:  2016 is a year that will see the promising musician become a mainstream proposition.  One of the reasons bands are heralded and highlighted- stealing the majority share of attention- is because of the money and market-share they have.  Groups will always fill more venues and be the most profitable part of music.  I feel there is too little focus put on the promising solo acts of the world.  They might not command the same demand and profitability of bands:  That is not to say they should be second-fiddle at all.  What I find with regards solo acts- that bands do not possess to such a degree- is the range and variability of the sound.  Not just confined to Rock, Indie and Pop:  We have a wave of R&B, Soul and Folk artists emerging.  Jeremy Passion is accruing support and patronage across San Francisco.  In a wider sense, his music is being heard all around the world.  I hope- when his new album is released- he gets time to come to the U.K.  A lot of U.S. artists have come to Britain with the same views:  We will get a few dates and that’s about it.  The reality is a lot different:  Crowds here want the artists to stay and keep on playing.  The Vim Dicta are a perfect case in point.  Assuming there would be scant demand in the U.K.:  They arrived here with intentions of playing a small selection of dates.  The band is here for the next few months at least- having already been here for many weeks.  I feel Passion would experience a similar amount of love and affection.  Whatever he has planned- and, however touring dates will shape up- there is clear opportunity for his music here.  There are few U.K. acts that do things the way he does.  Too many of our artists concentrate on insular themes and predictable subjects:  Not enough are promoting positive messages and forcing audiences to think more clearly and deeply.  If you have not heard We Can then make sure you remedy this.  A song that looks at homegrown squabbles- inter-state rivalries and debate- that expands its horizon across the world.  Not only do the lyrics stick in the mind; the vocals and compositions ooze beauty, soulfulness and something wonderfully rich.  The fan numbers are climbing and the music gets stronger and stronger.  With regards Jeremy Passion- and how far he can go- who knows…

JUST what he can accomplish.

[youtube https://www.youtube.com/watch?v=U3-hE_EuHC8&w=560&h=315]

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Follow Jeremy Passion

 

Official:

http://www.jeremypassion.com/

Facebook:

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

Twitter:

https://twitter.com/jeremypassion

Instagram:

https://www.instagram.com/jeremypassion/#

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Music

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

 

TRACK REVIEW: South of the City- Up in the Sky

TRACK REVIEW:

 

South of the City

 

 

Up in the Sky

9.4/10

Up in the Sky is available at:

https://soundcloud.com/sotcmusic/up-in-the-sky-finished-mix

RELEASED: March 9^th, 2016

GENRES: Country

ORIGIN:

Surrey, U.K.

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A lot of my recent reviews have centered around artists that...

are established; making their next steps into music.  It is nice seeing bands/acts that survive the hazards music throws- financial costs and media fickleness- and keep producing music.  Perhaps a bigger treat is seeing new artists form.  My featured arc- who I shall come to very soon- is just beginning their music career and are dipping their toes into the water.  Thinking about my review subjects gets me reflecting on local music- its necessity and importance- in addition to malleability and social media; British Country music and its popularity.  I am based out of Surrey- not my first choice for location; needs must- be one of the (few) advantages of living around there is the variation of music.  Granted, the proximity to London always helps; Surrey has its own sound and way of working.  The music scene here is split into a number of different sectors.  You have the music school-produced artists of A.C.M. (the Academy of Contemporary Music, Guildford) where our young hopefuls go to hone their craft.  After reviewing Dannii Barnes- a vocal student at the academy- and her hook-up with Ace (of Skunk Anansie) I was pleasantly surprised.  I have never really followed A.C.M. and the music coming from there, assuming it would all sound the same:  The boys moulded to sound like Ed Sheeran/James Bay; the girls Adele/whoever is riding high in the charts.  That may be the case of many students there- consciously creating chart-ready musicians who fit into preconceived holes- but there are artists (like Barnes) with exceptional originality and talent.  Away from the music school crowds, there are the under-the-radar bands:  The type you might see doing the pub circuits and just entering the music world.  Being affiliated with (Guildford locations) The Stoke- where I work- and Boileroom:  I get to see a lot of local bands seduce the local crowds.  Although, again, there are some bands that deliberately replicate others- if I hear another Foo Fighters-sounding band I might just blow my head off- there are those that take care to sound like they want to remain in music.  In fact, Surrey is showcasing some of the most explosive and variegated groups currently working.  The third sector of musicians- that are local to Surrey- are the solo acts:  Those who are independent and often self-funded.  Including the likes of Chess- former A.C.M. alumni Francesca Galea- they are probably the majority share.  I will be reviewing Chess’ debut album soon- the hotly-anticipated, 1869- and it will be exciting to witness.  She is among the most passionate, and intense performers around- hard and catchy beats back huge, emotive vocals.

My point is- there is one lurking inside the hay bale- is how rich a local music scene can be.  I cannot speak for other areas of the country:  Surrey has a wide range of musicians- and often gets overlooked in the wider scene- that should be studied very closely.  A lot of these acts (from Surrey) will be moving to London- to get greater exposure- and will be radio names of the future.  South of the City are a band making their sapling steps right now.  Based in the Guildford area- and liable to be playing some of the town’s most recognisable venues- the quartet is a mysterious quantity.  Just looking at them- the photos on social media- mix brooding/cool shots with some live performance snaps- they are working hard, even this early on.  Although little biographical information is shown- that will come with time and development- the band are still forming, essentially.  In their earliest days- when the guys came through last year- they were called Contraband.  Whilst a cool name- and something I could have predicted- they found a few other acts with said moniker.  Naming a band is always a hard thing:  You can happen upon a name (you think is perfect) to find plenty of others with the same thought process.  Renaming themselves South of the City- a more intriguing name, for sure- the four-piece are looking for a second guitarist- to flesh their sound out and give their music more possibility.  Hungry and passionate; you can tell South of the City have plenty of passion.  The adaptability they have shown- changing their name and keeping engaged with their fan-base- is only matched by their dedicated gigs and output.  Few bands- that are in their stage of progression- have that much material sorted; they tend not to gig too much.  South of the City are performing locally and ensuring people know who they are.  Having released some material to SoundCloud:  There is an album mooted for later this year.  That amazes me somewhat:  I do not see many bands think about an album this early in a career.  It just goes to show how much faith and hunger there is in camp.  South of the City are a Country band- a ‘deluxe’ one, no less- and actually, look like a band.  I am not sure what the backstories are- if the members have played with other groups prior to their formation- but there is a professionalism about South of the City that is very impressive.  You do not hear a lot of Country bands on national radio- well, Radio 2 , perhaps- and there is still that assumption:  This is music reserved for a slightly ‘older’ audience.  Last year, The Shires became the first British Country band to crack the U.K.’s top ten album charts.  It might sound amazing, but a true fact:  Country music is seen as a niche, American genre.  The band was aghast at the realisation:  Wondering why this (a U.K. act being in the top 10) hadn’t occurred before.  Knowing the great Country acts out there- including Surrey-born Hannah Dorman- it is baffling.  I feel people have cliché expectations of Country music:  It will be Stetson-wearing middle-aged crooners singing about heartbreak.  True, artists like that exist yet Country music is so much deeper and richer than that- with some exceptional artists.  South of the City subvert expectations and are capable of transcending the local underground and making waves:  In time, they could well make a dent on the mainstream.  The Shires started modestly, to be fair.  Crissie Rhodes began touring pubs as a solo artist.  Ben Earle put an advert on social media asking for Country singers:  Wondering whether there were any out there.  When the duo came together, the rest was history.  Their success is inspiring other acts and showing how good (British) Country can be.  It is no longer a U.S.-owned genre.  Up in the Sky is new from South of the City and shows plenty of promise:  I cannot wait to see what their album contains.  With so many predictable Indie-Rock bands emerging at the moment:  We need more bands like South of the City.

It is this point in a review (ordinarily) that I look at a band/artist’s progression and past work.  Given the fact South of the City is a fledgling band, there is a limited supply of material to be found.  Trains and Planes has been picking up positivity and not hard to see why.  The song- which is likely to feature on their album- shows determination, driving passion and a clear-set sound.  There is that southern twang- a conscious move to give the music more authority and naturalness- from the vocal that gives the track plenty of heart and emotion.  Looking at separated lovers- a man boarding a plane to foreign anonymity- his sweetheart remains behind.  Wanting to be remembered- wherever he goes; do not forget her- the lyrics paint some vivid scenes and compel the listener to project their own series of events.  Poker Town has a grittier edge and bouncy chorus.  Another U.S.-indebted sound- nodding to the legends of Country- there is an air accessibility and memorability in the music.  The vocal is another impressively strong and bold delivery.  The consistent energy and hop- the band come together wonderfully- ensure the song stays in the head and gets the listener singing along.  A song that is destined to get the crowds united in voice- and the bodies dancing along- we see more traditional Country themes being explored.  Our heroine has her heart broken- staying in Poker Town with a “handful of aces”- poker simile and romantic strife marry together with ease.  South of the City are at their most relaxed and breezy here; showing what a range and mobility they have.  Move On is a stomper that takes Country and filters it through a prism of Rock:  There is plenty of granite among the tender-hearted professions.  Directed at a hero/heroine; our lead recommended moving on and going somewhere new- singing a “new song” and being somewhere different.  If something is “holding you back” you need to “find yourself some space”.  It is a wise and relatable song that will relate to a lot of listeners.  Another vibrant jam from the band:  Surely another track that will enliven the festival crowds.  Whilst the band are strong and compelling when joined together; they are stunning when going solo.  Whether a passionate and lustful vocal delivery or scintillating guitar solo:  You get chances to see individual talent come through.  A lot of Country bands- the ones I have witnessed- are too defined and predictable with their song structures.  Tracks tend to stick to verse-chorus-verse and rarely break the mould.  While South of the City have discipline; they allow for some surprise and unexpectedness.  Rock guitar solos sit with catchy, effusive Pop chorusing:  You get a lot of other flavours inside their Country sound.   Because of this, the group is liable to win a lot of younger fans.  Country music has (in the past at least) been more directed towards a certain audience- usually slightly older to be fair.  South of the City ensures mainstream touches go into a pure Country core.  Like The Shires; there is a blend of Pop and Rock:  Foot-stomping choruses and more tender moments sit alongside one another.   I cannot wait to hear Poker Town and what the Surrey band can come up with.  In terms of production, the album would benefit from something a little polished- not too much but just enough to bring all their elements into focus.  If they can mix in some more tender/reflective moments- to balance out the energetic jams- then that will give (the album) some diversity and depth.  The band showed how confident they are when going up-tempo:  They could easily captivate when showing sensitivity and heartwarming vulnerability.  In terms of their overall sound and themes; their hearts are lodged in the U.S. south.  You get that U.S. drawl from the vocal and stories that deal with dislocated lovers and desert-dwelling cheats; packing up your troubles and finding somewhere more hospitable and inspiring.  It would be good to see the guys mix British sensibility within their U.S. sounds.  Maybe some homegrown themes/ideals- show some patriotism- would bring their wit and national pride to the fore.  If they can get the track order spot-on- not too top-heavy; ensure the record ends with a bang- they could well have a hit on their hands.  Given the fact they have been together such a short time:  The authority and quality on display is impressive indeed.  Leading the charge- a song that sounds like a ready-made album opener- is Up in the Sky.

I mentioned Up in the Sky could be an album opener.  The reason behind this theory is exemplified in (the song’s) introduction.  Rolling thunder and tender guitar strings evoke something primal and widescreen.  The song’s title comes to mind straight away:  A turbulent, colourful sky ignites and teases.  In the opening stages, you can hear how distinct and tight the band is.  The performances are exceptional whilst the production is surprisingly polished and clean.  Leading the listener in- building intentions and atmosphere- the song builds in stages.  From the thunder and rain, you get curlicued guitars that are surprisingly sumptuous and engaging.  Ensuring every listener immerses themselves inside the song:  South of the City ensure the song is never pastiche; there are high-drama and originality from a band that has an exceptional chemistry.  The raw and Blues-y guitars lead to heavenly backing vocals- our heroine is like a spirit in the sky; calling from above.  Kicking the song up a gear:  Those guitars unite with a thudding percussion and bellicose intention.  Making sure the song swaggers with cool-edged intention- a cowboy strutting into a local saloon- the band keeps things tight and electric.  Those moody and storm-weathered opening moments have passed and the lightning is striking.  It is hard to compare South of the City with any other act- when listening to Up in the Sky- but that is a distinguishing factor.  It is clear the temperature’s rising:  “It’s going crazy like the fourth of July”.  Whether there are fireworks in the sky or an ensuing conflict on the ground:  Something hard and heavy is about to go down.  Wild West drama is a theme that creeps into South of the City’s music:  They always keep a part of their consciousness in the heat of the desert.  As our heroine’s voice becomes more intense and pressing; the vivid lyrics reveal new insight.  “Hold onto your mumma’s skirt” sees the band members combine their voices- and add to the emotion and drama- which gets you guessing and interpreting.  Cards are kept close to the chest in the early phases.  The heat and spark of the song are evident, but I was curious to know what inspired the song.  Maybe a work of fiction- compelled by past Country songs- or based on real-life events:  The words not only provoke speculation but ensure you are hooked and invested.  “You’ll be dancing in the dirt” is a promise that is delivered with panache and stamp- the band lets their voices commingle again- and you are caught up in the swinging, catchy vibes being thrown out.  South of the City shows what a bold and tight proposition they are.  The performances are beautifully connective and focused:  Each player drives the other and the song sound well-rehearsed and confident.  All Hell breaks loose down in the street.  The dogs howl and bark as cars drive by; the neighbourhood is rattling and alive.  Part of my brain imagining the songs in a suburban backwater:  Somewhere quite humble that is seeing a cavalcade of bike-riding hounds drive-on through.  On the other hand, you get suggestions of the desert and something more old-fashioned.  The band’s blend of contemporary and traditional makes their music so appealing and rich.  The banshee is wailing in the sky- the song’s subject needs to “find some shelter”- and you become ever-curious about the song’s origins.  Truly, the band has a way with words and building that tension.  Painted, howling skies sit with mystical gods and hellacious weather:  Language is kept simple but manages to promote some rather heady and epic scenarios.  On previous songs- you can hear on SoundCloud- the band elicit solos and compartmentalise their music.  That may be true of the introduction- the instruments come one-by-one; there is that gradual build- but the song is distinguished by its focus and unity.

Every member is in-step and content to play their part.  The vocals are exceptional and memorable throughout.  One of the criticisms that befell The Shires was the pitchy, over-ambitious nature of Rhodes’ voice.  There are no individual issues within South of the City.  Our heroine’s voice is assured and without fault throughout:  When the band joins vocal forces you get even more electricity and force.  In a music world where there are too many careerist chart-hungry artists- asinine and robotic- you get such a bracing and different sound here.  The guys have ambitions- they would like to be ruling the charts one day- but their music is very much aimed at those who appreciate music’s finer points- not calculated towards the lowest-common-denominator fan.  Occasionally, the guitar steps into the spotlight to provide some aural drama.  Given the song’s themes- something dangerous forming in the sky- it would be nice to hear that guitar turned up even more; create something viper-like and angry.  It is a small nag in a song that gets better and more rewarding each time you play it.  In a town where power lines pop- the “trees are dropping”- something apocalyptic can be seen in the sky.  Among the chaos and danger is warmth that makes the song such a winner.  A lot of artists- when assessing such themes- would put too much dourness and mordant into their tones.  The vocals are consistently heartfelt and caramel-sweet:  Imbued with enough punch to drive every (eye-catching) line home.  Mixing traditional Country twangs with an edgier Blues sound:  The band has created a track that is sure to find patronage across a wide range of listeners.  The contemporary and of-the-moment freshness comes through in every note.  The group master catchiness without compromising purity and quality; the performances are exciting and stunning throughout.  I can tell how much the band has rehearsed Up in the Sky.  The song has a confidence and nuance but it never sounds overdone and too familiar.  By the very end, you are compelled to reinvestigate the song and get caught in the whirlwind and destruction.  Charm, smile and memorability are words that perfectly describe Up in the Sky:  A very strong statement from a band that deserves wider scrutiny.

Congratulations must be given to a band that has defied my expectations.  Up in the Sky is going to be a hard song for them to top.  Of course, it will be part of their forthcoming album.  Where it sits in the line-up- thinking about it; it would be a perfect closing track- is up to the four-piece.  Propelled by unexpectedly polished production values- the most-clear and concise the band has come up with- ensures Up in the Sky crackles, shines and sparkles.  The entire band shows what a tight-knit team they are:  Every instrument and vocal part sticks in the mind and is hugely memorable.  Country music is a hard domain to come into:  Given its under-appreciated status in British music; there is a lot of work to be done.  Whether (Country artists) will find equality and equal-footing remains to be seen.  With bands like The Shires and South of the City emerging:  The future looks set to show some change and progress.  Up in the Sky mixes top-tapping energy with something moodier and brooding.  An explosive number that will not shake the brain for days to come- trust me, it will move into your brain and be a belligerent tenant- that is a big bonus.  So many songs I review dissipate from view following a few spins- no such pitfalls from the Guildford band.  The band/their latest cut have the potential to migrate from local levels to reach the plateau of national radio.  With a shift occurring- Country becoming more flexible and popular- I can see South of the City getting their music played on national radio.  U.S. stations could well become involved- our Radio 2 would love the vibes South’ put out- and that all bodes for a bright future.   They may have a fairly modest year ahead- local dates and a new album out- but that will all change in years to come.  If they keep the quality and consistency up:  We could well see this charming band become household names.

Perhaps I will never fully convert to Country music:  My heart will always belong to other genres.  That said; we should all be more open and bold with our music tastes.  If we all believe stereotypes and turn up our noses:  How will we ever get to discover great new artists?  I looked at The Shires earlier and highlighted them:  The first British Country act to crack the top 10 (with their album, Brave).  Maybe it is early days yet- not a whole lot of U.K. Country bands emerging- but I think we will see a lot of change and development.  I am seeing fewer Rock/Alternative bands come through:  Our new musicians are looking at other genres and the possibilities inherent.  South of the City are at the local level right now.  They are still solidifying their membership- the hunt for that elusive second guitarist- and playing the bars and venues of Surrey.  The fact they have evolved so naturally- name changed and an album in their sights- proves a number of things.  To start, the guys have an affection and bond that can see them play for many years.  They have a lot of faith in their material and sound:  They would not look at an album were they unsure and hesitant.  The band has quite a raw, lo-fi sound- a rarity that I am always happy to witness- and there are humour and closeness in the group.  The quartet has a wittiness and everyday charm that is resonating with social media followers.  Across Facebook and Twitter the group is recruiting fans and gaining some positive feedback.  Up in the Sky has gentility and drive; reflectiveness and passion:  All bonded and augmented by the energy and tightness the band possesses.  Up in the Sky is the sound of a modern Country band that mixes Rock and Alternative elements into a traditional, relatable core.  South of the City show adventurousness and originality in their lyrics- not all about love’s losses and splits- and have that drive to go as far as they want.  Already connecting with local audiences- they have played festivals and are very much in-demand- the best days are still ahead.  Whether they find another guitarist soon- there are plenty out there I am sure- or continue as a quartet, I am not sure.  When their album does hit- expected to be released very soon- it will show what the Surrey band has to offer.  On the evidence out there- Up in the Sky and song snippets across SoundCloud- the results will be exciting and well-worth checking out.

Tomorrow, I am reviewing Californian, YouTube sensation, Jeremey Passion.  The American’s smooth R ‘n’ B music has captured a wide audience and (he) looks set to be a star of the future.  One of the great things about this blog- apart from the chicks and money, of course- is the variety of music out there.  I would hate to- as some reviewers do- plug the same styles of music- focusing on bands only, perhaps.  It makes life so boring and predictable.  From my last review- London girl band IV Rox- to South of the City:  I feel a close bond with the Country band.  Despite the fact they are throwing distance from me- probably bumped into them about town- they have a genuine hunger to succeed.  They are local names right now, but that is not to say they will remain as such in years to come.  The Shires’ success might seem like an anomaly but really it is a wake-up call:  Listeners need to expand their horizons and stop being so rigid.  You do not need to be life-long fans of South of the City- their infectiousness might just change your mind- but their music cannot be disliked and ignored.  Over the last few years, U.K. bands Red Sky July and The Good Intensions have made an impression in Country music.  Slick harmonies and well-crafted songs have ensured they have a future, for sure:  They are just two names that are reassessing preconceptions around Country music.

I feel younger and inflexible listeners- who tend not to stray beyond the mainstream charts- check out Country music.  It is one of those genres that can bring in other components:  The beauty and beguile of Folk; the cool swagger of Rock; the accessibility of Pop.  South of the City releases their eagerly-awaited album (Poker Town) this spring.  The quartet has a good mix of fans and supporters right now.  In order for them to transcend through- reach mainstream levels of success- they might need to think about The Shires as an example.  The reason Brave made history was its air of bravery and familiarity.  At its heart, the album was a Country creation- recorded in Nashville by two musicians who have a fond love of bygone Country acts- but there was plenty of mobility.  Songs incorporated Pop and Rock together with drum loops, electronic elements and myriad possibilities.  Whether Poker Town will contain that blend- or settle for an Americana-cum-Blues template- that is up to the band.  They have the potential to make waves and give British Country music the exposure it deserves.  There's a definite buzz and resurgence occurring.  British country acts are being embraced more and there is that tipping point unfolding.  I can well see South of the City at home in Nashville:  Perhaps (if finances allow) they could record their second album there?  For now- keeping feet planted on floor- they are trying to get people listening and make a mark on the local scene.  With Surrey being packed with promising new musicians:  There is nothing to suggest South of the City cannot mix it with the finest.  The smile, wit and connection are evident:  The members have friendships and bonds that reflect in their performances.  Their songwriting is inventive and solid:  Music that can reveal something fresh with each new investigation.  Above all- against the endless tide of Indie variations- South of the City provide something strangely new and unheard-of.  That factor is what will see them capture many more hearts and minds.  If they continue to grow and expand- a solid five-piece in time; add more colours to their impressive core- there is no telling where they could end up.  Whilst mainstream chart success might be a few years off, there is evidence to suggest this Surrey band…

COULD become one our finest Country music acts.

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The Classics Series: The Beatles- Abbey Road

The Classics Series:

  

The Beatles- Abbey Road

 

RARELY has an album carried such weight and expectation…

than Abbey Road.  Often regarded as one of music’s greatest albums:  Abbey Road was the penultimate release from the legendary band.  Of course, Let It Be was recorded (before Abbey Road):  The contrast between the two albums saw a huge shift and a chasm of evolution.  It is a sad fact The Beatles had to call time on a wonderful career.  Whatever the true circumstances behind the split- Yoko becoming too influential; band tensions too severe; a natural time to call it off- you cannot deny what a legacy The Beatles left.  They are a band that is even more influential than you may imagine.  Whilst a lot of modern-day bands/artists are not directly influenced by the band- in terms of sounds and themes- nearly every musician owns at least one ‘Beatles record.  I have never come across a person who dislikes The Beatles:  If I ever do encounter one they will be swiftly punched in the face.  Modern music would not be what it is without the Liverpool band and what they gave to the world.

If you are a lover of ‘60s music- I cannot say I am a big supporter- some of music’s legends began their careers around this time.  Bob Dylan started off in the early ‘60s:  The master of song began honing his craft and showing the world just what a genius he was.  Bands like The Who and The Rolling Stones waved the flag for Britain.  Led Zeppelin began to emerge towards the late-‘60s.  If subsequent decades saw a balance between U.S. and U.K. artists- both nations producing supreme quality- the 1960s saw Britain absolute dominate.  Sure, the likes of Dylan put America in music consciousness:  Britain’s best were showing just what music was capable of.  The electric sexuality of The Rolling Stones- reworking the Blues with their distinctive swagger and musicianship- gained legions of fans around the globe.  The Who’s youthful anthem- the album My Generation was released in 1965- captured the hearts and minds of a new generation of music fans.  I do not need to give you a concise history of The Beatles- lord knows, that has been done enough- but it is worth looking into their late-era albums.

In 1968, The Beatles were starting to show some strains.  In the run-up to The Beatles (‘The White Album’); the band members were writing separately and communications were strained.  Sgt. Pepper’s Lonely Hearts Club Band (released in 1967) was a cultural landmark and saw the quartet achieve their most successful creation to date.  Critics practically drooled over the album- some thinking The Beatles were agents sent by God- and fans responded accordingly.  Nobody can deny what a significant impact that album had at the time:  An album that has not been equalled or topped by any musicians since.  Whether it is your favourite ‘Beatles album or not- mine is Rubber Soul- the influence it had was staggering.  It is strange; therefore, that The Beatles was such a tricky affair.  Writing songs at a Transcendental Meditation course in India- some songs were written in England but most were penned here- the band needed to get away from things are reflect.  Towards the start of the sessions, band friendships were as strong as ever.  Lennon and McCartney would often meet in the afternoon to review one another’s work- Lennon felt he wrote some of his best material at this time.  The band recorded around 40 songs before heading home- George Harrison came into his own as a songwriter- and there was optimism and high hopes in camp.  When the band sojourned to Abbey Road Studios, cracks started to appear.  Lennon and McCartney would often record in different studios- employing separate engineers- whilst Lennon’s twin devotions- to Yoko Ono and heroin- changed his personality.  With Ono in tow- and balkanising the song-writing leads- there was a hostile atmosphere in the air.  Petty fractions would arise- George Martin critisised McCartney’s vocal on Ob-La Di, Ob-La-Da to which McCartney responded:  “Well, you come down and sing it then”- the brotherhood was breaking.  Lennon found McCartney’s songs cloying and sickly; McCartney considered Lennon’s cannon harsh and unmelodious.  By August 22^nd (1968) Ringo Starr had had enough:  He left the group; unable to come with the arguments and acrimonious divorce that was unfolding.  The Beatles had essentially created their ‘break-up’ album.

The Beatles was received positively by critics upon its release.  In spite of the fact it was a double-album and hugely fragmented- the band members covering so many genres and ideas- that dislocation and lack of cohesiveness fascinated listeners and reviewers.  The emotions and contradictions (within the album) won hearts and minds.  A staggering achievement considering the album almost didn’t get made.  Let It Be was The Beatles’ next release and see existing tensions reach fever-pitch.  Although released as their final album:  Technically it is their penultimate cut (recorded before Abbey Road).  McCartney- worried that the band was beyond repair- felt the way to repair relations was to get back into the studio and jam together.  No overdubs and 8-track recording- the band switched from 4 to 8-track for The Beatles- just keep things nice and simple.  Of course, things would not work out that way.  If things had changed- George Martin was not in the producer chair- the band could all relate to one thing.  Each member was keen to return to a back-to-basics performance style.  The band felt albums like The Beatles were too complicated and technical:  The Beatles built their success on no-thrills straight-to-the-point group performances that showcased their affection and bond.  In an attempt to return to their former state:  The guys were excited to see whilst they could come up with.  McCartney assumed the mantle as ‘group leader’:  A fact that irked George Harrison especially during this time.  Lennon became disengaged and preferred working with Yoko Ono:  Like two parents separated; the ‘children’ of Harrison and Starr were caught in the middle.

Lethargy, conflict and power struggle defined an album that was effectively spelling the end of The Beatles.  The fact the recording sessions were filmed- another nail in the coffin- only made tensions worse.  Whilst rehearsing in Twickenham Studios, the first real explosion occurred.  Harrison was growing frustrated at Lennon’s lacking inspiration and disengagement from the band.  Reputably escalating into a fist fight- Harrison denied this in later interviews- the duo fell out hard.  Harrison also turned his anger on McCartney who he felt was patronising and controlling:  Harrison subsequently returned home and left the band as a trio.  Soon after, the band commenced to Abbey Road Studios, with Harrison back in the fold.  The Beatles abandoned the idea of public performance- a concept McCartney hoped would solidify the group’s discipline and focus- and went back to basic recording.  Fruitful sessions lead to hundreds of songs being penned.  In spite of this creative spurt; it was a band aid for the band’s scars.  Just before the album was completed, Lennon walked out of the band.  I Me Mine was the final song recorded and there was a lot of uncertainty.

[youtube https://www.youtube.com/watch?v=qHGXfJKv6mU&w=420&h=315]

Critics were a little lukewarm to Let It Be when it was released- after Abbey Road- and it was an unwise final release.  Were it, like it should, to follow Yellow Submarine (the soundtrack was recorded after The Beatles) then Abbey Road would be a naturally fitting conclusion- a return to the band’s highpoint.   The Beatles had not always resonated universally with critics- albums like Magical Mystery Tour gained muted acclaim- but Let It Be was the first real sign affections were waning.  The patchy quality was not befitting of a band that once ruled the music world unchallenged.  Knowing Let It Be could never be repeated- those tensions and awful days- The Beatles came to a collective decision:  Abbey Road would be their final album.  Knowing the end was in sight, something wonderful happened:  The group were filled with life and affection.  There were no pretences and high hopes for the future:  This was their last hurrah, so let’s go out with a bang, eh?!  The atmosphere had improved and The Beatles seemed more united and solid as a band.  In spite of this collegial return, the group suffered arguments and disagreements.  Songs like Maxwell Silver Hammer- not a golden moment for McCartney- drew criticisms and saw McCartney slave over it to insane degrees.  The perfectionist tendencies were on display and unchanged since Let It Be.  To be honest, Abbey Road’s recording signalled maturity and wisdom from The Beatles.  They wanted to get rid of the conflict and return to the way things used to be.  As such, George Martin was brought back to the producer’s chair.  Martin’s influence and strict instructions- especially pressed towards Lennon at this time- seemed to hit home.  The quartet was ‘The Fab Four’ once more.  Harrison- who had suffered the most during the Let It Be sessions- reflected positively on the sessions.  There were no cameras and cold rehearsal spaces:  The band were at their spiritual home and had returned (in a slightly diminished sense) to their former, better selves.  Despite a more solid band, old issues started to rear their heads.  Ono’s constant presence was starting to grate McCartney.  Both Lennon and Ono were involved in a car crash during recording:  Ono was forced to rest; installing a bed in the recording studios.  Hanging over the band like a nagging teacher (me editorialising a bit) it was no wonder there was danger the album would be derailed like Let It Be’s tumultuous progeny.

