TRACK REVIEW: Joshua Luke Smith- Carry Me

TRACK REVIEW:

 

Joshua Luke Smith

 

 

Carry Me

 

9.7/10

Carry Me is available at:

https://www.youtube.com/watch?v=AiZX3qpfL7Q&feature=youtu.be

RELEASED: 30^th April 2016

GENRES: Hip-Hop

ORIGIN:

Bath, U.K.

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HAVING just completed a review of 17-year-old Folk artist…

Billie Marten: it is to a 25-year-old Bath-based Hip-Hop artist. Anyone who says music is predictable, samey and unadventurous should be in my shoes- over the course of a day, I am looking at two remarkable, if very different, artists. In fact, I could see the two coming together in collaboration. Marten’s silky, tender voice- and her tales of greed and love- could fit well with my featured artist’s inimitable brand of music- the two would make a great, if unlikely, partnership. I will stop putting ideas into heads, but that is my point: great musicians are exciting; they get you thinking and imagining- just what can be achieved by bringing two souls together. I shall not labour that: I wanted to look at motivation and inspiration in music; Hip-Hop and Bath/Bristol; finishing with a bit about talents with strings to their bow. It is rare you get to see a musician that promotes self-love, motivation, and improvement. Modern music is mired in insularity, accusations, and heartache: rarely do too many positive messages make their way into songs. Away from love-based tropes- she/he-broke-my-heart-how-will-I-live types of songs- there are an awful lot of negative and downhearted tracks. I understand the instinct to do this. A lot of musicians pursue their dreams because they see themselves as outsiders and alone. Emanating from depression, uncertainty and anxiety: musicians are often affected by mental illness, fears, and scars. Whether hurt or affected by relationship breakdown- or haunted by their own, inner-turmoil- they write about what they know (that is the thing they say, right?). Personal reality and relatable themes are not to be discouraged: we all need to hear about everyday things; subjects we can understand and connect with. That said, we need to embrace artists and musicians that are more positive and outward-thinking. Behind-the-scenes, how many musicians concern themselves with connecting with the world: giving something back and being a positive role model?

Sub-consciously, there is a wave of artists who are sending out great messages: I am not seeing enough acts engaging in extra-curriculum work; engaging with society and being a spokesperson. Music is a powerful format that allows a rarified platform: one where artists can use their influences and make changes in this world. Joshua Luke Smith is a musician who is making changes and inspiring many people- connecting with thousands out there. Before I carry on- and raise some new topics- let me introduce Smith to you:

“The 25-year-old wordsmith's self-produced debut E.P. landed in the top 10 of the U.K. and international iTunes charts and has led the young poet and record label founder to receive BBC 6 Music radio-play as well as features with B.B.C. 1xtra and the London Roundhouse.

With his sophomore E.P. “Your Beauty” recently released, accompanied by a string of live shows Joshua Luke Smith is fast becoming an inspired and important voice for his generation”.

From such common names- ‘Joshua’ ‘Luke’ and ‘Smith’- you get a man who is anything but ordinary. The hirsute Hip-Hop star is one of the most talked-about new names on the block. Here is a young man that goes beyond predictability and expectations- in terms of the music he makes and sound- and delivers punch and drama; tenderness and reflection- so many different ideas and elements at work. When thinking of Hip-Hop- Smith hails from Bath- it gets me thinking about the legends of the genre. Bath and Bristol are areas of the U.K. that have produced some of music’s greatest. Portishead and Massive Attack are two Trip-Hop-Experimental-Rock acts that put the South-West on the map. In the ‘90s, there was an explosion of wonderful Trip-Hop artists: this has resonated with the current generation; those who are carrying on that legacy. Although Smith was born in Bath- a short drive from Bristol- he has been influenced by the Hip/Trip-Hop acts of the ‘90s: his sounds put you in mind of the past masters. What you get (with Smith) is a combination of bygone sounds and current-day immediacy. Little embers of U.S. Hip-Hop moulds with a distinct Britishness. Smith suffers dyslexia and dyspraxia (a condition that affects movement and balance) which has made life very difficult. Far from hiding away and letting the illnesses affect him: Smith has funneled this struggle into the music; encouraging others to break from their limitations and be whoever they want to. One of the sharpest and finest wordsmiths in music: the young artist is ensuring we do not have to suffer; music can provide an outlet for those affected- if he can make a career in music (given the problems he faces) then anyone can. It is this kind of strength and resilience that should be encouraged more.

Smith is more than Hip-Hop songwriter. Blending Soul and Hip-Hop together- reminding me a bit of James Blake- we have one of the most startling artists around. His self-produced, debut E.P. (Your Beauty) is a six-track collection that made its way into the top-10 of iTunes' Hip-Hop/Rap charts- mere hours after it was dropped to the world. You get substance, motivation, and philosophy (Smith is a philosophy graduate); wonderful stories and one-size-fits-all codas- much more depth and wisdom than most musicians are capable of. Founding Orphan No More- a record label that encourages the finest young talent to embrace who they are- their ethos is simple: Everybody Has a Message. That is the tagline and mission statement that drives their artists and leads to some wonderful music. Joshua Luke Smith is a name that will continue to grow and develop in years to come. Carry Me is the latest cut from one of the bravest and boldest musicians around Britain. There are few negatives you can attribute to Smith (he, in addition to thousands of musicians, call their careers a ‘journey’: I would make that an arrest-able offence): you get an honest, open and defiant young man that wants to change things and support musicians- anyone suffering and ‘different’ can be whoever they want to be. Smith’s sophomore E.P. has just been released and will kick-start a string of dates and appearances. Already appearing at the B.B.C. 6 Fringe Festival- gaining support from J.P. Cooper- and there is no telling where he can go. 2016 has been a productive and golden year: I feel the best days are still ahead. Having been out there for a few weeks: Carry Me is setting hearts alight; showing just what a force of nature Joshua Luke Smith is.

I am a fairly new convert to Joshua Luke Smith. Carry Me is taken from the E.P., Your Beauty. Younger and Dead Man have just been released. The former contains rapid spits and fast flow: young-days philosophies and reflections on life; days that mix “flames with fuel”. You get an assessment of life’s uncertainties and someone who believes in “hard times”- not star signs and everything fake and meaningless. It is a raw and relevant song that contains truths and meaning. Everyone who listens to the song can extrapolate guidance and direction. Dead Man is another short and sharp track (both never outstay their welcome) and boasts another assured, confident vocal. With sparse backing- electronic strings and a steady beat- the emphasis is on that vocal. Our hero has been reading philosophy pages and learning a lesson: since the dawn of time, man has been suffering the same pains; facing the same tests and trials. These tracks are new cuts that show just how far Smith has come. He has grown as a songwriter and sound utterly confident and comfortable in his skin. Every song is delivered with conviction and authority: meaning the words explode from the page into your brain. Carry Me’s companion songs are recommendable and stunning. Jack of Spades is a busy track that has a heavy beat and a real sense of menace. Our hero introduces himself (he is a jack of spades) and is struggling with his identity.

Having struggled- and struggling still- Smith is bursting and exploding from the seams- laying down a declaration of intent. A song that is instilled with Grime edges and Rap centres; Hip-Hop and Trip-Hop contrasts: an edgy, rapid song that gets the head nodding and the imagination working. After All is a softer and more contemplative song. Smith looks out at the proclivities of the world- nothing “natural about a natural disaster”- and struggles in a relationship. Unlike his contemporaries- who would tackle such common themes with predictability and cliché- you get hard beats and multi-tracked vocals (I am not sure who his female collaborator is). After all the struggles and problems: he still loves the girl; will fight for her. The Garden takes biblical ideas- Adam and Eve aren’t far away- and declare how were all born naked- we need to let go of our stones “and walk away”. Self-doubt and guilt see us looking into the mirror- doubting who were are- and is something we need to overcome. Your Beauty- as the title suggests- is about embracing who were are and not judging others; being assured of what we can accomplish and reaching for dreams- embracing the positive and redemptive aspects of life. Elements of The Streets and Massive Attack come through in the E.P.: a combination of ‘90s-Trip-Hop and ‘00s-Grime.

