TRACK REVIEW: Sky Cathedrals (feat. Florence Glen)- Elysium

TRACK REVIEW:

 

Sky Cathedrals (feat. Florence Glen)

 

 

Elysium

 

9.4/10

Elysium is available at:

https://soundcloud.com/skycathedrals/elysium-feat-florence-glen-1

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MASTER & COPYRIGHT OWNERSHIP:

Sky Cathedrals / Florence Glen

WRITERS & PUBLISHERS:

Stefan Nathan Gandhi (Copyright Control/BMI) James Booth (Copyright Control/PRS) Florence Elizabeth Edith Glen (Copyright Control/PRS)

PRODUCED & MIXED BY:

Sky Cathedrals

LYRICS BY:

Florence Glen and Paul James

MASTERED BY:

Tom Woodhead (www.hippocraticmastering.com)

ARTWORK BY:

Thomas Stoop (www.thomasstoop.com)

RELEASED BY:

Yutaru Records

RELEASE DATE: 

April 18^th, 2016

GENRES:

Cinematica

ORIGIN:

Leeds, U.K.

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IT is unusual to review an act that is essentially...

fresh from the womb.  My featured act has just released their debut single.  In terms of social media followers, the numbers will climb:  At the moment; a smattering of people are fans of Sky Cathedrals.  Before I come to them I wanted to look at the group, it is worth looking at the importance of early impressions; cinematic/widescreen music- finishing off investigating bands from around Leeds.  I am seeing many young bands/acts emerge with their own sound and ideas.  As music becomes ever-more crowded and competitive:  It is increasingly difficult making an impact and separating yourself aside.  What I find with a lot of acts- with regards negatives and naivety- is the social media and music side of thing.  When it comes to social media, too many acts are uninformative and bare.  I get fed up with musicians that arrive and simply put a song out there:  No information or background; no links to other social media sites- just the song dropped out there.  Obviously, the music is the most important thing but what is the listener to do?  You have a track out there but, given the lack of band information and context, it seems rather inconsequential.  With tonnes of artists coming out by the week:  There is no excuse to negate base-level considerations.  I am not suggesting (musicians) have epic paragraphs and reveal too much of themselves:  Just take the time to inform the fans and give them a window into your world.  Musicians’ defence- when it comes to this oversite- is the fact they don’t want to become too open and transparent.  If you provide some biographical information- musicians that inspire you; plans for the future- and some photos, it is hardly opening the pages to your diary.  Music reviewers are not tabloid press:  They want information to help their reviews seem more authoritative and detailed.  As a fan, I am curious to learn about a band/artist’s influences and where they came from.  I raise this point because Sky Cathedrals- even though they are making their first step- have taken the trouble to put the work in.  The band (duo, technically) have a SoundCloud and Instagram account set up:  Ready for music and photos to go in there.  Before I carry on my point, let me introduce Sky Cathedrals to you:

“Alongside other bands and projects, Mighty Kid and Paul James have created a musical style of their own using their combined multi-instrumental, songwriting and production skills. Here is ‘Elysium’, the debut single from this rousing new duo, Sky Cathedrals. The single will be released with B-side remixes by TIGERBLOOD and Maukoe.

Raised in Portugal and born in North Yorkshire, folk singer/songwriter Florence Glen co-wrote the song in between recording her debut solo EP. Her vocals serve up a tender but colossal performance exploring the loss of love and perfect state of bliss in an almost cinematic style of composition, combining orchestral and contemporary musical elements underpinned by a trip hop style beat.

The production value of this piece is remarkable, incorporating sound effects and dense reverbs that create a monumental soundscape of emotion for Florence to deliver her message; the song builds throughout and culminates with a resounding chorus complete with brass section and strings, which lend themselves perfectly to the silver screen”.

The boys of Sky Cathedrals will stick in the mind of many listeners.  Not just because they have put the graft in with regards social media.  The music they create- demonstrated across Elysium- is instilled with cinematic beauty and drama; stunning originality and wonderful, orchestral touches.  I have heard many duos, yet none has the same sound as this Leeds outfit.  What the guys do is to incorporate lush, moody compositions with sharp beats and sound effects:  A gamut of emotions and genres feed into the music.  Describing their sound as ‘Cinematia’; it is a very apt term.  Like cinema- the contrasts and conflicts- the music embraces so many different ideas and emotions.  There is no excuse- in this modern day- to replicate what everyone else is doing.  I get fed up of new bands/solo artists arriving who knock-off other musicians.  It is tempting to ‘fit into’ the scene; if you are doing that by lazily ripping someone else off, then what’s the point?  You can never accuse Sky Cathedrals of being sound-alike and uninspired.  Linking up with Florence Glen; Mighty Kid and Paul James have created a gorgeous and unforgettable song in Elysium.  Before getting to the song- and the fact Sky Cathedrals hail from Leeds- it gets my thinking about the Yorkshire city.  New York, L.A. and London might seem the obvious places for the best musicians around.  Defined as epicenters for culture, music and arts, they might have to relinquish their grasp.  Leeds might not seem the obvious rival for L.A. and London:  In terms of music; they are very much leading the way.  Once Leeds was hampered by a lack of venues, financial and opportunities (for music).  Inspired by the successes of Kaiser Chiefs- one of the most notable bands to emigrate from the city- more chances are being offered to Leeds’ artists.

Leeds has the fastest-growing economy in the country; musicians are taking advantage of this.  Utilising social media- spreading the word and promoting other acts- one-night gigs and new music venues are sprouting up.  No longer is Leeds the impoverished, ghost town for musicians.  Although the Yorkshire city still has its dark side- like any city in the country; not everything is picturesque and perfect- there has been development, improvement and resurgence.  This determination and evolution are showing in the music of Leeds.  Over the last few years, I have assessed dozens of Leeds-based musicians.  What always strikes me about them- compared with artists from other parts of the U.K. - is the originality and nuance that is presented.  Whether Electro.-Swing or Indie-Rock:  You always get something a little special and unexpected.  I am not sure whether certain factors- the city growing and becoming more attractive- has led to this wondrous music revolution.  There is still some way to go- Leeds is growing and expanding by the year- but eyes are no longer fixated with London and Manchester.  If anything, Leeds is the most important music centre in the country.  Over the coming years, bands like Duels and The Ivories- the former mixes the likes of Madness with David Bowie; the latter is one of the hottest female bands in the land- are ensuring Leeds gets the recognition it deserves.  Throw in The Research- considered Britain’s answer to The Beach Boys- and you have a city that is watering mouths are producing some exceptional talent.  Sky Cathedrals seem very Leeds-like in their approach.  I would be shocked to hear a duo like them arrive from London or Liverpool, let’s say.  Although there are capable musicians in these cities- that can get their mind away from Indie, Alternative and Pop cores- Leeds’ artists are much more inventive, experimental and original.  Elysium is a track that marks their arrival with fanfare, determination and huge impact.  Whether you are a fan of cinematic-based music- that ties together Hans Zimmer with The Cinematic Orchestra- you need not be wary.  The duo present music that has that universal appeal and is not confined to certain audiences.  Widescreen and expansive; tender and personal:  You get so many different strands and ideas in the music.  I am not sure what the guys have in mind this year- a new E.P. or a debut album- but I am going to be waiting with baited breath.  If they can replicate their successful blends across an E.P.:  The boys will see thousands of fans flock their way.  I feel there is a move against the tried-and-tested duos/bands of the mainstream.  Listeners want something deeper, more long-lasting and memorable.  Sky Cathedrals are the perfect example of a Modern British Act:  Those that can appeal to the population at large; coming across as wholly unique along the way.

It is hard to compare Elysium with any previous Sky Cathedrals material:  This is their first cut and introduction to the music world.  As debut singles go; it is empathic, stunning and hard to escape.  Their cinematic sounds work wonderfully on their own (in single-form) but could easily sit together in an E.P. or album.  Sky Cathedrals spent a year creating Elysium and honing the sound.  After auditioning multiple singers- to get that essential vocal- they found Florence Glen.  I know a lot of instrumental-based acts/producers who have the same recruitment problems.  When you have that composition laid down; you have a very distinct view of the vocal that should support it.  This attention to detail and perfectionism shows throughout Elysium.  I would be excited to see what the duo does next.  Given the time it took to complete their debut single; it might take a while for an E.P. to come through.  Maybe Paul James and Mighty Kid have other songs-in-progress and brewing.  If you are new to the producing duo- many people would be- you might be looking around for comparable acts.  On their Facebook page; Sky Cathedral lists the aforementioned as influences:

Aquilo, M83, Ludovico Einaudi, Nils Frah; The Cinematic Orchestra, Hans Zimmer, Keaton Henson; London Grammar, Woodkid; Luke Sital-Singh, White Royal

The best three names- that tie together through their debut song- are The Cinematic Orchestra, Hans Zimmer and London Grammar.  The sound effects, cinematic scope and drama- that you can hear in Elysium- put me in mind of Hans Zimmer’s work.  The beauty, intensity and sweeping moments- you can hear throughout albums Ma Fleur and Motion- reminds me of The Cinematic Orchestra’s best work.  The British Nu-Jazz/Electronic group was masterful when it came to matching songs with singers.  The lush and gorgeous vocals of Florence Glen (across Elysium) put me in mind of London Grammar’s Hannah Reid.  With Glen- unlike Reid to an extent- you get more depth, originality and beauty to the voice.  I have always been impressed by Hannah Reid’s huge power and spine-tingling voice.  Florence Glen has more sides and dynamics to her voice.  I would love to see Glen and Sky Cathedrals collaborate in future releases.  It would be marvelous to see how the artists can evolve and grow together.  Whatever Sky Cathedrals have in mind- looking for radio play and planning another single, maybe- their fan numbers will grow.  Right now, there is a modest following for the Yorkshire act.

Arriving at the song in question; the very first moments present stately notes and immediacy.  Piano notes slam whilst a ghostly (electronic) wail lingers in the background.  In the space of a few seconds, you get a perfectly fitting introduction to Florence Glen’s voice.  The listener is free to imagine scenes and find out what the song is really about.  Myself, I was looking at far-off oceans and an odd serenity.  Maybe bedecked in twilight mystery:  You find yourself floating on the waves and submitting.  “I’m drifting on an ocean” are the first words that are sung.  Our heroine is stepping before someone:  Hearing the words they have to say.  Whether a God-like figure or something more personal- a sweetheart or friend- there is that need for confession and revelation.  Listening to the “words you had to say” there seems to be that emotional confusion and doubt.  That initial ambiguity gets the mind wondering and speculating.  I was wondering whether our heroine was speaking with a lover- and professing affection- or revealing something quite harrowing.  Elysium- a restraint in Leeds, incidentally- is that state of perfection and bliss, so it would be wise to say there is some happiness and positivity emerging.  Underneath the smoky, powerful vocals is that edge of mystique and double-meaning.  Glen’s voice has that atmospheric, rousing strength that puts you in mind of London Grammar’s Hannah Reid.  The sparse punctuation and nighttime intimacies recall If You Wait (London Grammar’s debut album) at its finest.  Our heroine has teariness to her voice:  Her love is far away and did not realise “what you mean to me”.  Imploring “What have we become?” there is that sense of dismay and heartache.  Whatever the circumstances behind the rift- and why they are separated at the moment- you start to imagine and conspire.  Glen never lets her voice become too wallowy and self-obsessed:  In fact, it has an openness and grandeur that is impossible to ignore.  Moving mountains and overcoming obstacles would have you believe (this relationship) has fought the currents and seems doomed.  Maybe the distance between them has caused strains and irreparable damages.  In spite of the problems and realities; there is that burning passion and determination.  You can hear that affection and dedication in every point of the vocal.  The hero still belongs to the heroine- he is a piece of her- and you start to empathise with Glen.

Every word seems born from a very personal space; a true tale that has left impressions on her soul.  The brittle beauty and stunning vocals (by Glen) is supported by ghostly electronics and understated beauty.  Sky Cathedrals have expended a lot of energy ensuring the composition evokes huge force and potential.  Not just reliant on Glen’s vocal:  The score has its own majesty and constantly gets inside the head.  With the heroine bereft and pining for her man- trying to forget him but unable to shake the bond- the producers allow their composition to speak.  Yearning, aching strings sit with foot-stomp piano and shimmering soulfulness.  It is hard to define the composition in pure terms.  There are so many different ideas, strands and emotions that are packed in there.  Despite (the composition) having a discipline and controlled power; there is so much nuance to be found.  The production skills are exceptional; allowing the song to breathe and campaign without sounding over-produced and glossy.  Glen is a singer I have not heard from but showcases what a set of pipes she has.  It would be remiss to compare Glen with London Grammar’s Reid:  The two have different sound yet share common threads.  That voice threatens to explode but never does:  There is intense passion but everything is kept in check and never gets too carried away.  Many singers ululate and let their voice swoop, dive and lose focus.  Florence Glen is not the only star of the show; it is the collaboration of the trio that makes Elysium such a star.  The exceptional production and slow-burning composition- there is subtlety and intention working in contrast- are the perfect backdrop and evoke a range of colours and ideas.  I can tell how much work has gone into Elysium’s creation and the attention that has been paid.  Mighty Kid and Paul James have a tremendous air for cinematic sounds and sound effects.  Lesser producers would either pack too much into the song or leave it too wanting.  Happily, the Yorkshire duo gets the balance just right and have created something quite wonderful.  The composition could stand on its own legs- perfectly score a dramatic scene or Indie drama- but it is the unity of Sky Cathedrals and Glen that makes the song so scintillating.

It is clear; Leeds is still one of the most relevant places for brilliant new music.  The D.I.Y. culture of the city is seeing masses of young musicians get up and make the best music possible.  No longer seen as a minor player in Britain’s music scene:  Leeds is now THE place to find the finest musicians from around the U.K.  Leeds has that odd blend of growing economic pride and existing poverty.  The high streets are booming and there is a resurgence happening.  On the other hand, you still get these pockets of deprivation that seem conflicted with Leeds’ economic prosperity and improvement.  In spite of the improvements happening around the Yorkshire city:  There is a sense of familiarity and the generic creeping in.  The high streets stores are the same as everywhere else; not saying Leeds is becoming gentrified, yet it is not the most inspiring backdrop for the musicians hailing from here.  As a result, Leeds’ finest are rebelling and putting character into the mix.  Whether it is via band night- at charming, quirky pubs- or utilising social media to full effect; I can see something wonderful happening.  Leeds’ musicians are growing bored with the sameness that is creeping in.  Unlike any other part of Britain; Leeds has that diversity and originality that is extraordinarily rare.  It is hard to draw a line between alt-J and The Wedding Presents; Kaiser Chiefs and he Mekons- just a small handful of bands that call Leeds home.  White Royal mix chills and mournful refrains inside their impactful music.  Eaves (the moniker of Joseph Lyons) sees sensational vocals- impossibly high notes and an unerring beauty- with genuine warmth and beauty.  Zealous Doxy’s Acid-Psych-Folk blends captivating vocals with stunning banjo performances.  Allusondrugs- a band I keep mentioning in my reviews- are a sensational live proposition whose songs have captured the imaginations of their growing fans- the band is getting stronger and more popular by the month.

It is clear:  Leeds does things differently to other parts of the world.  The musicians here have a way of working that other (areas) should take note of.  I am proud of London and the prosperity it is experiencing.  I love the capital’s finest musicians but feel they lack the unique edge and wonderful characters you get from Leeds.  Whether this trend will continue- and see Yorkshire’s finest go from strength-to-strength- it all bodes very well.  Sky Cathedrals seems like they have the potential to go a very long way.  Not your average Rock-cum-Indie band- talking about the same things with the same compositions- they have an originality and impression that remains in the memory for a long time to come.  Mighty Kid and Paul James are producers whose knowledge of music filters through the voice of the best singers out there.  Elysium shows what a prospect Florence Glen is.  In a way, the most direct comparison (one can levy at Sky Cathedrals) is The Cinematic Orchestra.  Influential to the duo:  You can hear familiar shades in the music of Sky Cathedrals.  Those incredible and varied compositions soundtrack your life in a very gripping and beautiful way.  Let’s hope the guys create something akin to Ma Fleur:  The Cinematic Orchestra’s third album that saw them bring singers Patrick Watson and Fontella Bass into the music.  Hugely affecting and bracing:  The album brings mini-masterpieces together into a brilliant record.  Some have criticised Ma Fleur for being a little tiresome and testing.  I feel Sky Cathedrals will suffer no such drawbacks.  Elysium is one of the most confident debut singles I have heard in a long time.  It shows (the duo) want to make their voices heard and have plenty more music left inside them.  I can see an E.P. arrive very soon- whether that is already in progress- and highlight what music really needs.  There are so many predictable acts out there; the listener becomes very jaded and uninspired.  Music needs more artists like Sky Cathedrals as they offer that depth, drama and intense beauty.  Unlike a lot of sapling groups; Sky Cathedrals have ensured they are accessible and forthcoming.  Too many groups put a song into the ether and leave their social media pages bare-naked and empty.  In this time of music- where there is intense competition and unpredictability- you need to reveal a little of yourself to the listener.  More photos and shots will arrive in time- this review has the same photo repeated many times- but you cannot fault (Sky Cathedrals) when it comes to biography and insight.  I am not shocked to see Leeds produce a wonderful, original act.  The city keeps exceeding expectations and showing how things should be done.  I am confident Sky Cathedrals will be a producing music for many years to come.  If Elysium is anything to go by, the results will be…

GLORIOUS to behold.

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Follow Sky Cathedrals

 

Facebook:

https://www.facebook.com/skycathedrals

Twitter:

https://twitter.com/skycathedrals

Instagram:

https://www.instagram.com/sky_cathedrals/

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Music

https://soundcloud.com/skycathedrals

TRACK REVIEW: James Robb- Flamethrower

TRACK REVIEW:

 

James Robb

 

 

Flamethrower

9.2/10

Flamethrower is available at:

https://www.youtube.com/watch?v=eQRW0DBG0RM&feature=youtu.be

RELEASED: 29^th March, 2016

GENRES: R&B

ORIGIN:

Hitchin, U.K.

____________________________________

THE last week has left me rather vexed by the…

general public.  In the midst of the Stephen Fry furor- where he stated abuse victims need to be less self-pitying- it has made me wonder about social media; people in general- rather dampened my faith in humankind.  It seems like an odd start to a music review, but shall remain.  In that case, it is a classic case of overreaction and misinterpretation.  Fry’s comments related, not to a general abuse-victims-need-to-get-over-themselves discussion, but something very specific.  The outcry and hysteria that has greeted his comments- the vitriol and abuse hurled his way- proves Fry’s point- how society has become infantalised.  I shall leave this argument aside- it boils the blood- but there is an ignorance that we can apply to music.  There are too people that overlook artists based on social media numbers or early offerings.  The mainstream stations are not pushing new music as much as they should:  doggedly sticking with the tired-and-tested musicians of old.  Local radio does it best to rectify this but they have small listening figures- and not surprising really.  I often wonder how often people go beyond their comfort zones and investigate brand-new music.  We have all become rather lazy and safe regarding music.  I know music is not as reliable and stunning as past decades- we probably peaked in the ‘90s- but there are still so many fantastic acts and songs to be discovered.  My featured artist is someone putting the edge, soul and magic into music.  I have been a little harsh with regards the male solo artist.  Too often I hear the same sort of musician:  the acoustic strummer with whiny tales of getting their heart broken.  To be fair; if you’ve heard one you’ve heard them all!  The mainstream’s ‘best’ are hardly helping at all.

I myself have been guilty of narrowness and false assumptions:  there are some wonderful artists if you are prepared to ferret about.  If the girls are leading a charge- in terms of quality and ambitions- the boys are not giving up without a fight.  I shall continue my point, but for now, let me introduce James Robb to you:

“With a voice and tone beyond his years, UK singer / songwriter James Robb is a young man on the rise. With original music rooted in his love for pop and r&b, Robb manages to captivate us with the authenticity of his songwriting, driven by his rich soulful voice. Raised in a musical family, Robb was quick to realise the importance of learning his craft as a songwriter and artist. He started to join writing sessions at an early age and performed a lot of gigs around his hometown Hitchin. In the past year Robb headlined gigs in Ibiza as well the UK, including performances at London Fashion Week and Gordon Ramsay restaurants.

James Robb has recently released 'Flamethrower', the first single taken from his forthcoming EP. Flamethrower is a track written by Robb and produced by Malaysian artist Kuizz. As for the meaning behind the song, James states 'It is a song about being burned in a relationship. The horrible feeling when you know one of you cares more than the other, but you're too attached to do anything about it. The song's a release of all the frustrations in that moment. It's definitely something I've experienced before and I know lots of other people have too.'

James Robb is currently in the studio recording his second EP set to be released later this year”.

It is impressive to see such consistency from a young musician that is able to grow and amaze with every fresh release.  Flamethrower is a vivid title fleshed-out with ever starker musical missiles.  The Hertfordshire native has been scolded and is not afraid to show the scars.  Many songwriters talk about love’s burns- it is the most-common subject for discussion- and it can lead to quagmire, cliché and juvenilia.  I guess heartache- being scorned and cut by a lover- is something that bonds many people.  A well-oiled source of songs:  not enough artists are doing something different in my mind.  I feel so many musicians are moaning about things:  imbuing so much blame and anger into music; it leaves me somewhat cold and annoyed.  If you are going to be base your songs around love’s wars:  at least take the time to do something new and inventive.  Luckily, James Robb is not an artist that follows the herd.  He is not someone (I hope) that would describe his career as a ‘journey’- the most nauseating, wanky form of pretension; get over yourselves, musicians- and has his feet planted on the floor.  The intelligence and originality are reflected in Flamethrower.  Taking influence from ‘60s/’70s Soul greats- the spirit of Sam Cooke hovers in some moments- together with current favourite Musiq Soulchild- you have a musician with a superb pedigree.  Few can deny the improvement that has come into music the last few months.  The last year was a somewhat spotty one for new material:  this year is a lot more sturdy, varied and impressive.  While social media users/the public are their reliable self- showing most love to the media-approved; ignoring those who toil and deserve more- I wonder whether things will change.  James Robb is a perfect Exhibit A.  The Hertfordshire star is an example of a musician who improves and evolves with every release.  One of the most original and emotive voices in current music- with a lot more besides- he is someone that needs more exposure and opportunities.  With a new E.P, in-the-works; it will be great to see Robb mature, expand and amaze.  I have heard his early work and am amazed by the maturity and confidence throughout.  In 2016, he seems even more assured and ripe:  a musician that has grown so strong and determined.  Even though his heart has been incinerated- charred to the point of ashes- that has not dampened his songwriting ability.

 

Flamethrower is the latest track from a musician that shows so much variation and nuance.  Sleeping With the Lights On was unveiled a few months ago and brims with radio-friendly hits and underground grit.  The title track repeats its name with determination and intoxicating chant.  Our hero is haunted by visions (of his sweetheart) and can’t get any rest.  Backed by pattering percussion- relentless and powerful- you get some tender piano in the mix.  A track that could comfortably sit on a Radio 1 playlist- and across a more credible station- it has universal appeal but something distinctly personal and meaningful.  Every Day Is Golden has a catchiness and sense of reflection.  Our man is down after a split- it seems the E.P. is a recounting of a bad split- but there is more optimism and light in this track.  The composition breathes more easily and seems to have a skip in its step.  Despite the pains and woes- the hero is unable to get over a break-up- you cannot help but be caught by the infectious spirit of the song.  Within the E.P., you get to hear Robb explore pain and relationship cessation with maturity and defiance.  Whilst the odd moment does see the protagonist wallow a bit too much:  the overall feeling is of someone trying to work their way to better days.  Backing these fight-against-the-tide sentiments; the compositions are constantly energised, direct and variegated.  Tight and feet-moving beats are the constant:  piano and electronics are added to augment and enthrone.  With embers of Stevie Wonder coming through- especially in Every Day Is Golden- there is a nice mix of Soul legends and modern-day production values.  That E.P. - to my mind- was primed towards the Radio 1 demographic- the 16-30 market, perhaps.  The polished finish and lyrical style is aimed at the younger listener, largely.  What Robb does/did with Sleeping With the Lights On is infuse the modern with classical.  This is not an E.P. by a boyband member trying to prove himself.  Flamethrower is another step from a young man that is getting better with each song.  The E.P. had some rough edges and missed chances- could be a little rougher and tough; a little polished and cliché in places- but the signs are all good.  Building on solid foundations- especially the honey-dripping voice- it seems Flamethrower is a sign of things to come.  Keeping his core sound intact; instead there is an extra degree of confidence and quality.  The song is not too reliant on predictable lyrical ideas- there is more thought and originality- whilst the composition has greater depth, nuance and appeal.  I feel Flamethrower- and the forthcoming E.P. - will aim at a wider audience and show great promise.  Robb was always excellent and promising from the very start.  What we are seeing- and will see towards the end of the year- is another step forward and greater solidity.  Flamethrower is (perhaps) the finest track Robb has created and he seems to be in rich form.

Having already accrued some great reviews and passionate feedback:  I was determined to get into Flamethrower and see what all the fuss is about.  The track begins with a little bit of mystery and mis-step.  You would imagine a track called Flamethrower might start with blaze and attack.  Contemplative and reflective notes- almost lullaby-like in their tenderness- ensures the opening moments are calm and composed.  Lesser artists would rush in and show too much eagerness- too keen to lay their feelings on the line.  “A heart of ice/a sacrifice” are the opening words:  heralded by a punchy beat; Robb is in the spotlight and keen to lay down his thoughts.  Surveying the wreckage- and the girl who broke his heart- his words are deployed with caress and attention.  Never hurried or overly-emotive:  you have a performance that drips with soul and beauty.  Whilst the composition tightens and gets more teeth-baring:  our hero ensures his voice is levelled and controlled.  Channeling elements of Marvin Gaye and Robin Thicke in a very unique and personal way.  At no point do you imagine those singers- you just get feint hints and impressions.  I am amazed a white guy from the Home Counties can sound like a bona fide Soul singer.  A lot of our ‘best’ examples- Sam Smith for one- sound forced and suffer ululation and over-emotion.  Robb is one of those singers who sound completely natural and loveable.

There are no wild notes or needless screeching.  For that reason, Flamethrower remains essential and impressive to the very end.  Our hero has waited in the “pouring rain”.  You can picture the scenes as they are spoken.  Unsure of where culpability lies- who is to blame for the break-up- you readily sympathise with our lead.  He seems so honest and open in his performance it is hard to cast aspersions his way.  The girl is burning our man without consideration or humanity.  “It hurts” seems like an understatement under the circumstances.  Asking the same questions- why she does not want the relationship to last- you get multi-layered vocals and something hugely alluring.  Robb lets his voice glide and cascade like a caramel waterfall.  It is hard to get sucked into the voice and ignore the composition and vocal.  As they stand, there is a real economy and memorability to them.  The beats remain sparse yet effective.  The production values are exceptional, which means the vocal can stand up top without detriment to the other components.  Flamethrower is a very contemporary track.  It is the sound of 2016 but is not a lamentable Pop-based, chart-friendly write-off.  Like Justin Bieber and Zayn- two artists you didn’t think I’d be applauding- there is a seamlessness and authority.  You have a young man that has a Pop basis but offers much more depth and appeal than his contemporaries.  Ensuring the lyrics are simple and easy-to-recall- the image of being burned is a particular standout- it will appeal to listeners of all ages and tastes.  The universality- the lyrical themes and easy-to-digest vocals- is matched by a clear nod to masters of Soul.  Those who yearn for the days of Sam Cooke and Marvin Gaye will find much to love in Robb’s rich and luxuriant tones.  Such obvious songs- that have very clear meanings- can often be bogged down in a wave of predictable lyrics and forgettable vocals.  Not the case with Flamethrower.  The inspiration comes from a very raw and painful place.  Rather than lace the track with accusation and vitriol:  you have a very considered and disciplined performance that leaves you rooting for the hero.  I am not sure how things worked out between the duo- and whether reconciliation arrived- but you cannot help but wonder.  A centerpiece and lead-off from the forthcoming E.P.:  James Robb is hitting his peak form right now.  Maybe his best moments are still ahead but you have to tip your hat to his progress and evolution.  Social media/press backing has clearly sparked something in Robb: a young artist that is hungry for success and longevity.  If he keeps creating tracks like this, who would ever bet against him?

Kuizz (a Malaysian artist) has come to the producer’s chair and brought the best from the Hitchin boy.  Ensuring Flamethrower is not too gleaming and slick- but not too bare and sparse- a fine balance has been struck.  The only thing I would suggest- and not a slight on either party- is to indulge the composition a little more.  Robb’s vocals are exceptional but even finer when coupled with an atmospheric and dramatic score.  At times, Flamethrower relied too heavily on Robb’s assured voice.  Expanding the electronics and heightening the beats; a piano lift and a bit more crescendo- give the song that extra bit of primacy and teeth.  That is a minor qualm in a mass of positives.  Any oversites are sure to be ironed-out and straightened (when the E.P. arrives).  Flamethrower is a wonderful example of where James Robb is now:  standing tall and determined to grow bigger and bolder.

Flamethrower confirms James Robb’s arrival in the world of music.  I will be exited to hear what Robb’s E.P. contains:  I know so much passion and self has gone into it.  The lead-off single is not a self-pitying testament of a down-trodden soul.  It is filled with fire and purity; there is hope and strength- someone that recognises the pain but wants to move past it.  In today’s scene, you’d struggle to find too many (young, especially) artists that tackle love’s stresses with that much dignity and self-respect.  As the weeks go by, I am finding more and more wonderful musicians.  I am one of those people that gets safe and happy immersed in bygone music:  the artists and albums that are reliable and established.  While new music can never reach the dizzying heights of the ‘glory days’- to me; 1988-2003- we should not give in and just shrug the shoulders.  Sure; there are hordes of acts emerging by the week.  Having to do battle with so many rivals- in a disorganised social media sea- we are starting to see some future stars emerge.  2015 was not the best for music and it led me to be rather dismissive and pessimistic.  I am seeing a lot more quality and consistency through the first-third of 2016.  James Robb is someone we need to keep our eyes on and lend support.  I know it can be a difficult quandary:  so many musicians are coming out:  how can I be sure Robb is not overlooked?  Flamethrower is a song that should be saved and added to playlists.  Keep it somewhere safe and make sure it is (at the very least) in the back of your mind.  Bookmark Robb’s social media pages and follow his progression- the E.P. is not far away- and do not let him pass you by.  It seems the Hitchin-based musician is in no short supply of followers.  The social media numbers are solid and rising:  his P.R. agencies are promoting (Flamethrower) with aplomb and passion.  In wider terms; radio and the media are lending their praise to the cause:  recognising what a proposition is in our midst.  It is great discovering an artist that hails from outside London- only just in this case- and I wonder whether James Robb will relocate.  The Staves, Enter Shikari and Friendly Fires hail from Hertfordshire:  Gallows and Deep Purple can be added to that list.  Not many Hertfordshire natives actually remain there.  The lure of London- and other, similarly-heeled cities- is too powerful and potent.  I know Robb has some important gigs in the pipeline:  how long until he is seduced to London, Manchester or farther afield?  That is down to him but I feel like there is a real opportunity ahead.  The public need a collective slap and have their eyes opened to some stunning music.  It is hard navigating the choppy waters of music:  there is so much out there it can be a daunting challenge.  Whether we can overcome this hurdle- and create a more organised and disciplined way or working- that is for another day.  James Robb draws together the Soul heights of the ‘70s with something contemporary and fresh.  Never indebted to anyone, we have a singer that is at his very peak.  I feel things can only get better and stronger.  Flamethrower is a dazzling song from a young man that wants to show the music world what he is made of.  If you have any sense at all…

YOU won’t deny him.

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Follow James Robb

 

Facebook:

https://www.facebook.com/thejamesrobb

Twitter:

https://twitter.com/jamesarobb?lang=en-gb

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Music

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TRACK REVIEW: Kyle Britton- Villain

TRACK REVIEW:

 

Kyle Britton

 

 

Villain

 

9.6/10

Villain is available at:

https://soundcloud.com/kylebrittonmusic/villain

RELEASED: April 13^th, 2016

GENRES: Indie-Folk

ORIGIN:

Los Angeles, U.S.A.