McCartney and Lennon arrived on a compromise.  Lennon wanted to return to a Rock-based, concept-free style of recording- a sound akin to their mid-‘60s period.  McCartney and Martin were desirous to return to Sgt. Pepper’s’ thematic approach.  As such, Abbey Road was split into two distinct sides.  Side One was marked by its focused and ‘old-style’ ‘Beatles sounds.  Side Two was a medley that saw characters united and song snippets flowed into one another.  Despite détente being reached, Lennon still couldn’t resist poking the bear.  He felt McCartney’s medley was trash:  Snippets of songs that had no real value.  Valuing (McCartney’s) contributions for “grannies to dig”:  Not every aspect of recording had seen The Beatles regress to their glory days.  That said, the album did get made and its majesty resounding hugely with critics.  Many consider Abbey Road to be The Beatles’ crowning achievement.  It is hardly Abbey Road is considered a stone-cold classic when you investigate the songs.

[youtube https://www.youtube.com/watch?v=rf4mBowoHlQ&w=560&h=315]

Come Together opened proceedings and saw the boys put in one of their finest performances.  A simple Rock song that sounded like The Beatles of old:  Come Together flowed with effortlessness and unity.  Many picked the song apart for hidden meanings- maybe a sly dig at McCartney’s role; the importance of Lennon and Ono to the group- but definitions aside, it was one the group’s best songs.  Lennon had recaptured his desire for song-writing and seemed more focused and engaged.  Seeing himself as a peace-loving, higher figure- the rough draft of the lyrics were created during a bed-in event in Montréal- there is a charm and wit alongside arrogance and mystique.  A complicated-and-simple juxtaposition that brought the best from The Beatles.  A perfect opener and endlessly-quoted track:  A warning shot that showed there was life in the band yet.  George Harrison was coming into his own as a songwriter around The Beatles’ creation.  Whilst his efforts- across that album and Let It Be- showed some weak moments (Piggies from The Beatles; I Me Mine from Let It Be); he was at his most consistent and spectacular on Abbey Road.  Something is considered to be Harrison’s greatest song in The Beatles’ catalogue.  The song began life during the sessions for The Beatles.  Inspired by James Taylor’s Something in the Way She Moves:  Harrison refined the lyrics during Let It Be’s creation.  Lennon considered the song to be Harrison’s greatest moment- a sentiment shared by the rest of the band- and was issue alongside Come Together as a double A-side release.  The first number one from The Beatles not written by Lennon and McCartney:  Harrison was emerging as one of the country’s best songwriters.

Maxwell’s Silver Hammer is seen as one of Abbey Road’s less-inspired tracks.  A song that divided the group- angered by the time McCartney dedicated to such an average thing- it was first performed during the Let It Be sessions.  The band felt the song was too complicated whilst Lennon flat-out hated it- feeling it was another McCartney song primed for old listeners.  Harrison was also weary of the time spent on the song.  Having heard the track over and over, there as that need to get it done and out the way.  In spite of criticisms, it is a necessary balance in an album that saw The Beatles embrace a more playful sound.  You would not want an album too heavy-handed and solemn.   If it is a little juvenile, then what of it:  It shows the range The Beatles had and the need to keep things light and upbeat.  Oh! Darling was another McCartney song that saw him try a Frank Zappa-esque track.  Recording it over the course of a week- arriving first thing saw his voice was quite raw- it saw McCartney deliver one of his most emphatic and impressive vocal performances.  Lennon clearly had affection for the song:  Feeling he should have sung the vocal as it was more his type of song.  If certain McCartney songs divided opinion:  Oh! Darling was a simpler and more natural song; free from endless takes and perfectionist tuning.

  Octopus’s Garden and I Want You (She’s So Heavy) brought Abbey Road’s Side One to its conclusion.  If Maxwell’s Silver Hammer was considered as a slightly silly song:  Octopus’s Garden was down-right bonkers.  A rare Starr solo composition- good to see the drummer get a say on the album- is considered another minor footnote on the album.  I Want You (She’s So Heavy) is one of Lennon’s most intense songs.  Written about Yoko Ono; its simplicity and passion ensured it had a huge impact and stood as (one of the album’s) key moments.  Although the song had a Blues structure; there were white noise effects and odd time signatures:  The song runs in at nearly eight minutes and suffers a sharp cut at the 7:44 marker.  The result of two recording sessions- one after the Get Back/Let It Be point; the other during Abbey Road’s recording- it demonstrated Lennon has rekindled his song-writing genius.

[youtube https://www.youtube.com/watch?v=8CDtMPrX3fM&w=560&h=315]

Side Two opened with another Harrison composition:  The breezy and hopeful, Here Comes the Sun.  Recorded in Eric Clapton’s Garden in Surrey- Harrison was relaxing, following stressful band business meetings- it saw McCartney on bass and backing vocals; Starr on drums (Lennon was not involved; still recovering from his car accident).  A critically acclaimed song; it is seen as one of Abbey Road’s most immediate and sing-along songs- showing just how much Harrison has matured as a songwriter.  Because preceded the famous ‘medley’ and was one of Lennon’s contributions.  Inspired by Yoko Ono playing Moonlight Sonata on piano:  Lennon wondered what the notes would sound like played backwards.  Upon Ono’s reverse delivery; the inspiration for Because arrived.  Featuring Harrison, Lennon and McCartney on vocals:  Their voices were triple-tracked to create a stunning choir-like sound.  Each singer considered it to be among the most technically challenging they had attempted.

The 16-minutes medley is considered to be among The Beatles’ most inspired decisions.  George Martin- wanting the band to return to a more structured, disciplined form of song-writing- forced Lennon and McCartney to become more serious about music.  The lead-off track, You Never Give Me Your Money, is a McCartney composition aimed at Allen Klein.  Based on Klein’s empty promises and mismanagement.  Lennon and Harrison became heavily involved with the track’s recording.  Both would record guitar solos with Lennon’s contribution- the final solos- being seen his finest guitar work.  Sun King works in a similar way to Because.  Those dreamy, multi-part vocal harmonies- again, Harrison, McCartney and Lennon in unison- were sunnier than Because’s intense and haunting effects.  Mean Mr. Mustard and Polythene Pam are Lennon vignettes of two contrasting characters.  Polythene Pam is based on an experience Lennon had.  Whilst on Jersey, Lennon was introduced to a woman who wore polythene:  He elaborated and fabricated certain details to fit it into Abbey Road.  Mean Mr. Mustard was written in India- Lennon disliked the song and saw it as a throwaway- and introduced Polythene Pam.  Following Lennon’s two contributions came a run of four McCartney songs.  She Came in Through the Bathroom Window was penned following a fan breaking into McCartney’s apartment (through the bathroom window).  With McCartney living in St. John’s Wood- close to Abbey Road Studios- fans would often attempt to get into (The Beatles’) houses.  Golden Slumbers- inspired by the poem, Cradle Song- takes the poem’s first stanza and modifies the wording slightly.

 Carry That Weight is one of the most interpreted and relevant songs from Abbey Road.  Featuring all four members on vocals- a rarity for The Beatles- the song incorporates You Never Give Me Your Money (the beginning of the song is given new words).  McCartney, Starr and Harrison recorded the track in 15 takes- whilst Lennon was in hospital; recovering from his accident- with takes 13 and 15 being fused together.  Many have their opinions on the song’s origins.  McCartney’s take was (the song) was a representation of the struggles the band had with Apple:  The bad relations and business fall-outs that were experienced at the time.  Other see the song as a calling-for-togetherness:  The fact The Beatles would never sound as strong apart as they would together.  The End is the perfect end for The Beatles:  “The love you take/is equal to the love you make”.  Each band member played a solo on the song and it was one of the most complicated and unifying tracks across the album.  Her Majesty is a 23-second snippet that ends Abbey Road with quirkiness and humour.  McCartney hated the song- he wanted it binned- but owing to the fact no ‘Beatles material was ever discarded:  The song remained and is the final thing heard on the album.  At the time of the album’s release; the song was not included in the original sleeve:  It is, therefore, considered one of the first ‘hidden tracks’ in Rock music.

Critical response to the album- in the aftermath of its release- was somewhat mixed.  Publications felt there were some lovely moments- the medley was highlighted especially- but there were too many gimmicks and an inauthentic production sound.  Retrospective reviews have painted the album in more positive (and true) light.  Commending the lush and big sounds; the cohesive song-writing and the band unity:  It seems like Abbey Road’s merits were lost on critics during the late-‘60s/early-‘70s.  Constantly featuring in critics’ lists of ‘greatest albums of all-time’:  Abbey Road is a masterpiece that was a fitting finale from a legendary band.  Whilst the album’s cover has been oft-parodied and spoofed:  The music and themes inspired musicians at the time- Abbey Road continues to drive and compel artists to this day.  It was a sad day when The Beatles called it quits, but is was perhaps not a surprise.  Abbey Road seemed to show the boys back to their old selves and rekindling their love of music.  To my mind, few albums have matched the quality, scope and impact of Abbey Road.  If you are a fan of The Beatles’ mid-career moments- Rubber Soul and Revolver- or their later work:  Few people can deny the significance and cultural impact…

OF their 1969 'farewell'.

[youtube https://www.youtube.com/watch?v=oV8PSj-hQvw&w=420&h=315]

_____________________________

TRACKLISTING

SIDE ONE:

Come Together

Something

Maxwell’s Silver Hammer

Oh! Darling

Octopus’s Garden

I Want You (She’s So Heavy)

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SIDE TWO:

Here Comes the Sun

Because

You Never Give Me Your Money

Sun King

Mean Mr. Mustard

Polythene Pam

She Came in Through the Bathroom Window

Golden Slumbers

Carry That Weight

The End

Her Majesty

___________________________ 

DOWNLOAD

Come Together; Something; Because; She Came in Through the Bathroom Window; The End

STANDOUT TRACK

Come Together

E.P. REVIEW: Eliza Shaddad- Run

E.P. REVIEW:

 

Eliza Shaddad

 

 

Run

 

9.6/10

 

Run is available at:

https://itunes.apple.com/gb/album/run-ep/id1083120395

RELEASED: March 18th, 2016

GENRES: Alternative

ORIGIN:

London, U.K.

TRACKLISTING:

Wars- 9.5

Run- 9.6

Always- 9.5

Make It Go Away- 9.6

DOWNLOAD:

Run; Make It Go Away

STANDOUT TRACK:

Run

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All songs written by Eliza Shaddad Recorded at Deep Litter Studios, Devon Engineered by Andrew Bond Produced by Chris Bond Mixed by Catherine Marks Mastered by John Davis

____________________________________

THIS will be my last review this week to feature an…

artist from London.  It has been an interesting and diverse last few day:  I have witnessed some tremendous music and moments.  From terrific girl bands (IV Rox) and great solo acts (Mi’das):  I am back with an artist I have reviewed in the past.  Before I come to my featured artists; I wanted to look into female artists emerging in addition to artists who redefine what music should be about.  There is still a worrying trend of female solo artists not showing necessary originality, power and distinction.  Too many upcoming acts are looking at love from the wrong perspective:  Heartbroken and (almost) beginning for another chance.  Among these misty-eyed songs of sorrow; it is hard to connect with the listener.  When I was assessing Laish- the moniker of London songwriter, Daniel Green- I was amazed by the chirpiness of his music.  The current single, Learning to Love the Bomb, is a song that makes you sing along and smile.  In terms of our modern artists- both female and male- there is that tendency to be quite dour and depressive.  Female solo acts are among my favourite musicians:  I can detect something special happening right now.  One of the drawbacks- that is holding back change and instant dominance- is that reliance on woe-is-me music.  It is all very well-being sensitive and open- many people respond to that- but it can be a bit predictable and annoying.  The artists who are willing to show some defiance and grit are always going to fare better and last longer.  Eliza Shaddad has been around for a little while now and becomes more assured and amazing by the release.  Being familiar with her previous body of work- I reviewed her last E.P., Waters- and was genuinely stunned.  Rarely has a musician amazed me so much.  What I dug about the E.P. was that mix of masculinity and femininity.  This has been touched upon by other reviewers- when assessing Run- but Shaddad has a mix of vulnerability and defiance; the strength-against-the-odds with that necessary tenderness.  Her voice is a distinctive one that has soulfulness and a gorgeous smokiness.  Among the sea of female songwriters- many of whom are still determined to be as fragile and broken as they can- you get something different with Shaddad.  Sure, there are songs about letting go and revealing pain (every songwriter will write songs about this).  Shaddad is defiant and mature in spite of heartbreak and obstacles.

Whereas many contemporaries would cry their heart out:  There is no such weariness and depressiveness among our heroine’s music.  Waters was an E.P. that introduced Shaddad to the world with a huge impression.  That four-track release (June 2014) showed an intelligent songwriter able to elicit huge emotional responses from her music.  The compositions (were) deep, layered and atmospheric.  Haunting passages fused with unexpected time signatures:  The entire effect left one breathless and hugely impressed.  If anything, her current offering builds upon that and goes even further.  Run has picked up some effusive reviews- plenty keen to lend their praise into the mix- and it is clear the heroine is not done yet.  She will grow stronger and more ambitious as the months go by.  Picking up new followers and support:  There are towns and ears that are desperate to hear Shaddad up-close and personal.  Presenting atmospheric drum beats- layers and layers- and gripping harmonies:  Everything Shaddad touches is given a unique flair and huge amount of emotion.  It is hard to really define Eliza Shaddad’s music- I shall try my best, soon- but that is a very good thing.  A lot of today’s mainstream artist are too simplistic, defined and base.  Shaddad- like her finest contemporaries- digs deep and brings the listener into her soul.  Not just relying on that voice:  You get dynamic compositions and lyrics that mix the personal with universal.  I am confident Run’s release will see hundreds of new fans embrace Shaddad’s wonderful, evocative music.  Her social media support is firm right now:  It is only likely to grow more impressive over the coming weeks.  I will be keeping my eyes on Facebook to see when she is touring.  I can imagine her music is entrancing and unforgettable in the live arena.  I encounter so few solo artists who I (honestly) believe will go the distance and remain years from now.  Shaddad has a defined and particular sound; it is not one that will ever grow wearisome and staid.  She has a pen and voice nimble enough to eek nuance and fascination.  Run is a different beast to Waters:  Both E.P.s has an inimitable style but the themes/issues covered are distinct.  Shaddad has been through the wars but is not letting things drag her down.  Defiant and strong against the tide:  You can hear that confidence and strength in every song.  It is the leap of confidence- that has been gained between E.P.s- that amazes me.  Maybe it is the touring and performances that have solidified her core.  Perhaps life’s circumstances- finding new love or recognising her own strengths- has compelled this evolution.  What impresses me about Shaddad- among many other things- is how authoritative and intuitive Shaddad is.  She has a small team behind her- handling promotions and the day-to-day- but our heroine has professionalism about her.  Every E.P. she produces is tight and focused- typically, four songs that never outstay their welcome.  She keeps in touch with her fans and understands the importance of social media.  Above all, you get that immense charm and smile coming through- an infectious artist who is happy doing what she does; someone deeply in love with music and its possibilities.  With so many musicians giving up- feeling the financial squeeze or running out of ideas- you have to tip your hat to an artist who is only just starting to hit her stride.  I am not sure whether another E.P. is mooted for this year- maybe she will be planning something in 2017- but we are likely to hear a lot more from Shaddad.

Run follows on from Waters and shows differences and similarities.  Like Waters; Run is a lean, four-track E.P. whose tracks are concise and do not overrun.  A lot of artists put out E.P.s that has too many tracks- desperate to do as much they can- but Shaddad keeps things focused and controlled.  Waters dealt with a lot of love issues:  Brave in the face of break-up and how heartache affects the soul.  They are sides that are explored across Run.  Shaddad has progressed and matured since her last E.P. - new experiences have unfurled and new romances encountered- but the confidence levels are at their very peak.  Run is the work of a woman wholly confident in her skin and assured throughout (the E.P.).  Maybe touring and new recording has led to this development- becoming more passionate and assured- but you can hear it across the four tracks.  The biggest comparison- between the two E.P.s- is the quality and musical depth.  Waters was a stunning E.P. that packed emotive compositions around soothing, direct vocals.  It is business as usual now:  If anything; the compositions and vocals are even-more electric, stunning and engaging.  New listeners will find plenty of nuances, quality and stand-out moments:  Existing fans will be pleased to see there is no radical tonal shift; the maturity and new insights will excite them.

Wars is the opening track (of Run) and is an appropriate title.  With our heroine following “fizzy hands” and words; you are treated to an oblique- and very curious- opening sentiment.  The song’s subject is standing before her in a familiar position- maybe disapproving or in judgement- as things are heated and strained.  The song’s opening arpeggio- a confessional guitar bounce that builds atmosphere and dark clouds- leads to some intense vocals.  Shaddad is in reflective mode:  Picking over the pieces of a blow-up, it seems.  Trying to escape- and fade from the “morning faze”- you start to wonder what the lyrics pertain to.  Initial opinions have my mind levelled towards relationship conflict and personal set-to.  Maybe there is something more insular- assessing the self and conflicts within- but it is impossible to see beyond love’s battles and scars.  Shaddad is one of the most inventive lyricists in modern music.  Most artists keep their language too simple and straight-forward:  Maybe the average listener wants something easy-to-understand that doesn’t tax the imagination.  Our heroine has no such concerns:  She wants the listener to think and use their brains; she will not compromise her talents for the sake of disposability and dumbing-down.  The chorus comes into view- the vocal is still tender and haunted; the guitar still driving and persistent- where Shaddad poses questions.  Who wins these words that are unfolding?  What are (you) fighting for?  The oblique nature of the lyrics means every listener might take their mind in a different direction.  Given the state of the modern world- the terrorist attacks and daily bloodshed- you could ascribe a political arc to the words.  I am guessing it was not Shaddad’s intention- I feel the song is much more personal/not political- but that is the beauty of things.  You can interpret Wars in various different ways.  Just as the chorus elapses- and we await a second verse- the percussion steps in and provides a necessary kick and spark.  The composition accelerates and the entire mood becomes more tempestuous, uncertain and drunken.  Although our heroine keeps her voice statuesque, dominating and determined- making sure her words are heard and direct- the composition gives her a little confidence kick.  When the beat kicks and pervades:  Shaddad seems more motivated, energised and up-for-it.  Lines like “I feel it down in every sound” and “You ruin everything still” has that mystique at its heart:  Just what is being said here?  I am still looking towards love and having Cupid’s arrow shoved through the ventricles.  Wars is a song that seems personal to everyone who listens to it.  Like a horoscope- the Forer effect means every daily astrological interpretation could be about anyone; in other words, it’s all bullshit- Wars is equally relevant to every person- with a lot more meaning, direction and science.  Shaddad is a lyricist who can expertly reveal her soul without coming across too vulnerable and emotional.  The lyrics are intelligent and cryptic:  She never reveals her hand and uncovers too much of the truth.  By the time the second chorus comes around; our heroine is at her peak, vocally.  She is entranced by the song and gives the track a buoyant and restless persistence.  Oddly, Wars has a groove and dance to it that will get your feet moving.  Although the Byzantine lyrics spike the brain:  The composition certainly speaks to the body in a very primal sense.  When the percussion slams and rolls- Shaddad’s smoky and alluring voice subsides slightly- and the electronics build and fizz; you get impressions of Radiohead and Wild Beasts.  Radiohead comes to mind especially- their Kid A and Amnesiac work- and their experimental beast.  Perhaps it is not a band Shaddad had in mind, but it is hard to ignore (Radiohead’s influence).  “And I can’t feel you for the blood” is one of the most harrowing and unforgettable lines across the entire E.P.  You instantly imagine something disturbing and cold:  The war is at an end and the victim is fading fast.  Whether singletons looking for love or lovers moored by unavoidable rifts:  All of us go through battles that can claim the heart.  I get the distinct impression (listening to the song) Shaddad has had her fill of arguments and violent nights- the type that leaves you restless and unable to sleep.  Maybe I am short of the mark with regards my interpretation:  Like all the best songs; the true nature is sacred to the author.  By the closing notes- and with the brain packed with conflicting images- you are left to catch your breath.

Many reviewers have shared opinions and words (with regards Shaddad’s latest E.P.).  Whereas early work was filled with innocence, hope and affection- a young woman wanting to be loved and discover the mysteries of love- Run is the second half of the concept.  I reviewed Big Deal yesterday- the London band’s third album is out soon- who explained their three albums are one long concept.  Their debut looked at break-ups and making sense of things; the second was more positive and embracing; their third looks at heartache again and facing obstacles dead-eyed.  Shaddad has been in love as a young woman and comes out the other side a brave and changed soul:  She has had her heart broken and is not letting (the man/sweetheart) forget the impression he has made.  Whereas Wars had elements of My Brightest Diamond and St. Vincent- the composition of the former; the vocal beauty of the latter- Run is a different prospect.  Keeping song titles short and sweet- making them memorable and to-the-point- you can already guess the song’s direction.  The E.P.’s title cut acts like Scene II:  The opener saw the heroine caught in the storm of a brand-new break-up; making sense of the immature battles and needless bloodshed.  Run is a cautionary tale that implores people (facing the same predicament) to get the Hell away.  Echoed, far-off guitars open the track and act like the breaking dawn:  Following on from the previous night, our heroine is on the road and walking away.  Looking at “fake memories” and clothing coming away- excuse offered to avoid an unwanted experience- it sees Shaddad at her most conflicted.  Walking the path- trying to throw off the scent of her man- it is one of the most ethereal and mature songs on record.  Shaddad is not needless profane, direct and angsty:  Every lyric seems like it was well-considered, deeply-thought and the result of huge lessons. Wars had a bold and propulsive nature:  Run is ironically slow-moving and funeral.  Shaddad is not just trying to escape a man for her own good:  She implores him to get away “as fast as you can” before things are too late.  Maybe our heroine knows her own future- she might explode or push him away- and is being kind, here.  The boy needs to get out and hit the bricks- our heroine needs time to her own- and you immerse yourself in the chaos.  If anything, you sympathise for the man:  You can imagine teary exchanges and stuttered pleas.  Our heroine lets her voice crack slightly- you can sense the emotion getting to her; this song resonates directly- whilst the composition remains disciplined and sparse.  The spotlight is on the vocal which keeps pleading and rising:  Sending out the warning siren to a man who is perhaps better off.  Few songwriters turn the tables and offer humanity:  Shaddad wants her love to go before she ruins him, essentially it.  It is a heartfelt and considerate action from someone who is going through repentance and self-investigation.  As the emotions get more fevered and hot:  The composition clashes like waves and becomes much more dangerous.  Perhaps signifying a boat tossed against the rocks:  The electronics swell like waves whilst the percussion clatters in the stormy weather.  Mantras and lyrics are repeated in a conversation style:  It is as though Shaddad is shouting these words to her man; needing to reinforce them against his protestations and heartache.  Climaxing with some wonderfully raw compositional notes- contorted electronics and something snarling- the song is wrapped up with the biggest impact you could imagine.

After the stormy and exhilarating passion of the E.P.’s opening duo:  Always is a softer and more restrained affair.  The track has gained kudos from various publications who have noted the candid and cathartic nature of the song.  Wars is an E.P. of two halves:  The fiery and confused lover who is breaking up with someone.  The second half sees a woman rebuilding her life with someone new; unable to forget the memory of her vanquished true love.  Perhaps the most drained and soul-baring song on the record:  Always opens with reverent strings and magisterial electronics.  That juxtapose and bond creates a swelling mood that leads to our heroine’s whispered voice.  Thinking of her man- trying not to- she is falling into “someone new”.  Like a winter flower- a beautiful creation battered by harsh weather- you “still exist”.  Shaddad is going through the motions in order to gain physicality and comfort- perhaps not committed to her new guy.  Maybe she sits in her bedroom and looks out the window:  Always is like a diary entry that documents absolute honesty.  The song is an ecumenical experience- almost religious in its nature- whilst the central vocal is among the E.P.’s most beautiful and powerful.  The composition remains sparse and light- to start, there are spattering drums and few other influences- that grows as the song progresses.  To punctuate the verses- and provide aural story development- the guitars become more cohesive, structured and filmic.  The percussion gains discipline and the conjoined paramour gets inside the mind.  Run’s opening tracks contained complicated emotions and oblique lyrics:  Unobvious words that could act as a metaphor for the state of the relationship (crossed lies and confused sentiments).  Now the war has ended- the dust has settled and Shaddad yearns for the hero- lyrics are more simplified and clear.  No time for pretty phrases and depth:  Here is a woman who knows what she wants and wants us to know how hurt she is.  For that reason, every listener will understand every line and its meanings- there is no room for misinterpretation.  If the listener felt conflicted towards Shaddad in the opening two tracks- unsure of her motives and culpability- your heart belongs to her completely.  You can feel those open wounds and her fragility and cracks in a very brave and strong woman.  Always is the shortest track (from Run) and it needs to be:  Our heroine sounds positively exhausted after the 189-second song completes.

In a way, you don’t want Run to end.  You know what Make It Go Away concerns- given the songs that came before- but you know how the song will conclude.  The listener wants Shaddad to be happy and content by the E.P.’s end:  Given the nature of the final track; will this transformation occur on a new E.P.?  Like Big Deal’s completed trilogy- from broken to fixed; back to broken- Run is almost like a trilogy mid-way point.  Waters was a tranquil and probing work that saw a young woman embracing her passion:  Wanting her heart captured and aware of the pitfalls of love.  Run sees the heroine flees and finds herself conflicted by a relation’s end:  Pushing a man away but unable to get over him.  Will an E.P. number three- maybe something called Reborn- see the London singer find firm love and show a heart settled and adored?  No end, for we must look at Run’s swansong.  A stark track that awakens with a weariness and sense of lamentation.  I have seen critics compare Shaddad to Hope Sandoval (Mazzy Star’s quixotic and compelling lead) and they seem appropriate here.  Our heroine’s voice is at the centre- the composition is happy to add influence when needed- and this is the most naked and harrowing confession she has laid to record.  Gleaming interview- promoting Run to the media fans- I know Shaddad wants to remain a little guarded and less revealing.  In the middle of a rancorous break-up- at a breaking point and feeling she needed to get these words onto tape- Make It Go Away is the music equivalent of a woman who is about to completely break down.  Shaddad is determined not to cheapen her experience and end with something fake and saccharine.  The most depressive and earnest track on the album:  Make It Go Away sees our heroine admitting:  “I never did deserve you”.  Words are repeated- “It is easy”- to give the listener little doubt:  How the Hell is she going to recover from this?  Oddly, the track is one of the catchiest on record.  The instrumentation and mixing are stunning:  Bringing the best from each player; each component adds a new dimension and enhances the overall experience.  Shaddad (as a writer) is brilliant at writing for musicians:  Knowing exactly how to articulate an emotion or sentiment via the medium of performance.  Make It Go Away is almost choir-like in its intensity and scope:  Layering her vocals brings the E.P. to the absolute precipice of emotion.  You can almost hear Thom Yorke sing “This is my final fit/my final bellyache” as he embraces a romance with carbon monoxide.  Shaddad is stepping toward the water and wants to erase her thoughts:  The pain is almost too much to live with.  By the time the track ends, the listener will feel like a better person.  We are hearing something completely honest and pure:  This woman is not hiding anything and we are treated to something we may never hear again.

I hope Eliza Shaddad has a nice man in her life and is a happy woman.  I say this as a concerned fan who has taken so much from Run.  The E.P. drips with emotion, blood and tears:  Every song seems to show our heroine become weaker and more submissive as time progresses.  Congratulations must go to Chris Bond (producer).  Ensuring every song sounds completely essential and brilliant:  He brings the best from Shaddad and gives her a perfect platform.  Catherine Marks brilliant mixes everything and provides a wonderful balance and sense of control.  Lesser hands would be daunted by the emotions and contradictions:  Unable to properly mix instruments, vocals and lyrics together.  As it is, she has helped make Run something nuanced and endlessly fascinating.  Andrew Bond oversaw the engineering and is another crucial element in the E.P.’s success.  Special applause must go to Shaddad who have unveiled her finest work.  I know how much toil and work went into each song- she would demo them straight away; it took months between those demos being laid and the final versions being premiered- and you will be stunned by the honesty and impact the E.P. has.  I cannot recommend Run enough, so do not be put off:  The songs might be honest/raw but they will make you a better music lover for hearing them.  Keeping things simple and sparse- few instruments recorded on basic equipment- helps to highlight the soul-baring nature of the E.P.

Eliza Shaddad is one of those artists who has a strong vision and never betrays her own instincts.  A lot of songwriters dump too much into songs and expound little intrigue.  Shaddad pares her lyrics down to the essentials- economical and to-the-point with her words- and ensures there are no wasted moments.  The compositions have a density and experimentation but never run away with themselves.  Our heroine’s skill and precisions ensure her songs have a familiarity and impact upon first listen- reveal new layers each time you go for a spin.  To that end; Run is an E.P. that seamlessly integrates the personal and every-day.  You get confessional insight and revelations:  Never do you feel drawn into something awkward and cliché.  The lyrics show an intelligent mind who can create phrases that stick in the mind.  Tropes mix with metaphors; the stark can bounce with the beautiful:  Every line is logical and nuanced.  It is not just the lyrics book that gets inside the head and compels you to dig deep.  That central voice carries myriad emotions and sides.  It is clear Shaddad’s musical upbringing has enforced her direction.  You hear elements of Soul queens in the mix:  Bits of modern-day Pop and bygone Blues pioneers.  It is a beguiling chemistry that beautifully soundtracks every song.  Few artists expend a lot of time on compositions:  Making sure they resonate and create their own impact.  I feel a lot of singers- not reserved to any gender, here- assume their own voices will do most of the work.  Unless you have the pipes of Freddie Mercury- no-one since him has got near- then you have to think about every component.  Shaddad is a musician who is able to create drama and story without a single word being sung.  Isolate those compositions and you get a stand-alone piece of art.