The jewel- in my opinion- of the Your Beauty E.P.: Carry Me has been gaining a lot of buzz and attention so far. It is hardly surprising given the stature and reputation Smith has. Rumbling percussion and distorted electronics welcome the track is. Fading in and out: you get sudden sparks and electronic drive; something teasing and dangerous lurks in the shadows. It is the compositional equivalent of being followed home on a dark night. You are not certain who is following you: every siren blare shocks you; ever noise unsettles you- there is a constant threat and menace (in the video version: the SoundCloud version is shorter). When our hero comes to the microphone, his heart is on his sleeves. Hating hearing his mother crying- he is more sensitive and restrained than on other tracks- there is that sense of vulnerability and loss. Maybe his mum was the one who supported (Smith) and helped him in life: understood what he was going through and gave him strength. Now the hero has left home- or is away right now- he can always go back. Maybe his absence has caused heartache a sense of loneliness (in his mum); his struggles and problems carry weight- she was the one “who used to carry me”. Your Beauty is an E.P. that contains a lot of hard-hitting and Hip-Hop tracks: those with fast rhymes and a constant pace. Carry Me is a more tender and reflective moment- the equivalent of The Streets’ Dry Your Eyes or Weak Become Heroes- that grows hotter and heavier. Never needlessly exploding or getting too quick: Smith quickens the pace and takes the song up a notch. Looking at his life- like he was walking through a cemetery- and how he has struggled. “I’m just a boy with some poems” underlines the simplicity and honesty of his life. A young man that wants to create songs and makes changes in the world: the streets were/are filled with fear and uncertainties. Walking past cars with steamed-up windows- whether masking late-night sex or joint-smoking crews- you get vivid images, smells and sounds.

In his Fred Perry polo and temporised fashion: Smith is out-of-place in the grime and edginess of the street. Intimidated by “renegades and imitators”- I get lyrical embers of The Streets’ Let’s Push Things Forward and Turn the Page- our man was hunched-over and fearful. Even in these early phases, you involve yourself in the song and close your eyes- watching the scenes unfold; the urban theater and the smoke-filled air. Someone who was afraid to fight- turning “right and left like indicators”- you get that sense of anxiety and building fear. Backed by static, driving beats and piano flourishes- they push the lyrics forward and provide a subtle, neo-romantic backdrop- the song never loses its energy and swagger. Having been (as a child) expelled from the classroom- maybe unruly or bored by the simplicity of education- Smith found himself staring down stairwells: on the estates; facing an uncertain time. That need for home and comfort- a million miles from the savage haze and danger-at-every-turn streets- is paramount, here. You picture the young man struggling to find meaning in the world. Maybe influenced (negatively) by modern artists and beat makers: the hero becomes a Breaking Bad-esque anti-hero: someone who contradicted his mother’s messages of grace and humanity.

Mrs. Smith would be disappointed to find her boy so far from the tracks: a stranger to the boy she raised; someone who has taken some wrong turns. Having dyslexia and dyspraxia: school life would have been a struggle and hard place. The world- those who do not know the realities of the conditions- shows no mercy and what options would one have? Smith is not rebelling or trying to fit in with the cool crowds: just struggling to cope in a world that does not understand him. Smith hates to hear his mum cry- the reason he is on Earth- and his sins must feel “like murder”. I admire the honesty and bravery that comes through in the song. Revealing some very personal and hard times: few artists have the courage to commit that to tape. Smith seems genuinely mournful and sorry about his actions: perhaps he was just misguided and misjudged his actions. Knowing the daily struggles he faced: who could blame the way things turned out? In the past- those wild, teenage years- lies were told. A mutual indemnification (between friends) and conspiracy: they would tell their mums they were sleeping around the other’s place. This deception was a front for drinking and hitting the town: chasing girls and getting into scrapes. Seemingly part of natural development- most teenagers go through that phase- the more mature man regrets his deceit. Maybe (thinking) this would balm his pain- drinking and fun was the way to ‘fit into’ society- our hero is apologetic and tearful. When confessing full disclosure to his mum- expulsion from school and drunken flights- you can feel the tension in the air.

The truth’s totality is causing distance between mother and son. At the time, Smith was subject to peer pressure: he wanted to belong and be accepted by his peers. What is important- and realised too late, perhaps- is making his mum proud; doing right and carrying the virtues she installed in him. Maybe Carry Me is a confessional that demonstrates family disorder: blackening the name and causing disappointment in his mother. Truthfully, Smith has not committed a huge transgression or crime- he has gone through a common course and regretted his foolhardiness. The fact he is willing to confess his shortcomings and naivety is to be applauded. The song will give other writers a much-needed spiritual reawakening. Too many get caught up in promoting their own ego or engaging in accusations with their (former) lovers. There are few that look at their past- and family connections- and address that. Smoking and drinking- being in a jungle and warzone- the young Smith never felt natural in that environment. A sad ritual that claims many innocent souls: Smith has taken a long time to discover his best days; man-up and follow a purer path. When “Diablo is your best mate” it is near-impossible to remain virginal, spiritual and kind: you get drawn to into a black culture and troubled path. The people that follow this road often get lost and claimed- turn to crime and become recidivists.  Smith has wised-up and realised his shallowness.

Having made his way in the music world- and turned a corner- this song is a guide to the teenager out there. On the surface, a life of smoking, sex, and drinking may seem cool: it is a temporary release and is a drug; that way of life is not conducive to being productive and functional- it is the antithesis of kindness, humanity and respectability. As Smith points out: “I used to be knee-deep in a sea of different faces”; he is not here to preach. What started as a Hip-Hop track, transcends to something Gospel and divine. The mantra “I’m free” is delivered with a choral uplift: it is a soulful release that will affect every listener; the summation of years of guilt, frustration and lacking direction. The older Smith (still a young man) has broken the shackles and has become a man: something his mother would be proud of. The final moments layer the vocals and provide lovely little touches. Liquid strings and testing percussion backs Smith’s final confessions. Having walked in the wrong direction, the future is now: that is all in the past and things are different. Driven by a grooving bassline: when sh** gets real; you can go home and realise where you should be- and who is there when you need them. Exhausted by the rawness of his song: our hero finishes his confessions and lets the dust settle. What we are left with is an extraordinary moment from a young man who regrets the past- a human that does not want others to fall into the same trap.

I often get depressed at the hyperbole and false affection the media level at certain acts- a point I raised in the Billie Marten review. You get reviewers and stations- naming no names- that go bat-sh**-crazy for certain musicians: you wonder whether their ears are blocked; maybe they have suffered a blow to the head. I guess we get all look for that superstar: the act/band that is going to change the music world. Too much of the time, you see musicians that seem promising at first: over the years they start to lose that spark and seem very ordinary. Some would see Joshua Luke Smith and be unsure of his future: is he going the same way as every other musician out there? Perhaps that energy and talent will wane; the gold with start to tarnish- he will be off the scene in a few years. That is not going to be the case. Anyone who comes in that sharp and committed- his debut E.P. is a symphony of quality, depth, and assurance- is not going to slow anytime soon. I believe Smith’s finest work is still ahead. He has such a nimble and varied talent: able to go in any direction and achieve anything. Carry Me is the latest slice from a wonderful, rich artist. Intricate, detailed beats and layered compositions: vocals that get straight to the heart; lyrics that open the mind and urge you to think about the wider world. Orphan No More has a few artists on its book.

From Esther Moore’s Israeli-rooted, multicultural upbringing and Christocentric background: music that highlights social issues and personal experiences. Timothy is a 20-year-old poet that follows the Smith ideal: wonderful, wise words wrapped around gorgeous and soul-touching music. Let’s hope O.N.M. continues to grow and flourish: we need to embrace labels that emphasise rare and real talent. There are so many fake and over-privileged artists around: those that never struggle and provide very little to the listener. Smith is at the vanguard of a new wave of musicians: those that look at societal issues and promote positivity and fight. If you are afflicted with illness or disability; that does not mean you have to hide away and accept limitations. Music is a sanctuary that allows creative types to reflect their struggle and pain: turn their experiences into something positive and inspirational. Carry Me carries important messages and guidance for those similarly affected. The song sees the hero realises home is turning into the person you are supposed to be- not what convention and society dictates.  Away from the love-only songs and negativity in today’s music: it is wonderful finding a musician that rebels against such things. I know we all need to hear about love and splits: when you’ve heard one song (about these things) you’ve heard them all. Step forward a young man that is writing music with more importance, originality and depth- this will give credence and kick to new musicians coming through.

From the mean (or quite pleasant, in fact) streets of Bath arrives a musician that has a glistening future ahead. I started by looking at the Hip/Trip-Hop legends that arrived from Bristol in the ‘90s- the artists that have inspired so many modern-day musicians. Smith is one of those people who was growing up in the 1990s: witnessing bands like Portishead and Massive Attack come through- a few miles down the road- and how they changed the face of music. Fast-forward to this decade and U.S. Hip-Hop acts and U.K. Grime artists have made their mark: all of this goes into music that fuses danger and grit with immense beauty and nuance. For me- being a bit poetic and that- I am hooked and enthralled by Smith’s way with words. A true wordsmith that can make the mundane very special: not somebody you’ll forget anytime soon. Make sure you get Carry Me- buy it is possible- and experience the wonder and worldliness of Joshua Luke Smith. A homegrown megastar-in-waiting that…

EVERYONE should make part of their lives.

