TRACK REVIEW: Ina Reni- I Thought You Were Gay

TRACK REVIEW:

 

Ina Reni

 

 

I Thought You Were Gay

 

9.7/10

I Thought You Were Gay is available (to pre-order) via:

https://itunes.apple.com/fi/album/i-thought-you-were-gay-single/id1107169738

RELEASE DATE: 25^th May 2016

GENRES: Pop; Soul; Jazz

ORIGIN:

Berlin, Germany/London, U.K.

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EVERY time I look for a musician- in order to review them- I seek something…

different, unique and special. These may seem like words that can be applied to a whole host of musicians: you’d be surprised how few actually fit under that banner. I am not suggesting the majority of new musicians sound like others- little distinction or personality- but it is getting harder and harder to sound truly fresh and without comparison. Today, it is easier to record music than ever before. The cost involved- to create something quite basic, at least- is fairly inexpensive. You do not need to go to a studio and fork out thousands of pounds: the bedroom-trained, D.I.Y. musician is becoming more prevalent and in vogue. Because of this: we are subjected to so many different kinds of artists. Those that remain in the memory- for whatever reason that is- should be promoted and applauded. I hear so many artists that can be compared with others- they do not stand from the crowd and give anything we haven’t heard before. My featured artist is someone who has her influences: she is one of the most idiosyncratic musicians I have heard- you’d be hard-pressed to think of anyone else. Before I come to her, I wanted to have a quick look at international artists- those hailing from Europe, especially- and why London is providing a second home. When we think of brand-new music: often, our minds go to the U.K. or U.S.- maybe Australia- but do not really concentrate on mainland Europe. German bands- Ina Reni was born in Germany- like Dagobert and Karies are two laudable German bands: the latter is fresh out of Stuggart. Der Ringer, Cro and Susanne Blech are providing what a diverse and strong musical economy Germany has. The likes of Granville, La Femme and My Friend Is are putting France on the map- from a nation that has provided M83, Phoneix and Nouvelle Vogue. Europe should not be overlooked- with regards great, innovative sounds- and ignored. What I am finding- besides the proliferation of great, European acts- is a pull towards London. The capital is an alluring and tantalising pull for so many musicians: a city that provides opportunities, fascination, and cosmopolitanism. If you are one of the London detractors- I hate those people- who whine about pollution (I don’t often walk down the streets choking on exhaust fumes) and overcrowding (what do you expect?!); the ‘rudeness’ (I live in a small place where the people are far ruder) and high costs (the wages are higher: there are affordable parts) really get on my nerves.

Those who bemoan and criticise London have not given it time and really spent time there- musicians are realising what a city (London) is. Ina Reni has a fascinating, rich D.N.A.- half-German, half-Bulgarian- who is based in London. Finding inspiration and spark in the capital: it looks like she is here for a little while at least- let’s hope she stays a lot longer. Before I raise a new point: let me introduce Reni to you:

“London based German/Bulgarian singer-songwriter Ina Reni breezes in with her own brand of cool, sassy humour.  Having performed widely across London’s important music venues and festivals, Ina made herself known for her distinct vintage inspired pop sound. Her debut single “I thought you were gay”, in which she describes the awkward situation that results from misjudging your best friend’s sexual orientation, will be released on 25th May”.

Having been involved in the Berlin Jazz scene- as a 14-year-old she was bitten by the Jazz bug- Reni relocated to London last year. Since then, she has been immersed in live performances- taking in some of the most charming, hospitable parts of the city- and making big strides. I Thought You Were Gay is her debut cut- her E.P., Plan A, will be unveiled later this year- and marks the arrival of one of music’s most exciting talents. On paper, Reni is pretty much your ideal musician. Her music has originality and memorability: humour, stand-out lines and a true Pop core- plenty of power, soulfulness and upbeat. She has those girl-next-door looks: a gorgeous young woman who captures the heart pretty readily. It is when you dig deep- looking at her past and what she is capable of- does your heart start to skip a bit. I have encountered so many artists that are rather pedestrian and one-layered: when you dig deep, there is not much to wet the appetite. In Hungary, artists like Compact Disco and Amber Smith have come through- it is a nation that has produced a lot of fine and stunning music. Reni has a fond love for Eastern Europe and the music there- you get shades of that in her single. Throw in an admiration for Jazz; a love for 1950s and ‘60s Pop- mix that with modern-day Hip-Hop and Reggae. Reni is making strides and working hard to achieve her dreams. Realising music is a battlefield- you need a huge budget and team behind you most of the time- she is not willing to compromise creativity for quick success. Her goals are to remain in music for a long time: forge a successful career and get her music into the charts. Nobody would bet against the young star getting there. She is one of the most determined and passionate artists I have seen. Constantly working and crafting material: I am confident Ina Reni will be a big star in years to come. Anyone that is expecting your run-of-the-mill, committee-directed Pop starlet should think again: Reni is her own boss and calls the shots- she is not someone that does things like everyone else.

The opening seconds of I Thought You Were Gay have a certain charm and playfulness to them. The piano notes dance and skip with merriment and infantile abandon. It is hard to listen to the sound without having a smile on the face. Such a care-free sense of alacrity comes out. After the introduction- that has Jazz shades and elements of Ella Fitzgerald to it- our heroine comes to the microphone. The song looks at a particularly personal moment. Recounting her gym trainer- who will remain anonymous- there is that recollection of the initial meeting. Ensuring her voice is determined and clean: “You were so funny/and I loved your sexy elephant tie” compel myriad images and something quirky. Knowing some history behind the song- Reni disclosed the origin in an interview with FM- the listener will be picturing scenes and seeing the story unfold. Reni has admitted how her sexual orientating compass sucks- trying to guess whether someone is straight or not. In this case, she is somewhat off the mark. Finding the guy cute and funny: he is good for an afternoon’s fun/training- not someone that would be interested in her, necessarily. Having become “best friends” and having a lot of fun: the assumption is everything is fine and dandy. It seems- as far as Reni is concerned- there will be no sexual tension and misunderstanding. The guy started getting “all weird” which caused confusion and head spin. Initial impressions- the guy being gay perhaps- is contrasted by a very clear come-on and flirtation. It seems (the guy) has romantic intentions and is interested. Praying it is not true: our heroine delivers the realisation with a sense of shock and weariness. The penny is dropping and the truth has come out: a rather ironic choice of words, perhaps? I can imagine that moment- when the guy reveals he’s straight- would have caused embarrassment and blushes.

It is not clear what would have caused the initial impression- about him being gay- but perhaps it was the fashion sense and a playful manner- maybe a muscularity (TOO much time in the gym) or just a general aura. Whatever led to this assessment has come back to bite. Reni hums and purrs: she puts so much expression and conversation into the song. Not just delivering her lines with a formulaic approach: there are tender little utterances and accentuation. The chorus mixes ‘50s Jazz with ‘60s Pop: horn blasts that recall the glory-days of Bacharach and David. Composition-wise, you could imagine the likes of Dusty Springfield or Dionne Warwick tackling such a sound. The warm, brassy blasts sit beautifully against punctuated piano and scuffling percussion. The band is tight and in-step throughout- ensuring the chorus is as big and urgent as possible. Reni brings in syncopation to give the story a sense of rush (perhaps blood rushing to her head) and nerviness. Finding out her trainer is straight- it would be interesting to see how that conversation went- there is a sense of backing out and stuttering. Few would be able to reverse the chat with much dignity and good excuses. Being in a sticky situation- “I didn’t mean to turn you on”- there is a distinct Englishness to the track. Idioms and phrasing would lead you to think Ina Reni was a British artist- she reminds me a lot of Yorkshire musician, Jen Armstrong. As I Thought You Were Gay progresses and caresses: you fall in love with a very pure and silky voice. Sexy and velvet-smooth on the one hand; sharp and cutting on the other- such a striking and gorgeous sound. There are no histrionics and needless baubles: Reni keeps her voice level-headed and straight (again, poor choice of word) throughout. Having entrenched herself in a mess of confusion: she now has to explain herself without sounding cruel and callous. “This really goes beyond my area of expertise” shows a truth and humorous side. Not used to these situations- although her sexual-compass-clumsiness suggests there might have been occasions like this- it is a very embarrassing and fraught scenario. Whether recalling a German man- or whether this happened in London- there is no going back. Once again- something few artists do- there are idiosyncratic tics. Certain words are repeated: the pace changes and the song is constantly fresh, nuanced and unique. So many Pop artists deliver verses and choruses with a very basic and unsophisticated approach.

Ina Reni is a musician that brings the most from her lyrics. Ensuring her words hit the mark- and the song compels endless replays and repeats- she provides a wonderful vocal. For a man that wore “purple skinny jeans” and weird fashion- that is from a “different galaxy”- you could understand the assumption. If I saw a man wearing clothes like that, I might (falsely) assume he were gay. Being straight- but having a certain flamboyance to him- others are likely to make that mistake- Reni should not be too hard on herself. Not your average love song: I Thought You Were Gay is one of the most individual and original songs I have heard in a very long while. Nobody who hears the song could have it on in the background- it is something that demands full attention and imagination. I could see our heroine and instructor conversing and training. Sending her topless images- he seems like a bit of a sleaze to me- the ‘replay’ button was always hit- thinking the guy was gay and had no sexual intentions. Knowing the full truth- the guy was hitting on her- it is all-the-more embarrassing and awkward. There is a charming naivety to Ina Reni’s plight. If the tables were turned- and I, or someone like me, gained such attention from a woman- you would not (I wouldn’t, at least) assume she were gay.

If the truth were different- and she was sending pictures and flirty texts are harmless fun- it would be quite a shock. There is something about the dynamic here that keeps the song from being too tense or controversial. Every line will produce a smile; a stand-in-the-mind line and a modern-day Wildean witticism. For those laboring national stereotypes- that those of Germanic origin lacked a sense of humour- will have that myth dispelled. Ina Reni is not someone who goes for cliché and easy tracks: those that point the finger at guys and go for the woe-is-me-like songs. Turning a rather red-faced scenario into something productive and cathartic: few musicians have the skill and nous to do this. Whether Reni has heard of Jen Armstrong- one of those singers that go for the humorous side of life- the two should share a stage. Clearly, London has had an effect on our heroine. Vibing from the British sense of humour; the playfulness and oddity of the streets- I Thought You Were Gay is blends ice-cold cut with warm, sunny vibes. The guy has misunderstood all the signals and words. The two parties are on different plains with different agendas: she wanted a professional bond; he wanted something more romantic and sexual. In a way, you feel a sense of sympathy for the heroine. She has done nothing wrong and has been rather honest throughout- unknowing a guy was into her. In retrospect, the signs were all there: the topless snaps and forthrightness; the unfiltered flirtations- the misguided fashion was a red herring. “My hottest friend”- the guy will take this as a compliment one, day- you cannot deny one thing: many would have assumed he was gay. Among these heated and retrospective words: the composition continues its plight and offensive. Those parped horns still recall Bacharach/David gems; the percussion has a Jazz sensibility; there is deliriousness and infantile smile- an infectious and joyous soundtrack. Such a rich and colourful musical cornucopia: so many different genres, themes and ideas are presented in the song. Knowing what a strong and memorable composition is at hand: it is repeated with passion and delight; I can see the song being a live favouirite. The closing seconds see Reni layering her voice- “I didn’t mean to turn you on”- and harmonising. A very soulful and spine-tingling vocal choir: it is the perfect way to end the track.

I have always loved Ina Reni’s voice but it really hits its peak here. Constantly beautiful and smoky; honeyed and sensuous- so many different emotions can be found. The production values ensure the words are clear; the voice is high in the mix- so many artists distill their vocal; making it hard to decipher the lyrics. The composition does not get second billing at all. All those gorgeous strands are given proper representation and attention. Each element is blended together expertly to ensure I Thought You Were Gay is a stone-cold hit. It is a track that could easily make its way into the charts- embers of Meghan Trainor and U.S. contemporaries come to mind. Reni blends Americanisms and British witticisms together. The Pop sounds recalls California and L.A.; the lyrics have a British sensibility whilst the composition bring ‘50s and ‘60s Pop together with Jazz and Hip-Hop strands. You know how much attention and dedication have been put into the song. It is not a track that has been lazily slung together to get YouTube views and airplay. So much heart and work has been put in: for that reason, I Thought You Were Gay deserves acclaim and applause. Reni’s voice is one of the most stirring and striking in current music: someone who could make any subject sound intoxicating and essential. Few musicians bring humour into their music- and get away from straight love songs- so that’s another reason we need to hold Ina Reni close. Make sure you grab your copy on iTunes (on Wednesday) as it will put a smile on your face- you will be quoting the lyrics for weeks to come!

I have known Ina Reni for a while and am excited to see just what she can achieve. Right now, she has a crowdfunding campaign- at https://vimeo.com/162746942- that will help ensure her career can continue and grow. Reni arrived in the country with ambition and determination. She has had to busk and perform on the streets: gaining experience and ensuring her voice is heard. Now- and for the coming months- she has gigs booked and a chance to seduce new crowds. She is someone that can easily seduce and get people hooked. There is an honesty and openness to her: a woman that wants to succeed and bares her soul through her music. A brilliant voice and rare talent: few people will be immune to her charm, strength, and drive. I can understand the lure of London: it is somewhere I have always yearned to live; will figure a way to work there very soon. Reni has many stories to tell- that will come to light in Plan A- and I feel we all owe her time, attention and consideration. Her backstory and upbringing has seen her travel from Europe to the U.K. She has tirelessly worked to get her music heard: the story is only just begun. The rest of 2016 will see I Thought You Were Gay being released, performed and (let’s hope) widely celebrated. After that, what is in store? An E.P. will be out and more gigs, for sure. So many new musicians are being dented and demotivated by the sheer cost of making music: the day-to-day reality of getting your ideas onto record. A hierarchical and money-intense industry: a lot are being scared off and limited. I guess there is no quick fix or easy resolution. Those who want it most- success and attention- have to keep going and battle. Reni is someone that will not give in and knows what she wants. Support her crowdfunding campaign as it will allow her to make music and get videos/songs made- without having to worry and stress.

That is the goal for any musician, I guess: being able to make music, unconstrained- free from the shackles of financial woes and struggle. I Thought You Were Gay highlights a unique artist with a sly humour at work: someone who works beyond the boundaries of been-in-love-got-my-heart-broken-the-guy-is-a-jerk songs. Plan A- when it is released- could see some heartbreak among the humour: Reni is not someone easy to pin-down and predict. For a debut single: I Thought You Were Gay is one of the most vivid, stand-out and original I have heard. I opened by looking at the appeal of London; the European music scene and artists that distinguish themselves from the flock. Ina Reni is not going to give up on her dream: she will find a way to do it and remain determined. London is the city to make music in- it is quite an expensive place to live/exist in. I can understand the coax and seduction of London: it is one of the world’s finest places; where young, ambitious people go to- to escape the boring and pointless towns/cities.

This year is going to be an exciting one for the German-born artist. She has already achieved a lot- her social media numbers are climbing; a few great gigs under her belt- and there is a lot of love, online. Fans are lining up to pay tribute to a very special musician. She is not someone who hides behind production teams and is told what to say. She is a very real and relatable person that opens her heart and speaks directly to the people. There is no fakery and ego: no pretense and controversy. What we have is a determined and strong woman who has left her birth nation to forge a new home. It is a scary and daunting prospect but have no fear: we will hear a lot more from Reni very soon. I cannot wait to hear new music and have loved investigating I Thought You Were Gay. You get- with the song- a gorgeous blend of modern-Pop and ‘60s sounds: ice-cool sassiness and something quite delicate. It is hard to distill and define her song- I have tried my best- because there is so much depth and layers in there. At its heart- I Thought You Were Gay- is a singalong, fun song that has plenty of memorable lines. For all the talent show-bred Pop stars out there: we need to start backing those doing things honestly- those with talent and longevity. I Thought You Were Gay is available to buy on Wednesday- it is available on SoundCloud- and worth every penny. The best and brightest musicians need funding and ongoing support. Such a competitive and expensive industry: we need to be more vigilant and aware of musicians’ plights. Ina Reni knows what she wants and is striving to achieve it. Having released such a bold and standout single…

WHO would bet against her?

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Follow Ina Reni

 

Official:

http://inareninow.com/

Facebook:

https://www.facebook.com/ina.reni/?fref=ts

Twitter:

https://twitter.com/inareni

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Music

https://soundcloud.com/inareni

TRACK REVIEW: The fin.- Through the Deep

TRACK REVIEW:

 

The fin.

 

 

Through the Deep

 

9.5/10

Through the Deep is available at:

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

RELEASED: April 29^th 2016

GENRES: Dream-Pop

ORIGIN:

Kobe, Japan

The E.P., Through the Deep, is available from June 3^rd:

https://itunes.apple.com/jp/album/through-the-deep-ep/id1089821169

RECORD LABEL:

Lost in the Manor

MASTERED BY:

Joe Lambert

TRACK LISTING:

White Breath

Divers

Through the Deep

Heat

Anchorless Ship

Night Time (Petite Noir Remix)

DOWNLOAD:

Divers; Through the Deep; Anchorless Ship

STANDOUT TRACK:

Through the Deep 

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THIS review marks a bit of a milestone for me…

as this is my first Japan-based review. Such a large and populous nation: I am shocked this is my first Japanese band. I know the country has such a rich and busy music culture: rarely, do we get to see too many Japanese acts make their way to our shores. Before getting to my featured act: it is worth looking at the music coming out of Japan; the genre, Dream-Pop- focusing on what the rest of this year holds. Whether you have heard of Dir En Grey and The 5.6.7.8.’s: Maximum the Hormone or The Pillows- Japan has created some seriously great acts. Arashi and An Café can be added to this- rather long- list. Many of- when thinking about Japanese music- get two ideas in our head. We think of Heavy-Metal and Rock: heavy and hard bands that leave little to the imagination. A lot of people- rightly, to a degree- think of Japan as quirky, strange and bizarre- there are many Japanese musicians whose music reflects that stereotype. While Japan does things differently- and has a unique way of life- that is not to say we should assume stereotypes and clichés. In the same way Britain is not a stiff-upper-lipped, repressed nation of red phone boxes, posh-speaking toffs and chimney-sweeping East Londoners: Japan is not a country filled with neon-lit signs and head-melting oddness- there is subtlety, beauty and grace to be discovered. If we label a nation- thinking we have their number- then it closes the imagination and limits our expectations. In the same way, U.S. perceptions of Britain is way off the mark- very few Americans bother to visit us- we are just as naïve about Japan. While I have listed some awesome acts- that play things with grit and anger- the likes of Jinn, Luna Sea and Nightmare (a trio of Rock acts) are not the ‘norm.’ Japanese Pop music- or ‘J-Pop’ as it’s known- is its own culture. Country Girls and Buono!; Juice=Juice and Dream- just a few names (among dozens) that have made Japanese Pop music synonymous with invention, quality, and originality. I am a big fan of Perfume’s blend of Bubblegum-Pop and Synthpop: I love their bright fashions and instantaneous songs. In that spirit: Morning Museume are one of the freshest- and most distinct- girl groups in Japan.

It is great discovering The fin. They are a band you know will transcend to the big leagues and travel the globe. Before I carry on, let me introduce them to you:

“Hailing from the vibrant Japanese port city of Kobe, The fin. are a reputed and singular attraction in their homeland due to their stylish Europhile blend of synth-pop, chillwave and dream-pop, complete with English lyrics addressing universal themes of everyday uncertainties. Often referenced alongside the likes of Beach House, Phoenix, Metronomy and M83, the quartet have, since forming in 2012, performed before thousands of rapturous fans at major Japanese festivals including Fuji Rock, Rising Sun and Viva La Rock. Not content with such acclaim in one country alone, Yuto Uchino (vocals and synths), Ryosuke Odagaki (guitar), Takayasu Taguchi (bass) and Kaoru Nakazawa (drums) set their sights worldwide and in 2015 embarked on a major tour of the US, which included a performance at SXSW, before making their first forays into Britain with a handful of dazzling shows in support of their debut UK EP, ‘Night Time’. Their much-anticipated return to these shores this spring comes in the wake of a second British release and a growing recognition that there’s an act of rare, sophisticated beauty creating a big noise in the East. It’s time to turn your gaze to The fin.

There’s a theme running through the beauteous new EP by The fin. that permeates more than just the song titles. Oceanic imagery features heavily in Yuto Uchino’s lyrics, as references to ship, shore and submersion loom large. The singer articulates these tales of impermanence and transition to a shimmering, sophisticated indie art-pop backing that will be familiar to fin. fans, even though there’s a greater electronic influence to this EP, as synths carry more of the weight, melodically and rhythmically.

Opener ‘White Breath’ builds on its vehement piano/vocal intro to envelop a cropped hypnotic groove with springy keyboard stabs, dubby fx and, of course, Uchino’s soaring harmonies. “I saw you jumped into the sea/What could you see from there?” the singer then questions to the symphonic arpeggios of ‘Divers’, set to a characteristically minimalist beat and crunchy bassline that segues into a second act of controlled yet quietly euphoric trance-pop.

The title track, ‘Through The Deep’ opens with a swell of surf guitar and thump of percussive kick drum that evolves into a stylish, deceptively complex composition that hums with sonic exploration and an ambient energy that will only tease the listener with its brevity. Even shorter is the 67 seconds of ‘Heat’, which finds The fin. at their most stripped down, just a wash of sine-waves, a sparkling melodic refrain and Yuto’s distinctive tones proclaiming the sudden onset of intensity. Finally, ‘Anchorless Ship’ is a modest masterwork of smooth, uncluttered funk built on a sustained pulse resembling the sonar ping of a submarine’s radar. A wash of synth then announces a change of course towards the tune’s expansive, ecstatic coda, as Yuto sings about deeper immersion in dreams.

The compelling video to ‘Through The Deep’ depicts a colourful traveller in a post-apocalyptic landscape, who happens upon a decrepit fairground and its ageing inhabitant. It’s a video full of grace, space and mystique, and as such is the perfect accompaniment to the ethereal wonder of The fin.’s new EP”.

The band is in the U.K. at the moment. Tonight, they are in Brighton: taking part in The Great Escape 2016. They take on Tooting Tram and Social on 26^th- visiting Hull in the meantime. After that, the band visits Portsmouth: they head back to Japan in June. The Kobe-born band mixes English lyrics with a Japanese sensibility: ensuringng they translate across the globe and have a wide fan-base. There are Japanese acts that sing in Japanese: there is that danger they will not be fully appreciated by the English-speaking world. The fin. have no such issues: their fan numbers are rising and their stock is rising. Going against expectations and predictions: Yuto Uchino, Ryosuke Odagaki; Takayasu Taguchi and Kaoru Nakazawa mix J-Pop with something more European (U.S. flavours in there). We in the U.K. have our share of Dream-Pop artists: it is a delight to see a Japanese act come through with similar sensibilities and ideas. That is not to say The fin. are westernised and betray their roots- Japan has a growing number of Dream-Pop acts. Sugarplant and Lemon’s Chair are a couple of acts that you should seek: showing just what Japanese musicians can do. The fin. are able to unveil Through the Deep (released on June 3^rd) and its title track is seducing a lot of people. I have been lucky to receive the E.P. - one of the first to hear it in full- and can pay testament to the stun and beauty throughout.

Through the Deep’s title track is available on YouTube- complete with a gorgeous and unique video- and has gained a lot of praise. Whether you see The fin. as dreamy and surreal; hazy and pretty- few people will come to the same conclusion. Such is the strength of their music: so many different emotions and adjectives reveal themselves. Through the Deep opens with a shimmering and endeavouring sound. The guitar shivers and vibrates- oceanic and land-straddling- whilst a heartbeat-like percussion drips with emotion. After seeing the song’s title- and hearing the initial notes- I get impressions of self-actualisation and discovery: a band that is looking for answers and looking to brighter skies. The song’s composition does nothing to dispel that assumption. Yuto Uchino wanted The fin. to be seen as borderless and without boundaries- not rigidly defined and clear-cut. Through the Deep sees a haphazard wandered stumble upon a (abandoned and desolate) fairground (the video).

That light-and-shade contrast can be found in the first phases. Whilst the song’s video sees a wide-eyed girl run to the fair: the song’s lyrics look at “emptiness” and sentimentality. The fin. are masterful when it comes to emotional outpouring and meaning. They are revelatory and open yet always keep the full truth inside. Through the Deep could be seen in a number of different ways. Perhaps it is a tale of finding love and direction in life. You can see it as a general assessment of solitude and pain- each listener will have their own views. One thing that cannot be disputed is the unadulterated beauty and emotion that explodes from the speakers. Even when insular and self-examining: The fin. are a stunning and constantly engaging and mesmeric. You get vibes of The xx- whatever happened to them?!- and something cinematic and twilight. We hear of ships “with no destination” that are “drifting on the waves”- themes that run through the E.P. as a whole. I was thinking about a break-up and distance in a relationship. Maybe the duo- if it is taken from personal memories- are going through the motions and seem rather fragmented. There is that desire to rekindle an old spark or find common ground- knowing that things will never be as they were. Such evocative music calls for deep analysis and speculation- well, from my standpoint it does- and you cannot help but imagine and conspire. Before the half-way mark; the vocals become more unified- colour and layers come together- as the beat (that heartbeat pound) become more defined and clear. Elongated, stridulated electronics fuse with ocean-side waves- the resultant cocktail is one that cannot be beaten. Few bands are as astonishing and talented as The fin. There are a lot of Dream-Pop examples on the market: few have the originality and authority of Kobe’s masters.

When The fin. released their debut E.P. Glowing On the Red Shore- around the same time as their L.P.- they were fighting against being on the outside. Unconventional and brave: the Japanese band have never had the full backing of the media and movers-and-shakers. Through the Deep’s self-titled anthem sees them in uncompromising and dazzling mood. You will be hard-pressed to discover a song as gorgeous and fascinating. The band has grown in popularity in Japan- although they weren’t a couple of years back- but write music that has international appeal. They do not stick to J-Pop moulds and limitations: their music breaks beyond Japan and is intended for the wider world. Having traveled the globe- across the U.S. and Europe- The fin. have picked up a lot of inspiration and influence on the road. Through the Deep is an intense and fleshed-out diamond that shines with determination. Uchino demonstrates what an extraordinary visionary he is- the rest of the band take a back seat when it comes to songwriter- and what a talent he possesses. Awash with reverb and soulful vocals: they evoke so much emotion with so few instruments. The keyboard and percussion are matched with subtle guitar strings- a veritable painting unfolds before your ears. Through the Deep is a song that could mean everything and nothing: a look at love, life and death; each person will take something new and special (from the song). By the end notes, you sit back and struggle to capture everything- you need to come back to get a full reign on the song. Although the quartet have not fully captured the Japanese mindset- there is a need (in Japan) to quickly release songs; lest you leave things too long- they are a huge hit overseas. When they return home- and finish touring- they hit the studio for album number two. It will be exciting to see how far the guys can go. They have such a bond and talent on-board: few other acts are as consistent and limitless than them. Through the Deep shows just what a force of nature The fin. is. They have few equals and no limitations: by freeing constraints; they allow their imaginations and thoughts to run free, unhindered.

The fin. released Days With Uncertainty in 2014 and showed how formed and united they were. The 11-track album sported no weak moments and possessed a huge amount of diversity and urgency. Even at their dreamiest and most seductive points: the band was fully capable of stealing the breath; taking you somewhere (almost) spiritual. Forward two years- with a bit of music in the interim- and there is a blend of evolution and consistency. The band has not changed their sound too much- they didn’t need to- but sound more confident and adventurous than before. Sonically, they employ more risks and have expanded their palette- the same goes for the subject matter and themes. The performances are tighter and the vocals contain more emotion, layers and nuance. What we have- with Through the Deep- is an E.P. that will please existing fans- able to recruit plenty of new followers. White Breath is awash with swooning vocals and layers of sound: the track is an instant energy-burst and takes you by surprise. The beauty-assault grabs you by the scruff and demands your attention. One of the band’s only- forgivable and understandable- weaknesses is the accessibility of the vocals. Being Japanese: their English vocals can suffer some indecipherability and clarity loss. That is a minor quibble inside music that is more about mood and feel- the concision and lyrics are almost second-nature. You get embers and waves of ‘60s sunshine: Psychedelia and melancholy entwine in a rapturous and cohabitate bond that sparks with life and lust. The casual listener will be enthralled by the goosebumps-inducing vocals and dreaminess: those more serious will appreciate the subtle composition: one that adds extra emotion and grandeur to the track. The guitars flick with subtlety: the electronics buzz and burble- the percussion drives things; the bass packs plenty of groove and kick. That blend of expression, rhythm and purity combines in a stunning opening track.

  Divers begins with a more gradual and subtle pace. The electronics start to rise: leading to a very ‘Japanese’ sound. When hearing the cascading electronics: your mind is transported across the oceans to the city of Kobe (Japan’s sixth-largest). That contrast of mountains and the metropolis come together: the rush and crowds; the space and fresh air of the open. Listening to the- entrancing and elliptical- electronics and you swim in a very pleasing and warm sea. The percussion claps and slaps: the waterfall-sounding ‘tronics flow and smile. The band pulls all their key strengths together. The harmonious vocals- the blend of male and female tones is a pleasing contrast; a consistent high- and twanging bass ensure Divers drives and swoons- a verbal embodiment of the song’s ideals and values. Whilst lyrics look at ocean depths and discovery: the band take your mind with the song; allow the listener to become ensconced in its tenderness. The fin. display their incredible musicianship throughout the song. The bass features prominently- a pounding and bouncing centrifuge- while those electronics continue to evoke chills and sunshine. Mixing ‘60s-Pop with something modern and city-bound: one of the highlights from Through the Deep.

   Heat sweeps into life with an intent and direct vocal. The band layer the voices to create something heavenly and brief- the song is the shortest on the E.P. (1:07). Showing how economical the band is- they do not allow any track to outstay its welcome- you get a song that is by-no-means a filler- it is one of the most beautiful pieces on the E.P. Mysterious and wise- the lyrics could be taken literally; perhaps attest a romance- the listener will have their own take on the song. Sometimes the band’s vocals get buried underneath the compositions- that clarity issue- but, once more, there is more emphasis on the complete sound. Judging it on pure motives and merits: Heat showcases how effective the four-piece is. Few groups are able to write a 77-second song that puts so much emotion and evocation together.

  Anchorless Ship is (perhaps the E.P.’s) most direct and hard-hitting song. The light-baring and sunny vibes are there: everything is tighter, louder and firmer. The electronics plink and flash- rather than stretching and flowing- and there is an underlying fear and uncertainty. The song’s title suggests a rudderless and lost soul: someone floating in the ocean without gravity and destination. For that reason: the vocals are more one-dimensional and distilled. It would be disappointing to discover an E.P. where every song sounded the same: each track has its own soul and way of working. Anchorless Ship is the most unique and distinguished song from Through the Deep. The band’s most ‘serious’ revelation:  there is still playfulness and comfort to be found. That combination of electronics-and-percussion (with some mean and cool bass) sticks in the head. A regimental march that builds momentum as time elapses: a powerful swan-song that will want you desiring more (such is the definition of a truly great E.P.). Anchorless Ship moves through different stages and movements. After the tense and introspective opening: a building- delirious and cinematic- middle unfurls its wings. At first, the electronics hop and jump- an innocence and sense of playfulness- before it fizzes and bursts into life. The band raise the stakes and inject everything they have into the song. The bass swaggers and dances: the vocals become more defined and deep- a beautiful blend of ‘80s Synth.-Pop and modern—day J-Pop.

A few weeks ago: I did not know who The fin. were. It has been wonderful unravelling and inspecting a stunning and dream-like band. The fact they hail from Japan makes it much richer and interesting. I love getting stuck into London music and the sounds of the U.K. We should all support our home-grown artists and what is happening on our doorsteps- not forgetting to promulgate the best international sounds. It has been so long since I have been in Asian waters: the last review (in this continent) was when I assessed Indian artist, Antriksh Bali. It is not often I get to go beyond Europe and North America- Australia is a rare treat- and witness a great act that is producing stunning music. The world of music has become poorer over this year. With the loss of so many great artists- from David Bowie and Prince- we look to the new generation for inspiration and guidance. Whilst we might never witness those kind of titans emerge: that is not to say music, in general, cannot inspire and amaze.

As listeners/purveyors: we are too defined and restrained with regards musical experimentation (besides those who really have a burning passion). I would never have thought to check-out a Japanese Dream-Pop band- luckily I am in a position where these kind of musicians come to my attention. From this serendipitous discovery: I have been compelled to investigate Japanese music and the acts coming through. The fin. have set tongues wagging with the track, Through the Deep. The same-named E.P. will get the senses tingling and buzzing. A five-track (plus a remix) shows what consistency and talent is in The fin. camp. The bond- between the players and instruments- results in some of the most scenic and soul-baring music you can imagine. I will keep an eye on the Kobe-based band and what we can expect. I have not been able to see them this time- they head back to Japan in the coming weeks- but I will check them out when they return to these isles. The future is looking very bright for them. They could have a residency in the U.Ss or Australia- two nations that embrace the kind of music they play- and the U.K. has been gobbling them up like sweets. If you are unfamiliar with the quartet- and I’m guessing you will be- then check out their single, Through the Deep. When their E.P. arrives (in a few days) grab it and let its magic entrance you. That is one of the beauties of the music industry: there is so many variation and unexpectedness out there. With Japan’s The fin…

THEY epitomise that statement… and some!

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

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Follow The fin.

 

Official:

http://www.thefin.jp/

Facebook:

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

Twitter:

https://twitter.com/_thefin

Instagram:

https://www.instagram.com/the_fin/

___________________________________

Music

https://soundcloud.com/user745587

 

TRACK REVIEW: Kindest of Thieves- Wanda

TRACK REVIEW:

 

Kindest of Thieves

 

 

Wanda

 

9.3/10

Wanda is available at:

http://kindestofthieves.bandcamp.com/track/wanda

GENRES: Americana-Blues; Ragtime; Roots Music

ORIGIN:

Leeds, U.K.

The E.P., Cul-De-Sac, is available via:

http://kindestofthieves.bandcamp.com/

TRACK LISTING:

Wanda

White Feather

Bones to the Gurney

Baudelaire Black

Want You Something Rotten

DOWNLOAD:

Wanda; Baudelaire Black; Want You Something Rotten

STANDOUT TRACK:

Wanda

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OVER the next couple of days, I am reviewing everyone from a…

Japanese band to a Germanic solo artist- with some Trance/Electro. music thrown into the mix. You cannot say music lacks variety and range. My featured act- before I formally introduce him- embodies charm and originality. In modern music, there is that need and desire to be ‘ultra-modern’: sound of-the-moment and urgent. Consumers are not as predictable (as many artists) assume. The charts and mainstream are filled with artists that are like-minded, staid and overly-familiar: modern-sounding but without much distinction and colour. I would like to see more artists look back at the past and incorporate that into their music. There are musicians that blend decades and genres into their sounds: to my mind, even that can be limited and tame. Maybe it is seen as ‘uncool’ to revert to past days: it is 2016, so why would we want to hear something based out of the ‘50s, for instance? Well: consider this. Music (as we hear it today) did not just come out of nowhere: it has evolved over time and owes a debt to the early Blues masters of the ‘20s and ‘30s. The only reason music stands the test of time- and has mutated through the years- is from that initial basis. Who knows whether we would have a music industry at all were it not for those bygone performers? The best and most innovative albums/songs have drawn from a variety of sources and sounds. We cannot just look at music and assume it should all sound chart-ready and instantly digestible. The greatest albums of 2016- James Blake’s The Colour in Anything and Radiohead’s A Moon Shaped Pool- were/are packed with sonic innovation, changeable moods and stunning invention. The Pop charts are far too flaccid, rigid and distilled. I yearn for artists that put something interesting and unique into music. Christopher J. Fox- not the most eloquent way of introducing someone- deftly manages to be ultra-modern and vintage at the same time. He is a one-man-band of force and beauty. Taking his inspiration from an array of genres- Blues, Ragtime; Folk, Gypsy-Swing- we have an artist that certainly stands out from the crowds.