Not to over-dramatise with florid language:  I mean there is a lot of attention and thought put into the music.  When you bring all these chemicals together- the bittersweet words and dark run-flavoured voice- and add it in with something with darker shades:  The resultant taste is one that certainly leaves you wanting more.  A musician who knows the importance of nuance:  It is small wonder Shaddad has such a dedicated fan-base.  Run sees the young heroine builds upon early promise with fresh revelation and promise.  The songwriter was great to begin with; it sounds ever more urgent and attention-grabbing than before.  In that vein; the songs are tighter, more focused and majestic- without sacrificing ambition and wonder.  Whilst I type this I am listening to Beck’s album, Guero.  An apropos point- trust me, it’s going somewhere- I hear comparisons (to Shaddad).  Last night, I dreamt about Guero and could not figure out why.  Its Latin rhythms and snaking beats conspired vivid scenes; that distinctive drawl beat around the brain; the experimental genre-fuse obsessed my sleeping mind.

Upon waking, I started to listen to Run.  When Beck was a slip of a thing- his ‘90s regency when Odelay was seducing critics- that experimental, balls-to-the-wall freewheel amazed minds.  Splicing Hip-Hop with jagged beats; strange samples and every-genre-mixed-together sat with huge confidence and commitment.  Odelay is regarded as one of the hallmark albums of the ‘90s.  When Guero arrived in 2005; Beck returned (to a lesser degree) to that Odelay-esque sound.  A more mature and settled companion- Beck was in his 30s at this point- that bravery, boldness and amazement was still there.  Shaddad shares D.N.A. with Beck:  The way the two subvert expectations and go beyond their peers.  In a way, our heroine links Beck’s Guero with Sea Change: Fusing more melancholic reflection with experimentation and constant movement.  Whilst Eliza Shaddad will never go to the lengths Beck does- the wacky humour and out-there music- I am impressed to discover an artist who steps away from the ordinary and is truly individual.  Run sees our heroine embracing some deep concerns and tackling life’s problems head-on.  Sure, there are some raw emotions on display but you never feel uncomfortable and a bystander.  Shaddad brings you into the music and motivates you to reflect upon your own lives.  Few artists go to those lengths, so it is paramount we all get behind Run.  Another triumphant E.P. that sees a bold artist grow in confidence and scope; few modern-day musicians…

DO things quite like her.

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Follow Eliza Shaddad

 

Official:

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

Facebook:

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

Twitter:

https://twitter.com/elizashaddad

Instagram:

https://www.instagram.com/elizashaddad/

________________________________

Music

https://soundcloud.com/elizashaddad

TRACK REVIEW: IV Rox (feat. Sneakbo)- Pumping (Out of My Speakers)

TRACK REVIEW:

 

IV Rox (feat. Sneakbo)

 

 

Pumping (Out of My Speakers)

9.5/10

Pumping (Out of My Speakers) is available at:

https://www.youtube.com/watch?v=-oA_xlwl0zY&feature=youtu.be

RELEASED: 19^th February, 2016

GENRES: Pop; Soul

ORIGIN:

London/Essex, U.K.

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MY final review of the day arrives in the form of…

one of the nation’s most promising girl bands.  I have reviewed IV Rox before and was blown away by the first experience.  I have never been a loyal, girl band fan.  Given the quality and rise of IV Rox:  I am becoming braver and more adventurous with my musical choices.  Before I introduce the girls to you; it is worth addressing girl bands of the moment; the potential (girl groups) have across music as a whole- with a bit about bringing the edge back into music.  As I have explained- twice today at least- London keeps bringing us terrific acts and varied music.  I shall not labour that point again- I feel everyone gets the idea- but few people talk about girl groups.  Given their relative decline- not as popular as they were in the ‘90s, for instance- I would like to see a resurgence.  I am a big fan of the days past-  The En Vogue and Destiny’s Child regency.  The memory of The Spice Girls has long-since gone and there seem to be gaps in the market.  We have bands like Little Mix- one of the most credible girl bands- but very few at the moment.  With so many young musicians and music lovers discovering their feet:  I feel more girl bands need to come through and provide some variation on the scene.  Boy bands seem to have quite a few representatives- they outnumber the girls a bit- and have their own fan-base.  What I find regarding the boys are a lack of variety and sonic experimentation.  There is that reliance on a Pop core and chart-aiming safeness.  Not taking enough risks:  There is a tepidness that means recruitment does not reach a wide range of ages and genders.  IV Rox are a band who are free from labels, expectations and easy categorization.  If you are a fan of the classic girl bands- from the U.S. and U.K. - of the ‘80s and ‘90s:  You will find much to recommend within IV Rox.  The chemistry and bond the girls share go into music of the highest order.  I shall go into more detail, but for now, let me introduce the group to you:

“Hailing from London and Essex, IV Rox are fast becoming the next big British girl group!  IV Rox girls have gained themselves over 18,000 followers on Twitter and have landed themselves with a hugely dedicated fanbase of 'Roxstars'. Natalie, Raquel, Nadine and Dolly have an infectious energy and impressive vocals complete with effortless harmonies. Their already loyal and dedicated 'Roxstars' are hugely important to the girls and they will continue to interact with and appreciate there rapidly growing support as they look forward to a big year and a big future!”

I was surprised to see All Saints make a return to music.  The English-Canadian group burst onto the scene in 1997:  At a time when the likes of The Spice Girls were still storming the charts.  Maybe All Saints didn’t quite match The Spice Girls in terms of hits and memorability.  Without the same writers and producers behind them; the All Saints went in a different direction and offered an alternative for the market.  Whereas The Spice Girls were more Pop orientated; All Saints employed Hip-Hop and Soul into a Pop core.  A so-called ‘edgier’ version of The Spice Girls:  They are now back on the scene and have not missed a beat.  While their songs are a little more mature and grown-up- they cannot bring out tracks like Booty Call anymore- there is a definite return to form.  One of the biggest criticisms (for All Saints) has been that lacking personality.  A lot of songs seem rather flat and do not possess that necessary pop and snap.  The girls’ voices are uniformly excellent- especially when blended in harmony- but the songs are rather run-of-the-mill and cliché.  Over the last decade-and-a-bit- since the cessation of groups like The Spice Girls- the ‘current’ crop have tried to recapture the majesty and strengths of the girl band best.  Maybe the U.S. - in the past, at least- have produced grittier girl acts, but that might not be the case now.  IV Rox overcomes initial hurdles with grace and ease:  They have bags of personality and distinct voices.  They are not a committee-written band that is following the instruction of producers and record labels.  There is freedom and control that makes their songs sound completely natural and personal (to them).  Each girl has their own tones but- like the best girl groups- IV Rox are at their peak when their voices combine.  I like Little Mix and feel they have a great sound:  One of the best bands (girl bands, anyway) the U.K. has produced in a while.  IV Rox have very little competition when it comes to sound-alike groups right now.  Maybe this is a bad thing- rivalry can lead to some terrific music- but the girls are sure to inspire other acts to follow them.  There is plenty of market room for like-minded acts, so let’s hope resurgence occurs.  The fascination for solo acts and (Rock/Indie) bands has seen a lot of girl acts feel uncertain and hesitant- whether there would be an audience waiting for them.  Raquel, Natalie; Dolly and Nadine seem to galvanise with every release:  Their current track sees that endless confidence and assurance come out in full.  It will be exciting to see how the girls expand and develop over the coming year.  They have made big impressions and have a die-hard fan base.  So much love comes through on social media- the band’s core express love and admiration on a near-daily basis- and that is a great sign.  That motivation and love compels and drives the girls onwards.  I am not sure whether there is a new album planned- have not heard anything on social media recently- but I know there is the fuel and desire in the IV Rox camp.  When/if that does arrive- either this year or next- there will be a huge (and hungry) market waiting.

Although IV Rox have only been around for a year or so:  They have managed to craft a number of memorable tracks and gain huge reputation.  Case of the Ex was unveiled a year ago and was one of the first statements from the girls.  Showing their softer side (in the early moments) with the girls:  “What you gonna do when she wants you back?”  The song’s hero (or anti-hero) has separated from a girl and has made a break.  He is a weak-willed man who seems like he will go back to her.  Currently in the arms of our heroine: There is that fear the boy will succumb to his ex and forget where his loyalties lie.  It is a theme that is not often addressed in music.  That will-he-won’t-he cheat scenario:  Desperate ex-partners trying to reclaim their lovers; the struggles that occur within relations.  In the softer moments- the girls posing questions and the man put on the spot- the harmonies are delicious and almost gospel-like.  When things get more raw and urgent- and our heroine wants to give an engagement ring back- the beats step up and the song goes into Dubstep territory.  Mutating from Pop and Gospel; along to R ‘n’ B and Dubstep:  The song evolves and grows into something domineering and unstoppable.  Even on this early cut, the girls demonstrate what a force they are.  The harmonies are nimble and exceptional- consistent but varied- whilst the lyrics are sharp and relatable.  It is perhaps the composition that remains in the mind.  Propelled the vocals and augmenting the song’s messages:  That fuse of genres makes Case of the Ex such a winner.

Badder Than a Mother (featuring Stormzy) followed Case of the Ex and showed the girls in fine form.  The track is even edgier and harder-hitting than Case of the Ex.  Stormzy brings an explosive and street-level performance that gives the song pace, danger and conviction.  His fast-flowed Grime spits contrast the girls beautifully.  The vocals- when solo or harmonised- are stunning and atmospheric.  The girls look at their boy in a rather different light.  Here is a more positive spin on things:  Although the boy is “badder than a mother” he is “good to me”.  That loyalty to the girl- knowing where his heart and eyes should be- is emphasised and highlighted with aplomb.  There is a leap from the earliest cuts to this particular track.  The band sound more urgent and confident, here.  Happy to link with another artist; they do not lose their identity or fade into the background.  Whilst Stormzy is memorable and impressive on this track:  The girls are in control and leave the biggest impressions.

IV Rox are effortless when it comes to subject matter and mixing things up.  They concentrate on love and relations- a staple for most bands- but add new dimensions and insight into the themes.  From cheating boys to bad-as-Hell lads- they play with the rebels and rough-around-the-edge types- there is plenty of intelligence and nuance in their lyrics.  Most girl bands- the weaker varieties at least- tend to present cliché lines and choruses that seem tacked-on and lightweight.  IV Rox ensures their verses are tight, focused and sharp.  When it comes to the choruses:  They are huge and memorable statements that are designed to get inside the head.  With every release, the band raises their stake and sound alive and potent.  Pumping (Out of My Speakers) proves my theory and stands as their most impressive song to date.  Sneakbo is another cool and credible musician who brings his talents and voice into the IV Rox camp.  Given the progression the girls have made- and the endless confidence they put into the music- it will be wonderful seeing where they go next.  I would love to see an L.P. with their previous singles included; put some new material in there and show what variety that have.

Even after a few seconds; Pumping (Out of My Speakers) gets the senses primed and ready.  The bouncing and tribal electronic slam wrap around scuffed beats and a crisp production sound.  Putting me in mind of Rhianna- perhaps the most obvious influence on this track- the girls show a shift in their sound.  Earliest numbers (from IV Rox) share common strands with ‘90s acts like En Vogue and U.S. idols.  In more recent months, they have stepped away from that sound to something more current and of-the-moment.  Whether this was a conscious move- the need to evolve and grow- or just a temporary step-away; I am not too sure.  What is consistent and reliable is the girls’ authority and confidence.  The music is blaring from the speakers and moving the floor.  Our heroines are getting with the vibe and feeling the room shake.  Able to feel and embrace the vibrations: IV Rox rides the rhythm and present one of their most exhilarating and ice-cool vocals in a while.  To be fair, the girls have always been utterly engaging and fiery.  They seem to have found new energy and influence here.  “Everybody to the dancefloor” is the declaration that is hard to refute.  With vibrancy and can-you-resist-me allure; you get sucked into the song and let your body move in time.  The composition is so insatiable it is near-on-impossible remaining stationary and flat.  Every listener will evoke some sort of reaction given time.  Pounding beats and a restless attack is the perfect backdrop for the girls’ unique dynamics.  “Let me show you how to drop it” is a bold claim from a band that have complete control of the dancefloor.  I was amazed to see how much the girls have changed since their sapling days.  Songs like Case of the Ex has plenty of power but contained soothe, sweetness and some vulnerability.  Here- only a year down the line- there is that maturity and growth from a band that will not be taken for granted.  Whether dealing with capricious lovers or summoning bodies to get with the music:  It is here and now they are at their most arresting.  Addictive choruses are the least we expect from IV Rox.  Once more- and hardly a shock- the quartet bring it hard and strong.  Perhaps their most sensual and sexual call-to-arms (in a musical sense) so far:  Here is a song that will recruit male and females; cast its net to a very wide audience.

When Sneakbo comes into the mix; he steps into the club with black shades and “chains on”.  You can picture our hero enter the rave with a cool swagger and clear intentions- dancing is not the only thing on his mind.  A singer that effortless slots into the song- another collaborator who is not intimidated by IV Rox; able to come in on an equal footing- there are no ego clashes and vying for attention.  Sneakbo lets it be known “Every girl looks pretty where I come from”:  Whether it’s “My black girls looking real meaty” or girls telling (our man) he’s “too cheeky”.  There is that part-confident, part-rogue-about-town smile that gives the song a heart and discipline.  A lot of rappers present needlessly vulgar, braggadocio-laden stories that can put off a lot of listeners.  Sneakbo keeps it clean and classy but ensures there is a little bit of ladishness and confidence bubbling away.  Our man is a “real G” with his keys in the B.M.W.  Sneakbo’s introduction- and subsequent hold on the microphone- is hugely memorable and leaves you wanting a bit more.  Perhaps not breaking the mould when it comes to subject matter and lyrics- a lot of U.S. rappers have covered similar themes- against the tones of IV Rox; his raps seem new and fresh.  When the girls come back in- letting that chorus hammer, swing and campaign- it kicks the song up and get the crowds dancing once more.  In a lot of occasions- when rappers and artists collaborate on tracks- it can seem unnatural and a little forced.  I am not sure how the partnership came about- whether the girls are friends with Sneakbo- but there is a natural affinity and sense of intuition.  At no point does the song drop a step or lose its energy.  That constant dance and swagger are infectious.  The girls are caught up in their “favourite song” with their shoes off.  You picture the scenes and get the sense you are dancing alongside the girls- few of us are that lucky.  Unlike a lot of girl bands, IV Rox gives each member a chance to take a solo.  Given the fact there are no weak voices; you get varied takes and vocals- each girl has a different angle- which makes the song unpredictable and unique.  Not only are the girls stunning when combining their voices- their harmonies are amazing throughout- they show how able they are when stepping out alone.  Pumping (Out of My Speakers) rides the chorus towards the closing moments to ensure every listener is singing along.

IV Rox are one of the most consistent and fascinating groups in British music.  Not a mainstream act just yet:  It is only a matter of time before the girls are household favourites.  Many British groups (girl and boy bands) have been derided for their lack of edge and widespread appeal.  IV Rox oozes confidence and authority with every track but never push anyone away.  They prove they are capable of sensitive and soul-baring moments.  If you manage to shake off Pumping (Out of My Speakers) then you’re a stronger person than I am.  You find yourself hooked on the song and will have that chorus bouncing around the brain for days- thanks, girls!  Backed by wonderful production- glossy yet raw enough to ensure the song retains its grit- it is a pure gem from this country’s finest girl band.  It is only a matter of time before IV Rox are played across national radio- if they aren’t already- as they are one of the most wide-reaching bands around.  Not reserved for Pop lovers and a female audience- that illustrious 13-21 demographic- they strike a chord with me (a 32-year-old man).  I am excited to see how far the girls can go and how big they can become.  Pumping (Out of My Speakers) is one of the most enticing songs I have heard all year and has resonated with fans and new listeners alike.

Pumping (Out of My Speakers) is a brash and sassy smash from a band that have just to miss a beat.  Even when the girls take the mood down- and are more reflective- they are arresting and engaging.  IV Rox are at their peak when the volume is turned up and the attitude levels are raised.  On their latest cut; they hook-up with Sneakbo and find a worthy collaborator.  The voices- different and with their own personalities- fuse well and sound natural alongside one another.  The hook-laden beats and electrifying chorus lines drill into the skull and make the feet stomp.  There are few bands that genuinely want to make you get up and dance:  Inspire the voice to sing-along and shout proud.  Whether you are a fan of girl band music or not:  IV Rox knock down the barriers and will reach all music listeners.  That is the appeal of IV Rox:  They are not your average girl band that has a very set audience.  I have been sad to see the decline of girl groups at the moment.  Maybe the decline of talent shows- relieved about that at least- has spelled the death knell for girl bands.  Gone are the ‘90s and ‘00s when we had some stunning examples owning the charts and bossing the airwaves.  In 2016, there are the odd (girl band) around but fewer than ever before.  I have a huge passion for all music and rank En Vogue and Salt-N-Pepa among my all-time favourite groups.  It is the power and girls-against-the-world prowess- when tied to fantastic, tight compositions- that wins me over every time.  It seems decades since the time of 'Girl Power' and something genuinely exciting.  With emerging acts like IV Rox; we could see a resurgence of The Spice Girls and All Saints.  All Saints are still about- Red Flag is a definite return-to-form- but their best/young days are behind them.  The mainstream is in danger of lacking any focus and consistency right now.  There are some dependable, long-term artists that continue to produce fine work.  To my ear, there are too many acts that are one-shot and brief:  They stamp a few good songs out but then start to fade away.  I feel there is too much homogenisation and narrowness when it comes to music tastes.  The media are partly to blame for this occurrence.  Every year, the same type of bands and artists are proffered:  Festivals like Glastonbury (and) Reading and Leeds are highlighting the same old groups and showing little bravery.

I feel there need to be a kick up the backside of the music industry.  Too many great acts are being temperised fearing they will not fit into critical moulds and mainstream tastes.  I hope IV Rox are able to transition to the big-time and show bands how it is done.  We all need music that cuts through the mist and delivers something entrancing, bold and to-the-point.  Whilst U.S. queens Beyoncé and Rhianna are through their best days:  Who will take their place and fill the (soon-to-be-available) vacancies?  In the U.K., we have very few acts that evoke the same sort of fireworks, spectacles and sexed-up verses.  The huge range, Hip-Hop flows and effortless cool- the likes of Beyoncé showcase on every album- are missing from British music.  IV Rox are, therefore, an anomaly that should be encouraged and fostered.  While they are not up to the regency-level heights of Beyoncé:  That is not to say they cannot climb those heights in the coming years.  The girls are young and still coming through but have made some impressive early strides.  They have great producers and writers behind them- the girls themselves are accomplished writers who have their own voices- and demonstrated what a vocal force they are.  One of the criticisms- when it comes to girl groups of four or five- is the lack of distinction between the vocalist.  Often, girl groups gain plaudits because the voices are melted together in harmony:  It disguises weak links and papers over any bum notes.  If you look at the likes of The Spice Girls:  We all know who the best singers were in the band (and which were a little out of the depths).  IV Rox are a band where each member has a stunning voice and could flourish on their own terms.  Girls Aloud is probably the most relatable, recent girl band:  Its members have gone on to record solo projects (with varying success).  The time is right for IV Rox to take over from Girls Aloud:  Fill that void and brings that vitality and verve back to the charts.  Pumping (Out of My Speakers) is a strong statement for a number of different reasons.  It is a song that proves what exceptional singers can be found within IV Rox.  That inseparable and undeniable chemistry explodes from every note.  There are few bands that have that connection and deep affection at the core.  IV Rox are almost like sisters:  As such, their music is so tight and compelling it is infectious and utterly irresistible.  The girls have the chance to make a big impact in music and inspire the young generation.  Although their sound has more in common with U.S. examples- Rhianna and the aforementioned Ms. Knowles- they have their own brand and sound.  Sharp, glossy and utterly seamless:  The girls have a white-hot assault that takes the breath and gets the body moving.  Let’s hope the girls have tour plans as the year progresses.  There is demand out there and I would love to see them live- if they have any London gigs soon.  Ensure you offer the band your support and follow them as they grow and evolve.  Few great girl bands are emerging in the U.K., so for that reason, I sincerely hope…

IV Rox stays in music for many years to come.

[youtube https://www.youtube.com/watch?v=-oA_xlwl0zY&w=560&h=315]

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Follow IV Rox

 

Official:

http://www.ivrox.com/

Facebook:

https://www.facebook.com/IVRoxofficial

Twitter:

https://twitter.com/IVROX

_________________________________________

Music

https://soundcloud.com/ivrox

 

TRACK REVIEW: Big Deal- Say Yes

TRACK REVIEW:

 

Big Deal

 

 

Say Yes

9.6/10

Say Yes is available at:

https://soundcloud.com/fatcatrecords/big-deal-say-yes-1

RELEASED: 12^th March, 2016

GENRES: Rock; Alternative; Grunge

ORIGIN:

London, U.K.

You can pre-order the album, Say Yes, via:

https://www.fat-cat.co.uk/release/say-yes

RELEASE DATE:

10^th June, 2016

________________

IT might be a while before I get out of London...

when it comes to musical investigations.  Having just completed a review of Laish- a London-based Indie/Folk artists- it is to a band that probably do not need my patronage.  Big Deal are; well... a big deal.  With the combinative allure of Alice Costelloe and Kacey Underwood continuing to impress and strike:  Their forthcoming album is going to be hotly anticipated.  Before I come to the band; it is worth looking at the groups coming from the capital.  I have been following (Big Deal) for a while and know they are going to be much in-demand this year.  I keep extolling the virtues of London because it never ceases to disappoint.  While I have been fondly seduced by duos and solo acts (from London) the bands have been a little less reliable.  It is Yorkshire; perhaps strangely, that wins the band rosettes.  It is their depth and variation of sound that wins my heart.  From revitalised motifs of Swing music- there are a lot of good neo-Swing bands emerging- they do Rock pretty good, too.  From CryBabyCry and Allusondrugs:  Yorkshire is making sure their musicians are among the country’s most impressive.  Even the solo artist and duos are making big impressions.  I have assessed the likes of ISSIMO and Jen Armstrong:  Two of the most distinct artists out of Yorkshire.  I take my mind to London and look to see the bands that are making headway down here.  I have been a little harsh in the opening, perhaps.  London has plenty of great bands- I have seen and reviewed enough- so it is not a complete loss.  There just seems to be that comparable lack of ambition and innovation.  I hear too many bands that are trying to be the next Foo Fighters or Oasis:  There is not that necessity to create something new and deep.  While I can understand the appeal of other acts- people yearn to recapture the early-days glory of those bands- it is a worrying trend emerging.  The easiest way to fail in music is simply stepping on the toes of others.  Musicians that combine populist- some familiar shades in the music- with personal will always endure and remain.  Big Deal takes membership from the U.K. and U.S.  Alice Costelloe is a stunning singer who originates from an artistic London household.  Finding like-minded curiosity and passion in Kasey Underwood- a native of California- the seeds were sowed and the music started to flow.  Big Deal has already released two albums:  Lights Out in 2011 and June Gloom (arriving in 2103).  Assessing the best and worst aspects of love:  The music resonated with critics and marked the guys as a serious proposition.  While Big Deal have essences of ‘90s Grunge- with some compressed drums and explosive guitars- that is as ‘familiar’ as they get.  They are not a group that wants to replicate others and sounds like your average band.  With Say Yes forthcoming- the new album is out in June- the self-titled, lead single has been dropped.  The social media universe is exploding with love and admiration:  Hardly surprising when you dig deep into the track.  I shall address Say Yes in a while, but before then, it is worth looking further at the best 2016 has to offer:  Finishing off with a bit about making a name for yourself.  This year has some heady expectations and some intriguing promises.  Last year saw the likes of Wolf Alice burst onto the scene.  With a year where U.S. /non-U.K. artists produced the best albums- from Kendrick Lamar to Bjork- there was hope for young, British acts.  This year, it is mainstream artists that are stealing focus once more.  Radiohead have an album mooted- I am drooling with excitement- while Kanye West has been stealing headlines (because he’s a berk).  Bubbling under the surface, there is a wash of wonderful, varied, British groups making headway.  Big Deal are one of our most reputable acts and one of the finest bands in London.  Their third album is sure to establish them as one of the most logical headline-worthy acts in the world.

It is that investigation of love- the ups and downs- through a funnel of slamming percussion and dreamy vocals that have awed critics and listeners alike.  I feel there is too much reliance on the mainstream- the acts who have been playing for many years and have critical approval- and too little focus on our upcoming bands.  Big Deal have grown and expanded because of a number of factors.  Their sound is original yet knowing.  There is that nod to ‘90s elements- the members grew up with the likes of Nirvana ruling the waves- and have taken a little from them.  In reality, it is unfair to label Big Deal with any other band.  Costelloe’s powerful and determined voice is backed by Underwood’s influence and guidance.  The two bond naturally and have a clear affection.  Vibing from one another- and driving the individual performances- you get a core that is solid and dependable.  A lot of duos/bands have weaknesses or arguments that bubble:  There will be no such concerns with Big Deal.  The fact the band has a busy tour schedule- they are just returning to the U.K. having played abroad- means their music is affecting and inspiring the public.  I am impressed to see such a young band- only on their third album- in such demand already.  It gives hope and spur to other bands who want to follow in their footsteps.  Say Yes is an album with a chequered history and hard road to completion:  I shall assess the problems and issues with the recording near the end of this review.  In spite of obstacles and roadblocks; Big Deal have achieved something quite remarkable.  I have streamed/heard the tracks on Fat Cat Record’s website- https://www.fat-cat.co.uk/release/say-yes- and it is their most authoritative work ever.  There is such a gamble backing a band in today’s climate.  There is that disposability and unreliable result:  Too many bands in a hurry to get work out; no playing music that has depth and meaning.  Because of this, we are seeing too many short-lived acts and mainstream squibs:  Bands that burn hot to begin but dampen and cool as time elapses.  Big Deal have reversed the trend and get stronger with each passing year.  They add to their defined sound and find new influence with each record.  Whether it is that solid bond- the ties of Costelloe and Underwood- or the support they have obtained:  These guys will not be going anywhere anytime soon.

Say Yes will mark Big Deal’s third album:  The completion of a rare heartbreak-and-love-to-separation-again trilogy.  The band’s first two albums looked at love/friendships in two contrasting ways.  2011’s Lights Out saw Big Deal burst on the scene with plenty of promise and punch.  Unlike most acts:  The album featured no drum and bass tracks.  It was the boy-girl guitar-and-vocal combination, resulting in something simple and tight.  As a result- given the sonic limitations- the songs looked at love and trying to deal with separation.  When Costelloe and Underwood arrived on the scene there was skepticism:  Maybe just another Folk-inspired boy-girl duo who sounds like everyone else.  With lo-fi recordings an explosive chemistry, critics shut up pretty soon.  What stood Big Deal out was not just the music and intention:  The lyrics were unique and stuck in the mind.  Whether Lolita-esque proclamations and come-hither- a young girl wanting to be taken to bed- I want to “feel old”- there was a stark and stunning set of lyrics.  Subjects such as homework strains and teenage quandaries were projected with intelligence, maturity and wit.  Looking at open wounds (many could interpret some lyrics as naïve and teenage) and recriminations- aghast at having to think about heartache- the duo arrived with a massive boom.  Underwood and Costelloe’s harmonies were a study in connection and affection:  Like lovers conversing; it is no wonder the songs sounded so genuine and real.

Two years down the line; the sophomore album (June Gloom) signified another step forward and development.  The subjects looked at relationships and doubts- yet there was more positivity and depth.  A rhythm section was hired and the songs had flesh to the bones:  Tracks were more rounded and gave the duo more options.  Songs often looked at deceased love- the duo wanted to address a universal haunt- but there was more positivity and hopefulness on the record.  A more muscular, tight and hard-hitting album:  The band transformed from mellow and promising to pulsating and defined.  Big Deal sound (on June Gloom) more essential, insistent and nuanced:  A band that were growing and learning more about themselves.

Say Yes signals yet another move forward.  Sharing more in common with June Gloom- although there are lo-fi, stripped-back elements of their debut- there is an emphasis on force and passion.  It seems like the debut-era sound has been replaced by a more pulsating, energised and determined band.  Costelloe and Underwood’s relationship- the band’s lovers and muses- has stood firm and they seem as together and solid as ever.  In the middle of band turbulence and set-backs:  Our lead duo have kept firm and ensured their music rules and remains.  Now, Big Deal sound at their very peak and in their most inspired form.  Hearing the album’s tracks- and the variation on offer- I have never heard Big Deal sound as compelling and staggering.  The performances and lyrics are sharper; whilst the vocals are at their most insistent and unforgettable.  Most bands develop and improve between releases but none as impactful and impressively as Big Deal.  The London band is on rich form and look set to keep getting better and more wonderful.  The music and sonics are the work of Big Deal but the confidence is at an all-time high.  Given the circumstances of the album- the horror and anger that blighted the run-up- it is not a shock to see Big Deal angered, fired-up and ready.  The backwards-logic creation/configuration of the album has not adversely affected its quality and appeal.  In fact, Big Deal are more open and honest throughout Say Yes.  Costelloe and Underwood are up-front about their relationship- pivotal to the success and continuation of the band- while the album is a more edgy and daring work.