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OVER the coming weeks I am going to start spreading my horizons…

and break out of easy habits.  The more ‘focused’ reader will note how often I have reviewed L.A.-based musicians- almost a second home when it comes to the best sounds around.  A lot of my recent attention has been divided between L.A. and Folk music:  today I bring both together; perhaps the last time I will do so for a little while.  It is not a bad thing at all:  new talent is new talent; finding great music should not be dependent on location and genre.  It is, in fact, just nice to be able to ‘get out there’ and hear some different music.  I shall not talk too much about L.A. - lest everyone complain- but Folk comes back under the radar; as does defiance in music- finishing off with a bit about U.S. artists coming over to the U.K.  I have been bashing Folk a little; making it pick up its feet and starting working:  too many artists are playing in the genre without injecting any personality and passion.  I am siding with (some) critics who bemoan the raft of somewhat boring Folk musicians:  those that strum their guitar and sing with such listless desires.  If you are going to be a musician- and want people to follow you and be fascinated- then you need to stop doing what everyone else is.  In the same vein:  unless you have a mega-super-wonderful voice:  plaintive string-plucking and cliché love songs are not going to cut the mustard.  It is not just Folk that has this reputation:  there are too many Pop acts that seem intent on b the world; making music as vanilla as possible.  Since the ‘60s and ‘70s- when the legends of Folk were born- the genre has struggled a little bit.  Never as popular and dependable as others- Indie; Rock etc. - there has been variability and inconsistency through the last few decades.  I am not saying everyone who does not sound like Bob Dylan and Neil Young has failed- quite the opposite in fact.  I feel like too many young Folk artists are unwilling to push boundaries and capture a larger audience.  You get musicians that are happy in their own wheelhouse- rather traditional and predictable- and do not realise the opportunities in front of them.  Folk- when married with other sounds- has the potential to inspire so many; go far beyond the expectations of critics and listeners.  Maybe this is a generational bias- me being a rather snooty young reviewer- but Indie-Folk seems like the most logical approach to the Folk-quality conundrum.  If last year showed anything, it was how much you could do with the genre.  The likes of Father John Misty and Laura Marling produced stunning works.  Throw Sufjan Stevens and you have three of the finest artists in ANY genre.  What these artists showed was what could be done when you mix Folk cores with something deeper.  Father John Misty is perhaps the most pertinent comparison.  Writing universal themes- heartache and love; struggle and longing- with heartfelt melodies and personal transparency- you have an astonishing album (I Love You, Honeybear).  Kyle Britton is an artist who takes the traditional elements of Folk and expands those outwards.  Not just confined to acoustic guitar-based love songs:  here is an artist who understands the importance of daring, emotion and response.  His music elicits something deep and human:  able to bring beauty and hope to dark moments.  Before I continue, let me introduce the L.A. musician to you:

“Inspired by the quiet musings of troublesome love and the path to understanding, the emotionally evocative music of indie-folk singer-songwriter, Kyle Britton, epitomizes storytelling in its truest fashion. Britton’s distinctive sound combines undeniable dark undertones with roving melodies and atmospheric refrains, offering a unique experience for his listeners.

Britton enlisted help from Los Angeles’ most seasoned musicians including Kyle Crane on Drums (Daniel Lanois, Elle King) and renowned violist, Ginny Luke (Rihanna, Dave Matthews Band). Famed engineer, Darryl Swann (Macy Gray), made sure to highlight Britton's warm and natural vocals.

Perhaps it was growing up in a military family which led to Britton's desire for non-conformity and individuality. Britton expressed on his father's influence "I grew up with my dad telling me that if music is not evoking an emotional response it's not doing its job." The EP is a demonstration of Britton’s continuous hard work towards his childhood dream. His natural dedication has led him from ‘fake-playing’ his 7-year-old rendition of Def Leppard’s ‘Pour some sugar on me’ to creating an EP that actively analyzes his decisions in life, whilst convincing us to do the same”.

Once more, Los Angeles is proving what a stunning musical climate it is.  Perhaps it is the weather:  that perennial warmth that ensures its musicians are at their happiest and most relaxed.  Maybe the bubbling, multi-cultural communities compel something.  Who knows?  Whatever the reason (behind the upsurge) it is hardly surprising to hear Kyle Britton come through.  When his E.P. is released in a couple of months:  it will show what a talent we have in our midst.  It is always challenging predicting how far a musician can go.  The signs are all good when it comes to Britton.  There is a defiance to him that impresses me greatly.  He is not an artist that betrays Folk’s true nature:  his music contains traditional arrangements and does not stray too far from ‘70s Folk ideas.  What we get is a musician that strives to hit the heights of Father John Misty, Laura Marling and Sufjan Stevens.  Indie-Folk is a style of music that is becoming more popular and appealing.  Any artists that rebel against Rock and Alternative music is alright by me.  There is a proliferation of new musicians that have that arena-pining sound:  they want to be the Next Big Band; follow in their idols’ footsteps.  That is all well and good:  yet I am not hearing THAT much originality and quality.  Some of the most merit-worthy and fascinating acts of this year are those that tease Folk and Indie together.  This is personified by Kyle Britton who is a musician I can hear going far.  Based in L.A. right now- enthralling the local crowds- it would be good to see him come over to Britain.  More and more American artists are finding a home here and spending a lot of time around Europe.  I am all in favour of embracing musicians beyond our borders:  making the U.K. a more cosmopolitan and all-embracing musical nation.  Music is still hamstrung by costs and distance.  Unless an artist is close-by- I am talking about new musicians- the press can often pass them by.  It is challenging keeping abreast of all the brightest and most attractive artists around the world- I can sympathise with that.  If Britton were to play a few shows here- maybe a few across France and Europe in general- that would give him exposure here.  Britain has some great, emerging Folk acts:  there is a definite audience for him here.  Villain is a fresh cut that announces the arrival of a determined and forceful artist:  someone who can hold attention and fascination for years to come.  These are the early days- making bold proclamations might be a little unwise- but who would bet against him?

Riddle is going to be released on June 10^th.  It will give the world the opportunity to show just what Britton is made of.  I am predicting the E.P. will be a concept record of sorts.  The tracks will all roughly ascribe the same ‘muse’:  a woman that has left her share of pain and heartache.  Villain is a song that recounts the fall-out of a relationship:  the scars and rubble left following a painful split.  The song is not as one-sided and obvious as one might suspect.  There is self-confession and honesty here.  No finger-wagging number- our hero opens himself up and is not free from blame- it shows huge lyrical and musical diversity.  Soundtrack was released late last year and performed with Jewelia Hepburn-Zaferes (Britton’s fiancé).  Showcasing affection and devoted love:  it is one of the most positive and celebratory tracks Britton has performed on.  Villain has darker undertones and shows what variation and range our hero possesses.  When his E.P. is released; it will be interested to see which songs are included.  Whether he included Soundtrack- or collaborates with his fiancé again- that will be interesting.  What you will get is confidence, authority and originality.  A Folk musician that does not want to be labelled and overlooked:  the coming years are going to be very prosperous for the L.A. musician.

Villain opens with a mix of staunch strings and funeral undertones.  A bell rings in the background; there is a storm-lashed atmosphere and a real scene being set.  The studied and emotive guitar sound put me in mind of legends like Nick Drake and Neil Young.  You get drawn into something historic, wonderful and familiar.  It is when the voice arrives do you get the biggest impact.  Husky, smoky and beautiful:  the perfect canvas that brings the song fully to life.  With your soul and heart lost inside that embracing tongue- a vocal that grabs you and drags you in- the self-confessional tone of Villain elicits speculation and curiosity.  Our hero is warning the girl to stay away.  Not wanting his blue eyes to fool her:  pain and heartache will wait.  If they continue to play, it seems the heroine will get hurt:  there is warning and caution that rings through the early stages.  Bits of Paolo Nutini emerge in the vocals- that same duskiness and caramel-smooth burr- and you get touches of Soul legends.  Such a complex and rich voice ensures the listener is invested and seduced.  Most songs- that deal with heartache and loss- cast blame on the other party.  In fact, when seeing the song’s description on paper, I was feeling rather weary and anxious.  I was assuming we’d get another she-broke-my-heart-what-a-vixen song:  one where the knives are out and there is a lot of immature blame.  Britton is a mature young man that realises his foibles and indiscretions.  A man that is brave enough to show a darker side:  one that his sweetheart should be very wary of.  I know Britton is engaged- not sure if this song recounts a previous relationship- but I was hooked by the impressively bold and honest confessions.  After the initial strumming and acoustic-led composition- and with the chorus arriving- you get a thumping and militaristic percussion.  The hero confesses his sins- being a villain and heartbreaker- and announces it with determination and resonance.  On the one hand, there is certain defiance and swagger- like this revelation is not such a big deal- but on the other hand, you feel like the young man is baring his soul and letting the pain free.  When the chorus arrives- and explodes with dance and energy- Britton’s vocal reaches fever-pitch levels of smoke-ravaged husk and intensity.

Admitting to being a “bad boy”- again; perhaps the tongue is placed in cheek- you get a mix of humour, honesty and self-confession.  These components work together wonderfully and highlight a song with depth and originality.  I mentioned artists like Father John Misty up-top- the benchmark for the best in Indie-Folk- and Britton has some comparable threads.  He takes Folk’s traditions and heritage and brings his own blend to the genre.  It is hard to define and put your finger on-  you just know something special is happening.  Villain has a theatrical touch and almost seems like a production unfolding.  So much attention is put into every aspect of the song.  The lyrics mix the everyday nature of cautious love- and not putting faith in someone who will do harm- with something very personal and different.  The way Britton projects the lyrics- “I’m a bad, bad boy” gets elongated, truncated and repeated beautifully- adds drama and flair to proceedings.  In that vein; the nature of the lyrics- stay away from a slightly toxic bond- is impressive indeed.  Britton’s choice of words and delivery blend malevolence, wisdom and cheekiness; emotion, terseness and passion.  The composition mixes marching beats and swooning strings- they rise and fall; jump and dance- that leads to something quite extraordinary.  It is impossible to listen to Villain and not be fascinated and nod along.  The energy and rouse bring Blues and Rock into a Folk centre:  an electrifying song that rattles around the brain and involves every listener.  Too many Folk artists seem too bland and vague:  not the case with Kyle Britton.   That raw and naked voice is essential and utterly superb.  Stinging strings and bait-and-switch ensures there is nervousness and unpredictability to Villain.  The hero has a teasing allure but comes with a dangerous sting:  do not be fooled and keep at bay.  Britton is happy when writing about love’s universality and desires:  embracing the good and acknowledging the inherent good.  Villain is the flip-side that was born from a dark place.  Needing to exorcise demons and doubts:  the song is a warning sign and burden that needed to be defeated.  Given that premise:  one might expect an unfocused and rather off-putting song.  What we have is something cohesive, hugely dramatic and memorable.  You can tell how much attention goes into every note and idea:  a lot of time has been expended to ensure the song is as good as can be.  Shimmering, country-fried strings join the throng- another wonderful addition- and give Villain new layers and shine.  Towards the final moments, there is some tenderness and swoon.  The wordless vocals rise and fall; the strings shiver and the percussion teases.  Before you get comfortable, the chorus swaggers back in and suddenly ends- a beautiful and unexpected dead-stop.

Kyle Britton has combined with some of L.A.’s finest musicians- Ginny Luke is the violist; Kyle Crane on drums- and backed by the engineering of Darryl Swann.  The husky, warm and varied vocal- from the man Britton- is given wonderful shine and exposure.  Joining wonderful musicians together can often be a risky business.  Sometimes they do not click and sound unnatural together.  Here, we get something cohesive, symphonic and together.  Every player is completely in-step and knows their part:  the ensuing performance is among the most impressive you’ll hear this year.  Kyle Britton proves what a stunning writer and performer he is.  The lyrics (to Villain) mix pantomime anti-hero and raw-emotions-come-clean confessions.  There are intelligence and wit together; catchiness and catharsis:  all the ingredients that make a perfect song.  Throw in a sensational voice- that has few equals- and few can deny the brilliance of Villain.  What his forthcoming E.P. will contain- and how Villain sits in- we are in for a real treat.  Having just a few songs under his belt, I have heard few artists as confidence and distinct fresh from the box.  If you have not discovered the brilliance of Kyle Britton:  go and correct this forthwith.

Riddle and Villain are two songs that signal a musician with an incredible sound and talent.  Both songs look at universal themes and keep things relatable and tangible.  Not breaking the mould too much- ensuring the audiences have something familiar and comforting- Kyle Britton adds something intensely personal.  His music looks at disreputable and heartbreaking women- perhaps both songs are based on the same girl- and ensures darkness, atmospherics and non-conformity.  Heralding from a military background; it is perhaps not a huge shock Britton has that rebellious side.  He is not a Folk artist that plays it too soft and safe.  Every track he performs leaves deep impressions and gets inside the mind.  I have mentioned a trio of Indie-Folk artists- Laura Marling, Father John Misty and Sufjan Stevens- and am not employing these names liberally.  Between the three superstars; it shows what Indie-Folk is capable of.  Many are too reticent and reserved when it comes to musical endeavor.  We all get comfortable in our skins and are reluctant to be too adventurous.  I am one of those people that tip-toes around Folk quite a bit.  I have heard so many musicians (in this genre) that leave me cold and lifeless- playing music that could bore you to tears.  Folk is evolving and starting to show some ambition and potential.  Too many artists get caught in that Bob Dylan-via-Nick Drake-by-Joan Baez style of Folk.  Unless you have their lyrics and voices- nobody in modern music ever will- you are not going to captivate too many hearts.  Artists- that play this kind of music- stick to love-loss themes and never let their voice/music fly.  That is not the case with Britton.  A musician that leaves instant impressions on the listener:  the music he plays contains so many layers and possibilities; dark hues inside light and hope.  Maybe his themes of love and scorn are not the most original and progressive- that does not really matter.  It is hard to be truly original (when it comes to themes) but that is not to say it is impossible.  Even when talking about love and fall-out; there is still huge potential for gold and depth.  Villain does not leave too much to the imagination- the title pretty much tells you all you need to know- but the vocals, melody and music catch you by surprise.  You would never be able to predict Kyle Britton at all.  On paper, he seems like your everyday musician.  All these assumptions and predictions are overthrown when you hear the music take hold.  I have found a hungry young artist who could well be a big proposition in the future.  I make declarations and predictions when faced with a new artist.  I shall do this less- as some bands have split up following my reviews; not my fault I’d like to add- but that is the fault of the industry/public and not the music.  I have every hope Britton will grow bigger, stronger and more dominant.

His social media numbers keep going up:  the basis he has cemented is loyal and dedicated.  Not just confined to U.S. audiences:  the L.A. musician has support from all across the globe.  It is rare to find a musician so loved and assured right from the off.  Kyle Britton is making his first steps but already sounds assured, fully-formed and arrived.  When artists do this- swinging in and have that confidence- you always get excited.  I know his debut E.P. arrives in June:  make sure you grab it and let its tracks take your heart.  Maybe Kyle Britton will not ascend to the bonkers-as-hell magic of Father John Misty:  our hero has his own ideas and sound; no-less impressive, imperious and beautiful.  What you get with Kyle Britton is to-the-bone lyrics that we can all understand and abide by.  Music is becoming too indirect and machine-made.  I feel the soul and heritage is slowing fading from today’s sounds.  It is easy to record music and put it online:  when there; you can ‘like’ and share music to your heart’s content.  I love how music can be shared with the masses; the variety available and the fact we can get it for free.  What I worry about is the human element.  Behind machines and SoundCloud links; it is tough to get an impression of an artist:  just how they tick and what goes into the music.  In the past- and before the Internet- records got to your ears off the backing of record labels.  Few musicians made it into the studio without a record contract and faith behind them.  Publicity and promotion involved radio and T.V. interviews:  making sure the artist could be heard and seen.  Now, that is not the case at all.  There are a lot more musicians but fewer that linger in the mind.  That might be me being subjective and biased:  music was a lot better in the past.  Whilst my heart will always belong to a past time:  I have every hope the new generation can provide some wonderful music and inspire millions.  This year is seeing a bumper crop grow and flourish.  Kyle Britton is another one of those musicians that make me smile and wonder.  I cannot wait to see his E.P. drop and what the future holds for him.  Although his music comes to us via digital means and studio production:  he is one of the most human and emotional artists you can discover.  The music is not layered with polish and fake tinsel:  you get hard-hitting reality and beauty; contrasts, complexities and soul.  My expectations are high- when it comes to modern music and matching the past- but there are so many wonderful artists working away; trying to get their music into the mainstream.  Given that determination and effort- and with the likes of Kyle Britton making huge footprints- it would be fair to say…

THE future looks rather safe.

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______________________________________

Follow Kyle Britton

 

Facebook:

https://www.facebook.com/kylebrittonmusic

Twitter:

https://twitter.com/kyle_britton

__________________________________

Music

https://soundcloud.com/kylebrittonmusic

TRACK REVIEW: Duke of Wolves- It's Real

TRACK REVIEW:

 

Duke of Wolves

 

 

It’s Real

 

9.6/10

It’s Real is available at:

https://soundcloud.com/dukeofwolves/duke-of-wolves-its-real

RELEASED: 5^th April 2016

GENRES: Rock; Alternative

ORIGIN:

London, U.K.

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THIS will be the second time I have reviewed Duke of Wolves…

in fairly quick succession.  The reason I want to return to them- aside from having a new single out- is to take a look at the great Rock bands emerging right now.  I have been getting excited that Royal Blood are back on the scene- well, sort of.  When their self-titled debut album arrived two years ago, there was a lot of excitement:  a British Rock band that evoked memories of the legends of the genre.  Whilst (the album) had its fine moments and anthems; I worried there was little originality and mobility.  The songs put you in mind of other artists too heavily:  the likes of The White Stripes and Queens of the Stone Age came through too strongly.  I know the boys are working on a new album:  let’s hope there is an evolution and change.  The guys claim it will take time for new material to surface:  they want to great something rawer and heavier; put more time into the songs to ensure there is a natural progression.  I am getting hung-up on the issues of originality- ironic, seeing as Led Zeppelin are in the midst of a plagiarism lawsuit over Stairway to Heaven’s similarity to Taurus by the band Spirit- because it is missing the point entirely.  A lot of new Rock bands have an essence of bygone artists:  that is not to say they should be criticised or ignored.  Royal Blood’s back-to-basics, bare-boned sound manages to get the crowds jumping and speakers blowing.  So long as (a particular band) injects enough personality and unique D.N.A. into their music; you should enjoy it and embrace something exciting and primal.  I feel the U.S. is stealing a lot of focus:  their best and brightest are in danger of eclipsing the finest we have in the U.K.  Every time I go hunting for a Rock band, that same question pops into my head:  Is Rock music on the decline?  There is a school of thought that suggests bands that play Rock/Alternative lack the same magic and innovation as their forefathers.

While the band dollar is the most precious in music:  making your way to a critic’s attention is quite a grueling and challenging thing.  The reason people ask the question- whether Rock is dead- is because of the lack of opportunities in the local community.  Most towns have some form of open mic night:  the small numbers who attend these events do not help promote the music much.  What do you do outside of that?  Perhaps I am going on a tangent:  it seems like there are few chances for Rock bands to get under the radar and have their music promoted.  Duke of Wolves came together with that shared ideal:  making music that gets the audiences engaged; songs that stand up to repeated battering.  Knowing their frontman (Jim Lawton) for a while:  I understand the struggles and realities inherent in the band market.  His former incarnation- the look-set-for-the-big-time Crystal Seagulls- split and created shockwaves across the music world.  An amazing act that seemed primed for international success:  things came to an end and the members went their separate ways.  Back with Duke of Wolves:  this London-based band is filled with promise and sights to the future.  While there are few opportunities away from the big cities- for new young bands right now- London does not suffer such a fate.  The city is teaming with venues of all sorts:  whatever your genre and sound; you are going to be catered for.  The problem arises when you consider the competition in London.  There are so many bands and musicians flocking here- excited from the drab and limited appeal of their hometowns- to seek success and longevity.  Ben (drums and backing vocals), Jim (lead vocal and rhythm guitar); Orlando (lead guitar and backing vocals) and Sara (bass guitar and backing vocals) understand the hurdles that face them.  They have a pretty loyal and solid London fanbase- one that stretches wider afield, in fact- and have gigs lined up- in no danger of being overlooked and forgotten.   It is all well and good putting songs online:  you can’t really get a good handle (on a band) unless you see them live.  Our quartet is doing their best to play to as many as they can:  they are gaining a great live reputation and emerging as one of our most impressive bands.  Although Duke of Wolves have some notable influences- Queens of the Stone Age; Muse; Led Zeppelin- the guys have their own sound and way of working.  Employing hints of other acts:  the band is one of the toughest- and most promising- we have right now.  I cannot wait to see how the group progresses and what they have next.  With Royal Blood in the midst of a sophomore album:  there is great excitement for British Rock and what it can achieve.  I have reviewed a great many Rock bands over the years:  few that are quite as instant and confident as Duke of Wolves.  The four-piece will be keeping active over the coming months:  taking their new single to the masses; gaining as much new support as they can.  I have been obsessed with solo artists lately.  It is great to be back in band territory and witnessing one of our hungriest artists go in full guns.

It’s Real and Hollow Eyes share similarities.  Both are around the three-and-a-half minute mark:  each track showcases an incredible chemistry in the band- songs that leave you breathless and amazed.  It is rare to hear such confidence and conviction from a band that have just started out.  Normally, a group will gig for a long time before recording a debut single.  Said song will give you a taster of what to expect- there might be a gap before the next song.  Duke of Wolves have gone in with a bang and are wasting little time.  They know how the scene works:  there are so many groups emerging; you need to remain in the consciousness and get the music out there.  That is not to say their singles lack discipline and substance.  Hollow Eyes proved they could create a song that was both live-sounding and well-honed.  Each player stands in the memory and nobody is overlooked.  Too many bands keep the bass low in the mix or have a rather unspectacular drummer in their ranks.  Duke of Wolves have such a muscular and equal-rank line-up.  The percussion is constantly avalanching and stunning; the bass keeps everything in-check and driving- the guitars create thunderstorms and hurricane.  The band cites Led Zeppelin and Cream as idols; Muse and Queens of the Stone Age.  If you count any of these acts as favourites:  you should definitely check out the music from Duke of Wolves.  The London quartet does not rattle off a third-rate tribute to their influences- like many artists do out there- instead, add suggestions of the aforementioned with elements from their past.  Each member has been playing music for a long time- often in other bands- and brings their shared experience and talent into a stunning blend of Classic Rock and of-the-minute magic.  I am not sure what plans are in mind for the remainder of this year.  The guys will be looking at more new music and producing something E.P.-like (let’s hope).  Right now, they are cementing themselves in the community and playing as many gigs as possible.  This live experience helps when it comes to their music.  The confidence they accrue on their road feeds directly into the songs.  With every step, they become more assured, daring and gilded- they will only get stronger from here.  If you loved Hollow Eyes and were wondering whether they could equal it- It’s Real certainly does not disappoint.

Beginning with a jumping and sparring riff:  It’s Real gets down to business with very little mystery.  Direct, to-the-point and barking:  the song gets right in your face and stakes its claim.  Meaty, siren-call strings are backed by a taut and steroid percussion.  Those missing the anthemia bliss of Royal Blood will find much to enjoy from Duke of Wolves.  The band goes in hard and strong:  right from the first moments, you are hooked into It’s Real.  Our front-man approaches the microphone with caution and concerns.  Things are disturbing his dreams; bad thoughts and harsh experiences are unravelling- the problem is, they are not dreams.  Real-life horrors are unfolding and leaving their scars.  Lawton shows how much he has grown as a singer.  When It’s Real started out; you get flavor notes of Muse’s Absolution-era work.  Shades of Matt Bellamy can be heard in the voice:  that same range and flourish:  able to go from a tense and concentrated projection into a falsetto-laden hang.  With his thoughts being taken away- the need to reclaim them and find some stability- there is edginess and darkness creeping in.  With his voice rising and wailing in anxiety:  our lead is afraid to turn the lights out; seemingly running from something haunting and unstoppable.  In these early phases, you wonder what inspires the words.  Maybe a relationship is exploding and both parties are at loggerheads.  Maybe personal stresses and expectations are becoming too heavy- society, perhaps, is too dangerous and unpredictable.  Whatever has influenced It’s Real will leave impressions on every listener.

The sizzling, fiery atmosphere does not abate:  you are always at the mercy of the band’s brutal assault.  Throughout It’s Real you get a nice mix of decades and genres.  Blending Hard-Rock of the ‘70s- bits of Led Zeppelin- with Desert-Rock from the ‘00s- throw in a little Muse- and you have a song that will appeal to those who know their Rock heritage.  Whilst Duke of Wolves have some clear influences; they do not sound too limited and too obvious.  The London quartet beautifully balances the past and present into a song that gets hotter and harder as time progresses.  This enflamed passion is perfectly emphasised by Lawton whose vocals are at their peak, here.  Semi-operatic and filled with emotion:  there are few singers that have such a range and control.  The band are not exactly slouches, either.  Props must be given to the groups as a whole.  They have such a tightness and understanding.  As fascinated as I was by the lyrics- trying to understand where they emanated from and what compelled them- your mind gets distracted.  Before you submit yourself to curiosity; the guitars step out front and sting with viper-like toxicity.  A wailing, stinging riff emerges:  acting as a punctuation mark; the song is given new light and progression.  Many acts are rather lazy and limited when it comes to composition.  They tend to put very little imagination into their music.  Duke of Wolves ensures there is invention, colour and surprise at every turn.  It’s Real will strike a chord with Rick purists:  those who favour their music loud, catchy and riff-laden.  Our London band expertly bond primal, chest-beating simplicity with something more intricate, intelligent and nuanced.  The effect is quite sensational.  You will need a few spins of It’s Real for it to really sink in.  The first play will see you struck and hit by the waves of sound and energy.  Towards the end- or what you consider the end- the song dies down and you presume everything is wrapped up and completed.  It would not be a Duke of Wolves track without some mystery and trickery.  The final thirty seconds starts with some neat little riffing.  Scratchy, blood-lusting and intense:  things are not done here, for sure!  Joining the rumble is the percussion which clatters in with immense authority and power.  With the bass keeping everything straight, in-check and disciplined:  the guitars and percussion kick up a gear and hit the ceiling.  A little bit Them Crooked Vulture- shades of No One Loves Me & Neither Do I- and Queens of the Stone Age fuse with a distinct air of Duke of Wolves.  Showing what a focused and confident proposition they are:  even towards the final moments you are eager for much more.  They keep your attention and ensure It’s Real never becomes anything less than essential.  My mind kept looking for answers and clarity- behind those intriguing lyrics- but my heart and body was captive to the sweaty and animal-like composition.  A song that is sure to get the live crowds fired-up and unified:  It’s Real shows Duke of Wolves get stronger with every release.

Ben, Jim, Orlando, and Sara have unveiled a track that shows them at the height of their powers.  You can tell how much live performances have done for them.  Hollow Eyes proved how assured they were out of the blocks.  If anything; their latest cut exceeds expectations and shows another step forward.  Let’s hope the guys keep building and planning for the future.  Aided by James Billinge- who produced the track- they have a solid foundation that is resonating with fans around London.  I can see the guys touring more extensively around the U.K.  Perhaps international dates will come calling in the future months.  The guys have that universal sound that cannot be ignored or disliked.  In spite of their influences-on-sleeve sound; the quartet have plenty of originality and unique flair.  At every moment- throughout It’s Real- you find yourself immersed in the music and swept up inside it.  Few bands can offer those kinds of qualities.  For that reason:  we all need to support and promote Duke of Wolves.

It’s Real provides a seamless 1-2 for the London band.  When Hollow Eyes was unveiled a couple of months back, I was wary they would not be able to equal it:  Duke of Wolves have shown a consistency that excited me greatly.  I wonder how far they can go and what plans they have for the remainder of the year.  The spirit in the camp is high and there is an incredible bond between the players.  Duke of Wolves have that energy and passion that is hard to fake:  you just know they will be rocking hard for years to come.  I looked at the fate of British Rock at the top of this review.  With bands like Royal Blood starting to put the U.K. back on the Rock map:  how many other (similar-minded) artists are there around?  There are plenty of eager groups around but many are facing challenges in their local community.  Unless you are near to/live in a big city, what sort of opportunities is there around?  Few towns are set-up to accommodate the ambitions of bands emerging:  proper venues that can give a platform for our best musicians.  There is another challenge when you consider London and the Internet.  Social media- and music-sharing platforms- are the most-utilised forms of promotion in the modern age.  Nearly every musician out there uses music-streaming services.  With so much music going up there- on a daily basis it seems- how do you get on top of it?  The best way to check out a band- and see what they are all about- is to witness them in the live setting.  Many groups are bemoaning the lack of chances that are available right now.  Social media can only get you so much acclaim and exposure:  you need to get the faces into gigs; get the crowds hearing you up-close and personal.  London is a natural refuge for bands that seek necessary opportunity and support.  Given the mass that is arriving in the city, you have to ask the question:  Are we going to see over-saturation in London?  Maybe there is some truth; although the finest bands will make their voices heard.

Duke of Wolves are one of those acts that will keep getting bigger and find new success.  Their first two singles have gained a lot of support and sharing:  fans and listeners are getting behind them and showing love.  Mixing the grit and epic-ness of Led Zeppelin and Muse; sprinkling in a little Wolfmother swagger into the pot- you have a band that is exploding with venom.  It’s Real is a brash and authoritative statement from a brilliant young band.  Can we see a Duke of Wolves E.P. before the end of the year?  Let’s hope so as there are many eager ears that are ready and willing.  I just know- when an E.P. does arrive- there will be depth and variation.  What irked me about Royal Blood’s debut album was the lack of sonic diversity.  Every song was hard, direct and primal:  there were no softer and more reflective numbers.  It would have been nice to hear the odd tender moment:  give the record more balance and show some depth.  I hope Duke of Wolves- if they do bring out a new record- will include something calmer and more considered.  On April 22, the guys will play a gig at Camden Barfly (at 1am, to boot).  It will give the capital the chance to hear It’s Real in the flesh:  bring new followers the way of Duke of Wolves.  Those who have stated Rock is on the slide- and its best days are done- would do well to show more faith in the bands we have in this country.  Sure, music is a lot different to the glory days of the ‘60s, ‘70s and ‘90s:  we will never see those beautiful days ever again.  That is not saying we should be dismissive and short-sighted.  The U.K. has always been at the forefront when it comes to inventive and stunning bands.  2016 is no different and there are no signs of slowing down in the near-future.  If you want to discover a Rock group that evokes memories of the past- some of the classic bands- yet keep things fresh and forward-thinking, then look no further.  It’s Real is a tough and hypnotic deceleration from a quartet that is ensuring Rock music…

BURNS very bright indeed.

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Music

https://soundcloud.com/dukeofwolves

TRACK REVIEW: Richard Maule- For You

TRACK REVIEW:

 

Richard Maule

 

 

For You

 

9.2/10

For You is available at:

https://soundcloud.com/richardmaule/for-you

RELEASED: March 2016

GENRES: Folk; Electro; Blues

ORIGIN:

London, U.K.

The E.P., Siren’s Call, will be available soon.