It is with pleasure- perhaps invariably- that my attentions return to Leeds- can never seem to escape the darned place! Having moved to Leeds- born in Manchester- Kindest of Thieves (Fox’s mysterious alter ego) has found a natural home. The Yorkshire hotspot is synonymous with embracing retro. music. Over the years, everyone from Electro.-Swing revivalist Little Violet- A.K.A., Cherie Gears- and The Holcombe Family String Band (sadly defunct) have come under my radar. I am not sure what it is about the city that breeds such a wave of rare musicians. While the likes of London and L.A. have a variation of acts: Leeds seems to surpass them all. With a lot of bands calling time- lack of popularity or the pressures of the game- we need to start paying attention to artists that are worthy and have the potential to last. I was sad to see The Holcombe Family String Band- a similarly-quirky and brilliant Leeds bands- disband recently. Their Hokum-cum-Ragtime sounds possessed swing, flair and something innocent. Looking back at simpler days: the group combined the romance of the past with modern production values and ideas. Kindest of Thieves does things in a similar manner. He (Fox) dips into the music’s past and shines up some (long-forgotten) sounds: stylising them and adding shine. Keeping faithful to the original text- making sure the genres still have their soul and heart- we get something eclectic, electric and new. It is like going into a fashion boutique. Kindest of Thieves scours the racks for various colours, fabrics and styles: experiments- with age and design- to come up with something dazzling and unexpected. Perhaps that was a little pretentious of me, but you know what I mean? He is a mixology and cocktail-making machine; he’s an innovator and risk-taking musician: however you see Kindest of Thieves you cannot deny this: there are few other acts that do things the same way! Before progressing- drilling down to the music and Cul-De-Sac- I am always impressed by a musician that can take things into their own hands. The musicians that impress me most are those that can transgress the biggest problem of (in my opinion) today’s music: the lack of ownership and personality.

So many artists are committee-written and have packs of writers on their albums. Even Beyoncé- an artist whose album Lemonade documented her rage at Jay Z (her ill-advised and disloyal husband)- had so many cooks in the kitchen. That vexed me somewhat. Why would you put something so personal onto record and have other people write it? Beyoncé is a woman who is capable of writing a song: does she need a dozen other people to make her (personal and distinct) messages come to life? If you are not able to write music yourself- or need a glut of producers to help you out- then you should not be in the game to start with. Those who have the talent and capacity to create music- from the initial germ to the finished product- gain my respect and adulation- regardless of the resultant quality. Kindest of Thieves is an artist I have been watching closely for a number of months now. Fox impresses me with his passion and authority of older-days music. Cul-De-Sac is a five-track E.P. that takes us to the ‘40s and ‘50s: a slight detour to the U.S.; a saunter to the northern coasts of the U.K. That is why Kindest of Thieves resonates and affects: you get so many places, decades, and genres in a single song. We need to start appreciating the musicians that want to keep history alive. Those ignored and overlooked types of music- Ragtime, for instance- deserve respect. At Cul-De-Sac’s heart is something contemporary and ‘today’. The songs combine a D.I.Y. charm with something slick and professional. If you have not followed Christopher Fox’s imaginative machinations: you owe yourself the opportunity to discover something rare and brilliant.

The Taxidermist (the E.P. released in September 2015 showed what a talent we had in our midst. The three-track record laid-out Fox’s stunning imagination, workmanship and wordplay- the way he could entwine personalities and portray love in a new and unexpected way. A fine and astonishing work: Cul-De-Sac expands that (early) promise and turns it up a notch. Right from the very first song: you are captivated and hooked. Whilst other songs (across the E.P.) have some oblique edges and mystery- not directly aimed at a particular person- Wanda is one of the most heartfelt and clear songs on the E.P. Our man wakes up to the morning and begins Wanda with bleary-eyed charm and rouse. If you thought Wanda was a pure and dedicated love song: there is teeth and humour to be found. The hero does not wake to “your leather hands”. Right there, you might imagine an ‘older’ female in the song- perhaps a misguided tryst- or someone that is not a typical heroine. The morning has come and there seem to be regrets and mistakes made. With any Kindest of Thieves songs: right from the off you start to get imagining and conspiring. My mind went to a sunlit bedroom- a small room in a quiet town- where our man is tip-toeing and collecting his clothes. Maybe my mind is starting shallow: there might be something more innocent and chaste at heart. The composition instantly evokes the glory-days of Ragtime and early Blues. Christopher Fox is a musician that has surrounded himself with old vinyls: you can imagine him spending evenings sat, embroiled in scratchy 45s- needle-jumping records from U.S. Blues champions and British Ragtime bands. With each passing second, the smile broadens on the face. The rather ‘uncontoured’ breasts and supple wrists are matched by a questionable girth: our boy’s bed has been ground to the floor- the mattress is getting a severe workout. In a year where love songs either sound sworded and seedy- drizzled in sweat and tongue- or distant: here, we have something charming (a word that will be used frequently in this review) and funny. Whatever caused this comical mismatch: you cannot help but jump into the song and imagine the parties in the morning. Fox is a man that has regrets and pain- having been struck in the eyes with various (loose-fitting) body parts- and is documenting his ill-fated congress. Compelled and energised by the spirited composition- it keeps cherry and heel-clicking right the way through- every listener will come away (listening to the song) with images and words bouncing around the brain. Wanda seems like a girl blighted by age, weight and gravity-defying size- someone that could appear in the pages of Viz. While our man stands back and assesses the wreckage- both metaphorical and literal, it seems- there is never any malice or cruelty.

Wanda has that old-skool Ealing comedy vibe to it: there is tongue-in-cheek and wit brimming to the surface. The cruel mistress- bedecked in furs and strange fashions- cause shivers for our hero. It would be great to know what motivated the song to come to life. With every Kindest of Thieves song: you know there must be some back-story to it. Wanda seems like a song that could only exist in the ‘30s and ‘40s- few modern-day writers have such a storytelling talent. Maybe Fox shared a bed with someone unglamorous and cruel: translating and modifying that experience into something vintage and humorous. Whatever the inspiration for Wanda: it is the perfect way to kick-start Cul-De-Sac. Nobody will be able to resist the spirited performance and stunningly pure vocal from Fox. I had to listen to Wanda a few times to let those words and scenes seep into the mind. The first listen was dedicated to embracing the oddity and quirkiness of things. Repeated spins saw me get into the lyrics and really dig deep. Even now- upon the fifth time- there is some mystery beneath the surface. The hero can “barely stand no more”- of the romance or life in general? - and he wonders how Wanda manages to carry on. By the two-minute mark, the song reaches its peak: the vocal is at its most inflamed; the strings sharpen and spin. Wanda consists of few original lines- codas and ideas are repeated for maximum effect- but that shows the economy and skill of Fox’s writing. He manages to make such a compelling and busy song with very few lyrics. The commitment of the performance and wide-eyed sense of surprise makes Wanda a real winner. It is a wonderful introduction to Cul-De-Sac and its finest moment.

After immersing myself in the likes of Radiohead, James Blake and Yak (there artists that are filling my head with all sorts of pleasure) I needed to step away from them and embrace something different- give my mind a chance to discover something new and lesser-heard. Kindest of Thieves- aside from the clever name- is a name you should familiarise yourself with. Other, similar-natured artists have (sadly) split: I feel Christopher Fox will not have the same problem. His social media numbers are solid: he is gaining new supporters by the week. There is a loyal band of fans that follow and cherish everything (Kindest of Thieves) does. The next gig- for those interested- will be the Warrington Music Festival. Fox is staying local at the moment: keeping himself in the north, at the very least. I would love to see him come down to London and play some gigs around here. I know there will be venues and pubs that would love to host him- clubs and spots that would go crazy for his music. That said, areas like Brighton would readily embrace the quixotic and heart-melting music- potential and possibilities around the U.K. Right now, Fox will be concentrating on the E.P. and ensuring people hear it. If you head over to his BandCamp page- the link is at the bottom of this review- you can hear the E.P. in full. Cul-De-Sac packs so much story and substance across its five songs. White Feather- one of the barest and most ‘live-sounding’ tracks on the record- begins with finger-picking and a delightful rush.

Compelling you to tap feet and get moving: the song spares no time in being aloof and wallflower-like. I am unsure whether white feather- the subject of the song- is a current sweetheart or a dream. “I want to take it out on you” and “perversion disrobes you” paint something dark and disturbed- other lyrics look at something more heartfelt and passionate. With every line of the song, the listener starts to imagine scenes and possibilities. Fox delivers the words with such passion and strength- marking himself as one of the most underrated singers in British music- ensuring White Feather sticks in the mind.  I was thinking about love and romance: maybe a particular girl is in mind; someone that is quixotic and strange; you never quite know the absolute truth. Kindest of Thieves is an act that combines mystery and direct: every song has layers and room for interpretation. White Feather has such an effusive kick and swagger to it: no listener will be immune to the rush and energy of the song. Fox grumbles, growls and rises (with operatic splendor): encompassed in gentle notes and a seaside-adjacent scene- embittered and affected by the “cold and rainy weather”. His heroine has a war within her- she seems quite restrained and bottled-up- whilst the hero wants something more explosive and expressionist. Maybe I have got my theory wrong: perhaps the ‘white feather’ is more a concept or emotion- perhaps something intangible and more theoretic. It takes a number of plays for the song to reveal its truths: when it does, you will be hooked on its unique blend flavor.

Bones to the Gurney swims, swallows and lurches into view. A drunken merriment brings the song to life. Again, you wonder whether love is in the midst: perhaps our man is looking at an object or chattel. Bones’ possess one of the most complete and busy compositions across Cul-De-Sac. There is rambling, train-hoping brass sounds; punchy and tight percussion- heartfelt acoustic strumming. This one-man-band puts such originality, invention and beauty into the music. An accomplished and intuitive musician: Fox displays an affection and understanding of everything he performs. A musician that has one foot in the past- the ‘40s and ‘50s especially- and one in 2016- there are few musicians quite like him. Bones to the Gurney puts thoughts and ideas into the imagination, no doubt. Our hero wants to be looked over one last time: perhaps a romantic supplication or something different? With every line, you wonder whether romance is being documented- Fox keeps his cards close to chest. Listening to Bones to the Gurney and it is like you are in the room with Kindest of Thieves. Listeners are brought directly into the listening experience- without periphery and baubles- and you are fully immersed in the song.

Baudelaire Black starts with a racing kick: getting off to the races with no thoughts of walking or calm. Strings twirl and nod- almost Grecian or Hispanic in their sound- whilst our hero wipes blood from his body (again, you wonder just what he gets up to in his spare time) his heroine wears a startling dress- the colour, Baudelaire black. Charles Boudelaire was a French poet (1821-1867) who remains one of the most influential essayists and art critics ever. Given that context: you start to imagine various scenarios and ideas. Baudelaire Black is (actually) one of the most straightforward and direct songs on the E.P. It is about a heroine- someone that is quite exotic yet relatable- wearing a dangerous smile. Fox makes sure his voice is compelling and impassioned to the very last note. Representing a heartfelt- if somewhat odd- love note: you picture the heroine and the exchanges that take place. My mind- and yours will be- was taken back to the 1940s- the juke-joints of the U.S.: where cigarette smoke fills the air and the hat-wearing suave lean against the bar- maybe I need to stop watching so many old films! One of the most stunning tracks on Cul-De-Sac- second, only to Wanda- and you have to tip your cap to Kindest of Thieves. Over the course of three minutes (and two seconds) you are taking into a dazzling mini-epic with anti-heroines and blood-shed: double-cross and deceit; head-spinning strings and something spider web-alluring beauty.

Want You Something Rotten brims with northern charm and accent. Even pronouncing the song: you will do so with a distinct accent and angle. Even before the song starts, I get images of ‘40s music hall stars with ukuleles: ditties about special girls and lampposts (got to stop listening to George Formby so much!). The track begins with our man at his most helpful: he has been “teaching slaves to kneel” and sets his sights on the girl. The hero has been lonely and lost for a little while: he needs something fulfilling and exciting- he is setting his mind on getting the girl. With a busy and special mind: the boy is not going to relent or demure. Once more, Fox combines a bedroom-made sound- again; you are in the room with him- with exceptional musicianship and dedication. The vocal brims with spark and urgency: the composition combines contrasting emotions and sounds; a compendium of dance, fever and exhilaration. By the closing moments, the listener has taken in so much. The words tumble and you envisage the conversations taking place. The music gets the body motivated and the senses primed: one of those songs that's destined for the live crowds. Want You Something Rotten has a singalong quality that would translate brilliantly to larger audiences. Whether Kindest of Thieves sticks to intimate, home-based crowds- or expands the horizons to something more intimidating- few can overlook what a treat Cul-De-Sac is. The five tracks whizz by and leave a deep impression- you are seduced into repeated investigation. Whether you are a fan of U.S. Blues and Gypsy-Swing- and the other sounds invested- you cannot refute the charm and memorability of the music. There are so few musicians doing what Christopher J. Fox is doing. If you want a smile put on the face- who of us doesn’t?!- then you need to do this: listen to Cul-De-Sac and…

HAVE your day brightened, thoroughly.

[bandcamp width=350 height=470 album=4082897301 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=2379527140]

______________________________________

Follow Kindest of Thieves

 

Official:

http://kindestofthieves.wix.com/kothieves

Facebook:

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

Twitter:

https://twitter.com/kothieves

_________________________________

Music

http://kindestofthieves.bandcamp.com/

 

INTERVIEW: Laura Saggers

INTERVIEW:

 

Laura Saggers

 

______________________________

SHE may have been born in the home counties- and lived in one of my favourite places, Chesham- but Laura Saggers is ensconced in California. After leaving the U.K. to pursue her dreams: Saggers has been building up a solid reputation- marking herself as an immense talent. A classically-trained pianist- one of the most stunning and jaw-dropping pianists I have heard- she boasts a tremendous Pop voice a rare accessibility. Add an infectious personality and huge passion for music: she seems ready-made and primed for the big leagues.

In a state- and part of the U.S.- where competition is fierce: the British-born musician stands above her peers. Having performed a range of stunning cover versions- and original singles including Summer Fling- there are few musicians quite like Laura Saggers. I was keen to chat and find out what the future holds: whether we will see new (original) music; how the U.S. compares (to the U.K.)- and whether talent shows are good for the music industry…

______________________________

For those new to your music: can you tell us a bit about yourself? You were born in England but live in California. What compelled the move to the U.S.?

I fronted an Emo/Heavy-Rock band back in the day (Sennah) and as the scene started to fizzle I decided it was time for a change. I packed my bags; bought a flight and literally never looked back. Honestly, can't believe it has been nearly 7 years since I did that. It has been such an amazing ride.

I spent a lot of time in Chesham- where you lived: my aunt owned a business there- and can imagine it has a warm and alluring pull. Do you miss places like this or prefer the excitement and expansiveness of California?

I love this question: it is like asking someone could they live without cheese or ice-cream- if that person were obsessed with both (I can't live with either F.Y.I.). I adore England and will always consider it home. I love the sarcastic wit of the English people and the countryside is stunning. London is a vibrant, eclectic hub of awesomeness but California had a scene for music that, for some reason, I wasn't being able to locate as easily in the U.K. I would say L.A. is the toughest town (socially) to move to and can really bring the most-optimistic person down at times. The opportunities it offers are absolutely endless: you have to be a ridiculously determined person and prepared to work your butt off in order to benefit from what it has to offer. I guess I am lucky that I was born with two stainless steel testicles- metaphorically speaking of course ;) Are there any local artists you could recommend at all?

YES! Of course. L.A. is a hub for aspiring artists. I have played and met with some great ones. My top-3- at the moment- are:

Ari - amazing girl from Canada. Heart of gold, a hustler: a hard worker; her Power-Pop voice is crisp and ripples with woman power. https://www.facebook.com/iamARImusic/?fref=ts

Brian Davis - an amazing songwriter. Every time I go to a show I get absorbed by his lyrics- such a great storyteller. http://playingforpennies.com

Everett Coast - just heard these guys last week and the harmonies are ON-POINT. Sounds something like a '90s Acoustic-Rock band (and oh-sooo-good). http://www.everettcoast.com/

Dreams is your latest cover song. What compelled you to tackle that number? Is Rumours- where the song features- one of those albums that's particularly special to you?

I have always loved Fleetwood Mac. My voice suits their songs and she (Stevie Nicks) was just- and still is- so incredibly bad-ass- who wouldn't want to cover her? I also chose Dreams (as) when playing around with it in the studio it really suited the patch sound on my keytar.

[soundcloud url="https://api.soundcloud.com/tracks/188432268" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Each of your recordings is defined by a very sultry and stunning vocal. Which singers/musicians were key to you growing up?

I love voices. I am always attracted to the voice before anything else. Ella Fitzgerald has always been a huge top contender for me. I also love Norah Jones, Meiko, Lenka, Jasmine Thompson; Tracy Chapman, Hayley Williams. Anyone who can sell a song to me when it is stripped-down and in its rawest form shows true talent to me. It is easy to play loud but give me a piano or an acoustic guitar- and one beautiful vocal- and I’m happy.

Summer Fling- released via Snapchat last year- showcases a unique style and vocal. Was there a particular time/person that inspired that number?

Ha, yes. I had just come back from a trip to England where I met the most dashing of young men and got whisked away into a summer frenzy. I felt like I was 16 on some super-random summer vacation. The trip ended; I came back: wrote a song about everything we did as a kind of diary entry and that was that. It was very unexpected: very unlike me; the experience was awesome.

[youtube https://www.youtube.com/watch?v=NdY6zUj9zhg&w=560&h=315]

On the subject of your own music: can we expect a Laura Saggers E.P./album anytime soon?

The album is done: ready to release. It has taken me two years to perfect but I am soooo excited about it and can’t wait to share it with everyone.

Having been performing/recording for a few years now: which memories stand out in your mind?

I played with an ‘80s cover band for a while and we played some massive stage. Some were in front of 20,000 people and I remember looking out to the crowd and dancing with keytar and thinking: damn I made it! This is what I came for and then instantly feeling proud and grateful all at the same time.

You are a classically-trained musician. You have had a very rich and impressive musical background- making your name honestly. Do you think the decline of (music) talent shows is a good thing? Are they- the contestants that appear on them- good or bad for music?

Hmm. I have been begged by family members to go on these shows and I actually did a few auditions for a couple of the massive shows and got through- but after reading the contracts I politely declined. The reality is this: those shows have a purpose. They are good, live entertainment. Nothing more. If you are 15-year-old and have nothing to lose then absolutely go for it- but you may notice that you will never find an actual professional musician on those shows. The contracts involved are so dangerously one-sided that it hinders the growth and ability for musicians to have an actual career. Don't believe me? Name 5 artists in past two years that came from those shows that are now huge stars.... nope? Thought so!

I came here to live the dream as a real musician. If I don't make it- in the commercial sense of the word- then so be- at least I will be happy with myself. But I'll be damned if I sell-out and crumble to a huge corporation that cannot guarantee me a future but profit from my talent.

Are there any plans to play in the U.K. this year at all?

I hope so! Working on it!

What advice would you give any aspiring singer-songwriters looking to follow in your footsteps?

Go take a business course in music. Go understand the industry you are trying to succeed in. The industry has changed so much over the years and it is so (so) crucial to understand what you are getting yourself into. You say you want to earn money by making music? Then understand where that money comes from and work your way backwards.

__________________________________

Follow Laura Saggers

 

Official:

http://www.laurasaggers.com/

Facebook:

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

Twitter:

https://twitter.com/laurasaggers

Instagram:

https://www.instagram.com/laurasaggersmusic/

________________________________

Music

YouTube:

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

SoundCloud:

https://soundcloud.com/laura-saggers

INTERVIEW: Alice Avery

INTERVIEW:

 

Alice Avery

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THERE are a lot of great artists coming out of New York: few as stunning, committed and passionate as Alice Avery. Expired Love- her previous single- was a mouth-watering release from Kicking the Habit: Avery’s E.P. that is released later this week. Obsessed (the latest single to be released from the E.P.) was released today. I was keen to catch-up with the Belgian-born star. With so many fans behind her- her music talked about in fevered tones- I was curious.  We chat about her influences and upbringing; how New York feeds into her music- what she has planned for (the rest of) 2016…

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For those new to you- and your music- could you introduce yourself? 

I’m Alice: singer-songwriter-actress, independent artist, runner; yoga-lover, vegetarian, optimist, serial dater; sister... (I feel like this is a dating app. bio.). I make Pop music with a bunch of different influences like Soul and Indie.

You hail from Belgium. How does the music scene there compare with other parts of the world? 

Musically, Belgium is mainly known for its Dance music. Besides that, there’s not a large amount of wildly-known Belgian artists. Stromae is probably our top musical export right now. It’s a small scene since it’s a tiny country and nearly everyone knows each other. There are a bunch of great artists and musicians.

I feel that it’s not always the greatest ones that get recognition- however that’s a problem everywhere; not only in Belgium. We have some great Flemish music, sung in our native language- which I appreciate so much more now living abroad.

Based in New York: what is the metropolis like for an aspiring musician? 

It’s overwhelming, exciting, inspiring: there’s opportunity in every corner! If you wanted to, you could perform in this city every day. You meet interesting artists everywhere you go and you never know who you might sit next to on the Subway. The other day, I took an Uber pool and ended up in the car with a girl that works for Kanye and Drake.

[youtube https://www.youtube.com/watch?v=u-69Fd1PYhA&w=560&h=315]

Expired Love- your new single- boasts a romantic and bold vocal; lyrics of fighting-against-the-odds. Which musicians and artists have been important to you? 

So many. I feel like I never have a great answer to this question because I listen and love so many artists. But then someone told me that as an artist it’s your job to listen to all kinds of music and it would be small-minded to not appreciate and listen to everything with an open mind. In life, I love Beyoncé and Alicia Keys (as does every other 20-something-yea-old female) – other artists I love and listen to- so therefore also seep into my musical subconscious- include Banks, Jhene Aiko, Norah Jones; Duffy, Amy Winehouse, Katy Perry; Sara Bareilles … mainly strong woman.

[soundcloud url="https://api.soundcloud.com/tracks/235945975" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

Kicking the Habit (E.P.) is out on May 20th. Can you tell us about the songs/inspirations that go into that? 

Kicking the Habit is mainly about love. I know (gross right?!) But don’t get too excited because it’s mostly about love that isn’t really love-love- but more like crushes on steroids; falling for the wrong people and being afraid of commitment. There are seven songs on the E.P.: some more ‘Pop-py’ than others but there’s something on there for everyone. My main inspirations were New York; entering ‘adulthood’ (is that a thing?), being far away from home; and then f***boy. Not texting them when you’re drunk: A.K.A. Kicking The Habit. Just kidding… kinda. No, but really: I’ve been an asshole with ‘commitmentphobia’ very often too.

A lot of your songs- that feature on the E.P.- explore love (its positives and negatives). How vital have relationships been to you as a songwriter? Do you find pain and heartbreak can lead to great creative moments? 

I do think pain, heartbreak and vulnerability all lead to great creative moments. I haven’t been in a serious relationship in forever (cat-lady alert!) but I have been dating- and have met many great and not-so-great people along the way. It’s really through your interactions with people and discovering how you yourself react to moments, tough and emotional situations that you realise who you are, what you want and learn about yourself as a person. As a person, I always try to step back and ask myself if I’m reacting to the situation or reacting to my emotions. As a songwriter, I’m like: okay emotions pour out of me on this paper right now! That being said, I think in super-happy and calm moments you can still write a great, happy Pop song. It doesn’t all have to Emo. and dark.

Which other acts around New York- may be a daunting question- could you recommend to us? 

Hmm, that is a tough question because there are so many talented people in New York! About a year ago the girl that performed after me- at The Bitter End- was called Raye Zaragoza: she is this amazing blend of Norah Jones-meets-Sara Bareilles. I’d say she’s definitely one to watch! And the guy who plays my cheating “love interest”- in the Expired Love music video- Adam Vinson, is a rapper who’s dropping his E.P. soon- under his artist name AV (which I’m really excited about). I went in to sing some vocals for him the other week and his record is going to sound awesome!

Looking back on your career so far: which memories stand proudest in the mind? 

This E.P. coming out and the music video that I just released this week are two major moments for me because there went a lot of time, hard work, sweat, grind and hustle into it. It’s major for me because I did most of it on my own: luckily, with a great group of people I found along the way. Even though this is (honestly) just the start- it’s been a long road already.

But looking further back: in Belgium, some of the biggest shows I did were Vlaanderen, Muziekland en Suikerrock- which were both really cool. I loved writing a weekly column for Flemish teen magazine JOEPI- about my adventures in New York.

I think one of my proudest moments- and biggest decisions- was deciding to move to New York in 2012- even though I was just at the start of my career in Belgium. It was one of those moments knowing that, if I stay, I’d probably have a good life- a career that’s starting to unfold and great people around me. But I always knew I wanted to live abroad and chase my big dreams- not just settle for the most convenient route.

Once Kicking the Habit is out; you will be promoting it. Any plans to take in the U.K.? Which countries will you be visiting? 

I’ll be visiting Belgium and The Netherlands this July. And yes, I am actually (also) visiting the U.K. this summer- but I can’t give away any details yet; I can tell you it’ll be in London. As soon as I’m allowed to say more, you’ll be the first to know!

Music is a demanding mistress; New York a crowded city. How do find time to relax? What do you do when not concentrating on music? 

Honestly, there hasn’t been a lot of time to relax. New York is demanding and expensive so I work part-time (or should I keep up the glamour and pretend it’s already with just music that I can pay this ridiculous New York rent?). I sing in a wedding band and then there’s my own music that I’m working hard on. I haven’t been on a relaxing vacation in three years (besides my trips home to Belgium to visit family) so down-time is really precious and rare. My biggest way to unwind is working out (I know- I’m weird), I just love running along the Hudson River and letting go of everything. I also love a good yoga class or a walk on the beach. Oh, and they have really good and cheap pedicures up in Harlem where I live- which I like to treat myself to on a rare occasion (And Netflix and Chill, obviously).

What does music mean to you, personally? 

Music to me means being able to express myself. In our world where everyone has an opinion about everything- and everyone judges everyone and you’re not supposed to do this but you are supposed to do that. For me, that just all doesn’t matter when it comes to music. It’s this raw thing where you feel an emotion and you produce sound and words (and you can sing your problems away). So that’s actually a very selfish part of it: that I do it because I love it and it makes me feel better. But then there’s also the fact that you can connect to people and talk to people; tell them stories through songs- let them know that they’re not the only ones experiencing a certain thing, or let them laugh, cry or feel things.

What can Alice Avery fans expect in the future (after the E.P. is released)? 

The first full album of course!

For being a good sport: choose any song and I’ll play it here. 

Any song?! Well, Expired Love, duh! And then Someone New by Banks!

[youtube https://www.youtube.com/watch?v=_emsub2lDWg&w=560&h=315]

________________________

Follow Alice Avery

 

Official:

http://www.thealiceavery.com/

Facebook:

https://www.facebook.com/thealiceavery

Twitter:

https://twitter.com/aliceavery

YouTube:

https://www.youtube.com/channel/UC6SO_65gQUiJvxtzxsQD8uA

TRACK REVIEWS: Jasmine Rodgers- Icicles/Sense

TRACK REVIEWS:

 

Jasmine Rodgers

 

Icicles/Sense

 

Icicles/Sense are available at:

https://soundcloud.com/jasminerodgersmusic

RELEASE DATE: June 17th 2016

GENRES: Alternative; Folk; Electro.; Rock

ORIGIN:

London, U.K.

The album, Blood Red Sun, will be released later this year.

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AFTER a (kind of brief) exploitation to Australian and American music...

it is back in my favourite place: London. I try and extricate myself from the city now and then: invariably; I am drawn back to the wonderful music. There is so much wonder, joy, and quality to be found in London. The music is not just confined to certain genres and ‘types’: there's a smorgasbord and vast array of sounds and styles. Before I come to my featured artist, I wanted to look at the children of musical legends; the importance of traveling (conducive to adventurous music) and reinventing the Folk genre. Entering the music profession is a risky and unsure thing. If doesn’t matter what start you had in life; how wealthy you are: talent and determination are the most important, and underrated assets, you require. What fascinates me about new musicians is their background: especially those that herald from an artistic/musical background. You do not often encounter artists that hail from such creative and arty beginnings. With Jasmine Rodgers being a second-generation musician: I have been compelled to investigate other (children of musicians) examples. From Eliot Sumner- Sting’s daughter; formerly I Am Coco- there is inherent pressure to succeed and ‘prove yourself’. A lot of today’s artists go through music school or find their own path: something quite ‘traditional’ and ordinary. They will work hard and raise money to produce songs. It is always pleasing seeing genuinely great musicians make their way- regardless of their background. Those that have had that distinct musical education- well-known parents or a very musical family- have that edge and additional education. That is not to say- by proxy of their D.N.A.- they have an edge and will be naturally talented- they will have the experience and know a lot about the industry. Too many musicians get blind-sided by the harshness of the industry: what it takes to succeed and how challenging it can all be. Jasmine Rodgers is someone who knows what it takes to make it. Before I continue my point, let me introduce her to you:

Too many musicians get blind-sided by the harshness of the industry: what it takes to succeed and how challenging it can all be. Jasmine Rodgers is someone who knows what it takes to make it. Before I continue my point, let me introduce her to you:

“Born into an artistic family – her mother a Japanese poet, her father the legendary vocalist Paul Rodgers (Free, Bad Company, Queen) – Jasmine Rodgers knew her way around both keyboard and fretboard before she even enrolled at secondary school. But given her love for art and zoology (in which she has a degree), music was initially a passionate pastime rather than a full-time pursuit. This changed when her older brother Steve, on hearing the ethereal beauty of Jasmine’s voice, asked her to sing with him and they formed the group Boa. Boa went on to record two albums, achieving renown in the Americas, France and Japan, after their single ‘Duvet’ featured in the anime series Serial Experiments Lain. The group disbanded in 2005, but Jasmine continued her association with the anime/manga genre, writing songs for the soundtrack of Armitage: Dual Matrix, which starred Juliette Lewis.

Jasmine continued rehearsing, writing and recording, releasing an EP of self-penned alt-folk nuggets and collaborating with artists including Indian classical musicians Mendi Mohinder Singh and Waqas Choudhary. She found inspiration for new material in the exploits of her travels (live performances led her from the Royal Albert Hall to the Venice Biennale and the Edinburgh Fringe). It was one such journey to the Joshua Tree desert in California that inspired Jasmine to capture the best of her material on a full-length album. She enlisted producer Sean Genockey (Tom McRae, Futureheads), whose experience working at Joshua Tree’s Rancho de la Luna studio made him ideal for bringing forth the material’s widescreen yet rootsy vibe. Blood Red Sun, to be released later in 2016, was recorded at Black Dog Studios in London and is the sound of an exceptional artist drawing deep from global musical experiences to craft a set of inventive, euphonious 21^st-century folk”.

Rodgers has had that filmic and made-for-the-big-screen upbringing. Given the fact her father is one of the most respected vocalists of all-time: it is, perhaps, not a shock his daughter has such incredible pipes. Raised in that musical and astonishing household- where her mother’s art and father’s music would have spiked her young mind- it was only natural (Jasmine) would chase music. Given Paul Rodgers’ connection with Free and Bad Company- later, Queen- Jasmine seems to have been fated to music since her first day. After singing around the house- her brother noticing her fine talent- she was encouraged to pursue music and take it by the horns. Just because you have a musician parent- father in this case- does not mean that will translate naturally. I have seen a lot of examples where the child does not hit the peak of their parents: this is not the case with Jasmine Rodgers. Possessing the power, passion and rawness of her father; a sweetness and beauty that is all her own- an amazing and unforgettable tone.

I can tell how influential her father has been: her mother’s art and itinerant background has compelled Rodgers to travel the globe in search of inspiration and subject matter. Too many of us are rigid and tied to home- I am culpable of this- and do not explore what is out there. With such a big, compelling and astonishing planet out there: more of us need to get out there and see it. Rodgers’ wanderlust and lust for inspiration has seen her travel widely and absorb cultures. If you are stuck in a city/town- London, for instance- you are likely to be limited when it comes to imaginative songwriting. Even if you have a wide and varied musical taste: that is not to say your own music will be suitably eclectic and multifarious. Rodgers has taken it upon herself to engage with the wider world and see what other countries are producing (in terms of music). When you hear Jasmine Rodgers perform- and when you listen to her interviews- you get cross-continental blends and something truly exotic. Using Folk as a basis- but stretching it and breaking ground- many people might assume (Rodgers’ music) would be predictable and narrow. Folk is one of those areas of music that can be very mixed and average. That image of the acoustic guitar-holding singer- who performs songs about the natural world with little energy- pervades. Jasmine Rodgers is a lot more than your run-of-the-mill Folk act. She brings Rock and Electric shades into the mix: something harder and grittier; cosmopolitan and ethereal. Every song (she produces) covers new ground and brings together something fresh- guaranteed to enthrall and impress the listener.

Icicles and Sense are some of the earliest works from Jasmine Rodgers. Music has been pivotal for year: she is still so young and making her initial steps. If it were not for her family- and brother’s persistent she get into music- would our heroine be where she is now? I’d like to think so as you know art and music coarse through her veins. She is taking her time to craft music of the highest order: you can hear the detail, work-rate and attention in her songs. Given the reaction to Icicles- it has been lauded and promoted by D.J.s and bloggers- there is a demand for more music. Sense and Icicles are two tracks that have a familial connection: they are natural album-mates and it will be great to see them alongside one another. It is at this point of a review that I look at an artist’s progress and development- see how far they have come; compare their new stuff to the older. Jasmine Rodgers is making her first moves- making it difficult to make comparisons- but her new songs are incredible. Intimate and open- like being in the wide expanse of nature- there is etherealness and passion in every note. Blood Red Sun is unveiled soon- Icicles is going to feature- and it will be a chance to see the musician in her element: stretching her talent and showing the world just what she has at her disposal.