Say Yes is the lead single from Big Deal’s third album (of the same name).  I have seen the response that has been collected across SoundCloud.  With nary a criticism or hollow word; the reaction has been one of universal approval and huge respect.  It seems Big Deal are on fire and have not been affected by their turmoil.  Far-off percussion opens the track up with quirk and fascination.  Sounding like far-off machinery- breaking rocks in a mine, perhaps- guitar joins the fray and offers something elliptical and light.  Soon enough, the song expands and rises as quivering guitar- a cosmic-cum-ghostly guitar wail slams forth- adds to the overall sense of mystique, emotion and drive.  The harmonies are all in place and dependable- wouldn’t be a Big Deal song without them!- and it is an instant and bracing track.  Whilst the vocals are quite restrained at first- ladling the lyrics and ensuring the first words are delivered with clarity- they are effectively direct and emotional.  It seems the subject cannot go on “not knowing what’s it’s like”.  Maybe (the song) looks at love and a split- reaching the point of no return- and being unable to commit to something long-term.  Perhaps those words relate to something more direct to the band.  With further lyrical revelation- the lead being alone and looking for answers- it seems to be a timely tale from a band that have seen their fair share of heartache.  Say Yes is a very open track that addresses false notions- “If you decide it’s Paradise” might be a rather cautionary line- and relationship struggles.  From the initial listen, I heard personal relevance and insight.  Big Deal have faced members walking out and abandoning the music.  Costelloe and Underwood have had to shoulder responsibility and rebuild shattered remnants.  Maybe the song is a call-out to those who have left them and betrayed their bonds.

Maybe they (the ‘accused’ let’s say) thought things would be perfect and there would never be any obstacles.  Perhaps their walk-out was not for the best:  They thought they would be better off going their own way.  It seems our leads are also speaking about relations in general.  There is that assumption things will always work out and the rebuttal is this:  “I won’t tell you/everything works out right”.  There is a searing honest and maturity to the words- and a relevance to Big Deal- that makes the track so compelling.  The chorus looks at saying yes- “I’m never coming down”- and is delivered with pure fight and conviction.  With every new line, you get new pieces of the puzzle.  The vocals and uniformly dependable and stunning.  Costelloe runs a gamut of emotions and lets her soul do the talking.  Such firepower and emotion come through; it is impossible to ignore the relevance and anger that comes out (in some moments).  Underwood unites perfectly and provides wonderful support.  The song has a more fleshed-out and Grunge/Rock sound than Big Deal’s debut.  The band’s new direction- the one they assimilated after the debut- allows Say Yes to explore and campaign with few restrictions and rules.  Jealousy and heartache get brought into a song that tackles some rather heavy issues.  When you (either a lover or former mate) sits “beside another” it will cause (our heroine/hero) to lose their minds.  There are fraught nerves and stresses ringing through the assaulting composition.  The guitars swagger and drive with pertinence- never has the band sounding as essential and determined- whilst the percussion provides that rapid heartbeat and palpable sweat.  “I was ready” it is said- “Are you ready?”- and there’s that need to “just let it happen”.  With lyrics matching direct with oblique- the song could be about love or disintegration in established friendships- it will resonate with listeners hugely.  We can all relate to the sentiments and subjects being broached and explored.  Say Yes is the sound of a band addressing changes and tackling it with a dead-eyed determination.  The ecstatic lyrics reach fever-pitched heights at times- almost screamed at some points- to underline the urgency and importance of the song.  The track never rests on its laurels and comes off as predictable.  Verses are broken up with vivid and itinerant compositional passages.  They move the story on and manage to convey so much emotion and movement.  At times, Big Deal evoke the spirit of Doolittle-era Pixies- that ‘80s Grunge sound comes right through- ensuring everything remains very much their own.  The lo-fi sound allows a certain rawness to pervade which gives the song necessary grit and appeal.  Were the production too polished (the song) would sound effete and insincere.  From the top down; Big Deal address concerns, heartaches and troubles with aplomb and rebellion.  Say Yes’s chorus is one that should be screamed and see crowds united.  “I’m never coming down” seems like a mantra from the band.  In spite of the troubles that have affected their creative process:  They stand tall and are determined not to be defeated.  That maturity and strength are to be applauded.

Few bands are as consistent and brave as Big Deal.  Lesser artists- facing hard times- would retreat and call it a day.  What the London act has done is to channel that career-ending potential and turn it into something productive and inspiring.  The band have developed and matured since their sophomore album.  They are growing and developing into a genuine stadium-filling act that has a desire to succeed.  Kudos to the band for keeping resolute and knuckling down.  Their hard work and dedication have resulted in a stunning song that sets the tone for their album.  I hope they keep the rhythm section firm- for subsequent albums and tours- as it adds dimensions and depth to their music.  Say Yes is a song that needs a bracing kick and guiding bass.  Congratulations to a wonderful act that have negotiated some harsh days and come out winning.

I have no excuse to avoid Big Deal this year.  They are coming to Boileroom in June- right around the corner from me- and is the perfect venue for their music to fly.  That tour date (June 13^th) coincides with the album release (June 10^th) and will show how the new album sounds in the live environment.  Having investigated the album- and all the wonder it provides- there are plenty of anthems and solid jams.  The band has created their most consistent, progressive and nuanced work of their careers.  I am a fan of the earlier work- especially their debut- but think they have hit their stride.  With contemporaries Wolf Alice showing what British bands is made of:  Big Deal have the potential to scoop their crown very soon.  I am glad Say Yes (album) is arriving as its creation was far from simple.  Originally beginning as a self-funded project- the band struggled to find money for the album- demos and rough tracks were committed to a laptop.  That laptop was subsequently stolen- throwing the works into a panic- and it looked as though the record would never arrive.  Band members left the band- perhaps disheartened by setbacks and theft- and Big Deal parted ways with Mute: Their record label that had supported them for so long.   In 2015- after the apartment was broken into- the duo had problems stacking up.  Reduced to bare bones- in terms of membership and music- they had to rebuild and refocus.  Unwilling to wallow in misery and self-recrimination:  They started to tour (Drenge were among the acts they toured with) and approached new labels.  Big Deal are- by Alice Costelloe’s own confession- a band that do everything backwards.  Bands usually find who they are before releasing an album- the logical way around things- yet the London duo has done the reverse.  The band will probably deride my review to an extent.  On a recent Twitter post- when someone on SoundCloud defined their new song in rather odd terms- they liked it as a review style.  It- the florid and eye-catching description- made more sense (to them) as an “8.275 out of 10”- let’s hope my scoring will not rankle them too much.  To be fair to them, decimal places and numbers do not give you a full assessment of their new material.  Media assigned 4-star ratings and provide thumbs-up:  The descriptive words and feelings (a reviewer feels) is more useful than star ratings and meaningless scores.  The Big Deal ship is steadying and they travel as a four-piece on the road- it is not just Costelloe and Underwood playing on the road.  The travelling quartet show a more solid and defined band.   Let’s hope the band remain solid and happy for the next few months, as they have a lot of cities to rock.

Having arrived back in the U.K., the guys have a little bit of time off.  In June, the guys will be touring from Leeds to Surrey; London to Birmingham (and lots of other wonderful parts).  For now- having premiered Say Yes’s lead single- they will want to relax and rest their bones.  Given the rough year the band has had- including band walkouts and having material stolen- they deserve a lot of luck and success.  The social media numbers are growing and keep on flourishing.  The band has a great connection with the band- replying to comments and keeping everyone informed- and that mutual love will see Big Deal get stronger and more celebrated.  I have just seen the line-up for Glastonbury this year.  I predicted who would be on the bill before it was even announced.  Adele is there- after a disappointing album; she seems like an odd choice- whilst Coldplay are predictable headliners.  Neither artist covered themselves in glory with their latest releases.  It is not just the quality (lack thereof) that alarms me:  Neither act possesses much teeth or universality.  There are plenty of people who dislike Coldplay and Adele (me, for one) and it seems Glastonbury does not speak for the country as a whole.  Reading and Leeds have more credibility but I can just picture the line-up:  Will Muse and Foo Fighters be far from the main stages?  It seems the same, tired artists are dominating our music festivals.  I feel the likes of Big Deal deserve a bigger platform and capable of filling venues and festivals.  I am not sure how the band will be spending the next couple of months (before touring) but they should sit back and watch the praise come in.  Say Yes was always going to be a shaky and nervous release from the band.  After such a grueling and fraught album creation:  How would the first single fare in the world?  The guys need not worry as they have created one of their most immediate and popular songs to date.  Maybe the conflicts, heartache and stress has been good for the album- and made its subjects more realistic and urgent.   There are good vibes in the Big Deal camp and it seems like the guys are as contented and secure as they have been in a while.  Their alluring and stunning Siren Alice Costelloe has explained Say Yes’s relevance.  The album is the third release that completes a sort of trilogy.  A three-album concept; this final part assesses love and its break-up.  If their debut album was about not being together- the strains and desire after separation- and the sophomore more positive- embracing being together- then the third returns to that break-up ideal.  If (Big Deal’s) debut dealt with split and love in a rather obvious way- relationships hitting the ground and piecing things together- their latest album is more mature, relevant and deep.  It is not only love that is on their agenda.  The band has seen line-up fragmentation and thieved material; trying to make sense of everything and facing it head-on:  A compelling and dramatic synopsis from an album that is sure to be their most-championed.  Few bands experience such disappointment and struggle.  The fact Big Deal have translated this into something cathartic and cohesive speaks volumes.  I urge everyone to snap Say Yes up when it is released in June.  It is an eleven-track album with no filler and all killer:  Each track burst from the speaker and provokes repeated listeners.  So many avenues, subjects and situations are ascribed.  With Costelloe in the form of her life- her voice is staggering throughout- the entire sound is more exhilarating, varied and engaging.  If you have not fallen for the beauty, passion and wonder of Big Deal…

GET these guys in your life.

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Follow Big Deal

 

Official:

http://bigdealmusic.bandpage.com/

Facebook:

https://www.facebook.com/weareabigdeal/

Twitter:

https://twitter.com/wearebigdeal

Instagram:

https://www.instagram.com/wearebigdeal/

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Music

https://soundcloud.com/big-deal

TRACK REVIEW: Laish- Learning to Love the Bomb

TRACK REVIEW:

 

Laish

 

 

Learning to Love the Bomb

9.5/10

Learning to Love the Bomb is available at:

[youtube https://www.youtube.com/watch?v=pcnByy1Jegk&w=560&h=315]

RELEASED: 18^th March, 2016

GENRES: Alternative/Pop/Indie

ORIGIN:

London, U.K.

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ONE of the most disappointing things about modern music...

is how po-faced it can be.  There is that over-reliance- something that seems unabated- on introspective love songs and something quite depressive.  It is an over-simplification, but there is some truth there:  Too many musicians are navel-gazing and mood-dragging.  The sun is out and spring is starting to show its colours:  People want to be in a high spirits and embrace the changing conditions.  Whether (your music) has a hypnotic beat and dance- as I type this David Bowie’s Let’s Dance has come on the radio- or something smile-inducing:  That positivity is lacking by-and-large.  If I had my way- scary thought that- I would issue a moratorium:  During the spring and summer months; new musicians have to be upbeat and energised.  No more love-has-turned-me-into-a-moody-teen songs and wallowy dirge.  I raise this point/rant not as a sermon:  I am getting a little jaded by the amount of negative/depressive sounds coming out at the moment.  Whilst there are musicians who can mix fun with serious- a balance of personal insights and forget-your-troubles jams- there are those contented to remain rigid and inflexible- favouring the black end of the scale.  My featured artist has just delivered a song that is getting people talking and putting smile firmly on faces.  Before I continue on my point- and raise a couple more- let me introduce Laish to you:

“Danny Green, aka Laish, is known for honest, self-reflective songs and stunning live performances. Danny possesses a distinctive, plaintive tenor which is deep, richly textured and affecting. Gentle fingerpicked acoustic ballads and robust art rock jams about relationships failed and survived.  Currently based in London, Danny Laish has had an impressive independent career performing both solo and with a full band. Prominent shows include some of the UK’s most prestigious venues: The Union Chapel, The Roundhouse, Barbican, St Pancras Old Church and Kings Place. Laish have toured extensively across UK and Europe and released two critically acclaimed albums. Festival performances at End of the Road Festival and Cambridge Folk, and shared stages with Grizzly Bear, Beach House, Richard Dawson, Martha Wainwright, Rozi Plain, Wave Pictures and Jason Lytle.  Radio plays from BBC 6 Music's Gideon Coe, Chris Hawkins, Marc Riley, Tom Ravenscroft, The Late Junction, plus Amazing Radio and Totally Radio.  In Feb 2016 Laish released a brand new EP for the first time through Indiegogo. Donations from this EP will go towards funding 14 new songs for ‘Pendulum Swing’, the widescreen sequel to 2013’s universally praised Obituaries album.  In 2014, Danny started We Come Alive, a regular night in London and a cover song project involving contributions from many excellent contemporaries including Ezra Furman and David Thomas Broughton. Laish was also previously an integral member of the legendary group of songwriters in Brighton, the Willkommen Collective”.

Learning to Love the Bomb might be a Dr. Strangelove-esque compound- images of Peter Sellers might flash to mind- yet it is a song that is being hailed and lauded.  While Danny Green’s moniker presents Indie confessionals; they are delivered with heart, upbeat and optimism.  Just looking at our hero and you are struck by his geek-chic- not a derisive term; it is a great look- and understated cool.  Laish is a musician that impressive you before he has even sung a word.  That inimitable mix of fashions, facial hair and (sly grin) are charming and distinct.  So many artists are either dressed-by-committee- bands bedecked in leather stuck in a ‘70s Punk time warp- or expend little effort standing apart.  Luckily, we have an artist who has taken great cares to distinguish (himself) from the crowd.  It is not just the fashion that stands Laish apart:  The music and videos are among the most exciting I have heard in years.  That plaintive, everyman voice- delivering every word with purity and honesty- puts me a little in mind of Charlie Fink (Noah and the Whale’s leader).  Whether performing a retrospective assessment of a fallen muse- a relationship that has hit the rocks- or addressing something potentially heartbreaking:  At the end, there is always that get-on-with-it-spirit.  Laish is resolutely British and stoic:  He can recognise and address pain but will not let it get him down.  In a music world where the opposite is true- young singers contended to be self-flagellating and moribund- it is a refreshing to find someone that makes you more hopeful.  Before I get down to business- looking at Laish’s progression and new single- it is worth addressing music videos and crowd-funding.  The latter is something being more-often-employed by musicians.  The financial realities are harsh and repressive:  It can cost hundreds of pounds putting together a three-track E.P., for instance.  From studio hire and recording- depending on where you go it can be extortionate- to the music videos and promotions:  The final bill (when said E.P./song is unveiled) can bankrupt the best of us.  Laish’s new campaign- images of Peter Sellers might flash to mind- yet it is a song that is being hailed and lauded.  Laish’s new campaign-https://www.indiegogo.com/projects/laish-in-the-studio#/- hopes to raise funds for his forthcoming album.  About 60% of the way there- as I write this- there is just one day left- to get funded and achieve his goals.

I do hope he does it- it might be a tight race to the finish- but it raises a wider point.  The realistic cost of music is mounting and almost unrealistic.  New musicians are pouring in thick and fast- which drives the costs up to begin- and are unaware just how challenging it can be (getting finances sorted).  I am not sure what a real-world solution would be:  Maybe bigger companies- Microsoft, Samsung; Google and Apple- could agree upon a solution.  Just short of a tontine; I cannot see it happening:  The bigwigs of technology are not as charitable as they should be.  It is clear something needs to be done.  Too many musicians are struggling/having their dreams extinguished because of sheer cost.  I wish the best for Laish- and hope he gets full funding- as he is one of the most original and exciting musicians in the U.K.  Given the state of the world- just this morning, terrorist attacks have occurred in Brussels; ten people have been confirmed dead- there are fear and unhappiness permeating.  We all need comfort and something to distract our minds from the ‘realities’ we face.  In addition to an impressive new track:  The music video for Learning to Love the Bomb has been receiving serious buzz and kudos.  The music video (as a concept) seems to be dying and in its dotage:  How many memorable music videos have you seen lately?  The very reason I ‘found’ Laish was via a former Cambridge Footlights colleague- the video’s director, Ruth Pickett.  Knowing her abilities and talent- an Emmy-nominated writer-comedian-director-it is perhaps not a surprise she has directed a terrific video.  It is the humour (of the video) that is captivating people:  The sly- and somewhat exaggerated- looks to camera; the cheekiness and retro fashions- it is a pleasurable experience for the senses.  Many would argue music videos are inessential and a burden:  A needless expense in order to conform to a YouTube generation.  With his cohorts- the backing band Danny Green has supporting: Tom Chadd; Matt Canty; Felix Weldon; Talitha Gamaroff; Sara Mae Tuson- joining in the fun:  You have a video that not only visualises the song perfectly:  It stand aside on its own merits.  Pickett is commonly-known as a writer-performer but seems like a natural-born director.  Providing a comedy arc/narrative- the scenes and story for the video- capture your eye and compel you become involved.  I keep watching the video over and over:  It seems many other people share my passion.  If the music video is dull and uninspired- about 90% of them to be fair- then yeah, it is not going to impress people.  If you get it right and make something original:  It will not only boost a song’s appeal but it will inspire wannabe directors to pick up a camera and create something wonderful.

When looking at Learning to Love the Bomb- and how it compares to older work- one must look back and see how Laish has progressed.  Laish was unveiled in 2010 and boasted nine songs of personality and passion.  From We Speak the Mantra’s finger-picked introduction; the dreamy (female) vocals and redemptive lyrics- everything will be okay- you are invited to a banquet filled with succulent treats and fulfilling cuisine.  To Do sees Laish (and his band) at his most haunting and ethereal.  The regimental dignity of the percussion-and-guitar combination is backed by yearning vocals and an unforgettable sound.  The entire album proved how consistent and qualitative Laish is.

   Obituaries was released three years ago and showed an evolution and step forward for the London-based artist.  Although the sound and subjects remain roughly the same:  The confidence and quality seems to have gone up.  Obits is a strange and unsettling song that shows a departure:  Never has the London outfit sounded as immediate and gripping.  Leading to plodded percussion:  The vocal that joins the fray ensures every listener stands to attention and hears every word.  Songs are a little longer and more experimental- without losing focus- epitomised in songs such as Visions.  Green ups his game as a composer and brings fresh influence into the music.  The band themselves seem tighter and more beautiful.  Petty Ruiner is one of the most memorable and pretty songs they have ever created (up until that point).  Gorgeous strings and wonderful little details combine in a song that lifts the soul and makes the listener reflect.  Green- at this point- sounds more confident as a singer and shows more sides to his voice.  Not that Laish needed radical improvement at all- the music was rock-solid and amazing to begin- but with every release; you hear the quality and scope increase.

Learning to Love the Bomb will resonate with fans of Laish:  It is a loyal and dependable song that does not break too far from previous releases.  Ensuring those plaintive tones and thought-provoking lyrics remain firm:  The song is a triumph that very-much sounds like a Laish composition.   With the band at their very peak- they sound utterly gelled and united in every moment- yet another step forward has occurred.  Maybe it is the inter-album touring that has strengthened the band.  As time elapses, Laish become more confident and assured.  Learning to Love the Bomb is one of the most charming and immediate songs Laish have created:  Sure to recruit new followers; it is a symphony of delight that seems appropriate for the dawning spring.  Whilst there are deep moments and honest (read: some negativity) to be found; the abiding sensation is one of positivity and light.  I cannot wait to hear Laish’s new material- in E.P. and album form- as the London troupe seems incapable of disappointment.  Few musicians remain consistent, let alone get better with time.  For that reason, Laish deserve to followed very closely indeed.

Rarely have a reviewed a song whose music video is getting most of the attention.  If you are reading this review- strange if you weren’t- I implore you to watch the video:  A companion piece that elevates the song and will stay long in the mind.  The video’s opening moments see our hero knocked off his bicycle- something you don’t see in London much- and lie (motionless) on the pavement.  Eyes open and seemingly doomed:  He awake to find himself in a very different place (era-wise; not location).  From the 2016 opening; our man awakens in a bygone era.  With the song mixing ‘70s Pop/Folk with something current-day (the video) seems rather fitting.  The introduction is a perfect blend of synthesiser/electronic sounds and guitar:  Dizzying and vibrating; you are powerless to resist moving the feet and nodding the head.  Few bands/acts expend much time crafting a nuanced and memorable introduction.  I know I use that word (‘memorable’) a lot, but with good reason:  After listening to the song; you will have the notes and sounds stuck in the brain.  Learning to Love the Bomb’s introduction mutates and develops like a story or travelogue.  The guitar- what was once straight-ahead and firm- starts to jump and move; the beat becomes stiffer and a nifty little groove is presented.  Before a syllable is dropped; you are invested into the song and compelled.  Our man- in the video he gives a lovely little look to camera- is learning to love the bomb.  Under the “shell of administration”, the hero- joined in voice by his comrades- is changing his thoughts.  It is a “powerful weapon”- delivered with a casual and candid matter-off-fact-ness- and something that seems to be okay with him.  Underneath these words seems to be a fear, mind:  “We are nearing the ending”.  Whether looking at the Cold War-era uncertainty- whether the bomb would be dropped at any moment- there is that acceptance of that Cold War era- again, Dr. Strangelove comes to mind- and the panic that must have pervaded.  In spite of the unique and standout lyrics- how many other acts address a topic like this- you are washed in gorgeous vocals and a mellifluous composition.

That juxtaposition- between a stark core and heavenly backing- makes Learning to Love the Bomb a song with many layers and plenty of repeatability.  Upon first listen- with reviewers head on- I was trying to interpret the lyrics- probably failed miserably- but kept coming back.  The second and third visits were reserved for vocal and appreciation:  By the fourth or fifth spin I was deconstruction the composition and all its intricacies.  Laish have always been noted for their swelling harmonies and tenderness:  Here is really comes to the fore.  Throughout the song, you are carried and pleasured by a driving beat and head-swinging guitars.  Few songs possess such amiable charm and delirious delight.  The lyrics may look at impending nuclear destruction; the fact you smile throughout shows what a delight the song is.  In the video- can’t keep my eyes from it- the band sway their heads and seem contended with their lot (or too scared to show true emotion).  Shades of Noah and the Whale’s early work comes out (when they were positive) but Noah’ never penned a tune as immediate as Learning to Love the Bomb.  Just as you become entranced in the chorus- you’ll be singing along before the three-minute mark- the composition demurs.  A final guitar note is strummed before a solitary triangle note rings.  The drums rumble with bellicose intent- one hell of a performance- whilst the guitars fire back up (electric and acoustic) to signify imminent chaos.  Representing bomb-drop and artillery fire; that parable is repeated.  Such a bold and impressive mood:  The drum-and-guitar combination conspire the imagination to think about unfolding drama and bubbling tension.  That quirky triangle zing only adds to the wonder and impression.  After the happy-go-lucky nature of the first-half; the song becomes more serious and weary.  Perhaps that initial compliance has faded:  The chorus delivery seems more forced and fatigued.  The drum keeps firing with multi-limb savagery comes back and ensures the thunder will roll.  As you think the marriage of convenience- accepting fate and reality- will end with something depressive and tired, you would be wrong.  That cheeriness swings back in and the song steps up another gear.  Green’s voice becomes less plaintive and serious:  A falsetto is introduced and the passion levels rise to palpable degrees.  The final moments (of the song) are reserved for that indelible and unshakable composition:  Those jiving, skipping notes have infantile charm and a serious sense of intoxication.  I have not heard an act as unique and original as Laish:  More acts need to follow the example laid out here.  As the final notes ring- and Learning to Love the Bomb- comes to its ending; you sit and reflect in amazement.

You could mute the song and enjoy the video on its own:  Every viewing causes you to grin with inane drooling.  A wonderful story and great comedic vibe- Green is a natural comedic hand- have already resounded with multiple listeners.  That quality and near-genius video stems from a great talent, for sure.  It is impossible to hear Learning to Love the Bomb and not be inspired.  There is so much happening; the song is so immediate and instant:  Upon the first listen, you are mesmerised and seduced.  My solemn hope is Laish continue to produce music and take their sounds around the U.K.  Learning to Love the Bomb is (debatably) their most impressive song so far.  It has the potential to be spun across national radio- I understand it is already accruing airplay- and can overwhelm audiences around the globe.  Whether the band has enough money in the kitty for U.S. dates- one suspects not at this juncture- there will be a demand across the waters.  The song’s title/themes might be unfortunately timed- in light of the continued atrocities around the world- but only to those who miss the point altogether.  If anything (the song) is just what everyone needs, right now.  A song that delivers joy and smiles EVERY time it is heard:  Its price is sure to rise on the music scene’s stock market.  Few other artists are creating music as pure and wonderful.  Congratulations to Laish on a tremendous song- Pickett on an accomplished and delightful video- and brilliant achievement.

If you have not backed Laish’s campaign- https://www.indiegogo.com/projects/laish-in-the-studio#/- then take a few moments and donate what you can.  It would be a shame to deny a great artist the chance to record an L.P. - let’s hope he records it regardless of the campaign’s result.  Learning to Love the Bomb is a song that acts as a perfect appetiser:  A stunning song that sounds like nobody else.  Danny Green is a mega-busy it seems.  The man behind Laish has already stamped out a reputable career:  From radio plays across 6 Music and other stations; gigs at locations like The Roundhouse; performing with a band and solo, he is a renaissance-like musician who is bound for big things.  A new album is in-the-making but an E.P. will be released shortly:  The hotly-anticipated, Songs for Everything.  The proceeds from that E.P. will help fund the forthcoming album (Pendulum Swing).  It is clear Laish has a dedicated fan-based- that is rising and swelling by the week- and deserves wider affection and attention.  He creates music that is honest and reflective:  A survivor of love’s battles and spats; here is a musician that wants to provide grace, beauty and memorability.  Combining hard-edged jams and finger-picked acoustic numbers:  Laish is one of the most varied and malleable musicians in the country.  Far too many singers get stuck in a rut and do not expand their sound.  Danny Green is an exceptional songwriter whose lyrics can be extrapolated by everyone.  Part-pensive; part-widescreen:  You are witness to extraordinary stories and open-hearted tales.  A lot of my recent reviews have been focused in London- IV Rox and Big Deal are my next two; both London-based- and it seems like I won’t be relocating anytime soon.  The capital is producing so many terrific and ambitious musicians at the moment.  From startling duos to hot-and-heavy bands- via wonderful solo acts- London is the epicenter of British music.  I am not sure what accounts for the current resurgence- bustling and diverse communities; musicians supporting one another perhaps- but I am not complaining.  Given the situation of the world- every passing day seems to see new atrocity and fear- music is the comforter that provides escape and optimism.  If you have not seen the video for Learning to Love the Bomb; I implore everyone to check it out.  Not just showcasing the talents of its director- the ever-impressive Pickett- but it does what a wonderful video should do:  It accompanies the song effortlessly and sticks in the mind for a long, long time.  Congratulations to both Laish and Ruth Pickett for their collaboration:  I hope they work together on a future song; that would be exciting indeed.  I am always looking around for a musician I can get behind and follow their progress- in the knowledge they will not give in or suffer diminished returns.  Laish seems to get stronger and more ambitious with every new release.  After the forthcoming E.P. - make sure you grab hold of that- will come the business of an L.P.:  Making sure the fourteen-song record sees the light and gets the go-ahead.  Regardless of the funding campaign; I’m sure our hero will get the record made:  There is an army of fans that want as much Laish music as possible.  Danny Green is one of music’s hardest-working artists and seems incapable of stopping still.  Warmth, heart and honesty are commodities that are missing in the modern world.  I am a pragmatist, but I expect our musicians to be a bit more positive and embracing.  It is all well and good writing about what you know- often that is relationship dislocation and turbulence- but why remain so rigid?  The only way music will inspire and motivate is to bring the optimism and smile back.  The next couple of months will see Laish busy in the studio and release new material into the world.  Learning to Love the Bomb is a song filled with charm, confession and range:  From the instrumentation and vocals; it is a busy and multifarious joy.  While unfolding news makes me less-than-proud to be a human- the animals are taking over the zoo- music is that ever-reliable hand-hold that makes me know everything will be alright.  It is impossible to hear Laish’s music and not feel better and safer, and for that reason, (he) makes me…

VERY proud to be British.

[youtube https://www.youtube.com/watch?v=pcnByy1Jegk&w=560&h=315]

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TRACK REVIEW: Mi'das- If I Were You

TRACK REVIEW:

 

Mi’das

 

 

If I Were You

9.6/10

If I Were You is available at:

https://soundcloud.com/officialmidas/if-i-were-you?in=officialmidas/sets/all-inside-your-head-album-2016

The album, All Inside Your Head, is available at:

http://www.officialmidas.com/a-l-b-u-m

RELEASE DATE (iTunes): March 28th, 2016

GENRES: Soul; Pop

ORIGIN:

London, U.K.