 LAUNCH DATE:

4^th May

LOCATION:

The Half Moon

http://halfmoon.co.uk/

DETAILS:

http://london.carpediem.cd/events/40606-richard-maules-ep-launch-sirens-call-at-the-half-moon-putney/

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THIS is one of the last reviews I will be publishing…

before jumping back into the world of (full-time) work.  Over the past few weeks, I have witnessed some great acts and artists:  all doing their own thing and sticking in the mind.  I am really pleased and hopeful as this year unfolds:  the music coming out leads me to believe we will have a bumper year for quality musicians.  I have been promoting the best female solo artists around:  I have neglected the boys, to an extent.  There is a good reason for this:  I have always been a bigger fan of the girls (and their music).  The way they do things- the range and confidence- has always made a bigger impression on me.  That said:  there are some great male solo artists emerging:  those that can challenge and succeed the best (of the girls) around.  Before I come to my featured artist; I want to talk more about male solo artists; the concept of the ‘one-man band’- finishing off with a bit about how to survive in the modern climate.  If you look at any list of the ones-to-watch, you will always find the same thing:  there are an awful lot of bands on there!  In fact, it seems the media has forgotten about the solo artist, altogether.  I get fed up of the heavy focus on bands:  they are always put in the spotlight and given an unfair advantage.  Publications like N.M.E. are pretty obsessed with the new groups coming through-  their ‘tips’ for 2016 saw very few solo acts included.  Time Out are a little less single-minded but have, instead, shifted their focus to female solo artists.   They have highlighted some worthy new name:  Alessia Cara, Kalis Uchis; Anne-Marie, Tinashe.  Away from the mainstream-ready Pop stars:  there are some great male solo stars pushing through.  Moses Sumney and Majid Jordan are worth closer investigation.  There seems to be some skittishness among the press currently.  Perhaps addressing accusations of sexism- fewer women promoted compared with men- these so-called ‘best of’ lists are female-heavy.  I definitely approve of the balance of opinion and addressment.  I feel this open-mindedness has come at the expense of the male solo artist.  Jack Garratt has gained a lot of praise, but apart from him, there are relatively few boys high on the list of critics.  Maybe there is a lack of flair and originality (from the lads) but I think this is very narrow-minded and cliché.  If you listen closely:  there are waves of wonderful male artists putting colour and quality into new music.  Richard Maule is one of those musicians happily working his way through the ranks.  Supported by a dedicated, loyal fan-base:  he is surely one of the artists to watch this year.  I have heard tonnes of great female solo acts (this year) and it’s time for the boys- let’s start giving them a bit more support.  Siren’s Call is an E.P. that proves what a proposition Maule is.  The four-track release is available to the public and contains emotion, reflection and beauty.  One of the reasons why the girls are starting to dominate is the subject of energy and passion.  The music they play- the majority of the hotly-tipped acts- have punch, power and pizazz to their songs.  Inventive and uplifting:  positivity and uplift are very much in favour.  Artists like Maule prefer more on tenderness and emotional depth.  Perhaps there have been too many heart-on-sleeve solo artists- the need to switch the trend and embrace something more positive- but that would be remiss.  There are some very boring and depressing male musicians who are incapable of grabbing attention and providing anything new and interesting.  Richard Maule is one of those artists that is gentle and emotive but not at the expense of originality and appeal.

With every track- throughout Siren’s Call- you are drawn into the stunning music.  That rich, chocolate-rich voice sucks you in- the songs make you think about your own life; turn the mirror and probe deep inside.  At the end of the song(s) you are compelled to come back and listen again- not something you can say about a lot of (male) solo acts.  Based out of London, the young musician is a force to be reckoned with.  A lot of solo artists are backed by producers and musicians.  These examples have the voice but need others to help:  flesh out songs and play instruments for example.  Maule is a man who is capable of covering all the bases.  Not just restrained to acoustic guitar and voice- a combination that can cause people to sigh- there is a whole arsenal at his disposal.  Electronic beats and soaring strings; layered vocals and charging guitar:  all played at the same time (on stage) by our hero.  Perhaps Jack Garratt is a notable comparison- when we think about the one-man band approach.  While some have derided Garratt because of his lack of excitement- he is seen as rather placid and lifeless- you cannot say the same of Maule.  I admire a musician that has that ability and desire:  they do not need a band; they want to take control of their sound.  Maule is not only one of the most multi-talented artists around but one of the most fascinating.  Many male artists are tepid and insipid:  Maule should be rubbing shoulders with the most-celebrated of 2016.  Right now, he is making steps and working very hard.  Appearances across local radio- he just featured on Soho Radio- and venues mean he’s getting his music out there.  Siren’s Call is gathering attention and exposure:  we are surely going to see more of the stunning Londoner.  Too many musicians are ignorant to the demands of the music industry.  They do not realise how much work is needed to succeed.  Perhaps they expend too much energy and thought into the music itself- have very little left when the songs are out in the ether.  There is so much competitiveness and variation available:  no musician can take it easy and expect popularity to come find them.  Richard Maule is a modern-day artist that works tirelessly to get his music to the people.  Not only has a great deal of love and the self gone into Siren’s Call:  Maule is ensuring he engages with fans and the media, constantly.

Esoteric Groove was Richard Maule’s last E.P. and gained a lot of respect and airplay.  Aside from patronage from Radio 2- and Dermot O’Leary- it saw legions of supporters come his way.  I Can’t Feel It  combines rugged, rushing strings with echoed vocals.  From there, you get a raw and heartfelt song that explodes through.  Perhaps influenced by a rather rose-thorn lover- not being able to resist the temptation- that heart-pumping, fist-clenched anger builds up.  It is a song that comes from a very personal place.  The vocal remains controlled but is able to flow and contort- ensuring every lyric is brought fully to life.  The title track has a softer, more tranquil opening.  Punchy beats sit with light, breezy strings.  What remains consistent is the smooth, soulful vocal from Maule.  Given the meaning of Esoteric (adjective: intended for or likely to be understood by only a small number of people with a specialised knowledge or interest) you might think the song relates to Maule’s own sound.  Perhaps Esoteric Groove is about a particular bond- a love story that is personal to him- and something more sexualised.  Whatever the inspiration behind the song; it brims with nuance, urgency and fascination.  Waiting on Me and How You See Me are heartfelt and stunning examples of Maule’s incredible songwriter.  Not only do the songs display heartfelt sentiment and tenderness:  they have varied compositions that will speak to every listener.  What I find with Maule’s new work- For You and the remainder of Siren’s Call- is a step forward and slightly different approach.  The vocal and lyrics have that mix of positivity and self-investigation.  Perhaps (the new E.P.) has a more positive and uplifted approach:  this is reflected in the compositions throughout.  More bold and edgy than Esoteric Groove:  the electronics are more insistent and raw; the beats tighter and more memorable.  Even though (both creations) were created on an iPad:  I find the brand-new music more atmospheric, emotive and well-produced.  Maule has gained confidence and strength in the last few months.  For You is perhaps the most memorable song yet from Richard Maule.  Shades of James Blake- and his sensational debut-era songs- can be detected; more Electronica and Blues; less reliance on Folk.  Fans of Maule’s music will see a consistency and familiar.  All his key components are here and in-check.  The new material will bring in new listeners- those who love their music deep and interesting- and sees a young musician that is improving and evolving.  I can see the London-based wonder going onto big things in the coming years.  There are so few artists like him- that have the consistency and quality- so he should brace himself for worldwide acclaim.

For You is Maule’s latest single- Siren’s Call’s title track has been shared on social media- and a glimpse into his 2016 oeuvre.  A delicate, moody finger-picked guitar introduces the song to your ears.  Within the introduction notes, you get images of moonlit confessions and lovers-in-arms strolls:  21^st-century anxieties and old-days romance.  When the hero approaches the microphone, his vocals are tenderly deployed.  Words are stretched and expanded to create maximum emotion and effectiveness.  It is hard comparing Richard Maule with anyone else- when you listen to that beautiful vocal.  Influenced by everyone from Mumford and Sons and Damien Rice:  neither artist comes to mind when you hear For You.  The dark, whiskey-soaked voice has more in common with James Blake- someone who has been lauded because of his impactful vocals.  Our man is willing to sacrifice himself and go to war:  do whatever it takes (for) the girl.  Previous Richard Maule tracks have shown a more direct and fast-paced vocal.  Here, we get something much more awed and slowed-down.  In fact- and given my James Blake comparisons- you get little shades of Chris Cornell and Eddie Vedder.  These titans might not be your first port-of-call- considering the style of music Maule plays- but there is gravitas and depth.  Not your average man-with-an-idea musician:  Maule digs into the soul and makes the listener think deeply.  He could have fought battles and overcome obstacles:  he is writing this song as a testament to love.  Whilst this subject has been covered before- putting feelings into a song as a gift; using music as a way to profess admiration- he gives new spin and light to a much-trod area.

Knowing the origins of the song’s production- recorded on iPad and with that home-made/D.I.Y. approach- you can hear that earthiness and bare sound.  It is as though we are sat in a room with Maule:  right beside him as he lets his soul flow through the song.  Given the live-sounding sparsity of the song- naked and revealing- the track becomes harder and more emotive.  The beats come into play and the vocal starts to spark.  Our hero unleashes a beautiful falsetto:  enraptured and lost in the moment; that passion and devotion reach boiling point.  The song’s title becomes an anthem in itself.  Presenting those twin words with enraptured fever and sweat:  For You reaches its emotional and spiritual climax.  With devotion and pride at his heart; Maule lays out new professional and promises.  Willing to wait for his sweetheart- for “all of time”- you know he means every word.  Many songwriters employ hyperbole and ridiculous sentiments.  Love songs are often filled with cloying lines and stereotypical rhymes.  Richard Maule is a songwriter who breaks away from the worst instincts of his peers.  For You is a very personal track whose lyrics have special meaning and relevance.  Wanting to “Lift you up when you’re feeling sad”:  the author provides a window into his relationship; the connection the duo has- the day-to-day struggles they face.  I am not sure whether For You accounts a current relationship or something bygone.  Whatever the circumstances behind the song, you are powerless to resist its potency and meaning.  All these professions and promises- lifting her up and making the girl smile- are overlooked in favour of music.  “Why didn’t I…?” is a line repeated mournfully and with regret.  Maybe (our hero) is remiss to let his emotions out.  Perhaps there is hesitation or problems between the two.  Whatever the reason why- he is unable to give himself completely- music is his portal and way of getting his feelings out.  Music-writing seems a more romantic and bolder gesture.  Few humans are able to pen something beautiful and heartfelt.  In a way; For You is a more fitting testament than action and words.  What I love about the song is the mystery that lingers.  I was wondering whether Maule was happy about things- writing a song rather than putting his words into action.  For You is a hugely evocative song that mixes explosion with tenderness.  By the closing stages- warped electronics and racing beats add urgency- you start to wonder and drill down to the nub of the song.  It is a track you need to listen to again to understand its truths and depths.

Siren’s Call- and For You, for that matter- is the work of a D.I.Y. artist that is breaking new ground.  Siren’s Call was recorded exclusively on the iPad.  Maule’s previous E.P. was recorded in the same way:  D.I.Y. musicians are turning to technology in order to record their music.  Studio costs and the realities of recording are pricing artists out.  I hear horror stories from musicians who always say the same thing:  making music is becoming unbearable pricey.  Too many promising artists are facing an immense hurdle right from the start.  Because of the soaring studio bills; musicians are recording fewer songs and working themselves into the ground.  Richard Maule is showing the alternative available.  Not only can he record all his music on the iPad:  he can mix and produce it; promote and share it from the same device!  It might seem like a bit of a ‘cheat’ but I would disagree.  Electronic/machine-created sounds are no less genuine and exciting than real instruments.  Once upon a time, musicians made it into the studio because of merit:  they had record label backing and money behind them.  Because of that; they were free to record music with few pressures and financial demands.  Today’s scene is an open market- everyone is free to put music out there- there are so many unsigned musicians who do not have the cachet and backing of labels.  In turn, these artists are forced to either run themselves into the ground- to raise funds to get into the studio- or find alternatives.  Electronically produced music makes me think of T.V. comedy.  Studio-set, live-action sitcoms are reigned-in by budget.  If you want to blow things up or travel around the world, it costs a lot of cash.  The same logic cannot be applied to animation.  Whatever is in your mind- whether you want to demolish a city or do something mind-bending- the cost is the same.  Studio-produced music is the same as live-action comedy:  you are limited to a certain extent.  The iPad is to music what animation is to comedy.  With the iPad- other tablets are available- you have an in-your-hand studio; there is no limit to creativity.  I feel so many musicians are letting themselves down a bit.  With the amount of contemporaries plying their trade:  you cannot do what everyone else is; get lazy and phone it in.  Technology is a portal that is providing opportunity, breadth and possibility.  Richard Maule creates waves of sound and beautiful colours throughout Siren’s Call.  You get so many different emotions and threads revealing themselves.  The listener is treated to something magical and entrancing.  If D.I.Y. music comes up with music this good; we should all be following the example of Maule.  In three weeks; he will play The Half Moon in Putney- hopefully, I can make it there- and premiere his E.P.

Maybe soon- if I get the time in-between work- I will give Siren’s Call a thorough debriefing.  For now- and with much excitement- For You is creating hope in me.  I have been immersing myself in the best female-made music of this year.  Bands have been under the microscope:  I have been neglecting the solo males and what they are capable of.  Too many are still stale and idea-less:  replicating the acoustic guitar-led sound that offers little surprise and originality.  Music will only succeed and grow if there is balance, originality and affordability.  The sole male artists need to up their game somewhat and follow Richard Maule’s lead.  If you can afford an iPad then you have an entire studio of tricks at your disposal.  Unfortunately, studio-based music is becoming too expensive and unrealistic.  If you want to produce E.P.s and albums, what do you do?  The answer is right in front of us:  embrace technology and do it all at a reasonable price.  Dermot O’ Leary has played Maule’s music- Esoteric Groove was played last summer- and Wilderness Festival has played host to Maule’s unique brand of song.  Not only has Richard Maule shown progress and potential- growing bigger and more assured with each release- but inspiring musicians coming through.  I have affection for the girls and bands of 2016:  we can’t overlook the boys and what they are doing.  Maybe I have labored the point too much- I shall pick it back up another day- but Siren’s Call is an E.P. you need to listen to.  I have written a few songs and am always stifled and balked by the money needed (so that they can be recorded).  Technology is giving new musicians the opportunity to live their dreams and record what is in their heads- free from budgeting, scheduling and restrictions.  For You will connect with anyone who has followed Maule’s career so far.  It has that distinct sound that comes from a musician with few rivals.  That deep, emotion-filled voice ensures every word provokes a reaction.  While you dive into the voice and its layers; the composition compels the imagination and heart.  When it comes to Richard Maule's incredible musical charge...

IT'S only just begun.

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_______________________________________

Follow Richard Maule

 

Official:

http://www.richardmaulemusic.co.uk/

Facebook:

https://www.facebook.com/Richard.Maule/?fref=ts

Twitter:

https://twitter.com/richardmaule1

___________________________________

Music

https://soundcloud.com/richardmaule

 

TRACK REVIEW: FloodHounds- A&E

TRACK REVIEW:

 

FloodHounds

 

A&E

9.4/10

A&E is available at:

https://www.youtube.com/watch?v=2pgnI0RSWZ8

RELEASED: 3rd April 2016

GENRES: Indie; Blues-Rock; Alternative

ORIGIN:

Sheffield, U.K.

____________________________________

I always like a rarity in music as it gives the listener something...

new and unexpected.  There are very few trios in modern music- compared with bands and solo artists- and for that reason, my featured act is fascinating.  I shall come to them soon, but for now, I will look at trios- and boy-girl combinations in bands- in addition to Yorkshire-based bands and the changing face of Rock.  I love looking at band dynamics and seeing which combination makes the best sounds.  The four/five-piece band is always going to interest me:  if anything; having more members can be quite unwieldy and excessive.  The same could be said for the solo artist:  perhaps there is not quite enough- when it comes to players- to truly hold attention- it depends on the talent of the individual.  The band commodity is still the most bankable and in-demand in all of music-  the duos and trios are starting to make a charge.  I find the traditional quartet is not quite as dominant as before.  We all look to bands like The Rolling Stones and The Beatles as the ultimate line-ups:  where each member was crucial and unreplaceable; without them, the music would not be as electric.  Led Zeppelin can be added to that list:  the epitome of the golden four-piece:  a group that would have been inferior with fewer members; if any player was replaced.   Over the last few years; I have encountered some truly special duos:  from Folk and Indie two-pieces; across to Electro.-Pop and Soul.  Royal Blood has shown just how effective a well-groomed and slick duo can be- with some cracking facial hair into the bargain!  The likes of Royal Blood are not only compelling waves of followers- the male two-piece keen to do likewise- and proving what scope music has.  Apply that logical in a wider sense and you it seems the trio is the perfect combination.  More depth and possibility (than a duo); not as packed and cramped as a fully-stocked band:  it is something I want to see more of.  If you look at the best trios from music- Nirvana, Cream; Muse, Green Day; Beastie Boys too.  As they have shown:  if you have some incredible musicians in the line-up; you can have the same effect as a full band.  Whilst the aforementioned play the harder, grittier side of music:  there are ample supplies of softer, deeper trios.  FloodHounds are not just an incredible three-piece- that can Rock as hard as any- but have a great chemistry in the ranks.  The boy-girl, three-piece formation is quite a rare one in the current scene.

A power trio with a sturdy reputation:  they are a British combination of The White Stripes; throw in a little bit of Band of Skulls and you are half-way there.  Before I continue, let me introduce FloodHounds to you:

“FloodHounds are a fast-paced 3-piece British indie-rock band from Sheffield. Their "gloriously guitar-heavy rock," takes you from British Indie/Rock to raw American Blues and hits you like a British Black Keys, crossed with The Rolling Stones, fed on a diet rich in Band of Skulls, The White Stripes, Blur and Kasabian.

Floodhounds were picked, out of 1,200 unsigned bands who applied, to play at Sheffield's iconic Leadmill for Tramlines 2015 with rave reviews,see www.exposedmagazine.co.uk/music/tramli…floodhounds

A video of the band recording of "Bare Bones" at Sheffield's iconic 2FlyStudios is atyoutu.be/24xT906F1kU.

Storming local gigs at the Rocking Chair and Plug Sheffield supporting October Drift, saw FloodHounds playing further afield this year, at Live in Barnsley's 126-band Festival in June, and 3 successful London gigs in Camden and Shoreditch in April and supporting DJ sets by the likes of Gus from alt-J at 229 The Venue's Mayday Festival.

The band's new 3-piece incarnation emerged in late 2014, when founder members Jack Flynn - the vocalist, guitarist and songwriter of the band - and bass player Rhys Owens, were joined by drummer Lauren Greaves”.

There are not many bands that pack quite the same punch and drama- with only three people in their line-up.  I think Rock/Blues needs to evolve and take a leap.  There is that over-dependence (for bands coming through) to rigidly stick to four or five-piece line-ups; the music is similarly uninspired and predictable- the overall effect is quite disappointing and leaden.  Many critics have asked that controversial question:  Is Rock dead?  If you compare (Rock music) of today with the golden years:  you can probably agree with that sentiment.  There is not the same quality, consistency and shock:  it is hard to really reinvent the wheel and compete with the all-time greats.  Whilst Rock is not as monumental and inspiring as once was:  there are some great bands keeping the spirit alive and burning.

The artists that break away from the mould- the same, arena-primed sing-along ‘epics’- are always going to impress me most.  FloodHounds mix the traditional with forward-thinking.  At their heart, they have that love of classic Rock and Blues- they wear influences on their sleeves- but have huge originality and personality.  The trio unites U.S. Blues-Rock with something very much them.  The stories they tell- and the way they play- could only come from an act that does not want to be compared with anyone else.  FloodHounds are one of those bands putting the spark and promise into Rock music.  Not only do the guys keep it expansive- Blues and U.S. strands alongside British ‘70s Rock- but they are focused, tight and singular.  The music they play lodges itself in the brain and is perfect for the hungry crowds- plenty of memorability and tasty riffs.  I know the guys are planning an E.P. at the moment- the track-listing and inclusions are being debated and decided- which will be exciting to see.  When that arrives; it will afford people the chance to discover a hungry young band in full flight.  A&E is a teasing taste of what we can expect:  a stunning track that is slinky, sexy and pummeling; filled with explosive highs and catchiness.  The Sheffield-based trio is yet another Yorkshire act that keeps the county fully in focus.  I have been looking at London and L.A. musician the last couple of weeks:  seeing what those twin pillars can offer modern music.  It is nice to be something more ‘real’ and relatable: a city that has been in my sights for a while now.  Whether assessing Leeds-based bands- there have been many over the years- or Bradford duos (Issimo):  I always love coming to Yorkshire and seeing what is on offer.  With every town and city, there is newness and surprise:  artists that vary greatly but have that exceptional quality.  I know FloodHounds are going to keep growing and getting stronger by the year.  They have gone through line-up change and challenges:  with each obstacle, they have overcome it and built in confidence.  The current material is their best to date.  Committed to touring for the next couple of months:  plenty of chances to see this wonderful young band in the flesh.

When I was listening to A&E; I had to look back at FloodHounds' past work to see how far they have come.  A lot of bands tend not to improve and change over time:  doggedly sticking to their sound and not straying far from the familiar.  FloodHounds came out of the blocks fresh and eager several years ago.  Their debut, three-track, E.P. showed plenty of promise and quality.  Songs such as Moving Pictures and The Fall packed plenty of punch and charm.  Moving Pictures was a cool and swagger song that reminded me of early-career Oasis.  You got little recollections of Liam Gallagher in our lead’s vocal:  the song had that Definitely Maybe-esque sound to it.  The Fall was more of a direct and attacking number.  A song that drew ‘70s British Rock with U.S. Blues-Rock:  a locomotive steamer that certainly got inside the head.

Bare Bones came out last year and showed development and changes.  That central FloodHounds dynamic was in place but the trio introduced new elements.  The production values were more raw and bare (than the predecessor) which gave the E.P. a grittier sound.  FloodHounds moved away from the Oasis-esque, ‘90s Rock and towards something more individual and unique.  The songwriting was stronger and the performances tighter.  Twisting and Turning- the closer from the E.P.- best represented that growth and change.  There are bits of past bands in the song; what you get is more depth and colour in the music; greater industriousness and nuance.  With each passing year; FloodHounds grow in stature and become more confident.  Their current line-up has been in place since late-2014 and the bond they have now is unbreakable and stunning.  A&E draws together their older sounds and themes- a song that is definitely from FloodHounds- but they have taken another step.  The trio does not want to come across stagnant:  they are mobile and looking for fresh inspiration.  I am not sure what influenced the song but the guys are in top form.  Whenever their new E.P. is out- it should not be too long- it will be met with huge acclaim and attention.  The three-piece has a solid fan-base and that does not surprise me- one of the most impressive and original bands we have right now.

A&E’s video has been on YouTube for six days but already accrued 356 views- at the time of this review going out.  Flourishing, trickling strings bond with galloping beats:  the guys get out of the traps with plenty of intent and focus.  A&E never comes across too strong in the opening phases.  The percussion is compellingly tight and powerful yet the guitar-and-bass combination remains restrained and disciplined.  That combination- between instant and slow-burning- opens the track with fascination and potential.  Soon enough; the trio whips up a catchy, head-bobbing coda that has that blend of familiarity and unexpectedness.  You get essences of classic Blues-Rock riffs but through the funnel of FloodHounds.  The trio put their own stamp on the genre and infuse their influences with personality:  a stunning blend of evocative and brand-new.   You get caught in the rollicking, driving force the trio summons.  Not only does your feet move and head nod:  you start to hum along with the composition and get lost in its charm and grip.  When our hero comes to the microphone; those early words are spoken:  “All the people look so tall…”.  Delivered with consideration and pace:  you wonder what the lyrics relate to.  Maybe a commentary on anxiety and not fitting in; feeling smothered by the modern world and it changes- you start to speculate and delve inside those words.  Before you can become comfortable in your assessments:  more pieces of the puzzle of slotted.  When you are down- it is sung and declared- other people look taller.  A&E is a song that instantly struck a chord with me.  When life gets you down- and you struggle with darker times- it is hard to relate to other people and their lives.  Maybe our man is struggling against the tide and looking for salvation.  Given the song’s title- and the images it provokes- perhaps an event has unfolded; something violent and dangerous.  The song goes on to introduce a central figure- someone who is on their way (they say).  With an impressive amount of calm in the voice- not too rushed and emotional- that mystery and intrigue builds.  Every new revelation pushes the interpretation to the former assumption.  If it is a former love or a friend:  there is this person that is battling some hard times.

Whatever is thrown their way:  they can “take it on the chin” and overcome anything.  Our hero will be there for them- and able to meet them halfway- and is offering a semblance of support and comfort.  Looking at the hero/heroine- knowing they will always be there- you wonder what has compelled the story and song.  Our man does not want to take them for granted:  you feel like there is mutual respect and sense of support.  Maybe I am misinterpreting but we are looking at something other than love:  more geared towards a friendship and important bond.  FloodHounds have managed to keep their central sound form but bring in new elements.  Previous numbers have leaned heavily on ‘90s Rock bands.  On A&E, you get touches from ‘60s and ‘70s groups:  a little bit of Hard-Rock with some Power-Pop.  Toss in some modern-day examples- the likes of Royal Blood- and there is that blend of raw 2016 and vintage melody- a little classic riffage into the mix.  The band sounds at their most compelling and unique, here.  Less reliant on idols and tribute:  their current offering is their most original to date.  Innocence and emotion emerge when our hero and heroine (it is a girl being ascribed) sit by the sea.  You picture them say side-by-side as she asks:  “Is there a better place to be?”.  Maybe both have faced tribulations and challenging times:  they have gotten away from the hurly-burly and somewhere more tranquil and peaceful.  With so much fraught existence plaguing them:  you feel like this nirvana is a red herring.  When the waves crash- rising high above them- the heroine will let them wash over her.  Whether this is a cleansing ritual- she can take the wave; is indestructible- or something submissive- you are caught between romance and heartache.

Each emerging line sparks contradictions and fascination.  The story progresses beautifully and there is a definite sense of movement and change.  If the “cold is closing in”:  our heroine can take it all in her stride.  It feels a relief to know that:  here is someone not looking at the end; she is a strong character that is going through something rough.  Our hero is there to lend support and always by her side.  That bond and link at the song's heart appeal in many ways.  The vocal has a cool calm to it.  Jack Flynn is a singer that has a lot of respect for the gods past but never replicates them.  Coming into his own as a singer:  it is here we get his most impressive performance ever.  Changing pace and direction:  the words are given full consideration; he is a master when it comes to giving emotion and power to the lyrics.  Letting his guitar cut and swing with abandon:  when teamed with his band-mates you are helpless to resist the power of the composition.  There is such an anthemic sound to A&E.  The percussion is constantly forceful and impressive; the bass guides the song and is imbued with rhythm, power and melody.  When all three come together, you get a tight and impactful sound:  the band has such an intuition and affection; that explodes into life, here.  Towards the final stages; Flynn gets the chance to do some solo-ing.  Not just a chance to show his chops:  it acts as the next step in the story.  Adding new dimension and flesh to the song- without a word being sung- you get pictures of waves crashing and storms lashing.  An exhilarating and racing solo:  it lifts A&E to new heights and keeps the fascination-o-meter right up to 11.  Riding that cool-as-Hell riff- with some solid bass and percussion support- you start to nod the head again and get caught in the momentum.  Right from the off; the trio ensures your attention is grabbed and you are hooked.  Never letting the energy and pace drop:  you are invested and alert right until the final note.  A&E is a song that could easily have arrived during the classic days of ‘Britpop’.  It has that quality and tone to it:  a track that looks to positivity and redemption.  Unlike a lot of modern acts:  FloodHounds have crafted something rather singular and beyond compare.

Rhys Owen and Lauren Greaves ensure A&E gets plenty of pummel and power.  Jack Flynn gives a typically understated- but immensely focused- vocal that gives the song such a nuance and weight.  Lesser singers would throw too much into the song:  emote too much or fill their voice with needless scream and histrionics.  Not only do you get control and layers to the vocal:  Flynn keeps his accent firm and unchanged.  The likes of Alex Turner- another Sheffield lad- made Arctic Monkeys songs synonymous with genuine vocals and homegrown pronunciation.  Maybe Turner’s current work is more Americanised and changed:  I always love hearing singers that do not kowtow to U.S. audiences.  With that Yorkshire accent riding over the mix:  it gives A&E gravitas, genuine spirit and rare distinction.  As a guitar player:  Flynn is able to shred with the best of them.  When stepping into the light- his solo towards the end- you get embers of Hendrix and Eddie Hazel (Funkadelic).  Rhys Owen is one of the most naturally assured bass players in new music.  He manages to tie all the instrumentation and sounds together:  acting as the song’s bouncer:  keeping the song disciplined and not letting any stray elements get into the fold.

That said; he shows plenty of passion and rhythm, too.  His bass lines go from fluid and sexy to firm and edgy; without losing a step along the way.  Owen bonds beautifully with his bandmates and drives their performances forward.  Lauren Greaves is one of the most inventive and powerful drummers- a natural rival and equal to her male counterparts.  Acts like Rews (a London-Belfast duo) have a stunning drummer at their core- the wonderful, Collette Williams.  Greaves ensures A&E is a powerhouse smash from its beginning to end.  Seemingly multi-limped and octopus-like:  her performance remains stunning and avalanche-like throughout.  She is not just a one-trick cat that slams with animal abandon.  Capable of intricate fills and under-the-radar calm; catchy bounce and infantile energy- a rounded, multi-layered performance that gives the song immense personality and depth.  Congratulations to a trio that have unveiled their strongest work (in my humble view) so far.  There will be many eyes and ears hungry for an E.P.  The guys are taking their time and ensuring they are not rushed- too many bands are hasty and do not consider quality, production and track-listing.  A&E is a mouth-watering offering that has already resonated with hundreds- a stunning song from one of Britain’s most essential bands.

FloodHounds have played all around the country the last few months.  Not only stopping off at B.B.C. Introducing:  they have rocked Manchester and Huddersfield.  The trio comes down to London in a couple of weeks- Spice of Life in Soho- and are going to be very busy indeed.  Not only will new audiences have a chance to discover sparkling-new material:  it gives the band a chance to strength and hone their craft.  I guess they don’t really need to:  they have been playing for a long time and seem flawless.  That said; with each month, they seem to become more electric and assured:  touring is clearly galvanising their music and giving them impetus and inspiration.  Sheffield is a city that gets overlooked with regards new musicians emerging.  Perhaps London will always be at the forefront of media attention:  that is not to say we should ignore a growing, developing area.  In the past; Sheffield was renowned for its steel production and industrial prowess.  Over the decades; it has emerged into one of the most stunning areas of the U.K.  Vast redevelopment has seen Sheffield become one of the cultural hubs of Britain.  In 1999, the National Centre for Popular Music was opened.  Leadmill, the Boardwalk and New Barrack Tavern are hosting the city’s musicians:  giving them a platform and chance to thrill the local crowds.  With Yorkshire creating a music revolution- THE place for great new music- Sheffield is leading the vanguard.  The Long Blondes, Arctic Monkeys and Pulp call Sheffield home:  Slow Club and Richard Hawley can be added to that list.  So many musicians are relocating and moving to larger cities.

I see so many bands head to London or L.A.; bereft at the lack of chances and platforms.  From south coast-born bands to suburb-dwelling solo artists:  there is that  lure and bright lights-lust of the big cities.  I hope FloodHounds do not uproot and stay put in Sheffield.  It seems like the Yorkshire gem is growing and providing plenty of exposure for its native musicians.  Whatever they have in mind; you cannot deny how direct and stunning their new song is.  You might be hard-pressed to name too many legendary three-piece acts:  the mind might struggle to name that many current-day ones.   I am always keen to break-away from the tried-and-tested four-piece:  embrace something fresh and new.  Band music will always be the most popular and yearned-for in music.  With this demand, comes a lot of risks.  Young acts are jumping into the scene with optimism:  eager to show their material and stake their claim at the biggest festivals.  I feel too many artists rush in and do not put proper thought into their music.  What we are finding is a lot of bands that are rather so-so:  few that stick in the mind; many melts away and struggle to meet public expectations.  FloodHounds are savvy enough to realise the pitfalls that are in front of them.  They adapt and keep their music nimble:  having that core sound but ensuring their songs are not repetitive and recycled.