[youtube https://www.youtube.com/watch?v=AiZX3qpfL7Q&w=560&h=315]

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Follow Joshua Luke Smith

 

Official:

http://www.joshualukesmith.com/

Facebook:

https://www.facebook.com/joshualukesmithmusic

Twitter:

https://twitter.com/JoshuaLukeSmith

_________________________________

Music

https://soundcloud.com/joshualukesmithmusic

TRACK REVIEW: Billie Marten- Milk & Honey

TRACK REVIEW:

 

Billie Marten

 

 

Milk & Honey

 

9.7/10

Milk & Honey is available at:

https://www.youtube.com/watch?v=xNAmwWBy0nw

RELEASED: 20^th May 2016 (Video)

GENRES: Acoustic-Folk

ORIGIN:

Ripon, Yorkshire

____________________________________

THE last time I reviewed Billie Marten…

she was preparing the release of the single, Bird. That song seduced critics and got tongues chatting wildly. I shall continue on- and give more details on the young heroine- but before I do, it is worth looking at the ‘best’ music has to offer; the importance of fostering young talent- how personality and charm can take you a long way. Every year, I view (with skepticism, let’s face it) the so-called ‘best of’ lists- the likes B.B.C. and other media bodies submit. Based on nothing but subjective guesses and intuition: the artists promulgated are a rather mixed bag. Maybe it hard to really get a true sense of which artists to watch: there are so many acts out there; it can be a mind-boggling proposition. Everyone from N.M.E. to Gigwise have released their (2016) lists for the year- extolling the virtues of their hand-selected finest. B.B.C. proclaimed Jack Garratt their pick from this year: Blossoms were fifth; Alessio Cara was in the mix, too. Although Garratt has been hyped- yet to deliver anything special and extraordinary- the likes of Blossoms and Cara are worth more time. I find B.B.C. is keen to promote those that are Pop-based and radio-friendly. Take a scan of their Sound of 2016 list and the fresh-faced, smiling artists are all mainstream-potential stars. Cast your net to other sources and you will find more bands and something grittier. I am not rubbishing people that release lists like this- they are doing their best to find great acts worth watching. I feel the true best and brightest are not giving recognition. Billie Marten is someone who made the ‘longlist’ of B.B.C.’s tips: sadly, she did not make it to the shortlist. Perhaps it is her tender years- she is still in her teens- or perhaps they had to make the cut somewhere. To my mind, their short-sighted omission was a very bad one: Marten supersedes and outshines everyone on B.B.C.’s list- the reviews and love paid proves that.

Few artists have started as brightly and determinedly as Billie Marten. Beginning her musical career as a young child- she started playing guitar and singing at 7; her own YouTube channel was cemented by age 9- and the momentum has hardly stopped since. Being a super-young and tender talent: Marten has not had much time to be a ‘normal’ girl. Whilst she makes time for studies and socialising: the majority of her time is dedicated to her music career and artistry. Having just turned 17 (a couple of days back) Marten is going to have a busy few months ahead. Having toured with the likes of Lucy Rose- over the last year- who needs B.B.C. patronage, eh? Marten (real name Billie Tweedie) has taken charge of career and is making waves with ease. Little is known about Marten- she has an obsession with alpacas- but she has done plenty of interviews. What you gleam from these is a young woman who has a very determined and positive outlook. There is modesty to her- Marten makes sure she completes coursework and puts home life top of her list- and is a shy and girl-next-door musician. There is no pretense, ego or social media slanging. You will not catch her embroiled in feuds or shedding her clothing for YouTube views: she is a true musician that lets the songs do all the talking.

We need to promote and safeguard young talent on the music scene. Given the ease and accessibility of music- cheaper and simpler to record songs from your home- there are a lot of artists coming through. By the year (these artists) are getting younger: it can be a scary and daunting proposition for them. D.I.Y. acts like Jack Garratt are showing how easy music-making can be: just a laptop and talent are required; you do not need to fork out thousands for studio sessions. Whilst it is paramount we promote young artists: I am fearful a lot of pressure is being placed on their shoulders. The media loves a young musician: keen to label them prodigies and ‘the-next-best-thing’. When said musician is launched: there begins a vortex of promotion, gigs and recordings. The modern music reality is somewhat scary. The amount of gigs a musician needs to undertake- in order to make money and gain a foothold- is staggering. Having to juggle domesticity- studies and growing up- with the harshness and exhaustion of music can burn-out the brightest of souls. I worry we are pushing musicians too much. Marten is someone who started making music as a hobby- she recorded videos to YouTube so her French-based grandparents could see her- and it has all sort of taken off. Someone who is daunted by the lights and rush of the city- much safer and contended among the countryside- the heroines in-demand and sought-after. I know Marten has her feet on the ground: she is not somebody that will take too much on and become exhausted. As she gets more popular- by the release of each new song- her diary is going to be full pretty soon. What I love about Marten is her down-to-Earth, loveable personality. She is a girl that seems at-odds with expectations and 21st-century ethos. You see (female artists) like Rhianna, Adele; Beyoncé and Ariana Grande and you would expect someone similar. Those stars have expensive, under-the-spotlight existences: they command multi-million-pound deals and have party lifestyles. Billie Marten is someone who adores vinyl- her record table is among the most prized possessions- and lionises musicians like Joni Mitchell, Nick Drake and Radiohead. If you did not know her age- and did not see her photo- you would picture someone in their 20s: perhaps a city-goer; not a teen who prefers the safety and quiet of the country. It is rewarding and wonderful discovering a young musician that has vast maturity and quality control. Being a fan of such great musicians- so many young artists have little knowledge of historic acts; they consider modern-day Pop the best of all-time- that quality feeds into her own music. Vibing the acoustic brilliance of Drake and Mitchell: we have a 2016 mixture of the two; a Folk artist that is as arresting and entrancing as her idols.

Those just discovering Billie Marten might be starting with Milk & Honey- unsure of where she started. I urge people to check-out (if they are available) Marten’s early YouTube videos- to see where she came from and how she has progressed. Heavy Weather- released a year ago- has a gorgeous lo-fi sound to it. It is as though you are in the room with Marten- sat with her as she plays guitar. Marten’s voice is crystalline and silky. You are enticed and overwhelmed by the beauty and purity of the voice: it is whisper-soft and absolutely delicious. Caught-up in her lover- “Together we walk the English winter”- we hear a literary version of young love. There is no cheap sex or seediness: the song has a purity and innocence to it. While the lyrics paint some dark images- “We might be frightened but we won’t run”- you get sucked into a scene of wind-swept sweethearts battling the rain. Whether a metaphor for stresses and obstacles- employing the weather to hide hard truths- you will put yourself in the song and imagine everything unfold. Marten shows what a songwriter she is. The lyrics are simple yet have an intelligence to them. Many artists have used meteorological terms and weather to describe love and longing- few as effectively as uniquely as Marten. Simple finger-picked acoustic guitar marries with a sensuous and caramel-smooth voice. By the end of the song you are blown away and compelled to listen again (and again).

Before that- in 2014- Marten unveiled Ribbon. Here first single, it perfectly outlines all the key components: the aching acoustic sounds; that staggering voice and well-honed pen. Her lyrics look at being a city stranger- caught in a rush and being stared at- and feeling dislocated. Images of train tracks and countryside see the heroine calm, pure-at-heart and relaxed. “Home ties me up”, it is said: yearning to be back there again; the city creates an “aching in my heart”- Marten longs to belong but never feels she fits in. The Ribbon E.P. - where the song appeared- is a track that looks at the conflicts of city and home: a girl making her way in the world and finding where she belongs; feeling uprooted and affected by the busyness of the city. You get a sense of strain and loss in the song- a girl looking aghast; shoved by commuters whilst trying to be happy and feel connected- which comes out in the strings. The voice remains buoyant and beautiful throughout: a safe harbor that keeps the song from being too harrowed and strained.

Bird- a song I reviewed when it was released last October- was her finest work to date. Appearing on As Long As (an E.P. that will surely see one or two more single releases?); it is a fantastic song that shows a leap from Marten. The voice is at its very peak: sounding more staggering and beautiful than ever before. The composition is more developed and full. Marten employs piano- songs before have been largely acoustic guitar-based- to mesmerising effect. Previous songs have seen the likes of Nick Drake make their mark. The acoustic guitar and feather-light finger-picking- that puts you in mind of the ‘70s master- is replaced by something more modern and feminine. Whilst Drake utilised piano in some of his recordings- Pink Moon’s title track for instance- you get embers of Joni Mitchell and Kate Bush. Bird is a song that looks at someone “Drowning in words so sweet”; “Somebody’s daughter, a friend”- you speculate who is being represented. Earlier numbers- like Ribbon and Heavy Weather- assessed different sides of Marten- the city-wandering hopeful and teenager in love. Here, you wonder whether the words document our heroine’s struggles and views- or whether it is a third-person song that looks at (a tragic and ill-fated) figure. Marten assessed the song thus: “A song about how words can truly affect people, not always for the right reasons”. Maybe she has experienced so intolerance and hurtfulness- in love or growing up- or has seen friends hurt and scared. Whatever the true source: you cannot deny the majesty and beauty of the song.