Icicles begins with a very gentle and springtime feel. You hear the natural world breathe: the wind blows and you can feel the sun on your face. When our heroine comes to the microphone: you are instantly hit by the power and immediacy of her voice. It is so clear and crisp in the mix- right up-top and with stunning clarity. Backed by tender strings- a balletic, gently-picked guitar sound- there is sparseness and bare-naked purity from the first notes. Looking across the land and water: Rodgers lets her soul fly; she is sending it to a particular person. Whether a current love- or someone that is an important piece of her past- there is that desire and love in the vocal. So calm and reflective: you can get lost in the voice and its serenity; the tranquility smoothness and delicious, chocolate-like sweetness. Whomever is being sung about: clearly someone that means a great deal to our heroine. Having been lost “for such a long time”: with the intensity of the mood; the composition becomes darker and more tense. Mystical and dark-hued bass notes conspire: Celtic, Anglo and Middle-East sounds melt into something delicate and pure. Our girl will be flying “ever-so-high”; she will be making her way across the land- in order to hold her man. Part of me tried to pick the lyrics apart and see what inspired them. I instantly jumped onto themes of love and departed sweethearts- there seems to be more to it. Whilst deeply personal and heart-aching: I feel Rodgers has lost a lot more; is chasing more than a particular person; longing for something deeper and more profound. When combining her vocals- layering them and adding an urgency to proceedings- the emotions stake up and the fascination rises. “

I instantly jumped onto themes of love and departed sweethearts- there seems to be more to it. Whilst deeply personal and heart-aching: I feel Rodgers has lost a lot more; is chasing more than a particular person; longing for something deeper and more profound. When combining her vocals- layering them and adding an urgency to proceedings- the emotions stake up and the fascination rises. “How sweet to find”, it is said, “the meeting of minds”. You start to wonder what that refers to- taking me away from realms of love- and your imagination starts to spark. Chasing dreams and climbing mountains: if she is after a man; he must be someone rather special and wonderful. That obliqueness and mystery means Icicles is a song that needs repeated plays. You are affected the debut spin: new light and dimensions feed in when you give it more time and dedication. Our heroine’s heart is haunted and in need of satisfaction. When she finds her subject- whether lover or friend- icicles will melt. Such is the magnitude and importance of that connection: the climate will change and the world will move. You never get the feeling of hyperbole and over-exaggeration. Rodgers is not someone who employs ululation and needless over-emotion: everything she sings is performed with honesty. By the closing seconds, you are entranced by the images and lyrics. Waters are swelling and rising; snow is melting and everything is changing. Without a kiss being delivered; before a word is spoken: such a heavenly and biblical transformation will occur. It is this passion and intensity that makes Icicles such a bracing and spectacular thing. Imbued with beauty and tenderness- an arpeggio and little other accompaniment- the focus is on the lyrics and vocals. Few musicians could carry a song- with so few layers- and make it such a beautiful thing. Credit to Jasmine Rodgers who not only makes Icicles worthy: she makes it sound utterly essential and unforgettable.

Sense is the second-half of the double A-side. Whilst its sister was concerned with capturing love and a sought-after beau: we see a dynamic shift and a switch in emotions. Icicles was dedicated to chasing and fulfillment: positive and lustful; world-straddling and fast-moving. Sense begins with a similar arpeggio flair: it rushes away and ensures the listener is stood to attention. Clearly affected and determined: Rodgers asks the question: “Can you hear me?”. That sentiment is repeated and enforced. You sense- from the first words- these words are directed towards a lover. Perhaps someone who has been inattentive and remiss: a human that has not been as loyal and understanding as they should. Again, we get layered vocals and that build-up. The song has that live-sounding feel to it: you can imagine it going down particularly well with audiences; Sense is a shivering, atmospheric and mind-grabbing track. “Everybody needs to be believed”, our heroine attests: “So, why then, don’t you put your faith in me?”

Again, one-half of the brain will look at lovers and the imbalance they have- the fights and distance; the broken hearts- but you can take that interpretation to friendships and family- maybe something unexpected and different. In these early exchanges, little insight is given. Rodgers elongates the words and performs them with an underlying anger. You imagine a boyfriend or sweetheart is being assessed: someone that is not as supportive as they should be; dropping the ball. Such is the fascination you get from Rodgers: every line has a little mystique; room for interpretation. When delivering the lines- “Can you feel me?/Do you know how I feel?”- she spins the words and tees-up a funky beat. There is a definite kick and soulfulness that makes its presence known. Differing from Icicles- which was more straightforward and gentle- here, we get something harder and more Funk-influenced. Showing another side to the musician: you start to tap the toes and get the head nodding. Everybody needs to be believed and shown faith: something we all can relate to and understand. I would love to know what the circumstances are behind the song- and who has compelled the words. Such is the commitment and determination of the performance- embers of Laura Marling and Natalie Merchant come through. The composition boasts some wonderful percussion and busy nature: the strings spike and fizz; the drums roll and crack- it is an intense and complete song. While the seconds tick down, you hear reflections of Folk’s past masters- Nick Drake and Neil Young.; Joni Mitchell in there- given a modern and updated shine. Rodgers rides her mantra- not being believed and supported when needed- against a crackling and emotive composition. By the end, you hope satisfaction was achieved and she obtained that faith- knowing she might have to fight for it still.

Dan Carey (who produces here) has worked with the likes of Kate Tempest and Nick Mulvey. He brings the best out of Jasmine Rodgers and gives each track a shine- without making it too glossy and unnatural. The voice is out high in the mix ensuring every word can be heard and understood. Icicles and Sense are two different sides to an intriguing talent. The former allows something pure, tender and divine to come through- gentle acoustics and something that unites Celtic and Middle-East sounds. The latter is a more brash and angry song. Rodgers is in pensive mood and seems lost in confusions and anxieties. This allows for a more multi-dimensional and Funk/Rock-inspired sound to emerge. Carey ensures Rodgers’ sound is as clear, crisp and defined as it can be. Joined by Dan Kavanagh (he plays drums on Sense) it is remarkable to hear an artist- new and eager- sound confident, complete and astonishing. I know Blood Red Sun is coming out later in the year. There is cover art and album credits available- on SoundCloud- but only Icicles and Sense are available to hear. Icicles/Sense will be released across digital platforms (as a double A-side) from June 17^th.

Jasmine Rodgers is one of those modern-day artists that will succeed naturally and without obstacle. A very beautiful and confident woman: just listen to her being interviewed and you can hear that passion and determination come through. She is not someone that is here for the short-term: you would not bet against her being a mainstream star in a few years to come. The double A-side Icicles/Sense demonstrates how spectacular and wonderful Rodgers. She creates lush and vivid soundtracks: moments that takes you someone beautiful and arrest the senses. Bringing together multiple genres and sounds; emotions and dimensions: few artists are as bold, confident and accomplished. I love coming back to London music and embracing the best home-grown musicians. This city has such a vibrancy and community. So many amazing musicians are being born and making London one of the world’s musical hotspots. Maybe L.A. and New York have more musicians- by virtue of its size and population- but London (not bias or anything) has more magic and mystery. It is something inexplicable and hard-to-pin-down. Rodgers is one of those musicians who will keep playing and plugging for a very long time. She loves performing and bringing her music to the crowds. With every interview and gig; you learn a little more about the young star. Revitalising and updating Folk for the 21^st-century: one of the most vital and impressive artists we have in our midst. You cannot have Paul Rodgers as your father and resist the lure of music- refute the bite and itch to get up there and play. I mused about the subject of musicians’ children and following in footsteps: whether a musical heritage instantly results in inherited ability and knowledge. It is clear

Jasmine Rodgers has an advantage right from the off. Her mother’s art and father’s music filled her senses from birth: got inside the mind and (if subconsciously) drove her musical desire. Those expecting a Free/Bad Company-esque sound will be a little disappointed. Sure, Rodgers has a spectacular voice and incredible power: the music she plays differs (from her dad’s). Icicles/Sense have already been premièred: the reception garnered has been incredible. Not just focusing on getting the sound right- collaborating with some wonderful international musicians- the visuals are amazing. Icicles’ video is filled with unforgettable images and gorgeous views- perhaps natural; given her mother’s poetry and art. We have a complete and astonishing musician that surpasses her peers: one of those people you hope will go all the way and be a huge success. Listening to her speak- her recent interview with Jammerzine- you get lost in her voice and what she says. Music means everything to her and something that is in her blood.

So what of the future? In June, Rodgers will be playing across London- Dalston Eastern Curve Garden on the 7^th; The Finsbury on the 14^th (the single launch)- playing the Cambridge Rock Festival on August 6^th. I will have to come and see her play as- on the back of her double A-side- I have completely fallen. Nobody will be immune from the beauty, passion and power of Jasmine Rodgers. I feel there are not enough musicians coming out that are themselves. People try and imitate others and get caught up fitting into a mould. Very few have the bravery, patience and guts to be different, unique and special. Jasmine Rodgers has not traded off her father’s cache and legacy: she is her own woman and makes her own music. Blood Red Sun will be arriving soon and is sure to receive a rapturous reaction. In the meantime: ensure you get to grips with Icicles and Sense. Two different sides to a wonderful and multi-talented musician: world domination will surely follow? I could see Rodgers having a huge fan-base in Japan and Asia: Australia and the U.S. are all likely to follow. The U.K. is on board and embracing one of its most extraordinary talents. If you need any more proof, check out her music; one thing is certain:

IT is among the best you will hear this year.

[youtube https://www.youtube.com/watch?v=S5pjj2qPc5c&w=560&h=315]

[soundcloud url="https://api.soundcloud.com/tracks/230712530" 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 Jasmine Rodgers

 

Official:

http://jasminerodgers.com/

Facebook:

https://www.facebook.com/jasminerodgersmusic/

Twitter:

https://twitter.com/jrodgersmusic

___________________________________

Music

https://soundcloud.com/jasminerodgersmusic

TRACK REVIEW: Jude Perl- Hungry & Horny

TRACK REVIEW:

 

Jude Perl

 

 

Hungry & Horny

 

9.6/10

Hungry & Horny is available at:

https://www.youtube.com/watch?v=BtyGU1HUloA&feature=youtu.be

RELEASED: 19^th April 2016

GENRES: Pop; Comedy; Soul; Funk

ORIGIN:

Melbourne, Australia

The album, Modern Times, is available at:

https://soundcloud.com/judeperl/sets/modern-times

____________________________________

FROM a sizzling-hot musician from Florida to a unique and stuns-a-minute...

artist from Melbourne- you cannot fault the diversity music mixes in. I have not long put the pen down from assessing Alexandra Amor: now to Australian Jill-of-all-trade, Jude Perl. Before I come to my featured artist, I wanted to look at Melbourne acts; musicians that mix genres and comedy together- those acts that are quirky and stand in the mind. Recently- and perhaps behind the curve- I have been listening to Courtney Barnett’s album, Sometimes I Sit and Think, and Sometimes I Just Sit. Throughout the 11-track album you get humour, honesty and passion: all from an artist that is relatively unknown. Given the fact we do not have international award shows in the U.K.- recognising music from around the world- we often miss out on other artists. Sure, there is the Brit Awards- a lame attempt at representing music at its best- but there is nothing else really. Apart from N.M.E. and Kerrang!- who, to be fair, have their award shows- where do the best of the rest get their just rewards? There are so many great musicians arriving from the U.S. and Australia; Canada and Spain: they seem to be limited to their home nations; nodded-to by their press and supporters. Radio stations do their best to bring diversity into the music- 'Radio 6 Music among them- but there needs to be more (done). Melbourne is a city I have always longed to visit. In fact- behind London- it is my dream city. Maybe my exposure and affection for Neighbours- an untrue-to-life if escapable fantasy- has rather romanticised Australia, but I doubt it. Melbourne is voted as the most sought-after and best-quality-of-life cities around the globe. The communities and people are nice- in the most part- whilst there is culture, art and history. Bustling streets and a burgeoning music scene are only a few reasons why Melbourne is so revered- throw in the great weather and, well, beautiful women (sorry). It is the music- honest!- that attracts me most. Barnett’s album enforced just how terrific music is, there. The slice-of-life songs tackle environmental decline and suicidality: anti-heroes and strange trysts; keen observations and sly humour. Topped with great hooks and addictive melodies: Barnett is one of those musicians you need to keep an eye on. Apply that logic to a wider scene and you should definitely dig Melbourne. The Temper Trap, Nick Cave and The Avalanches (are just a trio) that call Melbourne home. Husky and The Cat Empire can be thrown in there. Lowlakes’ intense, of gloomy, brand of Dream-Pop has invigorated critics. Baro and Good Morning are two acts that were tipped last year: primed for success in 2016 (and making waves thus far). Catlips (A.K.A. Katie Campbell) permeates accessible Pop with hard beats: an artist who can switch to bass-heavy Dance and insatiable rapture. Fait and Ecca Vandal are another two (female) artists that are setting the Melbourne scene alight. Whilst- on paper- Jude Perl might not hang at the same parties as Fait and Catlips: that is not to say they are that different at all. If anything, Perl has an advantage and edge over her local contemporaries.

Given the buzz of her album (Modern Times) is receiving rapturous reviews and some rather red-hot praise. Before I continue my points; let me introduce Jude Perl to you:

“Jude Perl has been performing professionally for the past 7 years as a singer and pianist and in the last year has branched out into stand up and music comedy. In 2013, her debut single 'Girls & Boys' received regular commercial radio airplay all over Australia (including Fox FM and 2Day FM). The following year, Jude starred in the critically acclaimed narrative concert 'Let's Get It On - The Life & Music of Marvin Gaye' in Melbourne.

Often described as 'funk-a-licious music', Jude offers a collection of feel good funk/pop/soul tunes that will make you want to sing along. Named purposely after Charlie Chaplin's famous film, her debut album provides a satirical window on the advertising world that we are living in : « Music and advertising are so intertwined, which to me seems so ludicrous, as they have such different goals. Music is supposed to elevate people and challenge people and advertising kind of does the opposite »

With that approach in mind, Jude promotes her new album with fake advertisements set in the 50s, 80s and present day, pretending to have sold her intellectual property and identity to a sugar company. In her fun new music video 'Hungry and Horny', Jude Perl impersonates an anonymous actress who tries to look good on camera to please the producer and sell whatever she's told to sell. Her debut album 'Modern Times’ is now available on Bandcamp and on iTunes Australia”.

I have arrived at Perl’s feet a little late, it seems. Seeing her social media pages: they are packed with glowing reviews and wonderful feedback. Critics are climbing over themselves to exclaim and promulgate the virtues of this Melbourne treasure. What strikes me-about the album, Modern Times- is how relevant and relatable the music is. Most artists tend to focus on love and their own lives: Perl looks outwards and assesses the modern world; issues and themes that affect more than her own concerns. There are sweet and quirky love songs- that infectious voice and turn-of-phrase is pure and delightful- but so much depth and maturity. Genres and sounds switch from Bubblegum-Pop to Dance smashes: driving Folk to something multi-layered and impossible-to-pin down. I shall delve into Modern Times later, but it seems, Perl is a previous and glimmering jewel. I love the U.K.’s best but find so much more variety and range in foreign sounds. Our scene is consistent and growing but we need to embrace other artists from abroad. Perl is someone I will be following closely. Knowing how fantastic Melbourne’s music scene is: I was not surprised to discover someone who produces music packed with memorability and standout lines. Perl mixes comedy and wit into her song; charming and cheeky lines: she is someone who has a songbook of unbeatable lines and thoughts. On the sunnier, sassier numbers; we have an artist that rides the music and has undeniable confidence. When more low-down and reflective: that intelligence and emotional revelation hits the soul, hard. Throughout Hungry & Horny I had a smile on my face. It is a song that is hard to ignore and a perfect introduction to one of music’s true originals.

Jude Perl has had a long and busy career- producing a series of singles and E.P.s. Modern Times is her most accomplished and impressive work to date. I can see her evolve and develop as the years progress. Songs 3am and Somewhere to Call Home packed plenty of quality, memorability and emotion. Somewhere to Call Home showed what a tender and beautiful voice (Perl had). 3am is more Jazz-based and laid-back. It has a coolness to it whilst still ensconced in avenues of love and romance. A lot of her earlier work worked within traditional frameworks- talking about relations and love- but were distinguished by stunning vocals and a real flair for lyrical importance. Her wordplay and story-telling raised her songs to rarified heights. Songs like Sorry and Pop Singer- released last year- showed that humour and wit. Not dispensing with love altogether- Our Love: A Power Ballad documents, if ironically, relationships- comedy and humour has come more to the fore. Perl has realised she is compelling when deep and soulful: equally spellbinding when light, less-than-serious and comedic. Sorry sees the heroine with stretch marks and worrying about her face- pieces of food stuck to it. A song within a song about a song: one that critiques itself and expectations in the modern scene. Apologising for the one-note chords; the lack of variation: Perl asks (with a slight caterwaul) whether a key change is in order. Is It Just Me? compares love to a watermelon- too many seeds- and shows a humorous side to serious themes. Modern Times brings together the debut work- the more-sensitive and traditional love songs- with the comedy and wit of last year’s efforts. In 2016, Perl has brought her multiple sides and talents together: she is at her peak of form. Having grown and developed as an artist- she is more complex, rich and assured than before- you can hear the confidence come through.

Hungry & Horny is Modern Times’ latest offering: a song that is setting social media ablaze. One of the finest moments (from the record) it demonstrates why Perl is so special. In the song; Perl acts as the spokesperson for Sugar Oh’s: a 1950s-style cereal brand that has been providing “great taste…great memories” for over 65 years. Committed to the bit- the sort of nauseating (usually American) voice you’d hear inanely ringing throughout the T.V.- you (almost) buy into the advert. Perl dresses the part: a lollipop-themes top and teeth white; that grin never fades. When we reach the segment about world peace- the cereal can make the world a better place- Perl snaps and loses her cool. Offering an expletive to the director- dropping the f-bomb- the mask has been ripped off; the façade exploded. Stax-themed, rousing beats ebb-and-flow with an imperious and straight-laced guitar lick. When combined, you get pizazz, stealth and funkiness: altogether in an intoxicating cocktail that takes Hungry & Horny into more ‘conventional’ territory. After the Spoken Word introduction: the introduction-after-the-introduction gets things racing and pulsating. Our heroine is being sucked in- “I’m hooked on you”- and one wonders what the “you” refers to. Maybe a boy or sweetheart: perhaps a sugar-filled treat or forbidden object- one assumes it is the former. Given the song’s themes and opening: one might be lead to ideas of corporate control and selling your soul for money. Unable to escape the grips of the song’s core- whether manmade or foodstuff- you start to transpose yourself in the song- picturing possibilities and stray avenues. The words resonate and hit, mind you. Perl is at her most direct and unfettered: her voice is sharp and gets down to business. Rebuking this “snake”- clearly, an unwanted attraction- traps are being set “all over the place”. In the music video- which follows the shoot of a cereal commercial- one-half of the mind might think of professional engagements and the lure for easy money. The song exists on two different plains: ideals of love and satisfaction; trying to refute someone who has a clear allure. Whilst, on paper, Hungry & Horny might sound like a very male dilemma: it is one that is causing stress for our heroine. Maybe (her man) teases and keeps her hungry: craving a touch and always at arm’s-length. Perhaps- the song’s messages- addresses advertising and lies being told.

How we are promised things and presented with false images: a certain craving that can never be satisfied and slaked. Maybe that is me looking into things too deeply. Whilst your mind tries to unpick the lyrics: your body is helpless to the sway and swagger of the composition. Perl’s voice is consistently fresh and unique: brash and bold yet underpinned by sweetness and  girlishness. She is reaching for that spoon- assessing love’s lust in food terms- and desperate to dig in and satisfy her appetites. Whomever is being ascribed- a current flame or someone from her past- you get caught in the sweat, steam and longing. The boy may want her “stupid and lonely” but- as our girl makes it clear- they have both had enough. An impasse has been reached and these day-to-day rituals need to end. As little slithers of Alanis Morissette come through- when rapturous; you get flecks of the Canadian- our Melbourne girl has reached the end. The guy has been playing her and she is through being exploited and teased. Caught in a miasma of confusion: Perl asks if we all feel this way; have to go through the turmoil of split and tug-of-war. The composition remains light- ensuring the entire song is not too dark and fatigued- which gives proceedings contradictions and dichotomy. Crafting an uplifted and sunshine chorus- one that will be chanted from the crowds- means Hungry & Horny is readymade for summer months. By the closing moments, you are fully brought into the song and siding with the heroine. Having been made to feel stupid and infantilised: she is striking back and not taking any more crap. Caught in the merriment and dizziness of the song: the vocal gets firmer and more spirited; displaying a tremendous amount of bravado and spirit. Perl is tired of feeling bad and begging for love: both parties need to call it off and go their separate ways. There is maturity and wisdom within the song’s humour and memorable lines- suggesting our heroine is ready to spend time by herself; maybe find someone new. Whatever your interpretation- and however you experience the song- you are left with a dopey smile and a shot of serotonin.  If the sunshine is out- or the clouds are not shaking- Hungry & Horny brings heat, warmth and feel-good sensations. An immaculate song from a musician that is unlikely to stay a local treasure for too much longer- she will belong to everyone.

Modern Times is a 16-track album that does not feel bloated and pretentious. Every track earns its place and shows a different side. From straight-ahead Punk to sugary-sounding Pop: there are so many different colours and styles experimented with. It all hangs together, due to the commitment, talent and charm of Jude Perl. Can’t Wait to See You packs a punchy beat and vocals that drip with raw emotion and passion. Looking at a fond sweetheart- someone she cannot wait to see time again- you buy into that dedication, commitment and lust. Sugar-Oh’s starts with mock commercials- something that could be taken from the ‘50s and ‘80s- that rots the teeth. Built around Sugar Oh’s- a fictitious company that have been providing sugar treats since 1951- they have now branched into music. A cross between a cartoon theme and a radio jingle: it is something you’d use to torture people into confessions. Yetta is one of the most urgent and hard-hitting tracks on the record. Addressing consumerism and profit-seeking: it is a song that has a social conscience and sense of nobility. Yetta is the name of a figure: a talisman or chattel that acts as an inspiration and spirit animal. Someone that could take you- in a fight- you start to picture a very vivid and heartbreaking woman. Hard-as-nail but gorgeous-as-sin: someone you wouldn’t mess with (as much as you’d like to). Poison Diet has plenty of Funk and kick, right from the off. Caught in confusion, toxicity and a harsh daily regime: this unwelcomed diet is creating stress, anxiety and anger. The rushing vocals give the song a nervous energy and dance-ability. Just Don’t Know contains a similarly groovy and smooth nature. One of the most Soul/Jazz-influenced tracks on record: it is also one of the most tender and romantic. Perl sheds any humour and cynicism: this is a pure love song that goes for the heart. Her man has left (his “empty kisses”  are being craved) and she is looking for answers.

Slaves has a Steely Dan-esque jive and drive to it. One of those songs that remind me of Courtney Barnett. The track casts its gaze to the streets and looks at society as a whole. A world that is mad and ever-moving: we do not often stand and appreciate all the things that live and breathe. Maybe uncaring or crowded in human stampede: how often do you stand still and reflect? There is no preachiness and electioneering: just an honest woman who wishes more people would love the world- rather than slowly destroy it. Baby ends Modern Times with reflectiveness and admiration. A tune that could fit into the ‘90s Dance scene: there are banging beats and a real look at music’s past. I was transported to a bygone (and finer) era for music: one where things were simpler and less complicated. Perl looks at a hero- a boy that she cannot get from her mind- and creates a song filled with purity, desire (of the tremulous kind) and love. It is a perfect swansong to a magnificent album. Blending so many genres and ideas into one L.P.: lesser artists would not be able to pull it off. Given Perl’s stunning abilities, musicianship and writing: she ensures it all hangs together; each song sticks in the memory. There is piano balladry and Disco-flecked stormers: to-the-bone Punk jams and elliptical Pop numbers. Jude Perl mixes pathos, humour and passion with unnerving ease and authority.

I have been absorbed in some rather dreamy and wonderful music, lately. The Cardigans’ Life is in my car- one of the finest from the legendary Swedish band. Their stunning, imaginative compositions are framed by the sweet and hypnotic voice of Nina Persson. Courtney Barnett is in my mind: it seems Jude Perl evokes the spirits of both artists. You get acerbic and direct songs; there are sweet and gorgeous Pop numbers: minor symphonies and polemics. When you drill down, there is no real end to Perl’s talents and nuance. Modern Times perfectly reflects the concerns and contradictions of today’s world. Among the political and observational are those universal love stories: songs that put their heart on sleeve; leave you lunging for the tissues. I implore every music lover to spend more time and attention in Melbourne. When I get to the city- hopefully not too long- I will spend so much time touring the clubs, bars and venues- investigating all the treasure and gems the city can provide. In a modern music world where the likes of Beyoncé are ruling the column inches: we need more acts like Jude Perl. Beyoncé’s new album (Lemonade)- although impressive and career-defining- was committee-written and possessed too many cooks. For a record that was, supposedly, about infidelity and personal heartache- why do so many writers need to be involved? The American is an accomplished songwriter and has her own vision- not sure why THAT many people needed to put their names to her songs?! Jude Perl is a woman who does not need an army of writers to make her sound good: she is a pure and proper songwriter, primed and armed. Hungry & Horny is a track that made me light up and smile; something that perfectly defines Perl’s sound and vision. Sponsored by Sugar-Oh’s: this Australian is happy to be ab advertising stooge. Whilst the cereal rots the teeth- and comes with cloying advertising and noxious jingles- the songs of Jude Perl provide nourishment, feast and banquet. If you have not pulled up a table- to nibble on the cornucopia and sweet meal- then you need to redress that. Jude Perl has worked in the local scene to make a name: the last decade has seen her established her reputation and gain a foothold. With Modern Times, one of music’s most assured and original musicians is about to go global. I hope she comes to the U.K.: we would love to see her over here! Haul your arses to Jude Perl’s pages and emboss yourself in a musician that make sounds for everyone. If you really think about it:

HOW many musicians do that?

[youtube https://www.youtube.com/watch?v=BtyGU1HUloA&w=560&h=315]

________________________________________

Follow Jude Perl

 

Official:

http://www.judeperl.com/

Facebook:

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

Twitter:

https://twitter.com/jude_perl

Instagram:

https://www.instagram.com/judeperl/

_______________________________

Music

https://soundcloud.com/judeperl

TRACK REVIEW: Alexandra Amor- Not Easy to Love

TRACK REVIEW:

 

Alexandra Amor

 

 

Not Easy to Love

 

9.6/10

 

Not Easy to Love is available at:

https://soundcloud.com/alexandraamor/not-easy-to-love

RELEASED: April 2016

GENRES: Pop; Soul

ORIGIN:

New York/Florida, U.S.A.

____________________________________

RARELY do musicians hit you right around the face…

without warning (unless you’re Azealia Banks: that’s another story entirely!). In the current scene: there is a lot of build-up and hype; slow-forming momentum and a gradual easing in. Sure, a few bands/acts make an instant impression: it is a rarity, by-and-large. I am always hunting for musicians that have that appeal and allure: those that dig deep into the soul and elicit something rather special and primal. My featured artist achieves that- with ease and aplomb. Before reaching her, I wanted to look at musicians around the U.S. - especially Florida and New York- in addition to ‘legends’ of music that are starting to fade- looking at the what makes an artist truly special. The last few weeks- as seems to be the way- I have been focusing a lot of attention towards London- checking out the musicians of the capital. It is great to be back in the U.S.: a nation that is providing some of the most exciting music in all the world. Ordinarily- when I look at American music- I am based in California: rarely do I get the chance to go elsewhere. In terms of Florida-based music- Alexandra Amor hails from here- it is not an area of the U.S. many of us would think of (with regards great music). Gram Parsons hailed from Winter Haven: Ariana Grande is from Boca Raton. I guess it is like the U.K.: the big opportunities are to be found in the cities. Florida is a part of America that always fascinates me, musically- and the only part of the U.S. I have visited- and feel that there are a lot of great musicians playing here. Based in London: it is tricky keeping an eye on all the terrific musicians of The Sunshine State. Outlaws and Lynyrd Skynyrd; Tom Petty and the Heartbreakers: some decent artists call Florida home. Black Kids and We the Kings are a couple of bands putting the state on the map: I would like to see the U.S. media focus more on this area. Perhaps it is hard highlighting states- away from New York and California- as there is so much music being made across America. Whilst Florida houses a lot of talented artists: New York seems like the natural place for the ambitious and passionate. Alexandra Amor is one of the most urgent and stunning artists playing around the city.

Having amassed a host of followers across social media- one of the most-popular musicians I have seen- her career is certainly building steam. Before I continue my point, like me introduce Alexandra Amor to you:

“Born and raised in St. Petersburg, Florida singer/songwriter Alexandra Amor was first blessed with the opportunity to showcase her musical talents in the mid 2000’s.  Making the brave decision to trade in her golf clubs and dreams of LPGA to embark on a career in music at the youthful age of 16 years old, Alexandra Amor signed her first recording contract with indie label Rich Music LTD.  Having gained fame as a teenager touring the country promoting her previous pop hit “Radio”, Amor soon realized she was not passionate about the music she was making and asked to be released from her contract.

Free from her contract Alexandra took a chance moving across the country to Los Angeles with her longtime friend and manager, where she has had the opportunity to work with hitmakers, such Micah Powell (Omarion, Sevyn Streeter, Etc), The Stereotypes (The Far East Movement, Justin Bieber, Drake, etc), and famed Dj’s Red Cup Nation to name a few for her upcoming EP “Amor Unplugged.”  For the last few years, 21 year old Alexandra Amor has been honing in on her new sound and building her fan base, by sharing covers as well as original music with her fans through her youtube channel where she has collectively generated over 3,000,000 views and 23,000 subscribers. Combining the vocal capability of a Christina Aguilera and Amy Winehouse, along with the raw edginess of Alanis Morissette, Amor is definitely recreating the look and sound of Pop/Soul.

Alexandra Amor opened up for Earth Wind & Fire at the legendary venue House of Blues on Sunset after being chosen out of  3,000 indie artists through a Reverb Nation contest. Shortly after she was asked to perform at the prestigious World Trade Center in New York for the Riviera Catering WTC860 grand opening, in front of a renowned crowd including Marc Jacobs, Christian Siriano and the co-founder of Avenue Capital Group/ co-owner of the NBA's Milwaukee Bucks, Billionaire Marc Lasry. Alexandra Amor appeared on BET's new hit series "About the Business" along side featured 6x grammy nominated artist Neyo and the man in charge of the Ncredible Entertainment Empire, Nick Cannon. Making her cameos Amor appeared on over half the season with this largely talented cast. They caught Amor in the studio recording her most personal EP in her career thus far as well as her mind blowing intimate performance at the world famous VIPER ROOM in Los Angeles, CA”.

Travelling from St. Petersburg to L.A.- where she has spent a lot of time performing; still does to this day- it appears New York is her natural home. To be fair: our heroine has very little time to stand still and unpack her suitcase. With her music gathering applause and love: she is in-demand across the U.S.; one of the most in-demand musicians you can imagine. Since childhood, there was no doubt music was readymade for Alexandra Amor. Every song and performance brim with energy, love and passion. It is hard coming across musicians that are distinguished and have that potential to shine and last. I see so many that are brief and vague. Amor is one of those people you just know will never give up on her dreams: keep producing music for years to come. Her heroines- Alicia Keys and Amy Winehouse- go into her electric, lustful voice. Comparisons have been made with Alicia Keys and you can see why. There is that blend of intimacy and tenderness: the ability to reach to the sky and evoke something scintillating and raw. Maybe it is the rush and bustle of L.A. and New York; the cosmopolitanism and variation the cities provide- it all goes into making Alexandra Amor what she is. Not only (has Amor) worked hard on making herself stand out from the crowd- there are no other musicians like her- but her social media pages are filled with personal insight and revelation. Here is a woman that does not want to shut the listener off: she invites you into her world and embraces everyone.

That is a rarity, no doubt. How many musicians evoke that persona touch? A combination of staggering talent and down-to-Earth likeability has seen the Florida-born singer talked about in enfevered tones. There is something inaccessible about Amor, too. Not only one of the most striking, beautiful women in music: there is mystery, layers and hurt in her music. Like many out there: heartache and longing enforce a lot of the songs. Transitioning between relationships- and embracing the comforts of Bourbon- songs like Not Easy to Love make their voice heard. Mama is a track coming soon- the video has just been shot- and will be revealed to the world in a week. Unplugged is the sound of Alexandra Amor discovering herself and making her way in the world. Every song from the young American is filled with so much personality and layers. You never get songs that sound routine and ordinary: everything explodes with heart and soul. Not Easy to Love has been picking up effusive praise and a lot of praise- no wonder when you investigate it carefully. I find a lot of music’s legends have been fading, lately. In addition to some of our best-loved artists passing on- Prince and Bowie- bands like The Stone Roses and The Libertines have had shaky ‘comebacks’- Radiohead’s latest album is receiving mixed reviews. Even Alicia Keys- whose new single, In Common is out- is not up to her epic standards. Being a fan of Keys: I am disappointed to find she is following in the footsteps of Lady Gaga and Rhianna: producing music that sounds processed, seedy and anodyne. Lacking personality, depth and anything distinguished: one would hope Alicia Keys reverts to her previous self. The new musicians of the world are showing the most promise and potential. I am excited to see how far Alexandra Amor can go and just what the year holds.

Never Apologize is a song released a few months ago. Overflowing with gorgeous vocals and intensity: it seems to document a hard break-up and a fraught relationship. Never apologising for “the moments we had”: you sense the sweethearts have parted ways and it has not been a mutual decision. Our heroine is struggling to make a clean break; perhaps part of her heart belongs to her man. While the song has a mainstream Pop core: there is Soul and Country mingling to create an exceptional track. There is polish to the production- but not too much- that augments Amor’s stirring voice and confessional lyrics. It is a song that not only will grip fans of Pop and Soul: it is strong enough to unite various clans of music-lovers. Rearview has similar dynamics and themes at its heart (like Never Apologize). The composition and vocal are tender: it recalls the debut album-era sounds of Alicia Keys. Strands of Amy Winehouse make their way through. That raw and ragged Blues voice; the nimbleness and beauty of Keys: both combine in a song that sends shivers across the spine. Whether looking at the same relationship- and the fall-out from it- there seems to be a consistency at work. The heroine is looking back but she cannot forget the memories. Recalling standing on the front porch (“Smoking your last cigarette”) there is something tear-jerking and harrowing about a young woman that has invested herself into a bond- one that is broken and cracked. Amor has shown how diverse and consistent she is. Rearview owes more to the greats of Blues and Soul: Never Apologize a more contemporary, chart-honed song- Not Easy to Love sits in another avenue. A musician that has so many sides and contours: it makes her music surprising, original and nuanced. You never get the same song twice- not in terms of composition and vocal, at least- and are always provided something fresh and engaging. Not Easy to Love- in my opinion- is the finest song Amor has produced. From the vocal through to the production: it is a song that shows her at a peak. I know Mama is not far away: I will be fascinated to see how that measures; whether it goes in a new direction. The title begs images of family and the comforts of a mother: maybe something more introverted and family-based? It is hard to tell- social media photos show a snake has shown up on the set of the music video- so something sultry, dangerous and edgy might make its way to us. With Alexandra Amor you can never guess. One thing I can say is Unplugged contains so many gems and beautiful moments. Whether an album is coming this/next year- or there will be another E.P. - I cannot wait to find out.