With every new venture, you get something genuinely exceptional and unexpected.  A&E is a guitar-heavy smash that has already garnered a lot of praise and respect.  I know an E.P. is mooted- not sure when at present- and that will be exciting indeed.  Whatever form that takes- with regards number of tracks and sounds- it will be an opportunity for the Sheffield trio to get some critical attention.  They are one of these bands you know will ‘make it’ one day:  ascend through the ranks and become one of this country’s best artists.  It is great to see the stunning trio come through with new material.  I have seen (the trio) progress and evolve as the years have passed.  Their earliest songs were assured and confident:  they have become stronger and more solid with each new song.  I just know 2017 will be their year.  This year, they are going to be unveiling the E.P. and touring:  getting more acclaim and building their fan-base.  Next year, that will be when they can expand and progress.  I can see the big festivals calling and the spotlight shone their way.  A&E is a bold and brassy deceleration from a fearless, impossible-not-to-love band.  The social media numbers are climbing and the fan numbers are rising exponentially:  one of the most consistent and loveable groups we have right now.  Take a chance to discover a hot trio that is going to be a fixture for years to come.  A&E might have that emergency urgency to it.  Trust me on this one:  their success and continued popularity is…

CERTAINLY no accident.

[youtube https://www.youtube.com/watch?v=2pgnI0RSWZ8&w=560&h=315]

__________________________________

Follow FloodHounds

 

Official:

http://www.floodhounds.com/

Facebook:

https://www.facebook.com/FloodHounds

Twitter:

https://twitter.com/FloodHounds

Instagram:

https://www.instagram.com/floodhounds/

______________________________

Music

https://soundcloud.com/floodhounds

 

MINI-ALBUM REVIEW: Snoh Aalegra- Don't Explain

MINI-ALBUM REVIEW:

 

Snoh Aalegra

  

Don’t Explain

 

9.7/10

 

The mini-album, Don’t Explain, is available at:

https://itunes.apple.com/us/album/dont-explain-ep/id1096228514

RELEASED:

8^th April 2016

GENRES: R&B; Alternative/Pop; Soul

ORIGIN:

Stockholm, Sweden; Los Angeles, U.S.A.

___________________________

TRACK LISTING:

It’s Just a Fever (Intro.)- 9.6

In Your River- 9.8

Charleville 9200 (feat. James Fauntleroy) - 9.6

Home- 9.7

Don’t Explain- 9.7

Under the Influence- 9.8

Under the Influence pt. II- 9.6

It’s All On Me (Outro.)- 9.6

Chaos- 9.7

DOWNLOAD:

In Your River; Don’t Explain; Under the Influence; Chaos

STANDOUT TRACK:

Under the Influence

LABEL:

Artium Recordings

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THERE are few musicians out there as majestic and loved as...

Snoh Aalegra.  Her new mini-album, Don’t Explain, is a matter of hours old:  the social media devoted are cooing and vacillating over the newly-bred babe.  Its stunning atmosphere and memorable songs- I shall touch on them below- have resonated and caused an immediate reaction.  I may not be the first to review this new work- someone will sneak in before me- but I hope to be among them.  Before I concentrate on the songs, it is worth talking about our heroine and her work.  On paper- and in photographs- Aalegra is one of the mist jaw-dropping artists you could imagine.  With model-good looks; she is one of the most extraordinarily beautiful women you will see- and not just in music.  It is not meant as a dismissive point:  a beautiful woman who captivates with beauty but struggles with the songs.  If anything, the music surpasses the supernatural beauty of a musician who has a lot of support.  As I type, her Twitter feed is going nuts.  Throughout today- and the next few days- there will be the same comments published:  those paying tribute to a remarkable mini-album that is causing shivers, shake and explosion.  Born in Stockholm- another city that produces all manners of world-class musicians- it is not surprising to find another Swedish treasure before me.  From the classic/bygone music of Abba and The Cardigans:  Sweden has spawned some of the most varied and exceptional artists from all time.  Masters of the effectively simple and catchy Pop sound:  just think of The Cardigan’s sophomore album, Life.  A banquet of delicious moments and stick-in-the-head-for-years choruses:  it was one of the finest albums of the ‘90s, regardless of genre.  In the current climate, we have Tove Lo, Robyn and Lykee Li; Anna von Hausswolff and First Aid Kit- legends like Roxette.  You may scoff yet the latter name has been in my brain for weeks now.  I keep replaying their tracks Joyride and The Look:  two wonderful- if the same-sounding- hook-laden songs that burrow in the brain and compel you to sing along without constraint.  Whilst Sweden (as a nation) has a proud and noble legacy:  Stockholm is their musical capital that keeps providing musical wonder.  It is no shock Snoh Aalegra is another name you can add to the list.  With her half-Nordic, half-Persian background:  you get an understanding which nations and ingredients go into that extraordinary D.N.A.  The 28-year-old is based in L.A., which seems like a natural move.  I am not sure how much opportunity the likes of Sweden offers its naturals:  whether there is the same reputation and exposure as L.A.  It seems like the relocation to California has done (our heroine) the world of good.  Cast aside her beguiling beauty- can’t be accused of being one-minded- everything about Snoh Aalegra captivates the senses.

Her colourful album artwork has a mix of comic book adventure and ‘70s chic.  If anything, the young musician is more a product of the 1970s than today.  The lush strings and evocative songs (throughout Don’t Explain) remind you of Soul/Pop legends Michael Jackson and Stevie Wonder; Prince and their contemporaries.  Fed in a little ‘80s overspills and of-the-moment production grit:  you have a performer that is one of the most unique and spectacular around music.  Given the proliferation of purely Pop artists- that are bereft of energy and are dolorous to the ear- it is always wonderful hearing something new.  Don’t Explain drips with cinematic strings and jam-packed compositions; a staggeringly pure voice and stand-in-the-mind lyrics.  There is candour and expletives; honesty and raw emotions- wit and humour to be discovered too.  It is no shock Don’t Explain is enrapturing fans and being talked-about in fevered tones.  There are so few artists that do what Snoh Aalegra is doing.  You have Lana Del Rey I guess, but there are difference.  Del Rey’s albums look at bad boys and The American Dream:  ironic images of apple pie-eating, Cadillac-driving heroines decked in Levi produce:  cruising sunset strips with tattooed brooders and blowing smoke rings through scarlet-lipped pout.

Whilst Del Rey is evolving into a staggering musician- her latest album, Honeymoon- is took the 30-year-old time to cement that quality.  Our heroine is younger and a different proposition.  Songs do not obsess over a certain type:  the rough-around-the-edge boys and dream-like visions.  Snoh deals with loss and finding her place; trying to discover where home is- personal actualisation and maturing.  There is fiction among her works but you get an honest and raw woman emerge.   The deliver has grit and drama; a swagger inside the immense beauty- the compositions have so many dimensions and revelations.  I find Snoh Aalegra a superior artist (to Del Rey):  how long before she is getting international acclaim and attention?  I hope the L.A.-based songwriter will be visiting London.  I say it a lot- and said it in a previous review this morning- but there are a wealth of chances for her, here.  Venues, pubs and bars will be lining up; radio stations will be eager to play her- Britain is very much her oyster!  Too many (mainly men) will be seduced by Snoh’s staggering beauty and intoxicating personality- the girl has a way with words; someone you could fall for in a heartbeat- but that would belie an extraordinary talent.  I find too many singers are committee-written and a product of marketing men.  With every album you have a cavalcade of writers’ credits and notes:  how much of the artist goes into a song?  No such qualms when it comes to Snoh Aalegra.  Here is a woman with the talent and passion to carry an album; she puts her soul and vision into the music- only employing others to help augment and contextualise sound.  Enthroned in passion and mystique:  the world is going nuts for a seriously

I suggest you go out and buy Don’t Explain- it is available on SoundCloud but the Snoh deserves money after creating something this good.  It’s Just a Fever (Intro.) has vocal snippets:  dialogue from films and old a real sense of vintage glamour.  Here is a wonderful interlude that makes you smile and gets your head in a dreamy paradise.  I am not sure whether this was written for the record- or taken from old films- but the words seem very apt.  The lines:  “What use is warmth if it can’t keep you well?/It’s just a fever” make you very curious and are remarkable sentiments.  There is imagery of illness and love; a mixture of visions and emotions.  Even within a few seconds; Snoh Aalegra has planted the seeds and set the tone of Don’t Explain.  The one-minute song has charm and background strings; layers of audio and a sense of sweeping romance underpinning it.  No listener will be immune to its warmth, wisdom and brilliance.

  In Your River is the latest single and has gained an avalanche of praise and investigation.  The track looks at dealing with infatuation and a sensational bond- so deep in a trance everything else starts to disappear.  Whether Snoh wrote it during a particular romance- maybe a passion that was burning and intoxicating- it results in a truly dizzying moment.  Tumbling beats remind me of Trip-Hop acts like Massive Attack.  There is a feeling of ‘90s glory mixing alongside something older-days and ‘70s-influenced.  Backed by aching, evocative strings:  that beautiful and smoky voice drips with honey, soul and affection.  Within a few notes you learn so much about our heroine:  what makes her heart tick and how her mind works; the need to regain focus and step back from something bigger than her.  The invariable comparisons to Amy Winehouse will arrive; that is no minor compliment.  In the way the sadly-departed icon gripped you with that cigarette-ravished voice:  Snoh has an equally gorgeous and electrifying tone.  Not as aged and worn as Winehouse:  there is a purity and caramel-dipped sweetness that mixes into the boiling pot.  Our girl confesses she never knows “what to do”.  She is trying to please her man and is ignoring her own wishes and life.  So deep in the throes of love:  the composition perfectly encapsulates the changing moods and seasons; the way the head spins and the heart beats- the swirling, drugged effect love can have.  Sparse beats and parping horns melt; rising strings sit with something tribal and brutal- as our heroine lets her voice roar and rise.  You get the sense (In Your River) is a mixtape:  perhaps four or five songs expertly knotted together.  Realising her best is “not good enough” you sense that pain and defeat:  maybe she set herself unrealistic expectations.  The song switches courses and goes from investigative reflection to defiant shout.  A stunning composition that packs so much in:  many have compared this song to a Bond theme.  You can see it scoring a new Bon film:  something dangerous and seductive.  The espionage theme is far superior to Sam Smith’s recent effort.  You have all the components of a classic film:  your head switches between James Bond-esque chase and a classic film- where the heroine walks away from a dangerous love.  To the very last note, you are invested in a pure and graveled voice that possesses so much power and conviction.  It takes multiple listens to drink the song in:  different spins will see you focus on different aspects.  By the final note you sit back aghast:  having heard something truly life-affirming.

Charleville 9200 (ft. James Fauntleroy) is the third track from Don’t Explain and takes us in a different direction.  The opening pair seemed like a connective suite.  The opening interlude perfectly backed In Your River.  Both numbers had their heads between the ‘40s and ‘70s:  love was being looked at in a very classic and honest way.  With those James Bond theme-esque instruments creating something epic:  the listener is curious to hear what arrives next.  The hollow, edge beats- they roll and tumble- reminded me of a classic Soul number:  the type you could see James Brown killing.  There is an edginess and contemporary vibe that sees Snoh check the mic- “One, two…”- and welcoming in a dramatic and gorgeous number.  In terms of motivation; the song is based on true events.  Written with Fauntleroy:  the song reflects on a blissful memory for Snoh Aalegra.  After sitting/lying on the grass with her boy- kissing his eyelids as strangers walked by- there is an element of high school cheese and juvenile cuteness that backs this song.  Declaring “This is how it feels to be alive” you get inside the song and are sat with the lovers.  The energy- passed through the boy to her- this movie vibe- sets the scene and captures the heart.  A sweeter, more high-pitched vocal- to represent the song’s youthful purity- you see another side to Snoh.  Again, you get the insatiable beats and tender elements.  Whilst this romance is not perfect:  every step they take is like a movie.  It is great hearing the heroine swimming in a pure and wonderful memory.  Whether she is still with her love- and the relationship has blossomed- or it is in the past:  you cannot ignore the importance of the track.  Your feet are whipped by the militaristic drumroll; the piano plinks and adds a graceful step; a concoction of sounds and emotions.  Fauntleroy comes in with his smooth and chocolate-rich voice.  Beautifully contrasting our heroine:  he acts as the song’s hero; giving the song serenity, seduction and allure.  The two vocalists seem like a match made in Heaven:  both are able to get inside the head and evoke something quite indescribable.  “A tidal wave in my bed” is a very unique- and quite vivid- representation of this love.  Sweaty and animalistic at times;  the duo is surrendering to their instincts and submitting to the feeling.  As the song comes to its end; there is a clear aim:  get into a car and just drive away together.  Wherever they are headed- somewhere new or familiar- you see them cruise into the sunset; together in each other’s arms.  The electronics warp and crash like waves; the vocals have that R&B-cum-Soul vibe: an emotive and rushing end to a wonderful song.

  Home begins with a building electronic motif that brings together snatches of voices and ghostly echoes.  Before a word is sung you picture what is coming next:  your mind starts to work and project little scenes and figures.  Snoh arrives at the microphone with that soulful and bold voice ready to work.  Written with Sam Drew:  it is a track about what makes home:  whether it is somewhere you live or where you have loved ones.  After travelling across the planet to chase he dreams- leaving Sweden behind- it was an odd and uprooting process.  These confusions and experiences come through strongly.  Seeing herself as a wanderer and roamer:  she has been homeless and directionless for a while.  Alter feeling dislocated for a while:  now our heroine is home and has a place she called her own.  There is a real ‘70s Soul that runs through the track.  The multi-tracked vocals and looking-for-safety lyrics put me in mind of Stevie Wonder, to a great extent.  Snoh Aalegra sounds effortless when in this milieu:  someone naturally comfortable when channeling the bliss and genius of Wonder; making that sound very much her own.  An agile and nimble song that has a distinct sense of purpose:  it is one of the most personal and stand-out from the mini-album.  You get a contemporary vibe- a song that could soundtrack the club floors of L.A.- that site effortless with sounds of Soul’s past.  A catchy and soul-baring number:  it marks a blissful half-way mark.

Don’t Explain’s title track welcomes in the next half with a bang.  This is a Billie Holiday number that means a lot to Snoh.  A song about living in the moment and not thinking about the future:  some things do not need to be explained.  It is a brave and impressive choice; one you might not expect to hear in 2016.  Few artists cover Holiday now and that is a shame:  her songs have such power and inspiration; they are timeless and filled with truth and wisdom.  Those sparring, fighting beats come in- the trademark from the heroine- and introduce a smooth and delicious vocal.  Not trying to mimic Holiday:  what you get is a very personal representation of an important song.  Adapting the words for her own means; you can tell how crucial and appropriate Don’t Explain is.  Sentiments like “I’m completely yours” and “You know that I love you” get your mind thinking:  who was she directing these words to?  An intriguing chapter that is expressed with some of the most beautiful and pure vocals I have heard in a while.  Beats keep beating and flowing; evocative strings bring a touch of the ‘40s and ‘50s to the fray- united; you get a wonderful, vivid impression.  Snoh has always been exceptional when it comes to composition- and her producers help too- and here you get a fine example.  You would not recognise this song from the original:  it has been reinvented and made to sound completely new.  Few artists can cover a song and make it seem like an original:  this sounds like a true Snoh Aalegra track; that is an impressive feat indeed.

Under the Influence is a two-part song that deals with love’s dangers.  Snoh wrote the song(s) based around the notion of love as a drug:  you might leave someone- thinking it’s for the best- but want them even more.  Trying to go cold turkey can be a rather tricky thing.  Ensuring the mini-album employs different ideals, themes and emotions:  we witness something rather shaky and uncertain.  Opening the song with cooing vocals and cinematic strings:  the influence of Amy Winehouse creeps back in.  One cannot help but imagine her when Snoh comes to sing:  her subject matter could easily fit inside Back to Black.  I mean this with the greatest faith and respect:  Snoh Aalegra takes Winehouse’s best assets and puts her own heart and soul into the music.  J.P. Saxe gets a writing credit on a song who keeps its sentiments simple and direct.  The words see the two lovers trying to distance and make sense of things.  Our heroine is a little afraid (both are); feels she must be alone:  when she is with her man; she is caught in his inescapable spell.  Perhaps the finest composition on the mini-album:  the detail and attention is a marvel.  The same can be said of the vocal delivery:  so many emotions and expressions are uttered; each with the utmost professionalism and sense of drama.  An accomplished singer that makes you shiver and sigh:  Snoh’s voice is at its very peak here. In pure Soul territory:  our girl is caught under the influence and fighting a losing battle.  Whether she can walk away or not:  you yearn for her and hope things will be okay.  The boy is confused and the two are working things out.  The boy has “never felt anything like this” and you wonder just HOW explosive the love is.  Clearly, Snoh Aalegra is a woman who can reduce a man to his knees.  Every relationship she has been in:  she has turned boys into men; seduced them with little effort; left them a gibbering wreck.  It seems both needs to cool-off and take time out for themselves.  In so much as you want the story to end- so they can both find peace- you do not want the song to end.  That electric, unstoppable voice elicits something primeval and instant:  you close your eyes and are helpless to refute its kiss.  The composition goes from simple and teasing to rousing and firework-heavy.  One of the finest songs on Don’t Explain:  this song will be a live favourite for sure.  We can all identify with its messages and empathise with the heroine.

 

The song’s second part sees John Mayer on guitar:  he was so stunned by the track he insisted on featuring.  The Blues-tinged coda is a stunning performance- with so many strands and ideas.  A lusty, mellifluous thing:  the guitar luxuriates and floats in a mellow sky.  Lip-licking and sensuous:  a wonderful way to end the song.  This is Mayer vibing and feeling the weight of the song:  closing his eyes and letting his guitar do some talking.  It would have been foolhardy to nix this line- thinking it indulgent somewhat- but it works brilliantly.  Effectively an instrumental track, it not only concludes the song the right way:  it stands on its own feet and gives the mini-album another contour and side.

   Don’t Explain has acted as a concept album of sorts:  a continuous story with various chapters; a film with progressing scenes.  We have not reached the finale:  the end of the classic that sees the characters wrapping things up.  It’s All On Me sees Snoh reflect on what has come before- those dangerous love affairs and decisions made- and realising it is all on her.  Whatever has happened- and whether she has her heart broken- she is responsible for this.  A mature and impressive deceleration from an intelligent woman:  one who does not blame others and takes responsibility for things.  The spoken word snippet expresses this confession:  like the introduction; we hear weeping strings score a classic-sounding film snippet.  The heroine- again; whether it is Snoh or a well-sourced film- confesses to making a mess- maybe some unwise choices have been made along the way.  Everything is brought down in a gentle and soul-searching vignette.  Under one-minute long:  it is a beautiful way to wrap things up…

Well it would were it not for the ‘hidden track’:  this is the ‘end credits’ and the chance to get a last shot of the main feature.  Chaos is another cover version:  this time from the wonderful Sia.  It is wonderful to think of two disparate musicians:  Billie Holiday and Sia.  It shows what a breadth and range of idols Snoh has.  It is a perfect choice as- the previous cover- looked at older times and a Blues legend.  Here, we get someone modern-day and more relevant.  Whereas the Holiday cover will resonate with those of a certain age- and inspire new listeners- the Sia cover is more aimed at younger audiences.  Once again- and with every track on this record- it is given a fresh perspective and completely different take.  Hot and racing beats fuse with crackling electronics.  When Snoh comes to the microphone she delivers one of her most direct and earnest performances.  Recorded three years ago; it is one of the oldest inclusions.  Our heroine loved the song- upon its original release- and was compelled to record it.  You have a song that, once more, sound like an original.  Lines that look at chaos itself- “What am I to do/without chaos?”- seem ready-made for the mini-album.  The entire song looks at chaos effect and results- a butterfly flapping its wing- and employs metaphors for love and desire into the song.  Such a shrewd choice (of song) for Snoh who gives the track new meaning and a wonderful performance.  Dramatic and atmospheric:  you are drawn into the unpredictability and making-sense-of-it-all confusion that is unfolding.  It is here you get the most unique and personal vocal from Snoh:  she casts off influences and sounds like a woman reborn.  In previous numbers, we hear bits of Soul and Blues greats; ‘70s masters and ‘00s influencers- here this is very much Snoh Aalegra.  Even though this track was recorded in 2013:  it sounds utterly relevant and fresh.  Layering her voice- giving the song a head-spinning and drugged wooze- we get a wonderful swansong.  It pulls all the themes of Don’t Explain together:  leaving the listener wanting (a lot) more.

Congratulations must be given to Snoh Aalegra who has produced one of this year’s most important records.  As I type- I have been writing this for the last few hours- I am watching her Twitter feed.  The comments and praise and coming in fast:  she responds to each one with charming emoticons and thanks.  When the rest of the world hears Don’t Explain- she will get a lot more feedback in the next 24-hours- that is when things start to happen.  A gorgeous and dramatic 9-track release; a powerful, personal and divine creation:  you will be listening to this time and time again.  Kudos must be given to producers No ID and DJ Dahi; Boi-1da and Frank Dukes; Christian Rich (In Your River).  The team has naturally fitted into the groove and bring the best from Snoh.

Every track has a distinct vibe- thanks to the production hand- but every track fits together seamlessly.  The track order is perfect to ensure the mini-album is neither top or bottom-heavy.  There is a perfect weight distribution and an unfolding story.  It is like a drama/film playing out:  the early uncertainty to the explosive love; walking away and finding a safe place.  The L.A.-based musician mixes ‘30s and ‘40s snippets together with ‘70s Soul and modern-day beats.  You get so many ideas, genres and time periods playing together:  lesser artists would make a mess of it.  In authoritative and skilled hands; we have an accomplished and stunning thing.  The songwriting is impressive, intelligent and nuanced throughout.  Whether combining with other songwriters or solo-ing:  the words stay in the mind and always elicit a response.  You would query whether a coupe of cover versions should go into a record of such importance.  Not only are both choices completely right and essential:  they give Snoh the chance to channel a different lyrical style and explore new ground.  Effortlessly reinterpreting Billie Holiday and Sia:  this shows a young artist who is one of the finest interpretive voices on the planet.  Overall, you have a mini-album that is unforgettable, indispensable indeed.  Whether Snoh will read this or not, she must realise:  the buzz and praise is not going to stop anytime soon.  The demand will be on for that next record:  not bad from a woman who has spent a lot of time traveling and finding ‘home’.  When it comes to music; she has very-much found her place.  Let us all hope she continues this momentum and carries on with the music.  Don’t Explain is a wonderful achievement from one of the world’s brightest voices.

In Your River was released a matter of days ago and received huge acclaim and feedback.  The lead-off single from Don’t Explain:  it has been championed around the world and is a sensational song.  It was the perfect window into one of music’s most special and original voices.  Given the fact Don’t Explain has just been unveiled:  the future is very much that of Snoh Aalegra.  I can see her going on to big things this year.  Once the mini-album truly hits- picks up more reviews and gets radio play- the festivals and venues will come a-calling!  Let’s hope Snoh’s itinerary includes London:  there are those here that need to see her in the flesh.  From there, well who knows?!  I was staggered by the depth, nuance and addictiveness throughout Don’t Explain.  Even though it is a 28-minute, 9-track record:  you have so many ideas and blissful moments.  In the middle is that intoxicating and jaw-slacking voice:  one that makes the heart melt and lips salivate.  With Snoh Aalegra you have that trouser-troubling, blush-inducing beauty; the hip-shaking, voice-ringing panache- a complete package that we have not seen the likes of.  Over the course of the last year- when the song Emotional was released- there has been a progression and evolution.  Back then- and when her E.P. was dropped- the heroine was keen to collaborate on writing duties- all-too-eager to share her pen with others.  Now, there is that increase in confidence and personality.  Snoh is emerging from a chrysalis with vivid wings and multi-coloured lustre.  A butterfly with a cigarette in her mouth:  I am fascinated by everything the young artist comes up with.  I am a relatively latecomer to the Swedish-born singer.  Snoh always knew what she wanted to do:  from a tender age, she knew music was her calling.  Even as a teenager- when thoughts and dreams are capricious and ever-changing- that determination and goal remains unchanged.  Having been surrounded by the sound of Lauryn Hill and Michael Jackson; Prince and the best from music:  you can see why she was compelled to follow in their footsteps.  Many musicians adore their heroes and try to reproduce their sound.  Not the case with Snoh Aalegra.  She has a foundation of Hill and Jackson- the raw and earthy beats; the strong, proud lyrics; the swagger and swing- but cannot be compared with another.  It is only left for me to congratulate Snoh Aalegra and pray she comes my way.  I know there will be demands from around the world- even as we speak.

I know how much effort and herself went into Don’t Explain.  She has been giddy and excited for weeks now:  keen to share her work with the general public.  Judging by the initial reaction- effusive praise and profanity-laden love- you can judge for yourself.  In Your River was met with ecstatic reception and (Don’t Explain’s) companion tracks will gain a similar reaction.  Throughout the 9 numbers you get a consistency and variegation juxtaposition.  The music has an identity and stems from the same woman:  no two songs sound the same; so much ground is covered.  If you have not fallen in love with Snoh Aalegra, then you are about to.  Don’t Explain is a marvelous work from a stunning human.  Previous E.P., There Will Be Sunshine, mixed Swedish elements (the introduction Stockholm) with a woman discovering her voice and place.  The 6-track record mixed negativities- bad sh** unfolding around her- with positivity and hope for better days.   Right from the start, the unique and beautiful voice gave each track candour, emotion and huge weight.  Turn the clocks forward a year and Sweden is replaced with America.  The Persian roots bubble in the background but what we have is a young woman in a new place exploring new visions.  With each passing year; we see a leap in confidence and the most exceptional songwriting to date.  Whether inspired by a particular guy- heartbroken or yearning for someone special- it has gone into a creation that you will not forget.  Just look at the cover art to Don’t Explain and it says it all.  You have (our heroine) is a headscarf and shades:  driving along and heading for Hollywood Hills.  The pink-dressed, rabbit-holding example gives a sad look to camera.  Elsewhere you get tableaus of progressing passion:  our girl being dripped by the hero; going in for the kiss.  In another image- on the bottom right side- you have potential conflict and argument.  Each picture tells what goes into the mini-album.  Don’t Explain has heartache and regret; there is lust and passion- explosion and a rebellious soul.  At its heart is a relatable and honest young woman who bares her soul in the music.  She has a huge connection with her fans and an endless love for music.  If you need any further proof Snoh Aalegra is one of this year’s hottest properties:  let her latest record spin and…

SURRENDER to its immense charms.

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Follow Snoh Aalegra

 

Official:

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Music

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TRACK REVIEW: Joy Oladokun- Shelter

TRACK REVIEW:

 

Joy Oladokun

 

 

Shelter

9.5/10

Shelter is available at:

https://soundcloud.com/joyoladokun/shelter-mix-60

RELEASED: March 2016

GENRES: Soul; R&B

ORIGIN:

Los Angeles, U.S.A.

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IT is a rarity encountering a musician who brings faith and hope...

into music.  In the sea of love-against-the-rocks-cum-my-heart-is-broken songs; it is refreshing finding someone who strays away from such obvious themes.  After the recent upheaval in the world- attacks around the globe- we need to embrace music that gives us strength and makes us reflect.  There is selfishness and self-obsession among many current-day artists.  Writing a love song- for instance- is a necessary and brave move.  After a while, the tutored listener yearns for something more fulfilling and inspiring.  My featured artist- who I shall introduce shortly- is bringing hope and faith to people.  I do not mean in an ecumenical sense, exclusively:  something uplifting in a general sense, more like.  There are not many musicians out there who use their voice and songs to promote purity, thanks and honesty.   I feel like there is much negativity and accusation in today’s songs.  I am starting to sound like a middle-aged man- I shall temper my rant- but there are masses of vitriol, pain and finger-pointing to be found.  Once in a while, we want to listen to music that has that positivity and redemptiveness; using music as a gospel, in a sense- reaching listeners and concentrating on something deeper and more profound.  Music is a tool that should inspire and amaze people:  do something primal and elicit all sorts of emotions and thoughts.  There are opportunities being wasted and too many who plague music with their own pain and opinions.  In the way politicians have the platform to make real change- and really don’t when you think about it- musicians are similarly privileged.

When I think of Joy Oladokun; I am amazed by her for a number of reasons.  I shall go into more depth, but for now, let me introduce her to you:

“Joy Oladokun is a LA-based singer/songwriter who combines the sounds of roots rock, with folk songwriting and a voice that oozes with soul and honesty. Writing and playing the guitar from the age of 10, Joy has always used music as a way to make sense of the struggles and celebrate the triumph of life. In 2015, Joy self-produced and released her debut EP titled 'Cathedrals', still available on iTunes. Last year, Joy raised $30,000 in a Kickstarter campaign for the funding of her first full-length album.

Joy Oladokun has recently released Shelter, the first single taken from her upcoming debut album. As for the meaning behind the song she adds 'Shelter is a song I wrote about learning how to receive love, and fighting to give it without reservation or condition'.

Her debut album Carry is set to be released on April 29th. Joy states 'Every song stemmed from a lesson I learned, or a lesson I'm still learning. I write to process and to heal, and I sing to help others do the same. I think this past year has taught me that my voice is one of the few gifts I have, and I can use it to spread a lot of love and lift people up. That's the heart behind the album, and that's my motivation as a person too.' Joy will embark on a worldwide tour later this year to support her new material”.

Again, I’m at the feet of an L.A.-based musician.  It seems inevitable to find myself in this position:  with every passing week, I swear I will wean myself from the alluring bosom of Los Angeles.  Oladokun has an arresting voice that delivers its messages with a stunning weight and authority.  When I listen to her sing; hear those tones rise and power:  you cannot help but be blown away and overwhelmed.  With such a weapon at her disposal:  Oladokun uses it to teach lessons and exorcise demons inside her.  As our heroine has already stated:  songs stems from experiences and harsh realisations; the aural projection of reality check and revelation.  Yes, you are going to get the odd line about love and broken hearts:  by-and-large, the music concentrates on something much wiser and deep.  It is rare to find a songwriter who does things differently to everyone else.  Her album, Carry, is released in a few weeks and has come about due to a (successful) Kickstarter campaign.  The fans and followers have backed the L.P. and ensured it sees the light:  clearly there is a lot of love and support for Joy Oladokun.  Music is an industry that demands relentless dedication and a- seemingly endless- supply of money.  I feel financial concerns are pricing upcoming artists out of the business.  You can have immense ambition and plenty of energy:  that can all dissipate when the issue of financing and money comes into view.  Certain people have views on crowd-funding websites.  Many consider it a bit of a cheat:  an easy way to get money for projects; not an honest way of doing things.  I disagree with this completely.  I have reservations- with regards this issue- when it comes to celebrities and big bands.  I have seen many well-off celebrities use these sites to raise extra money:  funds they surely have in their pocket?!  Crowd-funding websites are essential for musician and a way for the art-form to survive.  Was it not for the generous pockets and faithful hearts of her followers:  Carry might never have seen the light of day?  I am glad it has as it is among the most impressive and unforgettable albums this year.  Shelter is a wonderful window into a record that amazes and stuns with every listen.  I am looking at social media and seeing the reviews come through:  writers are eager to lend their praise and adulation to Oladokun’s cause.  Not just confined to L.A.-based writers:  around the world; the paen and appreciation have been flooding in.  It makes me happy to see this happen.  Joy Oladokun is among the strongest and real musicians out there:  somebody born to do this; gives music the soul and honesty it desperately craves.  I know touring dates are on the cards this year.  Whether Oladokun will come to the U.K. - let’s hope she does- is another matter.  There is a great fan-base waiting here and thousands who would come to her gigs and show their support.

I have seen commentators and reviewers who share the same opinion:  Joy Oladokun is an artist who sounds like a veteran; someone who has been producing albums for many years.  The truth is, this young artist has been playing for a few years- she has many years in front of her.  Shelter is the latest cut from one of the most prolific and impressive musicians around.

   MJ was released near the end of last year and is a heart-stopping and tender thing.  A curious and wonderful song:  you start to picture the scenes and get to the roots of its mysteries.  Backed by guitar- a beautifully raw and rumbling string- that voice swoons and seduces.  Praying for peace and answers; “We’re no more than strangers” is a coda that causes emotional reaction and curiosity.  Whether documenting a broken love or falling friendship:  our heroine is not going to kick and scream; not beg and let things get her down.  That strength and resilience overrides the mood and shows incredible fortitude and strength.  Even from such an early track; you hear that authority and conviction.  Sounding seasoned and completely in-control:  the song makes an enormous impact and shows the heroine in entrancing mode.