Milk & Honey is a song that shows another development and step forward. Marten returns to acoustic-led territory- the percussion is more evident and prominent here- and the vocal seems more free and open. Previous numbers have showed such a sweet and precise vocal. Songs that detail loss and heartache; cruel words and intensity- backed by performances suitably suffocated and intense. Milk & Honey sounds freer and less pressured: showing a new side to Marten; a young woman that sounds more relaxed and happy. The new track is a more positive and enlightened thing: perhaps new romance has sparked inspiration and contentment; that is not to say the effectiveness and beauty is lacking. Marten shows how varied and consistent she is (as a songwriter). Let’s hope this quality and desire continues over the coming years- every Billie Marten song shows new sides and stories; fresh impetus and tenderness.

I am reviewing Milk & Honey- a little late to the party- because its video has just been released. “Honey, here we are/dreaming in the dark” are the perfect words to open the song. You get the impression of two sweethearts- whether Marten is documenting her current romance or something fictional- sleeping and dreaming; perhaps not in the same room, the duo are letting their imaginations run away. After the initial positivity and romance: the lyrics take a slight turn; towards less contented and satisfied ways. “Their thoughts were ours/but now we dream apart” have oblique edges but lead you to think about separation and split. Maybe the themes are not confined to love and bonds: more, a wider assessment of society and its ills. Marten sees the song as a rally against greed and the shallowness of the consumer climate. We live in a time where advertising is thrown at us and there is a zeal for status and possessions. The human touch and honesty of life is being replaced by something cheaper and nasty. Our heroine is content with “time well spent” and happy with just sugar (you get images of Marten sat with a cup of tea; watching the world pass by) whilst her sweetheart (or a friend) wants “milk”- something more. We get a nod to Marten’s earlier work- looking at the safety of home and satisfaction with modesty- and it is fully explored here. Her friends and suitors always want more- slaves to the consumer society and shallowness of life- and this is causing annoyance and frustration. As the boy wants (“More than you can drink”) the sting will be felt. Marten is masterful when it comes to mixing direct words with the oblique. Knowing the origins of the song- what compelled her to write it- there are mysterious lines and open-for-interpretation thoughts.

Delivering her lines with bird-song call- the words flow and dip- the percussion rifles and patters- creating a constant movement and sense of anxiety. One-half of you get caught in the serenity and beauty of the vocal- like a rainbow waterfall in the sun- whilst you are struck by the urgency and desperation that lingers beneath. The video for the song is a bit of light-hearted fun. Wandering in gardens of flowers- Marten speaks the language of flowers (花言葉) - there is a Japanese theme to the video (not sure which flowers are in the video: showing my lack of knowledge). Approached by a samurai- who kicks and gestates into thin air; there is a comical silliness to things- our heroine is in a more serious frame of mind. Her thoughts and mind are troubled and harrowed: a young woman that wants things to change; she loathes the shallowness that is being displayed. I am always thinking what motivated the song. Whether she is affected by a lover- that wants more than he can handle; cannot appreciate what is in front of him- or the world at large- how we all become consumed in goods and products; not satisfied with what we have. Poetry, beauty and wisdom runs through Milk & Honey. The song’s subject- again; whether a boy or a larger sect- live for overkill. “All you want is honey”- something sweeter and less healthy- “well, honey I tried” sings Marten- her voice at its most raw and affected. Whilst the percussion tumbles and rolls; Marten lets her voice hover and float in the air. Such a gorgeous and startling vocal makes every word sound compelling and urgent. It is clear- at this point, anyway- a particular fella is in mind. Someone that is “so kind”- the virtues are being extolled- but it seems “all the roses have died”. What was once rooted, beautiful and pure: it has been replaced with something sour, distant and dying. Maybe her sweetheart was tempted by another- a girl that was cheaper and more shallow- or he has been lured by the shininess and neon-lit buzz of the city- casting-off and pursuing challenges afar. With every Billie Marten song, you are left to make you own mind up. The heroine wrote the song based around greed and selfishness: you hope Marten never becomes one of those people. Everything we know about her- the maturity and how she spends her time; the zeal for home and her love of the simple life- suggests a young woman that is not going to sell-out and change at all.

Maybe wealth and attention will change her- maybe relocate to the U.S. or London; embrace a certain excess- but one hopes she remains grounded and humble for years to come. In a music world where the best of them succumb to something fake and shallow- grabbing all the money they can get; excess and gaudiness. Marten is looking out on the world and baffled to an extent. She has her home pleasures and is happy in her life: the way others lust with greed is causing a lot of upset. The way she used milk, honey, and sugar as metaphors for levels of greed- the fat of milk and sickliness of honey; she wants something simple and basic- is beautiful. You get a very homely base that has biblical and literary links. The land of milk and honey is a term applied to Israel: when God spoke to Moses at the burning bush; he informed him he’d redeem the Israelites and bring them to a spacious land (one flowing with milk and honey). The Book of Exodus-referencing title gives the song multiple levels and possibilities: such is the quality and artifice of the song. Showing depth and wisdom belying her years: Marten is a stunning writer who can make simple language deep and complicated- songs that compel the listener to unpick the words and interpret their own way. If you follow the video- which every listener should- Marten is dressed in a kimono. Karate and samurai fighters spar and tussle behind her- earlier, she is eating rice from a bowl and watching things go by- as she has a very serious look on her face. A charming and humour juxtaposition of the song’s cores: it provides lightness and comedic touches. Marten’s boyfriend/friend yearns for more- “You make it worse”- and is never going to be satisfied with a normal and happy life. It seems self-destructive and foolhardy- chasing a carrot at the end of a mile-long stick- but such is the way of the world. Milk & Honey sees Marten embrace instrumentation and elements more. Previous songs have been more sparse and uncluttered.

Whilst the vocal is mixed high and the star attraction: we get rolling percussion and horn blast; something contoured, rich and luscious. Marten’s voice is that weapon that will always be sharp, dangerous and fascinating. Maybe suitable of the video’s themes- the samurai warriors and playfulness- there is that blend of attack and beauty. Bedecked in fine robes and sat in beautiful gardens: almost metaphors for Marten as a woman. She is an eye-catching and stunning beauty: someone whose voice has sweet scents and floral beauty; there is gracefulness and serenity- an edge of huskiness and world-weary fatigue. Whilst the chorus is addictive and memorable- the way Marten pronounces words “All you want is honey” is charming and gorgeous- you are motivated and captivated on a deeper plain. Our heroine brings the most from the lyrics. Whether elongating a word- “rumours” is a two-syllable, well-held note that has such gravity- or girlishly twirling lines- few artists have such economy, depth and talent. By the time the song ends: one wonders how things worked out for Marten; whether she will ever be the same again.

It’s “all gone” as Marten attests in Milk & Honey. A song that looks at general greed and consumerism- although, one imagines, a certain boy has left his mark- it is another wonderful song from a rare musician. Few artists- so young, at least- are so effective and consistent. As Long As was an E.P. that got people talking and boasted wonderful moments- Roots and Cursive are underrated gems- and now she has come up with Milk & Honey. Whether this signals a new E.P. - or part of an album- you know Billie Marten has more to come before this year is through. I would love to see an L.P. from her: bringing together past songs; some new material thrown in there. Such an imperious and peerless talent will have weight put on her shoulders. As much as anything, it is vital Marten remains grounded and gives herself time to be a woman. She is studying and has enough on her hands: one hopes the demands and rigours of music do not affect her negatively. I know how mature and level-headed she is: able to balance commitments and know where her priorities lie. Milk & Honey is something that would sound perfect on vinyl- appropriate given Marten’s love for old records. You get shaded of Joni Mitchell and Nick Drake- two artists that are very important to her- but you are hard-pressed to think of any other singers. Such a pure and un-distilled voice has few equals: her glorious tones are unfurled and explored in her latest track. A song that is already garnering airplay and attention- Radio 1 and 2 have spun it, I believe- it will be exciting to see where the 17-year-old goes from here. The U.S. will come calling- she would have plenty of fans out there- and she could pretty much conquer any part of the world. Few musicians leave such an impression in the mind: Billie Marten is a young talent we should encourage, support and look after.