TRACK LISTING:

Justice- 9.6

Sunshine- 9.5

If I Were You- 9.6

Twilight- 9.5

Too Little Too Late- 9.5

Feels Like Only Yesterday- 9.6

Now We’ll Never Know- 9.5

Grace (Feat. Nate Williams) - 9.5

Get On Up- 9.6

This Year (Make a Change) - 9.6

Everybody’s Changing (Live at The Troubadour Bootleg) - 9.5

DOWNLOAD:

Justice; If I Were You; Feels Like Only Yesterday; This Year (Make a Change)

STANDOUT TRACK:

If I Were You

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THE starlings are in the gardens and there is a general feeling of...

spring in the air.  I am glad winter is subsiding and the seasons are changing:  It brings the best out of human beings.  There are smiles on faces and a positive vibe floating around.  To reflect the mood, I have been seeking music that gets me dancing and happy.  I love reviewing artists who can reflect and take the listener somewhere personal:  A musician can do that and elicit plenty of verve, energy and dance.  Luckily, I know just the artists (who can answer my prayers):  It is good to be at the feet of Mi’das.  I shall come to him soon- and look into his new album- but am reminded of Soul music in general- and what is on offer- and our (Britain’s) best male solo artists- finishing with a bit about how to grab attentions and remain in the mind.  Just recently, I ran a feature about Stevie Wonder:  Focusing on his legendary album, Innervisions.  As part of my ‘Classics Series- a bi-weekly feature that looks at the best albums of the past- I immersed myself in Stevie Wonder’s greatest album (some would argue that honour goes to Songs in the Key of Life).  The reason I focused on that album was my love for Soul/Motown music:  We rarely hear artists that evoke Wonder’s spirit and genius.  Thinking about Innervisions- the hard-hitting subjects assessed and one-man band authority of the star- and you can tell how personal the album is to Wonder.  I guess there are some like-minded- those that have an air of Wonder- artists in the modern scene.  There is still a reliance and dependence on Pop music and fitting into a particular hole.  I fear artists are becoming too hesitant and ‘safe’:  Not wanting to push themselves or get out of their wheelhouse.  It is all very well talking about personal relations and wanting to seem everyman:  This does not mean you have to sacrifice sound, surprise and originality.  For every great Soul artist; there are waves of disappointing Pop/Folk/Indie artists who leave you fatigued and uninterested.  Soul and Pop are genres that have so much potential and cross-over flexibility:  Every music lover appreciates a good jam; some cutting song that can get the feet moving.  Among joyous notes you can easily incorporate tales of heartache and loneliness- without scaring the listener and compromising integrity.  Last year, Soul started to encroach into the mainstream more effectively.  In 2016, it (Soul) is a genre that has to fight for its place:  Not enough mainstream acts are incorporating Soul into their music.  If you look at albums by Leon Bridges (Coming Home) and Erykah Badu (You Caint (sic.) Use My Phone):  These were two of the most successful artists of the last twelve months.  Leon Bridges has been particularly successful and notable:  He is gaining huge acclaim and celebration.  Evoking shades of Sam Cooke and Marvin Gaye:  His ‘70s Soul sound is given modern production and a current-day kick.  With some big-hitters swinging for Soul and missing- Adele’s 25 was a massive disappointment; Sam Smith is on his way down- we need more artists that can keep Soul burning and bright.  Mi’das is a musician everyone needs to watch out for closely.  Matching the likes of Leon Bridges- for sheer quality and potential- his new album, All Inside Your Head, has been amazing listeners.  It is released on iTunes in a week- it is available via his official site and SoundCloud- and will see the London-based artist gain a lot of new fans.

Before I continue- looking at other themes- let me introduce Mi’das to you:

"Mi'das a.k.a Mike Davies creates soulful pop music infused with his trademark vocal and guitar playing. From busking the streets to performances with artists such as Leona Lewis, Jessie J, Rita Ora, Labrinth and Jamie Cullum, you could say the last 10 years have been quite a journey for this Brighton born soulful strummer. In 2015, Mi'das played a total of 60 shows to 20,000 people and memorable performances at venues such as the O2 arena, Royal Albert Hall, Hyde Park, and Kensinton Palace (In front of Prince William, Bon Jovi...) He also released a series of three EPs 'The Story so far' which was an eclectic mix of the soul and pop music he loves so much.

Quoting Bill Withers, Joni Mitchell, Elton John and Gregory Porter as strong influences the sound is rooted in timeless songwriting but is discernibly of our time. Speaking of his debut album, Mi'das states 'This album may be the most retro sounding album I'll ever make as a homage to those artists I've learnt from’.

His debut album 'All Inside Your Head' is a collection of songs which represents the last 10 years of his life. As for the meaning behind the name, Mi’das adds 'I called it All Inside Your Head as I've come to notice that most things in this life good or bad come down to something you can change yourself in your own mind without blaming anyone or looking for other reasons'. Mi'das will be going on a headlining tour across the UK in May".

I have ‘gone on’ about male solo artists quite a bit, recently:  I shall not bore people too much right now.  I am just aghast at the rather spotty quality coming out:  There are so few artists you can hang your hat on.  With every promising artist; time seems to distill their magic:  They might ignite at first only to whimper upon future releases.  I mentioned the likes of Sam Smith:  A musician who (I doubt) is going to last for a long time.  His debut album- In the Lonely Hour- showed enough promise:  I feel he will struggle to repeat success on a sophomore album (if one does come).  You have a few male solo artists that are making huge statements- I must mention Jamie xx and Kendrick Lamar again- but few others that really shout their intentions.  Mi’das is a singer that hits you right away:  You just know he is someone who will remain and develop.  Whether it is the sound-blend he evokes- that Soul-cum-Pop crossover- or the pure passion presented:  I know there will plenty more albums from the young star.  Having performed for a number of years now, Mi’das is hitting his stride and really blossoming.  All Inside Your Head is a bold and brilliant statement- I will go into more detail soon- that has no weak tracks at all.  The album bursts with colour and life:  There are myriad emotions and stories here; that sensational voice backed by trademark guitars and funky beats.  Mi’das’ album is one side to his impressive arsenal.  His official website- http://www.officialmidas.com/- is beautifully designed and easy to navigate.  All the photos information and links you could need are here.  Backed by Project Light Agency:  Mi’das seems fully-formed and in very safe hands.  I am doubtful how many current mainstream stars will remain:  There seems to be some uncertainty among critics and listeners.  What I do know, is this:  Mi’das will be hitting the big-time very shortly.  All Inside Your Head is all the proof you can need:  An album that no listener can ignore; a record you want to revisit and put you in a good mood- the music effortlessly elicits smiles and sing-along.

Mi’das is an artist who has transitioned from a busking hopeful to a musician on the brink of stardom.  He is not somebody who has appeared on talent shows and expects people to give him a recording contract:  He has worked tirelessly and been honing his craft for years.  Since the days of dreaming and (playing to street passer-bys); Mi’das has shown huge progression and consistency.  Prior to All Inside Your Head; songs like Be Strong and Call It Love- like the album; they are available on SoundCloud- emerged.  Each number displays that distinct Mi’das sounds.  Looking at redemption and the need to remain strong: Be Strong has a gorgeous Blues guitar lick that gives it a seductive charm.  Mi’das mixes guitar sounds- strumming acoustic and exhilarating electric- to propel his gorgeous voice.  A song that implores to a sweetheart:  He wants her back and lays his heart on the line.  Backing vocals add a Gospel element to the song:  In a way, the song is a hymnal deceleration of intention and love.  It is here you get a glimpse of that chocolate falsetto:  You honestly picture Stevie Wonder when hearing Mi’das in the zone.  Call It Love is a different beast, that is no-less impressive.  A more sedate and introspective number:  It gives a chance for Mi’das to let his acoustic guitar take centre stage.  Looking at new-found love- a new girl who he may have feelings for- there is confusion and uncertainty.  Friends tell (our man) he is in love with this girl:  Our man is less certain; he is just friends, you see.  Presenting a stunning vocal- that has bits of Jeff Buckley in the mix- it is another rock-solid and immense track.  Neither track appears on All Inside Your Head:  It just shows how strong Mi’das’ current material is.  The truth of the matter is this:  Both tracks would sound seamless on the album.  There was no need for improvement or change:  These early cuts are among his very best work.  Given the fact (All Inside Your Head) is an eleven-track album:  Perhaps there was no room for Call It Love and Be Strong.  Maybe, thematically, at least, the songs are not appropriate for the album.  Most artists are a little slight on their early songs:  No such fate here, sir.  All Inside Your Head is business as usual.

I wanted to highlight If I Were You because it seems to bring all the album’s themes/strengths into a single song.  The album’s title itself (All Inside Your Head) made me curious and wonder.  Maybe- speaking to friends and lovers- their troubles and woes are all self-made and not there.  Perhaps it is something more personal and introspective.  I know Mi’das has his own story about the album.  It is about recognizing bad and good things that swirl about the mind.  You do not have to blame anyone or ascribe reasons (for the bad):  It is in your head and you can tackle it alone.  If I Were You begins with plenty of electricity and mesmeric swing.  The percussion rolls and kicks with intention and sass.  The keys and strings evoke a confidence and swagger that will win you over and get the smile on the face.  I know I keep mentioning Stevie Wonder- and Innervisions a lot- and it is not meant to distill Mi’das’ touch.  It is meant with all the flattery and compliment I can muster.  I do not compare artists to Stevie Wonder for the sake of it.  When If I Were You began, it was as though Innervisions’ best moments were being updated for the modern audience.  That sturdy and immediate introduction are something of real beauty.  You wonder what direction the song will take and what themes will be addressed.  When our hero comes to the centre; we hear about “Mr. Perfect” and how (Mi’das) would never disobey him.  There is a certain tongue-in-cheek delivery that suggests the sentiments are not completely honest.  Although “You’re worth it”- the loyalty and obedience- are done from Mi’das’ own back.  I was fascinated from the moment these words were delivered.  Just who is the man being documented?  There is that mix between admiration and dissatisfaction.  Maybe a friend and compatriot are being investigated:  Maybe a politician or public figure?  Whoever compelled the song; you start to imagine and create your own story.  Although you can hear Stevie Wonder’s influence; Mi’das is his own man and unique artist.  If I Were You has been chipped and sculpted over many months.  You can tell how much craft and attention has been paid.  Every note and line sound well-rehearsed and perfected- it does have a looseness; never sounds too polished.  Few musicians take the time to nail songs and put that much passion in- fearing critics and listeners will forget them if they do not rush music- and avoids disposability.  Mi’das brims with passion and commitment at every juncture:  A musician’s musician that wants songs to be as strong as they can be.  “You tell me that black is white”- and “everything between is wrong”- it is claimed.  Wrong answers and poor mathematics are being taught- “2+2+2 is nine”- and the mystery deepens.  I grow more curious as to the song’s origins and influence.  Just who is this person being addressed?

Complexities and life-swap are addressed in the chorus.  If roles were reversed- and the subject was transposed- would (our hero) be right or wrong?  Would things be done in the same way?  There are underlying anger and annoyance within If I Were You.  Keeping things upbeat and funky:  The keys swirl and jive whilst the beats are tight and sharp.  It is near-impossible ignoring the chorus and its insistence perseverance.  The composition grabs you and ensures you get those feet moving!  Mi’das keeps asking questions and probing for answers.  “Would I be right all along?’ is one of the most pertinent questions introduced.  Maybe some false advice has been given (by the subject):  Following poor idols and misguided advice has brought this song to light.  Of course, our hero knows the answer to these imponderables and queries.  He knows who has motivated his momentum:  It is wonderful guessing and picking the song apart.  The lyrics throughout mix simplicity and intelligent:  They are easy to quote but you admire the thought that has gone into them.  If you (the song’s subject) saw things from the other side:  Would they say the same things and be who they are?  I can sense that conflict and dissatisfaction manifest itself in a direct and urgent vocal.  Not content to let the lyrics alone shine:  That stunning voice possesses such power and caramel-smooth delight.  The juddering, hips-dancing composition makes everything sound completely exciting and alluring.  A wonderful blend of ‘70s synthesisers and modern studio values:  The intergenerational comingling works wonderfully throughout.  Feelings are being guarded and sublimated:  There is a distinct air of bubbling tension that threatens to explode into something fierce.  Just as Mi’das’ voice is near-explosion, the composition steals some focus.  Cool-as-ice electric guitar swoon in and steals some spotlight.  Bonding with electronics and beats:  The combined elements lift the song up and give it another kick to the stratosphere.  By the closing notes- with our hero having said all he can- you luxuriate in the divine composition and a magnificent song.  Even when things end, you are left wondering about it:  Just what drove Mi’das to write the song?  Personally, I do not want to know the answer.  Every listener will have their own views and believe their own take.  Mysterious, upbeat and hugely addictive; one thing is for certain:  If I Were You is All Inside Your Head’s finest track.

British Soul has representatives that are doing their best to succeed.  Leon Bridges has shown the best of U.S. Soul- a native of Texas- but we have few homegrown acts that rival him.  He (Bridges) has a fascination for vintage Soul and Motown acts- from Marvin Gaye to Sam Cooke- and mixes their legacy inside modern-sounding tracks.  One of the criticisms levied at Bridges at this:  The music sounds a bit too old-fashioned and sound-alike.  Given the attention Bridges is experiencing- and the fact he has detractors- you have to wonder just how far Mi’das can go.  It is rare to find a white artist that recalls the majesty of Stevie Wonder:  It is hugely impressive when someone gets it just right.  Of course, Mi’das is his own man:  The stories, compositions and vocals are very much a unique standpoint.  In every song, you get a little hint of the likes of Stevie Wonder, Prince and Michael Jackson:  A holy trinity of Soul/Pop legends.  It is no exaggeration when I say this:  Mi’das is one of the finest artists we have in the U.K., regardless of genre.  Struggling to find many great male solo artists:  It is rewarding finding someone who lives up to expectations and eases the mind.  I get fed-up with the ‘mainstream-approved’ artists who are really not up to scratch.  From B.B.C.’s ‘Ones to Watch’ lists- occasionally there are a couple of acts who are worth time- I am getting a little tired.  London’s Mi’das is gaining acclaim and fans but he deserves more good fortune.  It may be early days still, but you just know he will go on to massive things.  That silky and spine-tingling voice should not just be reserved to SoundCloud and small venues:  I can see Mi’das packing arenas and touring internationally.  All Inside Your Head is a confident and consistent album that will leave you a little speechless.  Feels Like Only Yesterday- the latest single from the L.P. - has been lauded and applauded by the music media.  Mi’das does not want to feel throw-away- so many modern musicians are- and touches on something deeper and more long-lasting.  The single looks at the innocence of youth- looking back on a care-free time- inside a song that has resonated with listeners around the globe.  Excited to delve deeply into All Inside Your Head:  There are many more treasures to be discovered.

Justice opens the album with enticing keys and a smooth seductiveness.  Reminding me of Innervisions-era Stevie Wonder:  You get treated to luxurious and heart-hitting vocals.  Looking at problems and wells running dry- there’s “no end in sight”- our man looks at wider issues and injustices.  Taking is all people seem to do- the world is being messed around- and there is a fight against that.  The day will come- when justice “will be done”- and things are put right.  The lead vocal has an intensity and drive that makes you stand to attention- listen to every word closely.  Backing himself on vocals:  The layered chorus leaves you tingling and makes the mind wander somewhere magical.  The composition is fairly sparse- piano and percussion for the most part- which allows the lead vocal to shine and campaign.  Mi’das shows the range of his voice- from growled lows to Heaven-sent highs- and addresses deep issues and important concerns.  Rather than open with a song about love and heartache- like everyone does- you get a conscientious track that looks at society and asks questions.  Towards the latter stages you get some sweet and eyes-closed wordlessness- our hero lost in his own beauty- that perfectly concludes Justice.  An opener that sets the tone splendidly:  It is one of the album’s finest moments.

   Sunshine opens with finger-picked acoustic and finger-snapped percussion.  A sunny and tranquil opening- taking your mind to a beach somewhere far-off- our hero looks at “dark clouds” remaining.  Perhaps there is negativity and unhappiness (inside Mi’das); it seems his girl is bringing the sunshine.  One of the album’s pure love songs:  Once more, I get flickers of Stevie Wonder.  Innervisions packed in a few earnest and stunning love songs- the tenderest Wonder created- and provided thematic balance and contrast.  Rather than present another high-energy jam- that sounds like Justice- Mi’das brings it down and lets his heart speak.  The girl in question is medicinal and soul-lifting.  Her smile “before I go to sleep” is just what is needed:  Eradicate the rain and bring something more positive in.  Weather metaphor is not a new influence in music- many artists have employed it before- yet our hero finds new meaning and potential.  The lyrics have simplicity and straightforwardness to them that means every listener will be able to relate.  The vocal remains pretty firm and level- never rising and falling too sharply- which gives the song accessibility and control.  A beautiful and personal revelation:  You hope Mi’das found happiness in the end.  A good old-fashioned love song with no cynicism or needless overcrowding (in terms of sound and production).  It is bare-boned and soulful:  Another impressive song from a tremendous singer.

  Twilight begins (again) with tender strings and reflectiveness.  River-flow strings are met with echoed electronics that take you between sun and moonlight.  Life has “taken its toll”- our man has been “here and there”- and this song is looking back on a life lived.  One of the most thought-provoking songs on the record; we look at growth and achieving goals.  Maybe our hero has not done everything he should have done:  He has to reconcile his life “somehow”.  Many of us wonder if we are living life right:  Mi’das tackles this quandary head-on.  One of the more introspective tracks across All Inside Your Head:  Little shades of Ed Sheeran and modern Pop royalty can be found in this track.  The days are tumbling and our hero is trying to take everything in.  Unsure what has motivated the track- a logical chance to assess achievements and goals- it is impressively mature and inspiring.  Many listeners will relate to the lyrics and force themselves to think more deeply.  It is a song that is as far from shallow and throw-away as you get:  There are wisdom and home truths here; deep and life-affirming questions tangling.  A track that stands up to multiple spins- you come back time again- it shows just how many sides Mi’das has.

Too Little Too Late arrives with intriguing strings and a sense of stately pride.  The more you try, it is said, the easier it does not get.  Our hero has been trying and plugging:  He has nothing to hide and is out of ideas.  Whether looking at finding a special relationship- or making big moves in love- it might be too late to succeed.  In the “next life” he will not hesitate, it seems.  You feel empathy for a soul that is yearning for something meaningful and happy.  Backed by punchy beats and a detailed composition- backing vocals and beautiful piano; electric guitar stabs- it is a full-bodied and complete track.  Every musical and lyrical strength is exploited and represented it.  Mi’das is at his most deep and thoughtful here.  Letting his voice fly and entrance:  Here is one of the most stunning songs on the albums.  Like a good Mi’das chorus, you get heavenly choral vocals.  Bringing other singers into the fold- it sounds like a Gospel choir on this one- you get tingles a-plenty.  Our hero’s voice is at its most agile and authoritative on this number.  In terms of guiding points and sounds; there are a few different influences at work.  That blending ‘60s and ‘70s Soul can be heard here- Otis Redding, Marvin Gaye and their contemporaries- with ‘80s Soul/Pop- Stevie Wonder especially.  That is not to say Too Little Too Late is a song stuck in the past.  The production, vocal and composition are very much the sound of 2016.  It is a modern, crisp and current sound that brings in classic flavours to add to the mix.

Feels Like Only Yesterday begins with a tape being played.  You get a rampant drum beat- sounding like a bygone band- that transforms into something rushing and instant.  When our hero approaches the microphone; he looks at simplicity and tender days.  When a youngster; stresses and responsibility were miles away:  Just living in the moment and being a child.  Those days seem pretty recent- there is a yearning to the voice- and perhaps a need to return to that state.  One of the most effusive and celebratory tracks across the album:  It is a jam that every listener can tap their feet to.  A simple and hugely effective chorus ensures the song sticks in the mind for a long time.  Following a few ‘calm’ or slower numbers:  This is Mi’das back in full-on Soul mode.  Bringing energy and rush back into the album, you have a song that shimmers, jives and moves at every moment.  Funky and cool-edges electric guitars come in past the half-way mark.  Putting me in mind of Steely Dan- and their finest moments- Jazz-Rock mixes inside Soul.  An instant hit that can win the steeliest of hearts:  It is another album highlight that shows just what Mi’das can achieve.  His lyrics never focus on one theme or love:  You get so many sides and aspects to this remarkable songwriter.  Maybe life is more complicated and challenging.  Our hero wants to return to those times and forget strife:  Embrace something that seems so recent and fresh.

Those looking for a bit of stomp and march will be pleased by Now We’ll Never Know.  The opening beats are foot-stomped and intense.  You get a real sense of an army marching in time.  Electronics and percussion step and pace forward.  When Mi’das comes through, you are already intoxicated by the stunning mix of synthesiser (forgive me if it isn’t) and beats:  They blend superbly and sound incredible.  The song looks at life being complicated and the need to change.  “Could we change?”  is a question repeated and probed.  Whatever has happened- between our hero and his girl- they won’t have the chance to alter things.  Maybe there are too many obstacles and struggles:  There is that burning desire to transform things.  While Mi’das’ voice is at its very peak- high and low notes tangle with beauty and naturalness- it is that composition that stays in the brain.  It is fascinating to find what inspired Now We’ll Never Know.  It is clear there is something love-based and painful being assessed.  Maybe our man has had his heart broken or going through a separation.  Aside from that addictive composition- that gets stronger and more impressive by the second- the vocals shine again.  You get more backing vocals- similar Gospel vibe to previous tracks- and one of the most committed vocals on the album.  Mi’das is at his most focused and meanimgful here- this song clearly has a lot of personal relevance.

  Grace beings Nate Williams into the album and shows another sonic shift.  The opening sees trippy vocals- wordless and processed- introduce Mi’das.  The song’s heroine- whether a former love or current concern- uses white lies to “cover the black” and believes the “world is flat”.  Those choppy backing vocals- Williams adding something strange and wonderful- our hero is at his smooth and serene best.  In spite of all the problems and troubles:  The girl’s face is in the mind (of Mid’as) and hard to forget.  This grace might lack sense- there might be no logic to these feelings- and there are some mixed emotions on display.  You wonder whether the relationship is solid and ongoing:  Perhaps Mi’das is reflecting on a time past.  One of the album’s shortest tracks (it is short of the three-minute mark) it is also one of the sparsest.  The backing consists of Williams and piano by-and-large.  No other compositional elements are needed.  A naked and bare track:  The focus in on the lyrics and voice.  All shades of blues and green are seen- the heroine’s sadness and envy perhaps- with that abiding loyalty and love.  Grace is a mystical and complicated thing.  Its enigmas and oddities are perfectly translated by a musician in the form of a lifetime.  At this point, there have not been two tracks that sound alike.  Every song shows new influence and inspiration.  Too many artists stick with one theme and sound- structurally rigid and showing little malleability- whist Mi’das keeps everything fresh and changeable.  In spite of the varied and impressive songwriting; you always get that core:  The stunning voice and wonderful authority.

With a title like Get On Up; you might expect something James Brown-esque.  It might not be that far from the truth.  The opening claps rush and compel you to move the feet:  Mid’as’ opening vocals (“Well, well, well”) have huge intention and promise.  Buoyed by that clapping percussion; our hero concentrates on a certain someone.  Maybe a former lover or friend- a composite of several people, perhaps- the aforementioned says how hard life is.  Nothing is free in life- you got to “go out there and claim it”- and there is truth in those words.  Perhaps the song’s subject has been moaning and exaggerating things.  Mi’das knows you will struggle to make things from life:  It is a fight everyone has to go through at some point.  Album songs have looked at everything from love to reflections of youth:  You get another window into a busy and variegated creative mind.  Get On Up implores fight and embracing what life throws.  Listeners can relate (once more) to a song that delves deep and addresses something very relevant and sage.  There is no spite and accusation in Mi’das’ voice.  The girl in question (presuming it is a female subject) is capable of so much more.  They are squandering opportunities and being a bit lazy.  Rather than making our hero glad:  They are making him quite mad.  This life has one shot- one that is being wasted by the heroine- and the song casts its net wide.  Many people will take few risks and see days go by.  Whether it is a girlfriend or close friend- maybe a guy who is not fulfilling potential- you are helpless to ignore the driving composition and soulful vocal.  Mi’das shows what an instrument he has at hand.  Straying away from direct Stevie Wonder comparisons; he comes into his own.  A modern-day Soul man with an amazing voice:  It gets a mighty workout throughout the song.  The composition still has elements of ‘70s Soul:  The synthesiser, keyboards and beats remind you of the greats of old.

This Year (Make a Change) is the penultimate cut and shows our man with a plan.  Previous years have (perhaps) been wasted to an extent.  I got little touches of Rufus Wainwright- might be odd to say- in this song and something less Soul-based; more Pop-natured.  The grand piano lines highlight the sensitivity and depth of the song.  Mi’das is trying to forget the bad memories and embrace a new way of thinking.  You get back “just what you will give” and there is that need for self-improvement and embrace the new.  The fear will be expunged and a new man will be born.  It is one of the album’s most inspiring and strong songs.  Few artists look at self-improvement and making themselves better.  This Year (Make a Change) will inspire other songwriters and make listeners find a change in their life.  That nature of change is repeated and reinterpreted throughout the song.  Enforcing the necessity and urgency of the theme:  Change is the mantra shouted and proffered with ecstatic necessity.

Completing All Inside Your Head is Everybody’s Changing.  Recorded at The Troubadour:  It is a live track that gives the album another side and a wonderful swansong.  Haunting and soft beginnings get you hooked and fascinated.  You can really transport yourself inside the venue- the production is bare and brings you right to the fore- and the vocal is impressive throughout.  More a ‘bonus’ song that anything:  It demonstrates how effective Mi’das is in the live arena.  I would love to see the track in a studio setting to see how different it could be.  As it is, it shows a lot of promise and power.  The central vocal is raw and hugely intense.  The hero looks at people changing and a slight fear with that.  Not changing “you and me”- our man and his lover- there is that need to hang on and keep things as they are.  My favourite live album ever is Jeff Buckley’s Live at Sin-é.  Recorded in a New York coffee house in 1993:  It showed the young star just before he recorded Grace.  I love that album because it was recorded in such a small location.  With just a small number of people, you hear coffee spoons dropped and a real intimacy.  Everybody’s Changing has a similar vibe to it and made me think of a young Buckley.  Bringing All Inside Your Head to a majestic close, it goes to show just how…

GOLDEN Mi’das is.

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TRACK REVIEW: Dannii Barnes (feat. Ace)- No Fear of Falling (Live at Sound Technology Sessions)

TRACK REVIEW:

 

Dannii Barnes (feat. Ace)

 

 

No Fear of Falling

(Live at Sound Technology Sessions)

9.7/10

No Fear of Falling is available at:

https://www.youtube.com/watch?v=0yhR5r1UxKo

RELEASED: 23^rd February, 2016

GENRES: Alternative-Pop

ORIGIN:

Surrey, U.K.

____________________________

FRESH from reviewing a London-based Pop/Electro. duo (MissDefiant), I…

am stepping away from an ‘ordinary’ review and looking at a live performance- a song that was originally recorded by another artist.  I make a general rule never review a cover version:  It is near-impossible finding new insight- something someone else has recorded- and I always yearn for original compositions.  Whilst this review will be a shorter one, it is perhaps no-less relevant than most:  A great young talent is emerging in the underground.  The point of this blog is to review musicians who deserve wider attention and focus:  My featured artist has the talent and voice to make a big impression on the music scene.  Before I come to her- and look into her music and current offering- I wanted to talk about music coming out of Surrey; artists that begin in music schools- finishing off with a bit about solo female artists.  Being based out of Surrey- around Guildford- I often spend a lot of time looking at London artists and bands coming from the capital.  To be fair, my mind often wanders there:  Daydreams of wandering Covent Garden and tramping through Hackney:  Along Piccadilly and getting lost in the tranquility of Hyde Park.  As a music journalist, the musicians (of London) provide an equal sense-assault and mind-melting pleasure.  You have the Grime rush of East/South London; some wonderful duos coming through; brilliant Rock bands who will be future stars- able to fill venues and headline festivals.  With spring upon us- it is the first official day of spring, today- I am seeking the bright and hopeful:  Those who will be making footprints in music and capturing the imagination.  I have got a little ‘band fatigue’ at the moment:  Having reviewed them for so long; it is tough finding one (a band) that stands aside from the crowd.  Being a Surrey-born fella; I have a certain loyalty to musicians based in the county.  While many are emigrating places larger/more exciting- lots to Brighton; others up to London- there is a loyal band that is putting Surrey on the music map.  Hungry bands- like Vinyl Staircase- are doing good business:  There are some phenomenal young solo acts pressing hard.  Following the success of Emma Stevens- a Radio 2- championed solo act who started life at A.C.M. (more on them later) - there is energy in the local community.  Being so close to London:  It is unsurprising Surrey is generating quite a few hot and eager artists.  There are some great local stations- the fantastic Brooklands Radio, for one- that constantly playlist the best Surrey has to offer.  The Academy of Contemporary Music is based out of Guildford and is among the U.K.’s most impressive and noteworthy music schools.  Whilst I am a bit of a music purist- preferring musicians to develop through feel and intuition; rather than teaching and direction- I cannot fault the quality that is being produced.  Emma Stevens is just one example- from an exceptional school- and not a one-off fluke.  Chess- A.K.A., Francesca Galea- is on my review list:  She is about to launch her debut album, 1869.  While I am looking to move to London as soon as possible- emigrate somewhere exciting and more lively- it is the local music that is keeping me rooted (in addition to financial restrictions).  A.C.M. is one of the most reputable music schools around the country.  Some of my social media friends- from Shaydes’ Marisa Rodriguez and Elena Ramona- have extolled the virtues of a wonderful house for young talent.  Taking time to nurture and guide wannabe musicians:  The music world is being treated to the best graduates A.C.M. provides.  In addition to the aforementioned names- female musicians that are going to be making great shapes in 2016- you can add Dannii Barnes.  You might not have heard of her before- unless you have proximity and connections- but you will in time to come.  A ‘house band singer’ for A.C.M. - showing just what talent and reputation she has- the stunning young singer packs a hell of a punch.  Bold, confident and soulful:  Barnes has one of the most captivating voices I have heard in a while.  With Boileroom just down the road (from A.C.M.) I can see Barnes taking to the just-around-the-corner stage:  Bringing bodies in and giving new ears a chance to hear her do her thing.  If you want to discover a worthy and nuanced female singer- I am always looking out- then the Internet is perhaps not that helpful.  Unless you have great social media contacts- or are a music journalist- it can be tough unearthing the best female talent out there.  Over the last week, I have unearthed two of Britain’s most exciting up-and-coming singers:  Brighton’s Vanessa Forero- I shall stop mentioning her soon- and now Dannii Barnes.