   Falling Stones was released shortly after (MJ) and is a similarly-paced song.  If anything, there is a softness and gentleness to be found.  Perhaps the finest and sensitive song from Oladokun:  it is a pure Folk song given a modern twist.  Finger-picking guitar backs a song that tackles demons and investigates the issues of loneliness.  The heroine turns the lights out and closes the door:  the floor’s writing is being read; she falls asleep and thinks about life.  Here is a song that has maturity and wisdom at its heart.  Our heroine looks back at hearts she’s broken:  how life has thrown obstacles and the struggles she has witnessed.  There is no sense of guilt and anger to be found:  just a woman that wants to make things better and learn from these lessons.  Each new occurrence/pain makes her stronger and more determined.  This is reflected in a song that gets inside the head and makes you think about your own life.

    Little Runaway is perhaps the most haunting song from Joy Oladokun.  The voice is at its most shivering and shimmering.  The song’s subject is running and affected by liars and the deceitful.  The heroine is singing to him/her and wanting a safe return.  Maybe they (the runaway) wants a dream life and something safe:  not quite what they have right now.  As the song progresses, it seems like a call to a lover or friend.  Oladokun will do anything just to be with them:  the chance to sit with her and put down their weary head.  It is a scintillating song that explodes with emotion and declaration.  One of the most direct and urgent songs you can hear:  that bare-naked, exposed voice is a thing of beauty.  It cracks and holds; it coos and strikes- so much pain and heartache come through in some moments.

Given the varied and consistent catalogue shown:  it seems Carry will include a few of these tracks.  I would love to see all the aforementioned included:  the songs show the different sides to Oladokun and just what she can achieve.  So confident and cemented in her early days:  few musicians have that sort of ability and quality at such an early stage.  Not only will her album show what an amazing talent we have:  its reception and reviews will (one hopes) give her the confidence to keep making music- to grow and do what she loves.  A lot of artists seem rather cautious in their sapling recordings:  Joy Oladokun is one of the boldest and determined musicians I have ever heard.  Long may she continue!

The reason I am typing is to review and investigate Shelter.  Given the weight of love and degree of consideration the song has been granted already- what can I provide?  Starting with a combination of gentle piano- carefully paced and elliptical- we hear some far-off, wordless vocals:  the earliest moments cause you to lean into the speakers and inside a dreamy and peculiar sound.  Emotive and distant; direct and mysterious:  there are contradictions and conflicts to be discovered.  Some people might get an impression of Adele in Oladokun’s voice.  There are similar tones and conviction, but for my money, that is where the similarities end.  Oladokun has far more gravitas and variation to her sound:  it is a deeper and more fascinating vocal.  The early words are from a woman that is trying to mend fences and talk things through.  Her sweetheart is walking out the door; ignorant and blind to the issues in front of them.  Things need to be discussed and reconciliation arrived at.  Our heroine is patient but keen to get the dialogue started.  Shelter was inspired by- in Oladokun’s words- the need to fight for love without reservation; learning how to receive love.  Looking at indiscretions and faults- the hero has negative and is not perfect- there is not that need and desire.  While many songwriters are angry and short-tempered when it comes to the imbalance in love:  here, there is that need to maturely discuss things and make the relationship stronger and purer.  With only one demand- “Promise you’ll be honest”- you cast your imagination inside the song and are sat alongside the two lovers.  Oladokun keeps the composition slight and bare:  the piano is fleet-footed and punctuating; it is the rich and emotive vocal that is given the spotlight here.  Without pretense and pressure; without force and demands:  this relationship can only grow and succeed if they are on a level plain.  Showing compassion and maturity:  the duo needs to work through things and come together.

There is positivity and faithfulness that rides through the entire song.  There are never any regrets and harsh words:  the heroine is a safe haven and shelter for her man; she will protect him when needs be.  Before too long, the vocals layer and augment:  the song starts to build and the narrative changes direction.  It takes a while to make a “house a home” it is said:  things will not improve and be wonderful in such a short time.  A tense and spattering beat joins the mix as the song accelerates and kicks up.  With energy and fresh impetus:  Shelter transforms from gospel-like investigator to motivated soul jam.  Oladokun brings that chorus back in and it has gained fresh relevance:  sounding bigger and more memorable than the first time around.  Many songwriters have covered similar themes- learning from hurt and changing the past- but few with such a conviction and originality.  At every stage, that deep and entrancing voice ensure each lyric is given huge meaning.  The song’s hero has been scarred before and seems reluctant to lend his heart freely.  Our heroine understands this and is not looking to rush things.  What they both need- that desire coming through- is a strong and safe love.  Mutual indemnification if you will:  it may not sound like Romeo and Juliet but it is what both crave and need.  The hero has his wounds and gone through hard days; our heroine promises safe arms and a secure foundation.  If the hero is lost and in need of a shelter:  Oladokun is going to be there and will not run away from things.  I know our heroine has reflected on real-life events, but it makes you wonder.  Is this relationship- the one being investigated- still going?  Shelter seems like such a logical definition of Carry:  the purest and honest song you can ever hope for.  The album is sure to feature different angles on love, faith and support:  Shelter is the most evocative and beautiful example of this.  By the final seconds, you are powerless to resist the power and potency of the chorus.  Oladokun layers her voice- some wordless coos in there- and ensures her intentions and promises are heard and understood.

When things do end, you smile and take it all in.  Shelter has a contemporary sound- I have mentioned the likes of Adele; perhaps an apt comparison- but looks at the soul and folk of the ‘70s and ‘80s.  Those legends of the genre- from Tracy Chapman to Aretha Franklin; to Marvin Gaye- might come to mind but you cannot overlook the singularity and personality of Joy Oladokun.  Here is a singer that does not want to be compared with anyone else and has her own way of working.  There are not many musicians that write such positive and inspiring songs.  Shelter is one of the most overtly hopeful and fighting-against-the-odds songs.  When I review similar tracks- that try to build a relationship- the outcome is always the same:  things hit the rocks and there is blame left in the air.  Not the case here.  That strong ethic remains throughout- talking things through and just knowing (our heroine lets it be known) there is comfort and safety to be found in the storm.  With that in mind, you cannot help but fall for Shelter.  The terrific production values allow Oladokun’s rich and expressive voice sit at the top of the mix:  unimpeded and at its most striking.  Few songs this year will leave such an impression in the mind.

Shelter has resonated with a lot of people over the last few weeks.  Since its release; I have seen so many reviews come through that say the same things.  The positivity and adulation cannot be overstated:  a singular moment that cannot be faulted or diminished.  There are a lot of promising solo artists that each has their own sound.  I am hard-pushed to compare Joy Oladokun with anyone else.  A heartwarming and joy-seeking artist:  how many musicians look for the positives in life?  I feel we are becoming unevolved and going backwards somewhat:  so many aspects of society are regressing to past days.  With violence and uncertainty rising; political turmoil and horror- the unstoppable force of the monster Trump- we all need a common grace and light.  In the past, music used to provide that.  I am not sure what it is but things are starting to disintegrate and fragment.  Fewer trailblazers and emerging; the captivating spirit of Rock is weaning; the surprise and originality are coming out of music (to a degree).  When I look at Joy Oladokun I see a musician from a different time.  She has elements of the soul greats of the past:  when the likes of Aretha Franklin and Nina Simone used to rule; the Folk goddesses like Tracy Chapman reigned.  Essentially, we have a musician that is bringing the good and virtuous back into music.  Someone who is promulgating positive messages and baring her soul with it.  Shelter is a gorgeous song that gives thanks for this love; it does not pour cynicisms and scorn on it.  There are those who use music to portray the tragedy and heartache of love:  being duped, dumped and infected by something wholly regretful.  Oladokun is not your average songwriter, sir:  she gives love without reservation; ensures her heart and soul is received with no malice and prerequisites.  Who can argue with such a force of nature?  If more musicians were like our heroine then the industry would be in a much better position.  It is not just the words and ethics that impress me.  That central voice is undeniably raw and wonderful.  You get shades of Soul and Folk greats- bits of Chapman seep through at times- but such is the originality and flair of the voice.  It is hard to take it all in for one reason:  it is a pure and very real sound.  Artists- not all, but many- ululate and project too much they disguise their personality or mimic others; they lose focus and control.

Oladokun is one of the most direct and natural singers I have heard.  There are no added ingredients or needless showiness:  just a passionate young woman who wants her music to inspire and uplift.  The sermon-like songs are having an effect and making their mark around the world.  When Carry is released, it will show Oladokun at full flight and full force.  I cannot wait to get inside the album and revel in its many sides and emotions.  If Shelter is anything to go by; we are about to witness one of the most essential and impressive albums in years.  I will end looking at Oladokun’s future and how she fits into the current scene.  I have talked about her tour dates and plans- taking the music around the U.S. - but surely a stop-off in Britain is on the agenda?  The U.K. holds so much love and affection for one of music’s most promising stars.  I know a few London venues that would host Oladokun and see the bodies pack in.  With summer approaching, it seems the perfect time to have her come to London:  seduce and amaze the audiences with that singular and mesmeric sound.  From there, who knows?  Carry is the result of crowd-funding faith and a lot of demand.  Once the dust settled and the record has been received; where does the L.A. musician head?  There is no telling how far Joy Oladokun can go.  She has said herself- on a Twitter post from a couple of weeks back- you can be red-hot one moment; forgotten the next.  Love, as she attests, will outlast everything.  As a musician, the parable is relevant indeed:  there is fickleness that means the very best can be buried and overlooked for no reason.  Putting faith, love and acceptance into her songs; trying to lift the listeners and provide guidance:  I find it hard to believe Joy Oladokun will ever be forgotten and passed by.   Whilst I type, I am listening to Shelter (again) and letting it do its thing:  washing into the subconscious and soothing the soul.  It also- clever little thing- hits the heart and provides immediate reaction.  I wonder how a song can do that, but when it comes to Joy Oladokun there is…

A lot more where that came from.

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Follow Joy Oladokun

 

Official:

http://www.joyo.rocks/

Facebook:

https://www.facebook.com/Joy-Oladokun-1396909417288631/?fref=ts

Twitter:

https://twitter.com/joyoladokun

Instagram:

https://www.instagram.com/joyoladokun/

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Music

https://soundcloud.com/joyoladokun

TRACK REVIEW: Alexandra Jayne- Clumsy Love

TRACK REVIEW:

 

Alexandra Jayne

 

Clumsy Love

 

9.5/10

Clumsy Love is available at:

https://www.youtube.com/watch?v=rYmlOtO7oUM

RELEASED: 7^th February, 2016

GENRES: Folk; Alternative/Pop

ORIGIN:

Staffordshire, U.K.

The E.P., Clumsy Love, is available at:

https://itunes.apple.com/gb/album/clumsy-love-ep/id1078715226

TRACK LISTING:

Clumsy Love

Hullabaloo

Bright Lights

Slow Down

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THERE are few solo artists that are playing with such a distinct...

voice and way of working.  My featured act has been lauded due to her incredible tones and immersive, beautiful music.   I shall come to her shortly, but for now, I wanted to look at the vitality of a unique voice; artists of the West Midlands- completing with a bit about making your way in music.  I have encountered a great deal of musicians that stick too firmly to their idols and current heroes.  There is a real problem in modern music:  too few artists have their own style and truly original voice.  I find- even in 2016- that necessity to replicate others burns strong.  This is a point I have raised a lot:  it is an ever-apt argument that gets to me.  In the modern climate; musicians have to work harder than ever to find success and longevity.  With so many artists flooding the market; there is a constant battle for survival and growth.  For that reason, it is paramount to consider the vocal you are putting out:  if it sounds like someone else; are you going to have long-term support and appreciation?  Those musicians that do not work on this- content to sounds fake and over-familiar- will always have a hard time of thing.  In the mainstream, there are some culpable musicians.  We all know the sort:  singers that remind you of legends past.  Whilst it is hard to create a completely original vocal:  there is no excuse for being lazy.  Alexandra Jayne has been compared with Stevie Nicks:  to be honest; the young musician is one of the most standout vocalists I have heard in a while.  You can tell how hard she has worked to craft that vocal.

Touring and performing widely:  with each year, she grows in confidence and adds new beauty and layers (to the voice).  Before I continue on my point, let me introduce Alexandra Jayne to you:

“Alexandra Jayne is a singer-songwriter from the West Midlands who recently supported James Blunt's 'Moon Landing' tour at the NIA in Birmingham. See footage of her at the NIA via BBC Midlands Today.

Two of her songs have been BBC Radio Shropshire's Song of the Month, firstly 'Who I've Become' and most recently her cover of Wizzard's 'I Wish It Could Be Christmas Everyday.' Last year, whilst based in Liverpool she won the Liverpool Acoustic Songwriting Challenge with her song '1969'.

A classically trained singer, Alexandra first picked up a guitar at the age of 15 and has since crafted her own distinctive songwriting. Her acoustic style is complemented by a strong, soulful voice which has led to comparisons with Joan Baez.

Alexandra gigs regularly and has previously performed at Liverpool's world famous Cavern Club and at festivals including Oxjam, Threshold Festival and Shropshire's Rock n Bowl Festival. She has performed live on BBC Radio and is a regular on BBC Shropshire Introducing”.

Quite a glittering and impressive career (so far) from a musician that is set to get stronger and more successful.  Clumsy Love is a four-track E.P. that showed what a proposition we have.  Whether you see Alexandra Jayne as a Stevie Nick-cum-Joan Baez Folk/Pop singer, you have to admit:  the sound she produces is very much her own.  There is that special and personal vibe- you get listening to the songs- that emanates from a very distinct personality.  Although she touches on common themes and ideas- struggling with love and overcoming heartache- the way she does it is both charming and wise.  There is a mature mind at work:  someone who has a young heart that has experienced some pain.  Having featured a load of London acts recently- another common theme on mine- it is nice to stay away from the capital.  Being based in Shropshire- located in the West Midlands- it allows me to explore the musicians that made the area famous.  From The Specials to Electric Light Orchestra; Black Sabbath and The Beat:  quite a line-up of stunning talent and legendary bands.  Judas Priest and Duran Duran, too:  such a mixture of sounds has emanated from the West Midlands.  Given that fantastic legacy, one would imagine media minds would be focused here:  trying to unearth the best on show from a prodigious and fertile musical landscape.  The truth is, it is down to local press/stations to promote the good word.  It is a sad sign of the times there are few media sources that get their heads away from the big cities.  I just know there are some immense bands located in the West Midlands.  The truth us, unless we happen to live in the area, how do we discover them?  The same can be applied to the solo talent:  again, how does one unearth the best and brightest here?  Alexandra Jayne is one of the brightest and most celebrated young artists emerging from the West Midlands.  Having travelled around the U.K., I wonder whether she will remain here:  will the lure of London or L.A. seduce her?  I can imagine her fitting nicely into Los Angeles and playing her music to crowds there.  The same can be said of London:  she would make a big impression down here.  With Alexandra Jayne, there is a mix of intimacy and quirkiness; universal truths and raw power:  an intoxicating blend from a stunning, hard-working musician.  What impresses me about Alexandra Jayne is how she has remained passionate and committed for quite a few years.  I have been following her work since the early days and impressed by how far she has come.  Too many artists get ahead of themselves and assume recognition and success will come straight away.  They may have dreams of fame and fortune; set unrealistic expectations and goals.  Our heroine has a level head and has kept her feet rooted to the ground.  Beginning from humble and modest roots- performing locally and to the home crowds- she is getting stronger; gaining new acclaim and showing immense promise.  After supporting James Blunt; it seems the future is very much hers.  To succeed in music, you need to keep plugging and show that dedication- no matter how hard times get.  Alexandra Jayne has her sights set on bigger things- I can see her being a mainstream act of the future- but knows how much work and commitment are required.  A young and wonderful musician with an incredible sound:  if you have not discovered what she has to offer; you are missing out on one of the best upcoming artists in the country.

Clumsy Love is the latest offering from an artist with a prolific and impressive back catalogue.  Early songs like I Won’t Break and Troubadour showed what a beautiful and entrancing voice (Alexandra Jayne) possessed.  Although these were her first moves in music; that confidence and sound were already crafted and assured.  The rich, emotive compositions and personal lyrics sat alongside absolutely beautiful.  Stamping out a distinct personality and style:  here was an artist that arrived with a huge band.  Not just limited to tender reflections:  the music could be skippy, uplifted and energised (Troubadour is a case in point).  Alexandra Jayne showed how agile and nimble she was as a songwriter.  Few musicians would be able to stretch themselves and still remain focused and authoritative.  Clumsy Love builds on that early promise and shows an extra level of confidence and assurance.  Amazing and fully-realised out the box:  there was no huge need to improve and grow.  What we have- with her new E.P. - is an artist who has grown in urgency and shows what a proposition she is.  The songwriting is more varied and the four tracks demonstrate what a unique and sensational voice she possesses.  This development and strengthening mean future records will provide new insight and possibilities.  Clumsy Love gives insights into the life of Alexandra Jayne:  things that sit in her heart; things that compel her mind.  There are maturity and fragilities; you get wisdom and hurt:  ingredients and components the modern listener desires in their artists.  Unlike most other artists; there is  huge originality and nuance to be discovered.  You cannot spin Clumsy Love and be unaffected.  The first play (of the E.P.) hits you and gets straight inside the mind.  You then find yourself revisiting it and unearthing new sides and joys.  Music this rich and rewarding does not come about that often:  for that reason, Alexandra Jayne deserves a huge amount of support and affection.

Clumsy Love’s title track begins with a plaintive and gentle-strummed acoustic opening.  The introduction is short and sweet- the vocal arrives with clear intention and passion.  Whether compelled by a past (and extinguished love) or taking from the experiences of others- you have a love song with a twist.  There is “nothing interesting” about the hero:  the duo are through and things have reached an end.  Despite the realisation and reflection; the vocal has a chocolate-rich soulfulness and a gorgeous sound.  Gorgeously breathless and tongue-stiffening mature:  it is hard to define that voice and get to the bottom of it.  I am hardly surprised some Stevie Nick comparisons have been made.  You can tell Alexandra Jayne has spent time with Fleetwood Mac and old vinyl:  immersing herself inside the voice of some of music’s most arresting examples.  When listening to Clumsy Love unfold- you fall in love with that treacle, soul-teasing soothe.  Our heroine has a tinge of reflection and sadness in the voice; she is contemplative and separating herself from the bond.  This clumsy love has seen its good moments, but only natural that it ends.  In the early stages, you wonder whether the relationship is through; maybe they are just on a break and taking time apart.  With pillow firmly over her head- blocking out the sound and memories of the boy- you get a very vivid and involving song.  You picture the scenes unfold and are gripped by the wonderful performance.  Not hearing a word the guy said- closing her ears or taking her mind elsewhere- you get a mix of wit and honesty.  The poorly-coordinated relationship seems doomed but strangely meaningful.  As I mentioned:  I am not sure whether this is based upon personal events.  From the strong and meaningful vocal, you would have to say it was.  Few singers are able to emote and captivate as much as Alexandra Jayne.  The way she deploys the lyrics; giving certain phrases and words extra emphasis:  twisting others to create huge resonance and meaning.  In the first moments; the composition remains supportive and tender.  The percussion and guitar bond and ensure the lyrics are given appropriate backing and dressing.  Soon enough, the song kicks up and a gear and things get a lot heavier.  The percussion and guitars race whilst the vocal gets a lot bolder and inflamed.  It is two in the morning and things are just the same.  Those age-old arguments and conflicts are rearing their head.  Our heroine wants to see promise and potential in the romance:  in honesty, they are going through the motions and treading water.  There are some things “you should know”:  sentiments to suggest there were an imbalance and innovativeness between the two.  The boy (was perhaps) lackluster to the needs of our lead:  that dissatisfaction and annoyance are tangible.

Once more, Alexandra Jayne contorts the words beautifully.  Repeating and echoing some syllables; changing pace and course:  at every phase, the song sparks and displays new colour and force.  I have heard few singers that put as much attention into the vocal and reading.  Lesser acts would sing the lyrics and not spare much attention to how they are presented.  Alexandra Jayne brings emotion, intelligence and drama into the song:  making sure each line hits the mark and sticks in the mind of the listeners.  Maybe the duo was on different pages.  Memories of “fooling around” are attested- certain seriousness inside carefree submission- and each lover had different ideals and objectives.  It is refreshing hearing a love song so original and against-the-tide.  Artists tend to put their heart out there- cliché lyrics and the same old stories- or get angry and accusatory.  Alexandra Jayne has a superb way with words and is a wonderful storyteller.  The chorus is a short and concise thing- essentially the song title sung- and it keeps coming back in as punctuation.  This is a chapter unfolding with the characters drifting apart:  our narrator has no regrets but is looking for answers.  In spite of my protestations and lustful arguments about originality- our heroine is truly one-of-a-kind- you could see Clumsy Love appearing on Rumours, for instance.  It has the same dynamic (as many of the album’s tracks) and a sublime, Stevie Nicks-esque vocal.  A modern day amalgamation of Go Your Own Way and I Don’t Want to Know:  a ‘70s-influenced number that will resonate with listeners who grew up listening to Fleetwood Mac (and the legends of Folk).  Standing “here in the pouring rain”; you cannot help but give your heart to the heroine.  She is not giving up on her sweetheart or tossing their history aside:  she wants things to work and is assuming the best.  Here is a young woman who has faith in love and believes it will work out; in her mind, she realises the same patterns will emerge.  Asking an important question- “Was it real or show?”- one can detect that bubbling anger and disillusionment  Ensuring the song never loses momentum and swing; that fifth gear composition hardly relents:  Clumsy Love is a song that gets you singing along and hypnotised by its energy.  When the mood calls for it- towards the final stages- the spotlight is raised and things become tender and reflective.  “I won’t be the one to leave” are the most heartbreaking and assiduous lyrics on the record:  the testament and peak of profession and declaration.  It is here you get to see that voice at its most beautiful and heart-stopping.  You are not given much of a chance to swim in that luxuriant and divine purity:  the composition sparks back and our heroine drives it home.  Constantly keeping you on your toes and guessing:  a song that builds; switches and weaves.

It is amazing to think the song has not hit 1,000 YouTube views (the official video).  Not only is the video beautifully shot and engaging- seeing the heroine walk through town/scenes with heart balloons; thinking about life and walking away her troubles- but the song is one of the finest of this year.  A wonderful insight into the E.P.:  the title track is a hugely impressive and wonderful statement.  Other artists- with songs that do not pack the same punch- have accrued millions of YouTube views.  It is a sad reflection of the age when so-called ‘stars’- who produce mediocre music- gain millions of views and comments.  Genuine, ‘proper’ artists like Alexandra Jayne have to work a lot harder.  Her music is far superior to most of the stuff out there:  she deserves endlessly critique and appreciation.  Clumsy Love is a song that will bounce around the brain and cause you to smile- perhaps against better judgement.  I hope things work out and (the two) figured a compromise:  a détente was reached that could salvage the romance.  The heroine is never going to give in; she will batter to put things back together- an impressive and determined young woman, for sure.  If you want more treasures like Clumsy Love:  snap the E.P. up and you will find a musician that is incapable of anything less that complete wonderment.

Clumsy Love has been out a while but is still receiving a lot of praise and patronage.  I hear a lot of artists and many do not linger in the mind- it is just one of those things.  It is hard to distinguish yourself from the crowd and really make something big.  Huge competition and short attention spans are making things a lot tougher for musicians now.  It is not good enough to come in and play:  hope people will love you and success will come your way.  It takes something wonderful and stunning to remain in music and remain essential.  Alexandra Jayne may be unfamiliar to many of you but that will change in time.  If you are immune to that beautiful, emotive voice- can’t imagine how you would be- then the captivating songs will win you over.  Clumsy Love is an E.P. that is perfect for the new listener.  The songs have a familiarity to them yet sound original at the same time.  The warm and rich vocals from our heroine get inside the heart and will remain there.  I keep playing the songs and find new textures and meaning every time I investigate.  I have high hopes Alexandra Jayne will continue to gain confidence and new followers.  Clumsy Love (song) is a stunning achievement from a young musician that has immense confidence and talent at her disposal.  So where does she go from here?  I know she will be performing and continue to enthrall local audiences.  I can well see Alexandra Jayne get requests from big venues and festivals very soon.  My heart goes out to musicians that are starting out right now.  It is a tough time to make a living.  I hear- on social media and through contacts- how challenging the daily life can be.  Not only is it hard to make money- with music able to be streamed for free- but there are so many competitors around.  Many musicians have that passion but find it can extinguish:  the harsh realisations get to them and they call things quits.  Alexandra Jayne is not someone who will give up on music; nor should she.  Having performed since a teenager; she has played a number of different festivals.  Her music has been played on the radio; the social media numbers are increasing.  All positive signs from a musician with few equals.  I get tired of hearing same old singers who lazily sound like everyone else.  If you want a career and long-term success; why bother ripping someone else off?  The best singers from music’s history are defined by their originality and personal take.  Alexandra Jayne has figured this out and pulled off a wonderful trick.  Little shades of others can be hard- Joan Baez and Stevie Nicks for instance- but you would never bring them too closely to mind.  Riding high in the mix is the sound of a young woman doing things her own way.

The West Midlands has provided us some of the best bands and acts of all-time.  Over the past few years, there has been an over-reliance with regards London and the music emerging here.  As I said earlier:  there are not enough media outlets breaking rules and highlighting musicians from other parts of the U.K.  One of the great things about my blog is the fact I can travel (figuratively) around the world and find music that few others have.  I hope attitudes change and more people are given the chance to hear under-the-radar musicians.  My discord and annoyance aside, let’s just be thankful for the artists we have right now.  I have stated (on countless occasions) how female solo artists are ahead of their male peers.  There is just something about them/the music they make that has that edge and drop of quality.  Bob Harris has played Alexandra Jayne’s work and I can see why.  Each of the E.P.’s four songs has such a wonderful smile and personality to it.  You are treated to a sumptuous, gorgeous voice that oozes passion and honey.  There are some rougher edges- as though our heroine has lived a hard life- that gives the tones a maturity and well-worn touch.  The compositions mix Folk traditions with Pop/Alternative freshness:  so much colour and diversity can be discovered.  A truly special young artist with a loyal and dedicated fanbase:  Alexandra Jayne is going to go on to wonderful things.  Few musicians work harder to get their music to the people; this endless devotion will pay dividends soon enough.  If you have not discovered the Clumsy Love E.P.:  I cannot recommend it highly enough.  Its title track is a gem that will make you smile and cause you to think and reflect.  Play the song and close your eyes:  let its magic take you somewhere wonderful and safe.  I just know there will be more material from Alexandra Jayne this year- I cannot wait for that!  She has created a wonderful body of work so far.  But the real truth is this:  the best and most successful days are…

STILL ahead of her.

[youtube https://www.youtube.com/watch?v=rYmlOtO7oUM&w=560&h=315]

_______________________________________

Follow Alexandra Jayne

 

Official:

http://www.alexandrajaynemusic.com/

Facebook:

https://www.facebook.com/AlexandraJayneMusic

Twitter:

https://twitter.com/A_J_Music

__________________________________

Music

https://soundcloud.com/alexandrajayne

 

TRACK REVIEW: XY&O- I'm Not Right

TRACK REVIEW:

 

XY&O

 

 

I’m Not Right

 

9.4/10

 

 

I’m Not Right is available at:

https://soundcloud.com/xyando/im-not-right

RELEASED: 3^rd April, 2016

GENRES: Pop; Electro.

ORIGIN:

Cardiff, Wales

The E.P., Shimmer + Shade, is available at:

https://itunes.apple.com/gb/album/shimmer-+-shade-ep/id1093574791

TRACK LISTING:

I’m Not Right

Low Tide

Lights On

Fahrenheit

Lights On (Remi Caumont Remix)

Low Tide (Sistex Remix)

LABEL:

Electric MVM

____________________________________

THIS is the first time I have reviewed an act from Wales.

I am not sure how this has happened- over the hundreds of reviews published- but I shall have to double-check that.  It seems strange that this oversite has occurred:  there are a lot of fantastic musicians emerging from Wales at the moment; it is something I want to talk about.  Before getting to my featured act, I will (also) explore the best Pop/Electro.-Pop artists and the big hopes for this year in music.  I announced my shock regarding my lack of Welsh artists.  Most of my current reviews have focused on musicians in and around London:  I have been a bit narrow recently.  It is great assessing musicians from Cardiff; the city has a rich and noble musical history.  From Super Furry Animals to Catatonia; Mclusky to Los Campesinos!:  there have been some terrific bands emerge from Cardiff.  Wales gets overlooked when highlighting the best and brightest of music.  Often second-fiddle to the likes of London and Manchester:  you cannot ignore the wealth and variation on display.  The Moon Birds are one of the most promising bands from Wales right now.  Their electric chemistry and stunning live performances hint at a wonderful future and many years on the scene.  Ofelia is a five-piece Folk act that looks set to make their impressions this year.  Catchy, original tunes gave drawn in crowds and captured the public imagination.  Throw in the likes of Hipcat- a 6-piece from Newport- and Willow Wonder (one of the most promising singers in U.K. music) and there is plenty to get your teeth into.  To be honest; there are going to be some phenomenal bands and acts playing around Cardiff and Wales.  It should not be down to the local media to put (these musicians) into the public consciousness.  I feel the mainstream publications are remiss and often focus narrowly.  I have just taken on a new role for The Metropolist.  It is a London-based music website that helps promote the best music around.  When looking around the site; I have discovered some hot new bands and brilliant musicians.  One day, I hope these websites will gain more exposure and attention.  There are too many wonderful musicians struggling to get their voices heard.  If Cardiff does not seem like the most obvious place for tantilising sounds:  you might just have to think again.  XY&O are a hugely promising 3-piece act that is hard to tie down.  They have a Pop base; fed through a spectrum of Electronic motifs.  In reality; the boys have such a varied and kaleidoscopic palette:  they have no barriers and can be appreciated by all.  I feel music is evolving and improving as the months go by.  Last year, I was a little disappointed by the ‘best’ of the bunch.  There were some great bands and solo artists but I yearned for a bit more consistency and promise.  XY&O have a solid bond and incredible sound that has seen them gather a wealth of fans and followers.  Shimmer + Shade is their new E.P.:  the summation of a trio that is going to go onto huge things.  I often make proclamations when it comes to a band- and how far they can go- but there seems no need with the Cardiff boys.  They are already touring the U.K. and seem incapable of slowing down and fading away.  Such is the gravitas and nature of their music- universal lyrics wrapped inside deep, connecting sound- it is no surprise they have such a loyal fan-base.  Musicians like Keep Up and Hinds have been proffered; Dua Lipa and Kacy Hill are sure to do big business too.  There is a great level of competition but this is a good thing.  2015 was a year that had its moments but was not exactly the best we have seen.  There has been a big improvement and kick into 2016.

Whilst the mainstream still disappoints me- few great albums and the same, boring musicians plugging away- the musicians of the underground are whipping up a storm.  Electro.-Pop is a genre that is attracting a lot of artists right now.  Pop itself can be too defined and rigid- not enough room to explore- whilst adding an electronic element provides opportunity.  XY&O might refute the claim:  they are one of the most original and distinct Electro.-Pop artists around.  I have heard a great deal of promising musicians:  few have made such an instant impression.  I have been lending heavy patronage to London the last few weeks:  a trip to Wales was just what my musical brain needed.  Who would have thought Cardiff could provide such a gleaming treasure?   Maybe we all need to be more adventurous and bold when discovering new musicians.  A few seconds into XY&O’s latest track, I’m Not Right, will blow the cobwebs away and stay in the mind.  The boys are busy and launching their E.P.:  they have released a track from it every three months; I’m Not Right is the (fourth and) final one.  Looked after by Rachel White of Brick' (someone I have relied on to push terrific music my way) they are in very safe hands.  Not only is XY&O’s music stunning and addictive:  their social media pages and official website is slick and informative.  Too many artists rock up and hope their music will say all it needs to.  They negate the importance of promotion and having an effective campaign.  Supported by a tremendous P.R. company:  the Cardiff trio is making sure they keep their social media clan up-to-date and in-the-loop.  Everything about the three-piece impresses me- from the ground up; they work tirelessly and with a huge commitment.  It is, of course, the music that is the most important asset.  Luckily, XY&O are among the most promising musicians the U.K. has right now.  You would be hard-pressed to find a band that is so instant and assured.  Whether you call them ‘Hazy Pop’ or ‘Electro.-Pop’:  the music they summon gets in the brain and stubbornly refuses to budge.