I discovered Not Easy to Love through The Dutch Guy. Tipping it as one of his Sunday Smooth Groove choices: you can see why it has been singled-out. The Dutchman follows and supports the hottest and best artists around. Not someone that exaggerates and produces hyperbole: I was compelled to dig deep and give myself to the song. The opening notes ensure your attention does not wander and stray. A thudded and precise drumbeat mixes with stirring and rousing piano. Not mentioning Alicia Keys too much- comparisons have been levied- but you can hear embers of her Songs in A Minor work. There is a maturity- recollection of the Soul greats- and something direct and to-the-point. Horns blast and swagger: the beat tightens and the introduction explodes with colour, light and vivacity. The song looks at another side (to a rather uneasy) love. Written over Christmas last year: it saw the heroine transition into a relationship (with a bottle of bourbon, as she attests). Clearly there has been a fall-out and some fragmentation. Perhaps based on a former love: Amor confesses she is not easy to love. The boy- if current love or past obsession- may have had ideas and desires. Perhaps a perfect wife- Amor would have been- our girl is in-control and is not someone you can dictate to. I am not sure what has caused the ruction and imbalance- maybe they have different goals in life- but there is tenseness and stressfulness. You would not know from the lush and delicious vocals of Alexandra Amor. I have compared her with other singers- so you can draw a line to her heroines- but she comes into her own here. There's grittiness and edge; the swooning soul and gorgeous, pin-sharp highs. The heroine is filled with emotion and pain. Few singers are that self-reflective and honest: admitting they are not perfect and have their flaws. In other numbers, Amor has looked at the man as the point of blame: someone who has caused hurt and has left her scarred. Now, we see the mirror turned and something revealing. The composition remains powerful yet sparse.

The beats keep the heartbeat taut and pulsating: there are few other notes and input. The spotlight is put into the vocal and an extraordinary performance. Amor elongates her words to ensure the emotion and potency hit the mark. That idea- not being easy to love- is reinterpreted and repeated. Whether bird-call and sweet; rushed and harrowed: each time, there is a new way of delivering those words. Amor looks at a “life once missed”- lies and dark forces into her mind- and you start to imagine scenes unfolding. “Catch me if you can” is a line that sees the heroine falling and looking for safety (if you dare, that is). Like her previous numbers: there is an obliqueness that can be found in the words. It is clear (Amor) can be challenging and have her demons: the circumstances behind the break-up/struggle is not fully revealed. Clearly there have been disputes between the lovers. Maybe they have had a good ride but are too very different people. You always empathise with the heroine and want things to be better. Despite dealing with hard subjects- a lover that has her faults- the sentiments never become too exhausting and strained. Every revocation of the thought brings new insight and depth. The chorus has a sing-along quality; you cannot help but join in towards the song’s end. Every stage of Not Easy to Love showcases what a beautiful voice Amor has. The voice rises and hiccups; it swells and sways: there are so many different dimensions and sides to it. You can tell how important music is to Alexandra Amor.

She is not someone who cemented her voice years ago and is resting on her laurels. Every song sees her grow stronger and more assured; confident and more exhilarating. While you can detect little bits Alicia Keys and Amy Winehouse: the abiding take-away is a very strong and impressive original performance. You will be captivated by the voice as it is bare-naked and pure. There is no rushing electronic cover-up or heavy percussion: she is exposed and there for all to hear. Were the song weak and stereotyped, you would not come back to it. As it is, Not Easy to Love hits you upon first listen. Compelled to come back and keep hearing it: a song that grows and stays inside the mind. The song is chorus-heavy, which is no shock. The truth and background are quite heavy- how the lovers arrived at this point- and Not Easy to Love is an explanation and simple missive. The boy might be hopeful and expect something fairytale and unrealistic. At the heart of things is a brave young woman admitting her flaws and imperfections. The way that is presented leaves the listener sighing and seduced, fully. By the time you reach the final notes, your heart belongs fully to Amor. Never vile and accusatory- so many of her peers take that side- it is a heartfelt and emotional song that deserves respect and attention. Change is a scary process- as Alexandra Amor has admitted- but worth the risk. I hope she is happier and more contented- it seems that way- because you would hate to think demons and regrets linger in the heart. Old relations and past loves have gone into music of the highest order. Not Easy to Love is another nugget of gold from her Unplugged record. Mama will be premiered very soon: I cannot wait to hear what that sounds like. Improving, evolving and changing with every song: there is no one like Alexandra Amor. A sensational musician I know will make it big: do not ignore the U.S. treasure.

Mama has been gathering excitement and predictions: just what the song will sound like. Amor is releasing songs at quite a rate: ensuring her fans are kept informed and pleased; not letting anyone forget her in a hurry. That would be impossible: few can ignore just what an exceptional proposition we have. There are so many female solo artists out there; it makes it hard choosing which posses that spark and originality. Taking influence from Alicia Keys, Amy Winehouse, and Christina Aguilera- the raw fire and soulfulness; the stunning voice and punch- there is something very personal and relatable about Amor. She writes songs that we can all understand and connect with. Whether you have been heartbroken or find yourself in an uneven relationship- you will be able to extrapolate something from what she sings. The voice, passion, and beauty all come together in something packed with sweetness, spice and flavor. A honeyed voice that has some whiskey-soaked undertones: a musician that we should all start following more closely. Not Easy to Love has just dropped and has resonated with the fans and listeners. A song that could fit into any radio station’s playlists: it has been getting a lot of attention across the U.S. Having conquered Florida, L.A. and New York: there is no telling what Alexandra Amor can achieve. My music reviewing comrade The Dutch Guy has just featured her- stole the idea from him, to be honest- and he knows proper talent when he hears it. British publications and listeners are discovering Amor: she is a musician that has a worldwide appeal and reputation. Let’s hope she can make her way over here and treat us to some gigs. She would go down a storm in London: in fact, the U.K. would fall for her pretty hard. Europe would wait; so too would Australia: she could go anywhere she wanted and have huge crowds waiting. The reason for this lies in the music which has a simplicity and honesty to it. There are not layers of production and clichés building up. You have a woman that is putting her life onto the page with no pretense and fakery. Every word comes from the heart and is delivered with the maximum amount of drive, commitment, and beauty.

Mama is unleashed on the 20^th- part of Amor’s record, Unplugged- and will get a lot of heat and patronage. Not Easy to Love has soulfulness and intensity: there is something heartbreaking and tense under the surface. Let’s hope our heroine is in a good place- and finds herself with a good, honest man- because here is someone who has been through an incredibly tough time. This pain and heartbreak results in some of the best music coming out of the U.S. I recommend everyone spins Not Easy to Love and waits for Mama’s release. Having grown-up and played in Florida- the state is producing some fine musicians- the lure of L.A. and New York proved too strong. These cities have provided Alexandra Amor the chance to exploit her talent and find inspiration. She seems at home among the rushing traffic and busy streets. Within the diverse neighbourhoods and wonderful music community: Amor is going to be one of the big names to watch. I am not sure what her touring schedule looks like but I am confident she will be traveling across the country. She may be Unplugged but there is something very electrifying and switched-on about Amor. Few singers have the ability to seduce you the one moment: kick through the ceiling the next. This year is going to be a hot and exciting one (for Amor). If you are unfamiliar with her brand of music: ensure you check her out and see a wonderful artist on the rise. If we ask hard enough, who knows…

SHE may come and play in the U.K.

[soundcloud url="https://api.soundcloud.com/tracks/261008334" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Follow Alexandra Amor

 

Official:

http://www.alexandraamormusic.com/

Facebook:

https://www.facebook.com/alexandraamor

Twitter:

https://twitter.com/AlexandraAmor

____________________________________

Music

https://soundcloud.com/alexandraamor

_________________________________

Videos:

http://youtube.com/alexistoothick

TRACK REVIEW: J.C. Villafan- The Moment

TRACK REVIEW:

 

J.C. Villafan

 

 

The Moment

9.2/10

The Moment is available at:

https://www.youtube.com/watch?v=_Wamsbbz3qs#t=45

RELEASED: 17^th April 2016

GENRES: Acoustic-Soul; Folk

ORIGIN:

Los Angeles, U.S.A.

The album, America’s for Dreamers, is available to pre-order at:

https://itunes.apple.com/fr/album/americas-for-dreamers/id1108721489

RELEASE DATE:

17^th May 2016

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ASIDE from the fact Radiohead release their new album...

in a matter of hours (7pm G.M.T.): I am excited by today in general: the sun threatens to rear its head and spring blossom; another interesting artist is in view. As psyched and pumped as I am for Radiohead’s new album- whatever it is called and whatever is contains- my featured artist provides plenty of food for thought. Before I come to him, it seems I am, once more, in California. I keep telling myself I’ll get away from London and California: find some new avenues and towns; fresh corners for music. The quality and consistency (of these areas) lure me back: I am happy to be back here. There are few solo artists that not only promote altruism and hopefulness: they get in the memory and stick in the brain. I find so many solo artists- mainly the guys- that are either slight and reedy- or else they are generic and tired. There are few musicians that have a wise head on a young body: manage to portray something deep and thought-provoking- without coming across preachy or boring.

With a proliferation of bands and ‘heavier’ artists- those that employ heavy percussion and electronics- it is nice finding a musician that can do subtlety and compassion: ensuring the music packs plenty of kick and memorability. Before I continue on, let me introduce J.C. Villafan to you:

“Hailing from Los Angeles, the singer-songwriter JC Villafan has been honing his craft since 16 years old, performing in front of an American audience, as well as touring in Europe where he built a new loyal fanbase. His delightful blend of pop, rock and folk especially won hearts in France, where his music has been highlighted on national television and radio, as well as in major media outlets. Whether at home or abroad, he has always made time to give to the community and ensured to working towards his ultimate goal: to inspire and encourage others to pursue the greatest fulfillment of their wildest dreams.

These beautiful values of altruism and hard work have been instilled in him by his parents whom he wants to give pride of place to for the next step of his career. After releasing the Sweet Time EP — nominated in 2012 for Best EP at the L.A. Music Critic Awards — and its follow-up I Still Believe in 2014, JC Villafan is reflecting on his journey and his heritage in his debut album America’s for Dreamers. Back in 1991, his then 5-month-pregnant mother climbed the fence separating Mexico from the United States with her husband, wholeheartedly hoping to offer him a brighter future. « The story of the album continues with my ceaseless pursuit of a dream. A selfless dream that oversights fame and fortune for making a difference and uplifting those who stop to listen. The album ends at exactly right where I find myself today », he explains.

America’s for Dreamers is set to be released on May 17 (the iTunes pre-order starts on April 28)and will be followed by a European tour kicking off in Belgium on June 2nd, before making its way to Germany, France and the UK and eventually heading back home for a few more dates in California”.

On paper, J.C. Villafan seems like a very rare specimen: a musician that has a unique past and a very different way of working. Being buried in a mass of artists- across social media and the Internet- you do not often get time to connect with the person behind the music. A lot of time; you listen to a song/songs and that is it: occasionally, you bond with that act and follow their careers. It can be quite hard with bands: there are several personalities so it is difficult to make that all-important connection. J.C. Villafan has a back-story that seems made-for-Hollywood in its extraordinariness and danger. Villafan’s debut album is the story of his exceptional past: his mother climbing fences and finding a new home; maturing as a musician and supporting the community. America’s for Dreamers is very much that idea of The American Dream: finding somewhere with opportunity and safety; a new life and home. Based in Torrance: the 24-year-old is inspiring his fellow musicians and helping people around him; instilling family values that were given to him. It is rare to find someone who has that much consideration and love for those around them. There are too many musicians that focus solely on their own careers: they do not give enough back and struggle to reach out to their fellow man. When it comes to the music itself: J.C. Villafan has captivated a huge amount of people. A celebrated name in California: he has toured Europe and shows no signs of slowing down. Artists that play similar sounds- Acoustic-Folk- can often struggle to resonate with everyone: they very much have their audience and do not break through barriers and boundaries. J.C. Villafan has a talent that means he is impossible not to love. The music is exceptional and filled with story, wisdom and depth. The performances have plenty of heart and emotion: topped by vocals that get under the skin and cause you to smile and reflect. After successful E.P.s and critical acclaim: the Torrance-based artist is preparing for that all-important debut album release. All the initial signs are positive: here is a musician that can go as far as he wants; you would not bet against him being a big name in years to come. California (and L.A.) has a vibrant and supportive musical scene: many people are realising what a fantastic proposition J.C. Villafan is.

Back in 2012: Villafan released his E.P., Sweet Time. It was one of the first things he put out there and showed what confidence he had. The title track is s soulful and swinging track that boosts kick, groove and expression. Imploring a lover- who has perhaps left him- there is that desire to recapture the flame. Whilst exploring well-trodden ground- lost love and longing- the way J.C. Villafan represents it marks it aside from the pack. The Other Me is a confessional and mature offering. The hero made mistakes and is a changed man. Maybe in the past, he has been culpable of errors and weaknesses: this is a song that declares a new person has been born. Once more, the vocal performance is filled with soul and power; plenty of intensity and promise. The entire E.P. has a very defined sound and style. Each track covers issues of love and relations to an extent. Our hero looks at the past (who he used to be) and wants to change his ways. Perhaps a find love has been lost: determined to get it back; there is that desire and supplication that shines through. The consistency and talent is impressive and laudable: few artists begin with such conviction and promise. Every song has that contemporary/mainstream vibe to it: like they could easily slot into radio-play rotations. America’s for Dreamers- and The Moment, for that matter- shows a step forward and change for Villafan. The current offerings are more Folk/Acoustic-based and are less intense and powerful than Sweet Time. Given the subject matter and inspiration- crossing the border to make a life in America- perhaps bombast and celebration are commodities ill-fitting and unnatural. Villafan is more reflective and emotional on his debut L.P. In that respect: the lyrics have changed from stories of love to look at something more original and personal.

Most artists have experiences of heartache and love: most are incapable of bringing anything new to the table. Sweet Time packed plenty of wonder into the mix: you got the impression the young American had more at his disposal; his best work was still ahead. Whilst the performances are convincing and passionate: our hero’s talents were not fully exploited and explored. The Moment- and the album as a whole- sees Villafan grow and mature as a songwriter. Breaking away from worn subjects: we have a musician that stands out from his peers; much richer and fascinating. Perhaps the vocals lack necessary distinction: that will come with time and experience. J.C. Villafan is getting stronger and bolder as time elapses. Still in his 20s: you wonder just how far the Californian can go.  I would like to see him explore more family-based issues and the community at large- stray away from love and relations for a bit. That is where his niche lies: his altruistic attitude and vivid beginnings. Few musicians have had such a hard beginning: America’s for Dreamers is the kind of work you want from him. It will please existing fans and ensure that more are brought into the fold. If he can find his true potential- vary the vocals and put more variation into the composition- he will be an artist that will be hard to ignore.

Skip, rush and blood-flow begins The Moment. Villafan is an exceptional guitar player and shows plenty of drive and intensity in the opening moments. The guitar has such a vibrancy and charm to it: I was reminded of the Folk greats- both U.S. and U.K.-born- and you get a real sense of authority and control. Hooked and fascinating by the spirited opening coda: The Moment is a song that begins with bags of heart. “Wait for the perfect time” are the first words: right away, you begin to speculate just what that could mean. Truth and meaning are explored. I am not sure who Villafan is directing towards- perhaps a lover or sweetheart. Given the album’s arc- his parents coming to the U.S. and making a new life- there is ample mystery and open-for-interpretation (appeal) to the song. Our man is opening up his eyes and realising truths. In these early phases, there is some obliqueness and cards-close-the-chest. There is a dream “still alive”: something Villafan is opening his eyes to; something pure and much-needed. You wonder whether love or opportunity is being assessed. Whether casting himself in the role of his parents- or discovering something very personal to him- The Moment gives the listener opportunity to conspire and guess. Our man is making his plans and not looking back: you can feel that determination and ambition. Riding a rushing and effusive guitar line- the performance is tight and compelling throughout- the vocal is suitably soul-laden and rich. On his debut-era work; Villafan was still discovering himself and working on his sound. The Moment- and the album as a whole- might have some weakness: as an artist; you cannot fault the development and growth. Lyrically, the American is a lot stronger than he has ever been. The vocals contain more nuance and depth; the composition strike a little harder- all encouraging signs.

Been called-out by this moment: the hero has his eyes closed and is dreaming of something fantastic and desired. Villafan puts in one of his most lustrous and hypnotic vocals to date. Filled with beauty and heart: few singers have such a stunning voice at their disposal. You would need a heart of stone not to be affected and won by the spirit of The Moment. Our hero looks for a sign and signal. He casts his eyes around but the truth is this: nothing will stop him achieving his dreams and reaching his goals. It seems like (our hero) has crossed the border and is seeing America for the first time. In a wider sense: The Moment could be about achieving musical success; perhaps it is from the perspective of his parents- reaching a promised land and escaping a harder life. Containing so much depth and layers: each listener will have their own theory when it comes to the song. In the past, perhaps Villafan was hesitant and watching moments pass him by. That is the case no more: Talismans are being grabbed and opportunities clasped: this is the time for J.C. Villafan to shine. Captivated and seduced by the vocal and performance- that seems to grow more intense and delicious- my mind gets into the song and pictures the scenes unfolding. I envisage something musical and career-minded. Whilst America’s for Dreamers documents his parents’ travel from Mexico- here, there seems to be something personal and romantic. Maybe I am over-interpreting or overlooking the point: I can vision a particular person; a lover or close connection of Villafan. The final seconds (to The Moment) drive the key messages home. That need for grasping dreams comes through clear: the determination to succeed and gain something pure. Whatever your interpretation of the song- and whatever angle you approach it from- you cannot help but be charmed and amazed by Villafan’s performance. Committed and filled with passion: one of (America’s for Dreamers’) key tracks.

I have had the pleasure of hearing America’s for Dreamers- one of the little perks of being a reviewer. The ten-track L.P. starts with plenty of passion and pride. The title track is a that sees the hero among the mountains and rivers; finding himself in a new land. It seems dreams are useless: unless his love can chase dreams with him. There is some irony and incompleteness early on. Although the U.S. is made for those that dreams: it is only worthy and whole when there is somewhere with you. An indelible and passionate chorus means the song will affect upon the first listen. It is a big and bold song that shows what a vocalist Villafan is. His performance is empathic and filled with tremulousness and strength. Your Love provides more reflective and desirous. Whilst there are some well-worn tropes and clichés- love being deeper than oceans; hotter than the sun etc. - the conviction and purity of the words makes up for it. Villafan shows he is adept and nimble when it comes to compositions. Every song has different skin and sound: he is not a musician that puts the bare-minimum into anything. Little Boy is one of the album’s highlights. Filled with entrancing and heavenly vocal layers- our hero harmonises with himself- it is one of the most tender songs on record. Wanting to stand up to “whatever holds me down”: Be Free is that desire for success and progress; the need to throw off shackles and achieve dreams and happiness. These are moments in an album that show plenty of promise and talent.

Whilst (perhaps) not varied enough to appeal to everyone: there is enough depth and fine moments within America’s for Dreamers. The album looks at two lovers as they cross the Mexican/American border- namely; J.C.’s parents. It is a tale of escaping a rather limited and hard life: traveling to America in search of sanctuary and new opportunities. In film terms, it is a rather well-worn subject: less-so when it comes to music. You often hear about musicians that focus solely on themselves: their love lives and the heartache they face. It is rare to find someone who documents their parents’ struggles and background- essentially, how he became to be. Throughout the story arc- from crossing the border to the young man finding himself in the U.S. - you get immersed in J.C. Villafan’s itinerant and against-the-odds upbringing. Perhaps the vocals and sound might- at times- put you in mind of Ed Sheeran his contemporaries- somebody I have decried often enough- it is a minor slight in an otherwise excellent album. J.C. Villafan will continue to grow and find his own voice. As a lyricist, he puts plenty of personal revelation and uniqueness in. Not only do you get the family lineage and travels to America: there are wonderful little moments and exchanges between lovers (his parents) - few artists are as distinct and deep. The compositions are varied enough but could do with a bit more edge and power at times. Relying on Acoustic-Folk sounds too much: a harder, Rock edge could benefit a few of the tracks. I know Villafan wants to cement a reputation and style: some more compositional flexibility would make the music more engaging and varied. Small quibbles aside and you have a young man that could well be making big splashes very soon. America’s for Dreamers is an album that shows a huge amount of work and intensity. The songs are not lazily slung-together and effete: each number sounds well-rehearsed and authoritative. With some clear and polished production: every song is crisp, clear and refined. I started by looking at new music coming out- Radiohead’s album later today- and how good that will be.

To be fair: 2016 has been a very dark and sad year for music. Aside from some notable deaths- Prince, Bowie and Lemmy among them- there have been few (mainstream) acts to get excited about. It seems the tide is turning and some real quality is coming through. British acts like James Blake and Radiohead are causing excitement: Beyoncé has released a career-defining album; there are promising albums in the pipeline. The underground/primed-for-the-big-time musicians have always fascinated me. This year has been very prosperous and exciting for new musicians. J.C. Villafan is another artist I know will have a golden career ahead. Having been raised in L.A.: he finds himself in California, still; clearly at home among the fascinating neighbourhoods and people; the sunshine and scenery- the magic and inspiration. Let’s hope there are plenty more albums in the 24-year-old. America’s for Dreamers is a solid and confident effort from a bright proposition. The Moment is available on YouTube and- the version available- is a stripped-down and raw offering (the album version is a little more polished and layered). It is a song that perfectly represents J.C. Villafan: a striking vocal and incredibly story; wonderfully rich composition and huge commitment throughout. If you tire of the same old musicians their stories of broken love and break-ups: you should check out an artist that has a very different story indeed. Much more fascinating and unique that most of the new artists out there: a rarity that should be embraced and celebrated. America’s for Dreamers is out on May 17^th and I recommend you go and get it. Until then- to tide you over- check out The Moment and a fantastic young musician whose…

STORY has only just begun.

[youtube https://www.youtube.com/watch?v=_Wamsbbz3qs&w=560&h=315]

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Follow J.C. Villafan

 

Facebook:

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

Twitter:

https://twitter.com/jcvillafan

___________________________________

Music

https://soundcloud.com/jcvillafan

INTERVIEW: The Updraft Imperative

INTERVIEW:

 

 

The Updraft Imperative

 

_______________________________________

I hardly need an excuse to catch up with my favourite Australian band…

The Updraft Imperative. I know the guys have experienced changes and upheaval this last year- finding a new drummer; fighting to get music made- but are starting to settle and look to the future. Chair (the band’s debut album) marked the group as a serious proposition to watch. With rumours of a new album- the single, Pieces of My Past being a tantilising appetiser- I was eager to chat with the guys. With Danny in their ranks- the new man behind the drum kit- the boys are galvanised and ready for the coming months. They talk about the passing of David Bowie and Prince; the music scene around Brisbane (where they are based)- what it was like meeting their manager (Di Sherwood) for the first time…

_________________________

Hey, guys. How has the week been? Get up to much?

Danny - Yeah not too bad: busy with life and such. Happy days.

Murray - mate, when your workplace relies heavily on computers to work, and they go offline for 2 full days: that incrementally adds stress you don't need.....aside from that, great!

This year is almost at the half-way mark. What have been the highlights?

Murray - our epic road trip, as our autumn tour took us all around "Straya", with our very own manager, Di- all the way from Scotland…

Josh - Well, the highlight would have to be our little autumn tour and getting the chance to meet our manager, Di, in person, for the first time.

Danny - The tour in March for sure.

Iain - Yeah, same. The tour in March

 

How has the passing of legends David Bowie and Prince affected you as musicians? How influential were they to you?

Murray- Honestly not sure who I was most shocked and upset about. They are cosmic giants in the  musical solar system and will forever be referenced and sometimes plain copied (Maroon 5 come to mind).

Iain- Well I was quite shocked at the passing of both Bowie and Prince. I wasn't an overly huge fan of prince, so he hasn't been a major influence on me. But, with Bowie, I quite like a lot of his music including his last album- so he's had some influence on me.

Josh - Talented people come and go. You can just enjoy them while they're here.  I don't think either of them were of any significant influence to me, though.

Danny- Both massive losses to add to an already ridiculously high musician death toll.

Your manager Di. (Sherwood) recently visited Australia. What was it like meeting her for the first time?

Murray- it was like Skype without the delay! Di's done a huge amount for The Updraft Imperative's ministry both here and abroad: it was great to be able to spend some time with her and show her some of Australia.

Josh- It was great!  I think we all got on smashingly. Had a good time and shared lots of laughs.

Danny - Great to finally put a face to the name. Great hangs

Iain- It was great meeting her. Having Di here made the March tour a lot of fun. There was a lot of laughter going on in the car.

[youtube https://www.youtube.com/watch?v=O1Mp_5Bg_qo&w=560&h=315]

Pieces of My Past (the band’s new single) has been gathering a lot of attention- it has spent 11 weeks on Australia’s Hot 25 Countdown. What has that been like?

  Josh - It's been great to have it in the chart for the last number of weeks.  It's good knowing people are connecting with it and happy that the song is reaching people.

Murray - I think it shows that independent bands can show they don't just need to be 'one trick ponies'. But it still takes a whole lot of sweat and tears to get it heard and received well.

Danny - Pretty sweet. Good to see people enjoying it.

Iain - It's been rather smashing

What inspired you to write that song?

Josh - At the time I wrote the lyrics, I was thinking about how life can often be messy.  At times, we can all be a bit judgmental towards others- without taking the time to walk in their shoes.  It's a song about showing a bit of grace to others: just as we have been shown grace.

On the subject of new material: can we expect a new album this year?

Danny - We have been talking about the next album a bit lately, not sure when it'll happen yet. We have been playing a couple newies (sic.) live, though.

Murray - we've been given 'in principle' finance to bring another album to the table, so now all that's left is for all of us to get our heads into 'album' mode; pen a few more songs and book studio time.

You guys are based out of Brisbane. Which locals acts would you recommend people check out?

Murray - Drafts are cool, and Noralyn- who's played with us a few times- also: epic voice, and she monsters all over the piano!

Danny - Far out, so many decent acts. I've done a bit of sound at a venue in Brissie (sic.) over the last year and one band I did that stood out was a group called Toisoc, solid funk/rock sound. Other solid bands include Hobo Magic, Cordeaux, Vaguely Human; The Disgruntled Taxpayers, Drafts, The Barefoot Experience; Homeless Yellow... That's off the top of my head. I could go on for hours, honestly...

Josh - I don't get out much, to be honest...!

Danny is your newest member. How has he fitted into The Updraft Imperative fold?

Danny - Like a square peg in a round hole hahaha

Murray - can't wait to get him and Iain locking in their grooves and beats in the studio-they bring a real solid combo into our sound, so expect certainly a more Rock-infused sound out of us into the future.

Iain - I think he's done marvelously well fitting into the fold

Josh - Danny's a great guy. Love his kicking beats.

Spending so much time on the road: have there been some particularly memorable gigs? Any especially bad ones?

Murray - Forest Edge Music Festival. We were a last-minute lineup squeeze, but made many new friends and together sweated an Olympic swimming pool! All the gigs were different but we were really well received at each one.

Josh - I think the Forest Edge Music Festival gig was the most memorable gig for me: lots of noise, sweat and good feedback.

Danny - Forest Edge Music Festival is my favourite so far. Hasn't really been any shoddy gigs as of yet...

Iain - Definitely the Forest Edge gig back in March was a memorable gig. Can't really remember any bad gigs.

Any chance you fellas will be coming to the U.K. soon?

Josh - No serious plans at this stage...

Danny - ...but never say never

Iain - I think there's chance. It would be good to gig in another country and to experience what their music scene has to offer.

Murray - always a chance. My wife and I are making plans to visit Di around September, so if we can get some other members there also, does that count as a tour?!

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

__________________________

Follow The Updraft Imperative

 

Official:

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Facebook:

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TRACK REVIEW: ALA.NI- Darkness at Noon

TRACK REVIEW:

 

ALA.NI

 

 

Darkness at Noon

 

9.7/10

Darkness at Noon is available at:

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

RELEASED: 12^th April, 2016

GENRES: Alternative/Pop

ORIGIN:

London, U.K.

____________________________________

IT has been a shaky ‘personal’ week for me that has been mitigated…

by some musical comfort. After the mystique and hullaballoo that shrouded Radiohead’s latest release: people were wondering just what the Oxford band were up to. Having taken themselves offline- a new musician does that and they get forgotten about- they unleashed their new single, Burn the Witch. Sounding like a cut that could fit on Amnesiac or Hail to the Thief (lyrics to Burn the Witch were scrawled in Hail to the Thief’s album booklet): it shows the boys are back in force; signs and signals to suggest Thom Yokre is embracing his voice- rather than burying it in the machine. If that wasn’t enough for us: there is word Radiohead’s ninth album will be released tomorrow. No idea what it is called: The King of Limb’s follow-up is the most hotly-anticipated release of the year. Running concurrently: James Blake has unveiled his third album, The Colour in Everything. Threatening to be one of this year’s most astonishing releases: picking off where Overgrown left off; a symphony of emotions, vocal layers and perfect wall-to-wall gems. I have doubted the credentials of mainstream music, lately. With the likes of Radiohead and James Blake creating wonderful music: my considerations have to be redrafted and reframed; my cynicism recalculated and repositioned- or does it? Whilst this year is seeing some of music’s finest ensure they stay firmly in the critical mindset: how many other artists are making such an impression? The most fascinating, diverse and impactful artists- in my mind, anyway- are emanating from underground: those who may not have a record deal; musicians that are looking for that recognition. Big-time releases like The Colour in Everything and Burn the Witch are driving under-the-surface musicians to push hard and keep their sights set high. ALA.NI is one of those singers- before she has even opened her mouth- you just KNOW is going to go a long way.

Together with striking looks- ALA.NI has Grenada-born parents- the stunning, London-based musician is one of the most talented and busy we have in our midst. Before I go on: let me introduce ALA.NI to you:

“West London artist ALA.NI has confirmed release details for her debut album You & I, due on June 3 through No Format. With all songs written & produced byALA.NI, the album was recorded between Damon Albarn’s Studio 13 & Andrew Hale’s (Sade) Owl Studios in London. The announcement follows ALA.NI’s startling emergence last year on Later……With Jools Holland, which came amidst the arrival of her 4-strong EP cycle Spring, Summer, Autumn and Winter, charting the seasons & weathers of a failed relationship (accruing over 2.5 million streams since). The release of You & I will come ahead of an intimate album release tour - having previously played alongside Ibeyi - including a London headline at The Forge on June 15.

ALA.NI stopped many people dead in their tracks when she appeared on Jools late last year, performing ‘Cherry Blossom’ – lifted from her ParadYse-released EP, Spring - with a MGM-gone-noir vocal, as compulsively anachronistic as the Classic sensibility of the track itself. ALA.NI arrived with a voice that seems to take in the cadences of musical history, and an idiosyncratic creative approach to conveying her music, including spooky, self-directed & self-produced Super 8 videos (one of which has recently been nominated for this year’s London Independent Film Festival), and alternative release formats that include wax cylinder recordings and even a miniature music box.

Raised in Shepherds Bush by Grenada-born parents – a reggae-calypso bassist father, and a couture seamstress mother – ALA.NI followed an older cousin into attendance at the Sylvia Young School, though as she clarifies with a laugh, ‘not a conventional, sing-for-mummy-darling sort-of tale’. After leaving school,ALA.NI sang behind or alongside people with huge talent on tours, like Mary J Blige and Blur. She was successful, but didn't carve out a space for her own art until four years ago, when something happened creatively that had never occurred before: a song, I'll Remember, arrived out of her mouth, all in one piece, one morning at 3am.

Then it happened again, whilst on holiday with her grandparents in Grenada, when Cherry Blossom subsequently emerged, fully formed, in the middle of the night. This music sounded like a series of woozy yet crepuscular David Lynch-ian miniatures, rushing between the glow of innocence and the pang of experience. The resulting 4 strong EP cycle – entitled Spring, Summer, Autumn and Winter – and the album which now draws that material together for the first time, trace an arc through the duration of a particularly tumultuous relationship- one ALA.NI hoped would win out, but quickly became one she couldn't have. As such, ALA.NI’s outlook is now tempered by wisdom and an acceptance of change, felt keenly as You & I plays, with ALA.NI’s hushed, grainy vocals (sung into her faithful 1930s ribbon mic) gauzily fleshed out with steel pan, Hohner guitaret & a ’66 Gibson 345”.

Few artists- that are unsigned, anyway- have been able to cover so much ground. Recording at Damon Albarn’s Studio 13: the youngster has provided back-up vocals for Blur and Mary J. Blige; performed on Jools Holland’s show; You & I (her new album) is out next month. It is a busy and prosperous time for ALA.NI. I know how hard and challenging it is for new musicians to make their names heard. Many of them- quite a few I have reviewed- have started passionately before finding the rigours and realities too tough. Social media can hinder musical evolution: there is so much choice; it is difficult rising above the pack.

ALA.NI has produced a four-strong E.P. cycle and will delight the public with You & I. Seemingly growing stronger and more astonishing as time elapses: that intimate and Heaven-sent voice is attracting serious acclaim and admiration. There is a lot of emphasis put into the voice, in the current climate. So many singers are heralded as ‘The Next…’, but in truth: few of them actually linger in the imagination. I feel like some of our once-prodigious names have slightly lost their edge. Adele seems intent on producing the same sort of song: without changing her dynamic and themes; she is starting to create weariness; that initial stun is less pronounced and unique. Alicia Keys- whose latest single, In Common, I reviewed for The Metropolist- is way past her best- that soulful voice is buried underneath cheap and nasty electronics; in a song that sounds like a Rhianna offcut. With so many mainstream goddesses losing their panache, perhaps: where do we find the next generation of idols and leaders? ALA.NI is someone who has the potential to be a mainstream star; influence plenty along the way. She is not a committee-assembled, producer-led artist who stands behind a microphone and puts in little emotion and personality. With every song, you sense a young woman that puts her soul, heart and inner-self into every note. Her delicious, confessional voice sounds like it could have emanated from the Jazz greats of the ‘40s and ‘50s: there is something vintage and classical about her. The songs have a universality and familiarity to them. Laying bad love and heartbroken words onto the page: in old topics; we find new light and nuance. Darkness at Noon is a typically bold and mesmeric effort from one of our most assured and original musicians. If you have not discovered ALA.NI and all she has to offer: rectify this and keep her close to your heart.

You & I is ALA.NI’s new album: those who are unfamiliar with her work will want to travel back and see where she came from. Her four-E.P. cycle- Spring, Summer, Autumn and Winter- was released last year and proved what a work-rate ALA.NI had. Spring was released in March and came equipt with a striking, floral cover. Cherry Blossom is a song that has already captured quite a large amount of attention. Having been performed across T.V. - and released in Japan- and is one of the songs (alongside the other E.P. tracks that will make their way onto You & I). Woo Woo and Ol Fashion Kiss are a trio of songs that blend meadow-side serenity and tender passions: some positive and sunshine among the introspection and longing. Come to Me, Suddenly and One Heart formed the Summer E.P. All of the seasonal E.P.s were prefixed with You & I: followed by the season and ‘E.P.’. That gave you an insight into future direction: all these songs will meet and mingle on the new album. The summer unveiling (released in June) showed more desire and lust: something sweatier and more impulsive; a deep longing that manifested itself in an unforgettable trio of songs. By the time ‘Autumn’ arrived: some more haunted and darker shades started to come in.