At the moment, (Barnes) seems contented and comfortable at A.C.M.:  Enthralling and exciting crowds with her gripping and beautiful voice.  No Fear of Falling sees Ace collaborate with Barnes for a Sound Technology Sessions exclusive- Ace is Head of Creativity Industry Development at A.C.M.).  The song in question first appeared on Ace’s 2003-album, Still Hungry.  While that album might have slipped under-the-radar:  The Skunk Anansie guitarist’s song sounds reborn and revitalised.  Barnes gives the song a vigour, intensity and dreaminess (the original lacked slightly).  Ace and Barnes seem like quite a natural combination:  They melt together wonderfully and have a connection and intuition.  When listening to the performances- I shall go into more depth- each performer drives the other.  Barnes is in her musical infancy- climbing the ladders and learning her craft- but already has a certain star quality.  Blessed with incredible beauty and an incredible voice:  She is one of the most jaw-dropping singers playing right now.  I know (Barnes is) being well looked-after by A.C.M. but it would be good to see an official website. Having that central hub- a Dannii Barnes music homepage- would put her covers/music in one place; make it easy for journalists and fans to discover her.  On that note, augmenting her social media profile- an official Twitter account; a bit more depth in the Facebook account- would make her music more accessible and available.  Barnes is a passionate and determined young woman- having a sneaky-peek of her Twitter feed- and someone who takes music incredibly seriously.  Given the feedback No Fear of Falling is generating- accruing views on YouTube and getting a good response- it is just the start of things.  I would love to meet Barnes as she seems someone in-love with music and eager to transcend to the mainstream.  That gorgeous voice and enchanting power make every song (she covers) sound her own:  She can make everything sound utterly natural and self-penned.  No Fear of Falling shows the young singer give her heart and soul completely.  I hope Dannii Barnes records an E.P. sometime soon- not that I’m trying to push her- whether it is a covers-only album or set of originals.  On that side of things:  I think Barnes has some great stories and songs inside her.  Let’s hope they make it onto tape soon:  Hear that voice tackle of varieties of subjects and avenues.  Barnes is a mobile and adaptable talent that would sound tremendous backed by a band- maybe a Rock-y sounding group; maybe Ace could join the ranks?- or out-front as a Blues/Soul-cum-Pop chanteuse.  I shall not race ahead- sounds like I am pitching to be her manager- but I can see her going the way of luminaries Emma Stevens and Marisa Rodriguez.

It is in this part of a review I look at past works (an artist has performed):  Seeing how they have developed and whether they have progressed.  Dannii Barnes is a singer who is very much in the sapling stages of her career.  On her YouTube channel; there are a handful of cover versions for people to hear.  Barnes is a singer who has an affection and affiliation towards Pop and Soul.  Under the umbrella of A.C.M. - where a lot of their students favourite a more mainstream sound- I would love to see her employ some more edgy and Rock-inspired vocals.  Barnes is very natural when covering Pop/Indie tracks:  She has an authority and range that means her voice perfectly suits mainstreams acts (like Lily Allen).  I am not sure whether schools (like A.C.M.) mould singers to sound like someone else- the need to construct artists to sound like mainstream Pop stars- but past graduates have subverted these fears.  Barnes strikes me as a singer who could cover a wide spectrum of genres and sounds.  When listening to No Fear of Falling- covering Ace’s original composition- I hear the variety and contours (of Barnes’) voice.  She has a wonderful rawness to her:  I could well see her transition into a more Rock-driven sound.  That said; Barnes has soulful undertone- affection for older Blues and Soul singers- that could soundtrack Amy Winehouse-esque numbers.  The best singers are those who are not too restricted and narrow.  I see too many artists- usually playing in the Pop mantle- that are either sugar-sweet or have a slight huskiness.  Because of this, there is little room to maneuver and surprise.  On the basis of a few performances- most notably on No Fear of Falling- I can tell Barnes has a lot at her disposal.  It makes the proposition of an E.P. quite exciting.  I am not sure if she has considered it- I do hope she (at least) puts it in mind- but Barnes could create a wonderful, multi-layered E.P.  Maybe mixing in a couple of covers- that are most personal to her- she could bring in some original material (if she is writing at the moment).  Able to partner easily with musicians- Barnes and Ace blend with natural ease- Barnes certainly is in the right place- no shortage of potential cohorts at A.C.M.  Whether Blues band rampancy- scoring a soulful classic- or a tight, Rock band performance- where our heroine lets her inner-vixen loose- who knows?

No Fear of Falling was a song that appeared on Ace’s- guitarist with Skunk Anansie- album, Still Hungry.  That version saw Shingai Shoniwa lend her stunning voice.  The Noisettes’ lead- an Indie-Rock band who did not get the acclaim they deserved- gives a wonderful performance on the 2003 version.  I am a fan of the original so was keen to hear what Dannii Barnes could do with the song.   Hosted by Sound Technology- where they give a platform for talented young musicians to shine- Ace opens the song with gentle, riparian finger-picking.  Plucking his Larrivée D-50E:  It is an entrancing and seductive opening that beckons for a beautiful vocal.  When Barnes starts to sing, you are somewhat startled:  Not quite expecting that voice to come through.  Most like-minded singers- music school singers and Pop-based artists- have a very defined sound and vocal definition.  Dannii Barnes is a bona fide star who just radiates and burns with passion.  Our heroine is tongue-twisted and caught in knots- I am going to define/assess this song as though it comes from Barnes’ mind- and has fallen for a particular charm.  “You are my weakness” is an (opening) line performed with eyes-closed intensity and a spine-tingling husk.  Smoky and sensual- almost sexual in its delivery- you transport yourself into the song itself.  The lyrics start to paint pictures and present something tangible and visible.  With reason abandoned and her mind contorted:  Barnes lets her voice soar and weave around the lyrics.  Unable to see reason in the moment- whether saying goodbye to a sweetheart or going through a hard time- Barnes instantly bonds with the song.  She is not a singer trotting a song out for the sake of exposure.  You can tell how much each word means to her.  Every note rings with emotion and (shows Barnes) intoxicated and haunted in equal measures.  I am not sure the original interpretation of the song- what compelled its creation- but in Barnes’ hands, it becomes a transcendent hymn that makes you sit silently- that voice washes over you like a cooling ocean.  A sly smile is being delivered- “Screw your pride”- and my mind looks towards love and romantic what-ifs.  Maybe mistakes have been made in the past- the heroine has rushed in or been overly-cautious with regards love- and is getting over herself.  That fear and hesitancy seem to be vanquished:  She is ready to take a chance and follow her heart.  Maybe I have misinterpreted- Ace could shed some light- but Dannii Barnes turns (No Fear of Falling) into a revelation:  A personal insight into a passionate young woman.  Guided and supported by Ace’s sweet arpeggio- a gorgeous progression of tender notes and emotive ripples- and the song gets straight inside the mind.

As authoritative and commendable as Ace is- the author knows the song better than anyone else- it is Barnes’ voice that evokes the biggest reaction.  Not resigned to deliver a one-note performance- fearful of ruining the song- she trusts her own instincts and abilities.  As such- and with confidence showing- powerful and emotive mixes with crystalline and child-like.  When the mood calls for it (Barnes), you get blood-lusting power and knee-buckling rise.  With nary an indication; that power then dips to something serene and soft.  Able to kiss and seduce:  Barnes then lets her emotions out and reaches towards the sky.  Lesser singers would struggle to discipline themselves and control so many strands.  Barnes is a studied singer who is effortless and captivating.  Our heroine wants to close her eyes and has no fear:  She does not want to fall; be taken to new places and take on the night.  Throughout the performance- going to extraordinary places and abandoning an old way of life- hitting the right vocal notes can be quite a challenge.  I have heard plenty of singers- tackling similar-sounding songs- present ululation, histrionics (too much) and over-emotiveness.  Barnes puts me in mind of (A.C.M. former students) Chess and Marisa Rodriguez.  Both singers are making waves and gaining huge applause- Chess has a huge fan-base; Rodriguez fronts the Reading-based band, Shaydes- so I can relate to Dannii Barnes directly.  Whether she is enraptured and pained- aching and desperate for some escape- or allowing her chocolate-rich tones to rule- she always keeps the listener fascinated and hooked.  Ace is by no means a bystander and lesser player.  His shimmering notes propel Barnes and raise her performance to rarified heights.  Both artists have push one another- the vocal sharpens the guitar-playing; the guitar inspires vocal experimentation- resulting in a wonderful collaboration.

I have mentioned how No Fear of Falling sounds like a Dannii Barnes song:  Insight from a young woman seeking happiness, answers and a comfort net.  Perhaps not what Ace had in mind- you’d hope not anyway! -but that is the mark of a great cover:  Making it indistinguishable from the original; like it is your own creation.  The 2003 album version elicits shivers- a different take but no-less awe-inspiring- but Barnes sounds completely in-love with the song.  Despite the fact Barnes is her own singer; you get touches of other artists.  Little bits of Nelly Furtado- not sure if she is a fan- and her Whoa, Nelly! work.  Blues and Soul strands emerge- bits of the ‘70s queens- whilst there are shades of U.S. Pop stars (including Christina Aguilera).  When there is a notable (guitar) key change- Ace introduces a new parable and stage- Barnes’ voice is ready and right there with him.  It is that understanding- a near-telekinetic bond- that makes the performance so engrossing.  From wordless coos- Barnes sounds deliciously dreamy- to near groans:  She runs a gamut of emotions and ensures the listener is pulled straight into her mind.  A lot of live performances have a sterile aspect and seem rather un-affecting:  Dannii Barnes’ emotive performance ensures every lyric and scene are projected with colour, boldness and black-and-white (you get contrasts and juxtapositions).  Adding nuance in unexpected places- the chorus sounds more relevant each time it is delivered- your heart goes out to our heroine.  Such is the intensity and commitment through No Fear of Falling:  It seems like a confession from Dannii Barnes to us.  Ace keeps perfect timing- not rushing too much or too demure- which spurs Barnes to deliver her most memorable vocals.  It is the second-half performance that provides the biggest chills and reactions.  Almost scatting at one point:  Barnes is at the precipice of desires and her voice seems to provide supernatural ability.  Effortlessly transmogrifying and exhilarating:  She contorts and confesses like she is stood atop a mountain:  Screaming down at the world and ensuring everyone hears her.  In terms of comprisable singers; I get shades of Bjork.  The Icelandic legend is renowned for her cinematic and planet-straddling voice.  If you check out albums like Debut and Post:  These seem like albums that have inspired Dannii Barnes (subconsciously or directly).  If you think about songs like Human Behaviour- and the album Post in a wider sense- it was lauded hugely (renowned as one of the best albums of the ‘90s).  It wasn’t the idiosyncrasies- tics, growls and yelps- that resonated with critics:  It was the emotions they conveyed and how they move the listener.  Barnes has a similar talent at her disposal:  She moans and growls- not sexually but sensually- and blows your away with the raw emotions coming out.  An enchanting singer whose impish-cum-everyman contrasts make No Fear of Falling such a revelation.  Barnes combines alien-like vocals- few other singers can match her range and abilities- with a sexiness and girl-turned-to-woman sense of discovery.  That Bjork essence- apologies if Barnes dislikes Bjork- seems to have been transplanted into our heroine.

Dannii Barnes has a voice that can see her amass an army of followers.  I have stipulated there are some everyman touches to it:  Singers like Chess and Marisa Rodriguez (two A.C.M.-trained singers) have similar tones and gymnastic abilities.  That is where the comparisons end, really.  What you get from this Sound Technology Sessions video is a singer to watch very closely.  Many will hail Barnes based on looks alone- she is a stunningly gorgeous woman- and ignore the talent that she possess.   I hope the media/fans- the worst traits they display- just listen to that voice and close their eyes.  When you do, you are in for a huge treat:  A true star with an impressive confidence on display.  Maybe it is where she is based- being an in-house singer at A.C.M. - that means she is chiseled, practiced and assured.  Many young singers (of her age), come across a little uncertain and nervy.  Dannii Barnes is as confident and convincing as any singer out there.  This assurance and ability mean No Fear of Falling is a song you want to listen to time and time again.  Ace marries his assiduous strings with a passion drive:  He bonds spectacularly with Barnes.  The duo does not make eye contact (in the video:  Barnes is sat in front of Ace) but you can feel them vibing from one another:  There is an unspoken connection that elevates the song to healingly heights.  I was unfamiliar with Barnes as recently as one week ago.  I am not dedicated to following her career and making sure she can go as far as possible- an artist I would love to interview one day.  Whatever her short-term plans- staying at A.C.M. or looking to release an E.P. - she will win new hearts and followers.  If you have not heard of Dannii Barnes now:  You will in a very short space of time!

Having been contacted by Lizzie Cooley- P.R. Executive at A.C.M. - I am glad I have the chance to expose a wonderful rising talent.  I have waxed lyrical and vacillated quite a bit- hopefully, Barnes will forgive me- but Surrey often plays second-fiddle when it comes to the best of new music.  Sound Technology- and their wonderful live sessions- have seen a rotation of pure talent show what they are made of.  Dannii Barnes and Ace must rank among the most memorable performances, for sure?  The two have a simpatico and connection that channels into a scintillating performance.  Just watching the video- for the live performance- so many things stand in the mind.  Barnes is a captivating woman to see:  Lost in the music, she closes her eyes and seems to go somewhere wonderful and magical.  Not to sound too pious/wanky:  She’s a woman who commits her soul to music.  Ace- decked in leather and James Bay-esque hat- is the epitome of cool and calm.  The two have this fire-and-ice relationship:  That burning hot voice is perfectly controlled by disciplined and emotive strings.  Ace’s 2003 song is given a work-over that makes it sound like a Dannii Barnes original:  She owns the song and uses it as an exercise to highlight her vocal strengths.  I genuinely hope Ace keeps playing with Barnes- I am not sure where he is based out of- as they fit like hand-in-glove.  As for the voice behind the song:  What can you really say?  The fact she is a matter of metres down the road from me- I walk past A.C.M. most days- I must commit to seeing Barnes play in the future.  I opened by recommended she get an official website drawn-out and formulated- I know a designer who could do a bang-up job!  There are a lot of local joints- from The Star to Boileroom; The Stoke’ (my gaff) that would happily house her.  I have a bittersweet relationship with Guildford- dismayed at the negatives but proud of the young music breed- but I am glad A.C.M. is in town.  I have grown weary of the ‘best’ the mainstream has to offer.  There are some cracking singers emerging:  Robyn Sherwell and Elle King have enough intimacy-and-power contrast to them.  In terms of the boys, Wild Nothing and Kano are among my current highlights.  A couple of real (deep-rooted) problems linger within music.  There is a lot of indeterminate at the moment.  From Iggy Pop- his farewell album, Post Pop Depression- to Alessia Cara’s debut:  There are too many two and three-star albums.  Music- the mainstream at least- is struggling to throw up terrific newcomers and consistent mainstays.  With every passing year, you really have to dig hard to discover some genuinely great albums:  Something that is probably scaring a lot of under-the-radar artists.  The second problem is this:  Brilliant young singers have to struggle to get their names heard.  I would love to see a site that brings together all the young artists emerging:  Breaks them down by genre and location; makes it easy to discover fine talent.  Right now, there is a lack of discipline, support and leading-by-example music.

I feel Dannii Barnes will be able to negotiate and hurdle every obstacle.  There is a sea of determined singers electioneering:  Barnes ranks among the most impressive and stunning of them all.  Under the mantle of A.C.M. - her current school and artist-in-resident location- I can see her career blossoming and growing.  Let’s hope the local pubs and music venues open their doors- hopefully, she has a manager who is taking care of that- I know a lot of people who would pay to come see her.  I witness too many musicians who have so-so voices or overly-cliché songs.  Barnes has proven herself an exceptional interpreter with a huge feel for the material:  Someone who can take a song (from another act) and turn it into something near-transcendent and majestic.  She is still a young woman, so there is not a great deal of pressure:  Original material and E.P.s will surely come in time.  Given the passion, potential and personality inside her:  That could well translate into an ear-catching and brilliant selection of original material.  It is great seeing a Surrey musician- although Barnes hails from Essex- showcase such incredible talent.  There is a rabble of competition- even around Surrey- with everyone showing something slightly different.  Among a throng of same-sounding solo artists, Barnes has a unique flair and a real edge to her.  You get beauty and tenderness at the one moment:  She can switch to primal and sky-scraping without any warning.  Such agility and ability mark her out as one-to-watch.  The future is very much hers, so let’s hope she takes her music as far as possible.  Make sure you keep informed of Sound Technology:  Their live sessions are promoting a lot of great young musicians.  It is great seeing Ace back in the spotlight too- I have been a fan of Skunk Anansie since the ‘90s- and going strong.  With Skunk’ still playing- their latest album (Anarchytecture) was released in January- I am pleased to see the guitarist in fine form.  I am not sure how Ace and Barnes came to join forces- I shall have to ask that question- but I beg it is not a one-off.  Dannii Barnes has covered artists from Passenger to Lily Allen.  She is a singer who has a wide range of influences and idols.  Effortless across a range of genres:  The seeds are being planted for a wonderful future.  No Fear of Falling shows Barnes in full flight:  A song that seems perfect for her inimitable voice.  Given the wide range of singers vying for attention and longevity; Dannii Barnes is a performer who could…

VERY well top them all.

[youtube https://www.youtube.com/watch?v=0yhR5r1UxKo&w=560&h=315]

________________________________

Follow Sound Technology Sessions:

https://www.youtube.com/channel/UCbqpJ2LdZBn4fWtH_zRhE_w

__________________________________

Follow Dannii Barnes:

 

Facebook:

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

SoundCloud:

https://soundcloud.com/dannii-barnes1

YouTube:

https://www.youtube.com/channel/UCs3oyScPCGqrQExaGv9Cwyw

TRACK REVIEW: MissDefiant- 133T

TRACK REVIEW:

 

MissDefiant

 

 

133T

9.5/10

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RELEASE DATE: April 1st

GENRES: Alternative; Pop; Electro.

ORIGIN:

London, U.K.

LABEL:

AWAL

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IF you want to remain a hot force in the music industry...

there are a few considerations that need to be taken care of.  In addition to consistency- a gold nugget that few artists can ever unearth- there needs to be originality, passion and graft.  These are words I throw around a lot- never wantonly and lazily- and for very good reason:  The artists that (will) remain in music are those who go the extra mile.  I know the music industry- the realities of success and the work needed to obtain it- can be gut-wrenching and utterly exhausting.  With every passing week, floods of bright-eyed artists are emerging on the scene:  All eager to seduce listeners and get their music played on radio and social media.  In the course of my reviews- the years I have been doing this- I have heard a lot of great musicians emerge:  There have been quite a few- a worrying amount actually- that fade from the memory pretty quickly.  I feel new musicians- not all, but many- are playing things a bit too safe and cautiously.  Too many solo artists are lacking that necessary distinction and original intent:  Many are too content to replicate the mainstream-approved artists of the moment.  With regards groups, there is a little more fortune:  I am still witnessing too many (bands) that are depressingly uninspired and lazy.  Fortunately, I am with a duo who can never be accused of slothful unoriginality or lacking passion:  The girls of MissDefiant are ticking all boxes and making a very hard charge.  Before I introduce them to you- and bearing their music and objectives in mind- I am compelled to talk about duos and changing Pop music; addressing important themes within songs- completing with a bit about broadening horizons (when it comes to musical tastes).  While I scan around for some distinguished new bands- it can be a hard task; worth the effort- there have been some wonderful solo artists fall under my radar- including Brighton-based, Colombian-British musician, Vanessa Forero.  Every week, I ‘discover’- or someone brings to my attention- a wonderful young solo artist with a terrific sound.  When it comes to duos, you do not see them represented as fairly- mainstream media and blogs tend to favour bands and solo artists.  That is not a reflection on numbers and representation:  There are a lot of duos coming through; they are struggling to get their names heard.  From two-boys Rock duos- inspired by the work of Royal Blood- are emerging around the nation.  Yorkshire has the likes of Knuckle whilst the Black Country has God Damn:  Two wonderful- and hirsute- duos that are worth keeping your eyes out for.  In London, Electro.-Pop duo Them & Us mix Game of Thrones epics- they have a cinematic and panoramic sound- with club-ready sharpness and wonderful lead vocals (from Ami Carmine).  That is just the tip of a huge iceberg of do talent in the U.K.:  Acts that deserve wider acclaim and grander focus.

I love duos because the central chemistry is always stronger and more engaging- compared to that of a band.  Whether sweethearts or friends:  You always get something kinetic, electric and wonderfully intriguing.  I find too many bands sterile and going-through-the-motions:  The chemistry is not quite right whereas the music can appear too singular- not all the band members get in on the writing process.  Duos tend to be more collaborative, by nature:  You get the sense (in duos) both parties contribute to the music being put forward.  In terms of sonic variation:  Duos tend to be more adventurous and less rigid with regards their music (a generalisation, perhaps, but there is truth to be found).  This brings me to MissDefiant:  A stunning two-piece who become stronger and more urgent with every new release.  Before I address new themes, I shall introduce MissDefiant to you:

“Since launching in April of 2015 MissDefiant have created an online storm around their catchy music, fun content and engaging social media posts. MissDefiant have already performed at prestigious music venues such as The O2 Academy in Islington and the Brixton Jamm. They have also recently received a social media sponsorship from MAC Cosmetics due to their growing popularity on Twitter and Instagram.

Born in Battle, East Sussex, Emily Rose Adams has had a passion for music from an early age. Trained as a classical soprano, she moved to London at the age of 16 where she met Jordan Cather. Emily has toured the UK and Europe in musical theatre and opera shows such as Carmen, Sopranos vs tenors and Aladdin. She has also had acting roles in popular TV programmes like Broadchurch, Holby City and Grantchester.

Jordan, originally from Plymouth, has danced with artists including Charli XCX and Years & Years, inspiring her to pursue a career in singing and songwriting. Jordan is currently studying music production at BIMM London, and together with Emily started to write music to release as MissDefiant. Jordan has also modelled for London Fashion Week, danced with comedians such as John Bishop and Paddy McGuinness and taught commercial dance classes at Pineapple Studios.

Mike Tournier, brings musical experience to the girls raw and electric sound, having previously helmed bands Fluke and Syntax. Fluke's first release was in 1989, with their music being featured on soundtracks to Tomb Raider and Sin City 1 and 2. When signed to Virgin, Fluke released 6 albums, performed at Glastonbury and toured with David Bowie and Prodigy. He then went on to start Syntax in 2000, signing to Sony in 2002 which made music that featured on soundtracks to The OC, Nip Tuck, Bones, Conviction, Driver 3 and the In Time trailer. His highlights of Syntax were appearing on Top of the Pops and touring with the Scissor Sisters. Mike enjoys working with Emily and Jordan who hope to emulate the success of bands that Mike has remixed in the past like the Rolling Stones, Bjork, Smashing pumpkins, New Order, Talk Talk, Frankie goes to Hollywood, Yellow and Simple Minds”.

133T is a new song from a duo who are picking up waves of fans and a lot of press attention.  Hearts, minds and ears are being turned onto stunning music that packs energy, dance and gritty edges.  Working within the Electro./Pop realms:  The girls have stunning voices and a clear commitment to what they perform.  With every track, you get impassioned performances and a real nuance:  Words, ideas and lines keep popping into the brain (long after the song has finished).  A lot of modern Pop/Electro. leaves me a little cold, to be honest:  The music might be bracing, yet the messages are rather juvenile and immature.  MissDefiant are a duo that has maturity and a social consciousness to their music.  Their latest single is not only a memorable and get-to-your-feet jam:  Its core messages touch-upon very important issues and problems.  Hooking up with Über-producer Mike Tournier:  The girls look at the nefariousness of drug culture and the glamorisation that occurs.  In a society where late-night binges and hedonistic behavior is celebrated- the stupidity of the human race- it is refreshing seeing musicians rebel against this habit.  MissDefiant are determined to change perceptions and embrace something safer, purer and far less dangerous:  133T delivers its messages with punch and huge memorability.  The girls’ latest track is almost a political manifesto:  It contains an important plea that is intended for the masses.  Unlike a political manifesto, they are not bull-sh****** and dull-as-dishwater.  There is no preaching and sanctimoniousness:  Every word and vocal is portrayed with genuine spirit and authority.  MissDefiant are a duo that has a terrific future ahead.  Jordan Cather and Emily Rose Adams are just starting out but are making huge impressions:  They get stronger and more compelling as the months elapse.  I cannot wait to see what this year holds for them:  Whether an album is forthcoming- that would be amazing- it is worth keeping your eyes on this phenomenal duo.

133T is the most arresting and memorable track MissDefiant has created.  It is great there is a logical progression and growing confidence.  They are not your average Pop act that has a team of writers behind them- penning cliché love songs- and very little imagination.  With every MissDefiant song, you get something new and stunning.  Mess With You (released last year) saw the girls at their sauciest and more sensuous.  Backed by pinging beats and processed vocals- for effect rather than necessity- the track owed more to modern-day acts like Lady Gaga than anything else.  An impressive track, it showed the girls had plenty of passion and urgency to their music.  To my mind (Mess With You) did not do the girls full justice.  Whilst the lyrics had tongue very much in cheek, there was just something lacking:  It felt too similar to the current mainstream.  Fortunately, subsequent releases saw the girls embrace their own voice more.  With less Auto-tune and static electronics:  Get Out was a more energised and impressive cut.  Perhaps straying close to the current crop- that breakthrough hadn’t happened yet- the girls were experimenting more and sounding more confident and engaging.  It wasn’t until the release of Venus & Mars (about a month ago) that the girls started to hit their peak.  Maybe it is Tournier’s influence- bringing in a tougher and tighter sound- that has brought the best from MissDefiant.  I would like to think it is a combination of subject matter and production.  The girls toured quite a lot- between the release of ‘older’ songs and Venus & Mars- and were picking up new influence and momentum.  133T is another step in the right direction that proves my point.  Their latest track shows great social awareness and wins points with originality alone.  There are no tales of heartbreak and fantastical:  It is a slamming track that attacks drug glamourisation and the ‘elite’ that proffer its ills.  The vocals are stronger and more natural- processing is gone, which gives the song more authority- and the compositions stray away from the radio-friendly vibe of Lady Gaga et al.  Their latest cuts show how evolving and varied (the girls are).  It is the introduction of ‘80s sounds- a bit of Madonna and Kylie Minogue- that gives the track charm and evocation.  Marry that to very modern production values and relevance and you have a multi-layered song that shows the girls in peak form.  Given their progression and rise:  It will be fascinating to see what future tracks contain.  Few modern Pop artists experiment with subjects and go deep enough.  For that reason, MissDefiant deserves some serious acclaim.

133T starts out with immense urgency and vibrancy.  A huge electronic rush vibrates and stridulates with volume, power and immediacy.  There is no time to bed-in and wait for the build-up:  You get that hit right from the first second.  Representing club music and the chaos of the floors- the headiness and sweatiness among the noise- the listener is shocked by the buzz and drill of the rush.  There are elements of Lady Gaga to the early sounds.  In past releases, MissDefiant would have used this- the sounds of ‘Gaga- without irony and employ it fairly heavily- understandable given her popularity and influence.  In this case, any suggestions of Lady Gaga are used as backdrop and scene-setting- the sounds you might hear in every club- and less to do with their current ideals.  That swirling and canine bark is the backdrop on which the girls work from.  When arriving at the microphone, the messages and clear and unfettered.  “You don’t want that stuff” is an anti-drug message without mystery and misinterpretation.  Delivered with half-sarcasm- a moody teen swagger- and plenty of oomph:  That vocal alters and shifts within a few seconds.  Keeping the song moving and nimble- just like a dancer at a night club- the vocal shifts to a more Rap-like delivery.  Young people want to “get in with the hype”- take drugs because it’s seen as cool and must-do- and surrender themselves to something they know nothing about.  In urban parlance, ‘133t’ means ‘elite’:  It is used by ‘script kiddies’ to make themselves feel like hackers.  It is a clever and appropriate name to give to drug-peddlers and fakes:  Those who push pills and spike drinks without any conscience.  Our girls are not impressed by what they are seeing.  Being approached by some random guy:  “That’s not me, Charlie” is the spiky retort.  There are some that want to get off their face and commit to a life unpredictable and insane.  In the early stages, you are not allowed breath and reflection.  The buzzing, pulsating beats create a whirlwind that you are helpless to resist.  You will not be able to avoid moving your feet and nodding along to the insatiable, rushing electronics.  The vocals see MissDefiant at their most confident and unique.  Gone are electronic processing and any distortion:  These are messages that are vital and need to come through clearly.  133T is a song that shifts and develops with every passing second.  When one phase is done; another duly arrives in its wake.  It- the changeable nature of the dynamics- is almost like an embodiment of the club life.  People go from person-to-person:  New conversations are heard and it is a conveyor belt of changeable sounds, sensations and sights.