A lot of attention has been put to Billie Marten’s voice. I have- over the course of my reviewing life- heard some splendid, luxurious and knee-buckling singers before. To my ear, there are few that rival the Marten. The pin-sharp beauty and etherealness is something you will not forget for a while. When you hear Marten sing: you are transported to ‘70s Folk and some of the greatest artists who have lived. While the likes of Mitchell are divisive- a hard voice to truly bond with- there is a warmth and addictive quality to Marten. It is not just the voice that entrances and seduces. Her songwriting- especially for someone so young- is mature, intelligent and poetic. Having studied English and Art at school: those subjects bleed into her songwriting. The lyrics and phrasing is beautiful and thought-provoking: Marten paints pictures and scenes with her voice; someone who takes the listener somewhere special and magical. Milk & Honey is a non-E.P. track that makes you wonder what is coming next. As Long As- her four-track E.P.- housed Bird: a song that amazed critics and raised Marten’s stocks. Before then, we had the likes of Ribbon and Out of the Black (a B-side recording of Royal Blood’s stomper). The Rippon lass has come a long way since her YouTube beginnings- she confesses, with modesty, they were not her best performances- and is shaping-up to be a future legend. Having played festivals and important gigs- gaining the paen and ear of Radio 1 into the bargain- who knows what the coming years holds in store? Songs like Heavy Weather and Bird- put Milk & Honey into that list- show a wondrous talent with a spellbinding voice. A mercurial human that lives, loves and drinks music: Marten is going to go a very long way. I can see (in 2017) an album coming- she has enough material- and inspiring hosts of young wannabe musicians. Marten has stated- in interviews- that the city can make her feel hopeless, scared and lost- among the Tube and rush of people- and day-to-day bustle. Milk & Honey is a song that will ensure Marten is not lost to us. She is a musician that is growing and spreading her wings; a rare songwriter that is relatable and loveable. If that smile, warmth, and personality (the love of alpacas too) does not grab you; the stunning, beautiful music surely will. Milk & Honey is a song that marks the arrival…

OF a stunning young talent.

[youtube https://www.youtube.com/watch?v=xNAmwWBy0nw&w=560&h=315]

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Follow Billie Marten

 

Official:

http://www.billiemarten.com/

Facebook:

https://www.facebook.com/billiemarten/

Twitter:

https://twitter.com/BillieMarten

Instagram:

https://www.instagram.com/billiemarten/

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Music

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

 

ALBUM REVIEW: Echo Arcadia- Visions of Symmetry

ALBUM REVIEW:

 

Echo Arcadia

 

 

Visions of Symmetry

 

9.5/10

RELEASE DATE: Late-June 2016

GENRES: Indie-Pop

ORIGIN:

Edinburgh, Scotland

TRACK LISTING:

Into the Shadows- 9.5

Cinderella- 9.5

Setting Sun and Sinking Sand- 9.4

Beautiful Imperfections- 9.5

Rising Sun (Interlude) - 9.4

Ghosts- 9.5

Get Out of Here- 9.6

All Things Must Fall (Interlude) - 9.4

Occasional Bruises- 9.5

Voices- 9.6

The Last Time- 9.4

Hurricanes- 9.5

Broken Knuckles- 9.6

DOWNLOAD:

Into the Shadows; Cinderella; Get Out of Here; Voices; Hurricanes; Broken Knuckles

STANDOUT TRACK:

Voices

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THIS is going to be a busy one so I better…

get things kicking off. Not before I have had a look at a few things: the Edinburgh music scene; music endeavor (and ambition) - looking at the bands that have the fortitude to survive in the industry. Stating Edinburgh is a bustling climate for great music might be reduction ad absurdum- although it is something I feel myself coming back to. I find it startling that more people- critics and music lovers- do not come to Scotland’s capital for musical inspiration. London, L.A. and New York- the three biggest musical hotspots- are always going to gain favour and preference- at the expense of other, wonderful areas for musicians. The U.K. is a nation (or collection of countries) that has so much variation and diversity. Like our geography and climate: there are so many different layers and aspects; a rich, unpredictable thing. London is an evergreen, dependable place for music- my favourite city on Earth- but we should not negate other areas. I often seek-out Mancunian and Yorkshire acts: I know these areas are among the most fervent and stunning in Britain. Many people forget Scotland hosts so much tantilisng music. Even if you limited yourself to Glasgow and Edinburgh- forgetting all the other towns and cities that hold awesome artists- you can find so much wonder and gold. Edinburgh is proving to be a huge contender. If we look at the musicians who hail from here, to begin. Boards of Canada, The Incredible String Band, and Young Fathers- acts I have mentioned before when making this argument- are a trio of geniuses. Between them, we have a Mercury prize (Young Fathers) and downtempo bliss (Board of Canada’s album, Tomorrow’s Harvest, was among 2013’s greatest albums). Broken Records, Beta Band, and Josef K call Edinburgh home. You can see what diversity and mixture the city boasts: a cavalcade of brilliant, inspiring musicians. Echo Arcadia sits in the scene like the bearded, smiling chaps they are. One of the most distinguished and affable collection I have known: they are certainly (one of Edinburgh’s) finest bands. Reminding me a little of The Gothenburg Address and Board of Canada: they have a lo-fi, Shoegaze sound that blends into something rousing, symphonic and emotional. That is what I love about the guys: they do not pigeon-hole themselves; their music has such dexterity, range and heart- you would be hard-pressed to pin them down to a single sound or genre. Before I continue my point, let me tell you a bit about the band.

I have been following the guys since their earliest day. Having recently released the E.P., Into the Shadows, there is a lot of productivity and desire in the camp. Their 2014-debut, Beauty in an Average Life was among my favourite reviews from that year. The album possessed that- rare and inimitable- combination of gracefulness and potency. Songs build from sapling roots: growing and nurtured by a band simpatico; they blossomed into something wing-spreading, mature and staggering. Few artists come up with debuts as assured and complete. No loose edges and indecisions: an album that brooded and swooned; so many colours and threads went into its creation. There have been some changes in the Echo Arcadia ranks. Jenna White- who has featured prominently in their back catalogue- is no longer in the band- she is making her own material right now. This alteration has not affected the workflow and consistency. The band has retained their sound and composure: their latest L.P. is among their best and boldest work. White’s input has been valuable and hugely effective: her absence has challenged the band; they have come out fighting and inspired. Since Beauty in an Average Life, I have noted how the confidence levels have increased. The material has grown in stature and the group’s connection- the bond and understanding between them- has tightened and solidified. What we have now- with Visions of Symmetry is their finest work yet. They have managed to take the essence of their debut- and interim E.P.- and take that sound to new heights. Their survival instinct- in the face of change, upheaval, and financial strain- has been to focus on music and knuckle-down hard.

I have witnessed some serious fine bands crumble and dissipate without much warning. Maybe inter-band squabbles and egos have caused cracks- maybe something else. It is sad to see great musicians feel the pressure and call time. Quality and determination- in this modern time- is no guarantee of longevity and safety. There are so many other factors and considerations one must negate. Luckily, Echo Arcadia has weathered storms and prevailed: strong, steely and determined the boys are: who can stop them?! Most bands tend to go for the direct and unadulterated. With scant subtly and beauty: the instinct is to go for the jugular; present something attacking, fists-in-the-air, trousers-around-the-waist. The seedy, what-if-we-get-caught rush of music is one of the world’s great pleasures. I love nothing more than hearing a band really go for it: give us music that brings out the caveman- compels us all to unify in a throng of abandonment and unruliness. The trouble is this: with so many having that same idea; how can you distinguish what is good or not? In the end, you have a lot of Indie-cum-Alternative-cum again- Rock bands that all sound much-of-a-muchness. Those that challenge the zeitgeist- and dig deep into their hearts and souls- are those that win my affection. Subtlety and intelligence are not synonyms for boredom and beigness- quite the opposite, in fact. Artists that take time with their sounds- concentrating on atmosphere, emotion and depth- are a rarity, indeed. Echo Arcadia are perfectly capable of delivery a two-tonne missile to the guts: they are practically peerless when it comes to providing everyday soundtracks with that extra drop of beauty. Visions of Symmetry is an album that does what it sets out to do: grabs the listener and draws them into something personal, immersive and universal: a mass of contradictions that will not confuse- only inspire and amaze.

Into the Shadows ensures proceedings are undertaken with kick and urgency. Rampant, galloping guitar fuses with kinetic strings and burnishing electricity: the introduction gets you ready, primed and curious. Our hero is caught among “gentle declines”- that “hurt so much”- and is somewhat rattled. Risking an eternity in the shadows- as opposed to a “moment in the light”- one wonders the song’s origins. Maybe this is a reflection on musical success and exposure: the stresses and strains that can come with ambition- feeling the effects and pains of tortured days. Perhaps it is a wider assessment of love and relations: that need to keep your heart at bay; putting it on the line can lead to pain and loneliness. Whatever the origins, there is expression and soul in the vocal- Jenna White provides backing vocals here- that gets into the mind. The under-the-surface-seeking lead is hiding behind noises and keen to elude attention- the curiosity grows more and more. Echo Arcadia ensure their lead-off track is filled with tightness and mystery: they create a song that has a catchiness and depth; something revelatory and mysterious- a song you keep coming back to. Leigh Moyes’ tender burr gives every word a gravitas and conviction. Tony Dalton and Euan Mushet are a sublime guitar-and-bass combination. Between them, they create so much rhythm, discipline, and drive: giving Into the Shadows a grooviness and sense of flair. Dan Cieselski keeps the percussion rumbling and tense: Andrew Gray’s violin adds yearning romance and spine-tingling tenderness. The band is at their strongest when everything comes together: the vocals layer and the composition is at its most heated. Around a refrain of “Tell me tomorrow”; the listener will have their own interpretation and conclusion- as to what the song is about.