The leaves have fallen and the nights shortened: ALA.NI created something more reflective and saddens; whilst retaining that redemptiveness and hope. Darkness at Noon completed the three-song E.P. and finished it with a huge statement. Winter had I’ll Remember, To the River and Circle: a collection of songs that fused heartbroken laments with some profound and emotional stories. What I love about the four E.P.s- which I have incorrectly and lazily titled throughout- were the shifts of moods and beautiful cover art. The artistic and visual thinker will love the colours and designs of the E.P.s: collector items that are beautiful and eye-catching. The music is tight and focused: every song has a unique beauty and fits into the season represented. If anything; the E.P.s act as Classical suites: modern updates of the symphonies and Classical music cycles that we are all familiar with. You & I brings all these E.P.s together and adds something extra. Not only do we have a chance to find each season together- providing a fluid and transitional album- but there are extra tracks and remixes. In each quarter you get different shades and moods: you see a young woman develop and change; it is a concept album that explores a relationship that could have lasted- sadly, it did not survive the test of time. Such intimacy and personal hurt might seem like a gamble: the way it is executed and tied-together means You & I will be a huge crowd-pleaser and critical favourite. I will get the album and it will be in rotation for a long time. Few artists showcase so much originality and depth when exploring something as perfunctory and everyday as love. For that reason- and many others too- we should all pay attention to a rising star with a lot more to say.

Having premiered on the You & I/Autumn E.P. back in September: many might be familiar with the song. Darkness at Noon’s video was released last month and is the perfect backing to a haunting and beautiful song. Words like ‘crepuscular’ and ‘Lynch-esque’ (pertaining to director David Lynch) have been applied to the lexicon of ALA.NI. They are appropriate terms to describe music that has cinematic shiver and drama to it. A dark and twilight arpeggio opens Darkness at Noon. Mixing Nancy Sinatra’s Bang Bang (My Baby Shot Me Down) with shades of Lana Del Rey: at once, you are transported to a time and place. In my mind, I was picturing L.A. hills in the 1950s- each listener will have their own interpretation and visions. Bringing a ’66 Gibson 345 together with a 1930s ribbon microphone: the vocals sound raw and naked; everything has a bareness and vintage quality to it. In an age where studio gloss and polish can make a song seem overly-medicated and fake: here, we have purity, stripped-back production values and something direct and intense. The opening words see our heroine regret past decisions. Finding herself in the midst of an affair: the feeling is it should have ended; ties should have been cut and parties should go their own way. Maybe in too deep: you sense there are arguments and discombobulations bubbling beneath the surface. Our heroine needs to be set free: erase words from her lover and wipe clean the slate. Keeping truth and full confession suppressed- the truth and nature behind this realisation- you are sucked into a wonderfully rich and sensuous vocal.

Regrets are swirling in the mind- ALA.NI was cold-hearted, it seems- the duo wanted to part in harmony. Although there seems to be a sense of détente and mutual indemnification: maybe there are regrets and feelings that cannot be eradicated so swiftly. It is not clear who has compelled the break-up: the scars are deep and the die cast. Every line is delivered with a very considered and elongated manner: it ensures every word gets inside the head and maximum emotion is uncovered. You cannot hear the song without picturing the likes of Billie Holiday. The older-day microphone- which gives the song a ‘30s sound- and stillness of Darkness at Noon could have been cut from Lady Sings the Blues (Holiday’s 1956 release). Finding inspiration and spirit from the departed heroines of Soul, Jazz and Blues: ALA.NI channels the ghosts of these idols and blends it with her own, distinct tones. The effect is spellbinding and spine-tingling. As our heroine employs a maieutic way of investigation- a series of questions and answers to obtain deeper understanding- you know there will be no happy outcomes. Our heroine is scarred by wants to discover why the bond has ended. Professing a desire and longing- declaring her heart shines brightly for the boy- you get the most beautiful and touching section of the song. Rising into a shivering and unearthly high: you close your eyes and immerse yourself in the song. Every second of Darkness at Noon gets the listener invested and involved. You cannot casually listen to the song or have it in the background somewhere. You need to dedicate your full self to ALA.NI’s gorgeous sermon: allow every note to seep into your soul. With slight and dimmed-down percussion- a slight crack in the background- the emphasis is on the voice-and-guitar combination. The lovers agreed never to meet again: loving me (our heroine) would be a mistake; they need to part ways. Although they have arrived at a solution; it is not one that is beneficial to ALA.NI. She rises like the sun yet feels empty and alone: without that love in her heart; life seems harder and more callous. Maybe I am misreading but it seems ALA.NI is wrestling with her consciousness and decisions: hopeful that she can rekindle that flame and regain better days.

However you approach the song- pragmatically or romantically- you will be touched and affected by it. One of the most arresting and memorable vocals I have heard this year: Darkness at Noon mixes simple honesty with an astonishing, hairs-up-on-their-end performance. Rob Updegraff provides the shivering, Sinatra-esque guitar coda. Ensuring the words have a perfect backdrop: it is a wonderfully assured and emotive performance. He never encroaches on the song: instead, you get swathes of darkness and moonlight; emotions conspire and tear-drop coldness. Able to resonate and ring so much emotion from a few notes: commendation must be directed his way. Joao Caetano’s tender percussion adds heartbeat and punch to the song. Perfectly blending with ALA.NI and Updegraff: a wonderful trio that has created one of this year’s most immediate and stunning songs. Darkness at Noon will be featured in You & I’s second half- track nine, I believe- and end the autumnal section. From there, the album will be in the home stretch and winter will be upon us. On its own basis- or in the context of the album- few listeners can deny how seductive and timeless Darkness at Noon is. Although it is harrowed and personal: every listener can relate to the song; empathise with the heroine and give their heart to her. That Billie Holiday-inspired voice is only part of the song. ALA.NI manages to evoke the sensation of Jazz greats whilst putting plenty of herself into the mix. Granada heritage and a rich musical upbringing feed into a vocal that has so much depth, flavor and sides. You get grainy and raw nudity: lustful and sonorous velvet: dark and unsettled undercurrents. At the heart, we have one of the U.K.’s most stunning artists. I know ALA.NI is in Paris right now: when she performs in London (on June 15^th) that will be a gig you will not want to miss.

You & I is released on June 3^rd and will be accompanied by a live performance at The Forge on the 15^th. A chance to get back to London- ALA.NI is sojourned in Paris- home fans will get a chance to see the album explored and exposed in the live arena. The Shepherds Bush-raised artist will come back to the U.K. and ensure her latest L.P. is not forgotten and overlooked. That would be impossible: ALA.NI is one of the most unique and special artists we have right now. Whilst mainstream heroes James Blake and Radiohead are igniting and exciting critics this week: we should not ignore the mass of tremendous musicians we have working to get a deal; gain exposure and build a foundation. ALA.NI is at ease in front of the camera: she oozes charm, beauty and photogenic allure. Behind the microphone is when you get the biggest shivers and reactions. Alternatively described as golden-voiced (The Quietus) and spectre-like (The Guardian): some of Britain’s most-influential publications are turned-onto the magic and wonder of ALA.NI. Those reviews are hardly filled with hyperbole and unwarranted praise. Having investigated every ounce of Darkness at Noon. The spooky (self-directed) video will be hard to forget: the stunning vocal turn WILL be impossible to forget. After a successful E.P. run- Spring, Summer, Autumn and Winter- it seems like influence and motivation have not alluded ALA.NI. I cannot wait to see her perform- I shall try and get to London next month- and this only marks the beginning of things. Previous E.P.s have looked at relationships and their effect. Employing seasons as backdrops and metaphors: a unique and effective way to document the various climates and scenes of heartache and transition. You & I looks at relations and their break-up: it goes further and digs more into our heroine’s soul. I urge everyone to pick up You & I in a few weeks: it is an album that is sure to seduce and allure; rank among the finest of 2016.

There are so few genuinely stand-out solo artists you just know will go the whole way. Many seem promising at first: they start to falter before dissipating in time. It is hard- in a world where disposability and quick turnaround are commonplace- to stand by someone who can overcome all the obstacles. Working with the likes of Blur and Mary J. Blige not only shows how talented ALA.NI is: it has given her the confidence to keep making music of the highest order; push her passions and achieve something wonderful. If you are like me- and did not know her until recently- you will want to go back and study her previous E.P.s and songs. The progression and development is clear to see. She was always impressive but has hit a rich vein of form this year: a true artist whose best days are still ahead. With the sun out and spring finally here- for a few days at least- Darkness at Noon might seem like a peculiar seasonal juxtaposition. You might be yearning for something uplifted, buzzing and sun-seeking. For those who want to discover music that gets inside the body and elicits something truly wonderful- here is the musician for you. You & I is a 12-track album that mixes old-fashioned romance with raw and modern-day themes. At every turn, there is something wonderfully and charmingly classical about ALA.NI. Whilst her body is in the year 2016: it seems like her imagination, musicality and soul belong to another time- every song takes you to a different time period. You & I will contain some bonus tracks- 7 tracks that will include some remixes- and give the listener a chance to fully explore a staggering talent. If Radiohead and James Blake are stealing focus in current music: I have been more fascinated and attracted to the work of ALA.NI. A future star if ever there was one! Do yourself a favour and discover someone…

WHO will be a face we will all be familiar with soon enough.

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

_______________________________________

Follow ALA.NI

 

Official:

http://www.ala.ni/

Facebook:

https://www.facebook.com/alaniofficial/

Twitter:

https://twitter.com/alaniofficial

Instagram:

https://www.instagram.com/hialani/

___________________________________

Music

https://soundcloud.com/alaniofficial

INTERVIEW: Nzilani

INTERVIEW:

 

 

Nzilani

 

______________________________

ONE of the most promising young artists to come through…

right now: 20-year-old sensation Nzilani is preparing to release her debut album. Never Be is a song that demonstrates what a captivating voice she has. It will be released on Friday (pre-order it here: https://itunes.apple.com/gb/album/never-be-single/id1096926488) and introduce a host of new faces to the stunning, London-based musician. Few emerging talents have the same ability with emotions and texture: the talent to be able to draw a listener into a song and introduce them to new worlds and emotions. I was excited to catch up with the stunning singer and see what the future holds...

________________________

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

Fantastic, thanks. Honestly, I've been taking advantage of the good weather as much as I can. I've really missed the sun!

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

I’m 20-years-old, and whilst was born in London, grew up mostly in Switzerland. I was in two episodes of Peppa Pig when I was/and currently can't stop listening to Sing a Happy Song by The O'Jays.

Never Be is your new single. What inspired you to write the song? 

Actually, the lovely producer Tom and his team were the ones who actually wrote the song- but I can tell you the inspiration behind it. Growing up for most people, you always feel a need to fit in; to conform: to be this person or another. I feel like that's not really an image you can give up until you stop comparing yourself to that other person- have that realisation that you can only be the version of yourself you can.

The single has some seriously addictive beats and gorgeous vocals; plenty of catchiness and emotion. Which modern-day artists have inspired you and your music? 

Well, first off: thank-you for the kind words; I really appreciate it. I've always drawn inspiration from older musicians, especially those of colour. My mother taught me to sing to artists like Aretha Franklin with strong emotions-starve behind their words- though I have to say Michael Jackson has always been one of my major influences- one of the artists I look up to the most. His charismatic energy and passion for absolutely everything he did translated and affected so many people - I can only hope to be an artist as sensational as him.

Never Be is the lead single from your debut album. What can you tell us about the album? Will it sound like Never Be or have a variety of sounds/moods? 

It was very important to me to try and include a variety of sounds on the upcoming album; to try and not only show diversity; to see what worked and what didn’t. Though a majority of the album is ballads: I hope there'll be something on there for everyone to enjoy.

You have just recorded at Metropolis Studios. How was that experience for you? 

Incredible. There's honestly no other word that comes to mind. Can't imagine the session having gone any better. Everyone at the studio was an absolute joy and they made me feel completely at home- not to mention recording in the same studio as the late, great Amy Winehouse (it was as humbling as it was exciting).

Acting and theatre play a big part in your life. Do you think acting helps when it comes to music? Are you able to use your acting skills and discipline in your songwriting? 

Oh, definitely. Singing is all about tone- when you're singing you're telling a story, and as any good storyteller can tell you, even if you have the best voice in the world- without tone, you're lost. Without that meaning and weight behind the words, you may as well be speaking gibberish. The exact same thing goes for singing. This also applies to the second part of your question: a lot of songwriting and what I do (which is mostly poetry) relies completely on the story. The emotions evoked from telling that specific tale: the memories that resurface; all of those feelings dictate the way the melody turns; the words used whilst you're penning. It's all vital, and a fantastic ability that acting grants you is being able to examine those emotions, and pick them apart. I wouldn't say it helps. I'd say it's an intrinsic skill.

Being teenage- Nzilani is just 19- do you think there is a lot of pressure on young artists 'to succeed? Do you feel that expectation on your shoulder at all? 

Well, l ^‘m technically a fully-fledged adult now, actually. I turned 20 just last week (oops). And,  absolutely. This industry is pressure, and it comes from every side- not just from the people around you, but also from yourself. It is an immense farce that my friends experience it and whilst, at times, it can be a tad overwhelming, it can also be that little ‘push’ you need.

You're based in London right now- having spent the last 8 years in Switzerland. What compelled you to move to London? How does the music scene in Switzerland compare?

My art. Pure and simple. It was always my plan to come back, and as someone who is slightly more used to the English language, it was definitely a big motivation to came back. There is a very rich and diverse underground music culture in Switzerland.

I feel that whilst Switzerland is a truly fantastic starting point for musicians boasting a diverse, multi-cultural music scene, it wasn’t for me- especially as someone who was more used to singing and writing in the English language. Certain people have different opinions on London. Some find it too intense and overcrowded; others lively and cosmopolitan.

As a songwriter and performer: how vital and inspiring is the city to you? 

I’ve always had a deep love and appreciation for this city. As much as I do miss the fields and the hills and the wide open spaces, I couldn’t imagine London any other way. It's always been this fantastic meeting point for different cultures and ethnicities and experience. As an artist, that is the most vital thing you can do. Collect experiences and stories and ideas: find a way to translate that into your art, to make you mark diverse; more open. It's one of the best places to get inspired as inspiration can quite literally come from anywhere. It's what makes London great.

Aside from your forthcoming single (and album) what other plans have you for the coming months? 

Work. Work and travel. This whole crazy performing dream has always been just that. My dream, and anything and everything I can do to work towards making this my bread, butter and air are my biggest focus. I'm hoping in to get a couple of trips, however, later on in the year. Being a third-culture kid: travel has always been in my blood, and going to an international school means I have friends scattered all over the world (that I would adore having the opportunity to see them)

What does music mean to you? How important is it in your life? 

Everything. I know, it sounds corny, but I didn't have very many friends growing up; music was always there. I was and honestly still am plugged into my music library at every single opportunity. I was always imagining music videos and choreographies; singing every chance I could get. It literally saved my life when I was going through troubled times. It lifted me up when things were going better. It's well and truly everything to me.

For those who do not know much about you; could you tell us a secret: something nobody knows about you.

This may sound a bit silly, but when was about 15, I ran away from home to audition for X-Factor - believe it was the first or second year that I auditioned for it, and I remember being given my and some feedback. I was gutted. I kept on thinking of ways I could have responded; of perfect answers that I was convinced would have gotten me on the show. So, I packed my bag, looked up train times and had this insane plan of flying from Geneva to Luton. Then, taking the train from London up to Edinburgh; sleep on the train and be back home with my 'yes' and a shot at my dreams. My parents found out before I was even in British airspace, and I promptly got stopped at the border- and put on the next flight back to Geneva.

Do you have any advice for any musicians coming through; those in the same position as you? 

Don't let anybody tell you different. Follow your instincts. If I hadn't, I wouldn't have recorded at Metropolis', and I certainly wouldn't be answering these questions. Your gut knows more than you think, and you should definitely listen to it. That, and keep going back. You'll get that yes sooner than you think, just watch.

Finally- and for being a good sport- you can select any song (and I'll include it here)

You Are Not Alone by Michael Jackson. It was one of my mum's favourites and it holds such a special place in my heart.

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

__________________________________

Follow Nzilani

 

Official:

http://nzilanimusic.com/

Facebook:

https://www.facebook.com/nzilani.singing/?fref=ts

Twitter:

https://twitter.com/NzilaniFrancq1

SoundCloud:

https://soundcloud.com/nzilanifrancq

TRACK REVIEW: SKYES- Give Me More

TRACK REVIEW:

 

SKYES

 

 

Give Me More

 

9.7/10

 

Give Me More is available at:

https://soundcloud.com/skyesmusic/give-me-more

RELEASED: April 2016

GENRES: Indie; Electronica; Experimental; Psychedelia; Synth.-Pop

ORIGIN:

Brooklyn, U.S.A.

____________________________________

STAGGERED if I can recall the last time I examined a band…

from the good ol’ U.S.-of-A. Not only do I get to look at an awesome new act- who I shall come to soon- but take my thoughts to one of my favourite music avenues: Brooklyn. Here is a region of the world many of us (in the U.K.) would not usually consider. Perhaps your mind does not instantly spring there: we always think about New York as a whole; rather than divide it into boroughs. In previous posts- criticizing our lack of adventurousness and short-sightedness when it comes to music- I have extolled the virtues of Brooklyn. If you think about the likes of Grizzly Bear and Dirty Projectors; LCD Soundsystem and Sleigh Bells: each of us would have had some exposure to these bands. Whether through various degrees of separation: most of us are aware of Brooklyn’s output and potential. What I love about the music here is its unpredictability and freshness. The bands I have reviewed from Brooklyn- Falling Birds among them- impressed me with their hard-hitting songs and tight performances: the originality of their songs and stunning energy. There are a lot of great Brooklyn Rock bands but much more than meets the eye. Whilst mainstream artists like Sufjan Stevens put Brooklyn on the map: Stranger Cat, Black Marble and Norwegian Arms are making big impressions.

Many of us would consider Brooklyn to be all about danger, violence and something rather unsettling. Unless you have been to a city- or borough in this case- you cannot judge it. People do that with London: assume every area is the same; all the people are rude and obnoxious; turn their noses up without knowing what they are talking about. A certain ignorance is levied towards Brooklyn: many have not even been there; how can we possibly know what it is like? I happen to know- from those who live there- how inspiring and cosmopolitan it is. Sure: there are some rough spots; just like everywhere else in the world. If you walk the streets and hit the cafes; absorb the cultures and feel the place run through your veins- it is hardly surprising Brooklyn has such a solid and stealthy reputation. Aside from the Indie and Alternative bands: there is a wave of stunning Electronic-inspired artists that are putting texture, colour and darkness into music. If you want sounds that have drama and emotion; mix genres and experiment: you will find much to enjoy within the motifs of SKYES. At the moment, the trio is still building their social media numbers. They have a loyal following around New York and are starting to get their music noticed in Britain. Here is a group that is going to be gaining a lot more attention very soon. The way they mix genres and experiments: their inimitable blend of Indie-Synth, Pop and Psychedelia go into songs that gets into your mind- filled with brooding emotion and gorgeous scenes; the vanguard of New York’s Electronica charge. Little is known about SKYES beyond their music. Their social media pages have plenty of photos and links: they provide scant details about the individual members; who compels their music. In a way, this is good, as too much exposure and revelation might dampen their music. What you are left with is the music alone: bare-naked and raw; it tells the stories and paints plenty of pictures. Quarks is their new E.P. and will be released on Friday. I urge you to go get it as it contains wall-to-wall quality. I am a recent follower of the three-piece but find myself irrevocably hooked. There are few bands that have the same quality and style: go deep into your bones and elicit something rather wonderful. Too much of today’s music is defined by laziness and chart-seeking submission. Artists see what is being touted by the press: they feel the best way to succeed is to rip that off. I can understand the appeal of getting under the critical microscope. If it comes at the expense of difference and distinction, then what is the point? The most successful and impressive artists are those that do things their own way: trust their instincts and go much deeper.

I am surprised SKYES have not amassed more followers and attention. They are being heralded in their native U.S.: Few of us in the U.K. are that familiar with them; let’s hope that changes in time. With Quarks imminent: it seems like the Brooklyn trio is on a meteoric rise. Give Me More has been reviewed with fevered admiration and astonishing passion. From London-based magazines to the big players of journalism: everyone is keen to pay tribute to one of the most exciting and stunning acts in the world. I have very little time for the so-called ‘Best of the Year’ lists we see published. Those acts- apparently, the best we have- always seem to be aimed at the radio-friendly sectors: that corner of music reserved for people who want something safe and palatable. I am not an iconoclast but am someone who wants more from music: not just something that seems pleasant on the surface but promises little return. SKYES are one of those acts you just know will grow bigger and bigger. They have a busy next few weeks ahead: it will be good to see the guys get the acclaim they deserve; make their way to the attention of new fans; get their latest single reviewed. What the Brooklyn threesome provide is some of the most cerebral and emotive songs around. Quasi-philosophical revelations and stand-in-the-brain-for-eternity imagery are matched by intense and involving compositions. This is not just the diary entries and confessions of a Brooklyn band: this is music that will speak and resonate with everyone.

Give Me More is Quarks’ lead-off single and a fine representation of what they are about. Their 2016 output keeps defined sound solid: if anything, there is more quality and surprise in their new E.P. (as opposed to their debut). The group’s debut E.P. saw them burst onto the scene with a huge confidence. The eponymous record was a four-track collection that mixed Pop and Indie; Electronic flavours with experimental synthesiser music. Tracks like Burden and A Girl Named Jake were applauded by fans and highlighted as standouts. If anything, there is a leaning towards Pop (in these songs). The newer work- throughout Quarks- is less reliant on Pop/Indie avenues and goes in harder and faster. SKYES had plenty of raw emotion and experimentation: Quarks takes that to new plains and sees the guys produce their most assured and astonishing work. Tracks Dry and Lullaby see the vocals augmented and more in focus- this is the most compelling vocal work Knightly has performed. The boys ensure the beats are harder and sharper; the electronics more colourful and playful. Keeping some Pop semblance- fans of the previous E.P. will be pleased- there is more candour and pizazz; embers of ‘80s Synth.-Pop and solid lyrics throughout. SKYES did not need to improve or change their music too much. Their debut E.P. was packed with memorable tunes and distinct individuality. What they have done here is simply build on that and keep the momentum going. The songwriting has sharpened and the group seems at their more confident and bold. Touring and critical approval have provided the kick to keep going and push themselves. Quarks is going to get a rapturous reception and provide the Brooklyn band with new opportunities and exposure. I can see the E.P. being featured on stations over here. We do not have many artists that play the same sort of music: it will be great to hear the guys come over here and perform the tracks live.

Realising Give Me More has collected its fair share of impassioned reviews: it was quite a daunting task being faced with the song. What could I say that stood apart? Would the song disappoint perhaps? The first question is answers like this: you just need to hear the track and the words flow; getting my feelings and thoughts onto the page is the most vital thing. In regards to the second quandary: you kidding me?! The Brooklyn three-piece seems incapable of dropping anything less than red-hot music. Things begin with the sound of a percussive heartbeat: something very tangible and direct. In the first seconds, you think about the human heart and emotions swirling around the body. Thinking of the song’s title- that need for something more- and you picture our heroine standing alone; looking out to the world with fear and uncertainty. That tense heartbeat is counterbalanced by a romantic and lush piano line that sweeps in with grace and beauty. The two mingle in a rhapsody of passion and energy: you are hooked-in and already seduced by the stately keys and 120 B.P.M. heartbeat. A very human and earthly beginning: SKYES show amazing control, discipline and restraint early on. That swelling heartbeat becomes more defined and exposed: growing louder and harder; there is a palpable tension that encroaches upon the piano; a strain of emotion that threatens to lead to an explosion. Among absent breaths and heartbeats: in the city streets our heroine is looking for answers and undergoing a transformative and unpredictable time.

Unable to hide- and searching for something she cannot have- there is a mixture of beauty and suffocation to be found. The vocal is one of the most spine-tingling the group have come up with. Combing their voices together creates something harmonious and empathic. It is like a lovers’ call: the duo trying to find clarity and yearn for something intangible and distant. I am not sure whether love influenced the song- perhaps a relationship that was particularly relevant. Interpretations will be split between romance- the need to rekindle something extinguished; get more from the sweetheart- and a general malaise and directionlessness. As you conspire and interpret: SKYES ensure your mind and body are being fed and enraptured. As the chorus comes into view- a bracing and rushing announcement of the title- a carnivorous guitar line cuts through the mood. Like an animal pouncing in the night: it comes from nowhere and is a direct hit to the senses. Whilst the piano and percussion acted like metronome and soulfulness: the guitar is a blood-rush and anxiety attack- the most vitriolic and real utterance. Fear comes into play and you cannot help but lean forward- get inside the speaker and give the heroine a supportive hug. A perfect world in-hand- “It was just as we planned”- there is something conspiratorial and oblique in those worlds. Maybe two lovers had high hopes for the future: they saw the years ahead and assumed happiness would reign. Unfortunately, they have reached an impasse: unable to move from intractable realisation. There is almost a drug-like craze in our heroine’s voice. SKYES do not deploy their words with anything other than the utmost care and diligence. The phrasing is expertly judged: words are delivered calmly; ensuring the listener has the chance to absorb every last syllable. There is never any ululation and histrionics: the vocals are controlled and disciplined; allowing emotion to rise to the surface.

When it comes to the composition: it is such a wonderfully rich and multi-layered thing. That heartbeat remains constant and undiminished; piano continues to thud and strike (slightly muted) in the background- electronics swirl and dark anthemics. We might never know EXACTLY what the lyrics refer to. As Knightly explained- in an interview with The Line of Best Fit- the song’s heroine (her perhaps) could not hide. Whether running from love’s woes or a rut: there is that need to find something better and pure. With every ticking second, hopes of salvation seem a little hopeless. Give Me More’s chorus is as emphatic and determined as you will hear. The heroine lets her voice strike with impunity and desire: that hunger to obtain something missing from her life. As the chorus is repeated and reinforced: the band distort the vocals (creating a demonic and hostage-taker-muffling-their-voice-on-the-phone sound) and take the song up another notch. With every passing phase; the band introduce something new and build the song up- never keeping it still, static and predictable. One-third of your brain is enamaoured by the gorgeous and beautiful vocals; another by the haunted and desperate lyrics; the final by the striking and stirring composition. The final moments of Give Me More see accelerate beats and electronics keep the urgency and blood-rush going. The heroine seems at her most nervy and angst-ridden towards the end: still looking for something; not giving up hope. That is the thing about Give Me More: there is desperation but a light at the end of the tunnel.

Let’s hope Knightly found what she was looking for: I am in no two minds the song reflects a part of her; such is the conviction of the performance. The entire trio is compelling, united and tight throughout. The instrumentation is extraordinary and filled with so much detail and story: you could isolate it and still come away with the same hit and reaction. Throw in a sublime and immersive vocal and you have the finest song the Brooklyn group has created. A wonderful, rich and professional production means every contour and aspect is not only mixed perfectly together- they shine and burnish without distortion, obstacle or distillation.  Being particularity affected by the song- someone who digs a hole looking for a way out- Give Me More left its mark and caused me to think hard. I am one of those people who always pines for something more fulfilling and better: trying to escape a certain depression and confinement. Many others will get the same shivers from Give Me More: ubiquity and universality can be found in a song that seems very personal and revelatory.

On Friday: Quarks is released and will expand upon the promise of Give Me More. The song’s title is an ironic thing: many people will want more after hearing it; keen to get more from the Brooklyn trio. Dallin Knightly is one of most arresting singers I have witnessed in a long while. Her lyrics are self-confessional and soul-baring. Whilst there may be some distancing- the song’s subject might be a composite of people- there is definitely some first-hand experience and fears in there. The heroine is hiding and digging a hole: trying to find treasure and light at the bottom of (a black) pit. Inside the haunting anxieties and uncertainty shines a very penetrating hopefulness. SKYES are not a group that wants to bum-out the listener and wallow in a depressive crapulence. They are fighting and yearning for a better future: always hoping to make their way to better things; cast-off the oppression of doubt and emptiness. Whether Knightly finds what she is looking for- an honest love, success or happiness- you are always rooting for her. Most singers- when making similar music- seem reluctant to lay their hearts on the line: they hide behind metaphors and similes; clichés and stereotypes mix in a rather stodgy mix. SKYES suffer no such eventuality: their lyrics are among the finest and sharpest you will hear this year. Many reviewers have said how their hairs stand on end- when hearing Give Me More- and that is no over-exaggeration. SKYES tackle Milkboy in Philadelphia (on May 14^th); Pianos N.Y.C. on June 9^th- they will travel to Bonner Springs at the end of July. It is safe to say there are plenty of venues waiting for them here in the U.K. London would keep them busy for months alone. Having just seen The Vim Dicta (of L.A.) come to Britain: I know for what I speak of. Those guys- another fantastic trio- assumed they’d be here for a few days- barely worth getting your toothbrush out of the suitcase. What they have found is an inexhaustible lust for their music: an unslakeable thirst that they seem incapable of quenching. People have been turned onto their unique brand of music (they call ‘Psychogroove’) and wonderful stage presence.

SKYES could find themselves in a similar predicament. Not only will we adore them here in the U.K.: it seems like the three-piece could find popularity around Europe; across Australia and Asia. I am sure financial realities are going to limit the horizons. They need to build a local fanbase up- although they have done this already- and will want to focus on America. Among the 50 states at their disposal: they still have quite a few to tick off the list. There are a lot of enterprising acts that play Electronic-cum-Psychedelic music: none that does things the same way as SKYES. The guys blend science and emotion together. In interviews- when asked what defined their sound- they explained how they wanted to evoke the sound of a quark- is that was even humanly possible. Odd drum machines and synthesisers were thrown together in an orgy of experimentation and alchemy. Trying to get that epiphany laid down on tape: the trio spent a lot of time ensuring what you hear was the finest they could create. This integrity and work ethic blends with lyrics that compel you to look inside yourself and question your own happiness. I do not mean it in a suppressive way: Give Me More is a stark and haunted sermon from a young woman that is unsure of herself; desperately trying to find something (she might never discover). When you have music that offers that much; that digs so deep and true- how can you refute its beauty? It has been a pleasure being back in Brooklyn: connecting with a brand-new trio- to my ears- that have a golden future ahead. Quarks will be their second E.P. and their most authoritative work so far. The three-piece is at their most astonishing and nuanced, now: they have built from their earliest work and added an extra spark, imagination, and direction. The group ensures their lyrics have a certain simplicity: are not too artful; can be understood by every listener. I am not sure whether the trio is going to be considering a full-length record in years to come. They seem like humans that just live for music: could not imagine any other lifestyle. I am excited to see where SKYES can go: they are only just beginning their attack. Make sure you check-out Give Me More: snap Quarks up on Friday; follow the Brooklyn trio with much interest. It has been a pleasure getting out of England- in musical terms, anyway- and going back to the U.S. Every time I review an artist (from America) it provides me with something life-affirming and wonderful. When I can afford to get to Brooklyn- might take a while- I shall be spending the time discovering as many local acts as I can. If you are unfamiliar with Brooklyn- or just wrinkle your face up at the mere mention- then there is more to the borough than Brooklyn Nine-Nine (although it is a freaking-awesome sit-com). SKYES are not the limit: they are the forerunners of a wonderful, diverse music scene. Get your minds out of the mainstream; away from the stolid radio output- to a group that will change your thoughts about music. Give Me More is a song you…

WILL struggle to forget.

[soundcloud url="https://api.soundcloud.com/tracks/257660342" 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 SKYES

Official:

http://skyesmusic.com/

Facebook:

https://www.facebook.com/SkyesMusic/

Twitter:

https://twitter.com/skyesmusic

Instagram:

https://www.instagram.com/skyesofficial/

____________________________________

Music

https://soundcloud.com/skyesmusic

FEATURE: ‘6’ of One; Half a Dozen (the Others)

FEATURE:

 

  

‘6’ of One; Half a Dozen (the Others)

_______________________________

I have written a couple of features regarding (the understated) joy…

of radio. In the 21^st century, we are relying on radio less and less: more and more on the Internet and social media. My discourse and anger is not going to abate: why are we starting to rebel against (the natural source) of music? In the past- as recently as a few years ago- people turned into the radio to hear the latest bands and artists. With the proliferation of social media and streaming services: radio seems like an outdated and lumpen form of fact-finding. At the click of a button we can find music from around the world; play any song we wish- make our own songs if we wish.

The reason I am bringing up radio- and this subject as a whole- is my conversion to 'Radio 6 Music. I have always been a fan of Absolute Radio- and continue to be so- but have begun to embrace a rather special radio show. For those of you unaware: 'Radio 6 Music is part of the B.B.C.- one of their more underrated stations- and was threatened with closure a few years ago. The problem was to do with anonymity: many people did not know about 'Radio 6 Music. Not widely advertised and promoted- how many stations are?- it was doomed for extinction. Gladly, the station has survived and continues to grow in popularity. Whilst 'Radio 1 has its demographic- the 18-30 audience; those who hate music- and 'Radio 2- the slightly ‘mature’ and unadventurous type- those who adore music (of all ages) need something to fill the void. I am not a fan of 'Radio 1- it is immensely flawed and unlikeable- and I find 'Radio 2 is too safe and family-friendly. Absolute Radio- in terms of mainstream options- is the next-best but has its flaws: the music played is perhaps the biggest one of all. I love Absolute Radio- Frank Skinner’s Saturday morning show is the highlight of the week- but (the station) gets bogged down in chart music and predictable ‘oldies’.

'Radio 6 Music is a cutting-edge and ‘cool’ option- I have not heard Travis, Coldplay or Keane played- and is a natural sanction for those who pride the quality of music above all else. I understand why 'Radio 2 is the nation’s most-popular station. It provides comfort and familiarity to a large sector of the population: those who want to be soothed and eased into the day; have a friendly voice coming from their radio. It may sound like I am being patronising- so hard to intone in print- but I am not- I have no issues with the station. My brain starts to boil when we look at ('Radio 2’s) sister station, 'Radio 1. The blare-the-music-right-in-your-face approach- tied with ‘youth-orientated’; loud D.J.s- is hardly conducive to the kind who want to keep music’s dignity and value ablaze. Aside from the predictable playlists- mainstream Pop and Dance- and tendency to embrace new music- very few older tracks make it into the mix- it is hopelessly derivative, shallow and handicapped. The station has a great roster of talent- in terms of gender and race; much less white than every other station- but is squandering the chance to inspire the young generations. This is where 'Radio 6 Music comes in…

If you want to start your (week)day off with a smile: Shaun Keaveny’s gruff northern tones- the wit and everyman quality- is the perfect pick-me-up. Follow that with Lauren Laverne- someone I can hear talk all day; about anything- and you have a perfect combination. Between the two; there are great features- Desert Island Disco among them- that gives listeners the chance to submit music and explain their choices. The D.J.s themselves feature a wonderful selection of tunes: from Miles Davis to D.J. Shadow; ‘60s classics to too-cool-for-school Indie darlings- every taste and genres is catered for (except for Country and Death Metal). I have been introduced to songs I’d forgotten about: every day, something new clicks in the brain; your musical imagination becomes richer and more astonished. It is not just the D.J.s that amaze me: they are warm and witty; have a great humour and affection for what they do. I love the fact 'Radio 6 Music is still an underground treat. Splitting their talent between Salford and London- Mark Radcliffe and Stuart Maconie (among others) is in Salford; the rest in London- you get a variation of accents and voices. Aside from a lack of racial diversity- a problem that blights most commercial stations- there are very few faults.

The music is the most important thing: it is the reason 'Radio 6 Music rules them all. Not fitting into moulds and marketing strategies: there is a freedom and mobility that few others possess. This lack of boundaries means the station can go from strength-to-strength. Every day, there are terrific shows and informative documentaries: a wide variety of songs and endless entertainment. I could not get through the working week without an (unhealthy) dose of 'Radio 6 Music.  This might sound like an election pitch- it is; in a subtle sort of way- but it acts as a general concern. Too many of us are relying on the Internet for music and a certain type of sound. Too many young people are not dipping into the past: there is a general ignorance of so much music; a snobbish refusal to embrace anything before 2006. If you are bored and uninspired by B.B.C. Radio 1 and 2; the limitations and negatives inherent- you should turn yourself to 'Radio 6 Music.