Following the scat-sharp delivery of before:  A mantra is unfolded with pace and punctuation.  “irrational, passional, fashionable, international, impractical, fanatical, mechanical, supernatural” are smart and to-the-point words that define the drug culture we are witnessing.  Bering part of this so-called ‘elite’ is irrational and fashionable:  There is no logic behind everything; many participate because others are doing so.  The girls ensure this irony and stupidity is given appropriate delivery:  There is a sense of anger and boredom to the lines which shows annoyance and bafflement.  When the girls delivered the coda “Get in with the hype” you get recollections of Something Kinda Ooooh (Girls Aloud’s 2006) single only with more relevance and depth.  Unlike Girls Aloud, MissDefiant are event more vibrant, passionate and memorable.  Like Girls Aloud- teaming with Xenomania for that cut- the girls create a head-spinning song that ranks them among Pop’s finest.  Those lunging, racing electronics- the type you might do Zumba to- bond ‘80s music with modern-day Dance.  The resultant coming-together creates such a huge amount of force and conviction.  You are still helpless to stay motionless:  The beats and electronics implore you to get off your feet and lose yourself in the rush.  After the clamber and compositional highlight, the voice is very much back into focus.  With a sassiness in the voice, Instagram, Snapchat and ‘selfies’ are brought into view:  Club-goers and elite-chasers hashtag-ing “I’m so wealthy”.  While some U.S. stars champion this lifestyle- the pouting photos and deplorable, money-chasing, shallow souls- here there is no such approval.  MissDefiant are tired of the plastic princesses and worst aspects of modern life.  Once more- and packing a huge chorus in- the opening themes are reintroduced.  The coda- drugs life being “pasional” and “fashionable”- meets with that stand-out kiss-off- “That’s not me, Charlie”.  133T is conversely complicated and simple.  The girls reintroduce themes and ideas- making it memorable and easy-to-remember- but there is so much going on, too.  The composition has so many colours and elements:  Swooping, swaying and endlessly hypnotic.  The vocals switch between distorted and quick-fire:  Sneered put-down and defiant boldness combine and ensure the song is constantly engaging and addictive.  These ‘august’ people- that subscribe to the 133t life- are being given sage advice and warning.  As we ride to the conclusion, there is no let-up in energy and potency:  133T remains focused and resounding to the very last.

MissDefiant are on a hot run of form that sees them deliver their most electric song to date.  133T clearly means a lot to the London duo:  Every line comes with urgent delivery and meaning.  The girls are addressing a subject- those chasing a bad way of life- that is rarely touched-upon in modern Pop.  With certain musicians portraying a contrasting viewpoint- celebrating the fools that indulge too much- our intrepid duo is on a noble quest.  Cather and Adams are at their most impressive and determined, here.  The vocals are free from electronic clutter largely:  It means the words and sentiments come through boldly and with huge resonance.  Mixing club-packing dizziness- the rushing electronics are endlessly compelling- with ‘80s-and-‘00s blends (Girls Aloud with Madonna, strangely) there is so much to recommend.  I believe MissDefiant are going to follow 133T with equally impressive moves very soon:  This is not a one-off, fluke of a song.  Cather and Adams want to emulate the success of some huge bands:  They are not thinking about calling it quits at any point; they want to grow and inspire.  Mike Tournier- who has an impressive reputation- brings the best from the duo.  Augmenting that edgy and boldness the girls have always displayed:  Tournier brings all their assets the fore and ensures the listener is treated to something special.  Tournier has remixed artists including Bjork, The Rolling Stones and New Order:  A man with a fantastic pedigree and knowledge of the music industry.  I hope the trio- Cather, Adams and Tournier- continue on and collaborate across future releases.  Together, you have an epic force that is among modern music’s most solid, assured and promising.  133T arrives in a matter of day:  When it is released, there will be a rush for reviews (a few have arrived already) and fans will be satisfied, for sure.

It is crystal-clear Cather and Adams have a wonderful connection and affection.  The girls have very different childhoods:  Adams’ East Sussex upbringing saw her tour in musical theatre productions; Cather’s path has been different, but no-less impressive.  Coming together in London- where their friendship blossomed- it is clear they are kindred spirits.  I am not suggesting bands lack that friendship and solidity- many are among the most galvanised musicians I have seen- but the duos tend to have that closeness and commitment.  The fact- a lot of these duos- are lovers speaks for itself:  You would expect to detect connectivity and bonded souls.  It is this building block- the close-knit friendship- that makes MissDefiant such an infectious and effect proposition.  I have been following their music for a while- noticing the progression between songs- and just know they will go onto big things.  With a great team around them- including producers like Mike Tournier- MissDefiant are among the most agile and arresting duos in the U.K.  On paper, you must assume they are another made-for-the-charts-random-Pop-act- with no substance and distinction.  That is far from the case here:  The London-based duo are a genuine force that will mix-it-up with the very best.  Venus & Mars- the last effort from the girls- impressed me for a number of reasons.  The breezy and beautiful vocals put me in mind of ‘80s Pop leaders:  The likes of Madonna, Kate Bush and Kylie Minogue came through in the vocals.  The busy and multi-layered composition brought together ‘80s Pop with modern-day Electro.-Pop urgency.  133T has that consistency- that unique vocal D.N.A. and effusive composition- but digs deeper (than Venus & Mars) and shows another side.  There is caution and criminality lurking in today’s club culture.  From drink-spiking to recreational drug-taking:  A ‘simple’ night out can turn into something horrific and dangerous.  There are too many musicians- not just Rap and Hip-Hop acts- that glorify the drug scene.  The Mike Tournier-collaborating months are seeing the girls create their finest work:  Let us hope this hook-up remains solid for 2016.

I have genuine hopes the girls keep plugging and putting out terrific music.  I am always left cold by the ‘best’ mainstream Pop has to offer:  There are few gems to be found in the mine.  One of the problems- with regards the quality of mainstream Pop- is the established order.  From Rhianna to Adele:  The ‘queens’ of Pop are going through the motions, it seems.  Adele’s once-golden status- that huge voice and instancy- sound samey and recycled.  She is determined to put out the same material without altering and updating it:  Her latest album showed very little originality and nuance- songs just pass you by, somewhat.  Rhianna’s Anti, whilst not a commercial disaster, hardly matches her best days.  The boys are not faring better, let’s face it.  There are peripheral Pop artists that look set to make headway:  Some newly-formed acts that have potential to make impact soon enough.  Given the instability and inconsistency (of Pop music), listeners are looking out for new heroes/heroines.  For that reason, people should be looking to the underground.  MissDefiant have that ready-made mainstream sound that is radio-friendly yet edgy.  They could well be among the huge names to watch- the artists tipped for success by the media- in 2017.  This year, they are ensuring their purple passage keeps getting brighter and more indelible. 133T is effortlessly effective and urgent in its plight:  It packs a vital message and some seriously addictive moments.  The song balances fun and seriousness; the uplifting beats and insistent vocals.  Pop music has plenty of mobility and potential if you work hard enough.  It (Pop) does not have to be sugar-sweet and vague:  Add some Electro. and Alternative ingredient in and you can elicit something wonderful and rich.  MissDefiant are making all the right moves, right now.  Their official website is among the most professional and eye-catching out there.  It lays out all the information you can need with clarity and concision.  I admire musicians that tackle issues greater than their own concerns.  Yes, we need love songs- tales of heartache and separation- as, strangely, it provides relevance and comfort.  The trouble is- when it comes to these type of songs- if you have heard one, you’ve heard them all.  You can find some originality if you look hard enough, but musicians need to be more inventive and thought-provoking.  MissDefiant have penned tales of love but are not a one-dimensional duo.  Their latest track proves just how conscious and socially aware they are.  Few musicians are addressing drug culture and those who glamourise it.  Not only can 133T inspire other acts to think more widely:  It will compel listeners to think more deeply about such issues- braggadocio drug boasting and a rather seedy sub-culture.  Among the wonderful duos emerging throughout London:  MissDefiant surely stand among the very finest.  The girls are going to be unveiling 133T on 1^st April:  I urge everyone to listen to it (upon release) and see the progression of a wonderful young duo.  I am not sure what move the girls will be making next.  Investigating their social media pages, it seems like they have a growing army behind them.  Reviewers and press are lining up to pay testament to wonderful voices in modern music.  Given this momentum and patronage, you have to ask:  Can we expect an E.P. or album very soon?  Cather and Adams will want to tour- to promote their new single- and will have plenty of options ahead of them.  Given the possible song choices- Venus & Mars, Get Out and Mess With You could easily sit alongside 133T- I am excited to see what comes next for MissDefiant.  If Cather and Adams- alongside Mike Tournier- stay focused and ambitious, there is no telling what they can achieve.  Given the uncertain nature of mainstream Pop, MissDefiant are…

EXACTLY what the music industry needs.

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Follow MissDefiant

 

Official:

http://www.missdefiant.com/

Facebook:

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

Twitter:

https://twitter.com/MissDefiant

Instagram:

https://www.instagram.com/MissDefiantOfficial/

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Music

https://soundcloud.com/missdefiant

 

INTERVIEW: Vanessa Forero

INTERVIEW:

 

Vanessa Forero

 

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VERY rarely does an artist arrive with such an immediate...

impression and memorability.  When reviewing Vanessa Forero’s From the Uproar E.P. - I was lucky enough to assess it earlier this week- I was staggered by the originality, passion and beauty throughout.  With so many sound-alike solo acts around:  Forero stands out as one of the true originals right now.  Beginning her career as a film and T.V. composer:  Now, she is emerging into a sensational musician capable of mainstream glory.  Listening to her songs- throughout From the Uproar- you immerse yourself in a wonderful world:  Taken somewhere exotic, wonderful and entrancing.  The British-Colombian musician blends South American instruments inside traditional Folk/Indie sounds:  The resultant seduction is a head-spinning and dream-inspiring concoction.

With her E.P. on the horizon- it will be released in less than two weeks- I am excited for Forero.  She is a breath of fresh air in the current music scene:  Someone who can inspire other musicians to push themselves and become bolder.  Having recently moved from Bradford to Brighton- “for curiosity really”- this year is shaping up to be an adventurous, itinerant and busy one.  I have fallen for Forero's music- and such a fascinating human being- so was keen to chat (online) with the stunning young songwriter.  She talks about From the Uproar- and the recording process- and plans for this year- how an extraordinary background (and mum’s influence) has affected her music.

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Hi, Vanessa.  How has your week been?  What have you been getting up to?  

Lovely week, thanks!  Started by scoring music for an Easter advert:  Then to Bangor to talk about film music; then back home to work on E.P. promo- including speaking to you.  Hello!

For those new to you and your music:  Can you introduce yourself to us?

I’m a British/Colombian, Indie-Folk singer-songwriter.  I’d been working as a film and television composer and producer- until Brit Award winner Beth Orton selected me for her writers’ residency last year- and put me on a stage (for the first time last year).  At first, I cried but now I’m hooked!

Your E.P., From the Uproar, is released shortly.  What themes/subjects inspired the E.P.?

A lot of the songs are from myself… to myself:  Songs to help pull me into the new land that my fears and insecurities try hold me back from- but the land that my north star is naturally pushing me towards. There are songs to try and help me get along with uncertainty and new belief:  Some that help remind me that I will get it wrong but that’s ok- and songs about isolation and longing for something greater.  Textbook Vanessa!

[soundcloud url="https://api.soundcloud.com/tracks/227081740" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

I have been one of the few lucky enough to hear From the Uproar.  I was blown away by the confidence and nuance of the music.  Where was the E.P. recorded?  What compelled the songs/themes on the E.P.?

Why, thank you!  I recorded it myself; mostly in my home studio.  The songs actually came from a time when I couldn’t face said studio for about a year- because my life was transitioning so much.  Old beliefs, old ideas; perspectives and certainties, the image I had of myself - all completely fell apart.  One knocked the other down and it left me stuck on a couch with just a guitar for a year- trying to wade my way through the rubble.  The songs are my tears, my confusion; my moments of clarification and I suppose this record is my public therapy.

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

I didn’t grow up with songs really:  Mainly instrumental music - like classical pieces, war themes and movie themes.  Debussy was always my favourite.  Then came Thomas Newman from the film music side.  The songs came later and I suppose the artist I clung to first was Tori Amos:  Mainly because I adored Bosendorfer pianos and music with some weirdness to it.

Same Boat- the latest single from the E.P. - has impressed and seduced fans.  Have you been surprised by the feedback it has been receiving?

It’s strange; I forget this bit comes!  The part of putting music out there is not actually the main event for me- in the whole process- but it’s definitely the bit I’m most grateful for– to have someone listen to the thing you’ve been nurturing (and to enjoy it).  That has been a very beautiful thing.

Given the fact From the Uproar is forthcoming:  Will you be taking the E.P. on the road, soon after?

Yes!  My manager is organising a tour as we speak for spring/summer- so keep your eyes on my social media pages.

You have had a busy and productive last few months.  What plans are in the store for the rest of this year?

I can’t stop writing songs!  I know I’m meant to be in E.P. promo-mode but the writing cogs won’t stop turning- so it’s meant I’ve now got all the songs for an album and maybe that will begin this year.  But one thing that is definitely coming next (besides a tour) is a very cool video for a brand new song. Watch this space.  I have a big crush on it.

You have mixed British and Colombian lineage.  How much of your Colombian heritage has inspired your overall sound?

Very much so.  Initially, less-so in the music and more so in the attitude of the culture – that strong, feisty, spirited, colourful, wild thing.  It’s only- in spending some months in Colombia recently- that I was exposed to a whole underground music scene out there:  This very tribal, raw, earthy sound- rather than the bright Salsa trumpets - and that’s a sound I really clicked with- and that has definitely played a big part on this record.

You have been writing music since the age of nine.  What are the proudest/fondest memories- so far- from your time in music?

Yes.  That was when I first penned a piece (called My First Encounter; inspired by E.T.!) but actually I’d been improvising way before that on the piano- I just couldn’t notate yet.  My fondest memory (golly):  That’s a bit like asking what your fondest memory is- of seeing your child- grow up with you!  Every bit of it!  But, always the bits done in the dark for me:  Those moments where I’m sculpting notes in my cave and suddenly they spark- as the magic flows- through the perfect combination.  It never gets old.

Which current artists and acts would you recommend to us- either mainstream or unsigned?

To my shame, I’m not actually a very good listener of new music.  I spend too much time making it but I do know my jaw drops every time I listen to the Little Comets album In Search of Elusive Little Comets.   The production and song-quality goes way past sky-high.  Then there’s Jack Garrett, isn’t there –is he some kind of a wizard?!  Amazing talent.

I often ask musicians this question:  What inspires your songwriting and creative process?  Do you have to be in a particular mood/mindset or do songs come from dreams/off-the-cuff moments?

There are sparks all over the place for me:  At every time of every day; especially inside of music – one sound, one note and there’s a million possibilities waiting for you right there - but it’s what you chose to do with that spark that’s the thing.  That’s the bit that takes the time but makes the song.  For lyrics, though, it always helps (to feel) emotionally overloaded by something- enough to be desperate for an outlet.  It’s a fantastic pressure and fuel for music; although not always nice.

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

There are a lot of great female artists coming through (including yourself).  Do you find there is still an expectation for female musicians- how to look and what to play- and have you faced any obstacles or struggle getting recognised? 

I think there’s definitely that expectation in the Soul/Pop world more.  In the singer-songwriter world, there seems to be more acceptance for female musicians and writers who come dressed however they come.  I have faced the problem of having to prove myself as a producer, composer and musician- more than I think a guy would- especially in my band days (when I was just one of the musicians (keys player).  All too often, when we turned up at a gig, the venue owner or P.A. guy would come to me saying “Are you the singer?”- just because I’m the girl of the band- even though I have a keyboard under arm!

You don’t get assumed (to be one of the musos) or the producer so much when you’re a chick- and when you say you do- you sometimes see that bit of mistrust- because there aren’t as many girl producers and musicians around as there are guys.  So, I think (that’s) now partly down to the girls to change the landscape:  To get on the instruments and the gear- because it can get annoying to get pigeonholed into that one aspect of music just because you see more females singing.  (Nothing against singers – that’s like the hardest and most technical bit!).  But girls:  Come on, spread out!  We need more out here!

You have an extraordinary family background- Vanessa’s mother was raised by monkeys for several years (in Colombia) as a youngster.  How important has your mother’s background/upbringing been to your career and determination? 

I think (indirectly) it definitely has been.  Mum is a survivor to her bones and I’ve absorbed the culture of ‘no excuses’ for sure.  That belief:  That everything has the potential to change and move if I want it to; that I’m not a slave to circumstance:  That, if I want it, then I’ve got to put the muscle in to learn new ropes and do something bold to get it.  She also raised me to have no shame which is a very dangerous thing!  That’s from too many years spent climbing trees; throwing sticks at passers-by.

You were formally based in Bradford- Vanessa has recently moved to Brighton.  What prompted the move down south?  How does music here (the south coast) differ to that of Yorkshire?

I only moved from curiosity really:  Just to experience a new way of life; nothing music or career-based.  I just like to move around:  Makes me feel like I’ve read more chapters in the book of the universe!

Having seen your videos on Facebook- especially the ‘making-of’ the E.P. - you come across a very charming and witty person; brimming with personality and passion.  A lot of musicians leave me cold- being too distant and sterile.  Do you think it is important to connect with fans and let them into your world- rather than being sequestered and closed-off?

Well, thanks for the character compliment!  I think it’s important to just be yourself for your fans.  I’ve spent a lot of years faking being that moody, serious musician- for the Rock bands I’ve been in- just because it suited that genre/look.  But this whole record is about a personal release and self-acceptance; celebration and allowance for ‘real Vanessa’.  So I’m not intentionally being open and friendly for the sake of P.R. or the project:  That’s just me!  No social filter!  No shame!  Total geek :)

I often ask this question of musicians:  What does music mean to you, personally?

I honestly find that a strange question because music isn’t an external thing that you can just pick up and put down (for me).  It’s not a career or even a hobby:  It’s the way I feel, it’s the way I process; it’s the house I live in.  What it means to me is as much as my heartbeat means to me:  It means everything.

Do you have any advice for any musicians coming through?  Those making their first steps into the industry 

Find your edge.  Copying is good- to grow your tools and learn some music ropes from artists that know a thing or two- but imitation should never be your goal.  Keep your eyes open for the lane that only you can fill.  Write only the music that you can write.  Stop being so damn serious about it!  Just breathe in it.

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

A song called Deja by Sidestepper:  Lead by British/Colombian producer Richard Blair- who I met in 2013 and who set me on the road to the artist I am on this record.  He’s an entrepreneur of music, in that he experimented fusing the British dancehall with Colombian Dancehall music- and as you’ll hear here – it worked wonderfully.

[vimeo 19734895 w=500 h=375]

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Follow Vanessa Forero

 

Official:

http://www.vanessaforero.com/

Facebook:

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 Twitter:

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Instagram:

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The Classics Series: Stevie Wonder- Innervisions

The Classics Series:

 

 

Stevie Wonder- Innervisions

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IT is amazing to look at today’s musicians and see how many…

were inspired by Stevie Wonder.  I say ‘were’- he is, luckily, still with us; ignore my bad grammar- but his influence is felt to the current-day.  I get tired of bands/artists are citing the same inspirations:  The U.S. Indie-Rock groups and classic Pop bands.  When presented with such a task- putting on an original spin (into a review) for a group with little originality- it always makes the shoulders shrug.  I feel as though there is that over-dependence to fit into a ‘mould’:  Some pre-mandated bar graph set-out by the record companies and mainstream radio.  Occasionally- and I mean that in bold type- you see artists that are unique and have their own voice.  These musicians have quality and a real drive to differentiate themselves from the crowd.  My hat goes out to them, for sure:  You do not find many new musicians that are confident enough to push against the tyranny of mediocrity.

Setting aside these quarrels- I didn’t even touch on the mainstream Pop music of Zayn, for instance- and there is potential to be found.  Soul is a genre that finds its way into all corners of music.  In the ‘60s and ‘70s, it had its own genre:  We all know the artists and legends that made it what it was.  Today, music has developed and evolved, somewhat.  Soul is not confined in its own right:  It can be mixed with Pop, Rock and Indie; dash of Electronica and Folk, perhaps?  That essential Soul core is a potent spirit:  When infused with other components:  It can elicit a heady and head-spinning reaction.  If you think about the ‘other’ Soul greats of the past- James Brown, Marvin Gaye; Aretha Franklin etc. - their voices are still being heard in today’s artists.  Stevie Wonder is a musician who seems to occupy his own throne- in the Soul genre.  I am a big fan of Brown and Franklin- two of the most powerful voices that have ever lived- yet Stevie Wonder (in my view) tops them both.  Since the early’-60s- Wonder’s first few albums were met with muted appreciation- this rare and phenomenal voice came to be.

Stevie Wonder is an artist whose most-celebrated albums did not arrive until fairly late on- well into the teens by the early-‘70s- but that is not to say there was little promise.  Up-Tight- released in 1966- saw Wonder tackle Bob Dylan (Blowin’ in the Wind) alongside his own compositions (or songs he wrote with others).  It was at this point Wonder threw off his ‘Little Stevie’ tag- his moniker in the early days; given his sweetness and tender years- and was developing into a mature song-writing proposition.  By the early-‘70s, Wonder was hitting his stride and throwing off the past:  Blossoming into a wonderful voice with few equals.  Signed, Sealed & Delivered was a 1970-produced album that was celebrated by critics of the time.  Not every number lived up to the promise of the title track- which Wonder co-wrote- which is not to say (the album itself) was flawed- far from it, in fact.  Breaking out of Motown boundaries- Wonder starting to cross boundaries and show his diversity- the album signalled a statement of intent.

   Talking Book was released in 1972 and signalled yet ANOTHER step forward.  No doubting how assured Wonder was by this point.  The U.S. legend had critics in his hand and was already chiselling his name in the history books.  Aside from a few songs- four of the ten- Talking Book was a Wonder-written original.  Less inclined to tackle others’ songs- although he could own and transform any track- Wonder was wholly confident with his own vision.  In the 1970s, it was assumed Soul and R ‘n’ B artist were incapable of cross-genre appeal:  Making music that appealed to Rock and Punk audiences.  If music suffered some sonic segregation- snootiness and elitism among the risklessness- Wonder broke walls down and inspired change.  Talking Book was a sleek, richly-textured and ambitious work that brimmed with confidence, hits and genius.  You Are the Sunshine of My Life became Wonder’s third number one in the U.S.:  It was Grammy-nominated (Best Male Pop Vocal Performance; it would go on to win that award) and opened the album with pure heart and beauty.  Considered one of the greatest songs ever- as assertion that many publications share- it was not the best song on Talking Book- showing just what quality was on display.  Superstition is the song everyone remembers from that time.  It was a Grammy-nominated bedfellow- the song picked up two awards:  Best Male R&B Vocal and Best R&B Song.  Jeff Beck- an admirer of Wonder’s work- collaborated on this track and inspired its creation.  Beck originally came up with the opening drum beat- on the recorded version, Wonder plays the part- and the two would create the first demo of Superstition.  Originally, Beck was going to release the song- for his group Beck, Boggert and Aprice- but knowing this song would be huge, Wonder released it.  The rest, they say, is a cliché.

[youtube https://www.youtube.com/watch?v=-wRq68Dmcn0&w=420&h=315]

The ebullience and passion (of the songs) were hotly-received by listeners and critics.  It was at this juncture, Wonder- more sternly than ever- mixed societal issues alongside love songs.  In previous albums- and common for Motown/Soul albums- Wonder’s love songs fitted into templates and expectations.  More simplistic and well-worn- samey platitudes and easy-to-digest familiarities- Talking Book saw personal insight and experience come into the music.  Wonder’s songs looked the potential and conception of love- being as potent as love itself- and addressed political themes.  Big Brother eviscerated politicians who puppeteered the social underclass in order to obtain votes:  The nefariousness of electioneering at the time (and today for that matter).  Talking Book’s thematic bravery- heartache and love sitting alongside stories of societal ills- was give colour and variation by a range of performers- Jeff Beck added guitars to Lookin’ For Another Pure Love; Ray Parker Jr. appeared on Maybe Your Baby.  All of this- the wonderful songs and confidence- set the stage for 1973’s finest album.

[youtube https://www.youtube.com/watch?v=rc0XEw4m-3w&w=420&h=315]

Innervisions arrived and took the music world by storm.  The 16^th album from Wonder:  It was another progressive step that saw societal themes fully embraced and represented.  The nine-track album ranges from drug abuse and drug abuse; systemic racism and a presidential attack- upon then-president, Richard Nixon.  The A.R.P. synthesiser- used by a host of musicians at the time- was employed throughout the album:  Giving the songs a range of sounds and textures.  Innervisions was the album that saw Wonder take full control:  The instrumentation and musical direction is almost all his.  Few other bodies and players can be heard throughout Innervisions:  It is very much a Stevie Wonder solo album, cut and dry.  It is hardly a coincident Innervisions sounds completely natural and personal.  Wonder’s maturity and social consciousness- his spirituality and devotion to God- was channelled into an album that remains one of the greatest creations in music history.  TONTO synth inventor Malcolm Cecil- who worked with Wonder throughout Innervisions- recalls the experience and day-to-day recording process.  Speaking with Wax Poetics- in 2013:  40 years after the album’s release- Cecil explained how everyone was on “Stevie time”.  Wonder would arrive when he felt like it- whilst Cecil and producers would jot down ideas and prepare tracks- and there were no strict deadlines and demands- no record bosses tutting and demanding time scales.  Because of Wonder’s limitations- his blindness meant he could not read lyrics during recording- Cecil would read/talk the lyrics to Wonder.  On a couple of spots on Innervisions, you can hear Cecil’s direction:  Headphone leakage was a problem they tried to mix out (unsuccessfully).  Cecil was conscious- between History Book and Innervisions- and influential in expanding Wonder’s lyrical direction.  Encouraging the singer to become more socially conscious and deeper:  The two would chat about Eastern philosophy and the Federal Reserve.  Perhaps it was Cecil’s influence- or Wonder angered by the political turmoil of the time- but Innervisions is one of the most direct and conscientious albums of the time.  Wonder ensured love mixed alongside accusation in a varied and deep masterpiece.

   Too High- originally called Too High to Touch the Sky- is a cautionary tale of drug-taking and recreational abuse.  With Stevie playing the harmonicas- and doing all the lead vocals- female singers were brought in to provide backing.  On a sixteen-track recorder- where only one track remained free- you get layers of voices and building chords.  It is Wonder’s interpretation and instincts that push the song to rare heights.  Although (the likes of) Cecil was providing suggestions:  Wonder’s natural intuition ensured Too High kicked Innervisions off with an immense bang.  Living for the City talks about the stark realities of city life.  Electric piano, Moog bass, harps and drums mixed with Wonder’s voice in an extraordinary musical moment.  Background vocals- created by Wonder- were slowed down and altered- to sound like other people.  During recorded, the tape would be slowed down (according to Cecil).  Wonder would sing in that key- the slowed-down version- and then sped-up again- so the vocal had a different sound.  Tensions grew during recording.  Cecil would stop the tape during Living for the City- Wonder was angry at this- fearing (Wonder) was not sounding angry enough.  Perhaps exerting too much control:  The bond between the two was straining and Wonder took umbrage.  In spite of some minor spats:  Living for the City was one of Wonder’s most successful songs.  Mixing systematic racism with urban realities:  Street sounds and sirens blending into the song to give reality and tangibility.  The album’s second single:  Wonder was on fire and determined to make HIS album (not anyone else’s).

Golden Lady and All in Love is Fair are among the most lovely and memorable moments on the album.  The latter is a Johnny Mathis-nodding track that looks at the bittersweet nature of love and so-called ‘fate’.   With lines such as “The future no-one can see/the road you leave behind” and “But all in war is so cold”:  Resonating with maturity, wisdom and loss.  Higher Ground is Innervisions’ funkiest track- and debatable- stand-out statement.  Quickly recorded- a song that flowed and gelled naturally- clavinet, backing vocals- some of the most arresting on the record- fused with an insatiable chorus:  Resulting in a legendary song that is inspiring musicians to this day.  Another lauded song- Rolling Stone ranked it one of the all-time greats; it reached number four on the U.S. charts- it looked at reincarnation and spiritual consciousness.  Wonder- interviewed shortly after the track’s release- wanted to believe in a second life.   It is at this point I have to mention an elephant in the room:  A near-fatal road accident that left Wonder in a coma.  Three days after Innervisions’ commercial release, Wonder played a concert in South Carolina.  Whilst driving from the gig- in a car driven by a friend, John Harris- they were behind a truck transporting logs.  Snaking along the road, the truck suddenly slammed to a halt.  A log dislodged and smashes through (Wonder and Harris’) car.  The log struck Wonder on the forehead and he would remain in a coma for several days.  Fearing the worst- the injuries were horrific and life-threatening- Higher Ground was a song that evoked a reaction from Wonder.  The song was played by his bedside- by his tour manager, Ira Tucker- and Wonder would tap his finger in time to the music.  It was at this point people knew he would recover and pull through.  In a strange way, High Ground was an ominous foreshadowing- a musical near-death experience mixed with a real-life scrape with death- and resonated with Wonder.  Fearing something would happen- Wonder mentioned in a subsequent interview- Higher Ground was Wonder’s sub-consciousness telling him something.

[youtube https://www.youtube.com/watch?v=4wZ3ZG_Wams&w=420&h=315]

Don’t You Worry ‘bout a Thing and He’s Misstra Know-It-All concluded the album with two, if quite different, tales.  The former is one of the busiest and most musically adventurous songs on Innervisions.  Originally conceived as a vocal-and-piano track:  It would incorporate Moog bass, bongos and cowbells- a veritable carnival of instruments and genres.  Latin elements mixed with Soul and Motown.  The TONTO (synthesiser) had large cables that connected all the various elements:  Cases and cabinets had to be built to accommodate synthesisers and keyboards during recording.  The entire process took a year-and-a-half:  The result is a one of the most positive and life-affirming songs from Wonder.  It looks at accentuating life’s positives:  Taking everything in stride and just relaxing.  On an album that sees political accusation and urban decay mingle:  Don’t You Worry ‘bout a Thing is one of the lighter and most celebratory cuts.

If Higher Ground is Innervisions’ most-spiritual statement:  He’s Misstra Know-It-All is (the album’s) most-political one.  With Richard Nixon in office- facing impeachment following the Watergate scandal- Wonder was concerned about slick-cheating smooth-talkers intent on ripping people off.  Those with a “counterfeit dollar” in hand- Nixon and his cronies for one- displayed honour among thieves.  The greasy and slimy political machinations of the time compelled Wonder to write one of his most angered and socially representative song.  It is a track that speaks for America as a whole.  While the song’s lyrics do not name-check Nixon directly- they are more general and less slanderous- you cannot picture anyone else.  Another song that came together purely and expeditiously- the entire record took three days- Wonder was at his very peak.  He’s Misstra Know-It-All brought Innervisions to a triumphant- and hugely memorable- close.