Cinderella begins with a more Country-sounding beginning. Aching strings and southern-fried electric guitars have certain tenderness and waltz to them. In a castle “made of marble”, the song’s fairytale heroine has an inner solitude and destruction. Her castle is crumbling and the ‘perfection’ of the tale is at odds with the reality of life. The band takes a well-trodden and familiar story and apply it to a real-life scenario. A beautiful piece of storytelling- telling the heroine not to “wait until midnight”- once more, I was thinking about love and relations. Perhaps documenting a band friend- or close associate- who should take a risk and go for it. “Cinderella moments never last”, as they attest. Moyes is at his most affected and focused here. Looking at a dishonest man- the girl is a trophy to him- there is a hopelessness and sadness throughout the track. Juxtaposing the idealism and false-reality of Cinderella: Echo Arcadia take it to street-level: a 21^st-century equivalency that is imbued with relatable conflict and harshness; an updated, abridged version that is more relevant and honest. The Edinburgh band is masters when it comes to the hook-laden, singalong chorus. Cinderella has depth and wisdom to it: it boasts a heartfelt and swooning chorus; one that will get the crowds united and singing. Among the debris and deceitfulness: there is dreaminess and purity that makes the song so nuanced and stunning.

Setting Sun and Sinking Sand is among the album’s most reflective moments. Our man is searching for words and answers. Caught in the rain- and the rush of an incoming train- you get that danger and anxiety. The band are expert when it comes to metaphors and imagery: the ability to translate their inner-pain into something filmic and tangible. Inside a gorgeous, melodious vocal- one of the purest on the record- the band show what a focused, tight unit they are. No player steals the limelight: Echo Arcadia are at their peak when everyone is level and together; showing what a group they are. Caught between the setting sun and sinking sand- their equivalent of being halfway between the gutter and the stars- it is nice to hear White on the song- adding her beautiful and sweet-hued tones to the fold. A track that- hope the band don’t mind- Deacon Blue: you get touches of ‘80s Glasgow and modern-day U.S.- a wonderful blend of Pop and Country. Elements of Raintown (Deacon Blue’s debut masterwork) can be heard here. The group keeps cards close to chest, to an extent. You get images and unfolding drama: the hero is sinking and caught in a miasma; a strange purgatory that he cannot extricate himself from- the speculation and theories come thick and fast. Maybe assessing some turmoil and break-up- problems in life and obstacles faced- there is that blend of contentment and uncertainty: at every stage, one eye is focused on strength and progression; the other at lingering danger and something painful. Usually- and in lesser bands’ hands- you would get a series of muddled metaphors and lacking focus. Echo Arcadia turns Setting Sun and Sinking Sand into a well-crafted, memorable track.

Beautiful Imperfections starts with a haunted, affected piano. Solemn and punctuated: this is one of the few tracks that feature White on lead. Allowing her voice to shiver and rise- it is a heavenly, delicious sound- she is struggling with her consciousness. Unable to see the “darkness from the light”; reality is slapping her around the face. Among the beauty and etherealness of the vocal: the percussion gallops through; electronics swoon and vibrate; the bass keeps everything teasing, tight and controlled. The heroine (directed to her man) implores release and caution- to take his hands away from her. Maybe reflecting on uneven love and relationship qualms: there is a definite heartbreak and upset beneath the surface. Those entranced by White’s vocals might overlook the tumultuousness and pain in the lyrics. A tableau of tug-of-war and contrasts: it is another track that will mean different things to different listeners. The title (Beautiful Imperfections) suggests love/life that is flawed but satisfying: there are dark days but, at the end of things, there is plenty of comfort and safety. Beautiful Imperfections shows what range Echo Arcadia has. After the opening Shoegaze-via-Indie sounds; we now have something that blends U.S. Pop with classic Soul- the group never stay in a mould; they have such diversity and range in their arsenal.

Rising Sun (Interlude) is a well-timed, appropriate punctuation. After the heaviness and emotion of the previous number: we get a lovely instrumental that provides plenty of reflection and progression. As the title suggests, you get images of the sun rising: a new dawn breaking; the album reaches the end of one day- into the haziness and uncertainty of the new one. Squalling, fiery guitars have rapture and howl: a perfect representation of the breaking light; full of heat, promise, and rebirth. Whilst the guitars steal focus early on: towards the latter stages, the drums pulsate through; possessed of such energy and leadership. Being such a prominent component of the album (the percussion) comes through with strength and attack. Combined- that tense percussion and psychedelic guitar- you get contrasts, and weather; temperature and temperance- few bands are as brave (and assured) when going into instrumental territory. A needed and stunning palette cleanser: Rising Sun (Interlude) carries plenty of weight and repeatability.

Ghosts arrives next and is, by no means, transparent (ghost puns, hey!). With a little bit of Prefab Sprout at work- I can see comparisons between Paddy McAloon (Prefab Sprout’s lead) and Leigh Moyes- Ghosts has poetry and impressionistic touches: the word-picture sentiments are among the most vivid on the album; arresting and relatable to all. The band- like a young(ish) McAloon/Prefab Sprout- are full of invention and previous- delicate, beautiful songs that provide elegance and humanity. Take a gander of Steve McQueen (Prefab Sprout’s sophomore album) and Ghosts: you can hear comparisons and common threads. Aching guitars and consistent percussion- keeping the backbone tight- is augmented by multi-part vocals- White and Moyes unified and harmonious. Desolation and empty rooms pervade: deep emotions and scars are revealed; a troubled soul and sense of loss come out. When the song gets shadowy and foreboding: the vocals rise and the composition takes charge- spiked notes and spacey diversions; ensuring the track has evolution and relief. Demons are coming (for our man) among “debts that cannot be sold”. Echoes of ‘80s Post-Punk/New-Wave can be heard: to be honest, Echo Arcadia do not sound like they belong to any genre or time- they have that freedom and individuality that distinguishes them from their peers.

Get Out of Here ensures (Visions of Symmetry’s) second-half begins with bang, kick and rouse. After the emotive and spiritual predecessors: Get Out of Here deftly joins shimmering strings with rabbling percussion; a mix of romantic and street-level concrete. With the hero “crashing downwards” and crying- nobody had heard him- the time has come to fall away and disappear. Echo Arcadia is a band that trade in heavy emotions and a sense of depression. Most bands that do this- especially in the modern era- do not provide much musicianship, beauty, and hopefulness- even the darkest moments from Visions of Symmetry have hope and light. Maybe an assessment on musical or personal struggles- caught in a heartbreak haze and grip of anxiety- there is that desire to break free and flee. Inside the tales of woe and pain, there is plenty going on. Spacey electronics and elongated strings provide something curious and tantalising: the percussion and bass are consistently engaging and busy. Another song with that White-Moyes dynamic: you get one of the most personal and haunted songs on the album. Whether the duo is assessing their own relationship and love- and the way it has progressed- I am not sure. Moyes needs a place to rest- exhausted and exasperated by unfolding events- whilst White has a Siren-like grasp to her voice- something that pulls you in and does not relinquish. The band’s equivalent of When Love Breaks Down- more kids should taste Prefab Sprout (I’ll stop now!)- you have something bare-naked, honest and raw- a soul (two, including White) that have experienced upheaval and transition- they need clarity, grounding and happiness. Cavalier, adaptable songwriters- the band switch from Country vibes to stately grandeur- the songs never get too trenchant and mordant. The lush production and incredible band dynamics keep the songs from becoming too bogged and sad- Get Out of Here is one of the standouts from Visions of Symmetry.

   All Things Must Fall is an obvious-origin, and needed, interlude from the band. Ensuring the listener gets relief and rest between dramas- keeping fascination high and attention primed- it is another wonderful instrumentation. A more spiked and Progressive-Rock-sounding jewel- compared to the comparative restraint of Rising Sun (Interlude) - it is a short (55 seconds) song that is an emotional parable- a transitory assessment of the album thus far.

Occasional Bruises begins with a very tender and slight opening. Building from elliptical, sparse notes- that hover in the sky light an orbiting satellite- it is a nod to Beauty in an Average Life- the band’s debut album. White takes the lead and feels “stretched so thin”- someone remembered only for their sins. Feeling angry, obscene and stressed: again, you get impressions of love and relationship cessation. In the past- whether documenting a past or current relationship- there is that need to move on and re-evaluate. A missing puzzle piece- the whole album seems like a puzzle you piece together- one empathises with the heroine. You can hear a degree of strain and tiredness come out in the vocal: someone who has been through the ringer and wants things to change. Having White as a feature- she is not part of the band anymore- you get contrast and a different perspective. Moyes’ voice has its charm and exceptionalness: White brings in new colours and possibilities in Occasional Bruises. A pin-sharp and honey-rich voice: it sounds extra-wonderful when assessing something so biting, tortured and unsure. Amidst the confessional verses, the band ramp up the energy and tension. The guitars wail and rain with power; switching to something more sparse and pure- it is a song that has a constant flow and sense of unpredictability. At the song’s end- another fine mantra from the band- you get a unification of “Take me home”. Echo Arcadia are adept at the multi-suite, blossoming song. Occasional Bruises starts with sparse notes and room; it builds its emotion and weight- ending with something choir-like and epic.