XY&O are a pretty fresh name out of the box.  That means- and as I do at this stage in a review- comparing their work quite a challenge.  What the band has done is release a new track every three months:  over the past year; Shimmer + Shade has been carefully deployed to the public.  With each song; you see a new side to the band.  Whilst it is hard to look at evolution and changes- whether the new work differs from the old- I can see an overall quality and consistency.  Low Tide has a Pop sensibility to it.  An engaging and determined vocal performance:  it is backed by a busy, upbeat and pulsating composition.  A song you can easily sing along to:  it is one to get the festival crowds united and in full voice.  Lights On plays along the same lines:  another rich and swelling song that has such immediacy and heady rush.  Perhaps the finest track from the E.P.:  its lyrics are among the most thought-provoking and memorable the boys have created.  Fahrenheit keeps their solid sound intact.  All the key components are there and firm.  Pressing beats and summertime vibes are supported with an electrifying and sky-reaching vocal.  Your mind is transported to a beach or warmer climate.  The trio is endlessly uplifted and optimistic in every note.  Throughout Shimmer + Shade you see an impressive consistency and immense talent.  Each song balances personality and diversity.  There is a solidified and assured XY&O flex:  a muscular and confident core that makes everything sound utterly essential.  That in mind (XY&O) keeps the music original and fresh.  Each track has a new skin and different story to tell.

I’m Not Right is the latest cut from an extraordinary E.P.  The leading track:  it gets Shimmer + Shade off to a magnificent start.  If you have not followed the boys’ progression- and the other three singles’ release- then this might be your first taster.  Logically, I’m Not Right should be your first port-of-call- chronologically it makes sense- and for me, it is their best track.  The fizzing, busy electronics have a great mix of ‘80s Electronic music and modern-day artists like Empire of the Sun.  Mixed in is the sound of Penarth coast- the sea crashing down combines superbly with the bouncy, juvenile electronics.  Perhaps not quite as sunny and optimistic as other tracks:  the guys have created something a little moodier and direct.  Whilst Shimmer + Shade has sunshine and delight:  I’m Not Right is a more bold and daring effort.  Tudor Davies (programming) ensures (the song) has a mix of retrospective charm and of-the-moment urgency.  Even before a note has been sung; you are engaged, ready and hopeful.  Unabashed piano chords strike through the composition:  the song’s layers build and build into something entrancing and smile-inducing.  With intrigue rising exponentially, our hero comes to the microphone.  It seems like a rather perlocutionary relationship is being attested:  one that has its meaning but no depth or long-term promise.  In dogmatic mood; our lead asks what is demanded (of him).  The two lovers are going through the motions and seem like they are treading water.  Skip Curtis wrote the song with very clear ideas in mind.  I’m Not Right is about walking away from a bad situation:  being honest enough to get away and just break the tie.  Maybe my initial assessment- the meaningless love bond- is a little obvious and hurried.  In essence; our man is fessing-up and mature enough to see the signs.  Maybe love is at the heart- a girl that is clinging on for no reason- but there is a wider meaning to the track.  Running away from turbulence and uncertainty:  it seems like there are other factors at play.  As you interpret the track- and picture the lyrics as they unfold- you cannot help be drawn to the effusive and swaggering composition.  While not as joyful and overly-optimistic as previous numbers; there is enough spark and positivity to ensure every listener is hooked and giddy.  The intertwining vocal and guitar melodies are at their peak during the chorus:  an indelible and straight-to-the-head coda that will translate into the live arena.  In fact, and one reason why the song came to light, was the positive reaction it got from fans.

Initially, the song was going to be scrapped- or reduced to B-side anonymity- but got such a warm reception.  It is small wonder really:  the song is endlessly energised and determined; the lyrics can be understood and relate to everyone.  Even when experimenting and trying something moody:  the trio cannot help but create something shimmering, gleaming and utilitarian.  When the chorus relents- and the composition fades down- the hero is dusting the ground; trying to find pieces “I can’t see”.  Caught in stupid fights and conflict; there is exasperation and guilt.  What exactly are (they) fighting for?  Whether caught in a battle with a lover; sparring against friends and contemporaries- he has reached his tether.  Few bands would present such themes- running from love- with an intelligent and nimble pen.  Aphrodite is mentioned- no need to evoke another deity- and there is a real originality to the words.  Blending the oblique with the literal:  it provides a nice balance and a real depth; a great nuance is evoked from something that, on paper, could be plain and forgettable.  Imploring the girl to go “with somebody else”:  you start to elicit a little sympathy and condolence (with the heroine).  Although there are squabbles and a natural plateau; she is never made out to be a monster of a reviled figure.  It seems like the two are on different pages and there needs to be common clarity.  It is rare to find songs- that deal with love- with such directness, honesty and uniqueness.  Most love songs are either heartbroken and sorrowful- the majority that is doe-eyed and teary- or accusatory and bitter- where one party is blamed and has caused immeasurable damage.  Here, there is no regret and real accusatory spirit:  just one man walking away from something bad and toxic- without resorting to name-calling and anger.  XY&O keep the song’s spirit big, bold and brash from first to last.  The beats tumble whilst the guitar and percussion glide over the atmosphere.  It is perhaps the lead vocals that evoke the biggest reaction.  Committed and emotive; they have immense power, emotion and spark.  It is hard to compare Skip Taylor’s tones with anyone else:  a rare confession in modern music.  By the closing moments, the song’s energy and pressing spirit never relents and relaxes.  It is a shame I’m Not Right almost become confined to the bin:  it would be a tragedy were it to be discarded and never see the light.  What you get is an exceptional moment from a group that has endless promise.  There are a few like-minded acts that have a similar sound; none has quite the same effect and aftertaste as XY&O.

I know the guys of XY&O have a busy touring schedule over the coming weeks.  I also know how proud they are of Shimmer + Shade.  Drake has supported their music- random but true- so their magic is not just confined to Cardiff.  Far from it in fact.  With each new track release, the boys are gaining new ground and armies of support.  Across media and social media:  the trio is staking their claim as one of the big names to watch.  Their first-released track, Low Tide, has been streamed millions of time and really got the ball rolling.  From there, they have gone from strength-to-strength.  I’m Not Right is filled with honesty, directness and cutting the cord.  We have all been in the situation of going through the motions:  stuck in a relationship of convenience rather than purpose.  Opening Shimmer + Shade with a bang:  it is one of the finest tracks the trio has created.  I am not sure whether they will be coming to London soon:  there are loads of venues and faces that would love to see them here.  It cannot be long before the guys are touring internationally and have some U.S. dates under their belt.  With Drake’s support- and fans around the globe- XY&O should prepare themselves for a very busy and colourful future.  There are too many artists that are too immersed and wrapped up in something rather sorrowful.  It is important to connect with listeners through emotion and honesty:  that does not mean you need to compromise energy and passion.  I have grown weary of musicians that are dolorous and gloom-stricken.  If we want to inspire the upcoming generation of musicians; there need to be some changes made.  XY&O have the right idea and are a template we could all learn from.  Their lyrics touch on everyday concerns and experiences.  Whether trapped in a loveless bond; experiencing what life can offer:  they tap into something familiar and tangible.  Capable of emoting and baring their souls:  they do this and keep the music light, breezy and engaging.  Were they to employ acoustic guitars and turn the smiles upside down:  would they have the same support and huge fan-base?  I seriously doubt it.  What strikes you about the guys- and what more acts need to realise- is that the public demands something uplifting, positive and hopeful.  Sure, the band mixes in darker shades and moonlit reflection:  ensuring they are multi-dimensional and deep.  I opened by looking at some great acts on the scene; the importance of focusing our attentions away from London.  Music will only progress and grow when we become less stringent.

The mainstream media need to get their head from the big cities and broaden their horizons.  It would be tragic if I missed out on XY&O.  Were it not for Brick' and Rachel White:  perhaps I would have never discovered them.  Cardiff might not be your first choice- for the best music has to offer- but you would be pleasantly surprised.  There are some great bands playing around Wales in 2016.  Whatever your tastes and preferences, you are catered for.  Perhaps not on the same level as London- that can change in time- that is not to say we should be ignorant and snobbish.  Over the last few months, I have had my mind opened and widened- looking away from the likes of London and L.A.  Perhaps I am losing focus and letting my anger get the better of me.  XY&O are embarking on a lucrative and scintillating career.  A trio that grows more assured and strong with each release:  I’m Not Right is another evolution step from one of this country’s biggest names.  In years to come, I can see the guys playing the biggest festivals this country has.  Right now, they are keeping their feet planted and seeing how Shimmer + Shade fares.  The terrific promotional material- their press release is very professional and sleek- is matched by compelling and informative social media pages.  Here is a band that takes music very seriously and knows what it takes to succeed.  The casual listener has quite a task on their hand- when they want to discover bands that will go the distance.  There are so many choices out there:  from Soul solo artists to Folk duos; Punk trios and Alternative bands.  I see so many artists that look promising- and seem like they can go the whole way- only to splutter and dissolve soon after.  While it is impossible to predict the future; I am confident XY&O have plenty more years in them.  Their music mixes in Pop and Electro. sounds inside lyrics that speak to us all.  Whether they have plans for an album this year- or will concentrate in touring and E.P. promotion- it will fascinating to see.  Take some time out your day and let I’m Not Right put a smile on your face:  it is a song that will make you think deeply (about your own life) and may just compel you to put pen to paper.  After that; investigate Shimmer + Shade and let its beauty and panache get inside the soul.  Let’s face it:  if they’re good enough for Drake then…

THEY’RE good enough for everyone.

[soundcloud url="https://api.soundcloud.com/tracks/256930709" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

_________________________________________________________

Follow XY&O

 

Official:

http://www.xyando.com/

Facebook:

https://www.facebook.com/xyando

Twitter:

https://twitter.com/XYandOmusic

_________________________________________

Music

https://soundcloud.com/xyando

INTERVIEW: Anthony Winkley of Defeat the Band

INTERVIEW:

 

 

Anthony Winkley of Defeat the Band

_________________________

MY second interview of the day sees me chat with…

the lead of Arizona-based, Defeat the Band.  Anthony Winkley established the band in 2014:  since then, there have been line-up changes.  Right now, the group is at their most solid and ambitious.  It seems like the ranks are bonded and the trio is looking to the future.  Their blend of Punk-cum-Pop has seen them seduce the local audiences.  The video for Love and How It Got That Way has been unveiled:  it seems like this year will be a big one for the Tuscon band.  With their fan-base under-developed in the U.K.:  I was eager to chat with Winkley and see if they (Defeat the Band) has plans to come our way.

Filled with bonhomie and determination- cigarettes and alcohol, perhaps? - the front-man chats about the music scene in Arizona; what inspires the creative process- the reaction to the rise-and-rise of the political tyrant, Donald Trump…

_________________________

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

I've been good! We are full steam ahead around here lately, so I have been going non-stop. We've had 5 shows this month!

You are the lead of Defeat the Band.  How did you guys all get together?

Well, back in 2014, I started Defeat’ on a whim, sort of.  I never really knew if I was gonna (sic.) to pursue it this far, haha.  At first, it was just me on an acoustic guitar:  the first addition was my friend Zack Riter. He was my first drummer and shortly after my other friend, Librado Valezuela, joined on bass.  They were a solid team but after several shows (and some time) they both left- for different reasons mind you; but I was alone again.  Then, just by chance, I met my current drummer James Ringstrom and he offered to just fill in for a while... well over a year later he’s still here and fully vested, haha!

Then we had Michael join.  Michael Story is an amazing bassist and person.  He had a short life in this band but we send love to him in whatever he has found his way into.  Our good friend Luis Rodriguez is filling in for us right now.  Most exciting!  We have just added a lead guitar to our line-up and I won’t announce it just yet- but it sounds so amazing; look out world!  Our next album is gonna blow your head off!  Haha!

Defeat the Band play out of Arizona.  What is the music scene like there?  How does it compare to areas like L.A. and New York, for instance?

The scene here is interesting.  There's a scene in Phoenix that reflects a micro-Denver or L.A. - with several large stadium-type venues and lots of smaller venues and bars and such.  So, there's a diverse crowd of bands playing on any given night.  Tucson is a little bit more interesting, L.O.L.

There’s a thriving Metal scene here:  like, maybe 65% of live music here is Metal; not a bad thing if you like it, haha.  Then there's a small- but solid- Hip-Hop scene here that tends to do underground shows and things like that.  So then, the final large scene here is the ‘Indie-Hipster-Jam-Rock movement’.  Hahaha.  Here, in Tucson, there is a large number of bands that have a groove and coolness about their sound- that is hard to put into words.  Basically... a lot of chill Rock music you can do drugs and f*** to, haha!

This year has been a busy one for you and the group.  Which memories (from this year) have stood out particularly?

Well, we put out our first video this year for our song Love and How It Got That Way.  We are already working on our second!  It was a lot of fun and it was really cool to see the music take to another media. It’s up on YouTube (when it comes out).  We also just this week opened up for The Bastard Suns:  an amazing Reggae-Punk group that we really hope to do more with soon.  This year has been fun so far, haha!

Can you tell us about the new video?

It was so fun. Our good buddy Taylor- from another local band called Thomas Rex- helped us film it.  We spent the day basically getting super-high and driving around doing fun stuff, L.O.L.  Again, everyone please like, share and subscribe (to that) video!  We need it, haha!

[youtube https://www.youtube.com/watch?v=ktE_a9fKOwE&w=560&h=315]

As a musician, how important is social media to you?

Very!  Ha, if you couldn’t tell already.  I am the manager of the band basically; even though I would never call myself that, haha.  But, I’m the one that usually plans out our P.R. campaigns and things like that.  We try to maintain a presence on the major players but we also try to not force it on people.  Just sort-a plant the seed and see what happens.  I hope it’ll keep growing like it has been!

Given what’s happening in America- Donald Trump making his ‘mark’ on politics- how do you, as a musician, feel about it?  Does it inspire your music at all?

Oh man.  I am so conflicted as a human on this issue, ha!  I feel like Bernie:  although he has the best ideas and gets my vote he also has a lot of flaws with his plans (that he doesn't talk about).  Trump?  L.O.L.  I honestly can’t believe it’s gotten this far.  I mean, the guy was a reality T.V. star and now he’s a stone’s throw from The White House.  It’s fu***** crazy.  No other word for it.  Then you have Hillary on the side- hiding emails and ignoring Benghazi and whatnot.  Its insanity and I think America is in for one hell of a ride, no matter which direction it goes.  It’s become clear that stupidity levels on both sides are pretty high- as more and more protesters assault one another and try to actively disrupt rallies  It’s all madness!

Then you have Hillary on the side- hiding emails and ignoring Benghazi and whatnot.  It's insanity and I think America is in for one hell of a ride- no matter which direction it goes.  It’s become clear that stupidity levels on both sides are pretty high- as more and more protesters assault one another and try to actively disrupt rallies  It’s all madness!

When it comes to writing a Defeat the Band song:  what themes/subjects inspire you particularly?

Well... in short?  Women.  Haha.  In depth:  I’d say all aspects of life.  Struggles with self-worth and image. The faceless demons that we all have- at least, I hope we all have them, haha!  Honestly, just about living and the convictions you choose to keep.

Which bands and artists have been influential when it comes to moulding your sound?

HUGE Brand New fan. Deja Entendu has some very (very) intense memories (attached to it) for me.  I was a big fan of Say Anything’s first and second albums when I was young- and Taking Back Sunday’s first and second.  I feel like they touched on a style that they quickly migrated away from; to find something new for themselves and that is awesome.  But I wanna migrate back there because I feel like that weird genre of music has more to say, haha.  I know those songs changed me as a teenager and I feel like I am constantly trying to write songs for that kid.  Boy… this is a weird level of exposition of myself, haha!

Say you were deserted on an island; you can take only one record with you:  which one would it be?

If I’m there for less than one year:  The Front Bottoms- Back on Top.   If I’m there less than 5 years:  Action Bronson-Blue Chips Mixtape.  If I’m there for LIFE:  Pink Floyd- Wish You Were Here

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

Lose weight.  I’m trying to do it now and it’s (like) so much harder.  Seriously, everyone should take care of themselves, haha!  It’s not worth it otherwise!

Are there any up-and-coming acts- either locally or internationally- you would recommend to us?

Always my boys here in Tucson; Thomas Rex.  Internationally, I’d have to say Pup (from Canada).  I would love to tour with them!

[soundcloud url="https://api.soundcloud.com/tracks/238101716" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Does Defeat the Band have any plans to play the U.K. this year?

If we can get enough fans over there, sure!  If any bands or promoters read this and are interested in putting something together; please contact us!

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

Play more!  Seriously:  everyone needs to play more; they want to be famous (or think they're famous-less). I have always felt a need to connect with people through music so that's why I write so many songs.  For every one good Defeat’ song I might write ten not-so-good ones.  But the magic is in knowing what’s really good- and not being worried about throwing songs away; you can just make more!  Literal magic

Looking ahead to the rest of the year:  any plans for an album or E.P.?

Yes!  Now that we have a full lineup we are excited to announce our first single off our upcoming album- It’s Only Permanent- will be out sometime in the next few months!  We hope to have that single out in July (sometime) and then, if we can, put out a full-blown studio album this December.

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

Well, if you're meaning one of my own?  I guess Ghostheart off our album Something Unheard Of.  If not one of my own:  Action Bronson and Blue Chips.

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

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INTERVIEW: The Blue Lenas

INTERVIEW:

 

The Blue Lenas

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SOME of my finest ‘band discoveries’ have been artists who play out of Glasgow.

I am not sure what it is about the city- each act will have their own view- that makes Glasgow sound so utterly compelling and different.  Whilst I try and answer that (perhaps, impossible) question, I've been catching up with The Blue Lenas.  One of the finest bands playing out the city:  their new E.P., False Idols, is out and winning over a lot of new fans.  Jamies, Scott and Jordan- our intrepid three-piece- set aside some time to chat about music.  I was keen to learn about their influences and idols; the plans for the year ahead- how the band came together.  The boys were only too happy to comply…

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Hi, guys.  How has your week been?  Get up to much?

(Jamie) Me, personally?  Nothing super-exciting.  Mainly exploring different styles of music at home and learning how to use a synthesiser!

(Jordan) I've just been cuttin' about, going to some gigs; listening to some good music!

(Scott) A night out in Camden- which is always great.  Came back up the road yesterday.  Now, just enjoying the Glasgow weather which is bang on form at the moment...

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

(Jamie) We are a band based in Glasgow, who enjoy playing , writing and recording our music .  We are called The Blue Lenas.

You are all from the Glasgow area.  How did you chaps get together?

(Jamie) We all knew each other one way or another.  Scott, I knew through music and he came from the same area as me.  I went to college with Jordan for 2 years and have played (in bands previous) with Jordan.

(Scott) Jamie & I used to play as solo artists.  We were playing the same pubs & clubs and realised we shared a common vision for our music.  I met Jordan through Jamie and the three of us just clicked as soon as we got into the studio together.

There are a lot of great bands coming out of Glasgow.  What is- about the city- that leads to so much great music?

(Jamie) It has a special vibe about it.  Depending on where you go , there are lots of pubs like The Priory on Sauchiehall Street which attracts cool people who are musically-orientated- which is often a trigger to meet new people who have a similar mind-set to enjoy each other’s music.

(Scott) I think there are a lot of bands and artists in Glasgow who write about what they know and they aren't afraid to tell it like it is.  People can relate to the songs.

Wake Up- a track available on the band’s SoundCloud- caught my ear recently.  What was the inspiration behind that song?

(Jamie) We like to infuse different styles, tempo and rhythm change into our songs:  this was a fair example of this.  Scott will be able to expand on this a bit more as he wrote the core of this song, along with the words...

(Scott) I wrote the basis of the song just before the band got together.  Not sure what I was listening to at the time, if I'm honest, so no idea where the tempo-shift came from.  It was probably made up of two half-finished songs that I had- and was in one of my experimental moods!  When I showed it to the other guys, and we worked on the track, it just all fell into place.  The lyrics are about letting fear get in the way of hope & then regretting what could have been.  Deep...

[soundcloud url="https://api.soundcloud.com/tracks/210434677" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

False Idols is your new E.P.  Can you tell us about the writing/sound of the E.P.?

(Jamie) We hope it captures an exploration into different styles of music; nice chords and melodies- interesting use of instrument placement and song structure considering we are currently a three-piece.  An example is on the track, Porta Bella:  I subconsciously infused a Latin feel on the chorus; in contrast to the verse which is a very dark and minor feel.  We have enjoyed the challenge of performing and recording as a three-piece as often it forces us to be more creative because you have fewer elements to work with.  I personally feel the best songs are when one of us write the core of the track (on our own) and then bring it to the band to add each person’s influence into it.

(Scott) We all have such eclectic tastes in music.  The first E.P. was a bit more Rock/Blues-orientated but we kind of allowed other influences to take over on this one.  To me, it sounds a lot more colourful than the first.

One track from that album (Porta Bella) has a great ‘60s Power-Pop/Merseybeat vibe.  The vocals are really arresting and the band seems at their peak.  You guys sound like you are having an awesome time in the studio.  What are the reasons (do you think) behind this?

(Jamie) It is a fun track to play, and considering we recorded everything live, the feeling and vibe of the band is captured in this recording.  The day as a whole was just generally good fun:  we had a good laugh and came up with some really cool ideas on the spot (for some of the songs).

(Scott) It's a definite live favourite for me, personally.  The chorus has great energy & is really catchy.

[youtube https://www.youtube.com/watch?v=r1WbcjdXV-4&w=560&h=315]

The band has some ‘diverse’ influences- from Funkadelic to Muddy Walters.  What music/albums were you listening to growing up?

(Jamie) With the greatest respect- considering I have a lot of growing up to do- I find myself listening to artists like Miles Davis, Funkadelic; The (Rolling) Stones, The Beatles; Led Zeppelin, Robert Johnson.  More recently:  Tame Impala, the Allah-Las.  Very recently, I have come across a band originally from Japan called Bo Ningen who is very experimental.

(Scott) The first album I ever got into was A Hard Days' Night by The Beatles.  There's a home video in my parents' house of me singing “Whoa, oh, I...” at the age of two, which is hilarious.  Aside from that, and purposely omitting the embarrassing ones, I was a big fan of Metal and Hip-Hop in my teens.  Bands like Megadeth really made me want to be a better musician & they had something meaningful to say in their lyrics.

A lot of modern bands have samey influences- sounding quite idea-less.  Do you think it is important to be varied and original in today’s market?

(Jamie) I don't think it'll make any difference whether you are original or not.  I think the main problem- in the current climate- is the general public does not appreciate good art anymore; therefore, good artists don't sell art and it cripples their chance of having a career.  Also, it is a combination of other things like local promoters ripping off young upcoming bands.  For example, platforms like Spotify and iTunes giving the artist a pathetic financial cut from their hard work.  Sure, it's nice to see a band that has something really special and creative.

(Scott) I feel it's more important to stick to your guns and create the music that you want to make.  If you're really into what you're doing, people get that vibe from you.  If you're writing music to please other people, an audience can tell a mile away.

 

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

(Jamie) A band from Edinburgh called The Jackals; The Blue Lenas, Bo Ningen; Allah –Las.  Also, a band called LYLO who I really enjoyed.  Melody's Echo Chamber from the south of France.  The first album is amazing and she's recording the follow-up at the moment.  I'm also a big fan of what Bo Ningen are doing.  We got to hang out with them the other night which was great.

In terms of your inspiration:  what subjects and themes drive the music of The Blue Lenas?

(Jamie) I would say that musical freedom pushes the band forward!  We don't have to worry about sounding a certain way; if it sounds cool and interesting then we will try it.

(Scott) Our music is a big melting pot of our influences.  We write purely to amuse ourselves but as the influences cover such a big spectrum; I think most people might hear something they like.

As a group- or one member can answer- which five albums would you, on a personal level, are the most important?

(Jamie) The most influential album for me personally is Exile on Main Street by the Rolling Stones

(Scott) Revolver by The Beatles.  The sonic textures they managed to create way back in the mid-‘60s is unbelievable.  There's an album called Spilt Milk by Jellyfish that's as close to perfection (in a record) you're going to get- and had a huge influence on my song-writing.  More recent albums- including Sun Structures by Temples and Lonerism by Tame Impala- were recorded at home which really changed my perception of how an album can be recorded.  Moondog's self-titled album was made using instruments he had crafted himself which I think is really cool too.

(Jordan) I'd have to say Led Zeppelin I is the album I find most inspirational.  All their other albums are amazing!  But that one stands out most for me!  The band has been performing a lot of gigs over the last few months (Glasgow mainly).

Which gigs stand out as being particularly memorable?

(Jamie) 13th Note after we played on STV during the day:  we were really in the groove and improvising a lot on stage which is great.

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

(Jamie) Yes; do it yourself.  Create your own scene.

(Scott) Make music to please yourself.  Don't pay-to-play.

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

(Jamie) Me, personally?  Wow, hard one.  #9 Dream by John Lennon.  It's just the finest melody ever.

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

 Photo Credit: Pat McGuire/PMG Photog

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The Classics Series: Jeff Buckley- Grace

The Classics Series:

 

 

Jeff Buckley- Grace

 

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YOU might not think an album released in 1994 could genuinely count…

as a ‘classic’.  That is where you’d be (sort of) wrong.  You cannot overstate what effect Jeff Buckley’s debut (and only) studio album had upon the world.  In today’s music scene, the heavenly falsetto-laden troubadours are something of a familiar quality.  Back in the early-‘90s, few had seen the likes of Jeff Buckley.  Born on 17^th November, 1966, Scott Moorhead (Jeff’s real name) was born in Anaheim, California.  The son of legendary Folk musician Tim Buckley:  the young artist’s formative years saw him move from town to town.  Buckley would go on to say- in subsequent interviews- how he was a nomad in his childhood- various cities and towns would be ‘home’ for him.  A “rootless trailer-trash” existence- Buckley’s actual words- his step-father, Ron Moorhead, would stabilise and guide the young Buckley.  Whilst relocating around Orange County; Buckley and his mother (Mary Guibert) would often harmonise together- she was a classically trained pianist and cellist- and perform around the piano.  Moorhead would open his step-son’s eyes to legendary bands of the time:  Led Zeppelin, Pink Floyd and The Who were played in rotation.  Given the atmosphere and influence in his home-life:  it is hardly a shock Buckley would foster a deep love for music.  Perhaps a way to block out the stress and uncertainty of his upbringing:  Buckley would pick up a guitar aged 5 and never look back.  Bonding with the instrument- and starting to mould that extraordinary voice- it seemed like the future was clear.

During his teenage years; Buckley was bought his first electric guitar (at age 13) and went on to attend music school in Hollywood- a “complete waste of time” was how he ascribed the experience.  Over the coming years, Buckley performed with a number of (struggling) bands- often playing guitar and reducing his vocal part to backing-only.  In February 1990, the young musician moved to New York to chase opportunity and exposure.  Upon arrival, Buckley struggled to find work and chances to perform.  A little disenchanted, he returned to L.A.  Later that year, Buckley began recording demo. songs- including early versions of Eternal Life and Last Goodbye (under its original title, Unforgiven) - and honing his craft.  On April 26^th, 1991, Buckley performed at a memorial concert, Greetings from Tim Buckley:  held at St. Ann’s Church in Brooklyn; Buckley would perform a number of Tim Buckley songs.  The performance drew a huge reaction- few had seen the young master perform- and many questioned his motives.  Buckley explained how he regretted not attending his father’s funeral:  this was a way of showing respect and paying tribute.  Following that; Buckley would travel to New York and perform with Gary Lucas (Gods and Monsters) and the duo would write together- Grace and Mojo Pin were written around this time.  Just as Gods and Monsters were offered a record deal- and a chance to launch their career- Buckley decided to leave the band.  Moving to the Lower East Side at the end of 1991:  this was to be Buckley’s home for the next few years; a natural atmosphere for someone keen to perform to a variety of audiences.

Buckley began performing around Lower Manhattan throughout 1992:  Sin-é would offer a regular Monday night slot to the young singer.  April 1992 was possibly the most important month (to that date) of Buckley’s career:  the first time he performed at Sin-é.  The audiences that attended- the very small, charming coffee-house- could not imagine what they were about to witness.  Demonstrating an extraordinary range of influences:  Buckley would cover the likes of Bad Brains and Nina Simone; The Smiths and Led Zeppelin; Leonard Cohen and Bob Dylan- dozens more name to boot.  Playing on a borrowed Fender Telecaster:  the audiences would grow and the attention was starting to rise.  By the summer (1992), queues were forming around the bloc.  Limos were parked in the street- record company executives keen to examine the young master- and big things were about to happen.  Buckley learned to play onstage based on these intimate gigs.  It was in October that Buckley signed to Columbia Records:  a three-album deal was struck.

   Between late-October, 1992 and mid-1993, Buckley would continue to play at Sin-é:  he would release a 4-track E.P. in November 1993- including a majestic cover of Van Morrison’s, The Way Young Lovers Do.  The stage was set and the dream was starting to be realised.  With little (early) interference from the record label:  Buckley was free to assemble a band and record how/where he wanted.  Andy Wallace was selected as producer:  Mick Grøndahl (bass) and Matt Johnson (drum) were chosen and the quartet would encase themselves in the climate of Bearsville Studios.  Located in Woodstock, New York; it was a perfect environment to get music made.  Free from the distractions of the city- the studio was located in woodland; miles from the centre of New York- it gave the boys an opportunity to focus and get material laid down.  Recording was productive and saw Buckley unite with former bandmate Gary Lucas- he would play guitar/co-write Grace and Mojo Pin.  Between January and March 1994, Buckley left the studio to perform a mini-tour of Live at Sin-é.  Performing across North America and Europe:  it was a chance for Buckley to play café/coffee house audiences; clubs and in-store gigs.  When returned, he would link with guitarist Michael Tighe- who would join the band and become part of the fold.  By June 1994, Buckley took the band on the Peyote Radio Theatre Tour.  Early audience members included Chrissie Hynde (The Pretenders), Chris Cornell (Soundgarden) and The Edge (U2).

[youtube https://www.youtube.com/watch?v=xxjBHKNSM38&w=560&h=315]

Upon Grace’s release, the reaction was someone mixed.  Critics and contemporaries heaped praise upon the L.P.  Bob Dylan- an idol of Buckley’s- would call (Buckley) one of the great songwriters of the ‘90s.  Robert Plant and Jimmy Page were complimentary, too- the latter considered Grace one of the most-treasured albums of the decade.  Despite the praise received:  Grace would struggle with regards sales figures.  Critics and musicians loved the album but perhaps it was released at a bad time.  During 1994, Grunge was seeing its forefather, Kurt Cobain, depart the world.  Bands like Soundgarden and Pearl Jam were coming through:  taking the baton over and keeping Nirvana’s memory alive.  Grace seemed (in 1994) like a strange, outcast album when it arrived.  The romantic, sweeping songs seemed at-odds with the popular demands at the time.  Of course, Grace would go on to record incredible sales- after gaining retrospective acclaim- but it would always struggle to amass the sales figures desired by record company executives.