Being based where I am- in a white, baby-proofed part of the U.K.- the local stations are, to understate it, somewhat boring and staid. Catering for the young families and middle-class audiences- the most nauseating demographics you could hope- the airwaves are filled with tripe and cloying D.J.s; inane competitions and hideous adverts. I have given up discovering anything vaguely credible: it is sad London has to provide the solution. On the flip-side- the lameness of the local radio scene- it is great this country has such a great station- long may it reign! It has inspired me to follow suit and think about my own alternative: a similarly-themed podcast that would play the same sort of music and genres; interesting features and consistent quality.

If you have a true affection for music- and want to get a grasp of multiple genres and decades- doing it on your own can be a challenging feat. The most popular stations in the U.K. can be, on the whole, somewhat lacklustre and overrated. There are some great local stations in London- the D.I.Y. approach always yields great talent and music- but they have their flaws (budget and consistency among them). 'Radio 6 Music is the natural champion in my view. Not only are the D.J.s in love with music and hugely likeable: the songs they play cater for multiple tastes and ages- they exclude nobody. One of the problems with new music is how unprogressive and original it can be. Too many artists are obsessed with the 'Radio 1-approved acts: as a consequence; they are missing out on a whole world. The listenership of this country needs to be more bold and adventurous. I am not saying you abandon other stations and convert to 'Radio 6 Music: just incorporate it into your regular rotation. When we all show much bravery and discerning taste; mix things up and forsake the overrated options- music’s true beauty will reveal itself. Those who have the most passion for ALL music should head to 'Radio 6 Music…

IT is the station for you.

___________________________________

Follow 'Radio 6 Music

 

Official:

http://www.bbc.co.uk/6music

Facebook:

https://www.facebook.com/BBCRadio6Music/?fref=ts

Twitter:

https://twitter.com/BBC6Music

E.P. REVIEW: The 48ks- The End's the Start Where We Begin

E.P. REVIEW:

 

The 48ks 

 

The End’s the Start Where We Begin

 

9.4/10

RELEASE DATE: 24^th June, 2016

GENRES: Rock; Indie

ORIGIN:

Doncaster, U.K.

TRACK LISTING:

Do As I Say- 9.4

Out of Time- 9.5

Return the Favour- 9.3

Take It In- 9.4

DOWNLOAD:

Out of Time; Take It In

STANDOUT TRACK:

Out of Time

____________________________________

I am just trying to recall the last time I...

reviewed a band. It is always nice looking at solo artists (duos and trios) and seeing what is out there. I stepped aside from assessing bands because of the sheer flood coming through. I felt there was very little distinction among the masses: few examples that came to the surface and sounded new, distinct and promising. Maybe it was just fatigue- or bands not stepping up and being good enough- but enough time has elapsed. Before I get to The 48ks- a band I have reviewed in the past- it is worth looking at the bands that are emanating right now in Yorkshire; the importance of employing the ‘right’ influences- which acts could be making their way to the big stages in years to come. Hailing from Doncaster (Yorkshire) you would be forgiven for struggling to name too many artists from this town. Whilst neighbours Sheffield and Leeds have their fair share of legends: Doncaster is not the first name you might associate with blistering-hot bands. In the area, there are some great, hungry young acts: few that we would have heard of. Sheffield is facing a resurgence and gentrification to an extent: that prosperity is providing housing and opportunity for bands and artists to play. Venues are springing up and older ones are surviving: ensuring the music culture there remains strong and prosperous. Doncaster is undergoing changes and could end the same way. Right now, the town has Cask Corner and Diamond Live Longue: two places where a young artist can cut their teeth. For ‘real’ exposure; I guess there is more opportunity to be found in cities like Sheffield. I have mentioned Yorkshire as often as any other county/area: a part of the world that is among the most fertile and variegated. In the past- and mainstream acts playing- Yorkshire has produced everyone from Arctic Monkeys and Pulp; Moloko and The Cult; The Cribs and Gang of Four. It is clear to see: Yorkshire is one of the leading lights with regards legendary artists. There is less attention paid to the area right now: focus tends to stay on cities like London. It is foolhardy to overlook Yorkshire and the treasure to be found. If Sheffield legends ABC, The Human League and Def Leppard have proved anything: Yorkshire is a part of the U.K. that has changed music for the better. In 2016, there are some great bands- playing under-the-radar- that could make it to the mainstream in years to come. The 48ks are one such act. I have known there for a while now, and am impressed by their kinship and tunes: the energy and tightness each song is imbued with. Before I carry on- and look at other avenues- let’s meet Doncaster’s brightest, The 48ks:

“Living in the shadows of noisy neighbours Sheffield, Doncaster has its own Phoenix rising from the ashes of closed mines and Thatcher's Britain telling stories of their lives and times. Whereas Sheffield has the musical heritage of Pulp, Arctic Monkeys, the Human League, Def Leppard Doncaster's famous sons are Kevin Keegan and Jeremy Clarkson. No bands. The 48ks aim to change this. Their manifesto is to "provide proper tunes", "proper songs that mean something to someone, songs you and your mates can sing together and you believe every word" and purge the charts of soulless, lifeless rubbish. With songs in the classic style of Lennon/McCartney Jagger/Richards is there any reason why Lightfoot/Dale of the 48ks can't join their heroes. They've certainly got the tunes. The 48ks formed in late 2009 and after various personnel changes they have grown into their own shoes with relentless gigging and songwriting. Combining their collective influences and adding their own individual ingredients they are intent on bringing the guitar and vocal harmonies back to the forefront of modern music. Their love of their heroes The Beatles, The Kinks, The Stones, The Jam, The La's, Led Zeppelin, Oasis, The Who, Ocean Colour Scene and Cast is the standard which they aspire to. The 48ks write tunes for the people. If they were not in the band then these are the boys they'd be rooting for. They've put the hard work in, they've worked for a living so people can relate to what they are saying. They all love a beer, a flutter on the gee gees, a night on the tiles, going the footy and their clobber but music is their passion. In March 2013 they released their self-funded debut album "For Every Day a Memory" to rave reviews and catching the attention of BBC 6's Huey Morgan The band have gigged relentlessly at venues big and small including 02 academy, The Plug, Sheffield City Hall, The Cockpit, Doncaster Dome, Doncaster Racecourse and various local festivals. Acts they have supported include The View, The Enemy, Reverend and The Makers, The Milk, Babybird and John Power from Cast and The La's. On November 8th the 48ks release their brand new 4 track ep "Caught up with the Wrong Crowd" which has already caught the attention of BBC6's Steve Lamacq who reccomended the band as ones to check out. They will follow this up with gigs and festivals to spread the word. The 48ks are made up of Ryan Lightfoot on vocals, Simon Katuszonek on rhythm guitar and backing vocals, Steven Dale on lead guitar and backing vocals, Adam Golightly on bass guitar and backing vocals and Chris Morris on drums.”

Caught Up in the Wrong Crowd was released a year ago and was a bold quartet of songs. Having been busy since; the boys have been rocking the local crowds- making their voices heard and their intentions known. Over the years; the guys have attracted attention from huge radio stations and local venues. The guys have stayed cemented and not cracked- a lot of their contemporaries have called time. That blend of big areas and intimate dates has cemented their performances and reflects on their latest E.P. I have heard few bands that sound as focused and urgent: every song cuts to the core and leaves an impression. It is always hard predicting which artists will make it to the ‘big time’ in years to come. With huge patronage and backing behind them: who would ever bet again The 48ks? The early signs are all promising: the consistent records; the approval of big names; the string of gigs. I find there are few bands in the mainstream that are really providing any excitement and originality. Whilst The 48ks where their influences on their sleeves- from The La’s to Oasis- they are very much their own band. They are everyday blokes that make music for the masses: that desire and hard-to-ignore business statement will stand them in good stead. The End’s the Start Where We Begin- the guys never do short E.P. titles- is a cryptic and fascinating work: one that shows development and progress; keeps all their fundamental strengths intact. It is the way the band employ their influences that result in such universal, strong songs. Too many modern acts stick rigidly with certain examples: the likes of Foo Fighters and Arctic Monkeys are among them. Sure; they are great acts- well, Foo Fighters aren’t- but it seems like a cynical ploy- replicating modern-day artists that are a proven success. Maybe it is just admiration funneling itself: I feel some bands lack inspiration; they steal that of others. When it comes to The 48ks: the band has a passion and appreciation for the acts that have compelled them. You can hear ‘60s touches of The Beatles in certain moments; ‘70s shades of The Who, Led Zeppelin and The Kinks; ‘90s legends like Oasis and Ocean Colour Scene. All of these touches and incorporations- tied with their own, unique flair- has meant their music crosses generations and boundaries. Fans across the spectrum are picking up The 48ks- not just the younger audiences- and their fan numbers are climbing, by the year. More importantly, their music straddles the heydays of the ‘60s and ‘70s; tied with the innovation and urgency of modern-day music.

Over the past few years, the band has enjoyed support slots with the likes of The View, The Enemy; Reverend and the Makers, The Strypes; Cast, Space; From the Jam, The Crookes and The Milk. That is quite an impressive list from a group that, are right now, underground heroes. I have seen their music strengthen and evolve from the early days. Their L.P., For Every Day a Memory was unveiled in 2012 and was a strong statement from the fledgling band. The crisp and clean production meant every song leapt from the speakers. The boys mixed Oasis-esque guitar squall (Lead the Way) with singalong choruses and Punk energy. It is that mixture of Punk, Mod. and Rock- drawing influence from the ‘60s-present- that hanged together so well. The energy and catchiness (especially Time ‘n’ Again) translated brilliantly in the live arena. By penning some familiar jams- with a unique twist- the guys gained a solid fanbase rather quickly. For Every Day a Memory caught the ears of many- including Huey Morgan- and the boys toured it widely. These live dates cemented their craft and gave the band confidence and impetus. All of these pluses went into Caught Up in the Wrong Crowd. Arriving some time after their debut L.P.: the song sounded a lot sharper and more honed. Their album was a treasure trove of wonderful songs and hook-laden jams: if anything, their E.P. was even-more-infectious and compelling. The performances were tighter and more honed; the choruses bolder and more emphatic- the overall sound more nuanced. Tracks like Changing bulldozed their way from the speakers: the guys were in rich and determined mood. If anything- and the change between the releases- was the originality to be found. The album was a mixture of their influences: Caught Up in the Wrong Crowd showed more of the boys’ personalities. The percussion gained more attention; the riffs were sharper and attacking- the vocals bolder and more scintillating. This rate of development has continued into The End’s the Start Where We Begin. Again, the guys present a four-track E.P. The songs do not outstay their welcome; they are sharp, crisp and concentrated. Whilst the subject matter and sounds do not differ too much- having cemented that previously- what you notice is that confidence and tightness. These are words and thoughts I levy in most reviews. Bands that are truly together and passionate seem to improve and grow between records. In the next few weeks, the guys take on Sandall Park Fake Festival (Doncaster); The Leadmill (Sheffield) and The Donkey (Leicester) - that takes us to the end of June.  After that, the guys go to Sheffield and Doncaster (playing to their home crowd on August 6^th). These gigs will strengthen them more: the audiences will respond to the new material and give the band the confidence to keep going. I hope there will be another album soon enough- maybe in 2017, lads? I can see the band grow and solidify with every new release. The End’s the Start Where We Begin is a stunning E.P. that contains all the tried-and-tested ingredients you would expect and demand. The boys have sprinkled in some more magic; this is their finest recording yet- who knows just where they can go from here!

I am excited to be (one of the) first to unpick the latest ‘48ks E.P., The End’s the Start Where We Begin. I will start by apologising to the guys: I sometimes put apostrophes where they shouldn’t; vice versa, too. I have not put an apostrophe in ‘The 48ks’- I have seen it written as ‘The 48k’s’- and not sure whether there should be one (apostrophe) in the E.P.’s title.  Anyway, that is an aside: it is great to see the guys back with a new release.

  Do As I Say kicks the E.P. off with some echo and attack. Little suggestions of Pixies mix with Ocean Colour Scene. Whilst the guys are charging and intent (from the offset) they have shown a departure from their previous work. In past efforts; I could pick up clear influences and bands. Here, that task is a lot harder: the guys sound more ‘themselves’ and unique; tighter and sharper than I have ever heard.  “The future’s here/it’s catching up on you” as our frontman attests.  Advising (the subject) to “Do as I say”: you start to wonder what has inspired the song. Maybe he is talking to a lover or former flame: someone that has pissed him off or is causing some ruction. There is plenty of mystery and room for interpretation in those early moments.  “You say I’m telling lies” leads me to believe there are issues within a relationship: perhaps the pair are going through conflict; on different pages and balkanised. Even from this opening track; you can sense the attack and determination in the ranks. The vocal performance bursts with passion and panache; the percussion slams and pummels; the bass guides the song and ties it all together- the guitars create thunder and lightning; perfect backing for the angst-ridden lyrics. Patronisation and condescension could be seen in some of the words- “Am I talking to fast/for you to understand?”- and there is some snide rebuke underneath the surface. Maybe this is just confidence and clarity: our hero is in ripe voice and no mood to suffer fools. As the lyrics tumble and hit: I was still wondering about the inspiration behind the song. The guys ensure that chorus- infectious, catchy and uplifting- comes around as often as possible- it is one the live crowds will be repeating when the song gets a public airing. Towards the final stages- the guitars and percussion come into the spotlight- you get more pieces of the puzzles. Games are being played and deception is clear: our hero has had enough of his target. Props must be given to the guitar which is truly scintillating in the final third. Here is a song where every band member gets the chance to stand out front and shine.

Out of Time has already been unveiled- and getting some good feedback- and it seems like a logical lead-off single. The opening riff- echoed, mixed-down and hollow- gets the ears ready and the mind prepared. It is not long before the coda becomes more emphatic and bold. The guys all sharpen and unite- the introduction twirls and dances with abandon. Elements of The La’s and The Kinks come together- pleasing to those who loved their previous work- and we get another set of curious lyrics. Whilst the predecessor might have been trained towards love’s woes and imbalance: here, there might be something more personal and positive. New horizons are beckoning; a new script has come to pass- our lead is looking to the future. Maybe love has not worked out- and relations have been unpredictable- but there is positivity and hopefulness shining through. Whereas Do As I Say was a sharp, snarling and heavy track: here, there is more texture, restraint, and melody. The lads balance the energy and rush of the opener with something more considered, slower and more introspective. The 48ks show how gifted they are when it comes to composition. Here, there is a melody and sound that recalls the Pop glory of the ‘60s: you cannot help but smile; there is something familiar and comforting; plenty of depth, colour and rouse.  Our man does not need “a new reaction”- the song’s subject cannot see “the old attraction”- and more mystique is fed in. The 48ks match everyday lyrics with some rather thought-provoking lines: there is no exception within Out of Time. The song contains another, reliable singalong, chorus: plenty of opportunities for crowds to jump, sing and bounce with enthusiasm.

Return the Favour opens with softer and more reflective strings. Ensuring the E.P. contains necessary contrast and range: the guys turn down the volume and offer something more settled. The strings twist, bubble and smiles- a gorgeous, tender line that gets the hairs standing on end. That is perhaps an ironic statement, as the opening lyrics ask just that: “Sing me something/sing me something/that makes my hair stand up on end”. That initial courtesy and paen make way for something more deflated- wanting to be shown something that drives (our man) “round the bend”. There is clear humour in these early phases: you start to picture the scenes and arguments. Our boy is going to return the favour- “Another moment for us to savour”- and you can sense that balance of tension and admiration. Whether speaking directly to a lover- or a dear friend- there is something rather charming and pure about the song. The sentiments are true and the delivery is filled with heartfelt passion and energy. The composition remains fairly light- compared with previous tracks- to allow the vocal to stand out-front. The song’s structure- repeating lines and bringing the song’s title in regularly- ensures the words get inside the mind very quickly. It is a song (once more) that will appeal to the crowds and get them singing along. The 48ks are masters when blending simplicity with personal. Return the Favour always has a smile on its face. The hero wants to meet the girl- “Name the time/and the place”- and is looking forward to their rendez vous. You get clear suggestions from ‘60s and ‘70s Pop. Artists like The Beatles and The Kinks have gone into this song: a track that emanates from a purer and more innocent time. Perhaps not the most instant and memorable track from the E.P.: it is one of those songs that grows stronger and more addictive with each listen. Return the Favour affords the band a chance to take down the lights and offer something heartfelt and gentle. While there are plenty of romantic sentiments: the band inject plenty of variation, spark and potency into the composition. The percussion remains sturdy and pared-back- still strong and sturdy- but it is the guitar and bass that takes the lead roles. You get caught up in the delirious and beckoning strings; the delightful sound soothes the soul.

Take It In begins with a clatter and slam. The boys are back in rampant mode and ensure the opening seconds pack plenty of punch. The percussion rolls and the guitar stings: introducing a track that ends the E.P. with a glorious tattoo. The song’s subject- whomever that might be- is “leaving tomorrow”. Whilst the E.P.’s opening two tracks has some negativity lurking: the final two numbers are a lot more positive, supportive and open-armed. The 48ks are not a band that accuse and hate: even their most ‘angered’ songs have hope and light in the tunnel. Take It In sees our hero keeping his door open: whomever is leaving is very dear; they will always be in his thoughts. Simple lyrics and that blend of ‘60s and ‘70s Pop purity ensure smile are on faces; listeners are hooked and invested to the final notes. Leaving forever- in a few hours, it seems- you start to wonder whether a sweetheart is being assessed. Maybe they are going onto better things- new lands and opportunities- but there is no recrimination and tension. Glasses are being raised and celebration is in the air: it is wrong but “it feels so right”. It is here where the E.P.’s title- The End’s the Start Where We Begin- is brought in. Maybe this is an ending, of sorts. With this end, there are new beginnings: perhaps a chance for both parties to improve life and discover something wonderful. The 48ks always fascinate me with their lyrics. The composition captures the heart and compels you to drift away: the lyrics get the brain spiked and in interpretative arenas. I started to picture scenes unfold and the story progress- where these two people were going. The rules are meant to be broken- “So what you waiting for?”- and there is a real sense of taking the bull by the horns- taking a chance and not looking back. Past the second half, you wonder whether there is any way back (for the duo) or if their future has been decided. Take It In ranks among the E.P.’s most memorable and crowd-uniting songs. Every note is very much born in the U.K. So many bands take influence (too heavily) from U.S. artists: here, there is a true Britishness that rings through in every note. By the song’s finale, the band leaps into the fray and give their instruments a chance to fill the gaps. Guitar notes wail, stretch and dance; the percussion spatters and spits; the bass is solid and leading- keeping all the layers together and strong. It is a wonderful end to a stunning E.P.: the boys are back in force!

The 48ks have created- in my view, at least- their finest E.P. The themes of love and moving on; hope and togetherness- these will ring true with fans of the band. Singalong choruses and standout moments will enflame the crowds and bring in new supporters. The band is at their tightest and most together- it seems like touring has solidified them and strengthened their music. There are no weak moments in The End’s the Start Where We Begin: each song earns its place and will get inside the memory. Ryan Lightfoot, Steve Dale; Simon Kato, Adam Golightly and Chris Morris are a superb five-piece that are in peak form. If you are not a convert of The 48ks: The End’s the Start Where We Begin is an E.P. that will change your mind and have you hooked.

The End’s the Start Where We Begin marks another triumphant release from Doncaster’s The 48ks. I have always been a fan of the boys and that is not going to change. With every new record; the band cover new ground and seem to strength and grow. There is no sense of let’s-do-this-the-same-way-as-before: each E.P. contains new layers and stories; fresh sounds and something new- retaining the inimitable and distinguished sound they have cemented. Out of Time- the E.P.’s sophomore track- has been unveiled on social media and met with acclaim. My ambivalence towards social media is not going to change. Looking at The 48ks’ social media pages, you have to ask yourself: why do they not have more support? Their fans numbers are pretty decent; the reception and feedback they get- when a new song is unveiled- seems underwhelming. The guys have a great fanbase, yet, when a fresh cut is released, few people comment or share- maybe it is just a sign of general apathy? I see many bands (inferior to The 48ks) whose numbers go nuts when a new song is released. Maybe it is not something that irks The 48ks: I feel the band deserve more recognition and social media awareness; something that befits their stature and reputation. Oh well, I guess! The boys will not quibble as they have already captured the imagination of some of music’s biggest names- bands like Reverend and the Makers and ‘6 Music’s Huey Morgan. I am a little cold with regards the bands in the mainstream right now. I have always found unsigned/lesser-known groups more compelling and capable. What we have right now- in the spotlight- is not good enough. There are some heroes, for sure, but not nearly enough.

The greatest promise is emerging from under the surface: the bands that play the local scene; putting their towns on the map. The 48ks are one such act. They have been playing for years and are a cemented and galnavised band. They are progressing nicely and proving to be one of the most interesting and arresting bands on the scene. The End’s the Start Where We Begin is another stunning record that will gain them new attention and followers. From there, where will they head? There are dates and gigs to conquer- both locally and out-of-town- whilst radio-play and media attention will surely come. At the heart of things is the commonness of the band (not in a derisive way). The guys are your ordinary, friendly type. They work hard- all hold regular jobs; making sure they pay their way- and are the kind of lads you’d chat to down your local. This relatability and strong work ethic goes into their infectious songs: once heard; they are damn-near-impossible to shake off. I would love to see the boys come down to London: whether that is on the itinerary, I am not too sure. The capital would welcome the Yorkshire band to the bosom. Make sure you snap-up The End’s the Start Where We Begin in June: an E.P. that signals clear intent and desire. The 48ks are content to infuse and enthrone their local reputation, yet I can sense that hunger. The guys want more; they want to join their heroes: transcend from the underground and make their way to the biggest stages in the country. You would not bet against The 48ks finding their way onto the bill at Leeds Festival. For now- and before we get carried away- enjoy what is out there (the single, Out of Time) and prepare yourself for something special. Those who loved Caught Up in the Wrong Crowd will love what the band has done this time. There are common threads and a very ‘48ks-esque’ sound: there are new themes and fresh energy that has gone into their latest cut. That mixture of familiar and progressive is what defines the band. Few of their contemporaries have such a strong set of material, so for that reason, we should help propagate the music. If The 48ks do make their way to a London venue; one thing’s for sure:

I will see them there!

[youtube https://www.youtube.com/watch?v=Va_FlDd7-qA&w=560&h=315]

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Follow The 48ks

 

Facebook:

https://www.facebook.com/The48ks

Twitter:

https://twitter.com/the48ks

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Music

https://soundcloud.com/the48ks

E.P. REVIEW: Tsinder Ash- The Carbon of Your Delight

E.P. REVIEW:

 

Tsinder Ash

 

 

The Carbon of Your Delight

 

9.4/10

The Carbon of Your Delight is available at:

http://tsinderash.bandcamp.com/album/the-carbon-of-your-delight

RELEASED: 5^th March, 2015

GENRES: Experimental; Blues; Folk; Drone

ORIGIN:

London, U.K.

TRACK LISTING:

The Carbon of Your Delight- 9.4

Weapons- 9.4

The Sparking- 9.5

Antipode- 9.4

DOWNLOAD:

The Carbon of Your Delight; The Sparking

STANDOUT TRACK:

The Sparking

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All tracks written, performed and recorded by Tsinder Ash Mixed and Mastered by Mitch Girio at Slaughterhouse 754  Additional Vocals by Clara Engel on The Sparking Cover Photograph taken by AJAMU  Cover model, design and cyanotypes by Tsinder Ash

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FROM the Electro.-Pop-via-Alternative debut smash of…

RAY (A.K.A. Rachel Wilkinson) I get to look at someone completely different. Perhaps not in terms of location- the two acts are not based far away from one another- but stylistically and musically. RAY’s heartbreak-affected lyrics are still bouncing inside my head: making me wonder; I am trying to get down to the nub- just who has inspired them.  Right now- and for this afternoon- it is time to investigate one of the most individual and multi-talented artists around the capital. Before arriving at Tsinder Ash: it is worth looking at the musicians that do things differently; the necessity of mixing light and dark- standing out from the pack. I have a definite fondness for musicians that keep traditional alive: instill the sound and flavor of past masters; ensure that heritage and sound is kept intact. Whether you are a fan of Folk or Pop- and look for artists that do things purely- you are spoiled for choice. Over the last few years, there have been few acts that go out of their way to be distinguished. I think there is a general fear of ‘fitting in’: needing to sound a particular way to please critics and labels. It is important to appeal to the masses, but that is coming at the expense of originality and evolution. I am not one of those people that dismiss new music as doomed: something that is never going to grow; fated to fall. I feel 21^st century sounds are not at the peak of past decades- I feel music hit its peak in the ‘90s- but that is not to say what we have now is inferior. There are plenty of artists that are definitely promising and can change things. My previous review- when looking at the delectable RAY- examined the most influential radio stations in the U.K.- focusing on ‘6 Music especially. I feel Britain- and the U.S. to an extent- is beholden to the lame, over-subscribed stations- those who play the least imaginative and stale music around. It sets a bad precedent for musicians and is causing listeners to be less adventurous and daring with their musical choices. I love an artist that can come to the scene with bravery, uniqueness, and certain quirkiness. Before I continue my point- and invariably, raise a couple more- let me introduce Tsinder Ash to you:

“London-based recording and performance artist TSINDER ASH has played venues throughout the UK, Europe and the US. Collaborating with musicians from London, Canada and the States.

Having little regard for the confines of the stage, live performances are spontaneous and confronting. With vocals that range from a deep blues to whimsical folk and a style that derives influences from a range of musical genres, live shows extend beyond the bounds of traditional songwriting performance.

Tsinder is currently playing live throughout London and beyond and working on a brand new LP titled THE ECSTASY OF MAKING THINGS WORSE due for release in 2016. Please check Bandcamp or Facebook for updates and information on upcoming performances”.

A few weeks ago; I was foreign to the wonders of the London-based musician. Ash is an artist you can hardly ignore: everything about his music sort of leaps out of you. Aside from the somewhat ‘personal’ cover to The Carbon of Your Delight- certainly stays in the memory- the music contained within has been causing quite a splash. I have not heard many musicians that do things the same way (as Tsinder Ash). You could never accuse Ash of being anything other than visionary and different. Not one that follows the flock- or tries to distance himself from people- you get music that integrates light and dark; hopelessness and hope; genre-fusion and immense ambition. Having collaborated with Clara Engel- an artist I have reviewed a couple of times before- I was keen to dive in and see what was on offer. On paper; there are very few that compare with Ash. A singer classically trained at a young age: his formative years was spent performing in West End productions; moving on from Opera to foster a love for Jazz and Folk. Taking to the genres naturally: he taught himself a variety of skills; mastering saxophone and clarinet- adding stringed instruments to his instruments.  Now- blending off-kilter melodies and dark tones together- that multifarious appreciation of music comes together in a vibrant feast for the senses. I am kind of jealous when thinking of Tsinder Ash. He has done so much already- a younger man that I- and led quite an epic life. He is the sort of person whose progress could be adapted into a screenplay: a young musician that has experienced adventure and heartache; discovery and self-actualisation- turning into the man he is today. Incorporating Jazz and Folk into his repertoire: in a way, Ash is a sort of ‘anti-Folk’ artist. He can retain the structures and dynamics of Folk; he goes so much deeper. Not atonal or off-putting: his fusion of darker hues and impossible-to-define sounds is setting him aside as an artist to watch closely. While early work embraced U.S. Blues and older sounds: the modern-day Tsinder Ash mixes in more Urban integrations and street-level grittiness. That change of direction can be attributed to living in London: a city that is sure to change your views and dreams. With every E.P. and album; Ash evolves and does something new- keeping his distinct sound ablaze and strong.

Although The Carbon of Your Delight was released last year: it shows how much Tsinder Ash has developed as a musician. His eponymous album- released back in 2012- was jammed with fascinating tracks and odd avenues; incredible inventiveness and arresting songs. From the chanting mantra of Thunder; the scratched and head-spinning Drum for After- one of the most impressive vocal turns on the album- you get to see many sides to the hero. Inertia, You Moved Me (those contrasts and contradictions) boasts a spirited piano line: backed by a trembling and off-kilter vocal. Pacific and Disaster give us a window into a different side: darker edges that bring in great drama and vivid imagery. The 11-track record was well-received by critics and fans. Comparisons to Tom Waits were made- you can hear nods to the gravel-voiced maestro- and Captain Beefheart. Ash incorporates the quirkiness and heady-smoked trip of Camden; the Blues and Jazz magic of New Orleans- the darkness and uncertainty of the city. Tsinder Ash’s songs were typically tight and focused (aside from the 5:38-long Under Your Shadow). What we have now- The Carbon of Your Delight- is a shorter work that manages to be more experimental. The tracks are longer and a little more indulgent without being too bloated and unfocused. Even though the songs are less concise and brief than their predecessors: by the end of the E.P. you are still wanting more; keen to hear  more from the London-based musician. The biggest change- over the last few years- is the rise in confidence and direction. I say this about most musicians- when assessing their new and older work- but you can see change in Tsinder Ash. His self-titled album packed plenty of beauty and darkness: The Carbon of Your Delight ups the game and brings all Ash’s strength to the foreground. The songs are more nuanced and compelling; the performances more impressive and deep- the lyrics hold even-more fascination, memorability and variation. I know The Ecstasy of Making Things Worse is due this year: I am not sure what direction Tsinder Ash will be taking.  Maybe enforced by love and break-ups- the title does beg for those interpretations- it is likely to follow the same paths as previous work. Ash is keen to keep consistent and dependable- not shifting his dynamic too much- but with every release; you get something fresh and unexpected. I cannot wait to hear what is next. If it is anything like The Carbon of Your Delight: it likely to be one of the finest cuts of the year.

The Carbon of Your Delight’s title track begins with a quaking, tremulous vocal. Our hero has his mind in the grasp of a somewhat alluring Siren- a sweetheart that is compelling hyperbole; awed affectation and submission. The opening lines- “I would collapse into you/like a dying star/become nameless, genderless mould/on which touch can leave marks”- are delivered in operatic tones. Having that background: it is not surprising Ash can sound so masterful in that arena. Trembling and raw- a blend of Anthony Hegarty and well… who knows?! There is something wonderful evocative and familiar about the voice- although you cannot pinpoint a name- that gets you smiling and dreaming. Backed by slight strings- and no other accompaniments- the focus is placed on the voice. The song’s lyrics are among the most vivid and impressive I have heard in a long time. Stark and brash images- “Just the throb of your proximity/will keep the organs in” is among the best- mix submission and love; mortality and darkness. Our hero wants his body filled with resin; surrender to his girl- just so he could follow her shadow. The poetic lyrics are matched only by that central vocal: something that gets inside the head and stays there. Ash sounds like an older man singing from his deathbed. There is a frail and brittle quality to the voice: it quivers and trembles like a leaf yet possess so much power and passion. Wanting to fill himself with holes- so he can fit more of the girl in- you have a song that documents a desperate need and desire- through a distorted and vibrant prism. Ash’s lyrics are sometimes disturbing; always powerful and image-heavy. Given the song’s title: it is no shock the lyrics strip things to the bone; bring you right into the song. You will be hard-pressed to forget The Carbon of Your Delight when you hear it: it has that effect on you. As the verses progress; the pace picks up and the song gets busier. The strings become more punctuated and the urgency starts to creep in. Soon enough, you fall helplessly in love with the song: struck by the unique delivery and the strength of the lyrics. While the hero would “crumble to chalk”; become a body on which “fractal meanings dance”: you start to wonder about the song’s influence. One starts to imagine the sort of girl that is being represented: someone with immense beauty but a strangeness about her. That might be me jumping to conclusions- the song has a rather quirky charm- but it is impossible to hear it and not come to conclusions. By the latter stages; our hero seems even more immersed in the grips of love and desire. Wanting that ecstasy and kiss; the bond and touch: few people will be able to hear the song and not shed a sly tear. A powerful and gripping opening to the E.P.: one of the most impressive songs of Tsinder Ash’s career.

If the opening salvo mixed dark lyrics with the hopes of love: the sophomore track is a more frightening and suppressed thing. Unlike its predecessor- which opened with tremulous vocal ripples- the compositions leads Weapons. The opening seconds sees cosmic electronics take your mind to the skies. Although the song’s title might get you imagining something ballistic and violent: the compositions has a more heavenly and delicate touch. There is plenty of power and urgency; enough beauty and candour to put the mind in a positive place. When our hero comes into the spotlight: the opening words might change your mind. You get some banjo and Deep South finger-picking; New Orleans funereal stomp and something haunted this way comes. Our man is plagued by “Rivers of stone” and a “bloody dawn”. It could not be a Tsinder Ash song without something apocalyptic and mystical being detailed. The hero is a brave warrior that is fighting evil forces and demonic influences. Grief is coming for him; flesh is being torn from the body- our man is not going to leave this world unscathed and without impact. The song could almost take place in Game of Thrones: all manner of torture instruments and bloody scenes are laid bare. Of course, the lyrics are meant more metaphorically than literally. There are deep emotions haunting the soul; painful days that are taking their tolls- perhaps the aftermath of a break-up? The E.P.s opening contained affection and heady declarations- you could sense the spark and passion in the air. Here, we have something more downbeat and defeated. Entranced by the strings are you will be- you cannot help but transport yourself to some Deep South porch in the sun- the lyrics will certainly get int the brain. A masterful lyricist and poet: scenes of bloodshed and weapons intertwine; mingling with defiance and fight. Our hero has power and fight in his bones; he will not depart the world without making a statement. A song that could fit onto Rain Dogs (by Tom Waits): it blends the U.S. master with something distinctly Tsinder Ash.

The Sparking begins with haunting and dark beginnings. Those words are practical synonyms when it comes to Tsinder Ash and his music. Within the shadows and dusk is beauty and light to be found. Under a mother-of-pearl moon; our man is bringing home the bones (of the heroine). Again, you get ideas of battle-strewn lands and old-time scenes: something quite classic and mystique. Even in the early phases I was sucked into the song and its power. Ash’s voice has that dusky and smoky quality- again, Waits comes to mind- while the lyrics take your mind somewhere special. I have encountered few lyricists that have the same style and nature as Tsinder Ash. The hero wants to be at the sparking- whatever that refers to- and would never “beg your pardon”- only beg belief. Joining with Clara Engel: the duo combines their voices and combines in an odd- if rather wonderful- duet. It seems like a lovers’ call: two souls that are floating on a fiery sea and heading towards lands unknown. Silkworms hang by the hundred and are turning (our hero) into all sorts of forms- shapes that are foreign and unwelcomed. I can see why Ash hooked-up with Engel: the two have similar styles and affection for the English language. Among the entrancing vocals and immersive compositions: you get some very rich, detailed and lugubrious language. Perhaps the most startling moment from the E.P.: the song takes you in and does not let you go. The composition, once more, remains fairly sparse in places- a lot more detailed and full than other tracks. Engel and Ash are a perfect combination and have a special blend: one that gives the song gravitas and conviction.