Voices is a striking, lumbering beast that takes you by surprise. The heaviest track on the album- nothing has exploded out the gates as hard- it is another turn from the Edinburgh band. Voices inside are eating the flesh- the song is full of stark and demonic images- and there is a battle inside the mind. Our hero is wrestling with a lot of pain and confusion: perhaps appropriate the composition has that unfettered, to-the-bone sound.  The demons have been let in and are unruly tenants: the sort that call the name (of our man) are take up residence in his soul. Among the torment and devilment of what is happening: you get a sense of hope and fighting-against-the-tide. The band keeps the song sharp and fascinating: one of the most complete and intriguing compositions across the album. Twirling, barbed wire guitars sit with pizzicato strings; the percussion fires and lurches forward- the bass keeps everything in order and solid. Voices boasts one of the most impressive vocal turns: from both Moyes and White. Filled with emotion and personality- you discover new sides and avenues from both- it is another song that demands more time and attention- sure to be a live favourite. One of the longer songs from Visions of Symmetry: you feel it could be longer, still. Progressive-Rock guitars and spacey elements make you think of Pink Floyd: the lyrics and vocals might put you in mind of Prefab Sprout- uniting some of music’s finest from the last few decades. By the time the song ends, the listener is left exhausted and affected- it is a song that is both personal and universal. Everyone can relate (to an extent) to what is being laid down and sung.

The Last Time is, rather sadly, the “last time I’m going to depend on you”. Once more, there is regrets and anger: our hero has had enough; having to rely on someone that has not been true and loyal. Delivering the words with a definite, rhythmic wave: that line- about depending on you- has that chant-able quality. Allowing Celtic-flavoured strings to come into the mix: the song has a blend of accusation and reflection. The twin vocals- from Moyes and White- are natural bedfellows. Having worked together for years: that combination of tones finds new ways of exploiting beauty, light and brilliance. Whereas previous numbers have been in-depth, intimidated and harassed: there is a sense of looseness and breeziness to the track. Although its messages- the lack of mistrust and moving on- are hard-hitting and serious subjects- you cannot resist the vocal delivery and its warmth. The Last Time sees the band embrace the Country-cum-Celtic side more prominently. Throughout the album- and up to this point- there have been explorations into various genres. The strength of a great band is one that can experiment and still remain focus and true to themselves. Rather than stick with a stolid and inflexible sound: Echo Arcadia stretch their wings and investigate all music has to offer. The Last Time builds in intensity and is one of the album’s biggest attractions. Those electrifying and affected vocals: the huge composition: the sticks-in-your-head-for-ages melody. Everything is present and correct.

Hurricane has been released to the world. A song the band is very proud of: you can see why it has been released as a single. The tender and compelling beginning kick-starts one of the most full-bodied tracks across the album. Our hero’s voice is at its purest and most focused. Impure spirits are flying overhead: his skin is being grabbed and his heart is being tugged. Inside “Deep regrets and tidal waves”- there is no end to the hurt in Camp Arcadia- there is always the chance of improvement and redemption. Whilst the hero looks for answers and fights against dark omens: you feel the best days are still ahead. Hurricane manages to be evocative and powerful with words and control- rather than needless explosion and histrionics. The band keeps things bubbling under the surface. They are never too full-on or undercooked: just the right amount of power and emotion. The need for pain to disappear- waves eradicating the struggle- you can empathise with our lead (White features in the song, too). Assessing a Devil-like figure- who has pulled him into quicksand- images and storylines come to the fore. Inside such a meaningful and personal song- Moyes provides one of his most emotive vocals- the band treats it with dignity and respect. Percussion, once more, is a domineering force: always looking for space; crackling and keeping the backbone strong. One of those songs that defines modern-day Echo Arcadia: it brings all their strengths into one song. By the closing notes, you know how much attention and ‘self’ has gone into the song. The writing/creation process must have been a hard thing- it is a very personal and dark song. Such is the nature of the album: you can tell how much the band has sweated and worked on every number.

Broken Knuckles builds ever-upwards. Growing from faded and sapling roots: it becomes more intense and intense as the seconds elapse. The listener is given time to reflect and breathe- the song is an instrumental. It is a number where the instruments and composition take charge: create a huge amount of story and emotion without any vocal interjection. Once more, there are nods to the Beauty in an Average Life-days recordings. The floating-around-space vibe comes in hard. Nobody will be immune to the gracefulness and epic-natured strings; the scenes and ideas that are painted. In a few notes, the band is able to conjure so many scenes and thoughts. Similar to the ‘Interlude’ numbers: it gives you a chance to fill the gaps and come up with your own ideas. Having explored so many sides to love and life- the struggles faced- it is nice to kick back and embrace something ornate, orchestral and filmic. Those expecting Broken Knuckles to be the end; they need to keep listening. Like Nirvana- and the hidden track that appears at the end of Nevermind- the band is not done. Fast-forward six-or-so-minutes and you get a final utterance. An angry and Spoken Word presentation- where our hero concludes the album’s themes and angers- it has a spooky and unease sound. The listener is made to listen and pay attention to the song. Although the hero is “At one with the darkness” you feel like a lot has been learned. Having gone through such an eventful past- an epic self-discovery- we get an unexpected closing sermon. A suitably impressive and memorable way to end the album- cliffhangers are left and questions hang. One wonders whether the band- and the lead, especially- have found happiness and answers- or whether that voyage continues on.

Every member of the band should be applauded for such sterling and dedicated work. Each player adds huge weight and importance to the album. From the dilligent and powerful percussion work to the leadership bass parts; the varied, colourful guitars- along to those rich and stunning vocals. Backed with incredible production values and consistently engaging songwriting: Visions of Symmetry sees Echo Arcadia hit new form and reach their peak. Across the 13 tracks, the band explores new territory but keep their core sound intact. Existing fans will find continuation from Beauty in an Average Life: new listeners will be provided with new treats and explorations. The Edinburgh clan sequestered themselves away when recording the album. Toiling over subject matter and deadlines; looking for fresh inspiration: the time and torment have paid dividends. What we have is a solid and fantastic album from one of the U.K.’s most underrated acts. Maybe the single-minded themes- that tend to err on the self-reflective and negative- might seem challenging to some listeners. The hardship and darkness is shrouded in beauty, hopefulness, and light. Although each song shows struggle and pain: you never feel bummed-out and off-put at any point. What you do get- and the biggest takeaway from the record- is a group with a very bright (and long) future ahead.

Echo Arcadia ensure their sophomore album is packed with memorable songs and stunning moments. Having faced transitions and challenges: the Edinburgh elite have produced a focused and deep album: one that provides immediate beauty, relief and urgency- revealing layers, nuance, and revelation across time. I have heard Adele has secured a- gaudy and monumental- recording deal: the biggest-ever in musical history. Whilst music’s battling struggle to get gigs and focus: it seems flabbergasting that one of music’s, let us say it, mediocre stars is commanding such prestige. Where most consider self-preservation and survival a goal: Adele is commanding riches and multi-million-pound deals. Her best days are past- since 21, she has been treading water and becoming rather dull- and it is a sad reflection of music- there is such an imbalance and inequality. I wish some of that money- God knows how many millions it was- was invested to the great new acts emerging. The likes of Echo Arcadia promise much more depth, quality, and potential: they have to struggle in the trenches with the rest. That said, the hirsute boys have been busy interviewing and performing. They have built a name and reputation in their beloved Edinburgh. The video for Hurricanes has been released: the fans and media are keen to extol the virtues of the track. It shows how far the band has come. Beauty in an Average Life contained plenty of gems and highlights: Visions of Symmetry promises to best their debut work.

In late-June- when the album is released- ensure you grab a copy and discover something fantastic. It is great to be back with a terrific group that has many more years left. They will not suffer the ill fates of the industry: where Rock gods call it quits and promising Pop stars pack their bags. There is such a warm bond and connection in the band: they love what they’re doing and that comes through in the music. Having put their heads down to record Visions of Symmetry: that hard graft and dedication has paid off. The L.P. overflows with immaculate beauty and raw passion. In spite of the 13-track (plus hidden song) length: there is never a sense (the album) is bloated or unfocused. Each song buys its way into the mix. Where next for Echo Arcadia? They will be releasing the album in a matter of days: a chance for the world to hear some of 2016’s finest songs. After that, there will be tour dates and promotional duties- the obligatory interviews and press trail. I hope their touring sphere extends down south. It would be great to see the guys seduce London: they could get a series of gigs lined down here. In fact, they have the potential to amaze far and wide- both nationally and internationally. Given their progression and reputation: I can see the boys enjoying success in the U.S. Maybe money and personal plans will limit that- or put it on hold for a few years- but it is something to think about. Visions of Symmetry is a welcomed return from a terrific group. In a year that has seen the mainstream steal focus- the Radioheads and James Blakes take top honours- it is good to see an under-the-radar band…

PRODUCE something that is could rival any of them.