In spite of the so-so chart performance; Grace’s songs had a huge effect on the public.  The title track- my favourite Buckley track- showed what a force of nature Jeff Buckley was.  Lyrics of living for the moment- grabbing romance and passion whilst we’re still here- were backed by an extraordinary, powerhouse vocals.  From whispering, seductive coos:  Buckley’s voice reached impossible heights towards the final moments.  I have tried to perform the song and find it a real struggle.  You can track for the first few minutes but then start to struggle.  I wonder how Buckley managed what he did on that song:  the lung power and technical ability just blow my mind.  One of the most potent and stunning moments across the album; it remains a wonderful demonstration of what Buckley was capable of.  Last Goodbye is one of the most-played Grace songs.  Hardly a surprise when you consider the performance and lyrics.  An underrated songwriter- hardly talked about in the same terms as the greats- sadness, longing and desire lingered; the young musician laid his heart out and exposed his soul.  So Real- often considered one of the weaker songs on the album- was written with Michael Tighe.  Originally Forget Her was to be included on Grace (it would appear on the Legacy version of the album) but Buckley grew to hate it.  It is a strange assessment considering how popular the song is among fans.  Perhaps a little too saccharine in places; maybe a little bit personal- that song was nixed and discarded to the annals.  Looking for inspiration; Tighe would provide the spark (composition) for Buckley.  Walking around the studio- trying to find the words- he would return to the studio in excitement.  Recorded fairly quickly- in maybe a couple of takes- the song is one of Grace’s heavier tracks.  Eternal Life suffered the same sort of review and consideration.  Another Rock-inspired number; it received some tepidness from critics at the time.  Not quite a balls-against-the-walls jam; not as tender and reflective as it could be- it sat uncomfortably in the middle of the spectrum.  If you listen to alternative recordings- the soft, beautiful Live at Sin-é cut; the hard-hitting, rampant, Live at Chicago version- the song was given more appropriate consideration.  On Grace; Eternal Life seems a little a little out-of-sorts.  That said, it showed Buckley’s flair for lyrics and politics:  it was one of the angriest tracks he had recorded at that point.

Dream Brother is one of the earliest songs- and one the first the band wrote together- that has been interpreted in a number of ways.  If you look at the lyrics closely- “Don’t be like the one who left his name behind”- you would think of Tim Buckley.  Waiting for someone who “never came”:  many were keen to link the song to the late Buckley.  If you look more carefully, it is a rather optimistic reach.  Buckley (Jeff) himself refused claims:  it was not about his father but concerning someone he knew- who had lied and not been loyal to their true nature.  A fascinating and accomplished work from Buckley (and the band) it would end Grace on a huge high.  Lover, You Should’ve Come Over documents the breakup of Buckley and his then-girlfriend, Rebecca Moore.  Despondent and confused; it sees our hero struggle to deal with the changing situation and reality of the break-up.  It was hardly a surprise Grace would feature a selection of cover versions.  Given Buckley’s authoritative nature- and the ability to make a song his own- Lilac Wine, Hallelujah and Corpus Christi Carol made their way onto the record.  Lilac Wine was written by James Shelton in 1950 and recorded by the likes of Nina Simone and Elkie Brooks.  Buckley’s version remains one of the finest and most distinct.  Perhaps inspired by Simone’s take- many thought Brooks’ take was the most influential- it breathed new life and beauty into the song.  Corpus Christi Carol- Buckley and his electric guitar played softly- is one of the most beautiful recordings I have ever heard.  Encouraged by Andy Wallace- who urged Buckley to include it; Buckley dedicated it to a friend- it is an astonishing reading.  You would not expect a modern-day singer to cover such a song:  upon hearing it; it sounds ready-made for Buckley’s angelic, divine falsetto.  Those well-covered songs pale into insignificance when lined-up against Hallelujah.

[youtube https://www.youtube.com/watch?v=WIF4_Sm-rgQ&w=420&h=315]

Performed during his Sin-é days:  Hallelujah is what many of us associate with Jeff Buckley.  Arguably Grace’s highlight- many have argued it is Buckley’s finest performance- you cannot overlook the sheer transcendence of Buckley’s delivery.  Leonard Cohen wrote the song for his Various Positions album (released in 1984).  It was not Cohen’s- rather forgettable and flat version- that motivated Buckley’s rendition- John Cale was the catalyst.  Inspired by Cale’s beautiful version- much closer to Buckley’s version than Cohen’s- a magical moment in music was cemented.  Cohen spent years trying to get Hallelujah just-so:  over 80 versions were written before the final lyrics were honed.  Buckley- with a similar, perfectionist drive- attempted a number of different takes.  Ranging from manly and deep; angrier and more direct- the final version was not recorded in a single take.  Andy Wallace- keen for a final version; worrying one would never come- mixed a couple of different takes to produce the finished version.  Upon reflection, Buckley was disappointed with his performance:  feeling it could be more masculine and raw.  Jeff Buckley’s seminal version of Hallelujah would stagger critics at the time.  It is hard to describe the performance and put it into words.  Celebrating the “hallelujah of the orgasm”- how Buckley approached the song- you get that mix of seduction and transcendence; spiritual reading and harrowing thing.  Few artists- up until that point or since- have performed anything as heart-stopping and peerless.  Many have interpreted Cohen’s lyrics- the stories of Samson and Delilah (from the Book of Judges) - but Buckley’s version takes the song to a new plain.   With just him and electric guitar:  what you get is one of the most beautiful recordings of all-time.  Inspired by Buckley’s seminal performance; hosts of musicians- perhaps hundreds- have put their stamp on the song.  That is one of the most depressing aspects of Hallelujah:  Buckley’s version was the definitive cut; subsequent artists have watered down its essence and it all seems pointless.  Why try to top Buckley’s sublime rendition?  It just can’t be done.  With every rather weak and inane YouTube delivery- talent show nobodies murdering it- it strips beauty and meaning from the song.  Despite the terrible-by-comparison cover versions:  Buckley’s Heaven-sent performance remains the very finest.

In the three years that followed Grace’s release; Buckley would commit himself to a blizzard of tours and live dates.  From Ireland and Japan; the U.S. and Canada:  the band tirelessly took the album across the globe.  On March 1^st, 1996, Matt Johnson would play his last gig.  Tensions arose between Johnson and the band:  Buckley would fire the long-time collaborator and halt touring (until a replacement could be sourced).  There were rumours surrounding Johnson’s departure- tensions in the band; drug abuse- but it left Jeff Buckley with a quandary on his hands.  It was not until February 12^th, 1997 that Buckley would perform (with a band).  In the interim period; Buckley would retreat from the stage and give himself a chance to reflect and relax.  Feeling exhausted by touring commitments; the 30-year-old yearned for the bygone days at Sin-é:  playing to strangers in an intimate venue; that need to reconnect with something he loved deeply.  By 1997, Buckley has already begun writing material for his forthcoming album, My Sweetheart the Drunk.  Recording began in mid-1996 with producer Tom Verlaine.  With Parker Kindred hired as the new drummer:  the newly-reorganised band laid down tracks like Yard of Blonde Girls and Everybody Here Wants You.  Trying out new material across New York; the band would play at Arelene’s Grocery:  one of the first gigs that Parker Kindred would be involved with.  Despite the new line-up and impetus; Buckley felt unsatisfied.  Recording sessions with Verlaine were not going well and in February (1997) Buckley was on the phone to Andy Wallace:  wondering if he could fill-in and oversee recording.  After the band’s third recording session- with Verlaine in Memphis- Buckley stayed put and rented a small house here.  Recording songs on a 4-track recorder:  he sent rough demos. to the band back in New York.  Feeling free and unconstrained- just the artist and his own thoughts- by May, the band was preparing to return to Memphis.

 

On May 29^th, 1997 everything changed.  With the band flying in- to record the newly-written material- Buckley was driving near Wolf River Harbor with his roadie, Keith Foti.  Struggling to find their way- the duo was lost and had driven the same streets a while- they pulled over.  Buckley- in black boots and fully clothed- ran to the water and began paddling on his back.  With stereo and Foti on the shore; Led Zeppelin’s Whole Lotta Love was playing.  Buckley began singing along and the mood was high.  Suddenly, a passing tugboat created a wave that dragged Buckley underwater.  Foti- who has moved the stereo from an oncoming wave- had only turned his back for a moment.  Looking back, and realising Buckley was gone, he looked out at the water.  A search was conducted but all in vain:  Jeff Buckley had died.

Music was changed and lost one of its most promising, extraordinary stars.  It seems like such a senseless and needless death.  Considering Buckley’s impulsiveness and romantic nature:  maybe the circumstances/outcome was not that shocking.  You can quibble with ‘what-if’ scenarios and the like:  the reality and tragedy of that fateful day are being felt today.  As shocked and saddened as people were- and continue to be- Jeff Buckley’s legacy remains.  Grace is that epic masterpiece that signalled what could have been.  You cannot argue how important that 1994 album has been to today’s music.  Thom Yorke saw Buckley play during the recording of Radiohead’s The Bends.  Upon seeing him perform in London, Yorke resumed to the studio and recorded Fake Plastic Trees.  The entire album- and Radiohead’s future career-w as inspired by that performance.  Allowing the music to become more sensitive, tender and emotive:  many more artists felt exactly the same way.

Subsequent releases- compilation albums and cash-ins- cannot distil Jeff Buckley legacy and important.  One of the greatest singers we have ever witnessed:  Grace remains a peerless statement from a young man making his first steps into music.  Matt Johnson recalls fond memories-http://www.popmatters.com/feature/184862-an-artist-capable-of-making-something-magnetic-matt-johnson-on-jeff-/- and the wonderful experience of the album’s recording.  I am a huge admirer of Buckley and he is my all-time music idol:  someone who compelled me to review music and support musicians.  All of us will have some connection with Buckley and his majestic music.  His songs are timeless and reveal new meaning and majesty every time you hear them.  In an age of talent show rejects and fly-by-night Pop stars; will we ever see anyone like Jeff Buckley?   I hope not because it seems (Jeff Buckley) was a once-in-a-lifetime genius.  And for that…

[youtube https://www.youtube.com/watch?v=hXe1jpHPnUs&w=420&h=315]

GRACE should be adored for the rest of time

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TRACKLISTING

Mojo Pin

Grace

Last Goodbye

Lilac Wine

So Real

Hallelujah

Lover, You Should've Come Over

Corpus Christi Carol

Eternal Life

Dream Brother

DOWNLOAD

Grace; Hallelujah; Lover, You Should've Come Over

STANDOUT TRACK

Grace

TRACK REVIEW: Jessica Rotter- Porch Song

TRACK REVIEW:

 

Jessica Rotter

 

 

Porch Song

9.3/10

Porch Song is available at:

https://soundcloud.com/jessicarottermusic/porch-song-1

RELEASED: March 2016

GENRES: Folk

ORIGIN:

Los Angeles, U.S.A.

The album, Plains, can be pre-ordered here:

http://www.pledgemusic.com/projects/jessicarotter

____________________________________

AS I start to scale the solo artists back a bit...

I am excited by my featured artist.  Before I come to her, I wanted to look at production values in music; the possibilities within the Folk genre- with a little about diversification and music success.  When I encountered a new band/solo artist I always find the music is a little too polished.  Artists have that central fear:  if it is not shiny and gleaming (a song) will not get radio play.  When it comes to clarity and decipherability- hearing the lyrics and instruments- it is important to ensure the track is mixed and produced effectively- ensuring the listeners do not miss out on anything.  I understand this consideration.  What I am desperate to hear are more artists that create something real and under-produced.  You do not need to make it live-sounding and completely bare:  just strip some of the gloss and reduce a song to its bare essentials.  Music has the potential to grip and seduce people:  illicit huge emotional reactions and speak to them.  I feel- if you load your song with shine- then it can be harder to hear that rawness and naturalness come through.  It is like someone heavily made-up and cosmetically-altered:  you have less of a person; more of an experimentation.  It may seem like an odd theme to raise- trust me:  I’ve raised weirder- but I long to discover a musician that sounds completely honest and genuine.  I have discovered a lot of bands (over the last few weeks) that have a variety of sounds and ideas.  Every time I witness a track, there is a very professional and glistening impression.  Very slick and seamless:  where is the reality and emotion?  I have been investigating music from the ‘70s and ‘80s:  some of the best bands at the time and some classic albums.  I am not sure whether it is a sign of the modern age:  artists seem to have lost what made music special in the first place.  Whether the intense competition or studio costs- getting the most for your money- has led to this oversite:  music is becoming too polished and over-produced.  It is a general assessment- there are a lot of artists that do not fall into this territory- but definitely something in it.

Before I continue my point, let me introduce Jessica Rotter to you:

“Jessica Rotter is able to transcend creative boundaries and defy what’s expected of a modern female musician. The songstress’ voice has been heard across multiple genres, from movies, TV shows and commercials to backing vocals and collaborations with other artists—all in addition to her original songs. Rotter describes herself as a “musical storyteller” and is just as comfortable using her voice in a major feature film (credits include Pitch Perfect 1 & 2 and Frozen) as she is performing one of her original songs live. Following the success of charting #1 on HypeMachine with her mashup of Stay/Animal with Emily Colombier, Rotter is embarking on her most powerful and ambitious project to date; the full length release of “Plains.” Produced by Cazz Brindis and mixed by Scott M. Smith (Carole King, John Mayer, Katy Perry), the 11 track record is breathtakingly stunning and cinematic. Plains will be released April 22nd nationwide”

Jessica Rotter’s music has that earthiness to it:  you can hear every breath and feel like you are in the room with her.  Were the songs to be fed through the machine- all processed and fake- the music would not have that heart and meaning.  It is impressive to hear someone who brings music back-to-basics and has that consideration.  It is no surprising Rotter has amassed a loyal fan-base:  her followers are among the most dedicated and passionate you will find.  Folk is a genre that has its critics and doubters.  I am someone who treads lightly and cautiously.  Just yesterday, I was reviewing James Edge and the Mindstep and their track, On a Red Horse.  Folk was employed as bedrock:  the On a Red Horse.  Folk was employed as bedrock:  the Five Leaves Left-esque sounds Edge played were the focal point.  Not leaving things at that; the composition employed Psychedelia, Jazz and Alternative strands- the entire composition was improvised by musicians with very little direction.  Some basic strings- violins, viola; double bass and cello- combined with guitar and drum to create something stunning.  Folk was the starting point yet colours and contours were layered:  the results very much speak for themselves.  The danger comes when you get Pure Folk.  What I mean by this is the sound of Nick Drake, Neil Young etc.:  those acts that have inspired many and changed the face of music.  They have come and conquered- and should not try and be topped- but have a very distinct sound.  In addition to being incredible songwriters- you can add Joan Baez and Laura Marling in there- they have their own voice and style.  I feel too many (folk artists) are trying to replicate them.  There are a lot of dull Folk acts out there:  a very tepid voice and gently-strummed guitar; no real flair or originality to be found.  Luckily, Jessica Rotter has enough beauty and diversity in her music to push it beyond boundaries and predictability.  Not only do the slight-produced and tender-hearted songs resonate but the lyrics hit home:  immersive stories that bring the listeners in and paint some rather wonderful pictures.  Rotter has already cemented success and reputation in the music industry.  Not only has she gathered a large fanbase- that keeps rising by the week- but her music has been used on T.V. and film.  The L.A.-based musician will release her 11-track album, Plains, in a few weeks.  It is an album that came about after a (successful) Pledge Music campaign.  The fans and followers showed faith and were keen to get the album financed- signs that Rotter writes music that people NEED to hear.  Folk is getting a lot of criticism- not enough artists pushing boundaries and writing original music- but Rotter is definitely an exception.  I have mixed feelings when it comes to advertising and music:  I hate adverts and avoid them at all costs.  One of the reasons is they are hysterically unfunny and embarrassing:  the music is often overlooked; distilled by the cringe-worthy nature of the presentation.  I am a bit more positive when it comes to film and T.V. music.  The right song on a certain scene can have a profound effect on a human.  In a social media age- where we can often miss great artists- film and T.V. is a platform that allows us to discover some terrific musicians.  Rotter is not in the game for money and fame:  she wants to inspire fellow musicians and push Folk past its stuffy reputation and limitations.  I was going to talk about L.A. artists- but have covered the subject too often- but I have heard few Los Angeles-based Folk acts.  I will follow Rotter closely and ensure I get her album, Plains.  Every song and moment coms from a young woman who adores music and the effect it can have on people.  I hope she comes to the U.K. some time and plays to the crowds here.  I know she will have a lot of support here and will find willing venues.

Plains will show Jessica Rotter in full flight:  the exploitation and representation of her talents and abilities.  If you have been following her- and familiar with her work- you would have heard some of Plains’ songs already.  The album’s 11 tracks were recorded and produced at various times over the last five years.  Not only do the tracks sound completely natural and seamless- whether recorded last year or several years before- but there are so many different sides and sounds.  Rotter does not just stick with a tried-and-tested Folk sound:  she incorporates so many contrasting elements and makes everything sound natural and deeply personal.  I know Rotter wrote Plains’ songs when her life was in a bad place:  she was searching for something and looking for clarity.  Rotter receives emails from fans- saying how much the music means to them- so here is an artist that connects with people and can tap into a very spiritual place.  I can see Rotter growing and developing as an artist.  Even though this is her debut album, it sounds completely solid and professional.  There are no nerves and uncertain tracks:  each song brims with authority and assuredness.  Although her grandfather wrote for the likes of Frank Sinatra and Dean Martin:  the young American is out on her own and proving her merits.  Hooking with Cazz Brindis (producer) and Scott M. Smith (who has worked with Carole King and John Mayer; he mixes Plains) you have a team that brings the best from Rotter.  Emerging from a musical family; it is no wonder you can hear other artists emerge in Jessica Rotter.  ‘60s and ‘70s musicians like The Beatles, The Mamas & the Papas sit with The Beatles and Carole King- musicians that would have been in heavy rotation in her childhood home.  Modern acts like Lykke Li and Bon Iver count as influences:  if you are inclined towards any of these acts; you should seek Rotter out and hear those idols come through.  To be fair, Jessica Rotter is a standalone artist who only sprinkles the faintest suggestion of other acts.  Having had a hard last few years- seeking fulfillment and identity- and experimenting with music:   Plains is the sound of a woman that wants HER voice to come through on record.  Each of the 11 songs shows a new concern and story:  every track will stick in the head and compel you to revisit it.  Porch Song is a track that flowed organically.  The swansong to Plains:  it is a song that has already garnered a lot of heady praise and wonderful reviews.

The opening seconds to Porch Song see Rotter extend her voice and open her lungs.  The gorgeous, call-across-the-oceans declaration is filled with immense power, beauty; spine-tingling grace.  I am not sure what affected the song- and how it was created- but our heroine calls out to a subject.  Whether a friend or former sweetheart; you can hear the dedication and commitment in the song.  Having the chance to “breathe easy”; the song’s lead seems to be in a bad place.  Maybe affected by stresses and the perils of love:  there is that need for a helping hand and support.  Luckily, our heroine is at hand and willing to provide a comforting heart.  At the earlier stages, you are intoxicated by that sensual and breathless vocal.  It is almost an acapella performance:  there is very little backing; the sparse production allows the voice to crack through the clouds and shine brightly.  Backing herself on vocals- you get a multi-tracked effect- you keep guessing and speculating.  The hero/heroine is “dreaming alone” and needing a safety net.  Gentle, carefully strummed acoustic guitar accompany Rotter who provides one of more arresting and captivated vocals to date.  At every stage- when the lyrics are revealed- you start to picture who is being represented.  In a way, Porch Song is a song for everyone:  a universal message that each listener can relate to.  Few artists are as open and supportive as Rotter:  a human who throws her arms open to catch the struggling figure.  Whatever has got in the way- and the song’s lead is fighting against- our heroine has some sage words and consistent support.  Life is not so hard when you “let your head/fall on my shoulder”.

The vocal remains passionate and firm:  never needlessly flying and getting away with itself.  Despite the relaxed and committed delivery, the listener is always hooked and invested.  Rotter showcases a blend of Pop and Country tones; sitting inside Folk and Alternative strands:  it is a complex, rich and luxuriant voice that delivers shivers with every note.  Each new revelation builds clarity and definition.  When our heroine asks (the song’s lead) to rest their heart in hers:  I got thinking relationship issues were being attested.  Maybe the song looks at a relationship that has gone through strains but starting to gain traction.  Perhaps we are looking at a man that has kept things bottled-in and not revealed his feelings.  Whatever your interpretations, you will find a lot of mystery and fascination within Porch Song.  Jessica Rotter knows the truth but I do not want to know it:  I am happy in my assertions and loved delving into the evocative and heartfelt lyrics.  When singing “Free your mind”- layered vocals backed by a raw production- it is like you are hearing the heroine up-close.  The song has such a direct and urgency to it:  every vocalisation comes through the speaker and gets straight inside the head.  Throughout Plains; Rotter explores more upbeat and fast sounds:  here, she is at her most explorative and tender best.  Our struggling fighter- be they a lover or close friend- has their mind tangled and is in a mess.  Rotter is close by and is always keen to be a good friend and confidante.  I know Rotter is inspired by the Earth and the world around us; her songs emerge from broken relationships and finding salvation.  Porch Song is one of the most memorable and stunning creations across her debut L.P.  There are no peripheries and baubles:  just one voice and guitar projecting immense beauty and shiver.  If Folk artists- who play songs similarly have been accused of being dull and limited- I know plenty of examples- the same cannot be said of Rotter.  Her voice sounds like no other and is one of the strongest, most beautiful out there.  After providing comfort and dedication- to her wandering hero- you get emotional and sonorous strings:  they provide a mid-way point of reflection and contemplation.

Similar in nature with Pray for Rain- a song that ends with a cool and airy tone- Porch Song seems like a natural companion.  Rotter has ounces of charm and can win every listener in with ease.  That voice never escapes my mind:  after listening to Porch Song I had to go back and let that beauty and passion get into my soul.  Given the vocal and its richness; I am fascinated to learn more of the woman behind it.  On the outside there are obvious observations:  immensely beautiful and impeccably styled; it is what’s inside that really appeals.  A mature and intelligent soul from someone so young:  music can learn a thing or two from L.A.’s Jessica Rotter.  Porch Song continues to amaze and strike to the very last notes.  The simplicity of the lyrics- honest, earnest and universal- can be extrapolated by all.  We have all been in that position when a friend/contact needs loyal arms:  Jessica Rotter has penned a song that can be loved by everyone who hears it.  Whether the subtle, tender acoustic guitar wins you; if it is the quotable and direct lyrics- for me, it is always going to be the voice.  It has been a while since I have encountered a singer that makes an impression with such authority and conviction.  Supported by a terrific producer and mixing engineer:  Porch Song shows just what promise Plains holds.

Make sure you get Plains when it is released on April 22^nd.  It is the result of intense hard work and a lot of personal revelations.  Songs have been compelled by a number of things:  perhaps wrestling with love in uncertain times (Pray for Rain) or the restless moments in a relationship (Let Me Go).  With each track, you understand a bit more (about Rotter).  The heroine has a tender soul and is keen to share it with the public.  Tracks- featured throughout Plains- explore love and the contrasts existent.  Some songs have that positive and celebratory tone; others are more introspective and heartbroken.  At no point do you feel bogged down and depressed by the music:  that sensational voice and musicality raises each track to the heavens.  Porch Song is the latest track from Plains:  one of the most stunning and memorable tracks from Jessica Rotter.  Our heroine has been recording music for many years now but seems at her most assured and confident here.  Maybe past events- falling in love and her current situation- has been particularly influential.  The material on Plains- and Porch Song especially- is the finest material she has crafted.  A lot of you will turn your noses up at Folk and assume it is a rather niche, particular sound.  I agree with that assessment, in part:  there are a lot of Folk artists that can compel you to put a bullet through the temple.   I am not sure what they expect- those that stick to the plaintive and narrow form of the genre- but those are musicians that will never get respect from me.  Jessica Rotter uses Folk as a template and expands it for her own measures.  On some tracks (in Plains) you get a Pop semblance:  sounds that will appeal and fit into the current mainstream.  Elsewhere, you get something more Rock/Indie flavoured.  Critics have noticed how cinematic and raw Rotter’s music is.  I cannot argue with this assertion.  No wonder her voice has been featured on Frozen and Pitch Perfect (both films).  I mentioned how there are too many over-produced songs in the modern scene.  It is a tendency that needs to be reversed and overhauled.  Once in a while, it is great hearing music that has the polish stripped away to showcase something very human and revealing.  L.A. keeps producing wonderful, scene-changing musicians, so I have high hopes for Jessica Rotter.  She does not need my patronage, of course:  her reviews and fan numbers speak for themselves.  Influenced by nature, the Earth and love:  all these elements come together in stunning, emotional music.  I feel Rotter- and the success she is finding- will inspire other musicians and lead to a new way of working.  Balking against the tendency to polish a song to the point of insanity:  the L.A. musician favours feel and a human touch over machine-fed productions.  Jessica Rotter has had a fascinating career and covered a lot of ground.  Having provided backing vocals for Carole King and Alicia Keys; conquering towns and cities- the young star is only just starting out.  I am excited to see how she develops and grows throughout 2016.  Plains is going to be much-reviewed and celebrated.  From there, Rotter will travel across the U.S. and take her music to the masses.  I would not be surprised to see (songs from Plains) feature in T.V. and film.  Whether you are aware of it or not:  you have probably heard a Jessica Rotter song somewhere.  She is a musician that writes universal songs that capture the heart and mind.  When she has done with the U.S.- seducing the home crowds- I hope there is room and money aside for the U.K.  If I got the chance to see/interview her- were she to swing through London- it would be great to see her in the flesh, up-close.  One of the most original and exciting female artists coming through right now:  I will follow Jessica Rotter’s career closely.  It is hard finding a musician that remains consistent and ever-evolving.  Too many artists come on strong and dissipate across time:  maybe squeezing a couple of albums out before fading out.  It is rare finding a musician that not only remains and improves but gets stronger with every record.  I can hear the confidence and commitment in Rotter’s new music:  she is at her most essential, inspired and compelling.  As the rain comes down- I think we have had summer in this country- you’ll be looking for something to bring some peace and beauty into the day.  With that said, sit back and allow Porch Song…

TO wash the rain away.

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________________________________________

Follow Jessica Rotter

 

Official:

http://jessicarotter.com/

Facebook:

https://www.facebook.com/jessicarotter

Twitter:

https://twitter.com/jessicarotter

_________________________________

Music

https://soundcloud.com/jessicarottermusic

TRACK REVIEW: James Edge and the Mindstep- On a Red Horse

TRACK REVIEW:

 

James Edge and the Mindstep

 

 

On a Red Horse

 

9.5/10

On a Red Horse is available at:

https://www.youtube.com/watch?v=VXK1Tg9Ga3Y&feature=youtu.be

RELEASED: 14^th March 2016 (video)

GENRES: Alternative; Jazz-Folk

ORIGIN:

Kent, U.K.

______________________

On a Red Horse by James Edge and the Mindstep Written by James Edge

James Edge - acoustic guitar, vocals, string quartet and bass solo arrangements Andy Waterworth - double bass Avvon Chambers - drums Ali Dods - Violin Howard Gott - Violin Sophie Sirota - Viola Vicky Matthews - Cello

Recorded by Tom Aitkenhead at Milk Studios Mixed by Tom Aitkenhead and James Edge Mastered by Ade Emsley at Table of Tone Artwork by James Newman Gray

Released by:

  Folkstock Records

The E.P., On a Red Horse, is released on 15^th April on Folkstock Records

____________________________________

THIS review sees me document and enthrone a song that has been…

garnering a lot of attention and praise.  As I type this, I’m listening to Funkadelic’s 10-and-a-bit-minute epic, Maggot Brain (from the album of the same name).  I am mentioning the track- not just because it’s freaking awesome- but of what it does to you:  how the song reaches inside and elicits something in everyone.  That track, according to legend, saw George Clinton- Funkadelic’s leader- instruct guitarist Eddie Hazel to play an epic solo.  The premise/inspiration was this:  play like your mum had just died; then you found out she hadn’t.  There are variations on this legend- including some preposterous conspiracies- but that beguiling instruction resulted in something mystical.  If you feel Jimi Hendrix is the maestro of mind-melting guitar work, then listen to Maggot Brain:  it is an exorcism and psychotropic dream that remains- 46 years after its release- a true masterpiece.  I listen to the song with mixed emotions.  I adore the song and know I will be affected by it:  wonderful, life-changing songs are a rare breed.  That is the bad part, really.  How often do you find music that is THAT unique and strange:  something that nobody else is doing?  Luckily- rare in 2016 music- my featured artist is pushing musical boundaries and creating sounds few others are trying.  Before I come to them- and the latest video- I wanted to discuss music videos; a bit about Kent music and experimental music.  Music videos are seen by some as a trudge:  an inevitability you have to endure to appeal to YouTube viewers.  I know some artists (in the mainstream) who couldn’t care less about video promotion- that really does show.  I would say (music videos) are more vital than they have ever been.  With the proliferation and rise of YouTube/Vevo etc.:  there is little excuse to negate a vital area of music promotion.  I appreciate there is (for new artists, especially) a tight budget at work.  After studio/recording/promotion costs are all tabulated:  how much do you have to spend on a music video?  Even with a meagre amount of capital, you can still create something memorable and influential.  I bemoan the demise/decline of the music video.  From Michael Gondry-created gems- his work with Bjork, The White Stripes and Daft Punk- from the edginess of Chris Cunningham; the peculiar charm of Spike Jonze:  just recall those works of beauty.  Some of my favourite music videos have pushed away from the ‘traditional’ modes of filmmaking and pushed boundaries.  Consider two works:  Blur’s Coffee & TV and Radiohead’s Street Spirit (Fade Out).  The former- directed by Hammer and Tongs- saw an animated milk cartoon (called ‘Milky’) go searching for the band’s guitarist, Graham Coxon.  Negotiating the streets and its dangers- a brief, if tragic flirtation with a strawberry milkshake carton- he finds our hero.  It is a video that brims with inventiveness and stands-in-the-mind storytelling:  perfectly backing an exceptional song.  Conversely, Radiohead’s Street Spirit (Fade Out) promotion is a black-and-white video filmed in a desert outside of Los Angeles.  The surrealist moods and beautiful saturation were sat alongside a mixture of speed effects:  the result was profound and utterly gorgeous.  You have to watch the video and see what I mean but, if anything, the video eclipses The Bends’ haunting swan-song.   We see a lot of videos emerge weekly:  all of a variable quality.  I find the overall quality is somewhat lacking.  Whether defined and constrained by finance- unable to create something imaginative and fully-fledged- I am not too sure.  James Edge and the Mindstep- inspired by Radiohead’s animated video for Paranoid Android- have managed to make an awesome video on a small budget.  They have shown it is possible to create eye-catching art without breaking the bank.  Videos are vital with regards music and pushing a song:  it contextualises the messages and helps to promote a track.  If it (the song) were posted to YouTube, sans video:  how many people would watch?

I want to raise a new point, but for now, let me introduce you to my feature act:

“James Edge is already a studious musical maestro and a top drawer composer. The Kent-raised musician studied composition to master’s degree level under Joe Duddell - arranger for the likes of Elbow and New Order. After moving to London and starting to gig in 2006, he formed James Edge and the Mindstep to record 2010 debut album ‘In The Hills, The Cities’. The working relationships he built around this time would provide him with some dependable collaborators, including regular engineer and occasional co-producer Tom Aitkenhead, best known for his work with Laura Marling and Bloc Party. A core jazz-folk trio of Edge, double bassist Andy Waterworth and drummer Avvon Chambers materialised. Together the trio started recording second album ‘Machines He Made’ over a five day period tracking everything live and only overdubbing the backing vocals. The songs were largely unrehearsed, with band members and additional session players mostly having not heard the pieces before. This spontaneous hodgepodge has resulted in some of the most whimsical and deeply experimental music to come out of the capital in a while. The eerie acoustics of Nick Drake inform the atmospherics of much of James’s songwriting, but his sheer compositional nous - which draws on aspects of jazz, modern classical music and punk rock and roll - elevates songs like ‘On A Red Horse’ to a place far above any glib and generic categorisation. He is closer to a modern day Zappa, channelling his eccentric art through folk arrangements to create something deeply surprising, raw, and unnerving.