Antipode closes things and brings The Carbon of Your Delight to a triumphant close. “You are the water’s edge/I crawl around” are among the most arresting and standout lines from the E.P.  The record is split between songs of love and fights against pain. If the opener was a blend of dark and light- a dark composition with light lyrics- the follow-up reversed that balance. The Sparking redressed the balance and adds new voice to the mix. Antipode has more in common with The Carbon of Your Delight- there is hope and professions of love; among introspection and pain. Tsinder Ash is a writer never overtly positive or negative. Every song and lyric will contain contrasts and layers: he is a complex person that never reveals himself too readily. ‘Antipode’ means something that is the exact opposite: a fitting title for an E.P. that contains contradictions, opposing emotions, and scenes. Antipode contains a typically whiskey-soaked and moonlight vocal- a man that is exposing his soul and looking for answers.  Our boy wants to be taken back to “shaded trees”; a place where “your leaking eyes formed the blackest years”- perhaps the most cryptic set of lyrics on the set.  Byzantine and oblique; you cannot resist projecting images and casting your own story. Whatever the song details: it is one of the most mysterious and appealing from the young master. The composition has plenty of beauty and light to it. You get beautiful strings and fused genres. Americana and Folk sit alongside Blues and Jazz- a rich and sumptuous palette. In the final phases; that composition becomes more lustful and romantic; aching and shivering. Ash is at his most concentrated and focused here: a song that provides a fitting finale and ensures the E.P. stays in the mind for a long time.

I am glad to have discovered Tsinder Ash- well, he found me actually. There are so few musicians that can sound both traditional and hugely different at the same time. The charts are awash with music that hardly sparks the imagination. You can discover some exciting and bracing musicians: their numbers are very rare and few. Look further afield and you fight hard to unearth an artist that strays from the pack- and causes a big reaction. While not everyone will instantly warm to Tsinder Ash- that music can take a few listens to make its beauty known- he is someone that is going to be around for a long time. The multi-instrumental wunderkind gets stronger and more confident with each new record. I adore the way he splices genres and owns every song on record. The performance values are extraordinary; the instrumentation stunning and beautiful- the vocals consistently engaging and beautiful. Boring people are, well, boring. The most interesting folk are those who change things are lead- rather than blindly follow with no direction. Tsinder Ash is a musician that will give inspiration and direction to many new artists.  Like Kiran Leonard- another young musician that has insane talent and reach. The Carbon of Your Delight is a beautifully-titled E.P. that showed a young man with a definite passion and talent. The four-track release brims with special moments and stands-in-the-brain memories. The Ecstasy of Making Things Worse- another beautiful title; a man who likes contrasts and vivacity- there is no telling just what will be contained. That L.P. - which will be dropped this year- is likely to expand upon The Carbon of Your Delight: take that base and add more colour and dimensions. It has been great investigating a musician that throws the rulebook out of the window: someone that grabs you by the neck and provides music of the highest order. The rest of this year is likely to be a busy and productive one for Ash. I cannot wait to hear the new album: just what it contains and how it will be received. If you are like me- and crave something special, different and bold- then discover what Tsinder Ash is all about. I have been highlighting the fact I have not been able to get out of London- with regards reviewing- and I am here once more. It is not to worry, mind. Although Ash’s body might be based in the capital; his music is far less planted. You get trips to the southern states of the U.S. thrown into the mix. Tsinder Ash is not someone you can pin down and predict. All of these qualities and sides go into one of the most interesting artists of the moment. Set aside some time to listen to The Carbon of Your Delight; drink it all in and allow the music…

TO do its work.

[bandcamp width=350 height=470 album=3847760547 size=large bgcol=ffffff linkcol=0687f5 tracklist=false track=1726712329]

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Follow Tsinder Ash

 

Official:

http://tsinderash.com/

Facebook:

https://www.facebook.com/Tsinder-Ash-151507504914760/

Twitter:

https://twitter.com/tsinderash/

Instagram:

https://www.instagram.com/tsinderash/

__________________________________

Music

http://tsinderash.bandcamp.com/

TRACK REVIEW: RAY- Bullets

TRACK REVIEW:

 

RAY

 

Bullets

 

9.3/10

Bullets is available shortly

GENRES: Pop; Electro.; Alternative

ORIGIN:

London, U.K.

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LOOKING at today’s (first) review subject and it got...

me thinking about new ventures; the importance of radio exposure and attention- looking at the competiveness in the industry right now. RAY is the venture of former Ivy & Gold frontwoman Rachel Wilkinson. Having followed the London duo for some time: I was upset by the split and quite shocked.  One of the most ambitious and beautiful duos making music: they combined an essence of London Grammar with something unique and distinctly theirs. I am not sure of the circumstances behind the split- whether they have reached a musical impasse- but I mourn their passing. The magic and mystique created by Ivy & Gold left deep impressions on the fans- those that are upset at their passing. I will not dwell too much on their cessation: it is great Wilkinson has regrouped and attacking music on her own. Aside from a heart-stopping beauty:  Wilkinson’s voice is filled with intense passion and desire; a bucket-load of strength, clarity and colour. Her alma matter was able to ascend to dizzying heights because of that striking and stunning voice. Having already gathered quite a few fans- Ivy & Gold supporters will flock to her new venture- it looks like the London-based heroine is in safe hands. I wonder how RAY will start her career: what plan of action she will employ. With an amazing single under her belt- I will come to shortly- it has the potential to reach a wide audience; resonate with thousands of listeners. Based in London: there are plenty of radio stations that could lend a hand. I have been thinking about radio and how important it is to new musicians. Social media can only do so much: it has its audience but it does have its limitations, too.  Whilst RAY is accruing fans right now: there is a much wider audience out there that would love to hear her music. Where I live- it shall remain nameless- the local stations (the few of them) are pretty bad. Whilst concentrating on local talent- and giving them a platform- the playlists and presenters put you off music altogether.

I am not sure what it is with local radio: it seems intent on catering to a rather uncool, desperate demographic.  The middle-class, middle-aged white audience is well accommodated where I live: if you want to hear the same dull songs several times a day; enter some crappy call-in competition- you will love the stations. London is slightly more prosperous: there is a great range of stations that push boundaries and are pretty cutting-edge. I bring up the point- with regards radio- because I am an acolyte of ‘6 Music: the best stations we have in this country. It is not just the D.J.s that appeals to me- they are knowledgeable, warm and hugely engaging- but the music they feature. Combining classics and rare gems; brand-new, under-the-radar tracks; a range of genres and decades- how many radio stations give such consistency and quality? The short answer is ‘zero’. Not only (do ‘6 Music) keep the true music lover satisfied: their focus on new music is admirable. I can well see RAY being featured on the station. Her debut track has a great contemporary sound: it would perfectly suit the station’s ethos and demographic. I have heard so many artists struggle to get airplay and recognition: struggle to get the attention of stations around the U.K. Social media is a useful tool for new musicians.I feel radio is even-more-vital with regards promotion and development. I know Wilkinson has a great reputation- her work with Ivy & Gold- and a talent few others possess. Those qualities will stand her in good stead; she has a passion for music and will ensure Bullets makes its way to your ears. Saddened by Ivy & Gold’s split- and the connection they shared- I was glad to see RAY emerge from the flames. The central light and lead of the duo: regrouping and focusing can be a hard task. Not content to sit there and let the dust settle: Wilkinson has come out of the blocks and is setting her sights towards the future. I am not sure if she has management behind her- or a P.R. company- but she is establishing a solid social media base. Bullets will be released shortly- a teaser is available across Facebook and Instagram- and the fan numbers are starting to climb. Instagram, Facebook and Twitter are all primed- the song will drop to her SoundCloud account- and I am sure there will be a music video for her single. Plenty of people are excited and primed for RAY’s debut.  Knowing what an extraordinary talent Wilkinson is- and the effect she made with Ivy & Gold- you would be forgiven for thinking she will rest on her laurels. Quite the opposite, in fact. What you have with RAY is an outfit that has some familiar shades but is a different proposition. There is a lot of competitiveness in the modern game: RAY is not your average Electro.-Pop-cum-Alternative artist. Bullets provides so many different angles and avenues: colour mixes with black-and-white; ‘90s touches mingle with the modern-day- an explosion of intention and passion. I am very excited to see what comes next for the young artist. Photo shoots will surely come- a chance to see the vision and look of RAY, as it were- and maybe an official website (that would be awesome). More fans will come to the Facebook and Twitter pages; the Instagram numbers are going to rise- new music will be unveiled as the year progresses. We have the makings of a stunning and long-lasting solo artist. Make sure you back RAY and await Bullets. Its arrival is imminent and it will show what a force Rachel Wilkinson is.

Bullets begins with appropriate gusto and authority. Tribal drums pitter and patter: there is something bellicose and dangerous that beckons. The listener is pulled into something edgy and urgent right from the get-go. Keeping things impressively controlled and level- the percussion does not get intense too early- the introduction builds slightly- before our heroine is at the microphone. In the space of a few seconds; Bullets has announced its presence and planted the seeds. RAY steps to the microphone with some rather cryptic and fascinating insights. The opening line- “What is the cost of the unknown?”- promotes images of uncertainty and trespass- people coming into your life and creating hostility and unsure feelings. Taken at a different angle: maybe RAY is addressing changes in life (musical transitions and rebirth)- addressing her own fears and what the future may bring. With every new line; perceptions begin to change.  When singing “You are lost now/but never alone” I start to get a deeper insight into the heroine’s heart. It seems like- perhaps not intentionally- there is a nod to the end of Ivy & Gold. The frontwoman has undergone a break-up (in musical terms) and is seeking settlement and comfort- knowing she is not on her own. My brain is always caught between two plains- that of the emotional and musical; combined with a commentary on the world at large. I know Rachel Wilkinson has had to reposition her compass and rebuild her career- after the death of a wonderful and successful act. “What would he do?/What does he know?” are even-more-cryptic and arresting sentiments. I am not sure who the ‘he’ is in the lyrics- a fictional character or personal acquaintance- but the lines are delivered with verve and accusation.  Clearly, RAY has some anger and burden to get off her shoulders: Bullets is the sound of a young woman wrestling with her feelings and intuitions. When the chorus come to the light- in all its passion and splendor- you hear that voice rise and explode. Fans of mainstream Pop- especially U.S. idols- will find something for them in the song. While Wilkinson is a songwriter who has always produced something that transcends mainstream limitations: she is someone that wants to bring in as many people as she can. Bringing in American influences- the female power vocalists of the charts- with her own stamp and vision- a track that is likely to inspire a huge demographic. The chorus sees a hundred bullets in the heart: a very vivid and unforgettable image that assesses the full height of her emotions. When it does arrive; there is a bit more clarity that arrives: it seems like the song is looking at love break-down and struggle. If inspired by her own life- a past or present love struggle- your heart goes out to RAY. The emotion and lustre put into the lyrics show conviction and truth. Backed be electronic swathes and punching percussion: the heroine needs to “Keep breathing” and survive. It is clear recent events have compelled this song. Whether a direct addressment of Ivy & Gold’s break-up- a more general commentary on a relationship ending- you cannot ignore the relevance and timeliness.  “I have a heavy heart for you”, it is said.  The song’s hero was turning into “someone new”: perhaps a rather unlikeable and strange version of what he was. Maybe a relationship has turned sour and the duo is on different pages- wanting different things are seeming distant.

Examining the turmoil and exorcising her demons: RAY allows her voice to climb, flow and fly. Without histrionics and losing focus: the vocal remains engaging, powerful and impressive throughout. Bullets is a song that will seem familiar to everyone listening to it. I do not mean in terms of its sound: more to do with the themes and emotions that are being addressed. The heroine is clearly aghast and affected by a rather hostile time. Her heart is pierced and bleeding: the song is an execration of a painful time. When the chorus comes round for the second time; it carries more weight and compulsion. RAY’s vocals are layered and wordless- creating a rather hypnotic chorus- and the song picks up new insight, weight and meaning. Not just reserved to a particular audience- you might think the female, teenage audience- it is a song that will compel every listener. In spite of the rather personal struggle: RAY is a singular artist that will reach the heart of everyone. It is very clear this is “not a dream”- an idea that is repeated- and the hurt is very real. Maybe my earlier interpretations- about being about split and change in RAY’s life- might be a bit short-sighted. If you dig down- and hear the song a few more times- it is more outward and less insular than you’d imagine. Bullets is a song that is designed for a much wider audience: a song that represents all those heartbroken and angered; a track that can be interpreted and understood by damn-near everyone. The chorus’ proclamations of bullet-ridden hearts is a metaphor that we can all sympathise with. Whether you have felt the sting of love’s uncertainty- or has to reevaluate life- this song will make an impact. I myself- who has experienced change and uncertainty- was invested in the song and the lyrics. RAY’s performance is consistently impressive and powerful: that voice never drops and continues to sparkle and ignite through every stage. Backed by a canvas of pummeling beats and explosive electronics: the combination is stunning. By the final notes, our heroine seems drained and completely overwhelmed. Each time the chorus swings around- it is repeated at the end- you sense new anger and pain; that anguish and drama become more electric. Congratulations must be provided to RAY who has managed to transitions between the distinct sound of Ivy & Gold: stepping out alone whilst not completely abandoning her roots. Embers of the London duo can be found within Bullets. The song throws off the dynamics/constraints of Ivy & Gold and is a bold and unique track. Rachel Wilkinson knew she had to go in hard and strong: that is exactly what you get with Bullets. Backed by exceptional production values- that give the song a polish without distilling the power and verve- RAY is allowed to breathe and sing freely. Bullets is a track that could easily find itself across Radio 1- it has a sound that will resonate with listeners- but has more intelligence and depth than that. I mentioned ‘6 Music earlier: the quality and range the station provides. Bullets could make its way to their playlists- I have heard some like-minded tracks lately- and appeal to that listener base. I have no fears when it comes to RAY’s debut track. It will gain a lot of appreciative votes and pick up plenty of new fans. Radio stations will be lining up and that will- let’s hope at least- give her the confidence to produce new tracks and material. Few artists go in with such an authoritative and memorable debut. Whilst Bullets has a simplicity and familiarity to it: it never sounds like it could come from anyone other than Rachel Wilkinson. That blend of familiar and individual is a precious commodity in music. Make sure you stick closely to this London-based treasure.

I am sure RAY is excited by Bullets: seeing how it resonates with fans and what reception it gets. I hope radio stations give their backing and get behind the song. Bullets is a song that is filled with fiery and lust; there is  tenderness and reflection- all the ingredients the savvy music consumer needs and demands. Few artists are as arresting and stunning as RAY. A solo artist that combines exceptional, accessible songwriting with a desire to influence people and make them think deeply. It is heartbreaking to see Ivy & Gold break and go their separate ways. I am just glad Wilkinson continues in music and shows no signs of slowing. That brings me to the questions of the future. I know Bullets is the first song out of the traps- and a rather superb one at that- but she must be thinking about the coming months. I am confident there will be some gigs forthcoming. After that- and with the local audiences suitably hungry- can we expect some more material? RAY has a lot to say: from past pain to new hope; ample ammunition for a rather vivid and varied E.P. I shall not put too much pressure on her but it is something to think about. Bullets is a song that appeals to the ‘6 Music lover in me. It is true: there are some chart-friendly vibes in the track. If you dig deeper there is a song a lot more cultured and layered than that- something that might miss the minds of Radio 1 listeners, for instance. I can detect influences of the past- some of Wilkinson’s music icons- and great nuance and depth. I am growing weary and bored of the predictable fly-by-night artists. Those that rock-up and toss-off the same plodding songs- filled with bad metaphors; clichéd sentiments and one-dimensional compositions. If music is going to progress and develop; we need to start fostering artists that have the promise of future existence. London is putting out a rafter of wonderful musicians this year. I was not hot on the output of 2015: I felt it lacked a certain spark and gravitas. Few artists (from last year) have stuck in the imagination. This year seems a lot more prosperous and promising. The capital’s qualities are ensuring its musicians are putting out some extraordinary sounds. Among the bustle and hustle- the rising property prices and intensity- creative endeavours are rising, unabated and without subjugation.

RAY is a down-to-Earth and sweet human that is likely to hook and seduce fans- she is an incredible musician in the live arena. As a songwriter: she combines the everyday with personal; heartbroken anger with more hopeful motifs. If you add all these ingredients together we have a musician that has a clear path ahead of her. I have speculated as to the rest of this year- if an E.P. is forthcoming- but I can see some great things beckoning. If you are restless for Bullets- there is snippet available from social media- you will not have to wait too long. Wilkinson’s past confidence and experience puts her ahead of her peers. I know (in future records) there will be touches of Ivy & Gold’s sound- that multifarious blend of Electronic-Pop and Alternative; stunning production and striking vocals. It is only left for the listener to get behind a truly excellent artist. I know RAY’s best days are still ahead: Bullets is a tantilsiing and confident song that will make its mark, for sure. Ivy & Gold fans will find some familiar strands- that lush production and assured vocal- but Rachel Wilkinson has thrown off a lot of her past- she has evolved more confident and sensual than ever. If you look at her Facebook page (for RAY) there are some provocative black-and-white shots: sexual and beautiful; graceful and alluring.  For me- and perhaps not others- Ivy & Gold had a sense of grace, sweeping drama and love. Now, we have a singer that has burst from the chrysalis and is more bold, direct and potent than ever. Congratulations to RAY on creating an authoritative and memorable debut tracks. I know social media mouths are watering and eager- the fans will not be disappointed. Those who bemoan the rubbish-ness of local radio and the samey songs; those who find more comfort and joy in ‘6 Music and the quality they feature- RAY is  someone you will want to get behind. The sun is out- although it could snow at any minute- and Bullets seems like a perfect Saturday soundtrack. Sure; there is some anger and loss under the surface. There is plenty of joy, strength and rush to be found: a song that will get inside the head upon first listen. Ivy & Gold might have (sadly) been consigned to the dust, but when it comes to its lead voice…

THE future is just begun.

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Follow RAY

 

Facebook:

https://www.facebook.com/LISTENTORAY

Twitter:

https://twitter.com/LISTENTORAY

Instagram:

https://www.instagram.com/p/BEYaOboBj-1/?taken-by=raymusicofficial

E.P. REVIEW: Hunting Bears- Foolish Love

E.P. REVIEW:

 

Hunting Bears

 

 

Foolish Love

 

9.5/10

 

Foolish Love is available at:

https://itunes.apple.com/gb/album/foolish-love-ep/id1095771071

RELEASED: 18^th April 2016

GENRES: Baroque-Pop; Alternative

ORIGIN:

Leeds, U.K.

TRACK LISTING:

Sweet Anthony- 9.6

Foolish Love- 9.6

First in Line- 9.5

Bronze, Silver and Gold- 9.4

In the Afterglow- 9.5

DOWNLOAD:

Sweet Anthony; Foolish Love; First In Line

STANDOUT TRACK:

Foolish Love

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IT has been a fair while since I reviewed Hunting Bears...

but it is good to return.  Before coming to their new sounds- and how the band has developed- I wanted to look at the understated (and underappreciated) nature of Baroque-Pop; the way things have shaped up in 2015- the need for beauty and contemplation in music.  I like to think I am a lover of many kinds of music:  there are few genres that I will overlook.  To be fair, I have little time for Country, Dub-Step; Classical and World- but will not ignore these genres altogether.  Even inside those (rather divisive) types of music there is plenty to recommend and enjoy.  That is the great thing about music in general:  there is an enormous amount of choice and beauty to be discovered.  What irks me most is how confined some musicians are.  I have bemoaned this fact before- and shall not whip that horse too much now- but get angry at certain musicians.  If you are coming onto the scene- fresh and eager for success- it is not good enough phoning it in and doing what everyone else is doing.  Technology has advanced to the stage where we can incorporate any sound and instrument into a song.  There are limitless possibilities and unbridled potential.  This criticism is not just levelled at bands:  solo artists are just as guilty when it comes to the matter of diversity.  If you feel Rock/guitar-based bands are becoming too formulaic and stifled:  the same must be said at many emerging Pop acts.  Yesterday, I reviewed two very different artists:  each of them is pushing boundaries and creating something exciting.  From London, Lola Coca is a Hip-Hop/Pop artist who puts tales of creepy guys- slimy city types- inside addictive and catchy songs.  By contrast; Fifi Rong creates haunting Electronic sounds that detail forbidden love and longing- wrapped up inside mystical electronics and thudding beats.  Pop is a wide genre that has the potential to make a big difference in the music world.  I feel the mainstream’s ‘best’ are not setting a good example to underground artists.  Instead of setting an example; they are rather lackluster and unspectacular.  The best Pop music around is that which can mix beauty and tenderness together with something exciting and fresh.  Hunting Bears came to my radar a while ago- I cannot remember the exact date- and I was instantly hooked.  The Leeds-based collective describe their music as a mixture of Baroque-Pop and Folk.  If those words send shivers down the spine- some rather snobbish music fans might balk- then you need to get over yourself a bit.  Too few of us are adventurous, and when you start listening to Hunting Bears- the effect is rather special.  The guys focus on love and its perils; fascinating characters and cherished heroes- slice-of-life digressions and fantastical dreamscapes.  At the core is that reality:  heartfelt songs that tackle the balance of love and how capricious it can be.  Rather than present (such themes) with predictable measures- listen to any new artist on

The guys focus on love and its perils; fascinating characters and cherished heroes- slice-of-life digressions and fantastical dreamscapes.  At the core is that reality:  heartfelt songs that tackle the balance of love and how capricious it can be.  Rather than present (such themes) with predictable measures- listen to any new artist on Radio 1- there is serene beauty and tenderness; stirring strings and gorgeous vocals- music that will strike and seduce every listener.  Little is known about the band- in terms of their biography- but the guys are a very slick, professional and busy group.  All their social media sites are updated:  their songs are readily available; they are a very accessible band.  Foolish Love is a five-track E.P. that is going to rank among 2016’s most-essential releases.  I am not saying this as a fan of Hunting Bears:  Foolish Love is a wonderful release from a band that is making big strides.  Leeds is a city that has often been in my sights:  every week, there is another Yorkshire gem in view.  Although London might be leading the new music race- in terms of invention and quality- Leeds is one of the most consistent and surprising areas for music.  I feel the mainstream is rather spotty and unpredictable.  Last year, we saw the likes of Kendrick Lamar make big footprints.  This year, there have been a few good albums:  on the whole, we are still waiting for that explosion.  In the meantime, eyes are cast to new musicians- those unsigned or under-the-radar- for something special.  I have seen a great deal of fantastic artists emerge this year.  Hunting Bears certainly rank among the most interesting artists in the U.K.  I mentioned their sense of beauty and reflectiveness:  there is so much more to the band than that.  West Coast melody and Neo-Soul sits with Folk:  Gospel strands and ‘70s Pop nestles in sensuous tenderness and romance.  A wonderful group with a very clear future ahead of them.

Those that are new and fresh to Hunting Bears’ music:  you might want to see how far they have come and where they started.  The band have been playing together for a while but Foolish Love is their most complete and authoritative statement to date.  I have been aware of their music since hearing Sweet Anthony a couple of months back.  That track makes it onto Foolish Love- ranking among the finest moments on record- and shows what the guys are made of.  Foolish Love is the natural starting point for new listeners.  It combines ‘older’ songs- a few months old- and newer inclusions.  Throughout the five tracks you hear that consistency and range.  Each song has its own personality and position:  there is not a sense the band have struggled for inspiring material.  The quintet of songs hangs together beautifully and assuredly.  I hope the group goes onto create more E.P.s- and an album perhaps- as they have a wonderful kinship and connection.  Follow their progress on social media; find their music on SoundCloud- watch how they develop and grow over the years.

Sweet Anthony opens Foolish Love with urgency and passion.  Tribal-like vocals echo and strike from the speaker.  The listener does not have time to reflect and guess:  the band get things underway with intention and headiness.  The opening moments see vocal harmonies- gorgeous, feminine and lustful- melt with pulsing electronics.  You get a mixture of Baroque-Pop and Electronica; little shades of Rock, too- a terrific blend of rushing deceleration and immense beauty.  After early harmonising; our heroine comes to microphone to tell a (rather sad) story.  At heart, there is a need to reclaim some former love:  a feeling and connection that seems to be missing.  “This fight”, it seems, it “our own creation”.  The lovers are undergoing turmoil and are at loggerheads, it appears.  Separated by distance and contrasting desires:  you get a real feeling of longing and anxiety in the vocal performance.  Backing the vocal iare lush strings and pattering percussion.  The composition never gets in the way of things- intruding in the foreground- but ensures the lyrics are given plenty of colour and emotion.  The entire group show that unbreakable intuition and connection on the first track.  Not just confining itself to a single line and sound:  the song goes through movements and changes pace as it progresses.  Providing nuance, unpredictability and beauty:  Sweet Anthony dives, sweeps and swims in the mind.  Augmented by a truly stunning vocal performance- lead and harmony- you get a song that goes into the heart and evokes true emotion.   Whilst it is a personal song; you cannot help but feel effected and reflective.  The heroine provides apology- backed by sensual vocal backing- and seem to regret what has come before.  Here is a song that has plenty of depth and maturity.  It is clear the band has a love of U.S. Folk and Pop.  You get a clear taste of West Coast Pop and Folk uniting in Sweet Anthony.  If that chorus does not stay in the mind forever- there is a very clear danger it will- then the band’s tight and impassioned performance will.  At one moment you will hear embers of Country and Pop; the next you witness high-pitched guitar lines and rousing strings.  The band pack so many ideas into the composition:  it never sounds forced or too crowded; everything fuses completely naturally.  A wonderful start to the E.P.

The title track arrives next and starts with a funky kick.  The strings shiver and shimmer; the percussion kicks and drives- I get little tastes of early-career Steely Dan (oddly).  When our heroine arrives in the spotlight, you are already hooked.  Being a “Fool to trust only one”; there are regrets and doubts early on.  Again, some U.S. strands make their presence known- bit of ‘70s Soul and Californian Pop- that sit with homegrown lyrics or disconnection and bad romance.  Hunting Bears are synonymous with their incredible vocals.  Here, we get one of the most beautiful and tender performances across the E.P.  The band does not pack the song with too many lyrics:  keeping things economical and simple.  “This heart” is a duo of words that are repeated and gain new meaning with each presentation.  Containing pain, loss and sensuousness; romance, loss and need- so many contrasts and ideas can be found with such a simple idea.  Not only do the vocal harmonies make you smile and calm the soul:  the instrumentation and band performance is filled with wonderful little details.  Again, we get some Folk-inspired strings; plenty of drama and darkness.  Hunting Bears are never too introspective and moody:  their music contains plenty of optimism, beauty and energy.  So much time and attention has gone into the song.  The composition starts and stops.  There are stunning little moments and passages:  the track has a fluidity and progression; it demonstrates stunning musicianship and thoughtfulness.  Whilst the lyrics will affect and compel:  it is the composition that elicits the biggest response.  The band are completely on-step and on the same page:  it is one of the most tight-knit and complete performances I have heard in a long while.

First In Line starts with aching and languid strings.  Juxtaposing the rousing and sprite predecessor:  here, we have something more down and haunted.  That repressed energy does not last:  it is replaced by a spirited vocal that changes the mood in a heartbeat.  In spite of the sweet vocal and spirit:  there is some honesty and humour to be discovered.  The heroine admits to a certain lack of bravery- certain spinelessness- and lack of kindness.  Maybe going through a tough time- or confessing to some character flaws- you wonder who the song is directed at.  Maybe a sweetheart or friend is bearing the brunt of this anger.  Our girl has been “playing this game too” long as you can detect a certain fatigue and boredom.  Whether going through the motions- stuck in a loveless bond- there is a certain tongue-holding occurring.  Strangely honest and confessional- few musicians turn the gun on themselves- you are impressed by the boldness and originality.  Remiss to blame things on fate- which doesn’t actually exist- the song acts like a confessional.  Foolish Love seems like a concept E.P.; one that revolves around a particular romance.  If you take the first two tracks as the start- the break-up and stress; then to being trapped in an unwise bond- here is that realisation and ending.  The cracks are showing and there seems like little way back.  Most bands- when faced with the same situation- would put too much negativity and anger into the music.  Hunting Bears ensure everything is bright and receptive.  If anything; this is a cleansing ritual.  The spikiness and bristly temper is a way of dealing with pain and heartache.  Before you get too involved in interpretation:  those heavenly vocals make their presence known.  You get a brief sweet of etherealness before the composition steps up a gear.  Organ notes come through and the percussion tightens.  It lasts for a few seconds but keeps the song agile and mobile.  First In Line boasts one of the most effective and memorable choruses:  in no small part down to the deliver and uplifting vocals.  Completing the song; the band pull together strings, percussion and guitar.   At once classical and refined; powerful and driving- these contrasts make the final section hugely effective and emotional.

Bronze, Silver & Gold starts with a wonderful kick and sense of cool.  Flecked guitar notes and teasing percussion notes ensure the penultimate track starts with a smile.  The heroine speaks of “sweetness and sickness” and “reciprocal forgiveness”:  again, there are some regrets and mutual indemnification.  The band present one of their most sun-kissed and cool-sounding compositions across the record.  It has an almost Jazz-like quality to it.  Breezy and West Coast; romantic and lush:  it is so easy to get lost inside the song.  Perhaps not as strong as other cuts on the E.P. - some of the vocals get buried in the mix- it does showcase how diverse and effective Hunting Bears are.  That stunning musicianship and command comes to the fore, here.  Like Steely Dan- flecks of them come through again- you just know how much attention has been paid to getting the sound just right.  Hunting Bears can sound perfectionist and loose at the same time.  Bronze, Silver & Gold is the perfect song for those that need their mind eased and calmed.  It has such a relaxing quality to it.  No listener will be able to hear the song and not feel soothed and awed.  Bronze, Silver & Gold’s ending is perhaps among the E.P.’s most memorable and sensational revelations.  The composition comes into its own and shows (once more) how talented the band is.  Things get heavier and more domineering.  The strings layer and build; the volume increases and the song is filled with rainclouds and shadows.  In such a sweet and serene song:  the climax is rather unexpected and haunting.  Full marks must be given to the band, who subvert expectation and ensure every song has a twist in it.

In the Afterglow ends the E.P. and ensures the listener is left wanting more.  Bringing the song up slowly- a very delicate and dreamy fade up- our heroine’s vocal is at its most stunning and committed.  Basking underneath an “empty moon” and stars that “have nothing to lose”- the lovers are exposed and revealing themselves.  Blame is in the air and the duo has surface wounds.  Whilst there are scars and tense emotions- some rather vivid scenes unfolding- love can come through and solve things.  Here is a song that got me thinking and curious.  Previous tracks (on Foolish Love) looked at split and recriminations.  Maybe there is room for hope and reconciliation.  The song’s title suggests something quite sexual and climatic:  maybe it is a metaphor for when the lovers at their most vulnerable and exposed.  The band provides an ample soundtrack for a song that looks at variegated emotions and romance.  One-half of me look at something positive and redemptive.  Two lovers in the openness of nature:  succumbing to each other and rekindling a special connection.  On the other hand; I got thinking about truths exposed and old arguments coming to the surface.  Hunting Bears put us into nature and bring the song into the open air.  The moon, stars and heavens are a backdrop for one of the most impressive vocal performances on the E.P.  In The Afterglow is a song that will compel you to keep playing it:  be entranced by the beauty and try and get to the bottom of things.  A gorgeous song that ends Foolish Love on a high note.

Mary-Jane Walker, Reece Jacob; Richard Bennett, Alice Phelps and Sim Walker have spent a lot of time on Foolish Love.  Kudos goes to the band who has created a wonderful E.P.  Filled with stunning songs and detailed lyrics:  emotional compositions and beautiful vocal harmonies- few band are as unique and effective.  This record has been in their minds for a while and they have not rushed its release.  Every song has been worked over and rehearsed.  That is not to say the songs seem tired or drained.  On the contrary, in fact.  Every one of the five songs sounds like it is being played for the first time.  The guys sound completely dedicated to the subject material and deliver exceptional, energetic performances.  The musicianship is exceptional throughout.  Every instrument adds depth, colour and emotion to the song; each performance turn has its own merit; when combined, the band sound unbeatable and peerless.  Hunting Bears are one of the most individual groups around but are never niche or confining.  They explore multiple genres and make music for the masses.  Foolish Love shows how special the Leeds clan is.

Foolish Love is out there and already collecting praise and applause.  The five-piece have played Green Man- and other prestigious gigs- and are growing by the year.  If you are looking for a band that does things different:  that goes the extra mile and digs deep inside the soul:  you should investigate Leeds’ Hunting Bears.  They are not just a Baroque-Pop act:  they mix so many genres and colours into a scintillating aroma.  At heart, there is that beauty and tenderness; songs about longing and love- delivered with spine-tingling purity and grace.  I am not sure what the guys are planning for the forthcoming months.  Clearly, there will be some touring demands and big gigs arriving.  Hunting Bears are an act that is used to playing mainly-local gigs.  They have performed across Yorkshire and you feel they should be acclaimed and dragged further south.  I have seen many (lesser) groups hit their stride in London: perform across the U.K. and even find some U.S. dates.  Hunting Bears could happily enthrall and delight audiences across New York and California.  That said; they could easily fit in London venues and clubs:  there is a lot of fans waiting for the band.  I am unsure whether financial restraints- being able to afford trips around the nation- are seeing them perform closer to home.  It would be great to think the quintet is planning some ambitious gigs this year.  I would love to see them (in London) and so would a lot of others.  Not to put ideas and dreams in their head:  I feel the guys have a big future waiting.  What marks Hunting Bears aside- compared contemporaries- is their depth and variability.  They are not just confined to a single genre:  they have mobility and endeavor; capable and expert in so many areas.  At the core is the band chemistry which ensures every song is as beautiful and strong as possible.  Foolish Love is the result of a lot of hard work and commitment.  There are too many musicians that are following the herd and not taking enough trouble to do things differently.  You do not have to complete reinvent music to stand out in the mind.

There is- as I stated at the top- so many possibilities that artists can exploit.  We are in the position where everything and anything is possible.  Technology is ensuring musicians have easy access to a range of sounds and ideas.  Social media makes it easy to connect with fellow artists:  collaborate and share ideas over the Internet.  Maybe there is TOO much choice available- musicians feel intimidated by the sheer volume of options.  Whatever the reasons- behind the lack of adventure- there needs to be some sort of change and campaign.  The best and brightest new acts are those that have a clear-cut sound but do not limit themselves.  Hunting Bears (on paper) might sound like your average Folk/Pop act:  a group that sounds like so many out there.  When you dig deep, you find this assumption rather naïve and foolhardy.  This Leeds five-piece make music for everyone.  Not reserved to Baroque-Pop aficionados and a slightly older audience:  their songs will effect and resonate with a huge demographic.  Defining this is a huge quality control that goes into Foolish Love.  The songs mix universality and quirkiness; stunning beauty and immediacy- so many different emotions and ideas.  It would be wonderful to see the group produce an L.P. sometime down the line- I feel the best work is still ahead of them.  They are young and ambitious so it will not be long until the band is hitting peak form and sitting alongside the best of the mainstream.  Right now, they have created a stunning E.P. that will please existing fans- pull in new supporters and listeners.  It is great seeing the Leeds group come big with a huge statement.  There are so few musicians that have that six-month longevity- where their music will still be in your head that far after hearing it- but Hunting Bears are among them.  That being said; I have to ask this:

WHAT are you waiting for?