[youtube https://www.youtube.com/watch?v=Z8MojorRC9c&w=560&h=315]

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Follow Echo Arcadia

 

Official:

http://www.echoarcadia.co.uk/

Facebook:

https://www.facebook.com/echoarcadia

Twitter:

https://twitter.com/EchoArcadia

Instagram:

https://www.instagram.com/echo_arcadia/

_____________________________________

Music

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

 

FEATURE: Radio Adage- From the Basement, Up

FEATURE:

Radio Adage

From the Basement, Up

_________________________

IN the coming weeks, I want to feature more on…

interviews, features (The Classics Series especially) and the like. Having completed my latest review- Ina Reni’s doggerel gem, I Thought You Were Gay- I am looking at a new concept- much more than a vanity project- that fills a real-world gap. I have got more into radio- until recently I was a devotee of C.D./digital music: no radio exposure- but I understand how vital its existence is. I have always balked against local radio- semantically null chatter and repetitious, middle-of-the-road music- and some of the national alternatives. Without radio, today’s new starters (in music) will struggle to get exposure. It is all well relying on social media and the Internet- you will only get to see a certain amount of bands and acts. Due to the compartmentalised and in-the-right-place-at-the-right-time nature: radio is a more successful, disciplined and dependable form of music streaming.

One of the reasons I have fallen for radio is B.B.C. 6 Music: the station that provides music the people. There is no political affiliation and leaning: they do not have to promote the mainstream; focus on brand-new talent. What (‘6 Music does) is sets aside from the crowd. The over-played and lame artists take a back seat: in its place you get an eclectic range of old and new songs- quality is the paramount consideration. It is not just the music that compels me: the D.J.s are among the most knowledgeable, witty and interesting you will hear. No inane chatter and half-arsed jokes: you get unadulterated quality and consistency.

There are a number of Internet stations cropping up. For those that state radio is dwindling in popularity: that assertion could not be further from the truth. Perhaps certain demographics are spending less time listening to mainstream stations. The proliferation of music-sharing websites means a lot- the younger audience- get their music from the Internet. With that said: there is a wave of new stations that are attracting younger listeners. Not dependant on ticking boxes and playing chart tunes: they are unencumbered and free from restraint. From Radio Hoxton and its uber-cool hosts: there are options for any type of music-lover. B.B.C. 6 Music will always be king for me: the inspiration behind my own ambitions…

Radio Adage is a way to distill the station’s ethos and charms into a once-a-week, four-hour (could be trimmed) show. Essentially, it would be a podcast that went out the same time each week- pre-recorded but something that engaged the listeners. At this moment (the station/show) is in its ideas stage. It is newly-born and not ready to walk. Aside from the logistics of costs, equipment and co-hosts- I will be doing more a producer’s role- I am excited anyway. In terms of features: I have got a few lined up:

NEW TRACK OF THE WEEK: A song from the mainstream- a single released that week- that is the week’s best.

NEW ALBUM OF THE WEEK: The best commercial album of the week- 2 tracks will be played from the album.

CLASSIC ALBUM: An influential or memorable album that deserves more exposure- 2 tracks will be featured from the record.

In the first show, I will be going with The Cardigans’album, Life. Future weeks will see the likes of Fleetwood Mac and Stevie Wonder in-focus. The first show will see the Swedish band’s sophomore album. A Pop gem from the ‘90s: it is one of the most underrated albums from that period.

CONTINENTAL DRIFT: Each week (Radio Adage) will feature a new act from a different continent. Whether Australia, Asia or North America: we will bring you an astonishing artist.

LISTENER POLL: In the week leading up to the show: a head-to-head poll will be launched via Twitter. Putting two artists against one another: the winning act/song will be featured on the show.

The first broadcast will put The Smiths’ Girlfriend in a Coma against The Ramones’ Swallow My Pride.

UNSIGNED HEROES: A chance to play a new track from an unsigned band/artist.

INTERVIEW/PERFORMANCE: This will involve a musician/band coming in and performing a couple of tracks; a small interview- they get to choose a song to end the feature.

ELECTRIC ROULETTE: Each week will see a new subject being addressed. It may be Soul or 1980s music: a certain artists or album. A small discussion will take place before a song plays.

The first week will go to the 1990s: its influence and how it has shaped modern music.

DROP THE NEEDLE! A chance to feature a terrific L.P.: something that benefits from the immersive experience of a record player.

The first album in the spotlight will be Miles Davis’ epic, Kind of Blue- and a track from that record.

CONSENTUAL GROOVE: A way to get collaborations occurring. This section will see a new collaboration: artists coming together to create a new song.

THE ORIGINAL: A mixtape from a selected listener. They can select three tracks and why it is special to them.

FEATURED ARTIST: Playing a song from a featured act- and talking a bit about them.

The first show will see Fleetwood Mac under the microscope.

COCKTAIL CLUB: We select a cocktail and find a song that matches its ingredients.

Show one will see a boulevardier selected: Louis Armstrong’s Mack the Knife fits the description well.

THE LONG SONG: A chance to play a six-and-a-half-minute-plus track in full.

The first song on the board will be Black Sabbath’s War Pigs

There are quite a lot of features there: I want to include more. Bringing listeners in more- the way B.B.C. 6 Music does- it would be good to have some like-minded features (a Biorhythms-cum-Desert Island Disco thing; The Chain-meets-Small Claims Court perhaps?). The best and more potential-laden features will feature- I will be asking people which sound most appealing. The idea- behind the show and station- is to have something that fills a market gap- an Internet station that does things unlike anyone else.

The show would try to mix the humour and fun of ‘6 Music- especially Sean Keaveny and Radcliffe and Maconie; The Frank Skinner Show on Absolute Radio- whilst playing exceptional music and the best sounds around. The breakdown of music played will be: 60% mainstream/older; 20% brand-new, unsigned acts; 20% new, under-the-radar sounds- artists like Beach House, Yak and Rozzy Plains.

My first song- that will open the show- will be Lauryn Hill’s Superstar: we will end with The K.L.F.’s Last Train to Transcentral. In terms of playlists and songs; I have a few acts in mind: Leftfield, Steely Dan, The Streets; Chemical Brothers Michael Jackson, Queens of the Stone Age; Everything Everything, Lana Del Rey, Tears for Fears; Funkadelic, Prince, Beck; Neneh Cherry, Beastie Boys, Pearl Jam; Stevie Wonder, Black Box, Paul Simon; D.J. Shadow, Janis Joplin- and that’s just the ‘older’ artists. There will be a great range of fresh songs and unexpected gems.

What about going forward? I need to look at costs and studios: a place around London I can set things up. I have mentioned the music features (above). There will be other aspects, too. The London Underground will see go to a Tube station destination and focus on the community there. A spotlight topic will put various issues in focus- like mental health and animal welfare- and talk about them. There will be film reviews and a comedy segment. I am not sure which are the best features- from the ideas above- but I am determined to get the thing started- find a mixture of presenters (a two/three-person team) and get it all started.  I will be up in London in a couple of days: formulating ideas and putting more work into it. Any feedback/opinions/ideas would be much appreciated. I will come after bands and people- to help and feature- and start the ball rolling. I am one of those who feels radio needs more attention and focus. If the wave (radio pun) of Internet stations has proven anything:

THEREis a huge demand out there.

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?

___________________________________________

Follow Ina Reni

 

Official:

http://inareninow.com/

Facebook:

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

Twitter:

https://twitter.com/inareni

___________________________________

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 

____________________________________

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]

_____________________________________

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]

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Follow Kindest of Thieves

 

Official:

http://kindestofthieves.wix.com/kothieves

Facebook:

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

Twitter:

https://twitter.com/kothieves

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Music

http://kindestofthieves.bandcamp.com/

 

INTERVIEW: Laura Saggers

INTERVIEW:

 

Laura Saggers

 

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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…

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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.

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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/

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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.

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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.

____________________________________

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.

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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

____________________________________

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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Facebook:

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Twitter:

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Music

https://soundcloud.com/jcvillafan

INTERVIEW: The Updraft Imperative

INTERVIEW:

 

 

The Updraft Imperative

 

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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…

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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" /]

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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.

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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]

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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/

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Music

https://soundcloud.com/alaniofficial

INTERVIEW: Nzilani

INTERVIEW:

 

 

Nzilani

 

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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...

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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.

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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.

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______________________________________

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

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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:

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Twitter:

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Music

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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.

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http://tsinderash.com/

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Music

http://tsinderash.bandcamp.com/