The On A Red Horse EP is released 15th April 2016 on Folkstock Records. An award winning independent label, they have achieved over 20 plays on BBC Radio 2, 3 and 6 Music over the last year, receiving positive Sunday Times reviews for their compilations and charting albums in The Telegraphs's Top Folk Albums of the Year for 2014 and 2015”.

Kent is not, perhaps, the first place you’d think of when it comes to your music innovators.  Given its proximity to London:  it is not surprising there are some mouth-watering artists emerging from the county.  Historically, the likes of Soft Machine and Slaves; Caravan and The Rivals call Kent home.  Fatboy Slim was born in Kent (Bromley) and here is a county that is very much on the rise.  With James Edge born here, you have to ask:  how many other treasures can be found?  As opposed to other areas of the U.K.:  I find Kent-based musicians have a bravery and edge to them few others possess.  Maybe it is the local scene- or the need to prove themselves- but you get something more colourful, daring and nuanced (in Kent).  I hope more bands/artists make their voices heard:  steal London’s hegemony and show what they are made of.  I am glad to review James Edge and the Mindstep because their latest track, On a Red Horse, has so much to recommend.  In addition to the wonderful vivid music video- I shall touch upon when reviewing the song- its recording process was like no other.  An unshackled and unpredictable recording process from unpracticed musicians given very little guidance.  Armed with scant musical notation- enough to get a feel for the song- they essentially jammed the song from scratch.  That nervous energy and improvisation resulted in a natural and stunning song.  Playing in the Folk milieu; the band were keen to break from the pulpit of everyday and boring- Folk has that stuffy reputation among many critics.  The stream-of-consciousness recording is something you do not find in music today.  I would love to see more bands- Indie and Rock, for example- abandon rigidity and just live in the moment.  Like an inspired painter- not to get too wanky- live in the moment and be FREE.  James Edge’s troupe have shown just what can happen when you throw away the rulebook.  On a Red Horse bristles with what-ifs and unpredictable concoctions.  The top-of-the-league outcome has been heralded and celebrated- and rightfully so.

James Edge and the Mindstep are not a new proposition in music.  James Edge formed the group in 2006- having moved to London from Kent- and released the debut album in 2010- the wonderful In the Hills, The City.  With Tom Aitkenhead- an engineer and collaborator who would become a regular fixture- Edge would unite with double bassist Andy Waterworth and drummer Avvon Chambers.  The Jazz-Folk trio went to record the album Machines He Made over a five-day period.  Even in those early days, the rules and working handbook was notarised.  Songs were largely unrehearsed:  that hodgepodge of experimentation and spontaneity defined the guys straight away.  The debut was a strong and unique effort that saw eerier, Nick Drake-esque atmosphere coloured by compositional nous- enforced by a  love of Punk, Jazz and everything in-between!  What you do notice- and the greatest change- is how assured the guys are.  With each year; they seem to galvanise and solidified their bond.  Despite the untutored nature of the performances that does not dampen the final result- every song sounds utterly compelling and intoxicating.  I cannot wait to see how the group grows and builds from here.  I know there will be a lot more music coming, but what form will it take?  With each record, James Edge and the Mindstep are trying to draw more people in.  The social media numbers are climbing but they could be higher:  the band deserve more fans and supporters.  In terms of sounds/influences (James Edge) is compelled by guitarists Bert Jansch and John Martyn.  David Bowie and Bjork; Everything Everything and Joanna Newsome:  all idols and influences for Edge.  If you are inclined towards any of these acts- and need something fresh and memorable- check out James Edge and the Mindstep.  Machines He Made will be released later in the year- after their new E.P. - and shows a musical outfit who seem to be the most hard-working and consistent in modern music.

On a Red Horse begins with gentle, finger-picked acoustic sentiments.  Reminding me of Five Leaves Left-era Nick Drake- the riparian tenderness and accomplished talent- our hero sound approaches the microphone.  With coughing-up and unexpected horrors:  the song’s central figure is heading to war astride a crimson horse.  Given the song’s vivid and quirky lyrical openings- watch the video and how it matches the words- you get a warm and Thom Yorke-esque vocal.  Not making the comparison as a detriment or slight:  Edge has a similarly warm and expressive falsetto that gives every word impact and emotion.  “Quoting from the book (of what) you’re fighting for” leads me to think of holy wars and something historical.  Given the nature of the world- the mobilisation of terrorists and modern religious crusades- you can interpret the song in a couple of ways.  Showing the world has not changed much- as barbaric and insane as ever- I cast my imagination towards older-day battles and an armoured warrior on a trusty steed.  After the rather contemplative and gentle moments:  the song begins to open its wings and embrace the new dawn.  The percussion rifles and builds in intensity- a multi-limbed roll that gets the sweat pouring- whilst the strings conspire and strike.  Double bass and cello- mournful and resplendent- fuse with busy, sparking viola and violin:  the mood contrasts and off-the-cuff performances are beautifully realised and performed.  Adding texture and conflict to the song:  you have an ecstatic and sensational confidence from each musician.  While the song looks at truth-telling and reality- the song’s hero is struggling to tell the truth- you wonder what compelled Edge.  An angry song that spews against facile and dishonesty:  I was wondering just what motivated the creative process.  James Edge will know the truth but you get hooked and intrigued by the oblique-and-real blend.  Entranced by the pure and driving vocal- that sees The Bends-era Thom Yorke kiss Jeff Buckley at his Grace-ful best- you have a lead that captivates and holds the listener aghast.  It is the composition that hooks the hindbrain:  a mezzanine of preening peacock feathers; an aberration of conviction and swirling vortex of unhinged emotions.  Whilst I struggle to define and rationlise Maggot Brain:  I am faced with the same challenge across On a Red Horse.  Edge clearly holds umbrage and hostility at heart:  the song is his exploration of deep intensity and disquiet.

When the musicians play, you get different sides of various albums.  I know Edge is inspired by Nick Drake and Five Leaves Left.  I can see that- when the acoustic guitar spirals into impossibly-dreamy territory- but I get shadows of Pink Moon.  A certain moodiness and harrowed soul- Drake recorded the album shortly before his death across a single night- lingers within the performance.  You can envisage our man sat (alone) in a candle-lit studio:  alone with sadness and anxiety; this is a musical execration and cry for help.  Were it not for the composed and honey-sweet voice you would be fooled.  Elements of Bjork (Medulla and Vespertine especially) mix with Miles Davis strands (Kind of Blue and Bitches Brew).  The immaculate romance and spine-tingling etherealness provided by strings- the morose and angered becomes tranquillised and utterly beguiled- elicits an enormous sensual response and acts as a needed juxtaposition/disciplinarian against the bubbling anger.  Despite the free-natured sound of the performance; it seems as though Edge and his cohorts have an unspoken connection.  The vocals and acoustics drive the players and vice versa:  they each ensure the story moves along purely and without constraint.  Past the half-way marker- when the musical parable reaches its crux- Edge’s acoustic boings and strikes with lustful vitriol.  Reverence of Drake emerges within James Edge’s gorgeous performance.  Just then- and with nary a warning shot- a grumbling, monster-like string sound emerges.  Almost brass-like in nature- listen to Radiohead’s The National Anthem finale- the low-born cello/double bass (excuse my ignorance) lends an air of eccentricity and neon-lit drunkenness.  Moving from a chapter of twilight reflection and somnambulist drift:  we now transport to a running-from-adversity chase that acts as the song’s high point.  The hero is at his most dangerous, unpredictable and uncontrollable.  Odd, bracing and delirious:  such a wonderful and unforgettable performances is laid out.  Like Paranoid Android- that must have been an influence- the song goes through various ‘suites’.  Our man comes back on the microphone and continues the tale.  Fireflies and rain (are enough) to get the hero “riding out again”.  At every stage- when the lyrics unfold- you imagine horse-straddling fighters going to war.  I might be subjective but am resolute in my interpretation- the truth, of course, will be very different.  Inside the final minute, the players are not done shocking and amazing.  The once-brooding strings tighten and become more intense.  Perhaps the aftermath- of war or a singular, unforgettable moment- the listener is dragged into a whirlpool of emotions, images and colours.  By the final notes- when the song releases you from its grip- you have to take time out and let it all sink in.

Congratulations must go to the people who made the song happen.  Tom Aitkenhead and Ade Emsley (who recorded and mixed the song between them) capture and mix everything superbly.  Allowing the musicians to reign free and naturally:  Aitkenhead and Emsley have captured the variegated notes and ideas into a cohesive (strangely enough) track.  Supported by Edge (who helped mix the song) I was amazed by the production values and sound that came through.  Each instrument and layer are clear and concise:  not over-produced; just the right amount of gloss has been expended.  Andy Waterworth’s double bass acts provide the moody, mordant tones that give On a Red Horse its most stark and edgy moments.  Avvon Chambers’ drums are consistently focused and strong:  giving the track its heartbeat and driving force.  Ali Dods and Howard Gott match their violins beautifully.  Orchestral, symphonic at once; gliding, graceful and graceful the next.  Sophie Sirota blends her viola in and contrasts Vicky Matthews’ cello with authority and discipline.  James Edge leads the players and has assembled an incredible troupe.  Together- and with little direction- they have created a mind-melting track that will compel you to revisit it many times over.  It is not just his guitar-playing acumen that impresses and amazes.  The lyrics have nuance and obliqueness that means they can be extrapolated in a variety of ways.  At its heart, is anger from a young artist with a lot to get off his mind.  Lesser artists would be unfocused and too intense- losing musicality and concision for the sake of directness- but Edge has created a wonderfully rich and multifarious delight.  I have not mentioned the music video- needing to concentrate purely on the music- but it is a phenomenal work of art from Ross Butter.  Directed by James Edge, the duo has summoned up a meticulous- a process of hand-drawn scenes that show a huge dedication- and unforgettable video.  Perhaps inspired by Radiohead’s Paranoid Android; we see the song’s lead- a rather odd and troubled individual- reveal himself (naked exposure) rather graphically.  Going on a kind-of rampage- genitalia swinging and drug-addled crusade:  he is confronted by the police; overlooked by a shocked crowd.  By the closing moment- in the midst of an L.S.D.-provoked freak-out- the hero grows to truly gargantuan propositions.  Ending with a blood-spattered assault on the town- eating and scalping anyone within reach- we end with a bit of humour (a passer-by putting the coin in the cap of our fallen- and deceased- lead).  Altogether, On a Red Horse is a stunning work from one of music’s true innovators.

I have been shrugging my shoulders a lot, lately.  I have loved the music reviewed- the variation and quality I hear- but in a wider sense, there are few musicians I would recommend.  James Edge and the Mindstep has provided some solace and chance for reflection.  A new- and wholly unexpected prospect- I have loved witnessing something original and daring.  When their E.P., On a Red Horse, arrives it will provide the public with a chance to hear something sensational.  If it’s title track is any indication:  the E.P. will be a rousing success and contain truly wonderful material.  I opened this review looking at experimentation and music videos:  how each facet is being ignored and watered-down to an extent.  The modern music scene is never going to inspire and progress unless (musicians) push themselves.  There are too many artists that either follows the pack- blind sheep looking for guidance- or expend the minimum amount of energy and thought.  Whether you consider it a gamble- doing something bold and against-the-grain- I admire those who take chances and genuinely experiment.  Many would imagine something messy and scattershot:  musicians throwing notes together in the hope they stick.  That is not the case at all.  As James Edge and the Mindstep have shown:  bending the rule book can lead to something truly exciting and fresh.  If you have not discovered a James Edge and his Mindstep then make sure you dedicate some time to them.  With albums and acclaim under their belt, they are one of the most exciting and inspiring groups playing.  If you heard genres like ‘Folk’ and ‘Jazz’ mentioned- were you not a fan- the nose might crinkle and the smile might contort.  I agree on a couple of things:  not everything in the Folk realm is promising and recommended.  There are a lot of stilted and dull musicians who think an acoustic guitar and honest heart are enough to seduce a listener.  James Edge realises a shake-up needed to occur:  add colour and strangeness into a genre that is seen as very safe and unsurprising.  My Maggot Brain diatribe was hardly a coincidence:  it is an experimental/unrehearsed song that shows what can happen when you play with emotion and live in the moment.  If that song too studied and honed, what would it sound like?  It would probably be a comparative house cat:  something that would take a long time to make its mark.  The same can be said for Jimi Hendrix’s most inspired jams.  He was not a guitarist who spent a lot of time crafting songs and slaving over notation.  I am not saying every musician needs to go in without anything committed to paper:  just see what comes out and hope for the best.  If you are a Pop artist or part of an Alternative band, then once in a while take a chance!  James Edge and the Mindstep are evolving and growing with every release.  I can hear that progression and confidence expand with each new record.  The fact On a Red Horse boasts a freewheelin’ performance shows just how assured the musicians how; how brave James Edge is.  The video for On a Red Horse is a strange and unforgettable documentation of an equally bizarre creation.  James Edge is seen, by many, as a modern-day Frank Zappa- without the mad scientist facial hair!  In a couple of weeks, the On a Red Horse E.P. will be released and show the band in full flight.

If its title track has wetted the appetite- it sure should of! - then you will want to get your ears on the E.P.  I am an advocate of the music video and its importance in the current climate.  If you look back, we all have our favourite videos.  Whether you are a fan of Peter Gabriel’s Sledgehammer- and its progressive, plasticine-motioned animation- or Michael Jackson’s Thriller- and that John Landis-directed epic film- everyone has their opinions.  Over the last few years, very few music videos have stuck in my mind.  Kendrick Lamar withstanding- who can back up his genius with some truly astonishing promotion videos- there are few that expend that effort and passion.  It might seem like a minor point, but it really isn’t:  the video is just as important as the song.  The video is the promotional tool and visual representation of a song.  If you bare the minimum effort and just phone it in-  it will, consequently, drag the song down.  My arguments aside, we can all agree on one thing:  On a Red Horse is a song that wins you over on the very first play.  Watch the video with it and you’re treated to a mind-altering and sense-lifting musical experience.  I am not sure whether James Edge and the Mindstep have any touring plans- I guess there will be at some point- but it would be great to see them up-close.  Given the experimentation within On a Red Horse; it will be wonderful seeing how that translates on stage.  There are so many musicians that are too restricted, passive and limited.  When artists like James Edge and the Mindstep come around, we must do everything to ensure they get…

THE attention they deserve

[youtube https://www.youtube.com/watch?v=VXK1Tg9Ga3Y&w=560&h=315]

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Follow James Edge and the Mindstep

 

Official:

http://www.jamesedgeandthemindstep.com/

Facebook:

https://www.facebook.com/jamesedgeandthemindstep

Twitter:

https://twitter.com/andthemindstep

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Music

https://soundcloud.com/jamesedgeandthemindstep

 

TRACK REVIEW: VanDeRocker- You'd Better Walk

TRACK REVIEW:

 

VanDeRocker

 

 

You’d Better Walk

 

9.6/10

You’d Better Walk is available at:

https://soundcloud.com/vanderocker/youd-better-walk-2

RELEASED: March 2016

GENRES: Alternative; Punk; Electro.

ORIGIN:

Los Angeles, U.S.A.

The album, Jupiter’s Kiss, is available at:

https://soundcloud.com/vanderocker/sets/jupiters-kiss

TRACK LISTING:

Without the Light

Smoke and Mirrors

Kissing Booth

Shocked in Kathmandu

You’d Better Walk

Jupiter’s Kiss

Fly

She Become Me

I’m Home Now

One Breath Away

Cupid's Sting

She’s Alive

Without the Light (acoustic)

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OVER the next few weeks, I am moving away from solo artists...

And towards bands, as I am recceing (submissions and review requests) nothing but them it seems.  I love the solo act, yet I seem to have painted myself into a corner:  professing my love for them has been misconstrued and taken to extremes.  I love bands and have as much time for them as any:  they seem to be hiding in the shadows and scared to come forward.  That said, it is good to hear solo artists that at least make reviewing interesting.  If I were presented with a shoulder-sagging artist who really didn’t capture the mind- there are plenty out there- then it would be a chore, for sure.  Luckily, my featured artist has a lot going for them:  one of the most laudable and talked-about artists emerging from L.A.  Before I come to VanDeRocker, it is worth pointing out a few technicalities.  The voice and sound behind VanDeRocker is just one component:  there is a band behind her- augmenting her material- which gives it a full and variegated feeling.  I think one of the issues with solo acts- among a slew of them- can be the limitations of composition.  I am not going to go into my usual rants about the mainstream artists who do not offer anything fresh- I shall save that for tomorrow- but will approach it from another angle.  If you doggedly stick on one terrain- whether it is acoustic-led or Pop- then you only have so much potential and flexibility.  Consistency and personality are crucial; a person’s personality is much richer if they have a variety of attributes and sides.  Too many young musicians are limiting themselves and not pushing the envelope.  Having just reviewed Chess’s new album, 1869 (the Surrey-based Pop/Electro./Soul heroine) I was staggered by the imagination and cross-pollination throughout.  Able to keep focused and HER; there was a great range of ideas:  Pop and Soul mixed with ‘90s Rock and everything in-between.  As such, I have made it my goal to seek out artists who break away from the pack and have a lot more endeavor and bravery to their songs.  VanDeRocker is an artist who definitely fits into that wheelhouse:  able to amaze and stun the listener- with the range of ideas- but keep it grounded and identifiable.  Before I continue on, let me introduce VanDeRocker to you:

"The sound offers an eclectic blend of alt rock, ska, acoustic, experimental, electronica. As a first effort three years in the making, we really wanted to go on an adventure sound wise, so be prepared. It's very high energy for the most part but definitely dives into deeper, more ambient waters at times".

Adrienne VanDeRocker is the woman behind the band.  It is very much her voice and vision laid bare for the audience to see (which is why I see her as a solo act).  That said- and fitting in with my point, above- she brings a host (of impressive) musicians into the fold.  Jupiter’s Kiss is her latest album and has seen a galaxy of megastars come to the fray.  From Tim Pierce’s guitar (Alice Cooper; Patti Smith) to Matt Chamberlain (Soundgarden; Pearl Jam) that is quite a line-up!  You can tell- judging by those support musicians- you are going to get something harder, grittier and rocking!  The truth is:  VanDeRocker is not just a straight-ahead Rock assault.  There are Psychedelic edges and soulful suggestions within the sound.  Whether you see VanDeRocker as a solo act- backed by incredible musicians- or a fully-fledged group:  you cannot deny the impression and potential they have.  Looking at the guys of VanDeRocker it gets me thinking about the new artists emerging from L.A.:  a city that never seems to stop producing some of the world’s finest music.  There are some tremendous musicians (from Los Angeles) that could well define this year.  Miya Folick is an artist who mixes Folk and Psychedelia with Pop and Alterative suggestions:  the resulting music defines the majesty of the Strange Darling E.P.  Blacktop Queen have been heralded around Los Angeles.  Their concoction of Punk and muscular Grunge has seen them gain a host of fans- one of the most hotly-tipped bands around right now.

The Riothorse Royale duo of Emily Green and Maddi Diaz can fuse supreme vocal harmonies with a Rock undertow.  L.A. Witch takes the Grunge of the ‘90s and put it into a ‘60s mindset:  you have to listen to them to hear what I mean!  Cherry Glazerr are worth your time and energy, too.  That is just the tip of a Los Angeles iceberg that is in no danger of melting away.  I have celebrated the rise and success of London and New York:  two cities that are at their peak with regards new music and the quality emerging.  Truth is, can anyone rival L.A. for sheer consistency and diversification?  The acts I have listed are just a tiny sub-sector of a burgeoning scene:  VanDeRocker must surely rank among the finest from the city?  Few artists- and before I come to look at VanDeRocker’s sounds and latest single- have huge optimism and plans for the future.  When you see the new bands and acts coming through, there is a sense of restraint and modesty.  It is important to focus on one song/E.P.- and not get too carried away- but I see such little joy and personality from a mass of musicians.  It is a hard industry to crack; the daily reality is not as glamorous and wonderful as you may imagine.  VanDeRocker’s lead is filled with ideas and hopes for the coming years.  In addition to having tonnes of material as-yet unrecorded- enough to cover a cavalcade of albums- there is a sense of indefatigable upbeat to Adrienne VanDeRocker.  This alacrity and peacefulness have paid dividends.  Not only do we have an artist who is brimming with ideas:  she is a central figure that can captivate hearts and minds.  It is perhaps no surprise she has managed to recruit legendary musicians into the fold.  When united, the music projected bounces around the brain and refuses to budge.  That is what you want from a modern act:  songs that keep coming back to you (days later) and promises of new music very soon.  I am not sure when the next VanDeRocker album will be out- Jupiter’s Kiss is brand-new, after all- but it looks like we will not be waiting too long.

At this stage, I look at a band/solo artist’s past and compare it with their current offering.  Although VanDeRocker have just released their debut release:  VanDeRocker have released songs in the past.  Tracks like Supernatural Lover, Morse Code and Heat are on SoundCloud and show the guys produce some pre-album gems.  In each example, Adrienne’s voice rules and slinks through the tracks.  Climbing octaves and imbued with an intoxicating femininity and gracefulness:  you get some whiskey-soaked growl and child-like purity mingling alongside one another.  Having been compared with ‘70s artists- and groups like The Go-Go’s and The Clash- there is a definite nod to the past.  Although the production values are crisp and modern- allowing for something under-produced and live-sounding- the genres/themes explored push the mind back to the ‘60s and ‘70s.  With David Bowie and Joe Strummer counting as influences (for Adrienne) you get a mix of British Punk and Rock that gives the music a familiar feel.  VanDeRocker takes these influences and wrap them inside inimitable and unique tracks that can unite and please listeners of all ages.  I love the trio of songs (above) as you get a fusion of Electro.-Pop and Alternative; bits of Bowie and The Go-Go’s.  The greatest change that has occurred- between the earlier, non-album cuts and now- is the confidence and steps forward the band has taken.  The album sounds more varied and electrifying (than anything else).  The performances are stronger, more confident and urgent.  Perhaps studio time and gigs have galvanised and solidified the connection:  you get an intense togetherness and understanding throughout Jupiter’s Kiss.  Throughout the album there is that distinct VanDeRocker sound:  it is expanded and stretched so that in touches various bases and sounds.  That Bowie-esque flavor is there but we get Punk jams and Pop swagger to boot.  Adrienne’s voice has always taken centre stage; yet on the L.P., there is an emphasis on the percussion, guitars and bass.  The band members come into their own and beautifully augment Adrienne’s vocals.  This evolution and consistency bode well for their future recordings.  I have seen few musicians as gilded and together (as VanDeRocker).  There are no weak links and uncertainties to be found:  just gold, stunning performances that get stronger with each new listen.  By producing an album- as opposed a series of singles- if allows the group to flex their wings and show the various sides to their sound.  Not just confined to ‘70s Pop and one style:  you get a whole gamut of decades, genres and themes explored- included in a stunning and sensational debut album.

Although Jupiter’s Kiss is available across SoundCloud:  You’d Better Walk has been released as a single.  A perfect example of the band at their peak- You’d Better Walk is the fifth song from the L.P. - it begins with a definite sense of meaning.  Whooshing electronics- cosmic and intergalactic in their plight- sit with bouncing bass and graveled guitar.  The percussion drives the song forward and the introduction gets the listener invested and interested.  It is not long before our heroine is at the microphone and laying down her thoughts.  One of the (only) slights I have about the song is the vocal mixing:  put too far down which means the lyrics can be hard to decipher and appreciate.  The composition is crisp and sharp but I feel, in an attempt to make the song earthy and distant, clarity and comprehensibility have been sacrificed a little.  That said, the central figure of the song seems to be someone very vivid and recognisable.  Boys are standing in line- trying their luck to win the heart- but there’s that feeling of futility.  Whether a femme fatale or someone who knows her mind:  I pictured leather-clad ‘rebels’ approaching a red dress-bedecked, violet lipstick-wearing girl with smoke rings blowing.  Maybe a cliché, old-skool appropriation of a heroine- someone who appears in black-and-white films of the ‘40s- there is a definite bygone sensibility to the song.  I get impressions of ‘70s Rock and Alternative- shades of Patti Smith and The Clash- with something uniquely VanDeRocker.  The chorus swaggers in with such a mesmeric and catchy sound.  The delivery of “You’d better walk” is deliciously kiss-off and defiant:  sung with such cool and sass you get caught inside the notes and submit to its charms.  While our heroine lets her voice charm and intrigue:  the entire band come into their own and create colour and emotion.  The bass trips and teases like a burglar in the night- maybe representing the tip-toeing need to flee the heroine.  The percussion and guitar provide grittiness and thudding heartbeats.  With each verse comes a new element and vision.  We see a young man- who would never make a fool of anyone- being told never to run; just walk instead.  There is that need and necessity to embrace caution and never get ahead of yourself.  Whether relating to confidence and ambition:  just walk and do not let your feet get carried away.  Perhaps that is my view- and one not envisioned by the band- but you cannot help but speculate and wonder.  At every phase; the band presents something fresh and mobile.  Most bands are too static and unnatural with their compositions:  the sound/make-up of the chorus and verses never changes; just repeated a few times.  VanDeRocker ensure You’d Better Walk keeps nimble and unpredictable.  That chorus is the defining statement of You’d Better Walk:  the thing that keeps bringing you back and gets inside the brain.  In hearing it- the melody and feeling- it has that familiarity and evocativeness that takes you back in time.  A cool groove that blends Psychedelia and ‘70s Pop with something dreamy and delirious- a mantra that cannot be denied and ignored.  At the heart of the song- from what I can extrapolate, at least- is that caution to take care and not run too fast.

Whether in life or love- swooning over a girl or making your way in the world- you need to show restraint.  Before we come to a new verse- the cat-and-mouse game between the hero and heroine- the band step into the spotlight.  Acting like an intermission:  the guys show what exceptional talent and feel they have for the material.  That percussion keeps firm and pushing the song onward.  The bass and guitars groove, drip and dance; they change direction and make you dance and move.  When the group comes together you can just hear that bond and understanding.  Having performed with some of music’s finest:  the fact they gel without a problem is perhaps not a huge revelation.  VanDeRocker is an outfit that allows them to combine their years and skills into an exhilarating and psychotropic melting pot.  Our heroine comes to the microphone and unveils a new side to the story.  The song’s vixen keeps her heart locked behind a rather devilish grin.  My mind keeps returning to ideas of classic films and the man being caught in a trap.  With each revelation:  the song’s title has new relevance and depth.  For a start, you need to tread carefully and not be sucked in.  In a similar vein, there is that advice to go:  get away from someone who has a toxicity and danger to them.  I am not sure what influenced the song- a general type of person or someone relevant to the band- but you cannot help but picture and guess.  By the time I could delve deep; that chorus comes swinging back in.  Towards the end, the vocal takes focus and gets heavier and bigger.  Repeating a particular delivery- to give the finale a hypnotic and indelible nature- we get new pieces of the puzzle.  If you “Stay on track” you’ll be bringing the deal “to a close”.  Whether you look at espionage themes or heart-winning ideals:  the band leaves you guessing to the end.  Within the tangle and crossover of the vocals- they are multi-tracked and weaved inside one another- the band comes together to ensure You’d Better Walk ends with a huge bang.

Aside from my niggling about VanDeRocker:  if a female-fronted band or a solo endeavor:  you cannot quibble with the quality and potential that is coming through.  I hear VanDeRocker is already in preproduction:  planning the steps for the sophomore album.  In a modern scene where new musicians take ages between albums- finances can limit their horizons- this L.A. force is keen to make headway and impression.  Against the tyranny and depressive nature of talent shows- losers and rejects get to show how talentless they are- it is good to discover a REAL musician for once.  Adrienne VanDeRocker was born from a Dutch-American family of classical musicians.  Having developed a keen love of music from a tender age- favouring strings over studies- the heroine began performing in bars and venues as a 12-year-old- start them young, eh?!  Rebelling against tradition and expectations- studying and going to university- here is someone who knew where they belonged that early.  This drive and passion saw VanDeRocker perform around L.A.’s Sunset Strip and the bars of the city.  Assembling her five-piece crew:  the guys sojourned to the studio and have come up with a tremendous album.  Jupiter’s Kiss is a 13-track record that shows a tremendous bond, energy and solidity.  Having performed for so many years- and honed her craft prior to this debut album- Adrienne VanDeRocker has only just started her career.  The second album is already heading to the studio and I can well imagine new albums being dropped throughout the year.  It brings me back to the original point of L.A. musicians and productivity in music at the moment.  I have mentioned some Los Angeles artists that are definitely worth keeping your eyes peeled for.  VanDeRocker- I have decided I will call them a ‘band’ and not a ‘solo artist’- have few peers when it comes to consistency, bond and quality.  You just know these guys were born to record together.  That telekinesis, affection and tightness come through in every note of Jupiter’s Kiss.  It is an album that is made for sunny days and losing yourself to-  winding down the windows and letting the music spread through the streets.  Sego and Elohim are a duo of L.A. acts that are receiving buzz and speculation around the music world:  it seems neither can hold a candle to the majesty of VanDeRocker.  Before signing off, it is important to look at the future for VanDeRocker.  I know Jupiter’s Kiss has been in production/worked on for a while now.  Since the quintet came together; they have spent time in the studio ensuring their debut is as stunning as can be.  What the guys have done is create something that sends a message to the music world.  In L.A.; the band are standing ahead of the competition but can do with some support across the ocean.  I hope the guys get to the U.K. as there is a definite market awaiting them.

I say this about a lot of bands.  As The Vim Dicta have shown- a similarly impressive L.A. band- you cannot predict how crazy things can be.  Those guys expected a modest demand here- worrying their music might see them travel to a few towns- but there are no signs of returning home anytime soon.  Aside from money/accommodation worries- looking for floors on which to crash; cash they can secure- the songs are affecting people here.  With the pedigree in their line-up:  who is to say VanDeRocker cannot create a similar hurricane?  That is something to think about- and let’s hope they do- because I have high expectations for the group.  Adrienne VanDeRocker is one of the most attractive and fascinating figures in music.  It seems like her life can be made into a film.  Reminding me of the heroines of the ‘60s and ‘70s:  there is a combination of Patti Smith and Janis Joplin to her.  You have that raw, Punk edge:  a Rock goddess that is tough and able to swing with the boys.  On the other hand, there is that mystical calm and spirituality to her- without Joplin’s muse of heroin- that makes her both modern-day and classical.  The mix of bohemian and spiritualist; peace-maker and biblical frontwoman:  these contrasts and contradictions have definitely caught my imagination.  The five-piece are looking into their second album and not content to let the dust settle.  There are so few genuinely fascinating solo artists/bands in the U.K. at the moment.  I get to review some great acts, but when it comes to the mainstream, there is a harder task at hand.  I feel we here (in the U.K.) should be more open-minded and bold when it comes to musical tastes.  The media is too dependent on homegrown artists and proffering them.  Sure, patriotism is important to have:  being so narrow is neglecting people of some wonderful acts.  Let us embrace the best of the U.S. (and other nations) and give music lovers what they crave.  I recommend you dedicate some time to VanDeRocker- and spread the good word- and investigate Jupiter’s Kiss.  It is an album bursting with wild energy and stunning songs.  You will need several listens to take everything ibn:  when you do, the magic and emotion will hit you and do its work.  As spring is upon us, we need musicians that can get the energy levels up and get the fists pumping.  Luckily, VanDeRocker are a step ahead and already on it!  You’d Better Walk is a fine statement from a group that will be around for years to come.  It is scary to think they are already planning their second album!  Before that arrives, put on You’d Better Walk and let it…

BLOW the senses.

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Follow VanDeRocker

 

Official:

http://www.vanderocker.com/

Facebook:

https://www.facebook.com/vanderockermusic

Twitter:

https://twitter.com/VanDeRocker

__________________________________

Music

https://soundcloud.com/vanderocker

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

_________________________________________

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

 

 ______________________

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]

____________________________________

TRACKLISTING

SIDE ONE:

Speak to Me

Breathe

On the Run

Time

The Great Gig in the Sky

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SIDE TWO:

Money

Us and Them

Any Colour You Like

Brain Damage

Eclipse

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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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