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

Wonder was an artist very much in his ‘classic period’:  Innervisions was the most assured and stunning record of his career (to that point).  Wonder would follow Innervisions with Fulfillingness' First Finale.  Juxtaposing Innervisions’ sweeping and uplifting vibes:  Fulfillingness’ set a more sombre and stripped-back tone.  One of those albums that contain few memorable hits- compared with Innervisions- it was Wonder’s first album to top the charts.  Given the fact Wonder suffered a near-fatal accident a year previous:  It is remarkable the album got made in the first place.  An unstoppable and inspired musician:  He would follow-up Fulfillingness' First Finale with the phenomenal, Songs in the Key of Life.  Stevie Wonder fans often debate the question:  Innervisions vs. Songs’:  Which is best?  For me- and the reason for this blog- is to fight the corner of Innervisions.  A more taut, tight and focused album:  Songs in the Key of Life is a sprawling, ambitious double-album.  Seen as Wonder’s ‘signature album’ it scooped Grammy awards and accolades upon its release.  From Pastime Paradise- paraphrased and covered by Coolio- to Isn’t She Lovely- across to As and Sir Duke.  Musicians such as Elton John took huge inspiration from an album that is widely-regarded as one of music’s finest records.  But what of Innervisions?

   Innervisions was an album that saw Wonder take command and control.  Without that confidence and artistic vision:  It is debatable whether Songs in the Key of Life would have sounded like it did.  The texture-blend and genre ambitions- Funk and Latin sound alongside traditional Soul- inspired musicians throughout the world.  In the 1970s, Soul was a genre dominated by black artists.  It was a genre that gave (black artists) a voice.  The Pop scene at the time did have black artists but scant few:  Even by today’s standards there was homogenisation and very little diversity.  Wonder was one of the first artists to truly crossover and reach wider audiences.  Innervisions was an accessible and life-affirming album that broke conventions and moulds:  The author wanted to bring his music to as many people as possible.  In today’s music, you can hear shades of Innervisions.  Modern Soul acts- black and white- are more adventurous with their sounds.  Prior to Innervisions, most Soul/Motown albums were predictable and defined:  Wonder ripped up the rule book and showed what was truly possible.  Soul music- and elements of Innervisions- can be found along a wide range of genres and music.  From upcoming Rock bands and female Folk acts; U.S. Soul queens and Australian Indie duos:  You can hear how far and wide the album has resonated.  Electronic music was brought fully into the realm- and has impacted on the importance of modern-day Electronic music- and compelled the likes of Michael Jackson- albums like Bad and Dangerous have templates and shades of Innervisions (in terms of sounds certainly).   Perhaps one of the most important results (of Innervisions) was Wonder’s assertion:  Music could change the world for the better.  It provided the stepping-stone for Wonder’s- assertion among critics- magnum opus, Songs in the Key of Life.  While Stevie Wonder has passed his best days- 1980’s Hotter Than July was his last ‘truly great’ album- let’s be thankful for such an extraordinary artist.

Whether you are a fan of Innervisions or Songs in the Key of Life- two different albums that can divide fans- I will always root for Innervisions.  It was the album that saw Wonder hit his peak and asset creative control.  Without literal visions:  Innervisions’ title is apt in the extreme.  Wonder’s soul, consciousness and spirituality were channelled through ten songs of immense potency, power and soul.  Will we ever see a modern-day equivalent of Innervisions?  You cannot deny how inspiring the album has been:  Transforming Soul and changing-up what is possible in music.  Among our modern days artists- variable of quality and potential- there is a lot of scope and potential lacking.  You do not need to rip-off Innervisions wholesale:  Dip into the album and realise just what you can achieve.  Take individual songs and deconstruct them:   How does Higher Ground speak to me?  I love Living for the City but what can I learn from it?  You cannot beat the instancy of Too High:  Can I write a song like this?  Only when you have an answer to these questions can you obtain a higher plateau.  I feel musicians need to study Innervisions more and realise just what a creation it was.  Only when Wonder’s genius is fully appreciated and realised can we witness an unfolding music scene with…

ENDLESS possibilities.

[youtube https://www.youtube.com/watch?v=94_snrtKGt0&w=420&h=315]

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TRACKLISTING

Too High

Visions

Living for the City

Golden Lady

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Higher Ground

Jesus Children of America

All in Love Is Fair

Don’t You Worry ‘bout a Thing

He’s Misstra Know-It-All

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DOWNLOAD

Too High; Living for the City; Higher Ground; Don’t You Worry ‘bout a Thing; He’s Misstra Know-It-All

STANDOUT TRACK

Higher Ground

INTERVIEW: Jim Lawton from Duke of Wolves

INTERVIEW:

 

Jim Lawton from Duke of Wolves

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I spend a lot of my time looking about music for a Rock act...

with genuine grit, power and personality.  There are so many groups that go for good old-fashioned grunt:  They come off sounding unoriginal and unspectacular.  Thankfully, Duke of Wolves are here to add the ‘Rock’ back into “Where the hell are all the decent Rock bands?!”  With influences as varied as The Beatles, Led Zeppelin and Weezer:  The London quartet are riff-assassins, intent on putting their footprints on the music world.  They may be a new act out of the gates, but don’t let that fool you:  They sound completely commanding, controlled and ready! 

   Hollow Eyes- the band’s debut cut- arrived with a procession of pummel, intention and masculinity.  If any doubt lingered- that this band were not The Real Deal- they are preparing to launch their sophomore missile:  The hotly-anticipated, It’s Real.  Backed by a furious and multi-limbed percussive assault; a swaggering bass-and-guitar combination:  Ben, Orlando and Sara are fronted by Jim Lawton:  Former lead of (sadly defunct) Crystal Seagulls.  Having known Jim since the Crystal Seagulls-days; I was keen to chat- see how his new band was getting on.  Jim talks about the forthcoming single:  Views of modern Rock- in addition to advice for new bands (coming through)…

 

Hi, Jim. How has your week been?  Get up to anything good?

Pretty great, thanks!  Lots of new songs being written and worked on; so looking good.

You (Duke of Wolves) are a relatively new band.  How did you guys come together?

Myself and Ben used to be in a band called Crystal Seagulls together.  When that broke up we thought we would get something else started.  We found Orlando and Sara, and they just seemed to fit in so naturally with what we wanted to do.

There are a lot of bands coming out of London (where Duke of Wolves hails).  Do you find there is a lot of support for the band out there?

London is a tough place to get started for new bands (as there is so much going on).  I have friends in other bands from smaller cities (or villages) that are able to get more of a local boost.  But I wouldn't change London for the world.

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When hearing Hollow Eyes- the band’s debut single- I heard undertones of Queens of the Stone Age and Nirvana.  Which bands/acts has influenced the Duke of Wolves sound?

Why thank you!  Q.O.T.S.A. are a cool band.  I personally listen to everything and anything.  In fact, right now, I have Ride of the Valkries blasting out!  Led Zep., Wolfmother; Rage Against the Machine, Weezer; Muse:  All seem to be ones people are hearing as influences.  My personal favourite band will always be The Beatles though.

Throughout Hollow Eyes, the band sound so tight and together.  Given the (short) time you have been together:  How do you guys sound so fully-formed and authoritative?

Cheers!  Whenever I write the main idea for a song, it is always on acoustic guitar or piano:  As (if a song) can sound complete preliminarily in an acoustic setting, then you're onto a winner.  My favourite bit is when the band take what I have presented and give it a whole new surge of vibe, life and power.  Three of the best musicians I know:  But don't tell them I said that... (the cat bag might have a hole in it, now)

You have a new single on the horizon.  Can you tell us about that?

It's a song called It's Real which is coming out on 10th April.  It's more on the 'anthem' side of things- and the chorus goes down very well live- and of course, there's a nice, tasty riff for people to sink their teeth into (not to mention Ben's eight-armed drumming!).  Very nicely produced by James Billinge.

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Are there any plans for an E.P. or album this year?

It's still early days, but the material is coming out thick and fast- so there will definitely be more for listeners partial to head-bobbery!

What defines music to you (might be an impossible question, I know)?  What does it mean to you?  How does it make you feel?

Music is everything, really.  I would say that at least 80% of my day is filled with it.  If I'm pissed off, I'll listen to Rage (Against the Machine); if I'm in a good mood I'll whack on Abba.  If I want to feel like I'm driving down a desert road- somewhere in America- it's got to be Mississippi Queen by Mountain- or something by Credence Clearwater Revival.  Without sounding too naff:  It's an expression of who you are or what you want.

In terms of albums- that have inspired the band’s sound- which are particularly important?

To be honest:  Not much in recent years.  It's all the same as the influences, or whatever we stumble on.

For new bands coming through at the moment:  What advice would you offer to them?

Ha! I'll have to take my own advice, which would be: Work hard, get a thick skin; try and appreciate things as you're doing them- and if you feel like you've written a hit- don't just sit there grinning (as it might not be).  Always shoot high as you can get.

Many people- critics mainly- have claimed Rock is dying.  Given the sounds D.o.W play:  Do you think Rock is very much alive and well?

I really don't think Rock can ever die necessarily.  Even in modern Pop music, there are Rock elements everywhere.  Do I think there have been many recent great Rock bands?  No.  Even if Rock is hiding in the shadows- like an award kid at school- a good song is a good song (end of).

When it comes to writing a new song:  Which themes/subjects inspire your process?

Absolutely everything.  My life isn't interesting enough to write totally from my own experience.  Sometimes, I like to pretend to live someone else's life and write something from their point-of-view.  Or, if I am writing from my own experience, there's nothing wrong with a touch of poetic licence.  Songs are what listeners interpret them to be about.  So, if someone asks:  "Is this song about this…?" I like to say: "It is now."

You guys have played some pretty good gigs the last few months.  Which rank among the very best?

So far all of them have had their merits and been lots of fun but I think it's fair to say we are really looking forward to Barfly on 22nd April (when we will be on at 1am)!

In terms of exciting 2016 plans- apart from new music- what is on the docket for Duke of Wolves?

There are a few exciting things in the works but nothing we can announce just yet.  Keep your eyes on our Facebook page and you will be gradually enlightened!

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

Can I go for Hash Pipe by Weezer, please!

[youtube https://www.youtube.com/watch?v=_9BGLtqqkVI&w=420&h=315]

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FEATURE: Into the Light

FEATURE:

Into the Light

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 FOR one day I am stepping aside from a music-based feature and…

Looking into something more ‘serious’.  Over the weekend, I will be back to focusing on music:  An investigation of Stevie Wonder’s classic album, Innervisions among the features.  Today, I am motivated to speak about something that affects millions of people around the world:  Mental illness.  It is not the jolliest topic to raise:  It is a relevant one that has been put into the shadows for too long.  I find myself getting angrier as the days tick on.  We are in 2016, yet I feel like the world is not as developed as it should be.  There is widespread racism, sexism and prejudice across the planet.  Whereas technology and science is advance at a huge rate:  Society itself seems to be stagnating and suffering festination.  In terms of scientific and medical breakthroughs, there is a lot of progression happening.  Cancer is not quite the undefeatable threat it once was.  With every passing year, advances are being made:  Certain cancers at being defeated; others are on the point of extinction.  It seems like most of us will live to see a day when only a few type of cancers remain.  While it may be impossible to defeat all forms of cancers- I can never see the most aggressive types being wiped out- the cures/developments being announced will save countless lives.  You have to wonder how long it will be until diabetes, heart disease and neurological diseases- dementia; Parkinson’s etc. - will be defeated.  It is wonderful to see the passion and commitment dedicated to this crusade.

What I am most perturbed about is the lack of focus put towards mental illness.  Being an illness- bit of a clue in the second word, there- there is (comparatively) little money and attention paid towards vanquishing it.  In this day and age, there remains a huge amount of stigma and ignorance.  There is that core of people who believe (those who suffer) mental illness is just pouting:  They need to “get over” themselves and “cheer up”.  Through anecdotal evidence and social media posts, I can tell just how widespread this ignorance is.  Mental illness is not something you can sleep off and ignore:  It is as horrific and frightening as any major disease in the world.  People assume mental illness is one of those things that do not need discussing and tackling.  If you are not in hospital- hooked to a machine or undergoing chemotherapy- then how serious is it?!  There are no scars and bruises on your body:  How bad can things be?!  There are two problems with that myopia.  First of all:  Mental illness leaves its scars and bruises.  Just because you don’t see them doesn’t mean they are not there.  From emotional scars to physical marks- self-harming and associated self-medication options- mental illness leaves its impressions.  If I had a pound for every time someone said “There are people worse off in the world (than you)” I would be a bloody rich man.  That statement drips with callous- whether intended or not- and untruths.  Who are these people ‘worse off’ than me?  You don’t know how bad things are:  Howe can you make such a determination?!  You would not go to a limbless, mute and deaf human and say that, would you?!  Why the hell would anyone say that to someone struggling against mental illness?  Attitudes, ignorance and lack of understanding are pushing sufferers into the shadows.

There are some fantastic charities out there that stand up for those affected.  From SANE- who I am a key supporter of- to Mind:  Some wonderful bodies raising awareness and funds for those in need.  There are crisis lines and support for the mentally ill:  To my mind, it does not go far enough.  These charities are working daily and fighting hard:  They need more backing, money and support.  Barely a day goes past without something angered me.  Whether it is a needless suicide- because someone didn’t get adequate support- or a lack of government funding:  Why is mental well-being de-prioritised to such insane lengths?  I find it mind-boggling- in a supposed ‘modern age’- that there is a caveman-like attitude towards mental health.  More people experience mental health problems than will get cancer:  Yet cancer treatment/funding are huge by comparison.   Whether it is short-term depression or life-long anxiety:  Nearly all of us will know someone who experiences some degree of mental health problems.  The experience is never pleasant or insignificant:  It is serious and hugely upsetting (for the sufferer).  We all know how serious the situation is.  You cannot turn on the news- or read the headlines online- without seeing the turbulence people go through (who experience poor mental health).  Over the last few days- in the news- there have been shocking stories that put mental wellbeing into the spotlight.  From suicide- Keith Emerson among them- to hallucination-motivated murder- a man beheaded his wife during a bout of psychosis- it is all over the news.  You cannot ignore or refute the severity of a very widespread problem.  This is not a niche illness that can be cured with pills and treatment:  This is a universal pandemic that requires long-term funding and attention.  The severity of this real-life threat is being ignored and patronised.  The government seems oblivious to the reality of the situation.  Every time I go to social media I hear the same things:  “Why is mental health stigmatised?”  It is a good question nobody has had a good answer for.

The point of this feature was not to moan at the government and have a general rant.  I believe all it takes- for progression to be made- is for attitudes to change.  Mental illness has the benefit of being controllable and not-necessarily-terminal.  Whereas some cancers are terminal and inhospitable- immune to medication and fighting spirit- there are so many mental illness suffers falling through the net.  All that would have been needed- to prevent a suicide- was for someone to LISTEN.  No magic or Herculean tasks involved:  A human being to sit down and talk about the problems.  We do not need armies or councilors and professionals deployed:  Just your grass-roots/everyday human to think more widely about mental illness.  Sufferers are not leprous and contagious:  They are human beings that are going through something horrific.  It doesn’t matter if you understand their plight- few people will do, to be honest- as you do not need to have expert knowledge.  Simply talking and LISTENING can make a world of difference.  That is what frustrates me most:  All that is needed is for human beings to be a lot more human.

It is wonderful to see campaigns like Sport Relief and Children in Need exist.  Seeing the likes of Eddie Izzard risk so much- running 27 marathons in 27 days is an immense feat- is inspiring and massively impressive.  By doing something so arduous and immense:  He is motivating people to donate money and make a big difference.  It is wonderful this country is so pro-active and charity-minded:  The U.S., by comparison, has fewer televised charity events per annum.  The U.K. is among the most charitable nations on Earth.  It is an honourific and accolade that we will never surrender.  Among the charity events and perennial pushes is some narrowness.  Children in Need deals specifically with children:  Fair enough, I guess.  Children are the majority of the population but there is a definite soft spot for them- really not a fan myself- and they need to be protected.  Sport Relief and Comic Relief broadly raise money for the same people:  Struggling families in Africa- and other ‘third world’ nations- who are underprivileged and ignored.  Again, there is still a huge focus on the children.  Nearly every report or teary-eyed documentary looks at the point-of-view of the child.  It is great there is conscientiousness but what about the majority of the population?  Why is there such a focus on children and not adults?  It has always angered me there is such subjectiveness.  It is true; Comic Relief looks at deprived adults too:  It is not just about the children.  It is just baffling there is not more focus put onto the majority of the world’s population.  While it is great to raise money for those in developing nations:  What about those closer to home?

I am dubious whether the issue of poverty (in Africa) will ever be cured.  With the exploding population- children endlessly born into rampant poverty- it seems like holes are being plugged.  Will we ever realistic be able to control these problems?  World hunger and poverty will never be beaten- it is just a fact people will have to live with- but fighting the fire is an important- and noble- quest.  Every major charity campaign- those we see on T.V. - have that heartstring-tugging element to them.  From touching videos- a celebrity visiting an African nation- or a story of child abuse:  There is that aim to get into the heart and elicit sympathy.  Raising awareness about huge problems- H.I.V. in developing nations and cruelty to children- is much-needed and paramount.  It would be great to see such campaigns- Comic Relief etc.- keep going for decades to come (I’m sure they will).  What about mental illness?

There is plenty of room- in the T.V. schedules and wallets of the public- to accommodate a similar-minded mental health campaign.  Similar to Comic Relief, an event can be set-up that addresses mental health issues:  Puts sufferers into focus and tells their stories.  Not only raising awareness- tackling that ignorance and short-sightedness- it would generate funds for wonderful charities.  That way, big differences can be made.  More nurses/councilors can be employed:  Waiting times would be reduced and sufferers would be seen.  Suicides would be avoided- those who never got the help they desperately needed- and more people would feel less alone.  Given the weight of familiarity- millions of people afflicted by mental health issues- it (the campaign) could raise millions.  Just think of the difference that could be made!?  I am appalled by the stupidity that pervades the public mindset.  Whether it is Joan Bakewell thinking anorexia is “narcissism”- there is a mental health component that is overlooked- or our mental health services being under-funded:  Why do we have to witness this day-to-day?!  A well-orchestrated and in-depth fundraiser would bring the nations together:  It would help tackle stigmatism and bring mental health to the precipice.

I am not sure what the name would be- of the as-yet-untitled campaign- but Into the Light would be an apt one, no?  It would not be a U.K.-only event either- like Comic Relief and Children in Need- and could being nations like America and Australia into the fore.  We could have a televised one-night event that would be celebrity-backed and all-inclusive.  Events could be set-up- in the lead-up to the ‘big night’- in the same manner as Sport Relief.  From music to film; through to the workplace and the streets:  So many possible fundraising ideas could be created.  Those affected with mental illness could take part- something that is rare for a fundraiser of this type- and social media could be utilised.  Like the Ice Bucket Challenge- remember that one?!- a one-off ‘viral’ campaign could be set-up:  A precursor or associated event that helps raise funds for mental health charities.  Then, and when the main event is televised, there could be films and documentaries shown:  Stories and point-of-view insights from those living with the burden of (poor) mental health.  I guess there are a couple of problems with my ‘grand scheme’.

If we set-up a national/international event for mental health:  Where do we draw the line?  What about homelessness and other diseases- from diabetes to M.S.  The whole point of charity events is not to exclude others:  If mental health were given a platform:  Would that segregate other worthy causes?  I guess there is some validity to the theory.  Cancer is a huge problem- a disease that we all with all have some exposure to- yet does not have a Comic Relief-like platform- there is Stand Up to Cancer; it is a smaller, lesser-viewed T.V. event.

Another issue is logical progressiveness.  Having a huge, multi-national T.V. event (a yearly campaign) might be going from 0-60.  Give current attitudes and issues around mental health- cut funding and many being ignorant- how realistic is it for such enlightenment and ‘justice’ to occur?  It is a fair point (too) but there lies the point:  How is mental illness going to be addressed properly unless positive steps are taken?  At the moment, we seem to be rooted to the spot:  Charities fight in the trenches yet have no support for the Generals and Field Commanders.  Every day- on my social media feeds, for example- I hear first-hand tales of mental illness striking.  Friends with anxiety, B.P.D. (Borderline Personality Disorder) and depression pour their hearts out.  Whilst social media is a good way of opening-up it is a poor substitute for real life.  Feedback/comments- across Facebook- can provide some solace and comfort:  It lacks the interpersonal and face-to-face support needed.

Mental illness is an umbrella disease that is not just confined to ‘pure sufferers’.  Cancer patients and the homeless will experience it- because of their plight and situation- and it us a common factor across most illnesses.  It (mental illness) is a multi-level beast that affects all ages and has many different strands.  From eating disorders to personality disorders:  It is a lot more than simple ‘depression’.  Fair enough, broaching mental illness can be an unpleasant experience and hard to deal with.   Many will not know what to do say:  How to relate to sufferers and know what they are going through.  I feel a positive step- to help reverse the current malaise- is to put mental illness right in the forefront.  Stories like this- http://www.manchestereveningnews.co.uk/news/greater-manchester-news/young-woman-plunged-death-after-11051819#ICID=FB-MEN-main- are not one-offs.  They are systematic of a society that is putting mental health WAY down the ‘do-to lists’.  Advances are being made in the fight against cancer:  We are going backwards when it comes to mental health.  Small steps are a good way to start:  Cutting waiting times- patients have to endure- and loosening the budget purse strings.  Put more focus on mental illness- do not shun it to The Naughty Step- and make it more visible.  It is not a puerile, carnivorous beast intent on destroying humanity:  It is a kind and misunderstood thing that requires compassion, support and understanding.  ONLY when that happens- the government gets its head into 2016- will things start to happen.  I would love to see a T.V. bonanza established and started:  Into the Light (working title, you understand) that not only creates wider understanding:  It would see genuine change and evolution occur.

The charities and people tackling mental illness are to be applauded and backed- there are wonderful bodies working tirelessly every day.  In a time where we can send people to space and perform the most awe-inspiring technologic feats:  Why are so many human beings- with common, easy-to-understand problems- being reduced to the status of animalistic puffery?  Mental illness/health affects ALL strands of society.  From upcoming musicians- stressed and anxious about their careers- to the high-flying business minds:  Behind every closed door lingers a human in need of understanding.  Maybe REAL change will take many years- Rome wasn’t built in a day, after all- but we need to START doing something revolutionary.  A T.V. campaign may be the start of things:  It can lead to a peacock-like effect of change.  Charities can get backing and more support; more people will be educated and informed; the government will wake up and smell reality- it doesn’t stop there.  Millions around the world suffer the bite of black dogs and depressive bite:  The loneliness of anxiety and torture of poor mental health.  Mental health has almost been bastardised to an extent:  Swept under the rug in the hope Mum and Dad won’t notice the mess.  It is simply not good enough.  Every day, dozens- hundreds actually- of people take their own lives; enraptured in hopelessness and confusion.  It does not have to be this way- sounding like a saccharine charity T.V. pitch, I know- but I am angry and fed-up.  I am an agathist whose world view is getting distorted and clouded:  I do not want to feel this way.  With mental illness becoming more oppressive- the number of sufferers is increasing- and support limited- charities and professionals are not being given adequate funding- we all need to pull together.  Kudos to the likes of Eddie Izzard and Jo Brand- completing tremendous physical feats to help tackle poverty and disease- but who is running for the mentally ill?  Let’s all  bond together- in each other’s arms and with an open mind- and get mental illness…

THE respect (and funding) it rightfully deserves.

INTERVIEW: Noralyn

INTERVIEW:

 

 

Noralyn

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WITHIN a colourful sea of hopeful young songwriters…

the casual listener has plenty of choices and options.  Most people here (the U.K.) tend not to cast their mind too far beyond homegrown artists.  I feel we are all a bit restrictive and routine when it comes to our music tastes.  The fact Brisbane-based musician Noralyn is growing in acclaim is the result of some bold and brave listeners taking chances.  With fans across the world:  The piano-drive songs are clearly having a huge effect.  Inspired by the likes of Tori Amos and Kate Bush- two artists Noralyn has been compared to- it is hard to escape that wonderful voice and immersive songs.  Channeling faith, life and love (its judgements and capriciousness):  Noralyn’s music is from the heart and delivered with tremendous fortitude and beauty.

Her debut single, Masquerade, was released in July 2015- I was lucky enough to review the track- and was warmly received by fans and the media.  New World has just been released- Noralyn’s current single- and shows consistency, evolution and urgency.  With the possibility of a forthcoming E.P./album, I was keen to catch up with the Australian artist.  Noralyn talks about her creativity process and the music of Brisbane:  The albums that mean the most to her and the topics that drive her creative process.

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

My week’s been great so far- thanks for asking.  Just been up to the usual:  Practicing my music and working (giving piano and singing lessons).

For those new to your music:  Can you introduce us?

I’m an Alternative-Pop singer-songwriter from Brisbane, Australia.  I studied classical piano, and this has had quite an influence on my sound (as my music is quite piano-driven).  I’ve often been likened to Tori Amos and Kate Bush.

You hail from Brisbane.  What is the music scene like there?

I moved here last year from a much smaller regional city; so comparatively it is thriving!  Of course, it’s small compared to Melbourne and Sydney but still pretty vibrant.  There are quite a few live music venues and new ones springing up - lots of great musicians and genres keeping it all going!

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

You have such a distinctive style of music and vocal.  Which artists/albums were important to you growing up?

Growing up, I didn’t actually have much exposure to many artists or bands as I was brought up listening almost exclusively to classical music.  It wasn’t until I was a bit older- in my later teens- when I ‘secretly’ started listening to popular music and discovered artists like Tori Amos, Regina Spektor; Imogen Heap, Alanis Morissette – so more sort of Alternative artists - as I enjoy listening to music with lyrics that make you think.  Brooke Fraser would be my favorite artist.

The track New World was released last month.  Can you tell us a bit about the song/influence behind it?

New World is a song inspired by my Christian faith.  It’s a song about new beginnings:  Being set free from past hurt and mistakes and finding hope and purpose in Jesus.

I know you have a busy year ahead.  Will we see a new E.P. or album arriving?

I have a stack of songs that I really want to share, so I would really like to record and tour a full-length album soon!  So, hopefully working towards planning either that or an E.P. - to be recorded sometime in the not-too-distant future.

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

Well, I ‘officially’ started my solo music venture last year:  Moving to Brisbane for that purpose.  Recording my two singles- Masquerade and New World- and then releasing my debut single, Masquerade- and my first music video in July- were, of course, all highlights.

You have a lot of fans in the U.K. and further afield.  Any plans to come and tour later this year?

I would absolutely love to tour overseas but at this stage, that’s not really plausible financially.  Hopefully- if I can get an E.P. or album out- I will be looking at planning a tour in Australia.  But it definitely is a dream of mine to be able to take my music on tour nationally and overseas.

There are a lot of great musicians coming through in Australia.  Either locally (or nationally):  Which stand out in your mind?

Conrad Sewell.  Jarryd James.  Megan Washington.

 

If you could select five albums- either current or past- that has been most important to you:  Which would you select?

Hmm, not sure about these- all being most important- but some favourites are:

Brooke Fraser - Albertine

New Empire - In a Breath

Imogen Heap – Ellipse

Christopher Tin - Calling All Dawns

King & Country - Run Wild.  Live Free.  Love Strong

And lots of classical music and film music, haha!

Social media helps a lot of musicians promote and share their music.  How useful has social been to you?  Do you get to connect with fans one-on-one a lot?

I’m not the best at social media.  As an independent artist, it has definitely been the most useful tool to promote and reach fans- and let them know about what’s going on.  Basically, all my promoting for my two singles was done through Facebook - so pretty useful!  I can be a bit slack with keeping people up-to-date though:  My bad!  Still working on that!

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

Wow, I really can’t think of anything particularly interesting… Umm, I like listening to Italian Pop music? Haha!

[youtube https://www.youtube.com/watch?v=IfBK06Br_84&w=560&h=315]

When it comes to your music and sounds:  Which topics influence your writing?  Do you need to get in a ‘special place’ or is there a particular mood you need to be in?

I guess a lot of songs come out of thoughts and feelings I’ve experienced:  Life and people and (definitely) my faith.  I think I write my best when I’m not trying.  Most of the songs that I ‘keep’ come to me unintentionally.  Generally, once I’ve started writing a song- which I’m feeling really connected with- I have to keep working on it ‘til it’s done.  So, I’ll keep going about the rest of my day trying to get that lyric or melody right in my head.

What defines music to you- might be an impossible question, I know.  What does it mean to you?  How does it make you feel?  How important is it in your life?

In general, I’m not very eloquent or articulate, so to me music and songwriting allows me to translate my thoughts and feelings.  Often, writing will help me sort out my thoughts better and helps me take a bigger picture view of life.  I also love how a song can mean so many different things to different people- and be interpreted with a unique relevance to each individual.  With or without lyrics, music is a universal language.  And there’s something so special about music in that it can reach people in a really personal way.

Do you have any advice for any musicians coming through:  Those who are not sure if they have what it takes?

Well let's be honest, I’m still very much in that category!  But if I were to give advice, it would be, stay true to your ‘musical self.’  Definitely you’re going to be influenced by other artists and grow and develop and your style will evolve.  I think it’s important to not just try to be like someone else- because you’re never going to be better at being another artist than that artist (obviously!).  In doing so you will be missing out on your own uniqueness and what gives your music individuality.  There’s music that only you can make and you can impact others’ lives with it.  It’s such a tough industry to break into, so I always try to stay focused on ‘why’ I’m doing this.

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

Ohhh, well, let’s go with the song I happen to be listening to right now which is Can’t Take It In by Imogen Heap.  It’s got this sense of beauty and wonder that makes me feel all refreshed and happy inside!

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

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