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Facebook:

https://www.facebook.com/huntingbearsofficial

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Instagram:

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Music

https://soundcloud.com/huntingbearsband

 

E.P. REVIEW: Fifi Rong- Forbidden Desire

E.P. REVIEW:

 

Fifi Rong

 

 

Forbidden Desire

9.5/10

Forbidden Desire is available from 29^th April 2016:

https://www.amazon.co.uk/gp/product/B01DTRJTSO?ie=UTF8&keywords=fifi%20rong%20forbidden%20desire&qid=1460987345&ref_=sr_1_1&sr=8-1

GENRES: Hybrid-Electronica

ORIGIN:

London, U.K.

TRACKLISTING:

Forbidden Desire- 9.5

Holy- 9.5

You Hurt Me- 9.5

Forbidden Desire (Turnipbeet Remix) - 9.5

DOWNLOAD:

Forbidden Desire; You Hurt Me

STANDOUT TRACK:

Forbidden Desire

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THERE is no denying what choice and variation…

you can discover in music.  If you get bored and tired of mainstream Pop and its limitations- there is no shortage of them- there is something waiting for you.  In my previous review- looking at Lola Coca’s latest track, GQ- I stated how many great female artists are emerging.  It is pleasing to see something positive happening in music right now.  Many have stated how music is in a decline and not up to its previous peak.  Maybe things hit their heights around 2002/3:  following from the ‘90sl there was a residual energy that bled into the 21^st century.  Maybe things are not quite as prestigious and wondrous as once was:  that is not to say music is not worth time and energy.  If you keep listening to Radio 1 and 2; you might start to get jaded and defeatist.  The mainstream/nationwide radio stations tend to focus on a particular audience and demographic:  the choice of music leaves a lot of listeners cold; does not push many boundaries.  Take a trip to stations like 6 Music and you see just what a breadth of music is out there.  From underground Indie bands to blistering solo talent:  a full spectrum of wonderful acts and musicians.  It is great to see Fifi Rong back on the scene.  She is an artist who has been in my sights for a while now.  Violently Silently was unleashed at the tail-end of last year.  An E.P. that provides emotion, colour and danger:  a myriad mix of emotions and sounds came together in something primal, raw and beautiful.

The reception- the E.P. gained from critics- was positive and effusive.  Fans and followers responded with praise and love.  Before I continue my point- and raise another one- let me introduce Fifi Rong to you:

“Fifi Rong is a unique artist and producer based in London.

Eccentric, deep and honest, Fifi brings pure emotional intimacy into her songs with a mesmerizing voice, nuanced with the flair of her Chinese heritage. Fifi incorporates a wide range of genres such as Electronica, Jazz, Dub, Hip Hop, UKG, Soundscape into her production, resulting in a singularly unexpected musical hybrid that draws its beauty from its one-of-a-kind unearthliness.

Fifi has been collaborating with many exciting artists including Tricky, Phaeleh, Skepta and Yello to name a few, and receiving vast support from a stream of blogs and radios including The 405, Clash, Fader Magazine, Hype Magazine, Pigeon and Planes, BBC Radio 1, BBC Radio 1 Extra, BBC Radio 6 Music and so on. She was also nominated as the best Electronic Music Artist and publicly voted into China’s Top 10 of most popular new artists of 2014.

Having already established herself internationally as a stand-out live performer, with headline shows throughout the UK, Europe and China/Hong Kong, she released her much-anticipated new EP ‘Violently Silently’ in December 2015. Fifi’s new EP Forbidden Desire will be released on 29 April 2016 with a special launch show scheduled for 28 April 2016 at O2 Academy Islington in London”.

In spite of Violently Silently’s progress and quality:  Rong viewed it as below her personal best.  Proud of what she had achieved:  there was the feeling that the best work was yet to come.  That new work arrives in the form of Forbidden Desire.  Whereas her previous E.P. (and its title) encouraged images of contradictions and self-discovery:  the follow-up has passion, lust and dangers at its heart.  Hybrid-Electronica is a genre that Fifi Rong fits perfectly into.  Here is a passionate and committed artist who has a lot of emotion and ideas inside her.  Were she restricted to Pop and Folk boundaries; one wonders whether she would exist as a musician.  It is all well and good playing these genres- there some exceptional artists to be found- yet Electronica provides a canvas for some of music’s bravest and boldest.  Rong releases Forbidden Desire in six days and will give the world a chance to see how she has evolved and developed.  Ensconcing herself away from the noise of the outside world:  Rong immersed herself in silence to create the E.P.  With an album in-the-works; this is a statement that provides a window into what’s to come.  It will be exciting to see where Rong goes after Forbidden Desire’s release.  There is talk of an album and that will be wonderful to witness.  One of the most celebrated and exciting artists out of the capital:  no wonder the likes of Radio 1 and Clash have featured her music.  Everything about the heroine is striking and unforgettable.  In the flesh, you are captivated by the unique fashion and make-up.  Blending her Asian heritage with a bespoke sense of identity:  you get colour and contours; eye-catching clothing and something mystical.  Delve deeper into Fifi Rong and the music takes you even deeper.  A captivating voice is just one of the weapons at her disposal.  I feel there is a general move away from Folk and Pop artists- the like that are championed by the mainstream press- and towards more unique and edgy musicians.  Given the year that has unfolded- the passing of some musical giants- a new breed is emerging.  If music is to recapture its flame- and reach the heights of the past- we need to start breaking out of moulds and being more adventurous.  Too many listeners are selective and limited when it comes to finding music.  2016 has been a bit of a strange one.  While some of music’s greats have left us:  new music has shown a marked improvement.  I hope this growth continues unabated:  we need a bit of a refurbishment and overhaul.  For now- and whether that sticky issue will ever be resolved- we should protect and foster those who deserve it.  Fifi Rong is one of those musicians who dedicates her life to the craft.  Every song resonates with nuanced flair and intricate details:  burning passions and total command.

Wrong was released in 2013 and is a 15-track creation that announced Fifi Rong with a bang.  Containing a wonderful blend of Jazz, Electronica; Trip-Hop and Folk (with so much more thrown in there)  Being one of her earliest works:  you might think there would be some nerves and weaker moments.  Surprisingly, not only does everything hold together and gel beautifully:  Wrong sounds completely effortless in every genre.  Next Pursuit was released in 2014 and was a more honed- six tracks here- and greater confidence.  The production values were reliably glossy and atmospheric- not too shiny; allowing room to breathe- whilst the songwriting hit new peaks.  Themes of broken love and hopeless desire were being explored in more detail.  By the time Violently Silently was unveiled (last year); Rong was even-more concentrated and committed.  Again, love was explored but with a  more haunted and unsettling set of lyrics.  The earliest work explored relations and discovery but had some light at heart.  Although Silently Violently’s compositions contained range and contrasts:  the lyrics stemmed from a mind overcome with anger and uncertainty.  Forbidden Desire sees the heroine evolve and present her most accomplished and assured set of songs.  The compositions contain a reliable inventiveness and flair; the nuance is all present and correct- the vocals dependably sturdy and emotive.  What we get- on the new E.P.- is the linking of past and present.  Elements of Wrong and Over You (her 2013 single) fuse with Violently Silently electricity and darkness.  That contrast of light and dark; emotive and defiant:  all coalesces in a wonderfully rich and vibrant E.P.

Forbidden Desire begins with bubbling beats and a real immediacy.  Things get underway right off the bat:  the listener is involved and gripped.  The song looks at a particular subject in our heroine’s mind.  Whether a current sweetheart or lusted-for hero- you are never quite sure.  What you do get is an immense amount of emotion, passion and shiver.  The vocals do not so much strike:  they seduce, whisper and slur.  Rong is at her most affected and dreamy:  one of her most awed and affecting vocals to date.  Even though it can be hard deciphering some of the lyrics- mixed down a little low inside the composition- you get caught and captured by the stunning sound.  The composition dips and rises:  little electronic beeps and thudding beats unite in a fury of movement and emotion.  As the lyrics unfold- and you get more involved in the story- you wonder whether Forbidden Desire is strictly about a particular bond.  Maybe a metaphor for the desires of life and music- passions of Rong- you start to wonder and imagine.  The song’s title is delivered with incredible lustre and breathlessness.  With every piece of the puzzle- stark images and dreamy scenes- you start to conspire.  Part of my brain was committed to that husky and alluring vocal- that seems entranced and deep in a state of desire- whilst the composition continues to spark and ignite.  The chorus is one of the most memorable and catchy Rong has ever created.  The desire that runs deep and wide- whether towards a man or something taboo- is delivered like a mantra.  You can tell l how much this song means to Fifi Rong.  Being the title track; it is essential it makes an impression and represents what the E.P. will contain.  As lead-off songs go, it is a stunner that will bring in the new listener and keep her existing fanbase very happy.  Combining elements of Lana Del Rey- especially the vocal sound- it has a very current and contemporary vibe.  Although Rong has a great love of past music:  her sounds are ostensively ultra-modern and contemporary.  From the hard-hitting, burbling electronics; to the stunning production values- a song that could sit on any radio station.  Not just a revelation upon first listen:  Forbidden Desire grows stronger and more astonishing with every new spin.  I know Fifi Rong wanted to change her sound after Violently Silently:  explore new ground and cover new themes.  Gone are the accusations, anger and torment:  here, there is something more optimistic, redemptive and hopeful.  There is still pain at her heart- anyone who feels that much love and passion will hurt to a point- but the music is less suffocating and intense.  The openness and lack of repression lead to a more natural and effective performance.  It seems (some men) want to lie- whilst others just pass on by- and you always wonder what inspired the song.  Maybe the dissolution of love- a previous bond that has gone sour- sees Rong reflect and look around her.  Whatever the true catalyst for Forbidden Desire:  it kicks the E.P. with a real sense of authority and drama.

   Holy starts life with a lot of tenderness and tremulous desire.  Like Forbidden Desire:  there is that blend of heartache and hope; longing and reflection.  Our heroine is here to learn and teach; discover and play.  The coquettishness and kitten-like delivery prove what a unique force Rong is.  Once more- and perhaps an unavoidable issue- is the decipherability of the vocals.  Being so entranced and immersed (in the weight of the song) it can be quite hard to capture certain lyrics and ideas.  When the E.P. is officially released- and available on BandCamp- there will be accompanying lyrics- and a chance to cast new light on the songs.  It does not seem to matter- the clarity issues- as the effect of the song is fantastic.  Every Fifi Rong E.P./record shows new aims and stories; new emotions being revealed and fresh desires explored.  Holy is filled with contradictions and honesty.  Our girl has been strong and weak; she walks alone and wants to be set free.  A lyrics sheet will give full clarity, but early investigation is spent falling for another stunning vocal performance.  Holy is quite a sensuous and tender track.  Violently Silently had plenty of rush, explosion and fire.  Here- and across the E.P. - there is a move to something more scenic, restrained and tender.  Like Bjork- an artist that comes to mind when looking at Rong- every record has a new sound and sensation.  With the heroine’s heart beating on- you start to put yourself directly into the song- the beats scuttle and tease; the electronics sway and breeze.  A song about discovery, soul-searching and dreaming- one of the most affecting songs across the E.P.- it sees Fifi Rong in a new state of mind.  Having experienced new events and feelings since her last work:  all these are brought into the music.  Maybe the anger and mordant reflection has gone:  it has been replaced by something almost spiritual and thoughtful.  Of course; Holy (and Forbidden Desire) explore dark themes and deep concerns:  the abiding feel is of light and hope; something primal and naked.  The composition- across Holy and the entire E.P.- is light and aerated whilst packing plenty of power and nuance.  Rong’s voice is the star of the show and floats over the horizon.  Previous Fifi Rong records have put the focus on composition and sounds:  here, there is more concentration on vocals and lyrics.  With that being said, Rong injects enough colour and layers into her compositions.  Fizzing, rattling electronics sizzle inside sturdy percussion:  there are plenty of subtle details that go into a wonderful song.

You Hurt Me is perhaps Forbidden Desire’s most overt and pained song.  Beginning with a degree of eeriness- fragmented vocals and finger-click percussion- it is a dizzying and entranced beginning.  Echoey vocals and ethereal chills lead to a sudden rush:  our heroine comes to the microphone and has a lot on her mind.  Having been hurt and disappointed; she is keen to let that fact be known.  It seems she will “never be the same” again.  That simple idea- being heartbroken- is repeated and built.  With every delivery you sense the tears flowing; the body is broken and aghast.  Few lyrics go into the song- it is built around codas and repeated lines- whilst the vocal is one of the clearest and most concise on the E.P.  Uniting some of her earliest sounds- together with shades of Violently Silently- this is Fifi Rong at her most engaging and urgent.  The E.P.’s most bracing and unsettled track:  our heroine has been scarred and trying to make sense of things.  Whereas the previous tracks had some light and hope in the lyrics- earthiness in the composition- here there is a contrast shift.  The foreground is a lot more suffocated and dark; the composition has anxiety and neon-lights-danger- a marked contrast that proves what depth and range Forbidden Desire has.  “You break me” is one of the starkest messages across Forbidden Desire.  Lesser musicians would throw vitriol and anger into a similar-themed song.  Rong does not get overcharged or too emotional.  Instead; there is  deliriousness and disquiet that makes her lyrics even-more-effective and memorable.  Past the half-way mark; the song gets more endangered and harassed.  The beats tighten whilst the electronics grow in stature and menace.  Everything gets darker and more shadowy.  By the closing moments, that sense of walls-closing-in does not abate.  Our heroine gets more lost in the mix:  her head is spinning and her heart is pulsating.  You are drawn into a troubled mind that is struggling to overthrow painful memories.

The Turnipbeet Remix of Forbidden Desire closes the E.P.:  giving new spin and light to the title track.  Instilling more clarity and concision into the song- the vocal and lyrics are clearer and more resonant- it ends Forbidden Desire with an impressive bang.  Here, the beats and electronics are sharper and more exciting.  There is more energy and dance; a swagger and coolness- that was absent from the original- which brings new perspective and spin into the song.  It is a perfect way to close a wonderful E.P.  Turnipbeet has shown faith and love for the title cut.  The interpretation and remix not only keeps the song’s cores faithful and unchanged:  new beauty and passion is unearthed; Rong’s soul seems more exposed and raw.  Congratulations must be given to Rong who has created a hugely impressive and memorable E.P.  Each track plays with different emotions.  From the lustful-cum-mysterious opening; through to the floating, spiritual sophomore cut; then the haunted and harrowed third track- ending with a beautifully reimagined take on the title.  Rong is at her peak as a singer:  she explores new territory and shows her full range.  Whereas previous releases have relied on one facet of her voice (or a few): here, every side is uncovered and brought sumptuously to life.  The compositions- compared to Silently Violently- are less abrasive and direct.  That is not to say there are fewer experimentations and innovation.  Rong is more subtle and assured on Forbidden Desire.  Not only does she bring in her previous sounds- the multicoloured electronics and myriad emotions- but introduces romance, soulfulness and lustfulness into the palette.  The overall effect is both unsettling and enriching.  Every song will make an impression and provoke the listener into reflection and contemplation.  Like all great records:  you have to keep playing it to get the bottom of everything.

I was a big fan of Violently Silently- even if its author felt she could top it- but Forbidden Desire is a step-up and topper.  It builds on Violently Silently’s magic and mystery and adds new layers.  Fans of Rong’s early/previous work will find much to love.  She has not created a huge departure, here:  instead, you have a record that has enormous consistency, nuance, and depth.  Forbidden Desire’s title track is available and creating quite a buzz.  On April 28^th, Rong will premiere her E.P. at O2 Acdemy2, Islington.  If you are in the vicinity, I advise you come along and check out that show.  There is still a sadness and anxiety that lingers in the world.  Following the deaths of David Bowie and Prince- alongside Lemmy for that matter- we realise how fragile and unpredictable life can be.  Those massive events have made us all feel a bit lonelier and empty.  If anything, the world has come together and shown how much (the music of those artists) truly meant.  Music will never stop inspiring and aiming to change the world.  The very best artists of our time have inspired legions of followers and youngsters to put pen to paper and enter the music world.  Given enough time; music will start to hone and focus.  At the moment; there are waves of artists and variable quality.  It is tricky deciphering the good from the bad:  finding treasure is a massive reward.  Fifi Rong is a musician that will never disappoint fans and lovers of great music.  Even in his earliest days; you could hear that desire and ambition.  Each new record marks an increase in confidence and quality.  Violently Silently was a firecracker release that captured many hearts and mind.  The depths within each song- beautiful details and repeatability- resonated with fans and brought in new ones.  Forbidden Desire’s title track has been dropped and sees our heroine up her game and truly encapsulate herself in music.

Brushing the distractions of the world aside- and being locked-down and focused- you can hear the concentration and intensity in the record.  Not only do you get raw passion and energy:  there is beauty and tenderness underneath that beating (drum) heart.  I am not sure when Rong is putting her album out- or, indeed, which tracks will feature- but it is likely to include some of her past maneuvers.  I am excited to follow the career of one of music’s most fearless and dependable artists.  There is a lot of love for Electronica/Electro.-Pop right now.  Take the time to listen to the lead from Forbidden Desire.  Once you immersed yourself in that gem:  anticipate the release of the E.P.  It is hard to really select that ‘best track’- they all carry a similar weight- but the title cut would be my choice.  In reality, every listener will adore a different track:  there are so many variations and nuance to be discovered.  After the initial listen- sure in my assumptions and experience- I went back in to see if there’s anything I missed.  Like all great music:  each new listen uncovers something; certain songs stand out and come into their own.  I can tell how much time and energy Fifi Rong has put into Forbidden Desire.  I am sure the E.P. will gain a lot of great reviews and fervent fan feedback.  From there, where does she go?  The question and speculation surrounding an album will always be there- followers are excited to see what a Fifi Rong L.P. will contain.  Until that day arrives; we have another stunning E.P. in our midst.  Forbidden Desire might be the finest thing she has created- no small praise when you look at her past work- and you feel an even-better record might be in the future.  If you are one of those listeners that is fearful of change- stuck in the comfort zone- I urge you to show some bravery and embrace something new.  Fifi Rong is one of those musicians that makes music for everyone:  she never excludes anyone; always drags people right inside the music.  For those nervous and unsure.  The water is very inviting:  make sure you…

TAKE the leap.

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TRACK REVIEW: Lola Coca- GQ

TRACK REVIEW:

 

Lola Coca

  

GQ

 

9.6/10

GQ is available at:

https://soundcloud.com/lolacocamusic/gq-3

RELEASED: 21st April, 2016

GENRES: Pop; Hip-Hop; Indie; R&B

ORIGIN:

London, U.K.

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THIS week has seen music suffer a huge tragedy.

That sentence is something I am (sadly) getting used to saying.  Say whatever you want about 2016- and its rather cruel mindset- but it has not been forgiving.  You cannot ascribe it to a curse or conspiracy; an act of God-like intervention:  it has been an unfortunate year, cut and dry.  With Prince’s death; it has left an irreparable hole in music’s fabric.  As the years progress; music’s legends are always going to be taken from us:  you cannot predict what is going to happen.  While you could forgive old age taking its toll:  that was not the case with Prince.  It seemed like such a lightning bolt:  nobody could see it coming; the world is feeling its shockwaves still.  One of the positive things about this loss (there are very few, to be honest) is how people have been brought together.  When Prince died, the world seemed smaller and larger at the same time.  We all felt a personal hit- whether we were huge fans of his- and lonely.  At the same time- and across that parallax- a unity and cohesion were formed.  Social media’s fervent outpouring- messages of grief and tribute- have shown just how much feeling there was for the U.S. legend.  When a music icon leaves us; there is that need to not only embrace their music (lest we forget); but look to the new generation- the best artists about right now.  One of the most exciting parts of my ‘job’- and something I will be continuing later today- is embracing the best female artists around.  I feel we need to be more open and conscientious when it comes to gender equality.  Too many of us are celebrating the bands- usually male-led- and overlooking some stunning female talent.  Perhaps things are not as bad as they once were- the comparative lack of critically-acclaimed female singers- but there is still an imbalance.  I feel the boys’ music- particularly the band market- is getting undue spotlight- leaving the girls to have to shout twice as loud.  Some magazines and publications are putting (the girls) in the spotlight:  ensuring they achieve celebration and patronage.  In my mind, the girls are showing the boys how things should be done.  If you want to find passion, ambition and originality; music that differs from the been-there-seen-it-got-the-T-shirt-several-times-over examples- you have plenty of options available.

While Britain’s towns and villages are producing a number of wonderful solo artists:  it is London’s bright lights that are shining with the greatest radiance.  L.A. and New York are not far behind:  I feel London is having a remarkable year for new music.  Maybe the state of modern music- the inconsistency of artists- is having an effect.  Perhaps the loss of music legends is spurring on a creative process:  a new wave of eager musicians is making firm impressions.  While I take critical ‘ones-to-watch’ proclamations with a pinch of salt- sometimes an entire shipment of salt- you cannot deny the magic of Lola Coca.  On paper, she gets the mind, heart and soul jumping.  Whilst she has stated in interviews- she has a slightly androgynous quality; with regards her features- she (to my mind) is one of the world’s most beautiful women.  A jaw-dropping, angelic face; a cheeky and captivating smile- the girl is going to break a lot of hearts.  Whilst not important to music itself:  Lola Coca is a journalist’s dream.  Not only does her beauty stun and create blushing:  her sense of style is distinctly hers.  You can never accuse the London-based artist of being boring or lacking colour.  In photo shoots- and were you to catch her walking the streets of Shoreditch- you will discover someone that wants to stand out in the world.  Whilst our purple Prince may have departed- his reign will go on forever- we have a turquoise princess coming through; a young woman that reminds me of Prince (I shall come to that later).  What is as impressive- and perhaps more relevant- is our heroine’s infectious personality and music.  Recently- moments before Prince’s death was announced- she conducted a Periscope session with her fans- I was watching with a big smile.  It was one of the rare occasions to see Lola Coca in her element:  taking questions from fans and just relaxing (after some initial technical issues).  From that session- not only did we glean more about her creative process- we got to learn more about the woman behind the music.  Whilst her social media pages are slight- when it comes to biography and personal revelation- it is nice to know more about her.  Lola Coca is not a committee-made musician- all boxes ticked; put together like Frankenstein’s monster- but a very natural and relatable woman.

Down-to-Earth, witty and sassy- she has a salacious and honest tongue on her- it is refreshing seeing a musician that is free from pretention and ego.  It is Lola Coca’s modesty that strikes me:  during her Periscope session; she still sees herself as experimental and growing- not sure if music is going to be her future.  I know there are nerves and anxieties at her heart- someone who wants to make everything perfect; doubting just how good she is- but Lola Coca will have to accept the realisation:  music is going to be her future.  Having released a string of diverse, wonderful singles:  the fans are flocking and standing behind the Portsmouth-born stunner.  In a music scene that creates few TRULY fascinating artists:  we have someone that is going to be a mainstream fixture, very soon indeed.  GQ is the latest offering from Lola Coca.  Bad Girlfriend- Lola’s last single- was received with huge enthusiasm and praise:  it is a song that gets inside the head and compels you to listen relentlessly.  A stunning and memorable song:  how was she ever going to match that?  Fortunately, GQ takes off from where Bad Girlfriend left off- it seems like a continuation of a theme- and has equal magic, power and nuance.  That sharp tongue and observational wit are sharp and ready:  our girl is not someone who falls prey to the come-ons of the city’s well-tailored businessmen.  Whereas Bad Girlfriend saw the heroine refuse a rather eager and shallow boy- expecting sex on his birthday- guys are once more in the spotlight.  It is wonderful hearing a young woman emerge in music that is showing the guys how it’s done: a boss that has the music world by the scruff and is unwilling to let it go.  Whether she doubts her potential and appeal- those nervy days when she reflects on life- I cannot encourage her enough.  There is nobody quite like Lola Coca:  she is a very rare artist we need to embrace.

Love Songs was Lola Coca’s first single.  That laid-back, grooving vibe was supported with a beautiful vocal performance.  Full of life, passion and charm:  it was a song impossible to ignore; filled with quotable moments and vivid details.   Bad Girlfriend lost some of that innocence and saw the young girl mature into a very defiant woman.  Rebelling against her no-good boy- who just wanted to get his end away- it took her core strengths and augmented them.  Whereas Love Songs’ cool-edged beats and island-seeking vocals- images of Fiji and tropical climates come to mind- Bad Girlfriend was L.A. and Rio.  Carnival beats and electronics mixed with something sparring, stuttering and street-level.  Bonding concrete  rawness with multifarious sonics- a whirlwind of genres and ideas- few could deny the potency of the song.  GQ is somewhere between Love Songs and Bad Girlfriend (in terms of pace and energy).  In thematic terms, it owes more to Bad Girlfriend.  Whereas its predecessor was a party-set tale of sex-denial and emancipation (our heroine was not going to be seen as a present to be unwrapped); GQ takes its feet to the streets.  Compelled by the suit-wearing types you’d see adorning GQ’s cover- those that stand there smoking- undressing Lola with their eyes- and feeding cheesy lines.  Our girl might fall for the wrong type:  more your leather-clan Rock gods; not the smarmy suits that thing they are God’s gift.  Bad Girlfriend’s anti-hero seemed like a smarmy, tattoo-covered wannabe:  someone who could be seen cruising through Essex in a Ford Focus.  GQ sees us in L.A. and London.  The street-dwelling city boys might be more financial prosperous:  they are no-less snake-like and sleazy.  Lola Coca is always looking for true types of mature love.  Men that have decency and maturity- a bit rough around the edges and edgy at heart- are in her sights.  With each passing song, you find new confidence and reveal.  Perhaps live gigs and radio interviews have inspired the music.  Lola Coca seems at her most confident and potent:  vibing from her social media love and at her most natural.  Perhaps there were nerves at the beginning of her career:  she is more assured and comfortable than ever.  Whereas songs do not stray too far from love and sex- and the no-good types encountered- each song has new skin and stories.  There is no cliché and sameness.  Lola Coca blends ‘90s Pop and Dance with U.S. Hip-Hop and Rap.  Few artists are as confident and capable when blending time period and genres.  Our heroine’s affection for music- and the artists she fell for as a child- have gone into her songs.  Who knows just what the future holds?  If she carries on creating songs like GQ:  it will be a very bright and successful one.

Two days old; GQ is gaining plenty of social media headwind and love.  The fans and followers have all stated the same:  another typical and stylish cut from Lola Coca.  Not sparing much time with an introduction- no scratched vinyl or teasing beats- Lola is straight in.  At her most insistent and angered, the early words leave little to the imagination.  “You’re a man without a backbone” suggests smutty, paramecium who toss crude innuendos and hide behind their pay cheques.  In that first line I could already picture the gelled hair and cocky attitudes; the high-paid dicks who cat-call and come-on.  “You really think you’re something special” is Lola assessment:  one that has a very clear and defined answer.  In the early exchanges, there is emphasis on the vocal and lyrics.  The performance is clear and concise; plenty of oomph, grit and control- ensuring every word is delivered with maximum strike.  Many have (lazily) made Lily Allen comparisons (perhaps I have at times).  Just because the two reside in London and have sort-of-similar voices; that is where the comparisons end.  To my ear, Lola Coca blends Missy Elliot and Neneh Cherry with a bit of Amy Winehouse:  base notes that are all topped by cherry, cream and honey.  There are bedrocks of U.S. Hip-Hop and ‘80s-‘90s R&B- maybe some Gwen Stefani in there- but riding high is a unique personality with few comparable.  Bad Girlfriend showed what wit and lyrical originality Lola had.  Too many modern artists mix hyperbole and cliché; boring lines and few memorable moments.  Lola Coca displays swagger and cool, throughout the song.  Laid-back- almost to the point of being laid down- our heroine assesses the distant and cold guys trying to grab her attention.  The budget value Elvis Costello types (one of the most stand-out lyrics) are packed around and thinking they are IT.  These arseholes and pompous egos think they deserve a medal:  the heroine is having none of their crap.  Laying down the law- you can see her turning up her face as she passes a line of suit-wearing businessmen- the chorus swings into view.  If you were captivated by Bad Girlfriend’s head-swinging, singalong chorus:  GQ will not disappoint in any way.  Perhaps a more cool-headed and nuanced alternative- I find GQ’s chorus to be more effective and catchy- it is not long before it gets in the head and starts bouncing around.  Another song that demands multiple assaults- like the guys in the song- our girl is “no fool”.

Not your girl-next-door type:  the guys are “barking up the wrong tree”.  Up until this point, the composition remains fairly light and sparse.  Continuous beats propel the vocal but do not encroach.  It is when the chorus hoves-in do we get more electricity and colour:  scratched sounds and vocal snatches come into the mix.  These legends-in-their-lunch-hour types are going to get nothing from Lola Coca:  she is putting her foot down and subsequently grinding it into some overpaid nuts.  The genuine personality- barbed tongue and attitude; wit and energy- rules every line of the song.  Other musicians- that play similar types of music- lack authenticity and appeal.  Lola Coca is not someone betraying her personality, soul and roots.  The dichotomy of vocal and subject- a rather sweet vocal at times portrays something sexual and gritty- makes the song even more stinging and layered.  Few female artists step up and assess such themes- putting the cocky boys in their place- and do so with confidence and swagger.  Lola Coca is not another Lily Allen-type artists.  There is no sugary-sweet vocalisation and cloying sentiments.  GQ is a song that has more ibn common with Neneh Cherry and Missy Elliot’s inimitable brand of hard-hitting R&B with a conscience.  It is impossible to resist the allure and hypnotising scent of GQ.  That chorus gets ridden to dizzying heights.  Blending sweet backing vocals- cooing and harmonising- there are some brilliant squelching electronics.  In the late stages- when those electronics mix with honeyed vocals- I got ideas of Aaliyah’s eponymous album.  Playful and textured- avant-garde and sizzling- it is amazing sprint-to-the-finish.  Those that were compelled by Bad Girlfriend and Love Songs’ invention and personality will recognise similarities and familiarities in GQ.  It is a song that builds on past tracks and shows new strength and ideas.  If anything, Lola Coca sounds even more confident and stunning here- that opinion will divide camps- and has produced (perhaps) her finest work.

I am a huge fan of Lola Coca’s back catalogue.  Love Songs amazed me the first time I heard it:  I knew we had a very special artist on our hands.  Bad Girlfriend was dropped and that expectation was blown away:  it announced the arrival of Lola Coca.  A defiant and rousing call-against-sex-hungry-lads:  the song is still being talked about in fevered tones (five months after it was released).  GQ is a slower song that is equally potent and addictive.  Lola Coca is someone who concentrates on love and relations with a very personal eye.  Too many songs romanticise love and have very predictable lyrics.  Whether wallowing in heartbreak and guilt; pining for someone you cannot have:  it seems a lot of modern artists are not exactly reinventing the wheel.  We all need those kinds of songs- they are the backbone of musical history- but for God’s sake, mix it up once in a while!  Lola Coca is not someone who fills out her diary with stories of cheating boys and heart-bleeding sympathy-seeking.  What we have- when it comes to Lola- is someone who takes her experiences and puts them direct on the page.  There is no polish and fitting-into-a-mould penmanship:  raw and real-life events are slammed onto record; a bucket of cold water the music world needs.  Before closing things up, it is worth talking about Lola Coca’s future and the way she does things.  I may have waxed lyrical about her beauty and looks- something she must get tired of hearing about- but she really is the complete package.  Having started out as a dancer- in Heaven, no less- it was when in L.A. that things started to ‘click’.  Perhaps searching for answers and directions- what she was going to concentrate her life to- it was a retreat that would impact the rest of her life.  GQ was written in L.A. - when you picture the lyrics; it makes sense- and it started the ball rolling.  From there- basing herself in East London- things have got bigger and hotter for the young star.  These are early days, but things are really hotting up.  To me- and this is a personal analogy- Lola Coca is a cross between Gwen Stefani and Missy Elliot; Kermit the Frog and Neneh Cherry- a movie heroine thrown in there.  A girl that is perhaps attracted to the wrong sort of guy- as songs like GQ and Bad Girlfriend will attest- there are bits of ‘50s heroines and modern-day Indie D.N.A. in Lola Coca.  She has a very classic cool but is someone modern and of-the-minute.  Maybe she does lend her heart to undeserving boys:  music is the way of grabbing it back and letting it be known who is in charge.  There is  infectious kookiness and charm to Lola, too.  Energy, honest and fun are just a few words you can levy at Lola Coca:  she is someone that bounces off the screen and into your heart.  As awed as you are by her sound bites, interviews and insights:  it is the music that leaves the biggest impression.  I am very much a boy of the ‘90s:  someone who grew up listen to that golden age of music.  Lola Coca has a very modern ethos about her but reminds me of the terrific music of the 1990s.  I mentioned Neneh Cherry and that seems like an apt comparison.  An in-charge and strong woman:  Cherry’s late-‘80s/early-‘90s work was some of the most electric of its time.

GQ seems like a 2016 version of Buffalo Stance (from the album Raw Like Sushi).  A song that deals with similar themes- gigolo-type guys that think they are God- I can see some lineage.  Cherry- and on her debut especially- dealt with materialistic guys and shallow types; those that should be expelled to shallow graves.  Raw Like Sushi showed Cherry could blend R&B, Pop and Dance into a colourful and hypnotic blend.  If the Swedish-born star is not your bag- strange if she is not- then how about Missy Elliot and Gwen Stefani.  Lola Coca has U.S. D.N.A. and inspiration inside of her.  Like Missy Elliot and Gwen Stefani:  you get that sassiness and swagger; the authority and unpredictable compositions.  Missy Elliot’s Supa Dupa Fly (her 1997 album) sparred fat Dancehall Reggae with aggression-cum-passion flips:  an intoxicating ride that marked her out as one of music’s most astonishing talents.  Toss in some 1995 No Doubt and you have an artist that could well be one of our leading lights.  In fairness, it would be foolhardy to compare Lola Coca with anyone else.  Sure, there are ‘90s strands and bits of others in her music; if you cut to the core you find a wonderful woman doing things her own way.  I would love to see an album emerge from Lola Coca.  She could go down the Kickstarter route- the funding and faith would be there- or fund it herself.  An album that spars cheating boys and suit-laden smarm artists; sex-expectant boyfriends and the scenes of East London- a record that would grab critical attention and seduce the masses.  Lola spends a lot of time walking Shoreditch and London’s most colourful areas.  I am not sure what her diary looks like:  it would be great to see an E.P. or L.P. come before 2016 is done.  A nice, tight five-track E.P. would be a great thing:  a cool title; wonderful artwork and stunning songs.  I am sounding like Lola Coca’s P.R. company- she already has one of those- but I am excited to see how far she can go.  I am sad so many music colossuses are leaving us.  Prince’s death struck a nerve and made us realise just what a genius he was.  That legacy will influence a wave of new musicians and reign for decades to come.  Prince mixed sweat and sex with astonishing musicianship and authority.  Those kind of musicians are a rare breed:  will we ever see his like again?  Lola Coca is an artist that has many years ahead of her.  Backed by a terrific team- producers, writers and P.R. bods- she is in very safe hands.  She is not an artist that produces the same kind of song:  with every release, you get something new, fresh and bright.  Love Songs and Bad Girlfriend were two astonishing cuts:  GQ completes the trio and proves what a proposition (Lola Coca) is.  Colour and shade are ruling the landscape at the moment.  Red hearts and turning black- haunted by the tragic news regarding Prince- and many are feeling blue.  My suggestion- to banish the sadness and bring some light to the party- is to embrace a turquoise-loving woman; someone that is creating wonderful music.  Spin GQ; sit back and…

LET it do its thing.

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